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* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018),LAY-BY ON THE ROAD TO RONDA (10th September 2001 am)oil on board, signed and dated 2001; titled in the artist's hand verso but obscured by the backboard41cm x 43cmFramed and under glass.Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi-abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. Recent examples of Sheila Macmillan's paintings in The Scottish Contemporary Art Auctions have included prices of £1700, £1400, £1100, £900, £850 & £800 (all hammer prices) which well illustrates the depth of collector interest in Sheila Macmillan's work.

* SCOTT SUTHERLAND DA RSA FRBS (SCOTTISH 1910 - 1984),MOTHER & CHILDwood carving, signed, titled and dated 1982 to base34cm high.Note: Sculptor Scott Sutherland was born at Wick, Caithness. He trained at Gray's School of Art, Edinburgh School of Art and Ecole des Beaux Arts (Paris), and briefly in Egypt, Germany, Greece and Italy. He taught sculpture at Dundee College of Art from 1947. Sutherland's most important work was The Commando Memorial at Achnacarry (about a mile from Spean Bridge). He won an open competition in 1949 to design the memorial which was unveiled by the HM The Queen Mother on 27 September 1952. Other large-scale works include The Black Watch Memorial (1966) at Powrie Brae, Dundee and The Hugh Dowding Memorial (1972) at Moffat, Annandale & Eskdale. Among his other sculptures are: statues of famous Scotsman for the Empire Exhibition in Glasgow 1936; the Coat of Arms (in sandstone) for the entrance to National Library, Edinburgh; a bronze capercaillie for the school at Kenmore; the Robert Burns statue at Arbroath; the carved slate memorial panel to the crew of Broughty Ferry Lifeboat Mona; the silver trophy of the Royal Observer Corps and the Leaping Salmon Fountain for the Norrie Miller Memorial Garden at Perth in Perthshire. Sutherland won the Guthrie award in 1940. Only once in recent years has a wood carving by Scott Sutherland appeared in The Scottish Contemporary Art Auctions and "Diana" a 34cm high signed, titled and dated (1979) example sold for £1,100 (hammer), lot 588 12th September 2021.

* ETHEL WALKER (SCOTTISH b. 1941),PATTERNS OF BLUEoil on board, signed, titled and dated 1996 label versoimage size 63cm x 58cm, overall size 82cm x 77cm Framed and under glass.Label verso: The Gatehouse Gallery, Glasgow.Note: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from the Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. Ethel Walker's work has been exhibited widely over many years in Scotland, London and around the UK. In The Scottish Contemporary Art Auction of 5th December 2021 "The Lace Cloth" (lot 594) by Ethel Walker sold for £3000 (hammer).

* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006),EVENING LIGHT, GUBBIO (UMBRIA, ITALY)oil on board, signed and dated '93, titled label versoimage size 101cm x 44cm, overall size 117cm x 62cm Framed. Label verso: Roger BIllcliffe Fine Art, Glasgow.Comment: Like many great Scottish artists before him, Bill Birnie often painted the relationship between human architecture and monumental nature. "Evening Light, Gubbio" is an outstanding late example and the profile and physical dimensions of the picture emphasise the significance of the tree. Note: Bill Birnie studied at Glasgow School of Art under Gilbert Spencer and then at Hospitalfield under Ian Fleming. After graduating, he joined the staff at Hyndland Secondary School in 1952. That same year he was also elected a member of the Society of Scottish Artists (SSA). In 1958, he became a founder member of the Glasgow Group and formed the Glasgow Group Society, of which he was Vice-President for 32 years. In 1965, he was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW), a society of which he also became Vice-President and Treasurer. He became Principal Art Teacher at Douglas Academy, near Bearsden, and later at Gryffe High, near Kilbarchan. Bill's abilities not only as a teacher but also as an administrator were noticed by the Department of Education and he was soon appointed Head Examiner in Art for Scotland. He still managed to maintain a very active exhibiting schedule and showed in all the main public galleries and many of Scotland's best commercial galleries. His work was enthusiastically collected and increasingly sought after. He was elected a member of the Royal Glasgow Institute of Fine Art (RGI) and of the Paisley Art Institute (PAI). In the early years, he painted from his garden, showing the village of Kilbarchan in its changing seasons, under a quiet blanket of winter snow, or framed in a blazing sunset through autumnal trees. Later visits to France and Italy with his artist wife, Cynthia Wall, whom he married in 1953, brought new subject matter, cafe scenes, vine groves, Italian clifftop villages, and the crumbling facades of palaces and churches of Venice. It was characteristic of the man that when told that his illness was terminal, he calmly put his affairs in order and started work for a final one-man show at the Open Eye Gallery (Edinburgh) the scene of so many of his successful shows. Unsurprisingly, the exhibition was a complete sell-out. In recent years there has been a widely acknowledged acceleration in the prices achieved at auctions around the UK for William Birnie's paintings. In the Scottish Contemporary Art Auction of 8th November 2020 lot 567 "The Red House" a 60 x 90cm oil sold for £3000 (hammer) which, not for the first time in recent years, set a new auction record for a painting by William Birnie.

* GEORGE GILBERT RSW PAI (SCOTTISH b. 1940),LARGO LAWacrylic on board, signed, titled label versoimage size 22cm x 22cm, overall size 35cm x 35cm Framed and under glass.Artist's label verso.Label verso: The Courtyard Gallery, Crail.Note: the most recent work by George Gilbert to be offered in The Scottish Contemporary Art Auctions was a 62 x 96cm watercolour which sold for a hammer price of £950 (lot 755, 5th December 2021).

* PAM CARTER DA PAI (SCOTTISH 1952 - 2022),GABLES, GEARY (ISLE OF SKYE)oil on canvas, signed, titled label versoimage size 77cm x 77cm, overall size 97cm x 97cm Framed.Label verso: The Braemar Gallery, Braemar.(The typical gallery price for a 77 x 77cm Pam Carter oil would be a little over £6000) Note 1: It was with great sadness that we learnt of the passing of Pam Carter in May after an illness which she wrote about to her database of buyers on 24th June 2021: "I feel at last I am retiring somewhat due to ill health. I am not painting very much these days as I am struggling with the daily regime of chemo tablets; it’s hard getting the balance of effective medication and quality of life". Note 2: Pam Carter was born in Tanganyika, East Africa to an Austrian mother and Scottish father. At the age of thirteen, she came to Scotland where she schooled at Bearsden Academy. She graduated from Glasgow School of Art in the seventies. "My main inspiration as an artist is in the Scottish landscape and seascape. I enjoy using colour to define contours, structure and changing light sequences. I search out specific viewpoints. I am equally inspired by the rugged isolation of the Western Isles and the dramatic viewpoints of the Eastern coastline. I work predominantly in oil". Pam Carter was unquestionably one of Scotland's most popular and successful contemporary artists. She won numerous awards and prizes, always received significant media attention, has been the subject of many magazine features and had several tv appearances. Her work is widely exhibited but rarely appears at auction. In The Scottish Contemporary Art Auction of 17th April 2022 lot 38 "Luskentyre Reflections" a 46 x 51cm oil (smaller than half the size of "Gables Geary") by Pam Carter sold for £2000 (hammer). Comment: Pam was a special artist and one who enjoyed wide popularity and substantial commercial success. In all our dealings with Pam over the years, she was always generous with her time and quick to provide the background to paintings we had received from private consignors and filling in gaps about locations, dates etc. Pam's work is instantly recognisable and she had that rare gift, even among the best artists, of being able to use the minimum of brushwork to create the maximum visual effect. Her "lines" were those of the natural environment but she knew exactly how to "see" them and portray them on canvas. Despite her commercial success, or perhaps even because of it, Pam's work probably hasn't yet reached the full audience that it so richly deserves. She exhibited frequently at numerous galleries in Scotland and gallery owners were inevitably in a queue to secure her work. Typically, Pam showed loyalty to those who were the first to support her when she was a relative unknown. Talented artists always wish to be remembered by their work and Pam Carter can be certain of that, but she'll also be remembered with great affection by all those who had the good fortune to meet her or know her.Condition is good overall, with no visible signs of restoration, damage, or known issues.

ERNI UPTON FRSA,SANNA BAY, WEST ARDNAMURCHAN, SMALL ISLE DISTANToil on canvas, signed, titled versoimage size 76cm x 102cm, overall size 100cm x 125cm Framed. Artist's label verso.Note: A Scot, born in Ayrshire in 1936, Erni Upton has been painting since childhood. Schooled at Ayr Grammar & Ayr Academy, much of his youth was spent with the fisherfolk of West Scotland and their boats and he still cruises these waters each year. He trained at Glasgow School of Art, where he studied under Donaldson, Mathieson and Robertson. His work reflects their influences and those of the Scottish colourists who like him, spent much time in the wonderful light and colours of the West Coast. Painting in this tradition, he works with oils on canvas, using both brush and knife. In 1985, after many years in banking, he returned to Art & Design when he established an interior design company in Shrewsbury, Shropshire. He continued to work in oils, mainly commissions for corporate and private clients, but it was not until 1999, when the company was sold, that more time became available for painting. His work is successfully shown in many galleries in England, Scotland and abroad, most recently in Istanbul, where he was invited, as a result of commission work, to have a solo exhibition at the British Embassy, and a subsequent solo at one of the premier galleries in the city. He was elected a Fellow of the Royal Society for Arts, London, in November 2004. In recent years exhibition venues have included: Rowles Fine Arts, Strathearn Gallery, Greens & Blues Gallery, Morningside Gallery, Annan Gallery, Iona House Gallery, Alpha Gallery, Queens Gallery, Gigha Gallery and Frames Gallery. In The Scottish Contemporary Art Auction of 9th May 2021, two Iona paintings by Erni Upton (lots 787 & 789) sold for prices of £2000 & £2800 (hammer) and in the 17th April 2022 auction lot 198 "Blaishie Day,Turnberry" (a 51 x 101cm oil) sold for £2000 (hammer).

ERNI UPTON FRSA,IN FROM THE DEEP, PORT SETON, FIRTH OF FORTHoil on canvas, signed, titled versoimage size 50cm x 50cm, overall size 75cm x 75cm Framed.Artist's label verso.Note 1: Port Seton was the home and inspiration for John Bellany CBE RA.Note: A Scot, born in Ayrshire in 1936, Erni Upton has been painting since childhood. Schooled at Ayr Grammar & Ayr Academy, much of his youth was spent with the fisherfolk of West Scotland and their boats and he still cruises these waters each year. He trained at Glasgow School of Art, where he studied under Donaldson, Mathieson and Robertson. His work reflects their influences and those of the Scottish colourists who like him, spent much time in the wonderful light and colours of the West Coast. Painting in this tradition, he works with oils on canvas, using both brush and knife. In 1985, after many years in banking, he returned to Art & Design when he established an interior design company in Shrewsbury, Shropshire. He continued to work in oils, mainly commissions for corporate and private clients, but it was not until 1999, when the company was sold, that more time became available for painting. His work is successfully shown in many galleries in England, Scotland and abroad, most recently in Istanbul, where he was invited, as a result of commission work, to have a solo exhibition at the British Embassy, and a subsequent solo at one of the premier galleries in the city. He was elected a Fellow of the Royal Society for Arts, London, in November 2004. In recent years exhibition venues have included: Rowles Fine Arts, Strathearn Gallery, Greens & Blues Gallery, Morningside Gallery, Annan Gallery, Iona House Gallery, Alpha Gallery, Queens Gallery, Gigha Gallery and Frames Gallery. In The Scottish Contemporary Art Auction of 9th May 2021, two Iona paintings by Erni Upton (lots 787 & 789) sold for prices of £2000 & £2800 (hammer) and in the 17th April 2022 auction lot 198 "Blaishie Day,Turnberry" (a 51 x 101cm oil) sold for £2000 (hammer).

ERNI UPTON FRSA,IN FROM THE DEEP, CRINANoil on canvas, signed, titled versoimage size 42cm x 52cm, overall size 66cm x 76cm Framed.Artist's label verso.Note: A Scot, born in Ayrshire in 1936, Erni Upton has been painting since childhood. Schooled at Ayr Grammar & Ayr Academy, much of his youth was spent with the fisherfolk of West Scotland and their boats and he still cruises these waters each year. He trained at Glasgow School of Art, where he studied under Donaldson, Mathieson and Robertson. His work reflects their influences and those of the Scottish colourists who like him, spent much time in the wonderful light and colours of the West Coast. Painting in this tradition, he works with oils on canvas, using both brush and knife. In 1985, after many years in banking, he returned to Art & Design when he established an interior design company in Shrewsbury, Shropshire. He continued to work in oils, mainly commissions for corporate and private clients, but it was not until 1999, when the company was sold, that more time became available for painting. His work is successfully shown in many galleries in England, Scotland and abroad, most recently in Istanbul, where he was invited, as a result of commission work, to have a solo exhibition at the British Embassy, and a subsequent solo at one of the premier galleries in the city. He was elected a Fellow of the Royal Society for Arts, London, in November 2004. In recent years exhibition venues have included: Rowles Fine Arts, Strathearn Gallery, Greens & Blues Gallery, Morningside Gallery, Annan Gallery, Iona House Gallery, Alpha Gallery, Queens Gallery, Gigha Gallery and Frames Gallery. In The Scottish Contemporary Art Auction of 9th May 2021, two Iona paintings by Erni Upton (lots 787 & 789) sold for prices of £2000 & £2800 (hammer) and in the 17th April 2022 auction lot 198 "Blaishie Day,Turnberry" (a 51 x 101cm oil) sold for £2000 (hammer).

ERNI UPTON FRSA,OLD GAFFERS, ELIE SANDS, FIFEoil on board, signed, titled versoimage size 41cm x 41cm, overall size 62cm x 62cm Framed.Artist's label verso.Note: A Scot, born in Ayrshire in 1936, Erni Upton has been painting since childhood. Schooled at Ayr Grammar & Ayr Academy, much of his youth was spent with the fisherfolk of West Scotland and their boats and he still cruises these waters each year. He trained at Glasgow School of Art, where he studied under Donaldson, Mathieson and Robertson. His work reflects their influences and those of the Scottish colourists who like him, spent much time in the wonderful light and colours of the West Coast. Painting in this tradition, he works with oils on canvas, using both brush and knife. In 1985, after many years in banking, he returned to Art & Design when he established an interior design company in Shrewsbury, Shropshire. He continued to work in oils, mainly commissions for corporate and private clients, but it was not until 1999, when the company was sold, that more time became available for painting. His work is successfully shown in many galleries in England, Scotland and abroad, most recently in Istanbul, where he was invited, as a result of commission work, to have a solo exhibition at the British Embassy, and a subsequent solo at one of the premier galleries in the city. He was elected a Fellow of the Royal Society for Arts, London, in November 2004. In recent years exhibition venues have included: Rowles Fine Arts, Strathearn Gallery, Greens & Blues Gallery, Morningside Gallery, Annan Gallery, Iona House Gallery, Alpha Gallery, Queens Gallery, Gigha Gallery and Frames Gallery. In The Scottish Contemporary Art Auction of 9th May 2021, two Iona paintings by Erni Upton (lots 787 & 789) sold for prices of £2000 & £2800 (hammer) and in the 17th April 2022 auction lot 198 "Blaishie Day,Turnberry" (a 51 x 101cm oil) sold for £2000 (hammer).

* PETER GRAHAM ROI (SCOTTISH b. 1959),EVENING LIGHTSoil on paper, signedimage size 24cm x 37cm, overall size 37cm x 51cm Framed and under glass.Note: Peter Graham was born in Glasgow in 1959. He attended the Glasgow School of Art, graduating in 1980. In 2000 Peter was elected to Full Membership of The Royal Institute of Oil Painters, R.O.I. Peter has earned a reputation as one of Britain’s most gifted and distinctive Modern Colourists. His work is often related to the Modern Scottish School but Peter has a flamboyant style which is unique, – detailed brushwork combined with loose fluid strokes creating vibrant contrasts of pure colour, line and tone. In the winter months within his studio, he delves deeply into the still life genre, creating some of his most stunning compositions, always with colour as the dominant theme but reflecting the heightened sense of atmosphere and passion that comes directly from painting in the beauty of the Mediterranean. Recently, hugely successful exhibitions in London have allowed Peter to take on extra studio space and his work is being enthusiastically exhibited by many of the UK's most prestigious galleries. Peter Graham's paintings do not appear at auction frequently but Impressive recent auction prices include (a slightly larger example) "Decorations with Flowers" which was sold at McTear's in The Scottish Contemporary Art Auction for £2800 (lot 580, 26th May 2019).

* JOE HARGAN DA PAI PPAI (SCOTTISH b. 1952),THE GREEN-EYED MONSTER oil on canvas, signed and dated '91 image size 72cm x 72cm, overall size 86cm x 86cm Framed and under glass.Note: the most recent large (101 x 101cm) Joe Hargan to be offered in The Scottish Contemporary Art Auctions was on 15th August 2021 when lot 527 "Pia Pia Piano" sold for £7500 (hammer).

* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948),AUTUMN AT KINGARTHoil on canvas, signed, further signed, titled and dated 2004 versoimage size 30cm x 30cm, overall size 55cm x 55cm Framed and under glass.Artist's label verso.Note: Jolomo remains one of Scotland's most celebrated contemporary artists. In The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer) and on 20th June 2021 lot 641 "Nick'sTug at Crinan" achieved £6000 (hammer). In our August 2021 auction, "Portnahaven, Islay" sold for £6000 (hammer). These being just three of numerous recent auction prices which reflect the strong and ever-growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison.

* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948),SUNSET OVER SCARBA FROM CULIPOOLoil on canvas, signed, further signed, titled and dated 2005 versoimage size 22cm x 22cmFramed and under glass. Artist's label verso. Note: Jolomo remains one of Scotland's most celebrated contemporary artists. In The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer) and on 20th June 2021 lot 641 "Nick'sTug at Crinan" achieved £6000 (hammer). In our August 2021 auction, "Portnahaven, Islay" sold for £6000 (hammer). These being just three of numerous recent auction prices which reflect the strong and ever-growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison.

* PETER KING (SCOTTISH b. 1953),WINTER LANDSCAPEoil on canvas, signedimage size 69cm x 69cm, overall size 84cm x 84cm Framed and under glass.Note: Peter King was born in Glasgow in 1953. He studied art at The Glasgow School of Art under the tutelage of David Donaldson RSA and Duncan Shanks RSA. He taught Art and Design in Scottish schools for over 30 years and holds a senior marker's position with S.Q.A. In 2010 he retired from teaching to focus entirely on painting professionally. Peter exhibits regularly at the Royal Scottish Academy and The Royal Glasgow Institute. His work is represented in collections across the UK, Europe, North America and Japan. The Sunday Times Magazine (April Edition 2000) featured his painting in an article on contemporary British Landscape Painting. In 2010, Peter was awarded the coveted House for an Art Lover Award by the RGI. The light, colour and weathered landscape of Kintyre, The Clyde Valley and the vast panorama of land and sky dominated by Tinto Hill and the Scottish Borders are a constant source of ideas and inspiration. He has developed his paintings from a range of motifs, which he constantly returns to and reinterprets, focusing on aspects of changing moods of light, weather and seasons. The sources of his ideas are the seasonal effects of nature on the surrounding environment. Colour and the tactile qualities of paint are essential to his painting style; the marks, free paint and the textured shapes become field, wood and sky. Peter King's paintings are exhibited widely in galleries including: The Lime Tree Gallery (Long Melford & Bristol), Red Rag Gallery (Cotswolds), Morningside Gallery (Edinburgh), ARTeries Gallery (Glasgow), Annan Gallery (Glasgow), Greens & Blues Gallery (North Berwick), Strathearn Gallery (Crieff), Thompson's Gallery (London & Aldeburgh), Walker Gallery (Harrogate) and Lemond Gallery (Glasgow).

* DIANE RENDLE, MORNING IN STONETOWN oil on panel, signed image size 73cm x 73cm, overall size 95cm x 95cm Framed and under glass Label verso: The Contemporary Fine Art Gallery, Eton.

* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948),RAIN SQUALL, ISLE OF TIREE, LOOKING TO MULLoil on canvas, signed, further signed, titled and dated 2012 versoimage size 40cm x 40cm, overall size 66cm x 66cm Mounted, framed and under glass. Artist's label verso.Note: Jolomo remains one of Scotland's most celebrated contemporary artists. In The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer) and on 20th June 2021 lot 641 "Nick's Tug at Crinan" achieved £6000 (hammer). In our August 2021 auction, "Portnahaven, Islay" sold for £6000 (hammer). These being just three of numerous recent auction prices which reflect the strong and ever-growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison.

* GRAEME WILCOX (SCOTTISH b. 1967),DANCING BUGoil on canvas, signed versoimage size 153cm x 178cm, overall size 169cm x 194cmFramed.Note: After graduating from Glasgow School of Art in 1993, Wilcox continues to prosper as a painter based in Glasgow. He exhibits regularly in solo shows and group exhibitions throughout the UK and Europe. Recent work depicts people and events experienced in public spaces around the city. These paintings show figures engaged in ambiguous actions in half-remembered spaces. The situations and scenes have lodged in the memory due to some resonance or poignancy that can't quite be dismissed. The resulting paintings are partly an attempt to balance a sense of stillness with a sense of movement; a tension that hopefully generates a heightened feeling of the strangeness of everyday life and those around us. Graeme has collaborated on a number of multimedia projects with Mischief-la-bas-performance group and with other artists, culminating in projects at the Arches and Tramway in Glasgow and the Albany Theatre in London. He has also organised two large scale mural projects in collaboration with the East End Community Arts for Glasgow Health Board and devised and ran "Face to Face" photography project in Glasgow. This Arts Council funded project culminated in a temporary public artwork at the East End Festival in Glasgow. In 2011 he completed a prestigious portrait commission for the newly opened Conway Hall in London. Graeme's work is held in private collections in Europe, the USA and Canada and in public collections in Petrezovodsk, Russia and the Gulf State of Qatar. He is also held in the Corporate Collection of the Royal Bank of Scotland, Edinburgh. A recent example of Graeme Wilcox's work to be offered in our auctions was "On the Same Page" (a 112 x 102 cm oil on canvas) which was sold in The Scottish Contemporary Art Auction of 28th March 2021, lot 722 for £5000 (hammer). "Dancing Bug" is by some distance the largest work by Graeme Wilcox to be offered at auction anywhere.Condition is good overall, with no visible signs of restoration, damage, or known issues. 

* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013),SALOME (1989)oil on canvas, signed and titled versoimage size 149cm x 119cm, overall size 179cm x 147cmFramed. Provenance: Beaux Arts, London (Bellany's long time principal London Gallery).Note: The creation of "Salome" was recounted by the artist and reported in the Glasgow Herald. 'A visit to the opera at the Edinburgh International Festival (1989) produced devastating results for Scottish artist John Bellany. Within hours of John the Baptist's head almost landing on his lap, he had rushed to the studio to produce a Salome which he considers among his best works for years. ''I had been at the Folkopera production and I found the whole thing so uplifting from the first to the very last, so moving and inspiring, that at the end I got into the car and straight to the studio,'' he said. Sitting in the front row for the production of the Strauss opera, based on the play by Oscar Wilde, Bellany was so inspired by the experience that he worked through the night and produced the work, which is 5ft by 4ft, by 11am the next day.' Note 2: In the Scottish Contemporary Art Auction of 29th May 2022 lot 65 "The Finnon Smoker" sold for £80,000 (hammer) an auction price for a work by Bellany only bettered by the £85,000 (hammer) achieved for "Fishermen in the Snow" (a much larger example) which formed part of The David Bowie Collection sold by Sotheby's 11th November 2016. The David Bowie provenance drew crowds of "over 51,000" visitors to the viewings (a new record for any London auction) and unsurprisingly numerous world record prices were achieved for the collection which raised £32.9 million.Condition is good overall, with no visible signs of restoration, damage, or known issues. Date is 1989, as listed in description.  

* ALFRED ALLAN (SCOTTISH b. 1944), ELIE BEACHoil on canvas, signedimage size 39cm x 55cm, overall size 55cm x 71cm Framed.Note: Alfred Allan also paints under the name Allan Nelson. He is a well-known artist living in Fife and he paints the surrounding areas. Recent sales of Alfred Allan's paintings in The Scottish Contemporary Art Auctions have included hammer prices of £1100, £850, £800, £750, £700 & £650.

* ALFRED ALLAN (SCOTTISH b. 1944), ELIE HARBOURoil on canvas, signedimage size 31cm x 41cm, overall size 41cm x 51cm Framed.Note: Alfred Allan also paints under the name Allan Nelson. He is a well-known artist living in Fife and he paints the surrounding areas. Recent sales of Alfred Allan's paintings in The Scottish Contemporary Art Auctions have included hammer prices of £1100, £850, £800, £750, £700 & £650.

* ALFRED ALLAN (SCOTTISH b. 1944), BASS ROCK oil on canvas, signedimage size 31cm x 41cm, overall size 41cm x 51cm Framed.Note: Alfred Allan also paints under the name Allan Nelson. He is a well-known artist living in Fife and he paints the surrounding areas. Recent sales of Alfred Allan's paintings in The Scottish Contemporary Art Auctions have included hammer prices of £1100, £850, £800, £750, £700 & £650.

* ALFRED ALLAN (SCOTTISH b. 1944), ISLE OF MAYoil on canvas, signedimage size 25.5cm x 30.5cm, overall size 32cm x 37cm Framed.Note: Alfred Allan also paints under the name Allan Nelson. He is a well-known artist living in Fife and he paints the surrounding areas. Recent sales of Alfred Allan's paintings in The Scottish Contemporary Art Auctions have included hammer prices of £1100, £850, £800, £750, £700 & £650.

* AVRIL PATON (SCOTTISH b. 1941),DONALDA'S JUGmixed media on paper, signed, titled and dated 1983 label versoimage size 25cm x 26cm, overall size 41cm x 43cm Framed and under glass.Note: personal inscription on framer's label verso.Note 2: a remarkably rare early work by Avril Paton, the artist who painted "Windows in the West", one of Scotland's best known and most popular contemporary paintings which was acquired for the nation by The Scottish National Gallery of Modern Art and is currently on display at Kelvingrove Gallery, Glasgow. There has been much written about Paton's work from the 1980/90s explaining the meticulous detail and the many months it took to complete a single picture. Paton eventually moved on to a more spontaneous abstract style of work and consequently her earlier paintings are a distinct isolated body of work and the examples from this time are few and rarely, if ever, appear at auction. However, in The Scottish Contemporary Art Auction on 16th August 2020 lot 591 Topping Out Day by Avril Paton was sold for a new auction record price of £8000 (hammer). Paton's early work from this period has been studied as part of the curriculum for many of the nation's youth and there are several talks and discussions on YouTube.

A Circa Mid XX Century Rosenthal Art Deco Flower Vase, 21cm high, plus a contemporary Art Deco style teapot. (2)

Spanish School. Zamora. Gil de Encimas Circle. First Third of the 16th century Óleo sobre tabla. 118 x 84 cm."The vocation of Saint Peter"Oil on panel. 118 x 84 cm.Como indica la Dra. Fiz, nuestra pintura, que considera de calidad, pertenecería a un autor de la zona de Zamora, cercana a Gil de Encinas (Antiguo maestro del Trascoro de la Catedral) y tiene influencia de Juan de Flandes.Como comparativa estilística nos indica la Dra. Fiz las siguientes obras:“La primera, del retablo de San Adrián del Valle en León, obra de talle, por tanto, de inferior calidad a nuestra pintura, pero aun así las coincidencias son notables. Dos tablas atribuidas a Juan Tejerina, no documentadas, porque no hay documentación que avale la relación de ninguna pintura con Juan de Tejerina, al contrario de lo que ocurre con Gil de Encinas, documentado en el retablo de Horcajo de la Torre y que sirve de base a las posteriores atribuciones como esta".This interesting renaissance panel depicts an episode from the vocation of Saint Paul and Saint Andrew, which Saint Matthew narrates in the following words: “As Jesus was walking beside the Sea of Galilee, he saw two brothers, Simon called Peter and his brother Andrew. They were casting a net into the lake, for they were fishermen. “Come, follow me,” Jesus said, “and I will send you out to fish for people.” At once they left their nets and followed him.” (Matthew 4, 18-20). The panel is clearly divided into two large spaces: the first with the monumental effigies of the characters, and the background which has a spectacular landscape which is deliciously conceived through bluish tones. In the foreground, the monumental figures of Christ and Saint Peter can be seen. Christ is on the edge of the earth, making a gesture with his right hand to attract the attention of Saint Peter, who solicitously reciprocates by placing his hands in a prayerful attitude. The Christ figure has an extremely elongated canon, wearing a purple tunic and a reddish cloak that he gathers with his other hand at the height of his abdomen, creating a knot with numerous folds. Already in the water, on a curious wooden boat with oars which is surrounded by fish and ducks, since the painter stands out for his wealth of anecdotal details, are the brothers Saint Andrew and Saint Paul who are fishing in the Sea of Galilee, clearly identifiable by their beards and attitudes. Saint Andrew has been characterised with a pointed beard, a concentrated face and continuing with his task of catching fish with the net, fish that the painter has managed to individualize to break the monotony. Saint Andrew has a rounded beard and his baldness is only broken by a small circular lock on his forehead. Seeing Christ, he has left his task and has turned towards him, joining his hands in a devout attitude, receiving the call that Christ makes very subtly with his right hand. The three characters are drawn with accurate and tight brushstrokes that capture the greatest number of details on the characters’ heads, but not so much in the clothes that are somewhat more sketched and crossed by folds of broad curvilinear lines. The features are small, the countenances pensive, and the hands are large. The background of the painting, to which the painter has given great importance, is made up of a splendid misty, bluish mountainous landscape, flanked by large clumps of trees painted with meticulous care. Above the hills is a clear blue sky with threads of cloud at the upper end. The colour is vivid and full of nuances, although the opposite can be observed in Christ and his disciples. There is a striking detail in the grove located on the left side where the anonymous painter has introduced an anecdotal scene which is not at all contemporary to the main event that is narrated on the panel. It seems to be Judas Iscariot hanging from a tree after having betrayed Jesus Christ for thirty pieces of silver. The fact that the panel presents us with such unusual iconography leads us to think that it could have formed part of an altarpiece dedicated to the first Pope in which the set would have illustrated the most relevant episodes of his hagiography. We thank Dr. Irune Fiz Fuertes for the identification and help in cataloguing our panel and Javier Baladrón, PhD in Art History, for the description of this work.

DIONYSIUS LARDNER (ED): THE MUSEUM OF SCIENCE AND ART, London, Walton & Mabberly, 1854-56, 1st edition, 12 vols in 6, contemporary half calf, spine gilt in compartments, morocco gilt spine labels (6)

Higgins, Bryan. Experiments and Observations Made with the View of Improving the Art of Composing and Applying Calcareous Cements, and of Preparing Quick-Lime, first edition, London: T. Cadell, 1780. Octavo, contemporary paper covered boards, untrimmed edges, gift inscription on pastedown dated 1807, owner inscription on upper board dated 1807. 232pp. plus title & contents (6pp.). Contents good, clean, bright, slight cockling, some wear & marks to paper covers

Cutting from a Homilary, with fine line-drawn Christ and St. Peter in an initial, in Latin, manuscript on parchment [southern Germany, early twelfth century] Cutting from the bottom half of a large Romanesque manuscript, with a finely drawn initial 'U' (opening "Venit Ihesus in partes ...", the reading from Matthew 16:13) in split bands of red penwork held together at their mid sections by bolted bands and containing acanthus leaf ornament at their terminals turned inwards on their bodies, the figures standing and half-facing each other with one foot in the initial and the other reaching out towards the viewer, as Christ (with a halo tinted with yellow-green, this also filling the outermost panel of the initial and perhaps once meant to suggest gold) the keys of heaven, Christ's robes touched with pale green, and Peter's in red penwork, all before a pale blue wash ground, simple red initials, red rubrics, double column of 16 lines (of original 32) of a handsome Germanic Romanesque hand, recovered from reuse in a binding and hence with folds, small stains and discoloured sections, overall in presentable condition, 240 by 312mm. Provenance:1. From a remarkably large Homilary, with grand and imposing script and presumably many historiated initials. The original dimensions of the leaf would have been approximately 450 by 310mm. Reused at the close of the Middle Ages as binding material, and most probably released into private hands at the time of the Secularisation in the opening years of the nineteenth century.2. From the collection of Roger Martin (1939-2020) of Grimsby. Decoration:While the imposing script could date to anywhere in the first half of the twelfth century, the fine drawing of the saints points to the very opening of that century. The simple facial modelling with features picked out by a few precise penstrokes and eyes formed from dots hung from their lids mirrors that of figures in a Moralia in Iob made at Echternach in the second half of the eleventh century (now BnF. Latin 9558: see F. Avril and C. Rabel, Manuscrits enluminés d'origine germanique, 1995, no. 22) and an Augustine, Tractatus in Evangelium Johannis, made at the same site between 1051 and 1081 (BnF. Latin 8912: ibid, no. 25), but the drapery and coloured shading of the figures here, in red and green for visual effect, is more developed and finer than those. The use of split panels bound together by riveted bands is a feature that appears around the very beginning of the twelfth century, while the inverted acanthus leaves, internally decorated by lines and dots, that point into the second ascender of the initial here from its head and foot, can also be found in part of a Legendarium made at Echternach in the second to third quarter of the twelfth century (now BnF. Latin 9740: ibid., no. 39).The grace of the figures here and their delicately proportioned bodies wrapped within tightly folded drapery reveals the hand of a master Romanesque artist here. Few examples of art involving the human form of this great age exist in private hands (see Blicke in Verborgene Schatzkammern, 1998, nos. 3-5, 8-9, for a representative survey of contemporary drawings), and even fewer still appear on the open market.

John Russell (Guildford 1745-1806 Hull)Portrait of Colonel Thornton with a hawk pastel59.5 x 44.1cm (23 7/16 x 17 3/8in).Footnotes:ProvenancePrivate Collection, UKLiteratureN. Jeffares, Dictionary of pastellists before 1800, online version, J.64.2805-2809 (for the other versions)Russell exhibited a pastel portrait of Thornton with his hawk at the Royal Academy in 1786, no. 155, and it was subsequently engraved for the frontispiece of Thornton's book of 1806, A sporting tour through various parts of France. Russell clearly had some success with it since an oval version was recorded in the collection of Lord Rosebery and a painted oval at Castle Howard; two further versions in miniature on ivory are also recorded. The present hitherto-unknown pastel is arguably the strongest of them all. Thomas Thornton (1750?-1823) is thought to have been born in 1750 which would have made him 36 at the time of this portrait. He was famous for being one of the most enthusiastic and flamboyant sportsmen of the 18th and 19th centuries, dividing his time between hunting, racing, shooting, angling and hawking. In the shooting field he was certainly the best equipped - in his words he had 'a greater quantity of sporting apparatus of the most valuable and curious manufacture than any other sporting gentleman in England.' He was something of a legend in his own time, as well known as a bon viveur with a legion of mistresses as he was as a sportsman and collector. Thornton inherited Thornville Royal estate in Yorkshire, but his exuberant lifestyle, which involved keeping two London houses as well as his country seat, taxed his finances and he was eventually forced to sell his estates. Contemporary records chart the progress south of his considerable belongings and retinue after the sale of the Yorkshire property: this included grooms, huntsmen, falconers, kennel-hands and servants, travelling by horse and attended by hounds, following a chain of wagons containing his prize animals. In addition to the live cargo was 'a fantastic arsenal of sporting weapons drawn by Arab mares of the King's stud. The procession was completed by several wagon-loads of wine.'A francophile, Thornton visited France with his mistress before the Revolution and again in 1802 on a sporting trip. It seems probable that while in France, Thornton sought the support of the First Consul, Napoleon Bonaparte, over the circumstances of his court-martial in a bid to regain his reputation. He used the gift of a fine pair of pistols as his introduction. In his Sporting Tour Through France Thornton records 'I was favoured with a letter from General Duroc, containing the thanks of the First Consul for the pistols, which had been very graciously accepted.' One of the pair of gold-inlaid pistols presented by Thornton to Napoleon Bonaparte was sold by Bonhams London, 6 April 2006, lot 396.Following the sale of his estates Thornton leased Spye Park in Wiltshire in 1805 from the Bayntun family. He wanted to replace the Bayntun family portraits with sporting paintings of his own, and commissioned a number of large-scale works from the best sporting artists of the day such as Reinagle, Gilpin and Henry Bernard Chalon. Thornton moved to France during the second decade of the 19th century and in 1819-20 his very substantial art collection – which included works by significant Old Masters – was auctioned off to settle his debts.We are grateful to Neil Jeffares for confirming the attribution to John Russell, upon inspection of colour photographs.For further information on this lot please visit Bonhams.com

Louis-François Cassas (Azay-le-Ferron 1756-1827 Versailles)The remains of the Temple of Jupiter and the Great Court at Baalbek, Lebanon pen, ink and watercolour on laid paper61.6 x 93.3cm (24 1/4 x 36 3/4in).Footnotes:ProvenanceIn the collection of the present owners since the 1980sIn 1784 Louis-François Cassas accompanied the Comte de Choiseul-Gauffier, French Ambassador to the Ottoman Empire, on his travels to Constantinople. He travelled through the Middle East to Aleppo, Antioch, Syria, Lebanon, Palestine, Cyprus and Egypt and a pictorial account of his journey, Voyage pittoresque de la Syrie, de la Phoenicie, de la Palestine, et de la Basse Egypte, was published in Paris in 1799. Cassas reached Lebanon, and specifically the Baalbek complex of Roman temples and ruins, in June or July 1785, a site most likely known to Western travellers though the drawings and engravings of Robert Wood from his trip to Syria and Greece in the 1750s (see R. Wood, The ruins of Balbec, otherwise Heliopolis in Coelosyria, London, 1757). Cassas wrote to the ambassador 'I have drawn and measured the main monuments which yield in no way to the beautiful antiquities of Rome by the grandeur, nobility and purity of architecture (see: 'Letter to Ambassador' in A. Gilet, Im Banne der Sphinx, exh. cat., 1994-5, p.159) and his painstaking attention to detail provides a remarkably accurate archaeological survey of the area.Like many 18th century view painters, Cassas used sketches he had made during his travels to work up into finished pictures once he had returned home. Itinerant Grand Tourists were his main clientele, and they would order from him the views that for them best represented the exotic - and in those days inaccessible - locations to which he had travelled. Consequently a number of his most successful subjects were repeated several times, a certain indicator of their contemporary popularity; a similar version of the present watercolour was sold at Christie's, Paris, 26 March 2014, lot 120.On 15 September 1787, the German poet Goethe wrote in a letter: 'Cassas' work is extremely beautiful. It made me think of a lot of things I'd like to tell you.' Two days later, writing in his journal, he described the drawings he had seen in great detail. Gérard-Georges Lemaire, who devotes a whole chapter on Cassas and Goethe in his treatise The Orient in Western Art, notes that 'Cassas' drawings are remarkable for their freshness and their lightness of touch; they have the spontaneity of his original sketches. His paintings are also very distinctive. He handles the picturesque deftly. His skill lay in his ability to render the architecture and costumes with a meticulous attention to detail that vividly evokes, for western eyes, the exotic character of the people and events depicted' (see: G.G. Lemaire, The Orient in Western Art, Könemann, 2005, p. 82).In the two large scale watercolours by Cassas offered in this sale (lots 73 and 74), the artist conveys, through realistic detail and a highly finished quality, a visual sense of history, people and places, helping the viewer to fathom these far off lands.For further information on this lot please visit Bonhams.com

Mike Bernard RI (b.1957) British'Low Tide Staithes', signed lower right 'M. Bernard', mixed media, inscribed verso with title, 55 cm x 75 cm, within a painted wooden frameProvenance: purchased at the Rowley Contemporary Art Gallery, Mike Bernard exhibition of 2007

Contemporary Art Pottery green and blue abstract bowl handmade by Sheila Jones (B.P. 21% + VAT)

Ceren Oykut The Raid, 2022 Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Ceren Oykut was born in 1978, Istanbul. Her drawings, which are often created on small size of papers spread over paper rolls and onto the walls, extend the classic techniques in terms of size and space. Focusing on small details, Oykut conveys a condensed image of an ungraspable panorama that explores the absurdity of daily life's circumstances. Oykut uses the images she produces as a field of study. She creates new stories by cutting and tearing her drawings. Her artistic range expands to drawing performances on stage and regularly implies collaborations with artists from different disciplines.   Education   Mimar Sinan Fine Arts University Painting department, Istanbul   Select Exhibitions/Awards   Her works were presented in various international publications such as Vitamin D3/Today's Best In Contemporary Drawing (Phaidon, 2021), Unleashed: Contemporary Art from Turkey (Thames and Hudson, 2011) She participated in international exhibitions such as 1st Architectural Biennale of Tbilisi (2018), Istanbul/Passion/Joy/Fury (MAXXI, 2015), Jerusalem Show (2014), 10th International Lyon Biennial (2009),10th International Istanbul Biennial (2007). Her latest solo exhibition titled "Still Here" took place in the Apartment Project Berlin in 2018. In 2021 she received the Research grant from The Senate Department for Culture and Europe, DE   Statement about AOAP Submitted Artwork   The two drawings titled "The Raid" and "The Jury" actually follow each other. They are quickly depicting two short moments from daily life on paper. Influenced by Turkish poet Edip Cansever's poem "Table", the drawing fantasizes about what a desk can carry. The drawings include two compositions of the story, which begins with raindrops dripping from an open window falling on an old miniature drawing depicting a dervish lodge in Istanbul, on an old book lying open on the table. Despite the chaotic appearance, a calm existence in a constant movement prevail in both compositions.     You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Adlane Samet Zor 2.0, 2022 Acrylic on Paper Signed on Front and Verso 15 x 10cm (5¾ x 3¾ in.) About   Adlane SAMET, was born in 1989 in El Harrach, Algeria, after completing his school curriculum in El Mohamadia, he studied fine art at the Ecole Superieure des Beaux-Arts in Algiers, where he obtains his diploma of high artistic studies (DESA) in painting in 2014. In 2012, while a student he took part in a contemporary art exhibition in Algeria, "TNA Galery" he realized his first solo exhibition in 2013 at the French Institute of Oran, from then he participated in many major art events dedicated to contemporary art in Paris, Amsterdam, Brussels, Maastricht (Holland), Stockholm.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Jochen Mühlenbrink White Tape (1), 2022 Acrylic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Jochen Mühlenbrink lives and works in Germany and the Netherlands. He studied at the Kunstakademie Düsseldorf from 2001 to 2007 and graduated as a master student of Markus Lüpertz. Since then, his work has been shown in numerous international exhibitions, including Kunstmuseum Solingen, Bundeskunsthalle Bonn, Kunsthalle Osnabrück, Morat-Institut Freiburg, Osthaus Museum Hagen, Kunsthalle Wilhelmshaven, Kunsthal Rotterdam, Museum Het Valkhof, Nijmegen and Arti et Amicitiae, Amsterdam. His works may be found in various private and public collections in Europe and abroad, among others in Museum X, Beijing, G2 Kunsthalle, Leipzig, Stadtmuseum Oldenburg, Deutsche Bundesbank, NATIONAL-BANK and Collectie DE.GROEN, Arnhem. His first solo shows in Asia and America are scheduled for 2022.   www.jochen-muehlenbrink.com @jochenmuehlenbrink   Education   2001-2007 Kunstakademie Düsseldorf, master student of Markus Lüpertz   Select Exhibitions/Awards   2022 Artist-in-Residence, Cuturi Gallery, Singapore, Singapore 2021 2gether. With Gioele Amaro at Gether Contemporary, Copenhagen, Denmark Pola V. Gerhard Hofland, Amsterdam, Netherlands 2020 Jochen Mühlenbrink. Kunstmuseum Solingen, Germany Dawn. ASPN, Leipzig, Germany 2019 FOG. Gerhard Hofland, Amsterdam, Netherlands 2018 Falz. Malerei. Stadtmuseum Oldenburg, Germany Falz. Painting. De Groen Fine Art Collection, Arnhem, Netherlands 2017 Afterimage. ASPN, Leipzig, Germany 2016 Vertuschen. Gmünder Kunstverein, Swabian Gmuend, Germany 2015 CLP Rapid. KunstHalle Cloppenburg, Germany 2014 Stroke Hold. ASPN, Leipzig, Germany Asche. Gerhard Hofland Gallery, Amsterdam, Netherlands 2013 FRAGIL. Morat-Institut, Freiburg, Germany FRAGIL. Kunsthalle Wilhelmshaven, Germany 2012 66. Internationaler Bergischer Kunstpreis. With Leunora Salihu, NATIONAL-Bank, Wuppertal, Germany   Gallery Representation   ASPN, Leipzig and Gerhard Hofland, Amsterdam.   Statement about AOAP Submitted Artwork   This oil painted postcard exemplifies Jochen Mühlenbrink's approach to contemporary painting in a small format. It challenges our perception of reality and questions the way we experience the world: What is the truth and what is an illusion? What is genuine and what is fake? With all the symbolism of the adhesive strip: of the healing power of the plaster and the strength to hold and protect broken pieces or even to bind them together again, the artist is referring to present-day political events. "Paint the Tape-Tape the Pain" TP, 2022 was made especially for the "Art on A Postcard" project.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Jochen Mühlenbrink White Tape (2), 2022 Acrylic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Jochen Mühlenbrink lives and works in Germany and the Netherlands. He studied at the Kunstakademie Düsseldorf from 2001 to 2007 and graduated as a master student of Markus Lüpertz. Since then, his work has been shown in numerous international exhibitions, including Kunstmuseum Solingen, Bundeskunsthalle Bonn, Kunsthalle Osnabrück, Morat-Institut Freiburg, Osthaus Museum Hagen, Kunsthalle Wilhelmshaven, Kunsthal Rotterdam, Museum Het Valkhof, Nijmegen and Arti et Amicitiae, Amsterdam. His works may be found in various private and public collections in Europe and abroad, among others in Museum X, Beijing, G2 Kunsthalle, Leipzig, Stadtmuseum Oldenburg, Deutsche Bundesbank, NATIONAL-BANK and Collectie DE.GROEN, Arnhem. His first solo shows in Asia and America are scheduled for 2022.   www.jochen-muehlenbrink.com @jochenmuehlenbrink   Education   2001-2007 Kunstakademie Düsseldorf, master student of Markus Lüpertz   Select Exhibitions/Awards   2022 Artist-in-Residence, Cuturi Gallery, Singapore, Singapore 2021 2gether. With Gioele Amaro at Gether Contemporary, Copenhagen, Denmark Pola V. Gerhard Hofland, Amsterdam, Netherlands 2020 Jochen Mühlenbrink. Kunstmuseum Solingen, Germany Dawn. ASPN, Leipzig, Germany 2019 FOG. Gerhard Hofland, Amsterdam, Netherlands 2018 Falz. Malerei. Stadtmuseum Oldenburg, Germany Falz. Painting. De Groen Fine Art Collection, Arnhem, Netherlands 2017 Afterimage. ASPN, Leipzig, Germany 2016 Vertuschen. Gmünder Kunstverein, Swabian Gmuend, Germany 2015 CLP Rapid. KunstHalle Cloppenburg, Germany 2014 Stroke Hold. ASPN, Leipzig, Germany Asche. Gerhard Hofland Gallery, Amsterdam, Netherlands 2013 FRAGIL. Morat-Institut, Freiburg, Germany FRAGIL. Kunsthalle Wilhelmshaven, Germany 2012 66. Internationaler Bergischer Kunstpreis. With Leunora Salihu, NATIONAL-Bank, Wuppertal, Germany   Gallery Representation   ASPN, Leipzig and Gerhard Hofland, Amsterdam.   Statement about AOAP Submitted Artwork   This oil painted postcard exemplifies Jochen Mühlenbrink's approach to contemporary painting in a small format. It challenges our perception of reality and questions the way we experience the world: What is the truth and what is an illusion? What is genuine and what is fake? With all the symbolism of the adhesive strip: of the healing power of the plaster and the strength to hold and protect broken pieces or even to bind them together again, the artist is referring to present-day political events. "Paint the Tape-Tape the Pain" TP, 2022 was made especially for the "Art on A Postcard" project.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Jochen Mühlenbrink White Tape (3), 2022 Acrylic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Jochen Mühlenbrink lives and works in Germany and the Netherlands. He studied at the Kunstakademie Düsseldorf from 2001 to 2007 and graduated as a master student of Markus Lüpertz. Since then, his work has been shown in numerous international exhibitions, including Kunstmuseum Solingen, Bundeskunsthalle Bonn, Kunsthalle Osnabrück, Morat-Institut Freiburg, Osthaus Museum Hagen, Kunsthalle Wilhelmshaven, Kunsthal Rotterdam, Museum Het Valkhof, Nijmegen and Arti et Amicitiae, Amsterdam. His works may be found in various private and public collections in Europe and abroad, among others in Museum X, Beijing, G2 Kunsthalle, Leipzig, Stadtmuseum Oldenburg, Deutsche Bundesbank, NATIONAL-BANK and Collectie DE.GROEN, Arnhem. His first solo shows in Asia and America are scheduled for 2022.   www.jochen-muehlenbrink.com @jochenmuehlenbrink   Education   2001-2007 Kunstakademie Düsseldorf, master student of Markus Lüpertz   Select Exhibitions/Awards   2022 Artist-in-Residence, Cuturi Gallery, Singapore, Singapore 2021 2gether. With Gioele Amaro at Gether Contemporary, Copenhagen, Denmark Pola V. Gerhard Hofland, Amsterdam, Netherlands 2020 Jochen Mühlenbrink. Kunstmuseum Solingen, Germany Dawn. ASPN, Leipzig, Germany 2019 FOG. Gerhard Hofland, Amsterdam, Netherlands 2018 Falz. Malerei. Stadtmuseum Oldenburg, Germany Falz. Painting. De Groen Fine Art Collection, Arnhem, Netherlands 2017 Afterimage. ASPN, Leipzig, Germany 2016 Vertuschen. Gmünder Kunstverein, Swabian Gmuend, Germany 2015 CLP Rapid. KunstHalle Cloppenburg, Germany 2014 Stroke Hold. ASPN, Leipzig, Germany Asche. Gerhard Hofland Gallery, Amsterdam, Netherlands 2013 FRAGIL. Morat-Institut, Freiburg, Germany FRAGIL. Kunsthalle Wilhelmshaven, Germany 2012 66. Internationaler Bergischer Kunstpreis. With Leunora Salihu, NATIONAL-Bank, Wuppertal, Germany   Gallery Representation   ASPN, Leipzig and Gerhard Hofland, Amsterdam.   Statement about AOAP Submitted Artwork   This oil painted postcard exemplifies Jochen Mühlenbrink's approach to contemporary painting in a small format. It challenges our perception of reality and questions the way we experience the world: What is the truth and what is an illusion? What is genuine and what is fake? With all the symbolism of the adhesive strip: of the healing power of the plaster and the strength to hold and protect broken pieces or even to bind them together again, the artist is referring to present-day political events. "Paint the Tape-Tape the Pain" TP, 2022 was made especially for the "Art on A Postcard" project.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Jochen Mühlenbrink White Tape (4), 2022 Acrylic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Jochen Mühlenbrink lives and works in Germany and the Netherlands. He studied at the Kunstakademie Düsseldorf from 2001 to 2007 and graduated as a master student of Markus Lüpertz. Since then, his work has been shown in numerous international exhibitions, including Kunstmuseum Solingen, Bundeskunsthalle Bonn, Kunsthalle Osnabrück, Morat-Institut Freiburg, Osthaus Museum Hagen, Kunsthalle Wilhelmshaven, Kunsthal Rotterdam, Museum Het Valkhof, Nijmegen and Arti et Amicitiae, Amsterdam. His works may be found in various private and public collections in Europe and abroad, among others in Museum X, Beijing, G2 Kunsthalle, Leipzig, Stadtmuseum Oldenburg, Deutsche Bundesbank, NATIONAL-BANK and Collectie DE.GROEN, Arnhem. His first solo shows in Asia and America are scheduled for 2022.   www.jochen-muehlenbrink.com @jochenmuehlenbrink   Education   2001-2007 Kunstakademie Düsseldorf, master student of Markus Lüpertz   Select Exhibitions/Awards   2022 Artist-in-Residence, Cuturi Gallery, Singapore, Singapore 2021 2gether. With Gioele Amaro at Gether Contemporary, Copenhagen, Denmark Pola V. Gerhard Hofland, Amsterdam, Netherlands 2020 Jochen Mühlenbrink. Kunstmuseum Solingen, Germany Dawn. ASPN, Leipzig, Germany 2019 FOG. Gerhard Hofland, Amsterdam, Netherlands 2018 Falz. Malerei. Stadtmuseum Oldenburg, Germany Falz. Painting. De Groen Fine Art Collection, Arnhem, Netherlands 2017 Afterimage. ASPN, Leipzig, Germany 2016 Vertuschen. Gmünder Kunstverein, Swabian Gmuend, Germany 2015 CLP Rapid. KunstHalle Cloppenburg, Germany 2014 Stroke Hold. ASPN, Leipzig, Germany Asche. Gerhard Hofland Gallery, Amsterdam, Netherlands 2013 FRAGIL. Morat-Institut, Freiburg, Germany FRAGIL. Kunsthalle Wilhelmshaven, Germany 2012 66. Internationaler Bergischer Kunstpreis. With Leunora Salihu, NATIONAL-Bank, Wuppertal, Germany   Gallery Representation   ASPN, Leipzig and Gerhard Hofland, Amsterdam.   Statement about AOAP Submitted Artwork   This oil painted postcard exemplifies Jochen Mühlenbrink's approach to contemporary painting in a small format. It challenges our perception of reality and questions the way we experience the world: What is the truth and what is an illusion? What is genuine and what is fake? With all the symbolism of the adhesive strip: of the healing power of the plaster and the strength to hold and protect broken pieces or even to bind them together again, the artist is referring to present-day political events. "Paint the Tape-Tape the Pain" TP, 2022 was made especially for the "Art on A Postcard" project.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

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

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

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

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

Viktoria Savenkova Autumn, 2022 Watercolour on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Her artistic journey began in the childhood in an art studio, continued at an art school, then the art college and the Academy of Art (Minsk, Belarus). After a period as an art director at the national film studio "Belarusfilm", she worked as a tattoo artist. In 2014 Viktoria realized that she was meant to express her creativity differently. In her paintings and drawings, Viktoria builds an emotional dialogue with a spectator. The artist creates psychological portraits, sensuous landscapes, figure studies in realistic style. She works with large formats. Is currently based in Minsk, Belarus.   Select Exhibitions/Awards   'Portrait of time. Portrait in the Fine Arts of Belarus in the 19th - 21st Centuries'. Exhibition project at the Art-Belarus Gallery. 21.04 - 22.08.2022, Art-Belarus Gallery, Palace of Art. MEAM exhibits its collection in the Vimcorsa Exhibition Hall in beautiful Córdoba (Spain) from 19.11.2021 until 28.02.2022 National Centre of Contemporary Arts - Minsk, Belarus from 27.11.2021 - 23.01.2022 MEAM - Museu Europeu d'Art Modern in Barcelona. Figurativas 2021, from 8.10.2021 to 08.01.2022 ModPortrait from 18th of June 2021 - 3th of October at the MEAM - Museum European d'Art Modern in Barcelona. MEAM - Museu Europeu d'Art Modern in Barcelona. Women Painting All over the World 08.03.21 MEAM - Museu Europeu d'Art Modern in Barcelona. 15.10.2020 - 17.01.2021. 'Eros, your body as an excuse' curated by amazing artist Golucho. Palace of Art - Minsk, Belarus from 19.11.2020. 'Art Minsk 2020' Exhibition Hall of the Aragonese Artistic Group of Zaragoza, Spain, 05.11.2020 - 05.12.2020. 'Something more than realism ... XIV' The exhibition of the Lohengrin painting competition. From 11.03 to May. Organized by the Wagner Club and the MEAM museum in the Liceu Opera Barcelona Zhou B Art Center, Chicago, USA, 18.10 to 20.11.2019. PAINTING THE FIGURE NOW Palace of Art - Minsk, Belarus from 18.10 to 3.11.2019. 'Osenniy salon' with Belgazprombank Ille Arts Gallery in Amagansett, NY, 5.10 - 4.11.2019. MOVIE NIGHT 'Zhou B' Art Center - Chicago, USA, from 31.05 to 12.07.2019. 'Secondary Meanings - Figural Diptych' MEAM Museum - Barcelona, Spain from 31.05 to 21.07. 2019. Modportrait 2018, Galeria Artelibre at the MEAM of Barcelona Palace of Art - Minsk, Belarus from 29 May - 30 June 2019. 'Art Minsk 2019' Edificio Bantierra - Zaragoza from 12.04 to 17.05.2019. Modportrait 2018 MEAM Museum - Barcelona, Spain from 8th March to 9th May 2109. 'Painting Today' International Women's Day Abend Gallery, Denver, USA, 28TH ANNUAL HOLIDAY MINIATURES SHOW, 03.11-24.11.2018 RJD GALLERY, Bridgehampton, NY. 'Women Painting Women | Men Painting Men: Voices with Vision'. Oct 6th - 30t 2018 Gallery 'Kaliarovy šliach' - Orsha, Belarus. 12.10-29.11.2018 (Solo Exhibition) Palace of Art - Minsk, Belarus from 5.10 to 4.11.2018. 'Osenniy salon' with Belgazprombank 'Zhou B' Art Center - Chicago, USA, from 17.08.2018 Gallery 'U Maistra' - Grodno, Belarus. July 2018. 'Refraction'. (Solo Exhibition) Palace of Art - Minsk, Belarus from 27th April to 20th May 2018. 'Art Minsk 2018' National Centre of Contemporary Arts - Minsk, Belarus from 7th March to 22th April 2018. The collective exhibition of contemporary art New Castle - Grodno, Belarus from 1th March to 29th April 2018. 'Artpanorama 2018' The exhibition of contemporary art 'Single Fare 4', a big show of small works, New York, USA, from 16.09.2017 Palace of Art - Minsk, Belarus from 6th October to 5th November 2017. 'Osenniy salon' with Belgazprombank MEAM Museum - Barcelona, Spain from 12th to 28th May 2017. The Final Exhibition of the 4th Concurso ModPortrait Pablo Serrano Museum - Zaragoza from 7th to 30th April 2017. The Final Exhibition of the 4th Concurso ModPortrait The Arsenale of Venice - Venice, Italy from 25th March to 9th April 2017. The Final Exhibition the 11th International Arte Laguna Prize You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Mick Peter Study of a Camera Person For The Show 'Old Ghosts', 2022 Ink on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About   Born in Berlin. Lives and works in Glasgow (Scotland).   Education   PhD - Glasgow School of Art MFA - Glasgow School of Art BA - Ruskin School of Fine Art, Oxford   Solo Exhibitions   2022 Holburne Museum, Bath, Old Ghosts   2021 Hospitalfield, Arbroath, Gerroff!! (or User Feedback)   2020 Bonington Gallery, Nottingham, Bonington Vitrines #15: Nomadic Vitrine with Mick Peter   2019 Baltic Centre for Contemporary Art, Gateshead, To Me, To You   2018 Deborah Bowmann, Brussels, Breaking News Glasgow International Director's Programme, The Regenerators   2017 Galerie Crèvecoeur, Paris, Cuts & Tears Workplace, Gateshead, 110%   2016 Celine, Glasgow, Those Pesky Kids Drawing Room, London, Pyramid Selling   2015 Tramway, Glasgow, Pyramid Selling   2014 Galerie Crèvecoeur, Paris, Porcine Lout in the Mirror Lounge Jupiter Artland, Popcorn Plaza, (part of Generation: 25 Years of Contemporary Art in Scotland) Tramway Hidden Gardens, Almost Cut My Hair, (part of Generation: 25 Years of Contemporary Art in Scotland)   2013 SWG, Glasgow, Trademark Horizon   2012 Collective, Edinburgh, Lying and Liars   2011 Grimm, Amsterdam, Tao Foam Galerie Crèvecoeur, Paris, Two Nots   2010 Cell Projects, London, The Nose: Epilogue The Changing Room, Stirling, Dr Syntax versus the Paperweights La Salle de bains, Lyon, The Nose   2009 Galerie Crèvecoeur, Paris, The Lumber Room Zoo Galerie, Nantes, Harmonielehre   2008 Generator Projects, Dundee, Harmonielehre Galerie de Multiples, Paris Glasgow Project Room, Glasgow, Moldenke Fiddles On   2007 Fortescue Avenue/Jonathan Viner, London, Yussopov Park   2006 Transmission Gallery, Glasgow.   2005 Galerie Nomadenoase at Fortescue Avenue/Jonathan Viner, London.   2004 GSS Gallery, Glasgow. They Made Nests Inside Men's Sunday Hats.   2003 Transmission Gallery, Glasgow. Vathek Print Works.   2002 Collective Gallery, Edinburgh. Decerebrator   Gallery Representation   Galerie Crèvecoeur, Paris You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Mick Peter Studies For The Exhibition Old Ghosts, 2022 Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Born in Berlin. Lives and works in Glasgow (Scotland).   Education   PhD - Glasgow School of Art MFA - Glasgow School of Art BA - Ruskin School of Fine Art, Oxford   Solo Exhibitions   2022 Holburne Museum, Bath, Old Ghosts   2021 Hospitalfield, Arbroath, Gerroff!! (or User Feedback)   2020 Bonington Gallery, Nottingham, Bonington Vitrines #15: Nomadic Vitrine with Mick Peter   2019 Baltic Centre for Contemporary Art, Gateshead, To Me, To You   2018 Deborah Bowmann, Brussels, Breaking News Glasgow International Director's Programme, The Regenerators   2017 Galerie Crèvecoeur, Paris, Cuts & Tears Workplace, Gateshead, 110%   2016 Celine, Glasgow, Those Pesky Kids Drawing Room, London, Pyramid Selling   2015 Tramway, Glasgow, Pyramid Selling   2014 Galerie Crèvecoeur, Paris, Porcine Lout in the Mirror Lounge Jupiter Artland, Popcorn Plaza, (part of Generation: 25 Years of Contemporary Art in Scotland) Tramway Hidden Gardens, Almost Cut My Hair, (part of Generation: 25 Years of Contemporary Art in Scotland)   2013 SWG, Glasgow, Trademark Horizon   2012 Collective, Edinburgh, Lying and Liars   2011 Grimm, Amsterdam, Tao Foam Galerie Crèvecoeur, Paris, Two Nots   2010 Cell Projects, London, The Nose: Epilogue The Changing Room, Stirling, Dr Syntax versus the Paperweights La Salle de bains, Lyon, The Nose   2009 Galerie Crèvecoeur, Paris, The Lumber Room Zoo Galerie, Nantes, Harmonielehre   2008 Generator Projects, Dundee, Harmonielehre Galerie de Multiples, Paris Glasgow Project Room, Glasgow, Moldenke Fiddles On   2007 Fortescue Avenue/Jonathan Viner, London, Yussopov Park   2006 Transmission Gallery, Glasgow.   2005 Galerie Nomadenoase at Fortescue Avenue/Jonathan Viner, London.   2004 GSS Gallery, Glasgow. They Made Nests Inside Men's Sunday Hats.   2003 Transmission Gallery, Glasgow. Vathek Print Works.   2002 Collective Gallery, Edinburgh. Decerebrator   Gallery Representation   Galerie Crèvecoeur, Paris You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

CB Hoyo Study For I Like It, 2021 Acrylic, Water, Colour Pencils, Watersoluble Oil Sticks, Wax Crayons on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) CB Hoyo (Havana, 1995) addresses topics that are usually thought of by many but spoken by a few: social media impact, consumerism, moral values, the human condition, ... The Cuban self-taught artist finds in text art the path to developing his own artistic voice and understanding of life. He works between Instagram, the virtual realm, and his studio in Europe towards creating new dimensions where consciousness and art become a universal language. CB Hoyo is a multidisciplinary artist whose practice consists of paintings, sculptures, and installations. Defying art classical canons with a playful aesthetic, he challenges our painting expectations and thoroughly reinterprets his medium in a modern context. His work is an extension of life that transforms language into a provocative visual spectacle. Vibrant in color and surprising in personality, CB Hoyo's artwork humorously explores humanity's thoughts and behaviors. He captures and satirizes contemporary society's essence. His artworks constitute the artist's prolific and reflexive network of allegories to the new bizarre normality we live in. All of them are proposed from a very personal perspective, marked by his own experiences and observation of human concerns.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Cecilia Fiona Sleeping and Sprouting, 2022 Watercolour on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Cecilia Fiona (b. 1997, Copenhagen, DK) lives and works in Copenhagen, DK. She holds a BA in Art History from the University of Copenhagen, DK (2021).   Education   BA Art history, University of Copenhagen 2021   Select Exhibitions/Awards   She has exhibited internationally in galleries including: Galleri Kant, Copenhagen, DK; Annka Kultys, London, UK; Bricks Gallery, Copenhagen, DK; OTP Copenhagen, DK; The Reventlow-Museum, Lolland, DK; FORMATION Gallery, Copenhagen, DK. Fiona is currently exhibiting in the group show 'The Grass at our Feet' at VITRINE, Basel (until June 2022). Upcoming exhibitions include a solo show at Andersen's Contemporary, august 2022, Copenhagen, DK; and a group show at Marinaro Gallery, September 2022, New York City, US. Gallery Representation   Fiona is represented by Andersen's Contemporary, Copenhagen, DK; and VITRINE, Basel, CH and London, UK.   Statement about AOAP Submitted Artwork   Cecilia Fiona's mythical worlds, all painted with rabbit-skin glue and pigments, are populated by creatures halfway between humans, animals and nature, born, living and dying simultaneously. By blending existing myths and folklore from different regions and times she builds her own mythological worlds where the boundaries between man and earth, dream and reality, life and death are fluid and in constant transformation.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action  

Cecilia Fiona Flowerhair, 2022 Watercolour on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Cecilia Fiona (b. 1997, Copenhagen, DK) lives and works in Copenhagen, DK. She holds a BA in Art History from the University of Copenhagen, DK (2021).   Education   BA Art history, University of Copenhagen 2021   Select Exhibitions/Awards   She has exhibited internationally in galleries including: Galleri Kant, Copenhagen, DK; Annka Kultys, London, UK; Bricks Gallery, Copenhagen, DK; OTP Copenhagen, DK; The Reventlow-Museum, Lolland, DK; FORMATION Gallery, Copenhagen, DK. Fiona is currently exhibiting in the group show 'The Grass at our Feet' at VITRINE, Basel (until June 2022). Upcoming exhibitions include a solo show at Andersen's Contemporary, august 2022, Copenhagen, DK; and a group show at Marinaro Gallery, September 2022, New York City, US. Gallery Representation   Fiona is represented by Andersen's Contemporary, Copenhagen, DK; and VITRINE, Basel, CH and London, UK.   Statement about AOAP Submitted Artwork   Cecilia Fiona's mythical worlds, all painted with rabbit-skin glue and pigments, are populated by creatures halfway between humans, animals and nature, born, living and dying simultaneously. By blending existing myths and folklore from different regions and times she builds her own mythological worlds where the boundaries between man and earth, dream and reality, life and death are fluid and in constant transformation.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action  

Will Ayres Night Owl, 2022 Graphite Pencil on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Born: London UK DOB: 26/2/74 Nationality: British   Drawn Together, Online Ground Exhibition, Unit Gallery 2020 National Portraits Gallery Gala, Auction of Portraits 2019 Laura Long Contemporary, London, Group Show 2017 London Art Fair 2012 London Art Fair 2011 Intentional Abstraction, La Galerie, London 2010 Roma Art Fair 2009 F*ck Art Lets Love, East Ends Arts Club, London 2008 The One Ton Show, East Ends Arts Club, London 2008 Vanessa Suchar Contemporary Salon, Group Show 2008 20 Years of The Groucho Club, Contemporary Magazine 2006 Auction of Works for The Wave Foundation, Northern Ireland 2006 The Groucho Club, Solo, 2003 Nominated for The Jerwood Painting Prize, 2002 The Vedovi Gallery, Brussels, Group Exhibition, 2002 (Artists - Ayres, Bernier, Gursky, Mouffe, Ruscha, Testino, Warhol) Nylon Gallery, London 1999 J Haworth Trust Award 1998 Philip Connard Travel Award 1998 Fishmongers Company Bursary Award 1997 The City and Guilds of London Art School 1995-98 Central St Martins School of Art 1993-94 Various Works in Private Collections, inc Mr Pierre Lagrange, Mrs Catherine Lagrange   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action  

Will Ayres Chandelier Eruption, 2022 Graphite Pencil on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Born: London UK DOB: 26/2/74 Nationality: British   Drawn Together, Online Ground Exhibition, Unit Gallery 2020 National Portraits Gallery Gala, Auction of Portraits 2019 Laura Long Contemporary, London, Group Show 2017 London Art Fair 2012 London Art Fair 2011 Intentional Abstraction, La Galerie, London 2010 Roma Art Fair 2009 F*ck Art Lets Love, East Ends Arts Club, London 2008 The One Ton Show, East Ends Arts Club, London 2008 Vanessa Suchar Contemporary Salon, Group Show 2008 20 Years of The Groucho Club, Contemporary Magazine 2006 Auction of Works for The Wave Foundation, Northern Ireland 2006 The Groucho Club, Solo, 2003 Nominated for The Jerwood Painting Prize, 2002 The Vedovi Gallery, Brussels, Group Exhibition, 2002 (Artists - Ayres, Bernier, Gursky, Mouffe, Ruscha, Testino, Warhol) Nylon Gallery, London 1999 J Haworth Trust Award 1998 Philip Connard Travel Award 1998 Fishmongers Company Bursary Award 1997 The City and Guilds of London Art School 1995-98 Central St Martins School of Art 1993-94 Various Works in Private Collections, inc Mr Pierre Lagrange, Mrs Catherine Lagrange   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action  

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

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

Lin Chien Yu Wrinkled Moment 2, 2022 Pencil, Colour Pencil on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   A storyteller, a painter and a passer-by   Education   2021- Academy of Fine Arts Vienna 2016-2021 Taipei National University of Fine Arts   Select Exhibitions/Awards   Solo Exhibition 2020 The Tail Dried in a Shade-Lin Chien Yu Solo Exhibition, Nan-Pei Art Gallery, Taipei Group Exhibition 2022 Bologna Illustrators Exhibition, Huashan 1914 Creative Park, Taipei 2022 Royal Watercolour Society Open Exhibition, Bankside Gallery, London 2022 Exhibition of Abstract Painting Studio, Akademie der bildenden Künste Wien, Vienna 2021 International Illustrator's Exhibition, Cultural Heritage Park of Ministry of Cultural, Taichung 2020 Bologna Illustrators Exhibition, Bologna 2020 Illuminate the Dreamland, Cultural Heritage Park of Ministry of Culture, Taichung 2020 International Contemporary Art Annual, Underground Art Museum, Taipei 2019 Bang Look Look, Nan-Pei Art Gallery, Taipei 2019 Exhibition of Fine Arts, Underground Art Museum, Taipei   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Hannah Murgatroyd Verdell I, 2022 Oil on Arches Huile Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Born in Bristol, UK, 1976, Hannah Murgatroyd was raised on Dartmoor. Living and working in Bath, she is a mentor for Turps Art School. Moving between painting and drawing, digitally and physically, what I paint comes from a life lived - yet - that life feels like a dream dissolving under my hand. It is through sensations of mark, light and colour that I seek painting's potential for reverie, revelation and respite.   Education   Postgraduate Drawing Year, Royal Drawing School, London 2005-2006 MA Communication Art & Design, Royal College of Art, London, 2003-2005 BA Illustration, (1st ), University of Brighton, Brighton, 1996-1999   Select Exhibitions/Awards   Contemporary British Painting Prize' (highly commended), Unit 1 Gallery / Workshop, London, UK, 2022 'Nature / Nurture' Aora Space virtual museum, worldwide, 2021 'Dreamlands: Part 1 & 2' OHSH Projects, London, UK, 2021 'Hawks in her Hair', Alice Black Gallery, London, UK, 2020 'Monster/Beauty: An Exploration of the Female / Femme Gaze' curated by Marcelle Joseph, Lychee One, London, UK, 2020 'Paintings on, and with, Paper', Cob Gallery, London, UK, 2020 Draw Art Fair, Saatchi Gallery, 'Bucolica' solo presentation with Von Goetz, London, UK, 2019 'Women Can't Paint', Turps Gallery, London, UK, 2018 'Landscape As A Peopled World', (solo), Exeter Phoenix, Exeter, UK, 2017 'Exeter Contemporary Open 2014', (first prize) Exeter Phoenix, Exeter, UK, 2014   Statement about AOAP Submitted Artwork   I painted the postcards alongside painting a diptych, Verdell, using the colours and marks of a verdant, hushed world, inspired by memories of wilderness in Dartmoor and Malaysia. These past years, landscape and spaces have come to the fore in my work, propelled by thoughts around an architecture of the gaze. Of the human looking upon both landscape and the city, of looking inward, of defining through painting a physical and emotional space to worship the tangible and intangible.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Juan Arango Palacios Beso, 2022 Coloured Pencil on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About   Juan Arango Palacios was born in Pereira, Colombia, and was raised in a traditional Catholic home. Their traditional upbringing was cut short by a series of migrations that their family took seeking a better future. The family moved from Colombia to southern Louisiana where Juan's sense of identity and belonging began to be skewed by their lack of knowledge of the English language, their unfamiliarity with American culture, and their internal struggle with a queer identity. Living in other parts of Louisiana and Texas, and being further subdued by the conservative culture in which they lived, Juan continued to live with a constant fear of their own identity throughout their youth. Juan graduated from the School of the Art Institute of Chicago, and has found a safe-haven within the queer community in Chicago.   Education   2020 Bachelor of Fine Arts from the School of the Art Institute of Chicago   Select Exhibitions/Awards   SOLO AND DUO EXHIBITIONS 2022 BIMBOFICATION SENSATION - Povos Gallery, Chicago, IL 2022I Wanna Be You Anywhere - Co-Prosperity Catskill, Catskill, NY 2021 Como Angel en Cielo - New Image Art, Los Angels, CA 2021 Payasadas - Epiphany Center for the Arts, Chicago, IL 2020 Recuerdos - SITE Galleries, School of the Art Institute of Chicago, Chicago, IL GROUP EXHIBITIONS 2022 Latino America in Chicago - Draggonfly Gallery, Chicago, IL 2022 Small Works Exhibition - Soft Times Gallery, San Francisco, Ca 2022 Forbidden Boundaries - Filo Sofi Arts, Marfa, TX 2022 Salon - Guts Gallery, London, UK 2022 Vernacular Glamour - Cambridge Art Association, Cambridge, MA 2021 Recuerdos - Co-Prosperity Sphere, Chicago, IL 2021Orchids - New Image Art, Los Angeles, CA 2020 ENTRECUERPOS - Heaven Gallery, Chicago, IL 2020 Undergraduate Exhibition - Sullivan Galleries at SAIC, Chicago, IL 2019 CASA- 5th Floor Gallery, University of Illinois Chicago, Chicago,IL Statement about AOAP Submitted Artwork   These two drawings were made from a position of tenderness and vulnerability. Speaking on my experience as a queer person, I am representing my expression of love through images that turn queer romance into a timeless experience. a heartfelt kiss that seems to slowdown time, and a bunch of flowers ready to be picked into a bouquet; memories that that I associate that warm fuzzy sensation of being in love. Love is widely celebrated in pop culture, contemporary music, and television, However it has become a sort of cliche in the contemporary art world. Also, there has been a tradition of sexualizing and eroticizing queerness throughout art history. I rebuke the idea that imagery of queer love is cliche, and I aim to achieve a more sentimental narrative towards the relationships that queer people experience on the daily.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Juan Arango Palacios Flowers on Flowers, 2022 Coloured Pencil on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Juan Arango Palacios was born in Pereira, Colombia, and was raised in a traditional Catholic home. Their traditional upbringing was cut short by a series of migrations that their family took seeking a better future. The family moved from Colombia to southern Louisiana where Juan's sense of identity and belonging began to be skewed by their lack of knowledge of the English language, their unfamiliarity with American culture, and their internal struggle with a queer identity. Living in other parts of Louisiana and Texas, and being further subdued by the conservative culture in which they lived, Juan continued to live with a constant fear of their own identity throughout their youth. Juan graduated from the School of the Art Institute of Chicago, and has found a safe-haven within the queer community in Chicago.   Education   2020 Bachelor of Fine Arts from the School of the Art Institute of Chicago   Select Exhibitions/Awards   SOLO AND DUO EXHIBITIONS 2022 BIMBOFICATION SENSATION - Povos Gallery, Chicago, IL 2022I Wanna Be You Anywhere - Co-Prosperity Catskill, Catskill, NY 2021 Como Angel en Cielo - New Image Art, Los Angels, CA 2021 Payasadas - Epiphany Center for the Arts, Chicago, IL 2020 Recuerdos - SITE Galleries, School of the Art Institute of Chicago, Chicago, IL GROUP EXHIBITIONS 2022 Latino America in Chicago - Draggonfly Gallery, Chicago, IL 2022 Small Works Exhibition - Soft Times Gallery, San Francisco, Ca 2022 Forbidden Boundaries - Filo Sofi Arts, Marfa, TX 2022 Salon - Guts Gallery, London, UK 2022 Vernacular Glamour - Cambridge Art Association, Cambridge, MA 2021 Recuerdos - Co-Prosperity Sphere, Chicago, IL 2021Orchids - New Image Art, Los Angeles, CA 2020 ENTRECUERPOS - Heaven Gallery, Chicago, IL 2020 Undergraduate Exhibition - Sullivan Galleries at SAIC, Chicago, IL 2019 CASA- 5th Floor Gallery, University of Illinois Chicago, Chicago,IL Statement about AOAP Submitted Artwork   These two drawings were made from a position of tenderness and vulnerability. Speaking on my experience as a queer person, I am representing my expression of love through images that turn queer romance into a timeless experience. a heartfelt kiss that seems to slowdown time, and a bunch of flowers ready to be picked into a bouquet; memories that that I associate that warm fuzzy sensation of being in love. Love is widely celebrated in pop culture, contemporary music, and television, However it has become a sort of cliche in the contemporary art world. Also, there has been a tradition of sexualizing and eroticizing queerness throughout art history. I rebuke the idea that imagery of queer love is cliche, and I aim to achieve a more sentimental narrative towards the relationships that queer people experience on the daily.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Lucie Flynn Rebel Rebel, 2022 Indian Ink on Watercolour Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About   Lucie Flynn is a contemporary artist who has moved into creating large scale paintings on the streets, her work is instantly recognisable and stands out loud and proud - nothing comes close to her dynamic style and the path in which she practices her form. Using combinations of spray paint, acrylic, inks and collage Flynn builds bright, clashing palettes with bold sweeps and splatters, layers of paint pulse and crackle. After attending Reigate School of Art she began her art career producing and exhibiting work on the top floor of The Dragon, Shoreditch, with artists such as Julie Verhoeven and Wolfgang Tilmans when the area was a hotspot for creatives who are now household names, i.e.: Jake and Dinos Chapman, Scott King, Ben Eine and Banksy. Around this time, Flynn was scouted to work in the production and management team at Damien Hirst's studio and alongside him on international exhibitions and his personal art collection. Lucie continues to push the boundaries of what is expected of a gallery artist - mixing things up with her street style that is undeniably unique and would be hard to compare. Education   Reigate School of Art and Buckinghamshire University   Select Exhibitions/Awards   I am so Busy, the artist's first solo exhibition at This Way Up Gallery, Shoreditch (2000), was a sell-out. Numerous galleries have gone on to exhibit her work, recently including three group shows: Up at Jealous Gallery, Shoreditch (2020), Yes at Gallery 46, Whitechapel (2021), and She/Her/Hers at Oakland Gallery, Liverpool (2022) and most recently her first solo show in central London at The Union, Soho named Be An Exceptional Woman. Press coverage includes The Telegraph ~ Stella magazine, GQ, Vogue, Living Etc., BBC South East News, to name just a few. Lucie Flynn's work is held in numerous UK and international private collections. Gallery Representation   Zebra One Gallery and Our Types   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

András Nagy-Sándor Keep The Band Back Together, 2022 Ink and Gouache on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Andras Nagy-Sandor (1993) is a Hungarian artist and curator based in London, UK. The main focus of Andras' practice is unpicking the aspirations and ambivalences within his masculinity through the symbolism of armours as a link between painterly, emotional and conceptual dichotomies. The aesthetic of Andras' armours are narrative, in some cases pseudo-folkloric, however they do not need to be read as armours as they are the results of an intuitive design process, an embodied sensemaking approach that is based on Andras' imagination and memories. They are gestures, edges, shapes, colours, patterns, paint, materials with a conscience enveloping figurative moments, interactions between body parts, characters, groups, anthropomorphic multiheaded beings that float between cultures and identities, folklore and sci-fi. Andras has recently had his first solo exhibition at Fest; Tisztit Gallery in Budapest, Hungary and is the co-runner of ongoing initiative "project hu", which created a collaborative residency, artist talks and a touring exhibition over the past four years.   Education   2019-2022, MFA Fine Art Painting, Slade School of Fine Art, UK 2015-2018, BA (Hons) Fine Art, Newcastle University, UK   Select Exhibitions/Awards   Solo Exhibitions   Feb. 2022, Bizz bennem/Trust me, Fest; Tisztit Gallery, Budapest, HU Sept. 2020, Narrow Boat Exhibition, Narrow Gallery, London Mar. 2018, Studies, Culture Lab, Newcastle   Selected Group Exhibitions   Apr. 2022 Emergence, The Room, London Feb. 2022, Dream Baby Dream, The Fitzrovia Gallery, London Feb. 2022, I'll Be Your Mirror, Boisdale of Bishopgate, London Jan. 2022, Why Don't You Dance, ASC Gallery, London Jan. 2022, Assemble, VO Curations, London Dec. 2021, Paint Talk presentsWith Love II, online Aug. 2021, Flirting with the Border Guards, Terrace Gallery, London Nov. 2020, Paint Talk presents With Love, online Nov. 2020, ING Discerning Eye Exhibition, online due to COVID-19 Aug. 2020, Material Figures, with Grace Mattingly and Lindsey Jean McLean, VO Curations, London Jan. 2020, Slade Runner, ASC Gallery, London Feb. 2019, hu, Hungarian Traveling Exhibition, White Conduit Projects, London Jan. 2019, hu, Hungarian Traveling Exhibition, Abject Gallery, Newcastle Nov. 2018, hu, Hungarian Traveling Exhibition, GENERATORporjects, Dundee Nov. 2018, Young Contemporary Talent 2018, Ingram Collection, The Cello Factory, London Sep. 2018, Art & Liberation, The Holy Biscuit, Newcastle Aug. 2018, Newcastle University Printmakers, R.K. Burts Gallery, London Jun., Jul. 2018 Newcastle University Degree Show, Newcastle University and Unit 8 at Copeland Park, London Mar. 2018, Newcastle University Printmakers, Long Gallery, Newcastle University, Newcastle Mar. 2018, Your Space, Jane Doe Gallery, Newcastle University, Newcastle (group) June 2017, Page 1, Marjorie Robinson Library, Newcastle Apr. 2017, Something Black, Cultivate Gallery and Organ Thing, Online Mar. 2017, Fancy a Cuppa?, Vane Gallery, Newcastle Dec. 2016, The Parade, Newcastle University, Newcastle May 2016 Narrative, Newbridge Project, Newcastle May 2016, Testing Grounds, Hoults Yard, Newcastle   Statement about AOAP Submitted Artwork   "Facing forward" is an abstract shape. It is part of an ongoing series that anthropomorphize elements of car designs, while remaining non-figurative, results of an intuitive process. "Stick together" is a more narrative piece, on the verge of figuration. It deals with questions around companionship and identity. "Keep the band back together" is a painting about losing parts of ourselves and fetishizing them. "Don't get stuck, but go deep" is a drawing that deals with wanting to become something bigger than ourselves.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Lucie Flynn Last Night, 2022 Indian Ink on Watercolour Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About   Lucie Flynn is a contemporary artist who has moved into creating large scale paintings on the streets, her work is instantly recognisable and stands out loud and proud - nothing comes close to her dynamic style and the path in which she practices her form. Using combinations of spray paint, acrylic, inks and collage Flynn builds bright, clashing palettes with bold sweeps and splatters, layers of paint pulse and crackle. After attending Reigate School of Art she began her art career producing and exhibiting work on the top floor of The Dragon, Shoreditch, with artists such as Julie Verhoeven and Wolfgang Tilmans when the area was a hotspot for creatives who are now household names, i.e.: Jake and Dinos Chapman, Scott King, Ben Eine and Banksy. Around this time, Flynn was scouted to work in the production and management team at Damien Hirst's studio and alongside him on international exhibitions and his personal art collection. Lucie continues to push the boundaries of what is expected of a gallery artist - mixing things up with her street style that is undeniably unique and would be hard to compare. Education   Reigate School of Art and Buckinghamshire University   Select Exhibitions/Awards   I am so Busy, the artist's first solo exhibition at This Way Up Gallery, Shoreditch (2000), was a sell-out. Numerous galleries have gone on to exhibit her work, recently including three group shows: Up at Jealous Gallery, Shoreditch (2020), Yes at Gallery 46, Whitechapel (2021), and She/Her/Hers at Oakland Gallery, Liverpool (2022) and most recently her first solo show in central London at The Union, Soho named Be An Exceptional Woman. Press coverage includes The Telegraph ~ Stella magazine, GQ, Vogue, Living Etc., BBC South East News, to name just a few. Lucie Flynn's work is held in numerous UK and international private collections. Gallery Representation   Zebra One Gallery and Our Types   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.