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Ca. 100 - 300 AD.Wearing a heavily draped chiton with a knotted belt beneath the breasts and wrapped in a himation falling from her proper left shoulder and across her waist, her right arm outstretched holding a patera, this female figure is identified as a goddess by the form of her diadem. The figure’s pose and dress draw heavily on the Greek Classical tradition. She is one of the twelve Olympian gods and chief goddess of the Greek and Roman pantheon; sister and consort of adulterous Zeus/Jupiter (q.v.); protector of women and patron deity of marriage and childbirth. For similar see: Auckland Museum Acc. No. 87. 4. We are a dynamic company proud of the innovations we can bring to the traditional Ancient Art market. This is one of the first catalogues in the world to offer NFTs/DOTs of Ancient Art. Apollo Art Auctions and Coinllectibles, world leaders in digital art markets, have started working on this collaboration to bring Ancient Art together with digital content. Lots 1 to Lot 5 in this catalogue have been specially chosen due to their beauty and fantastic provenance to be transformed into DOTs. The buyer of each lot will receive both the physical and digital assets, which gives ownership over the DOT that making it a liquid access on both traditional and virtual marketplaces.From Coinllectibles Coinllectibles™️Coinllectibles Coinllectibles™️ is a technology company supporting the collectibles industry with a focus on rare memorabilia and artworks that exist and have intrinsic value in the real world, whether tangible or intangible in nature. Coinllectibles™️ applies blockchain, marketplace, metaverse and DOT technologies as tools to enhance the real-world collectibles industry. The technology underpinning DOTs (digital ownership tokens) has multiple functional use cases that Coinllectibles™️ is applying to areas including art and collectibles areas. A DOT (Digital Ownership Token) is a proprietary DOT format that provides a gold standard of rights and title of ownership of a digital asset, securely underpinned by smart contracts and legal documents stored on the blockchain, each with a unique identification code and metadata, also beneficial title to the relevant Collectible to which it is pegged.Size: L: 23.5cm / W:98mm; 1.7kgProvenance: Private collection of an Oxford professional.Ex. Bonhams. Private USA collection:From an old New York collection from1990’s. Ex Sotheby's, New York.

Ca. 200 BC.Perhaps from Centurpipe, Sicily, depicted wearing a chiton, her body twisting spirally to the right, head thrown back and turned sharply to her right. Left leg raised behind her, arms positioned out before her, redpainted hair tied in a chignon, chiton preserving blue and pink strikes, on a reelshaped base original to the figure. We are a dynamic company proud of the innovations we can bring to the traditional Ancient Art market. This is one of the first catalogues in the world to offer NFTs/DOTs of Ancient Art. Apollo Art Auctions and Coinllectibles, world leaders in digital art markets, have started working on this collaboration to bring Ancient Art together with digital content. Lots 1 to Lot 5 in this catalogue have been specially chosen due to their beauty and fantastic provenance to be transformed into DOTs. The buyer of each lot will receive both the physical and digital assets, which gives ownership over the DOT that making it a liquid access on both traditional and virtual marketplaces.From Coinllectibles Coinllectibles™️Coinllectibles Coinllectibles™️ is a technology company supporting the collectibles industry with a focus on rare memorabilia and artworks that exist and have intrinsic value in the real world, whether tangible or intangible in nature. Coinllectibles™️ applies blockchain, marketplace, metaverse and DOT technologies as tools to enhance the real-world collectibles industry. The technology underpinning DOTs (digital ownership tokens) has multiple functional use cases that Coinllectibles™️ is applying to areas including art and collectibles areas. A DOT (Digital Ownership Token) is a proprietary DOT format that provides a gold standard of rights and title of ownership of a digital asset, securely underpinned by smart contracts and legal documents stored on the blockchain, each with a unique identification code and metadata, also beneficial title to the relevant Collectible to which it is pegged.Size: L:312mm / W:135mm; 880gProvenance: Ex. Christie's, December 2002, lot 54. Accompanied by original invoice (8500$). Superb provenanced object. Ex. Palladion Antike Kunst, Basel, Catalog, 1976, no. 85. Literature: Simon, The Kurashiki Ninagowa Museum, Greek, Etruscan and Roman Antiquities, no.148. Exhibited: Olympia Art & Antiques fair, London June 2022.

§ PREM SAHIB (BRITISH 1982-) YOUR DISCO NEEDS YOU XXXVI - 2017 Digital print on ceramic tile, signed, titled and dated verso Dimensions:17cm x 20 cm (6.75in x 8in), unframedProvenance:Provenance: To be offered to support The House of St Barnabas (Registered Charity 207242)Based in a Grade 1 listed townhouse in Soho, The House of St Barnabas has helped Londoners affected by homelessness since 1862. In 2013 the building became a members’ club with a difference; combining a not-for-profit creative and cultural space at No. 1 Greek Street with an Employment Academy for people affected by homelessness. Participants learn their craft in front of house, in the kitchen, the bar, or in the charity’s offices: since opening, 254 participants have graduated from the 12-week programme, many of which have secured lasting employment after graduation.The House of St Barnabas’ cultural events, music, and the generosity of members are key to the success of the charity, but the building also showcases work by both established and emerging contemporary artists. The permanent collection of visual art includes the works of Banksy and Tracey Emin alongside a programme of temporary exhibitions supporting emerging artists.The House have kindly been donated 11 works for sale, ranging from sculpture to paintings to support the charity's work. Most of the pieces have been donated by the artists themselves or by the galleries who represent them. Below we take a closer look at the works featuring in our January 2023 sale.2023 is the year of the house’s 10th anniversary. With your support and dedication, the charity hopes to continue to break the cycle of homelessness.Note: Note: Your Disco Needs You XXXVI (2017) is a digital print of a landscape on a white tile, glazed and fired after printing so that the image sits faintly on the surface like a bruise or a stain, hazy and opalescent. The work recalls a glimpsed reflection, in a public urinal's white tiled wall, of a leafy cruising spot in a London park. Spaces exterior and interior; public and private; expansive and intimate; memorialised and forgotten, all fleetingly combine in an eternalised ephemeral moment, a continuation of Sahib's archiving of queer spaces fading from view or relegated to the margins.The work of Prem Sahib embodies a poetic and provocative "destabilised minimalism", referencing the architecture of public and private spaces, structures that shape individual and communal identities, senses of belonging, alienation and confinement. Mixing the personal and political, abstraction and figuration, Sahib's formalism is suggestive of the body as well as its absence, drawing attention to traces of touch and frameworks of looking.In 2023, Sahib will publish That Fire Over There with Book Works, an artist's book developed from Descent, a three-part exhibition at Southard Reid, London in 2019 – 2020. Sahib’s work has been shown widely including solo institutional exhibitions Balconies, Kunstverein Hamburg, 2017 and Side On, ICA London, 2015, as well in group shows at spaces that include Sharjah Art Foundation, Migros Museum, Whitechapel Gallery, Hayward Gallery, KW Institute of Art, Des Moines Art Centre and the Gwangju Biennale. Their work is in the collections of Tate, The Arts Council, Government Art Collection, UK; Walker Art Center, Minneapolis, USA; Astrup Fearnley Museum of Modern Art, Norway; X Museum, Beijing, China; and MONA, Australia.

§ KAREN KNORR (AMERICAN/BRITISH 1954-) THE LOVESICK PRINCE, AAM KHAS, JUNHA MAHAL, DUNGARPUR PALACE (SMALL), FROM INDIA SONG - 2013/2018 Colour pigment print, A.P. 1, signed to artist's studio label verso Dimensions:60cm x 76cm (24in x 30in)Provenance:Provenance: To be offered to support The House of St Barnabas (Registered Charity 207242)Based in a Grade 1 listed townhouse in Soho, The House of St Barnabas has helped Londoners affected by homelessness since 1862. In 2013 the building became a members’ club with a difference; combining a not-for-profit creative and cultural space at No. 1 Greek Street with an Employment Academy for people affected by homelessness. Participants learn their craft in front of house, in the kitchen, the bar, or in the charity’s offices: since opening, 254 participants have graduated from the 12-week programme, many of which have secured lasting employment after graduation.The House of St Barnabas’ cultural events, music, and the generosity of members are key to the success of the charity, but the building also showcases work by both established and emerging contemporary artists. The permanent collection of visual art includes the works of Banksy and Tracey Emin alongside a programme of temporary exhibitions supporting emerging artists.The House have kindly been donated 11 works for sale, ranging from sculpture to paintings to support the charity's work. Most of the pieces have been donated by the artists themselves or by the galleries who represent them. Below we take a closer look at the works featuring in our January 2023 sale.2023 is the year of the house’s 10th anniversary. With your support and dedication, the charity hopes to continue to break the cycle of homelessness.Note: Note: Please note this work is sold with accompanying Ceritificate of Authenticity, issued by the artist.Karen Knorr’s past work from the 1980’s onwards took as its theme the ideas of power that underlie cultural heritage, playfully challenging the underlying assumptions of fine art collections in academies and museums in Europe through photography and video. Since 2008 her work has taken a new turn and focused its gaze on the upper caste culture of the Rajput in India and its relationship to the "other" through the use of photography, video and performance. The photographic series considers men's space (mardana) and women's space (zanana) in Mughal and Rajput palace architecture, havelis and mausoleums through large format digital photography.Karen Knorr celebrates the rich visual culture, the foundation myths and stories of northern India, focusing on Rajasthan and using sacred and secular sites to consider caste, femininity and its relationship to the animal world. Interiors are painstakingly photographed with a large format Sinar P3 analogue camera and scanned to very high resolution. Live animals are inserted into the architectural sites, fusing high resolution digital with analogue photography. Animals photographed in sanctuaries, zoos and cities inhabit palaces, mausoleums , temples and holy sites, interrogating Indian cultural heritage and rigid hierarchies. Cranes, zebus, langurs, tigers and elephants mutate from princely pets to avatars of past feminine historic characters, blurring boundaries between reality and illusion and reinventing the Panchatantra for the 21st century.The subjects of Karen Knorr’s work are as geographically diverse as the artist’s own biography: Knorr was born in Germany and raised in Puerto Rico, before she ventured to Paris and settled in London. While she works in video and installation, she is perhaps best known for her photographs and digital collages. Principal themes in her work include the stratification of class, the distribution of privilege and wealth, value systems, the symbolic role of animal representations, and issues of power at the foundation of cultural heritage. Knorr prefers to look at the privileged rather than the disenfranchised; her subjects have included wealthy English classes and their patriarchal systems and frequented clubs. More recently, Knorr has produced a series of digitally modified interiors set in India, based on fables and injustices.

JUAN GOMILA (Barcelona, 1942)."Ondulación", 1980.Triptych.Oil on canvas.Signed, titled and dated on the back.Size: 250 x 30 cm. q.v.Juan Gomila is one of the leading artists on the Spanish post-Pop Art scene. He began his work in the sixties, focusing on the reflection on the value of colour and signs in a world saturated with signs. In 1974 he represented Spain at the Alexandria Biennial, winning First Prize, and three years later he also represented Spain at the São Paulo Biennial. In 1978 he won Second Prize for Painting at the VII International Biennial of Sport in the Fine Arts (Barcelona), and in 1980 he again represented Spain, this time at the Venice Biennial. In 2007 he began to work exclusively with digital photography, and the following year he presented a major retrospective exhibition at the Barjola Museum in Gijón. He is currently represented in the MNCA Reina Sofía, the Contemporary Art Museums of Vilafamés, Palma de Mallorca and Bialystock (Poland), the Biblioteca Comunale in Milan, the Museo Jovellanos in Gijón, the Museo de Bellas Artes de Asturias, the Textil de la Indumentaria in Barcelona, the Salvador Allende Museum in Santiago de Chile, the collections of the Consejo Superior de Deportes, Argentaria, Caja de Asturias, Azcona and Pere A. Serra and the Masaveu and Aena Foundations.

EVA DAVIDOVA (Bulgaria, 1969)."Untitled (Dani)", 2007.Digital photograph, copy 2/3.Signed, titled and numbered on the back.Label of the gallery N2, Barcelona, on the back.Measurements: 100 x 70 cm.Eva Davidova, in the photographic series to which this work belongs, works with spatial and corporal displacement. She plays with visual paradoxes and unnatural movements, explores the poetics of the absurd and confronts viewers with their own interpretations. A Bulgarian-Spanish artist living in New York, Eva Davidova uses her art to vindicate the ecological disaster and the political implications of technology, among other everyday social issues, which she works through the absurd. Her work has been exhibited at the Bronx Museum, the Everson Museum, the Albright Knox Museum, the MACBA, the Círculo de Bellas Artes, the CAAC, the Centro de Arte Contemporáneo La Regenta, the Cervantes Institutes in Sofia and Tangiers, as well as in numerous private galleries. He has won several international awards, including the M-Tel Prize for Contemporary Bulgarian Art and a Residency Unlimited grant in New York from the National Endowment for the Arts.

MATTEO MAURO, (Catania, Sicily, 1992)."She", 2020.Resin sculpture.Finished with gold and white satin varnish.Limited edition of 190/200.The work will be available approximately 15 days after payment has been made.Dimensions: 25 x 10 x 10 cm.Matteo Mauro observes and explores the world with the eyes of an artist. He looks for new solutions and embraces old ones in his infinite mediation between reality and dreams. His artistic process mixes analogue and digital tools to generate artworks with a distinctly contemporary sensibility, which critics have deemed hyper-contemporary. Matteo Mauro's studio creates a wide range of artworks, including sculptures, paintings, video art, installations and augmented reality pieces.The artist was born in Sicily, but has lived and travelled in many countries. He spent more than a decade in London, where he first established his artistic practice and continues to live today. Mauro has worked and studied with several influential designers, including Ron Arad and Isaie Bloch, and has taught Digital Communication at London's LSBU and UCL universities.Mauro has received numerous awards for his work, including the Master of Art 2018 and the European Excellence of Arts and International Van Gogh Prize, awarded by Roy Dalí, son of Salvador Dalí.His pieces have been exhibited in several museums and galleries, including the Royal Academy of Arts, the Museo Marte, the Museo della Fabbrica, Le Salon des Indépendants at the Grand Palais in Paris, the Ing-Creatives in Dubai, the Songyang Museum Contemporary Art, the Fondazione Museo Crocetti, while some exhibitions are scheduled at the Datong Art Museum and the MACAM Modern and Contemporary Art Museum in the near future.However, Matteo Mauro does not limit himself to painting or creating artworks, but is also the author of the worldwide distributed book Inscripciones Micromegálicas. Matteo Mauro's studio is currently located in Catania, Italy.

HIRO ANDO (Japan 1973)."Mology pandasanGreen", 2011,Mixed media and polychrome pigment (cast resin). Exemplary 1/8.With protective plexiglass cover with led and base with mirror.Signed and justified on the base.Measures: 33 x 29 x 34 cm.Sculpture made of resin cast in round, covered with green pigment The soft materials, the bright colours, the sharp but rounded shapes of Hiro Ando's sculptures take us to the Manga world in which the artist's generation grew up. Hiro ANDO's art is the meeting of the Meiji era and Manga, it is Shogun in the land of Pokémon, it is traditional Japan seen through young eyes: it is definitely Japanese Neo Pop art. The sculpture presents an aesthetic with a pop or even kitsch finish, not only because of the histrionic use of colour and the industrial finish that sacralises what looks like an "Art toy" and turns it into an artistic object, but also because, through the choice of the panda, it manages to refer to kind values, arousing a certain sentimentality with regard to the piece, as is usual in the kitsch current.In 1995, Hiro Ando began a career as an illustrator after graduating from Tama Art University in Tokyo. In 2005, he founded an artists' studio in Tokyo with another artist, Saori Nakamishi, to manage the creation and promotion of other young neo-pop artists who include their own popular culture in their creations. Today, about 10 artists are part of this "Crazynoodles" studio. Hiro Ando is a versatile artist. He has used oil on canvas, digital media and worked in video art. Hiro's technique consists of making several basic sketches before painting on canvas. The latter take shapes and emerge from the streets of Tokyo at night, are dressed in colours and graphics and move in groups. Hiro paints dark cityscapes with red fish scattered across the canvas. The combination of the two themes makes the whole canvas dynamic and violent, with a strange sense of eternity due to the red fish reminiscent of old Japanese paintings and watercolours. Recently, Ando added sculptures to his wide variety of media and began working on a series of sculptures inspired by his Japanese folk culture. Throughout his international career he has participated in numerous group and solo exhibitions including; Ando Sculptures, Galerie Tony Rocfort, la Baule, France, Collective Show, COVA Gallery, Eindhoven, Colors of Japan, Galerie 193, Paris, Context Art Miami, ZK Galleria, San Francisco, USA, CrazyColors CrazyNoodles, Galerie JacobPaulett, Paris, Permanent Ando Show, Artion Gallery, Greece, Ando Sculptures Show, ZK Gallery, San Francisco, USA and Show CrazyNoodles, Galerie Jacob Paulett, Paris, among many others. His work currently forms part of important private and public collections, including the collections of the Israel Museum and the Salsali Private Museum, Dubai.

Framed Highlands Stag - Wrapped Canvas Graphic Art Canvas Digital Print Onto 100% Cotton Canvas, Which Is Then Stretched By Hand Across A Solid Timber Frame Mounted In A Distressed Wood Gold Foil Finish Frame 73 x 104cm

DAVID MEAD (British, 1906-1986) - A beech wood in autumn, oil on canvas board, signed, also signed and inscribed verso (24 x 36in; 61 x 91.5cm). Dirty old varnish, superficial blemishes. Provenance: Stacy Marks, EastbourneCondition Report:  History of Giclee Print Process. Jack Dunganne created the term to represent any inkjet-based prints used as fine art prints. The process was invented in 1991 when he was looking for print medium term expressing the collaborations of fine arts and new digital printing. It is now widely used in galleries and print shops. This work of art shows signs of hand finishes and is dated 1965 verso by Stacey Marks Gallery.

Neil Pengelly 'MY FAIR LADY' (Audrey Hepburn) - signed and marked AP/1 - Original artwork with handmade frame, fully embellished and entirely created by Neil Pengelly, the artwork overspills onto frame - 21.75" x 27" - PROVENANCE: Donated to and sold on behalf of Macmillan Caring Locally, Canvas for the Mac - the full hammer price will be going to the charity - About the Artist: Neil Pengelly is a Northants based artist who honed his skills in drawing and painting and more recently digital artworks - now creating artworks that marry all three skills together. Each original piece of art is resplendent with added touches of acrylic and oil paints and bejewelled with diamond dust and micro glitters.

Street Art - - Banksy. (1974). The Walled Off Hotel Box Set. Digitaldruck auf Velin, Beton, Sprühfarbe, IKEA Rahmen. 25,5 x 25,5 x 4,5 cm. - Guter Zustand. Beigegeben: Original nummerierte Rechnung des "The Walled Off Hotel". - Jedes Exponat durch die jeweils individuelle Verwendung der Sprühfarbe mit unikatärem Charakter. - Die Arbeit wurde ausschließlich im Walled Off Hotel in Palästina vertrieben und ist seit längerem ausverkauft. Digital print on paper, concrete, spray paint, IKEA frame. Numbered on verso. - Good condition. - Each exhibit with unique character thanks to the individual use of spray paint. The work was sold exclusively in the Walled Off Hotel in Palestine and has been sold out for a long time. - Added: original numbered invoice.

A LADY'S ART DECO "DIGITAL" WRISTWATCH, with apertures for hours and minutes, un-numbered sixteen jewel movement in a plain 18ct white gold oblong case, on angular shoulders, on cord strap with 9ct gold fastener (Est. plus 21% premium inc. VAT)Watch case, glass and strap weigh 7.8g gross, movement 4.8g, appears to be working, case good, stamped 18/.75

La Vie en Rouge - Olivia Roze Spray paint on canvas 594 x 878 mm  ARTIST STATEMENT: This piece is a stencilled spray piece using street art techniques. I was inspired by Teddy Baden’s work after being selected for an Art for Guernsey Scholarship and visiting Teddy in London. I wanted to capture a moment in time using a modern technique; also creating something beautiful and delicate. The flow of the hair and the free expression of the face, then stripped back to black and white with one bold colour to make the expression pop!ABOUT THE ARTIST: Olivia Roze won the Public Vote Prize in the Sovereign Art Foundation Students Prize, Guernsey 2021 with her artwork "Freya" and also was selected for an Art for Guernsey Scholarship. Olivia studies Creative and Digital Arts at the College of Further Education. Olivia's aspriations are "to share my art with many, and also take my education further and study a Fine Art bachelors degree at university."

A sheet of A3 tracing paper of the original preliminary cutaway artwork depicting the iconic Armoured Personnel Carrier vehicle from James Cameron's 1986 masterpiece Aliens. Drawn by by John R. Mullaney in 2014.Commissioned by Insight Editions and 20th Century Fox Studios, the artwork formed a crucial stage of the approval process between studio and artist for the eventual art's publication in the high-end collectible title Alien : The Weyland-Yutani Report. Hand-drawn by John, the original artwork was approved by the studio and publisher as well as by a project Brain Trust of franchise consultants, comprising of prominent collectors, archivists and enthusiasts from the fan community. The artwork is as screen-accurate as available reference allowed, with the artist piecing together all the details using rare on-set production photography and film-stills to ensure a definitively canon reproduction of the vehicle's layout. The artwork evolved over an extensive series of approval versions, as John worked closely with project collaborator and 2D artist Graham J. Langridge to hone the detail. The artwork was then reproduced at large format size and carefully traced to form the set-up for the final full colour artwork which appears on pages 114-115 of The Weyland-Yutani Report.The artwork's evolution can be seen in a special making-of film produced by the artist who is also an award-winning film-maker. The time-lapse film has currently received over 60,000 views on Youtube, and continues to wow fans and viewersAbout the ProjectOf all the franchises John has been commissioned to illustrate, the Alien franchise remains his most personally beloved. Between 2005 and 2006 John created his self-initiated cutaway art of the Colonial Marines Dropship from the 1986 sequel as a proof of concept for an entire book of cutaways depicting the iconic craft and locations from the franchise. The artwork became a limited edition collectible produced by Acme Archives and rapidly sold out. In 2014 he was commissioned by Insight Editions to paint a cutaway of Aliens' APC which appeared alongside the Dropship art and 8 other new artworks of hardware from the franchise in high end collectible Alien: The Weyland-Yutani Report. The making-of film APC Cutaway : Special Edition which John created to promote his work in Insight's publication, continues to wow viewers seven+ years after its release amassing over 60,000 views on Youtube. Both the Dropship and APC cutaway originals artworks sold to a private collector. In 2018 John was commissioned to produce six new colour 2D artworks of craft from the series for Free League's Alien Role Playing Game title, with each piece rendered using the same intricate techniques as for his 3D cutaway work. Valuation note: the full colour artwork later sold to a private collector for £3,500. Click here to see the full gallery of John's work for Alien.About The ArtistA lifelong fan of science-fiction cinema, John R. Mullaney has over two decades experience producing beautifully detailed sci-fi cutaway art for publications licensed by major film studio properties. His career in studio-licensed sci-fi cutaway art began in 1999 when he was recommended by the Society of Architectural Illustration to Dorling Kindersley who were looking for an additional illustrator for their Star Wars Incredible Cross Sections series of publications. Following an extensive audition process, John secured the position and subsequently illustrated multiple iconic locations and ships from the franchise. In addition to his work with Lucasfilm, John has gone on to be commissioned by many other major studios such as 20th Century Fox, Pixar, Universal Studios, 343 Industries, the BBC and Games Workshop. As well as Star Wars, he has produced art for Alien, Batman, Halo, Firefly/Serenity, Doctor Who, Wall-E and Warhammer/40K. Published by DK, Lucasbooks, Insight Editions, Egmont, Titan and Free League, John ensures his artworks are as screen-accurate as the reference allows, working not just from film-stills but from production blueprints & digital models, on-set photography and archive imagery of original miniatures.Each unique large format piece has a production time running into hundreds of hours, using a process of carefully applied multiple watercolour layers, to achieve a complex and nuanced richness of colour, tone and texture. Measuring up to 76x55cm these intricately detailed large format pencil, watercolour, ink & gouache pieces on 300gm watercolour paper, pack a huge visual punch. Alongside these are the preliminary artworks for most cutaways. These pencil artworks are all created on A3 tracing paper and form the basis for the full colour artworks - the majority are as detailed as the size of paper allows before they are enlarged and traced. In a world of predominantly digital art, John's original paintings of iconic vehicles and locations from world famous science fiction properties have become much sought-after unique investment pieces for pop culture collectors, film enthusiasts and corporate buyers. John is a fellow and council member of the Society of Architectural Illustration, and is also an award-winning film-maker.

A sheet of 300gm watercolour paper of the original artwork produced by John R. Mullaney depicting the iconic USCMC Cheyenne Dropship from James Cameron's 1986 feature Aliens. Painted by John R. Mullaney in 2019. Paper measures 50 x 18,5cm.The art was commissioned by Free League Publishing and 20th Century Fox Studios as one of six new 2D vehicle artworks to appear in the 2019 title ALIEN : The Role Playing Game. The painting is as screen-accurate as available reference allowed, with the artist using rare on-set production photography and film-stills to ensure a faithful reproduction of the vehicle's exterior. Hand drawn and painted using multiple layers of watercolour washes, the original artwork was approved by the studio and publisher. The ship's decals and liverie were added digitally for greater accuracy and flexibility, but the artist has subsequently added these details by hand to enhance the original painting. The artwork appears on pages 144-145 of Free League's acclaimed RPG publication (see images, book not included in lot).About The ProjectOf all the franchises John has been commissioned to illustrate, the Alien franchise remains his most personally beloved. Between 2005 and 2006 John created his self-initiated cutaway art of the Colonial Marines Dropship from the 1986 sequel as a proof of concept for an entire book of cutaways depicting the iconic craft and locations from the franchise. The artwork became a limited edition collectible produced by Acme Archives and rapidly sold out. In 2014 he was commissioned by Insight Editions to paint a cutaway of Aliens' APC which appeared alongside the Dropship art and 8 other new artworks of hardware from the franchise in high end collectible Alien: The Weyland-Yutani Report. The making-of film APC Cutaway : Special Edition which John created to promote his work in Insight's publication, continues to wow viewers seven+ years after its release amassing over 60,000 views on Youtube. Both the Dropship and APC cutaway originals artworks sold to a private collector. In 2018 John was commissioned to produce six new colour 2D artworks of craft from the series for Free League's Alien Role Playing Game title, with each piece rendered using the same intricate techniques as for his 3D cutaway work. Click here to see the full gallery of John's work for Alien.About The ArtistA lifelong fan of science-fiction cinema, John R. Mullaney has over two decades experience producing beautifully detailed sci-fi cutaway art for publications licensed by major film studio properties. His career in studio-licensed sci-fi cutaway art began in 1999 when he was recommended by the Society of Architectural Illustration to Dorling Kindersley who were looking for an additional illustrator for their Star Wars Incredible Cross Sections series of publications. Following an extensive audition process, John secured the position and subsequently illustrated multiple iconic locations and ships from the franchise. In addition to his work with Lucasfilm, John has gone on to be commissioned by many other major studios such as 20th Century Fox, Pixar, Universal Studios, 343 Industries, the BBC and Games Workshop. As well as Star Wars, he has produced art for Alien, Batman, Halo, Firefly/Serenity, Doctor Who, Wall-E and Warhammer/40K. Published by DK, Lucasbooks, Insight Editions, Egmont, Titan and Free League, John ensures his artworks are as screen-accurate as the reference allows, working not just from film-stills but from production blueprints & digital models, on-set photography and archive imagery of original miniatures.Each unique large format piece has a production time running into hundreds of hours, using a process of carefully applied multiple watercolour layers, to achieve a complex and nuanced richness of colour, tone and texture. Measuring up to 76x55cm these intricately detailed large format pencil, watercolour, ink & gouache pieces on 300gm watercolour paper, pack a huge visual punch. Alongside these are the preliminary artworks for most cutaways. These pencil artworks are all created on A3 tracing paper and form the basis for the full colour artworks - the majority are as detailed as the size of paper allows before they are enlarged and traced. In a world of predominantly digital art, John's original paintings of iconic vehicles and locations from world-famous science fiction properties have become much sought-after unique investment pieces for pop culture collectors, film enthusiasts and corporate buyers.John is a fellow and council member of the Society of Architectural Illustration and is also an award-winning filmmaker.

A sheet of A4 tracing paper of the original preliminary cutaway artwork produced by John R. Mullaney depicting the iconic Pulse Rifle from James Cameron's 1986 masterpiece Aliens. Drawn by John R. Mullaney in 2013. Page measures 35 x 21cm.This concept art was used to convey art direction given to ILM artist Drew Pace as a mock-up for a digital cutaway artwork of the weapon for a proposed in-universe publication called The Weyland-Yutani Files. Conceived by John and the Alien Brain Trust between 2012 and 2013, the project was ultimately surpassed by Insight Editions' The Weyland- Yutani Report - licensed by 20th Century Fox Film Corporation – for which John was chosen by Fox as one of the two illustrators.When planning the content for this title, the Pulse Rifle artwork was used as a proof of concept for weapons cutaways but ultimately the publisher did not have the budget for this and a full-colour non-cutaway artwork of the iconic weapon was instead produced. Working from photos provided by the Harry Harris collection, John's final colour artwork of the Pulse Rifle appears on pages 104-105 of The Weyland-Yutani Report (see lot images, book not included in lot).About The ProjectOf all the franchises John has been commissioned to illustrate, the Alien franchise remains his most personally beloved. Between 2005 and 2006 John created his self-initiated cutaway art of the Colonial Marines Dropship from the 1986 sequel as a proof of concept for an entire book of cutaways depicting the iconic craft and locations from the franchise. The artwork became a limited edition collectible produced by Acme Archives and rapidly sold out. In 2014 he was commissioned by Insight Editions to paint a cutaway of Aliens' APC which appeared alongside the Dropship art and 8 other new artworks of hardware from the franchise in high end collectible Alien: The Weyland-Yutani Report. The making-of film APC Cutaway : Special Edition which John created to promote his work in Insight's publication, continues to wow viewers seven+ years after its release amassing over 60,000 views on Youtube. Both the Dropship and APC cutaway originals artworks sold to a private collector.In 2018 John was commissioned to produce six new colour 2D artworks of craft from the series for Free League's Alien Role Playing Game title, with each piece rendered using the same intricate techniques as for his 3D cutaway work. Click here to see the full gallery of John's work for Alien.About the ArtistA lifelong fan of science-fiction cinema, John R. Mullaney has over two decades experience producing beautifully detailed sci-fi cutaway art for publications licensed by major film studio properties. His career in studio-licensed sci-fi cutaway art began in 1999 when he was recommended by the Society of Architectural Illustration to Dorling Kindersley who were looking for an additional illustrator for their Star Wars Incredible Cross Sections series of publications. Following an extensive audition process, John secured the position and subsequently illustrated multiple iconic locations and ships from the franchise. In addition to his work with Lucasfilm, John has gone on to be commissioned by many other major studios such as 20th Century Fox, Pixar, Universal Studios, 343 Industries, the BBC and Games Workshop. As well as Star Wars, he has produced art for Alien, Batman, Halo, Firefly/Serenity, Doctor Who, Wall-E and Warhammer/40K. Published by DK, Lucasbooks, Insight Editions, Egmont, Titan and Free League, John ensures his artworks are as screen-accurate as the reference allows, working not just from film-stills but from production blueprints & digital models, on-set photography and archive imagery of original miniatures.Each unique large format piece has a production time running into hundreds of hours, using a process of carefully applied multiple watercolour layers, to achieve a complex and nuanced richness of colour, tone and texture. Measuring up to 76x55cm these intricately detailed large format pencil, watercolour, ink & gouache pieces on 300gm watercolour paper, pack a huge visual punch. Alongside these are the preliminary artworks for most cutaways. These pencil artworks are all created on A3 tracing paper and form the basis for the full colour artworks - the majority are as detailed as the size of paper allows before they are enlarged and traced. In a world of predominantly digital art, John's original paintings of iconic vehicles and locations from world-famous science fiction properties have become much sought-after unique investment pieces for pop culture collectors, film enthusiasts and corporate buyers.John is a fellow and council member of the Society of Architectural Illustration and is also an award-winning filmmaker.

A sheet of A3 tracing paper containing the original high-detail preliminary for the cutaway artwork of The Baneblade Tank as published in Warhammer 40,000 Apocalypse: Catacylismic Battles – 2013 / Published by Games Workshop. Drawn by John R. Mullaney in 2016. Measures 42 x 30cm.Commissioned in 2012, this precisely drawn high-detail artwork was the basis for the eventual full-colour artwork published the following year and underwent multiple changes before this final preliminary was approved by Games Workshop.The exterior of the Baneblade tank was set up using a photo of the vehicle's GW model kit, but the interior had never been seen before and required extensive collaboration between John and the GW team. Running with their brief that the interior should look like a 'World War II U-boat meets a Cathedral', John employed real world submarines and tanks as reference to achieve a mechanical verisimilitude. GW supplied John with a wealth of reference and instructions to create the look of the 40K architecture mythos & its characters, including the wealth of servo skulls, servitors and human gunners that inhabit the vehicle.About The ArtistA lifelong fan of science-fiction cinema, John R. Mullaney has over two decades experience producing beautifully detailed sci-fi cutaway art for publications licensed by major film studio properties. His career in studio-licensed sci-fi cutaway art began in 1999 when he was recommended by the Society of Architectural Illustration to Dorling Kindersley who were looking for an additional illustrator for their Star Wars Incredible Cross Sections series of publications. Following an extensive audition process, John secured the position and subsequently illustrated multiple iconic locations and ships from the franchise. In addition to his work with Lucasfilm, John has gone on to be commissioned by many other major studios such as 20th Century Fox, Pixar, Universal Studios, 343 Industries, the BBC and Games Workshop. As well as Star Wars, he has produced art for Alien, Batman, Halo, Firefly/Serenity, Doctor Who, Wall-E and Warhammer/40K. Published by DK, Lucasbooks, Insight Editions, Egmont, Titan and Free League, John ensures his artworks are as screen-accurate as the reference allows, working not just from film-stills but from production blueprints & digital models, on-set photography and archive imagery of original miniatures.Each unique large format piece has a production time running into hundreds of hours, using a process of carefully applied multiple watercolour layers, to achieve a complex and nuanced richness of colour, tone and texture. Measuring up to 76x55cm these intricately detailed large format pencil, watercolour, ink & gouache pieces on 300gm watercolour paper, pack a huge visual punch. Alongside these are the preliminary artworks for most cutaways. These pencil artworks are all created on A3 tracing paper and form the basis for the full colour artworks - the majority are as detailed as the size of paper allows before they are enlarged and traced. In a world of predominantly digital art, John's original paintings of iconic vehicles and locations from world famous science fiction properties have become much sought-after unique investment pieces for pop culture collectors, film enthusiasts and corporate buyers.John is a fellow and council member of the Society of Architectural Illustration, and is also an award-winning film-maker.

A sheet of 300gm watercolour paper containing the original watercolour, gouache and ink character art composited into the cutaway of 'The Night Buzzard' as featured in Star Wars Episode IX Rise of Skywalker. Painted by John R. Mullaney in 2020.Measures 26x18.5cm. The three characters were hand drawn and painted at a larger scale than the cutaway itself to allow for more detail and flexibility of positioning before they were digitally composited into the eventual piece. Reference photography of each character was provided by Lucasfilm and this was used to ensure screen-accuracy. An additional unpainted image of Ushar peering inside a storage crate was drafted before John and the team at DK and Lucasfilm decided he would be depicted in a different posture and location. Ushar's mace was also drafted before it was decided to composite the photographic version of the character's weapon. Consideration had to be given to each character's colouring to ensure it matched the lighting of the main cutaway and the relative position in which they would be located. The artwork appears on pages 252-3 of DK's 2020 title Star Wars Complete Vehicles Incredible Cross-Sections. It remains the only canon depiction within the Star Wars universe of the entire vehicle interior used by the sequel trilogy's primary adversary.About The ProjectIn 1999 John was approached by Dorling Kindersley and Lucasbooks to be the third illustrator on their world-famous Star Wars Incredible Cross Section series. Since then he has had his meticulously detailed work published in many of the series’ titles including the Night Buzzard most recently commissioned & published in 2020. Thanks to a close working relationship with Lucasfilm’s archive and art departments, each image is extensively researched for accuracy and based on exclusive access to behind the scenes reference material. The pieces John completed in the early two thousands were approved by George Lucas, whilst approvals for more recent commissions have been overseen and rubber-stamped by Pablo Hidalgo - the head of Lucasfilm’s story group. Click here to see the full gallery of John's work on Star WarsAbout The ArtistA lifelong fan of science-fiction cinema, John R. Mullaney has over two decades experience producing beautifully detailed sci-fi cutaway art for publications licensed by major film studio properties. His career in studio-licensed sci-fi cutaway art began in 1999 when he was recommended by the Society of Architectural Illustration to Dorling Kindersley who were looking for an additional illustrator for their Star Wars Incredible Cross Sections series of publications. Following an extensive audition process, John secured the position and subsequently illustrated multiple iconic locations and ships from the franchise. In addition to his work with Lucasfilm, John has gone on to be commissioned by many other major studios such as 20th Century Fox, Pixar, Universal Studios, 343 Industries, the BBC and Games Workshop. As well as Star Wars, he has produced art for Alien, Batman, Halo, Firefly/Serenity, Doctor Who, Wall-E and Warhammer/40K. Published by DK, Lucasbooks, Insight Editions, Egmont, Titan and Free League, John ensures his artworks are as screen-accurate as the reference allows, working not just from film-stills but from production blueprints & digital models, on-set photography and archive imagery of original miniatures.Each unique large format piece has a production time running into hundreds of hours, using a process of carefully applied multiple watercolour layers, to achieve a complex and nuanced richness of colour, tone and texture. Measuring up to 76x55cm these intricately detailed large format pencil, watercolour, ink & gouache pieces on 300gm watercolour paper, pack a huge visual punch. Alongside these are the preliminary artworks for most cutaways. These pencil artworks are all created on A3 tracing paper and form the basis for the full colour artworks - the majority are as detailed as the size of paper allows before they are enlarged and traced. In a world of predominantly digital art, John's original paintings of iconic vehicles and locations from world famous science fiction properties have become much sought-after unique investment pieces for pop culture collectors, film enthusiasts and corporate buyers. John is a fellow and council member of the Society of Architectural Illustration, and is also an award-winning film-maker.

A sheet of 300gm watercolour paper containing the original watercolour, gouache and ink character art composited into the cutaway of 'The Night Buzzard' as featured in Star Wars Episode IX Rise of Skywalker for Dorling Kindersley's (see images, book not included in lot) . Painted by John R. Mullaney in 2020. Measures 9 x 33,5cm. The three characters were hand drawn and painted at a larger scale than the cutaway itself (see lot 205) to allow for more detail and flexibility of positioning before they were digitally composited into the eventual piece. Reference photography of each character was provided by Lucasfilm and this was used to ensure screen-accuracy. Two of the characters would be composited into the artwork as gunners manning the ship's weapon meaning it wasn't necessary to paint the full extent of their character. Consideration needed to be given to each character's colouring to ensure it matched the lighting of the main cutaway and the relative position in which each character would be located. The artwork appears on pages 252-3 of DK's 2020 title Star Wars Complete Vehicles Incredible Cross-Sections. It remains the only canon depiction within the Star Wars universe of the entire vehicle interior used by the sequel trilogy's primary adversaryAbout The ProjectIn 1999 John was approached by Dorling Kindersley and Lucasbooks to be the third illustrator on their world-famous Star Wars Incredible Cross Section series. Since then he has had his meticulously detailed work published in many of the series’ titles including the Night Buzzard most recently commissioned & published in 2020. Thanks to a close working relationship with Lucasfilm’s archive and art departments, each image is extensively researched for accuracy and based on exclusive access to behind the scenes reference material. The pieces John completed in the early two thousands were approved by George Lucas, whilst approvals for more recent commissions have been overseen and rubber-stamped by Pablo Hidalgo - the head of Lucasfilm’s story group. Click here to see the full gallery of John's work on Star Wars.About The ArtistA lifelong fan of science-fiction cinema, John R. Mullaney has over two decades experience producing beautifully detailed sci-fi cutaway art for publications licensed by major film studio properties. His career in studio-licensed sci-fi cutaway art began in 1999 when he was recommended by the Society of Architectural Illustration to Dorling Kindersley who were looking for an additional illustrator for their Star Wars Incredible Cross Sections series of publications. Following an extensive audition process, John secured the position and subsequently illustrated multiple iconic locations and ships from the franchise. In addition to his work with Lucasfilm, John has gone on to be commissioned by many other major studios such as 20th Century Fox, Pixar, Universal Studios, 343 Industries, the BBC and Games Workshop. As well as Star Wars, he has produced art for Alien, Batman, Halo, Firefly/Serenity, Doctor Who, Wall-E and Warhammer/40K. Published by DK, Lucasbooks, Insight Editions, Egmont, Titan and Free League, John ensures his artworks are as screen-accurate as the reference allows, working not just from film-stills but from production blueprints & digital models, on-set photography and archive imagery of original miniatures.Each unique large format piece has a production time running into hundreds of hours, using a process of carefully applied multiple watercolour layers, to achieve a complex and nuanced richness of colour, tone and texture. Measuring up to 76x55cm these intricately detailed large format pencil, watercolour, ink & gouache pieces on 300gm watercolour paper, pack a huge visual punch. Alongside these are the preliminary artworks for most cutaways. These pencil artworks are all created on A3 tracing paper and form the basis for the full colour artworks - the majority are as detailed as the size of paper allows before they are enlarged and traced. In a world of predominantly digital art, John's original paintings of iconic vehicles and locations from world famous science fiction properties have become much sought-after unique investment pieces for pop culture collectors, film enthusiasts and corporate buyers.John is a fellow and council member of the Society of Architectural Illustration, and is also an award-winning film-maker.

A sheet of A3 tracing paper of an initial preliminary artwork depicting the legacy characters' route through Mos Eisley spaceport as featured in Star Wars Episode IV A New Hope. Drawn by John R. Mullaney in 2001.Measures 29.5 x 19cm. This artwork was produced as part of the planning process undertaken by the artist, DK art editor John Kelly and Lucasfilm's project consultant Curtis Saxton.The artist's brief was to produce an aerial cityscape view of the infamous “hive of scum and villainy”. But accurately plotting the buildings glimpsed in the Mos Eisley sequence required a forensic approach. By using shadow directions seen in the 1977 original as well as the 20th anniversary reissue edition, and matching background architecture that appeared in more than one shot, the team were able to calculate the relationship between buildings which line the route taken by Kenobi, Skywalker and the droids - from the outskirts of the city to the notorious Cantina, before they later head to Docking Bay 94. With the route plotted, the artist was then able to build up the rest of the spaceport ultimately creating one of his most ambitious and prestigious paintings to date, with the eventual artwork personally approved by George Lucas. Originally appearing on pages 12-13 of the original title: Inside the Worlds of Star Wars Trilogy, the art has been subsequently published in multiple reprints of the Inside the Worlds of Star Wars and Incredible Cross-Sections series.Two decades on from the creation of this vital first planning sketch, the final illustration remains the only published canon depiction of the city's layout in the franchise's history.About The Series In 1999 John was approached by Dorling Kindersley and Lucasbooks to be the third illustrator on their world-famous Star Wars Incredible Cross Section series. Since then he has had his meticulously detailed work published in many of the series’ titles including the Night Buzzard most recently commissioned & published in 2020. Thanks to a close working relationship with Lucasfilm’s archive and art departments, each image is extensively researched for accuracy and based on exclusive access to behind the scenes reference material. The pieces John completed in the early two thousands were approved by George Lucas, whilst approvals for more recent commissions have been overseen and rubber-stamped by Pablo Hidalgo - the head of Lucasfilm’s story group. Click here to see the full gallery of John's work on Star Wars.About The ArtistA lifelong fan of science-fiction cinema, John R. Mullaney has over two decades experience producing beautifully detailed sci-fi cutaway art for publications licensed by major film studio properties. His career in studio-licensed sci-fi cutaway art began in 1999 when he was recommended by the Society of Architectural Illustration to Dorling Kindersley who were looking for an additional illustrator for their Star Wars Incredible Cross Sections series of publications. Following an extensive audition process, John secured the position and subsequently illustrated multiple iconic locations and ships from the franchise. In addition to his work with Lucasfilm, John has gone on to be commissioned by many other major studios such as 20th Century Fox, Pixar, Universal Studios, 343 Industries, the BBC and Games Workshop. As well as Star Wars, he has produced art for Alien, Batman, Halo, Firefly/Serenity, Doctor Who, Wall-E and Warhammer/40K. Published by DK, Lucasbooks, Insight Editions, Egmont, Titan and Free League, John ensures his artworks are as screen-accurate as the reference allows, working not just from film-stills but from production blueprints & digital models, on-set photography and archive imagery of original miniatures.Each unique large format piece has a production time running into hundreds of hours, using a process of carefully applied multiple watercolour layers, to achieve a complex and nuanced richness of colour, tone and texture. Measuring up to 76x55cm these intricately detailed large format pencil, watercolour, ink & gouache pieces on 300gm watercolour paper, pack a huge visual punch. Alongside these are the preliminary artworks for most cutaways. These pencil artworks are all created on A3 tracing paper and form the basis for the full colour artworks - the majority are as detailed as the size of paper allows before they are enlarged and traced. In a world of predominantly digital art, John's original paintings of iconic vehicles and locations from world famous science fiction properties have become much sought-after unique investment pieces for pop culture collectors, film enthusiasts and corporate buyers.John is a fellow and council member of the Society of Architectural Illustration, and is also an award-winning film-maker.

A sheet of A3 tracing paper containing the original high detail preliminary for the cutaway artwork of Truth and Reconciliation as featured in Halo Warfleet – An illustrated Guide to the Spacecraft of Halo (see images, book not included) licensed by 343 Industries and published by Egmont. Drawn by John R. Mullaney in 2016. Measures 42 x 25cm.This detailed artwork underwent extensive discussion as most of the internal elements had yet to be seen within the Halo universe, with just the Hangar seen in gameplay. A notable detail from gameplay present within the preliminary which did not make it into the final colour artwork is the bridge, the position of which proved too elusive for 343 to definitely locate within the ship. More than just a preliminary, this artwork acted as a high-detail blueprint for the final artwork, precise as the scale allows. Once approved, the artwork was then reproduced at large format size and carefully traced with a lightbox onto watercolour paper to form the set-up for the final full colour artwork. The eventual artwork which was set-up using this preliminary art appears on pages 62-63 of Halo Warfleet – An illustrated Guide to the Spacecraft of Halo.About The ProjectIn 2016 John was approached by illustrator Hans Jenssen asking if he would like to collaborate on a Halo cutaways project on which he was already working. This was a huge deal for John – given that just under two decades earlier John had begun his career in architectural illustration by forensically studying Hans' and Richard Chasemore's work in DK's first Star Wars Incredible Cross Sections title. Aspiring to one day work on these famous titles – which he did in 2001 – John has ever since based a great deal of his cutaway technique on Hans' work. Published by Egmont, licensed by the team at 343 Industries, and overseen by lead-writer of the Halo Universe Kenneth Peters, the book project saw Hans produce artworks of all the human-built ships in the book whilst John depicted the Covenant fleet. These ships’ organic curves and unusual design represented a departure from the more utilitarian designs seen in Star Wars and Alien, as well as an opportunity to apply new digital techniques to the hand painted artworks. Click here to see the full gallery of John's work for Halo.About The ArtistA lifelong fan of science-fiction cinema, John R. Mullaney has over two decades experience producing beautifully detailed sci-fi cutaway art for publications licensed by major film studio properties. His career in studio-licensed sci-fi cutaway art began in 1999 when he was recommended by the Society of Architectural Illustration to Dorling Kindersley who were looking for an additional illustrator for their Star Wars Incredible Cross Sections series of publications. Following an extensive audition process, John secured the position and subsequently illustrated multiple iconic locations and ships from the franchise. In addition to his work with Lucasfilm, John has gone on to be commissioned by many other major studios such as 20th Century Fox, Pixar, Universal Studios, 343 Industries, the BBC and Games Workshop. As well as Star Wars, he has produced art for Alien, Batman, Halo, Firefly/Serenity, Doctor Who, Wall-E and Warhammer/40K. Published by DK, Lucasbooks, Insight Editions, Egmont, Titan and Free League, John ensures his artworks are as screen-accurate as the reference allows, working not just from film-stills but from production blueprints & digital models, on-set photography and archive imagery of original miniatures.Each unique large format piece has a production time running into hundreds of hours, using a process of carefully applied multiple watercolour layers, to achieve a complex and nuanced richness of colour, tone and texture. Measuring up to 76x55cm these intricately detailed large format pencil, watercolour, ink & gouache pieces on 300gm watercolour paper, pack a huge visual punch. Alongside these are the preliminary artworks for most cutaways. These pencil artworks are all created on A3 tracing paper and form the basis for the full colour artworks - the majority are as detailed as the size of paper allows before they are enlarged and traced. In a world of predominantly digital art, John's original paintings of iconic vehicles and locations from world famous science fiction properties have become much sought-after unique investment pieces for pop culture collectors, film enthusiasts and corporate buyers.John is a fellow and council member of the Society of Architectural Illustration, and is also an award-winning film-maker.

A sheet of A3 tracing paper containing the original high detail preliminary for the cutaway artwork of High Charity as featured in Halo Warfleet – An illustrated Guide to the Spacecraft of Halo (see images, book not include) licensed by 343 Industries and published by Egmont. Painted by John R. Mullaney in 2017.Measures 29 x 34cmThe interior of this vast entity had never been seen before within the Halo universe, so the authors and illustrator spent significant time and effort establishing the internal layout and structure. The artwork evolved over multiple iterations with the artist setting up some of the geometry using 3D modelling, before transferring approved geometry to the high detail hand-drawn artwork which was then scaled up to form the basis for the full-size artwork. More than just a preliminary, this artwork acted as a high-detail blueprint for the final artwork, precise as the scale allows. Once approved, the artwork was then reproduced at large format size and carefully traced with a lightbox onto watercolour paper to form the set-up for the final full colour artwork. The eventual artwork which was set-up using this preliminary art appears on pages 56-67 of Halo Warfleet – An illustrated Guide to the Spacecraft of Halo.About The ProjectIn 2016 John was approached by illustrator Hans Jenssen asking if he would like to collaborate on a Halo cutaways project on which he was already working. This was a huge deal for John – given that just under two decades earlier John had begun his career in architectural illustration by forensically studying Hans' and Richard Chasemore's work in DK's first Star Wars Incredible Cross Sections title. Aspiring to one day work on these famous titles – which he did in 2001 – John has ever since based a great deal of his cutaway technique on Hans' work. Published by Egmont, licensed by the team at 343 Industries, and overseen by lead-writer of the Halo Universe Kenneth Peters, the book project saw Hans produce artworks of all the human-built ships in the book whilst John depicted the Covenant fleet. These ships’ organic curves and unusual design represented a departure from the more utilitarian designs seen in Star Wars and Alien, as well as an opportunity to apply new digital techniques to the hand painted artworks. Click here to see the full gallery of John's work for Halo.About The ArtistA lifelong fan of science-fiction cinema, John R. Mullaney has over two decades experience producing beautifully detailed sci-fi cutaway art for publications licensed by major film studio properties. His career in studio-licensed sci-fi cutaway art began in 1999 when he was recommended by the Society of Architectural Illustration to Dorling Kindersley who were looking for an additional illustrator for their Star Wars Incredible Cross Sections series of publications. Following an extensive audition process, John secured the position and subsequently illustrated multiple iconic locations and ships from the franchise. In addition to his work with Lucasfilm, John has gone on to be commissioned by many other major studios such as 20th Century Fox, Pixar, Universal Studios, 343 Industries, the BBC and Games Workshop. As well as Star Wars, he has produced art for Alien, Batman, Halo, Firefly/Serenity, Doctor Who, Wall-E and Warhammer/40K. Published by DK, Lucasbooks, Insight Editions, Egmont, Titan and Free League, John ensures his artworks are as screen-accurate as the reference allows, working not just from film-stills but from production blueprints & digital models, on-set photography and archive imagery of original miniatures.Each unique large format piece has a production time running into hundreds of hours, using a process of carefully applied multiple watercolour layers, to achieve a complex and nuanced richness of colour, tone and texture. Measuring up to 76x55cm these intricately detailed large format pencil, watercolour, ink & gouache pieces on 300gm watercolour paper, pack a huge visual punch. Alongside these are the preliminary artworks for most cutaways. These pencil artworks are all created on A3 tracing paper and form the basis for the full colour artworks - the majority are as detailed as the size of paper allows before they are enlarged and traced. In a world of predominantly digital art, John's original paintings of iconic vehicles and locations from world famous science fiction properties have become much sought-after unique investment pieces for pop culture collectors, film enthusiasts and corporate buyers.John is a fellow and council member of the Society of Architectural Illustration, and is also an award-winning film-maker.

Grayson Perry, CBE RA. King of Hearts. Digital Artwork Giclée Print on Hahnemühle Pearl Paper, 44.5 x 32 cm, canvas size 59.4 x 42 cm. Artists proof, signed."Grayson Perry is an English contemporary artist, writer and broadcaster. He is known for his ceramic vases, tapestries, and cross-dressing, as well as his observations of the contemporary arts scene, and for dissecting British ""prejudices, fashions and foibles"".Perry won the prestigious Turner Prize in 2003 for his innovative pictorial stories and his incisive satirical depictions of English cultural and social life, and has since gone on to mount various solo exhibitions worldwide, including at the Tate St Ives, Cornwall, and most recently at the National Museum in Oslo, Norway with his show Grayson Perry. Fitting In and Standing Out. which will run until March 2023. Perrys works revolve around themes such as identity, social classes, gender roles and consumer society. His art exposes and challenges societys norms, values and taboos, all of which are structures that influence how we see and express ourselves and how we are seen by others.Grayson has been involved with the TLC Deck of Cards since its inception when he designed one of the Joker cards of the first Deck. He then created the Queen of Diamonds for Volume 2 in 2020, and has continued with the aesthetic themes from previous designs with his King of Hearts for Volume 3. This relevant and timely piece, depicting a recently appointed king, features the classic ruff collar as seen in previous works, and makes use of the mirror style layout most commonly associated with traditional decks of cards. "

Grayson Perry, CBE RA. King of Hearts. Digital Artwork Giclée Print on Hahnemühle Pearl Paper, 44.5 x 32 cm, canvas size 59.4 x 42 cm. 1/1 signed."Grayson Perry is an English contemporary artist, writer and broadcaster. He is known for his ceramic vases, tapestries, and cross-dressing, as well as his observations of the contemporary arts scene, and for dissecting British ""prejudices, fashions and foibles"".Perry won the prestigious Turner Prize in 2003 for his innovative pictorial stories and his incisive satirical depictions of English cultural and social life, and has since gone on to mount various solo exhibitions worldwide, including at the Tate St Ives, Cornwall, and most recently at the National Museum in Oslo, Norway with his show Grayson Perry. Fitting In and Standing Out. which will run until March 2023. Perrys works revolve around themes such as identity, social classes, gender roles and consumer society. His art exposes and challenges societys norms, values and taboos, all of which are structures that influence how we see and express ourselves and how we are seen by others.Grayson has been involved with the TLC Deck of Cards since its inception when he designed one of the Joker cards of the first Deck. He then created the Queen of Diamonds for Volume 2 in 2020, and has continued with the aesthetic themes from previous designs with his King of Hearts for Volume 3. This relevant and timely piece, depicting a recently appointed king, features the classic ruff collar as seen in previous works, and makes use of the mirror style layout most commonly associated with traditional decks of cards. "

Katie Ponder. Three of Spades. Digital artwork print in paper. Signed and numbered 1/1. 29 x 20.5cm. "Katie Ponder has developed a unique style that is both fresh and contemporary but with references to art deco and with a touch of Gothic inspiration also. Ballet, tarot cards, mythology and patchwork quilts have all been key sources of inspiration behind Katies work. Katies work is developed digitally but to create a hand made quality she applies different textures from printing, collage and media experiments to create a rich and tactile look to her images. Recently Katie has enjoyed working with silkscreen printing and making limited edition prints. Katie attended Falmouth University where she received a 1st class with honours degree in illustration. On graduating from Falmouth Katie was the winner of the AOI Book Award for New Talent. In 2017 She was winner of the second prize for Folio Society Book Illustration Competition and winner of the House of Illustration Peoples Choice Award. Katie has also been the winner of the Glyndebourne Tour Art Competition. Katies list of clients include: Dorling Kindersley, Penguin, Simon and Schuster, Oh Comely Magazine, Glyndebourne, Canterbury Cathedral and her work has been exhibited at Somerset House. Most recently, Katie has revealed her work for the Royal Mail, having designed the prestigious 2022 Stamp Collection.

Karl Singporewala, ARB RIBA. Queen of Spades. 'Gaia'. Timber Marquetry. Karl Singporewala is an architect and sculptor. As a practising member of the Royal Institute of British Architects, working internationally from London, his practices architecture is always a product of collaboration which focuses on social impact, the role of beauty in buildings and the art of construction. His artwork, however, is more personal in nature and embellished by personal circumstances that draw on his Zoroastrian Parsee heritage. His architectural drawings and sculptural maquettes are held in both public and private collections world-wide. Select exhibitions include the Saatchi Gallery, V&A digital futures, The New York Institute of Technology, The Royal West Academy (RWA), Bristol and at The Royal Academy of Arts, London. In 2020, his artwork was awarded the inaugural RWA Art Prize for work by a Black Asian or Ethnic Minority artist. He is currently shortlisted to be a royal academician at the Bristol Academy.

Estate Of John Challis - Fan Art - a collection of x3 assorted pieces of fan made artwork. Comprising of x2 digital artworks, one showing Boycie & Marlene from Only Fools & Horses, the other showing a montage of Only Fools scenes. The third item is a 'Boycie & Marlene' name sheet on card. All three autographed by Challis in black ink, undedicated. A4 largest. A portion of the proceeds from the Estate Of John Challis will be donated to three charities that he supported: British Hedgehog Preservation Society (1164542), The Cuan Wildlife Rescue (1096812), and Tusk Trust (803118).

Mark Lyken (Scottish b. 1973)  Let Me Taste Your Smoke Kiss Spray paint and acrylic on canvas  Signed titled and dated by the artist in black pen verso 50 x 50 cm (19 x 19 in) Mark Lyken is a multitalented visual and acoustic artist dividing his time between painting, composing electronic sound works and film making. His paintings and visual art are heavily influenced by digital transformation, technological meditation and the idea of computers as prosthesis of human personality as well as scale and time of a living cosmos.

John Baldessari, American 1931–2020, Give me a B, Give me an A..., 2009; 10-part leporello, digital pigment print (Ditone) on Hahnemühle Photo Rag paper, presented in a folio,signed in ink and numbered 33/75 in pencil on a label attached to the reverse, stamped Forty Are Better Than One 2009, published by Schellmann Art Production, Munich & New York, folded dimensions: 32 x 25 cm, complete sheet: 32 × 250 cm, (unframed) Please refer to department for condition report

Tracey Emin CBE RA, British b. 1963- You forgot who you are, 2013; etching on Somerset soft white wove, signed, titled, dated, numbered 154/200 in pencil, published by Emin International, and comes with a certificate from IMMA art editions sheet: 36.5 x 40.5 cm, (unframed) (ARR) Note: This was made available by IMMA Art Editions for Tracey Emin's exhibition Desire: A Revision from the 20th Century to the Digital Age, September 2019 - March 2020Please refer to department for condition report

Damien Hirst, British b. 1965- What he will do 3056, The Currency, 2016; unique enamel on handmade paper from an original edition of 10,000, with 5,149 remaining, signed, titled, dated and numbered 3056, 21 x 29.7 cm, (unframed) (ARR) Note: Hirst aimed to “challenge the concept of value through money and art,” forcing buyers of his NFT project “The Currency” to decide between owning the physical artwork or the digital token connected to it.The project consisted of 10,000 unique NFTs that were each associated with corresponding artworks the British artist made in 2016. No two colours used in the artworks are the same, and each is stamped by the artist with a microdot and a hologram of Hirst’s visage.Hirst announced that his collectors would have to make a choice between the physical artwork and its digital version; asking them, in effect, to vote for which had more lasting value.Please refer to department for condition report

JULIEN, ISAAC1960 LondonTitel: Baltimore. Datierung: 2003. Technik: 3-Kanal-Videoprojektion von drei parallel laufenden Filmen. Zeit: 11:36 min. Auf SUB-MASTER Digital Betacam und drei DVD-R. Exemplar: Ex. 4/6. Zu der Videoinstallation liegt ein vom Künstler unterschriebenes Zertifikat vom 21. Juli 2004 vor. Zudem wird sie durch umfassende Installationsanweisungen begleitet.Provenienz: - Victoria Miro Gallery, London- Sammlung Prof. Dr. Thomas Olbricht, EssenDie Arbeit "Baltimore" thematisiert die Kinematisierung der Videokunst. Das Walter Art Museum, das Contemporary Museum und das Great Blacks in Wax Museum werden zu den zentralen Orten und Thema von Juliens Werk, ähnlich früherer Arbeiten wie "Vagabondia" und "Three", in denen ebenfalls Museen zum Handlungsort werden. Durch die präzise gewählten Drehorte rückt Julien so auch die im Oeuvre des Künstlers häufig anzutreffenden Themenschwerpunkte Rassismus und Gender in den Fokus seiner Beobachtungen. Julien verbindet diese Orte in einer Art Hommage an die Filme des Schauspielers und Regisseurs Melvin Van Peeble, mit dem "Blaxploitation-Kino", das mit seiner "tough talking, hard-living"-Mentalität als Symbol für "black empowerment" steht. Die Videoinstallation ist nicht nur ironisch und weist Bezüge zur Strömung der Funk-Musik auf, sie vereint ebenso Nostalgie und Futurismus und schwankt zwischen rauen und feinen Elementen. Durch diese übergreifende Umsetzung der Arbeit entzieht sich Juliens Werk der einfachen Kategorisierung.Erläuterungen zum Katalog

Alecos Fassianos (Greek, 1935-2022)Les poissons de la nuit signé en grec et daté '1986' (en bas à droite)acrylique sur papier contrecollé sur toile115 x 93cm (45 1/4 x 36 5/8in).signed in Greek and dated (lower right) acrylic on paper laid on canvasFootnotes:ProvenanceD. Pierides collection, Athens. Private collection, Athens.ExpositionsAthens, Pierides Museum, Fassianos, the Painter, the Engraver, 1991, no. 8, p. 12 (catalogued, p. 12, and illustrated im the exhibition catalogue, p. 23).Metsovo / Athens / Nicosia, Cyprus, Averoff Art Gallery / Pierides Art Gallery – Pierides Foundation / Municipal Art Centre of Nicosia, Ichthys, Spiritual and Artistic Symbol in Greek Tradition, October 28 1995 - January 31, 1996 / March 11 – May 26, 1996 / June 14 July 28, 1996 (illustrated in the exhibition catalogue, p. 151). Thessaloniki, Municipal Art Gallery, Alecos Fassianos, Unknown Works from S. G. Zachariades Collection, February 25 - April 26, 2009 (illustrated in the exhibition catalogue, pp. 66 [detail], 67).Rhodes, Municipality of Rhodes Modern Greek Art Museum, Fassianos, 45 Years of Creation, S. G. Zachariades Collection, July 30 - November 13, 2009 (illustrated in the exhibition catalogue, pp. 82 [detail], 83).LittératureY. Kolokotronis, Still Life in Modern Greek Art from the 19th Century to the Present Day, Athens 1992, p. 22 (mentioned), p. 181 (illustrated).Epiphania, Kinisis Business Administration Bulletin - Pierides Art Gallery, Athens 1992, p. 52 (illustrated).C. Christou, Greek Art, 20th Century Painting, Ekdotike Athenon editions, Athens 1996, no. 135, p. 251 (discussed), p. 165 (illustrated).C. Christou, Greek Painting in the Twentieth Century, Association for the Dissemination of Beneficial Books edition, vol. 2, Athens 2001, p. 96 (illustrated). Municipality of Rhodes Modern Greek Art Museum, Fassianos, 45 Years of Creation, Educational Program, Rhodes 2009 (illustrated).Contemporary Greek Art institute Digital Platform, dp.iset.gr, Alecos Fassianos Works, p. 3 (illustrated).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

George Rorris (Greek, born 1963)Autoportrait à l'atelier signé en grec et daté '91-92' (au centre à droite)huile sur toile162 x 130cm (63 3/4 x 51 3/16in).Peint en 1991-92.signed in Greek and dated (middle right)oil on canvasFootnotes:ProvenanceV. Frissiras collection, Athens.Sotheby's London, May 12, 2005, lot 78.Private collection, Athens.ExpositionAthens, Galerie Medoussa - Galerie Medoussa+1, George Rorris, March 4 - April 3, 1993 (illustrated in the exhibition catalogue).LittératureThe Vlassis Frissiras Collection of Contemporary Greek Artists, Athens 1993, no. 134, pp. 275, 279, 283 (catalogued), p. 263 (illustrated).Lexi magazine, no. 126, March-April 1993, p. 176, detail (illustrated). Contemporary Greek Art institute Digital Platform, dp.iset.gr, Giorgos Rorris Works, p. 1 (illustrated).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Anna Maria Tsakali (Greek, born 1959)Six heures du matin signé en grec et daté '95' (en bas à gauche)huile sur toile173 x 99cm (68 1/8 x 39in).Peint en 1995.signed in Greek and dated (lower left) oil on canvasFootnotes:ExpositionAthens, Titanium Gallery, Anna-Maria Tsakali, Peinture 1991-1995., January 29 - February 17, 1996 (illustrated in the exhibition catalogue).LittératureContemporary Greek Art institute Digital Platform, dp.iset.gr, Anna-Maria Tsakali Works, p. 3 (illustrated). For further information on this lot please visit Bonhams.com

Michalis Manousakis (Greek, born 1953)Le Bateau signé en grec (au revers)acrylique et technique mixte sur bois100 x 140cm (39 3/8 x 55 1/8in).Peint en 1996.signed in Greek (on the reverse) acrylic and mixed media on woodFootnotes:ExpositionAthens, Zoumboulakis Galleries, M. Manoussakis, Parallel Worlds, February 1998 (illustrated in the exhibition catalogue). LittératureContemporary Greek Art institute Digital Platform, dp.iset.gr, Michalis Manousakis Works, p. 3 (illustrated).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Jon England (20th/21st century) - "Zagan Station" inscribed on the artist original label verso a photograph/digital print mounted on steel, the label is also inscribed with the artist address Marklands, Lower Durston, Taunton TA3 5AH, limited edition photograph, 1/5 16.5" x 24.75"  - * The artist was a graduate of Central St Martin's (BA Fine Art, 2004) the original price being £320.

Shakir Hassan Al Said (Iraq, 1925-2004)One Thousand and One Nights (Alf Laylah wa-Laylah) ink on paper in nine parts variously signed and dated, executed in 195529 x 22cm eachFootnotes:Provenance:Property from the Artist's Estate'Give me in marriage to this King: either I shall die and be a ransom for the daughters of Muslims, or live and be the cause of their deliverance.'- ScherezadeFolk Art: Al Said's Earliest Inspiration and SourcesBy Dr Ahmed NajiUnlike most artists in the Arab world, Al Said is distinguished for writing about his art and making art about his writing – a practice he maintained throughout his life. Some of his first articles date back to the early 1950s which coincided with his co-founding of the Baghdad Modern Art Group and we see a particular focus on the theme of folk art as one of the main sources of turath – tradition. While these articles have survived to the present day, several of the drawings he discussed therein were not published or seen for various reasons, including the group of drawings presented here.These ink drawings, which are a remarkable addition to Al Said's renowned body of work, date back to 1955 and 1956, although the undated drawings of Shimmir and Ali and Abbas are possibly from 1953 and 1954, if we are to refer to Al Said's article titled 'The Predicament of Shimmir in the House of Vengeance' published in Al-Adab journal, 1954. Therefore, the drawings can be discussed briefly in two groups.Re-inspired Scenes from the tales of One Thousand and One NightsAmongst the widely distributed publications in Iraq and the Arab world are the tales of One Thousand and One Nights, which is a collection of stories compiled by various writers from the 9th century to the 20th century, also known in English as The Arabian Nights, with a popular version published in 1909 by Charles Scribner's Sons, New York. The Arabic version that Al Said had, which was referenced in several of his articles, was published in Egypt and based on an earlier version from 1932, also printed in Cairo in the state-owned printing house established by Mohammed Ali Pasha in the 1800s. The version Al Said had contained illustrations depicting different scenes from the tales including nudes, albeit in simplistic drawings. It is noteworthy that the same version Al Said had was outlawed in Egypt in 1985 for breaching literary decency regulations, however, a digital scan of the same version is available today online under a Creative Commons license. Al Said re-imagined the illustrations in his own style to explore folk art, specifically the conduit it provides to Al Said to express his own personal feelings through a well-known work of art widely accepted by the general public. These One Thousand and One Nights drawings by Al Said are amongst the best known to date in their quality of line and composition, without any preparatory sketches, pencil marks or additional colouring material. When compared with the 19th-century original illustrations, Al Said's drawings offer a more visceral and sharp interpretation of the nuances and thrill of the tales. No. 1/2: Shehrazad and King Sharyar opening sceneNo. 3: The tale of night 784 of Al-Hassan Al-Basri and his reunion with his seven sisters after long travels and adventures.No. 4: The tale of night 37 of the tailor who was tied to the mill after falling in love and losing his fortune. No. 5: The tale of night 266 of Al-As'aad and Queen Murjana. Al-As'aad survived by reaching land after being thrown in the sea by an evil merchant.No 6: Scene not illustrated from the story of the King with the Wiseman RoyanNo 7: The tale of Jodur and night 612 of Al-Maghribi. No. 8: Text of the tales stylised by Al Said to emphasise the shape of the Arabic letter as motifs present in folk art and design, such as crescents and triangles featured in tapestry and crafts.No. 9: General scene of women possibly inspired from the story of the Island of Waq-WaqDr Ahmed Naji is an independent researcher and cultural advisor on art in Iraq and the Arab world. He is the author of Under the Palm Trees: Modern Iraqi Art with Mohamed Makiya and Jewad Selim, Rizzoli New York, 2019. (Instagram: ahmednaji_alsaid)For further information on this lot please visit Bonhams.com

Full title: Koen Soberon (1971): 'Feng Shui' and 'Travelling in your mind', two digital prints, ed. 1/49 and 2/10, [2016]Description:Work: 70 x 70 cm Frame: 71,6 x 71,6 cm The style of Koen Soberon (1971) is contemporary and non-figurative, he is intuitively guided by the energy and atmosphere that is present in a certain place. He creates art that enriches, inspires and makes people dream. For him, art is a means of expressing his great love for people. As an autodidact, he is able to gain international recognition in record time. In addition to his colourful paintings, he succeeds in designing beautiful concepts that convey a universal message. He searches for the earthly and the dialectical transcendental within the human nature. The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Liaqat Rasul (British, B.1974)Envelop industrial plastic sheeting, cardboard, chunky felt tips, staples, tissue paper, wooden coffee stirrers, nylon net, staples, polypropylene plastic strapping, printed silk khadi, old shirt fabric, leather, grey board, packaging card, receipts, biro, rizzla paper, framed99 x 78.5cm (39 x 30 7/8in).Footnotes:ProvenanceThe Artist's Collection.Liaqat Rasul is a gay welsh dyslexic Pakistani male. He was born in Feb 1974 in Wrexham, North Wales. Liaqat studied fashion, gaining a first-class degree, specialising in textiles. He spent a year in industry, working and studying in New Delhi, India. Liberty's in Regent Street, London, bought his graduating collection, and he ran the business Ghulam Sakina for ten years, creating beautiful textile clothing. After Ghulam Sakina was liquidated in 2009, Liaqat decided to explore his life and career choices. He worked at the Roxy Beaujolais -run pub the Seven Stars, in Carey Street, while exploring art exhibitions and public art. A huge, heavy penny dropped in 2017, and Liaqat started making collages for friends. Small but vital art practice was initiated. Liaqat made a few pieces for commission, and in 2019 had his first-ever solo exhibition of eight pieces at the Tracey Neuls shop in Coal Drops Yard, London. The collage works are not a social or political statement; they are abstract and cartographic, made from old envelopes, stamped tickets, wooden coffee stirrers, misplaced printing on cardboard boxes, leftover yarn, swing tags, creased tissue papers, napkins, abandoned receipts, an old t-shirt chopped up, tatty found papers, packaging... marked with biros and felt-tip pens and stuck with PVA glue, sellotape on to card inserts and graphics on cardboard boxes left out in the street. Their bold, odd colours and real-world experiences create unique, buoyant collage tableaux.Making art is an act of hope. Liaqat invites the viewer to experience his low-tech, textured works, eyes darting about to take in the many elements, in their own time, meditatively, diverted from smartphones and the persistent digital world. Liaqat aims to create bigger and bolder collages and fibre works. Think tactile. Think analogue.He has been commissioned by Ty Pawb, Wrexham in North Wales, his place of birth to have his first solo exhibition in June 2024, which will then be on tour from Autumn 2024. He was part of the group show at Grosvenor Gallery, 'Patterns of the Past: Weaving Heritage in Pakistani Art' in the Summer of 2021, which was held in collaboration with Canvas Gallery, Karachi. The Crafts Council acquired a 3.5m tall portrait mobile and he has also been commissioned to work on a project with the elderly South Asian community in Gloucester, focussing on the migrant journey from Sri Lanka, India, Bangladesh and Pakistan.For further information on this lot please visit Bonhams.com

Biswajit Goswami (Bangladeshi, B.1981)Traveling with mother signed 'Biswajit 2022' lower rightchinese ink on fabriano paper, framed128 x 132cm (50 3/8 x 51 15/16in).Footnotes:'MA-a sound, a concept – there is no expectation, only omnibenevolence. When Bishwajit visited China for a third time, for an art project in 2015, his wife was pregnant; distance made him contemplate about his wife and baby. He started to ruminate, 'is my mother also missing me in the same way? How I'm missing...' the beautiful universal thought insisted him and provided energy to make a journey with an art project named 'Travelling with Mother'.He used an iconography 'MA' for this art project that was made by a traditional rickshaw painter from Bangladesh. In this project, he performed with general people in different cultures and geographical areas publicly. In the same way, he introduced Bengali sound 'MA' as an Art form to the different parts of the world. The people who have the same feeling about their mother or motherhood, they were the part of this work. 'Traveling with Mother', conveyed universal emotions of the global citizens.'Born in Netrakona, Bangladesh, Goswami is an artist and educator based in Bangladesh. He obtained his B.F.A in Drawing & Painting from the University of Dhaka, where he is now a lecturer, and subsequently obtained his M.F.A in Painting from Bharti University, Santiniketan, India. His works focus on revealing aspects of his surroundings which have a profound impact on contemporary culture. He employs photography, printmaking, painting to illustrate this. His works have been exhibited at the Dhaka Art Summit (2012,2014 and 2016), the Asian Art Biennale of Bangladesh (2008, 2010, 2012 and 2014), the Beijing International Art Biennale (2012 and 2015) and the Setouchi Triennial in Japan (2013). Recently in September 2022, his works were presented at the Victoria and Albert Museum, London as part of the Bureau 555 exhibit at the annual Digital Design weekend.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

2000 AD Judge Dredd 'The Day the Law Died' original artwork by Mick McMahon for 2000 AD prog 90 page 6, 11 Nov 1978. So the story goes, Dave Gibbons (with whom Mick shared a studio in St Albans) literally took the mick out of McMahon who had declared that drawing a 'fish' as a Deputy Chief Judge was his 'worst ever artwork panel' (source: Mick McMahon - The 2000 AD Thrill Cast, Lockdown Tapes Interview - You Tube 2016). Recently, in May of this year the publishers of the Apex Edition of Mick McMahon's Art took a digital copy of this artwork for their archive with the owner's permission. Indian ink and black marker pen with Letratone on card. 17 x 20 ins. Framed and glazed

Jan Sluijters (1881-1957), 'Portugeesche Bedelaar', oil on canvas, 117x82 cmPainted on April 5th of 1933., Exhibited:-Amsterdam, Kunstzaal van Lier, 'Hollandsche Schilders op Reis'.Literature:-A. Plasschaert and A.E. van den Tol, 'J. Raphäel bij van der Pelt - Van Daalhoff bij Kleykamp - Jan Sluyters bij van Lier', in De Groene Amsterdammer, 8 July 1933.-NRC, 20 October 1933, ill. p. 2: '... Buitendien zeer goed ziet, dat Sluyters in een uitnemend figuurstuk, uitbeelding van een Portugeeschen bedelaar, werk van verleden zomer en dus mede een der nieuwste - het was in Juli jl. op de tentoonstelling "Hollandsche schilders op reis" in de Kunstzaal Van Lier te Amsterdam [...]'.-Jacqueline de Raad, Digital catalogue raisonné, ‘Oeuvrecatalogus van de schilder Jan Sluijters’, RKD Studies 1998. Provenance:-With Kunstzaal Van Lier, Amsterdam/Blaricum, 1933.-Kunstzaal Esher Surrey, The Hague, October 1933.-With Kunsthandel M.L. de Boer, Amsterdam, inv. no. 12870., signed and dated 'Jan Sluijters 33' (upper left); signed and titled 'Jan Sluijters Portugeesche Bedelaar' (on the stretcher), There exists an interesting photograph of Jan Sluijters posing in his Amsterdam studio. We see Sluijters as an already well-established painter, confidently seated on a couch covered in colourful exotic carpets, wearing his painter’s work coat. There is a striking, huge painting on a painter’s easel next to him, representing an old man with distinguished facial features, but in ragged clothes. The painting is known as ‘The Portugeesche Bedelaar’. Although Jan Sluijters very much disliked travelling, he undertook several study trips. In the spring of 1933 he went with his wife, Greet, to Portugal to join his friend and colleague Ernst Leyden and his wife Karin who were renting a house for a couple of months. There has been much speculation about how “The Portugese Beggar” was created. Some have even suggested that the two artists would have painted the large canvas together, as for a while Ernst Leyden used to work in the same loose style as Sluijters. However, there are two interesting publications of 1934 with notes and drawings by Karin Leyden, who was an accomplished artist herself. She writes in detail about her stay in Portugal and illustrates her story with drawings. One of the drawings shows Jan Sluijters and Ernst Leyden viewed from behind, painting, with each artist standing before his own easel. On the left side of the drawing is the model for our beggar, clearly the same as the one that we find in oil on the canvas on sale: same position, same physical features. With the help of Karin Leyden’s drawing we are able to date the start of the painting: April 5, 1933. Sluijters must have finished the painting quite quickly, for once home in the Netherlands, it can already be admired in July 1933 at Kunsthandel van Lier, Amsterdam, as part of the exhibition “Hollandsche Schilders op Reis”. Later, in autumn of that same year, the painting can be seen in Kunstzaal Esher Surrey, The Hague. The reviews are very favourable and especially the “Portugese Beggar” receives much praise by the art critics, calling the work ‘‘Powerful and expressive” and applauding Sluijters’ use of colour. All this is more than correct: with the “Portugese Beggar”, Sluijters shows us once again his supremacy in rendering a human being to canvas. In a simple and subdued colour scheme, in accordance with the unpretentiousness of the beggar, Sluijters has depicted an impressive figure. We see not just a simple beggar with pleading open hand and the obligatory attributes like a cane and ragged clothes, we also see a human being with noble features and a history to tell. It is instantly clear why Sluijters became one of the most asked-for portrait painters of the last century. Sources:-Jacqueline de Raad a.o., ‘Jan Sluijters: 1881-1957’, Laren 2011.-Karin Leyden, ‘Portugeesch Paradijs’, 1934.-Karin Leyden, ‘Uit een brief van Karin Leyden’, In: Op de Hoogte, geïllustreerd maandblad, August 1933, pp. 241-243.

Jan Sluijters (1881-1957), 'Laantje' / A colourful forest lane, oil on canvas, 47x40 cm, Literature:-Jacqueline de Raad, Digital catalogue raisonné, ‘Oeuvrecatalogus van de schilder Jan Sluijters’, RKD Studies 1998, where erroneously dated 1909. Provenance:-With Kunsthandel G.J. Nieuwenhuizen Segaar, The Hague., signed and dated 'Jan. Sluijters 10' (upper left), After receiving a thorough and classical art education, Jan Sluijters manages to win the prestigious Prix de Rome in 1904. That same year he travels by means of his just received Prix-allowance through Italy and Spain, yet without really getting artistically inspired: it was all the same boring past, while Sluijters longs for the more exciting present. It is only in Paris that he finally finds the answer to his artistic aspirations. Here he becomes captivated by the Post-Impressionists and Fauvists and gets greatly inspired by the work of various modern painters, among whom fellow Dutchman Kees van Dongen. The modern Parisian nightlife, the bright electric and coloured light, the swirling dancers on the café floor must have been mesmerizing for Sluijters. He wants to capture it all in his paintings and at the same time give his spectators the idea of not only watching the scene, but of being part of it as well. With loose brush strokes and bright colours, Sluijters paints lively and exciting café scenes, such as Café Olympia and Bal Tabarin. However, the conservative Prix de Rome jury is not amused and accuses Sluijters of “celebrating the false ingenuity of the latest French trend” and of ‘‘trying too desperately with new colour schemes in his search for raw passion”. With the denouncement of his work comes the announcement that his allowance will be cut short. Back in Amsterdam in 1906, Sluijters receives some negative reviews, being considered to be too avant-garde. For Sluijters the criticism is the very proof that his choice to embrace modernism and to experiment with new styles is the right one. In a letter to a friend he writes “Alas […] a couple more of these refusals and I will become a famous man.” By then he already knows that negative attention is also publicity, what-so-ever. Despite the criticism Sluijters continues to exhibit his work along with that of his contemporaries, like Piet Mondriaan and Leo Gestel, and by doing so contributes greatly to a shift in the rather traditional artistic climate in the Netherlands. For many thinkers and artists, the beginning of the twentieth century also heralded the beginning of a search for new spiritual meaning and for some this meant that real life, as depicted in all its materialistic glory, was too decadent and too superficial. Spiritual depth, according to them, was not to be found in immoral city life, but should be sought after and could only be found in nature and nature alone. Always open to new ideas and looking for new subject matter, Sluijters would often trade Amsterdam for rural Renkum in Gelderland or Heeze in Brabant. For months on end he would paint non-stop in the woods where he, by his own account, found his way back to nature. The ruling thought of the day was that, for putting ‘soul’ into one’s work, the artist should use his senses first and then translate them onto canvas. Colour was used to express the felt sensations, not to depict reality. With all the new techniques and ideas picked up in Paris, intertwined with his new philosophical approach of depicting his surroundings in a more spiritual way, we see Sluijters produce numerous vibrant works in the years 1907-1908. They are beaming and bursting of colourful dots and strokes of bright, unmixed colours, always with the emphasis on the representation of light. However, the peak of this phase is reached in 1910, when Sluijters lives in Laren. Not the depiction of a realistic world is his main concern, but the use of form and colour to express the sensory perception of the world. Or in Sluijters own words: “Als ik bijvoorbeeld de zon zou willen schilderen op het landschap, zou ik dit landschap eerst wel mijn rug willen toekeren, om daarna, wanneer ik de sensatie, welke het glanzen der zon op het landschap in mij opwekte, voel, te gaan componeren in gelen en blauwen en groenen, waaruit ’t landschap tevoorschijn zou komen.” Still trying to gain a modern foothold in traditional Holland, Sluijters, together with his brothers in arms, Jan Toorop, Conrad Kickert, Leo Gestel, Kees Spoor and Piet Mondriaan, establishes ‘The Moderne Kunstkring’ in 1910. The following year the group organizes an exposition. Again Sluijters’ work is badly received in the press and four paintings are even refused by the mayor of Amsterdam to be part of the exhibition: two by Leo Gestel and two by Jan Sluijters, apparently because of their immorality (read: nude female figures). Another art critic attacks Sluijters as follows: “Het valt te betreuren dat deze man, met onmiskenbaar groot talent, niet aflaat met op de meest onbesuisde manier zijn onderwerpen te kiezen en zijn indrukken en passies onbekookt en fel op het doek te werpen”. (“It is to be regretted indeed that this undoubtfully well-talented man would choose his subjects carelessly and then would hurl his impressions and passions onto a canvas raw and fiercely!”) Well, we do not regret it at all, especially not when we look at the present lot ‘Laantje’, that Sluijters made in 1910. Sluijters used to call his colours ‘Gevoelskleuren’ and what a feeling of sheer joy he must have had when walking down this very forest lane! For here is a Summer’s day you will never forget; with unbridled strokes of exploding colours that seem to whirl and twirl over the canvas, Sluijters has created an ever-ongoing dance of light, leaves, sky, wood and sand, in one happy celebration of nature on a glorious day. If there has ever been painted an anti-depressive on canvas it is this very painting. Sources:-Frouke van Dijke a.o., ‘Kleur ontketend: Moderne kunst in de lage landen, 1885-1914’, The Hague 2015.-Jacqueline de Raad, ‘Jan Sluijters, 1881-1957’, Laren 2011.-Carel Blotkamp, ‘Meesters van het licht: luministische schilderkunst in Nederland en Duitsland’, Rotterdam 1996.-Anita Hopmans, ‘Jan Sluijters 1881-1957 : aquarellen en tekeningen, Zwolle 1991.‘Kunst in de Hoofdstad: De tentoonstelling van den Modernen Kunstkring’, In: De Maasbode, 14 October 1911.-‘Geweigerde schilderijen’, In: De Tijd: godsdienstig-staatkundig dagblad, 07 October 1911.

Jamie Reid (British, born 1947): Art Hate,2009,digital print, artwork taken from Silent Revolt's 7inch vinyl sleeve for their 'Art Hate' track on their 'National Art Hate Week' release, signed and numbered 33/113 by the artist in silver metallic pen, framed and glazed, 12in x 12in (30.5cm x 30.5cm)Footnotes:Provenance:The Craig Duffy CollectionThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Tin Stanton Lovers Leap, 2022 Ink and Charcoal on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Tin Stanton is a creative artist from Bristol with a passion for painting. His study of traditional impressionist techniques and his experience as a photographer enable him to deliver the dramatic through the use of colour and light, giving his paintings an intrinsically cinematic feel. With several works claiming finalist positions in galleries in London, Birmingham and Doncaster in 2021, Tin Stanton has also had his own solo exhibition in the D31 Art Gallery, Doncaster in 2022 as well as a painting displayed in the Royal Academy Summer Exhibition.   Education   2019-22 - First Class BA (hons) Drawing & Print (University of West of England) 2022 - 2023 MA Graphic Art (current study)   Select Exhibitions/Awards   Visitors - D31 Art Summer Exhibition Finalist (D31 Doncaster) 2021 The Heat - Clifton Arts Summer Exhibition (Bristol) 2021 From Dust - UK Coloured Pencil Society 2oth Anniversary Gala(OXO Tower Bargehouse, London) 2021 Above New London - The Artist Lounge Finalist, Artist of the Year (Online, Magazine) 2021 Day at the Beach / Above New London - April Fish - Round Lemon (Zest, Birmingham, Online, Magazine) 2021 Sol IX / The Towers - D31 Art Gallery Winter Exhibition (D31 Doncaster) 2021 Visitors Solo Exhibition - D31 Art Gallery (D31 Doncaster) 2022 Visitors II - Objects In Mirrors Are Closer Than They Appear - UWE / Jan-Philipp Fruehsorge (Centrespace Gallery, Bristol) 2022 Perspective / GET OFF MY LAND! / The Towers II - Doncaster Art Fair (Doncaster, Online) 2022 The Clearing / Dreaming Northward / Fire at Fox Cove - D31 Art Gallery Summer Exhibition (D31 Doncaster) 2022 The Towers II - Royal Academy Summer Exhibition (London) 2022 Statement about AOAP Submitted Artwork   Tin Stanton's postcard submissions form part of his ongoing futuristic exploration 'Visitors'; a collection of beautiful yet haunting paintings underpinned by a dark, insightful world of drawings, photographs, digital works, sculpture and text, which raise questions about aspects of our own futures in a way that is both convincing and compelling. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Tin Stanton The Point, 2022 Ink and Charcoal on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Tin Stanton is a creative artist from Bristol with a passion for painting. His study of traditional impressionist techniques and his experience as a photographer enable him to deliver the dramatic through the use of colour and light, giving his paintings an intrinsically cinematic feel. With several works claiming finalist positions in galleries in London, Birmingham and Doncaster in 2021, Tin Stanton has also had his own solo exhibition in the D31 Art Gallery, Doncaster in 2022 as well as a painting displayed in the Royal Academy Summer Exhibition.   Education   2019-22 - First Class BA (hons) Drawing & Print (University of West of England) 2022 - 2023 MA Graphic Art (current study)   Select Exhibitions/Awards   Visitors - D31 Art Summer Exhibition Finalist (D31 Doncaster) 2021 The Heat - Clifton Arts Summer Exhibition (Bristol) 2021 From Dust - UK Coloured Pencil Society 2oth Anniversary Gala(OXO Tower Bargehouse, London) 2021 Above New London - The Artist Lounge Finalist, Artist of the Year (Online, Magazine) 2021 Day at the Beach / Above New London - April Fish - Round Lemon (Zest, Birmingham, Online, Magazine) 2021 Sol IX / The Towers - D31 Art Gallery Winter Exhibition (D31 Doncaster) 2021 Visitors Solo Exhibition - D31 Art Gallery (D31 Doncaster) 2022 Visitors II - Objects In Mirrors Are Closer Than They Appear - UWE / Jan-Philipp Fruehsorge (Centrespace Gallery, Bristol) 2022 Perspective / GET OFF MY LAND! / The Towers II - Doncaster Art Fair (Doncaster, Online) 2022 The Clearing / Dreaming Northward / Fire at Fox Cove - D31 Art Gallery Summer Exhibition (D31 Doncaster) 2022 The Towers II - Royal Academy Summer Exhibition (London) 2022 Statement about AOAP Submitted Artwork   Tin Stanton's postcard submissions form part of his ongoing futuristic exploration 'Visitors'; a collection of beautiful yet haunting paintings underpinned by a dark, insightful world of drawings, photographs, digital works, sculpture and text, which raise questions about aspects of our own futures in a way that is both convincing and compelling. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Tin Stanton Dreaming Northward, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Tin Stanton is a creative artist from Bristol with a passion for painting. His study of traditional impressionist techniques and his experience as a photographer enable him to deliver the dramatic through the use of colour and light, giving his paintings an intrinsically cinematic feel. With several works claiming finalist positions in galleries in London, Birmingham and Doncaster in 2021, Tin Stanton has also had his own solo exhibition in the D31 Art Gallery, Doncaster in 2022 as well as a painting displayed in the Royal Academy Summer Exhibition.   Education   2019-22 - First Class BA (hons) Drawing & Print (University of West of England) 2022 - 2023 MA Graphic Art (current study)   Select Exhibitions/Awards   Visitors - D31 Art Summer Exhibition Finalist (D31 Doncaster) 2021 The Heat - Clifton Arts Summer Exhibition (Bristol) 2021 From Dust - UK Coloured Pencil Society 2oth Anniversary Gala(OXO Tower Bargehouse, London) 2021 Above New London - The Artist Lounge Finalist, Artist of the Year (Online, Magazine) 2021 Day at the Beach / Above New London - April Fish - Round Lemon (Zest, Birmingham, Online, Magazine) 2021 Sol IX / The Towers - D31 Art Gallery Winter Exhibition (D31 Doncaster) 2021 Visitors Solo Exhibition - D31 Art Gallery (D31 Doncaster) 2022 Visitors II - Objects In Mirrors Are Closer Than They Appear - UWE / Jan-Philipp Fruehsorge (Centrespace Gallery, Bristol) 2022 Perspective / GET OFF MY LAND! / The Towers II - Doncaster Art Fair (Doncaster, Online) 2022 The Clearing / Dreaming Northward / Fire at Fox Cove - D31 Art Gallery Summer Exhibition (D31 Doncaster) 2022 The Towers II - Royal Academy Summer Exhibition (London) 2022 Statement about AOAP Submitted Artwork   Tin Stanton's postcard submissions form part of his ongoing futuristic exploration 'Visitors'; a collection of beautiful yet haunting paintings underpinned by a dark, insightful world of drawings, photographs, digital works, sculpture and text, which raise questions about aspects of our own futures in a way that is both convincing and compelling. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Henrike Gomber Curly King, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   HENRIKE GOMBER is a German artist who has lived many lives. She was first a ceramic artist, before working as a designer, mostly digital and conceptual. She has now decided to retire from the fashion and trends industry to dedicate herself to color. Her work explores the relationships between people, with a fascinated eye. Her characters are raw, dark and playful at the same time. As she says herself, painting enables her to express nasty emotions, and mad feelings. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Henrike Gomber Firehead, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   HENRIKE GOMBER is a German artist who has lived many lives. She was first a ceramic artist, before working as a designer, mostly digital and conceptual. She has now decided to retire from the fashion and trends industry to dedicate herself to color. Her work explores the relationships between people, with a fascinated eye. Her characters are raw, dark and playful at the same time. As she says herself, painting enables her to express nasty emotions, and mad feelings. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Henrike Gomber O.T. (1), 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   HENRIKE GOMBER is a German artist who has lived many lives. She was first a ceramic artist, before working as a designer, mostly digital and conceptual. She has now decided to retire from the fashion and trends industry to dedicate herself to color. Her work explores the relationships between people, with a fascinated eye. Her characters are raw, dark and playful at the same time. As she says herself, painting enables her to express nasty emotions, and mad feelings. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Henrike Gomber O.T. (2), 2022 Acrylic on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   HENRIKE GOMBER is a German artist who has lived many lives. She was first a ceramic artist, before working as a designer, mostly digital and conceptual. She has now decided to retire from the fashion and trends industry to dedicate herself to color. Her work explores the relationships between people, with a fascinated eye. Her characters are raw, dark and playful at the same time. As she says herself, painting enables her to express nasty emotions, and mad feelings. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Ceal Warnants Teenage Kicks (Khaki), 2022 Unique Digital Print on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   b. 1984, Guildford, Surrey. Lives and works in London. The work draws parallels between the youth of 'then' and 'now'. The angst is the same but the pressures are different. Basing work on illustrations from the past helps to lend it an authenticity but also highlights the differences between two timeframes. Innocence is the truth of childhood whatever the era and it is fascinating.   Education   2002 - 2006 BA (Hons) Winchester School of Art (Printmaking) 2006 - 2008 MA RCA (Printmaking)   Select Exhibitions/Awards   2022 'JEALOUS NEEDS YOU' - JEALOUS GALLERY 'CHOOSE LOVE X THE PRINT CLUB' - ROYAL ALBERT HALL 'ROYAL ACADEMY SUMMER EXHIBITION' - ROYAL ACADEMY OF ARTS 'ART ON A POSTCARD - INTERNATIONAL WOMEN'S DAY' 2021 'ROYAL ACADEMY SUMMER EXHIBITION' - ROYAL ACADEMY OF ARTS 'CHOOSE LOVE' SOHO REVUE GALLERY, LONDON WITH THE PRINT CLUB 'ART CAR BOOT FAIR' WITH JEALOUS GALLERY 'ART ON A POSTCARD - INTERNATIONAL WOMEN'S DAY' 2020 "HOUSE OF VANS COMMUNITY MARKET" - HOUSE OF VANS, LONDON 'ROYAL ACADEMY SUMMER (WINTER) EXHIBITION 2020' - ROYAL ACADEMY OF ARTS, LONDON. 'WOMENKIND NORTH" - WITH LAE CONSULTANCY, PRESTON. 'ART ON A POSTCARD - INTERNATIONAL WOMEN'S DAY' - ALL BRIGHT, MAYFAIR, LONDON. 2019 'NOTICE THE SMALL THINGS" - JEALOUS GALLERY, LONDON. 'BLISTERS - WAY BACK WHEN' - PRINT CLUB, LONDON. 2018 'THE CUT' - HICKS GALLERY, LONDON 'POP ART FEMMES' - GINA CROSS GALLERY X ARTSY X GUCCI, LONDON 'CHOOSE LOVE' - THE PRINT CLUB @ SOMERSET HOUSE, LONDON 'WEIL ICH EIN MÄDCHEN BIN' - ODAPARK, CENTRUM VOOR HEDENDAAGSE KUNST, NETHERLANDS. 'ROYAL ACADEMY SUMMER EXHIBITION 2018' - ROYAL ACADEMY OF ARTS, LONDON. COLLABORATION WITH "COCO FENNELL" FOR SS18 COLLECTION #COCOXCEAL 2017 COLLABORATION WITH "THE BIG ISSUE" #WEARABIGISSUE 'ROYAL ACADEMY SUMMER EXHIBITION' - ROYAL ACADEMY OF ARTS, LONDON. 'GIRLS, GIRLS, GIRLS' - JEALOUS NORTH, LONDON. 2016 'KIDDING' (W/KRISTIAN JONES), JEALOUS GALLERY, LONDON. '20 BEST OF ART ON A POSTCARD' - JEALOUS GALLERY, LONDON. 2015 'FRACTURED FAIRYTALES' (3 PERSON SHOW WITH JESSICA HARRISON & JOE WEBB) - JEALOUS GALLERY, LONDON. 2014 'ROYAL ACADEMY SUMMER EXHIBITION' - ROYAL ACADEMY OF ARTS, LONDON. 'TIME OF THE MONTH' - JEALOUS GALLERY, LONDON. 2013 'ENGLISH EDITION' - CULTURE GALLERY, CAPE TOWN, SOUTH AFRICA. 'CONTES DE NOËL' - LESS IS MORE PROJECTS, PARIS, FRANCE. 2012 'ASSEMBLY' - HARTINGTON ROAD, LONDON. 'JEALOUS @ HEAL'S, HEAL'S', TOTTENHAM COURT ROAD. 2011 'EXAM.' - TRANSITION GALLERY, LONDON. 2010 'ROYAL ACADEMY SUMMER EXHIBITION' - ROYAL ACADEMY, LONDON. 'LA COLLECTION DE MONSIEUR X, OU LES AVANTAGES D'ÊTRE UN COLLECTIONNEUR' - ATELIER RICHELIEU, 60, RUE DE RICHELIEU, PARIS. 2009 'MANDERLEY' - JOHN JONES PROJECT SPACE, FINSBURY. 'ROYAL ACADEMY SUMMER EXHIBITION' - ROYAL ACADEMY, LONDON. 'TATE'S LONG WEEKEND', BOXBOT STAGE - TATE MODERN, SOUTHWARK. 'NEW PRINTS FROM THE ROYAL COLLEGE OF ART SELECTED BY CHRIS ORR RA' - ROYAL ACADEMY OF ARTS, IN THE SIR HUGH CASSON ROOM FOR FRIENDS OF THE ROYAL ACADEMY, LONDON. 2008 '10' - AN EXHIBITION TO CELEBRATE THE 10 YEARS OF CHRIS ORR'S PROFESSORSHIP IN CONJUNCTION WITH THE WORK OF NOTABLE ARTISTS INCLUDING TRACEY EMIN AND MICHAEL CRAIG-MARTIN - ROYAL COLLEGE OF ART GALLERIES, KENSINGTON, LONDON. 'MAKE BELIEVE' - SHOW WITH BOO RITSON, RUTH CLAXTON ET AL. PART OF 'CONCRETE AND GLASS' MUSIC AND ART FESTIVAL NICHOLLS & CLARKE BUILDING, 3-10 SHOREDITCH HIGH STREET. 'BEAUTIFULLY CRAFTED' - NATIONAL GLASS CENTRE, SUNDERLAND. 'SHOW RCA 2008' - HENRY MOORE GALLERY, ROYAL COLLEGE OF ART, KENSINGTON, LONDON. 2007 'IF YOU COULD DO ANYTHING TOMORROW - WHAT WOULD IT BE?' - EXPOSURE GALLERY, LITTLE PORTLAND STREET, LONDON. 'OVER AND OVER AGAIN' - CURATED BY SASHA CRADDOCK - SADLER'S WELLS, ROSEBERY AVENUE, LONDON. COLLECTIONS CHAPMAN BROTHER'S FAMILY ARCHIVE ROYAL COLLEGE OF ART ARCHIVE WSA LIBRARY ARTIST'S BOOK COLLECTION PRIVATE COLLECTIONS WORLDWIDE COLLABORATIONS 2018 COCO FENNELL 2017 THE BIG ISSUE #WEARABIGISSUE SCHOLARSHIPS AND AWARDS 2008 TIM MARA PRIZE - WINNER 2008 PRINTMAKING COUNCIL AWARD - WINNER 2008 SOUTH SQUARE TRUST SCHOLARSHIP - WINNER   Gallery Representation   Jealous Gallery, Gas Gallery, Chappell Contemporary   Statement about AOAP Submitted Artwork   "Teenage Kicks (Khaki)" is a clash of old and new and the dual meaning of "Kicks". "Are teenage dreams so hard to beat? Everytime she walks down the street Another girl in the neighbourhood Wish she was mine, she looks so good" The Undertones - "Teenage Kicks" Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Boo Saville Untitled Study (Series) (1), 2022 Digital Print and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Boo Saville has - since 2014 - been producing large-scale abstracts, made up of flawlessly gradating shades. Saville, whose work investigates mortality and the nature of perception, applies up to forty layers of paint to achieve this extraordinary effect, erasing any suggestion of her own mark-making in spite of the emotional tenor of the works. The colour fields are inextricably linked to her black and white canvases, the subjects of the latter - sparingly painted so as to retain the appearance of the canvas weave - resulting from internet searches that occur to her whilst working on the abstracts. She notes: "The black and white paintings are purely about the surface of momentary thought and the colour fields are about the depth and vault of emotion and memory layered on top of each other. Her focus is also the texture and surface of drawing, harnessed through her intuitive use of simple biros and pens: fine details of flowers or bones and hair are coupled with layer upon layer of shaded lines to produce tones and depths that resonate these resounding details, and disorientating linear constructions, culminating in a true mastery of penmanship. Boo Saville was born in Norwich in 1980. She graduated from the Slade School of Fine Art, London, in 2004. Saville was a nominee for the Sovereign Painting Prize in both 2007 and 2011, and in 2008 she worked on a residency at the Cité Internationale des Arts, Paris. Saville's solo exhibitions include 'Laid Bare', Martin Summers Fine Art, London (2008), 'Idolum', Studio Giangaleazzo Visconti, Milan (2010) and 'Chimera', Davidson Contemporary, New York (2017). She has received four separate solo shows at TJ Boulting, London, including 'Polycephaly' (2014), and was included in the group exhibition 'Simulation/Skin' and 'True Colours' at Newport Street Gallery in London. Saville's work has been acquired by collections including the Museum of New and Old Art, Tazmania, Wadsworth Atheneum Museum of Art, Murderme, Soho House and Maramotti collection. She featured in Francesca Gavin's books 'Hell Bound: New Gothic Art' (2008) and '100 New Artists' (2011), and published an edition of etchings, 'Ghost', with Other Criteria in 2009. Her most recent edition of prints 'Contact, Merge,Void' were made in collaboration with Manifold Editions in London and are available here. She lives and works in Margate. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Boo Saville Untitled Study (Series) (2), 2022 Digital Print and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Boo Saville has - since 2014 - been producing large-scale abstracts, made up of flawlessly gradating shades. Saville, whose work investigates mortality and the nature of perception, applies up to forty layers of paint to achieve this extraordinary effect, erasing any suggestion of her own mark-making in spite of the emotional tenor of the works. The colour fields are inextricably linked to her black and white canvases, the subjects of the latter - sparingly painted so as to retain the appearance of the canvas weave - resulting from internet searches that occur to her whilst working on the abstracts. She notes: "The black and white paintings are purely about the surface of momentary thought and the colour fields are about the depth and vault of emotion and memory layered on top of each other. Her focus is also the texture and surface of drawing, harnessed through her intuitive use of simple biros and pens: fine details of flowers or bones and hair are coupled with layer upon layer of shaded lines to produce tones and depths that resonate these resounding details, and disorientating linear constructions, culminating in a true mastery of penmanship. Boo Saville was born in Norwich in 1980. She graduated from the Slade School of Fine Art, London, in 2004. Saville was a nominee for the Sovereign Painting Prize in both 2007 and 2011, and in 2008 she worked on a residency at the Cité Internationale des Arts, Paris. Saville's solo exhibitions include 'Laid Bare', Martin Summers Fine Art, London (2008), 'Idolum', Studio Giangaleazzo Visconti, Milan (2010) and 'Chimera', Davidson Contemporary, New York (2017). She has received four separate solo shows at TJ Boulting, London, including 'Polycephaly' (2014), and was included in the group exhibition 'Simulation/Skin' and 'True Colours' at Newport Street Gallery in London. Saville's work has been acquired by collections including the Museum of New and Old Art, Tazmania, Wadsworth Atheneum Museum of Art, Murderme, Soho House and Maramotti collection. She featured in Francesca Gavin's books 'Hell Bound: New Gothic Art' (2008) and '100 New Artists' (2011), and published an edition of etchings, 'Ghost', with Other Criteria in 2009. Her most recent edition of prints 'Contact, Merge,Void' were made in collaboration with Manifold Editions in London and are available here. She lives and works in Margate. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Boo Saville Untitled Study (Series) (3), 2022 Digital Print and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Boo Saville has - since 2014 - been producing large-scale abstracts, made up of flawlessly gradating shades. Saville, whose work investigates mortality and the nature of perception, applies up to forty layers of paint to achieve this extraordinary effect, erasing any suggestion of her own mark-making in spite of the emotional tenor of the works. The colour fields are inextricably linked to her black and white canvases, the subjects of the latter - sparingly painted so as to retain the appearance of the canvas weave - resulting from internet searches that occur to her whilst working on the abstracts. She notes: "The black and white paintings are purely about the surface of momentary thought and the colour fields are about the depth and vault of emotion and memory layered on top of each other. Her focus is also the texture and surface of drawing, harnessed through her intuitive use of simple biros and pens: fine details of flowers or bones and hair are coupled with layer upon layer of shaded lines to produce tones and depths that resonate these resounding details, and disorientating linear constructions, culminating in a true mastery of penmanship. Boo Saville was born in Norwich in 1980. She graduated from the Slade School of Fine Art, London, in 2004. Saville was a nominee for the Sovereign Painting Prize in both 2007 and 2011, and in 2008 she worked on a residency at the Cité Internationale des Arts, Paris. Saville's solo exhibitions include 'Laid Bare', Martin Summers Fine Art, London (2008), 'Idolum', Studio Giangaleazzo Visconti, Milan (2010) and 'Chimera', Davidson Contemporary, New York (2017). She has received four separate solo shows at TJ Boulting, London, including 'Polycephaly' (2014), and was included in the group exhibition 'Simulation/Skin' and 'True Colours' at Newport Street Gallery in London. Saville's work has been acquired by collections including the Museum of New and Old Art, Tazmania, Wadsworth Atheneum Museum of Art, Murderme, Soho House and Maramotti collection. She featured in Francesca Gavin's books 'Hell Bound: New Gothic Art' (2008) and '100 New Artists' (2011), and published an edition of etchings, 'Ghost', with Other Criteria in 2009. Her most recent edition of prints 'Contact, Merge,Void' were made in collaboration with Manifold Editions in London and are available here. She lives and works in Margate. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising    

Hesi Glowacki Mapa, 2022 Pure Pigments, Acrylic and Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Hesi Glowacki's work centers on themes of memory, otherness, and trauma, alluding to queer theory and concepts of ritual and ceremony. Moving between abstraction and figuration he explores the notion of renewal and transformation through the unique use of language, materials, and techniques. @hesiunderground   Education   2021 - 2023 MA Painting, Royal College of Art 2017 - 2020 BFA (Bachelor of Fine Arts) Fine Arts, Central Saint Martins, University of the Arts London (UAL)   Select Exhibitions/Awards   2019 Phoebe Llewellyn Smith Award Winner 2017 Royal Female School of Art (RFSA) Award 2022 RAW, Soho Revue, London, UK 2022 RCA WIP SHOW, Royal Collage of Art, Online, UK 2020 New Futures Digital, The Art Vault, Digital, Kovet.Art Gallery, London 2020 London Grads Now, Moving Away Moving Closer, Saatchi Gallery, London, United Kingdom 2020 Graduate Showcase, University of the Arts London, Digital Exhibit, London 2020 Burnt Out, Open Studio, Central Saint Martins, London, United Kingdom 2019 Waiting, Open Studio, Central Saint Martins, London, United Kingdom 2019 Calthorpe Project, Support Every, London, United Kingdom 2019 Tate Modern & Central Saint Martins, Tate Exchange, London, United Kingdom 2018 C302 Collective, Moving Gallery 4 Locations, London, United Kingdom 2017 Copeland Gallery, WHAT IF...? City Lit, London, United Kingdom 2017 Jordi Miquel Gallery, Expo Colectiva, Barcelona, Spain   Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising.

Hesi Glowacki Stories We Hold, 2022 Magnetite, Acrylic, 24k Gold Leaf and Mixed Media on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   Hesi Glowacki's work centers on themes of memory, otherness, and trauma, alluding to queer theory and concepts of ritual and ceremony. Moving between abstraction and figuration he explores the notion of renewal and transformation through the unique use of language, materials, and techniques. @hesiunderground   Education   2021 - 2023 MA Painting, Royal College of Art 2017 - 2020 BFA (Bachelor of Fine Arts) Fine Arts, Central Saint Martins, University of the Arts London (UAL)   Select Exhibitions/Awards   2019 Phoebe Llewellyn Smith Award Winner 2017 Royal Female School of Art (RFSA) Award 2022 RAW, Soho Revue, London, UK 2022 RCA WIP SHOW, Royal Collage of Art, Online, UK 2020 New Futures Digital, The Art Vault, Digital, Kovet.Art Gallery, London 2020 London Grads Now, Moving Away Moving Closer, Saatchi Gallery, London, United Kingdom 2020 Graduate Showcase, University of the Arts London, Digital Exhibit, London 2020 Burnt Out, Open Studio, Central Saint Martins, London, United Kingdom 2019 Waiting, Open Studio, Central Saint Martins, London, United Kingdom 2019 Calthorpe Project, Support Every, London, United Kingdom 2019 Tate Modern & Central Saint Martins, Tate Exchange, London, United Kingdom 2018 C302 Collective, Moving Gallery 4 Locations, London, United Kingdom 2017 Copeland Gallery, WHAT IF...? City Lit, London, United Kingdom 2017 Jordi Miquel Gallery, Expo Colectiva, Barcelona, Spain Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising.

Hesi Glowacki Stories We Hold II, 2022 Magnetite, Acrylic and Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   Hesi Glowacki's work centers on themes of memory, otherness, and trauma, alluding to queer theory and concepts of ritual and ceremony. Moving between abstraction and figuration he explores the notion of renewal and transformation through the unique use of language, materials, and techniques. @hesiunderground   Education   2021 - 2023 MA Painting, Royal College of Art 2017 - 2020 BFA (Bachelor of Fine Arts) Fine Arts, Central Saint Martins, University of the Arts London (UAL)   Select Exhibitions/Awards   2019 Phoebe Llewellyn Smith Award Winner 2017 Royal Female School of Art (RFSA) Award 2022 RAW, Soho Revue, London, UK 2022 RCA WIP SHOW, Royal Collage of Art, Online, UK 2020 New Futures Digital, The Art Vault, Digital, Kovet.Art Gallery, London 2020 London Grads Now, Moving Away Moving Closer, Saatchi Gallery, London, United Kingdom 2020 Graduate Showcase, University of the Arts London, Digital Exhibit, London 2020 Burnt Out, Open Studio, Central Saint Martins, London, United Kingdom 2019 Waiting, Open Studio, Central Saint Martins, London, United Kingdom 2019 Calthorpe Project, Support Every, London, United Kingdom 2019 Tate Modern & Central Saint Martins, Tate Exchange, London, United Kingdom 2018 C302 Collective, Moving Gallery 4 Locations, London, United Kingdom 2017 Copeland Gallery, WHAT IF...? City Lit, London, United Kingdom 2017 Jordi Miquel Gallery, Expo Colectiva, Barcelona, Spain Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising.