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Hannah van der Weide Playground, 2022 Watercolour, Pencil and Collage on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   hi, i'm hannah frogs. i like to create a world in my art that can be soft, but also skewed to the uncanny, not unlike fairy tales. favourite mediums are watercolour, pencil, and combining these with digital animation.   Education   2019. Design Internship with Henning Wagenbreth 2016 - 2020. Bachelor Design, Illustration & Animation major   Statement about AOAP Submitted Artwork   three deconstructed landscapes that feel like when you wake up and everything is blurry because you haven't put on your glasses yet 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    

Hannah van der Weide Sky Dragon, 2022 Watercolour, Pencil and Collage on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   hi, i'm hannah frogs. i like to create a world in my art that can be soft, but also skewed to the uncanny, not unlike fairy tales. favourite mediums are watercolour, pencil, and combining these with digital animation.   Education   2019. Design Internship with Henning Wagenbreth 2016 - 2020. Bachelor Design, Illustration & Animation major   Statement about AOAP Submitted Artwork   three deconstructed landscapes that feel like when you wake up and everything is blurry because you haven't put on your glasses yet 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    

Hannah van der Weide The Mountain, 2022 Watercolour and Collage on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About   hi, i'm hannah frogs. i like to create a world in my art that can be soft, but also skewed to the uncanny, not unlike fairy tales. favourite mediums are watercolour, pencil, and combining these with digital animation.   Education   2019. Design Internship with Henning Wagenbreth 2016 - 2020. Bachelor Design, Illustration & Animation major   Statement about AOAP Submitted Artwork   three deconstructed landscapes that feel like when you wake up and everything is blurry because you haven't put on your glasses yet 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    

Szabotage Amy Winehouse, 2022 Hand Finished Unique Print Signed recto 15 x 10cm (5¾ x 3¾ in.) About   Gustav Szabo is a prolific, contemporary urban artist and designer known as Szabotage. He grew up in Hove, where he studied architecture before moving to London where he worked as an architect and designer. After moving to Hong Kong he quickly gained notoriety with sold-out exhibitions, solo shows, collaborative projects, private and commercial commissions with iconic brands such as Prada and Louis Vuitton. Characterised by bright colours and popular cultural references, Szabotage's visual language is high impact. His signature style uses layers of stencils to depict life and create personality in each unique piece. Szabotage works with a variety of formats. His collections range from walls, canvases, prints, and cars to sculptures, stencils and NFTs. He constantly challenges limitations and enjoys creating his art and sculptures using deconstructed aerosol cans, metals and wood. In the digital space, NFTs allow him to add extra dimensions using animation and sound. Szabotage's Koi tag is easily recognisable. The Koi represents strength, adversity and good fortune. Watch Szabotage's Ted Talk below to hear about he overcame his personal adversity with the power of art.   Education   DIP ARCH Part 2 2000 Westminster University London UK. ARCH BA (Hons) Part 1 1996 Kingston University London UK.   Select Exhibitions/Awards   2022 Affordable Art Fair Hong Kong, Presented by Art Supermarket Gallery 2022 Solo Show // Tech Week: The Business of Web, American Chamber Of Commerce 2021 Solo Show // Life Got Real, SHOUT Gallery Hong Kong 2020 Solo Exhibition // SPRAYCATION Art Supermarket, Hong Kong 2019 K11, Musea Art, Crockerydile, Hong Kong 2019 Group Show, LGBT Arcus Pride Art, Clifford Chance, Red Chamber Gallery 2019 The Objet Nomades, By Louis Vuitton, Tai Kwun, Hong Kong 2019 Wallskar, Graffiti and Street Art Festival, Hong Kong Edtion 2017 Solo Exhibition // FISH 'N' CHIPS, Art Supermarket, Hong Kong 2016 Solo Show + Exhibition // GONE FISHING! Loft 22, California Tower, LFK, Hong Kong 2016 Live Mural // Love Is Wild, Walls Of Change, Project C:Change, Hong Kong 2015 Street Art Festival // HK WALLS,, Hong Kong 2014 Finalist, Secret Walls, Hong Kong 2012 Solo Exhibition // Hackney Road Car Park, Shoreditch London 2010 Solo Show // SHHH Women's Erotic Emporium, Shoreditch, London   Gallery Representation   Shout Gallery - https://shout.art/index.php Art Supermarket - https://www.artsupermarketasia.com Awethentic Gallery - https://www.awethenticgallery.com/ WWW.SZABOTAGE.COM.HK Statement about AOAP Submitted Artwork   In this artwork, Szabotage visually contemplates the connections between the talent and tragedy of Amy Winehouse, one of the mystified members of the '27 Club,' the creative geniuses whose impactful lives were all cut short at the young age of 27. In a natural extension of the artist's street art practice, Szabotage interprets this hallowed personality through his signature stencil language. This portrait features stencils in the background relating to Amy's particular journey to greatness and destruction. He painted Amy as a way to commemorate one of the biggest influences in the British music scene who sadly died too young. After painting Frida Kahlo in 2018 and seeing how influential and fruitful yet tragic her life was, he realised that he could respond to her story and paint her passionately, which he wanted to continue with Amy. 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    

Anna Bortsova Joe (1), 2022 Digital Painting - Edition of 4 Signed on accompanying Cerificate of Authenticity 15 x 10cm (5¾ x 3¾ in.) About   Anna is an artist & illustrator based just outside London in the historic city of St Albans. She creates hand drawn illustrations inspired by people, lifestyle and travel. Anna had the pleasure to work with some amazing clients, including Soviet Visuals, St Albans Artists Calendar, OnBrand Marketing Agency and K'Arte luxury interior design studio and her work "Grayson" was selected for the RA Summer Exhibition.   Education   Self taught   Select Exhibitions/Awards   RA Summer Exhibition 2022, "Emerging" St Albans outdoor exhibition summer 2022, 2022 London Book Fair illustration gallery   Statement about AOAP Submitted Artwork   "Joe" was inspired by the charismatic comedian Joe Lycett   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.

* CRAIG MULHOLLAND (SCOTTISH b. 1969), TWO HEADS SELF PORTRAITcharcoal on paper, titled label versoimage size 77cm x 55cm, overall size 101cm x 79cm Mounted, frame and under glass.Note: Craig Mulholland was born in Glasgow and studied Drawing and Painting at Glasgow School of Art. He lives and works in Glasgow and is currently Course Leader and Lecturer in Fine Art at The Glasgow School of Art. Mulholland’s work is included in a variety of public and private collections including: Scottish National Gallery Of Modern Art, Glasgow; The Royal Bank of Scotland; the Rudin Dewoody Collection; the Gregory Papadimitriou Collection and The Fleming Collection, London. He has been the recipient of a number of visual arts awards from the Scottish Arts Council and Creative Scotland, and exhibits regularly. Artistically, Mulholland is preoccupied with dialogues between emerging digital technologies and the clearer limits of more traditional painting and sculpture.

Boo Ritson (1969-) Still Alive signed, dated 2013, and numbered A/P to the reversecolour archival digital print94 x 121cmProvenance:With Darbyshire White, LondonInitially training as a sculptor at the Royal College of Art, Surrey-born artist, Boo Ritson, has gained recognition for the multi-disciplinary approach she takes to her work, which fuses sculpture, painting, photography and performance.In her best-known series, Ritson coated her living subjects with thick layers of high-gloss emulsion paint that would transform them into characters from an imagined, and yet familiar, narrative. Once covered, and whilst the paint was still dripping, her breathing canvases would then be photographed for oversized prints. Typically, Ritson’s characters have been rooted in American stereotypes, with her painted cast including cheerleaders, ranchers, cops, athletes and slot-jockeys. In her twisted reality, Ritson’s cadre of imposters, each entombed beneath their viscid disguises, become totemic; a series of uncanny emblems reflecting modern consumer culture. In the present lot, the candy-pink of the donut is contrasted against the white of the figure, both suggesting the sculptural qualities of her work, whilst also juxtaposing American clichés against the familiar language of Classicism.Inspired by photocollage and the visual lexicon of video gaming, Ritson’s later work, though still exploring her own fictitious America, became more focused on the landscape as subject. In these works, Ritson aimed to create a ‘virtual America’ by layering variously worked and digitally altered images. Much like her earlier work, these works invite the viewer to interrogate the reality of what they are seeing.

WOODBLOCK 'WUTAI SHAN' PRINT AND GROUP OF TWENTY-FOUR INK RUBBINGS QING DYNASTY AND LATER 清 《勒建五臺山文殊菩薩清凉勝境圖》版畫 及《武氏祠》畫像石、重立漢武氏石室題記與其他拓片二十四幅（共二十五幅）版畫鈐印: 大五臺山文殊師利法王寳印 the woodblock print depicting Manjusri and his sacred mountain Wutai Shan; and a group of twenty-four rubbings, ink on paper, unframedDimensions:largest: 111.5cm x 63.5cmProvenance:Provenance: From the collection of the late James Kedzie Penfield (1908-2004), who joined the American Diplomatic Corps to China in the 1930s and 1940s. In 1954, Penfield became United States' High Commissioner for Austria with the mission to re-establish an independent, neutral and democratic Austria. In 1961, he was appointed American Ambassador Extraordinary and Plenipotentiary to Iceland; thence by direct family descent.James was born in NYC in 1908. His mother was one of the first women to drive a car by herself all the way across the United States within a week. James must have inherited her pioneering spirit, because as a young Stanford graduate, he joined the small hand-picked team who travelled to China to work for the American Diplomatic Corps in the 1930s and 1940s. Although his diplomatic career later took him to posts all around the world, his daughter remembers him speaking fondly of "the best years of his life in Peking, Canton and Chunking". Whilst in China, James established friendships with prominent local artists, he was gifted a painting, as a token of farewell, by and from Zhang Daqian (1899-1983), one of the most celebrated 20th-century Chinese artists. The painting dated 1944, subsequently sold in this saleroom, 08 November 2017, lot 87.Note: Note: For the 'Manjusri and Wutai Shan' woodblock print, compare to a similar example offered at Hengsha Ancient Art Kyoto, 26 March 022, lot 85; Also see a related woodblock print in the similar arrangement and title, dated to ca. 1870AD, 91cm x 50cm, is in the collection of the National Library of China.The group of ink rubbings was mostly related to and taken from the Wu Family Shrines, of which the Wu Liang Shrine is the best known. It was the family shrine of the Wu clan of the Eastern Han dynasty (25-220AD). Located at the Wuzhai Village, Jiaxiang County, Shandong Province. The original shrine was carved and engraved with images of legendary rulers and paragons of filial piety and loyalty, historical and mythological stories, scenes of feasting, homage, processions, omens, and other figural and decorative designs.Included in this lot, the pictorial rubbings comprise two copies from the Left Chamber Four, one from the Left Chamber Five, and one from the Left Chamber Nine, all of which are General Wu Ban's (fl. 221–239) shrine; together with two copies of the Front Chamber Ten, for the Wu Rong's shrine. Comparable examples are in the Institute of History and Philology, Academia Sinica, Taiwan, with respective digital archive numbers in the above order: '27403', '27405', '27418', and '12757-11'. The Wu Family Shrine assemblage was only linked to actual carved stones in the Qing Dynasty in 1786AD when the amateur archaeologist Huang Yi (1744–1802) claimed to have discovered them at the cemetery ruins. Subsequently, scholars Weng Fanggang (1733-1818), Li Dongqi, and others decided to renovate the shrines. Included in this lot, is the inscription carved to record the renovation. Entitled 'Chong Li Han Wu Shi Shi Shi Ti Ji' (The Blurb of Reconstruction of the Wu Stone Shrine in the Han Dynasty), dated to the fifty-second and fifty-seventh years of the Qianlong period, 1787AD and 1792AD. See Ibid. digital archive no. '12469', '25940-1', '25940-4', '25940-3', '25940-2', and '25937'. Another rubbing is from the Xiaotang Mountain Han Shrine. See Ibid. no. '11204-3'. The rest of the figures and horses are unidentified. A large collection of similar rubbings rubbed in the 1920s to 1940s, including the rubbings from the Wu Family Shrines; rubbings from a temple, Jiaxiang, Shandong Province, ca. 100AD; rubbings from Guanyu Temple, Suijia Zhuang Village, Shandong Province, ca. 100AD, were donated to the Seattle Art Museum by James Kedzie Penfield. See some examples with accession no. '92.62', '92.69', '92.75', and '91.255.1.25'.註：《武氏祠》拓片含武氏祠畫像石（左石室四兩幅、左石室五、左石室九、前石室十正面兩幅）、清重立漢武氏石室題記、清重立漢武氏祠石記及清武氏名諱題字。餘拓片含孝堂山祠堂畫象六及其他。

AND WOT,SPREAD THE LOVE 2.0,Screen print, spray paint and ink on 310gsm South Bank Smooth paper, signed and marked AP,70cm x 50cm,Artist ProofAnd Wot is a born and bred North Londoner and has been working with spray cans for about 20 years, mainly creating graffiti tags in his teenage years. Almost a decade ago And Wot became interested in painting and started creating and designing artwork using the spray can but covering a wider variety of themes. This has now developed him into using many different techniques and mediums, including intricate stencil work and also using digital art to create layered collage pieces. He is now proud to have his artwork hanging in the homes of clients as far as New York, Spain and Dubai, as well as closer to home.

AND WOT,PAINT GIRL,Screen print, spray paint and ink on 310gsm South Bank Smooth paper, signed and numbered,70cm x 50cm,1 of 1And Wot is a born and bred North Londoner and has been working with spray cans for about 20 years, mainly creating graffiti tags in his teenage years. Almost a decade ago And Wot became interested in painting and started creating and designing artwork using the spray can but covering a wider variety of themes. This has now developed him into using many different techniques and mediums, including intricate stencil work and also using digital art to create layered collage pieces. He is now proud to have his artwork hanging in the homes of clients as far as New York, Spain and Dubai, as well as closer to home.

WHATSHISNAME,BFFS DOODLE,Pigment print on Somerset Enhanced Velvet 330 gsm paper, signed and numbered,60cm x 60cm,1 of 1Contemporary artist Whatshisname (aka Sebastian Burdon) creates art for two reasons: “1. To celebrate an alternative to the ordinary and 2. Because it is something that I cannot do.” Born in Poland in 1982, Burdon began creating digital art at the age of 7, using the Atari 130XE. After moving to London in 2006, Burdon worked as an assistant to British artists and started to craft his own aesthetic, fusing digital and traditional methods.

WHATSHISNAME,GONE DUCK DOODLE,Pigment print on Somerset Enhanced Velvet 330 gsm paper, signed and numbered,60cm x 60cm,1 of 1Contemporary artist Whatshisname (aka Sebastian Burdon) creates art for two reasons: “1. To celebrate an alternative to the ordinary and 2. Because it is something that I cannot do.” Born in Poland in 1982, Burdon began creating digital art at the age of 7, using the Atari 130XE. After moving to London in 2006, Burdon worked as an assistant to British artists and started to craft his own aesthetic, fusing digital and traditional methods.

WHATSHISNAME,GONE COWBOY AND ASTRONAUT DIAMOND DUST,Pigment print on Somerset Velvet 330 gsm paper, signed and numbered,60cm x 60cm,Edition of 25Contemporary artist Whatshisname (aka Sebastian Burdon) creates art for two reasons: “1. To celebrate an alternative to the ordinary and 2. Because it is something that I cannot do.” Born in Poland in 1982, Burdon began creating digital art at the age of 7, using the Atari 130XE. After moving to London in 2006, Burdon worked as an assistant to British artists and started to craft his own aesthetic, fusing digital and traditional methods.

WHATSHISNAME,GONE CHARLIE AND DOG DIAMOND DUST,Pigment print on Somerset Satin 330 gsm paper, signed and numbered,60cm x 60cm,Edition of 25Contemporary artist Whatshisname (aka Sebastian Burdon) creates art for two reasons: “1. To celebrate an alternative to the ordinary and 2. Because it is something that I cannot do.” Born in Poland in 1982, Burdon began creating digital art at the age of 7, using the Atari 130XE. After moving to London in 2006, Burdon worked as an assistant to British artists and started to craft his own aesthetic, fusing digital and traditional methods.

WHATSHISNAME,GONE L.. WHATSHISNAME AND B... WHATSHISNAME DIAMOND DUST,Pigment print on Somerset Satin 330 gsm paper, signed and numbered,60cm x 60cm,Edition of 25Contemporary artist Whatshisname (aka Sebastian Burdon) creates art for two reasons: “1. To celebrate an alternative to the ordinary and 2. Because it is something that I cannot do.” Born in Poland in 1982, Burdon began creating digital art at the age of 7, using the Atari 130XE. After moving to London in 2006, Burdon worked as an assistant to British artists and started to craft his own aesthetic, fusing digital and traditional methods.

WHATSHISNAME,BREXIT HAPPY POPEK BALLOON DOG,set of two prints, pigment print on Somerset enhanced velvet 330 gsm paper, signed and numbered,35cm x 35cm,Trial proofsContemporary artist Whatshisname (aka Sebastian Burdon) creates art for two reasons: “1. To celebrate an alternative to the ordinary and 2. Because it is something that I cannot do.” Born in Poland in 1982, Burdon began creating digital art at the age of 7, using the Atari 130XE. After moving to London in 2006, Burdon worked as an assistant to British artists and started to craft his own aesthetic, fusing digital and traditional methods.

WHATSHISNAME,BREXIT HAPPY POPEK BALLOON DOG,set of two prints, pigment print on Somerset enhanced velvet 330 gsm paper, signed and numbered,35cm x 35cm,Trial proofsContemporary artist Whatshisname (aka Sebastian Burdon) creates art for two reasons: “1. To celebrate an alternative to the ordinary and 2. Because it is something that I cannot do.” Born in Poland in 1982, Burdon began creating digital art at the age of 7, using the Atari 130XE. After moving to London in 2006, Burdon worked as an assistant to British artists and started to craft his own aesthetic, fusing digital and traditional methods.

WHATSHISNAME,BREXIT HUMPEK BALLOON DOG,set of two prints, pigment print on Somerset enhanced velvet 330 gsm paper, Signed and numbered,35cm x 35cm,Trial proofContemporary artist Whatshisname (aka Sebastian Burdon) creates art for two reasons: “1. To celebrate an alternative to the ordinary and 2. Because it is something that I cannot do.” Born in Poland in 1982, Burdon began creating digital art at the age of 7, using the Atari 130XE. After moving to London in 2006, Burdon worked as an assistant to British artists and started to craft his own aesthetic, fusing digital and traditional methods.

WHATSHISNAME,HUMPEK BLACK,Giclee print on Somerset Enhanced Velvet 330 gsm paper, signed and numbered,60cm x 60cm,Edition of 200Contemporary artist Whatshisname (aka Sebastian Burdon) creates art for two reasons: “1. To celebrate an alternative to the ordinary and 2. Because it is something that I cannot do.” Born in Poland in 1982, Burdon began creating digital art at the age of 7, using the Atari 130XE. After moving to London in 2006, Burdon worked as an assistant to British artists and started to craft his own aesthetic, fusing digital and traditional methods.

WHATSHISNAME,HUMPEK RED,Giclee print on Somerset Enhanced Velvet 330 gsm paper, signed and numbered,60cm x 60cm,Edition of 200Contemporary artist Whatshisname (aka Sebastian Burdon) creates art for two reasons: “1. To celebrate an alternative to the ordinary and 2. Because it is something that I cannot do.” Born in Poland in 1982, Burdon began creating digital art at the age of 7, using the Atari 130XE. After moving to London in 2006, Burdon worked as an assistant to British artists and started to craft his own aesthetic, fusing digital and traditional methods.

WHATSHISNAME,HAPPY POPEK RED,Giclee print on Somerset Enhanced Velvet 330 gsm paper, signed and numbered,60cm x 60cm,Edition of 200Contemporary artist Whatshisname (aka Sebastian Burdon) creates art for two reasons: “1. To celebrate an alternative to the ordinary and 2. Because it is something that I cannot do.” Born in Poland in 1982, Burdon began creating digital art at the age of 7, using the Atari 130XE. After moving to London in 2006, Burdon worked as an assistant to British artists and started to craft his own aesthetic, fusing digital and traditional methods.

WHATSHISNAME,PEEPEK RED,Giclee print on Somerset Enhanced Velvet 330 gsm paper, signed and numbered,60cm x 60cm,Edition of 200Contemporary artist Whatshisname (aka Sebastian Burdon) creates art for two reasons: “1. To celebrate an alternative to the ordinary and 2. Because it is something that I cannot do.” Born in Poland in 1982, Burdon began creating digital art at the age of 7, using the Atari 130XE. After moving to London in 2006, Burdon worked as an assistant to British artists and started to craft his own aesthetic, fusing digital and traditional methods.

WHATSHISNAME,HOWLING POPEK BLACK,Giclee print on Somerset Enhanced Velvet 330 gsm paper, signed and numbered,60cm x 60cm,Edition of 200Contemporary artist Whatshisname (aka Sebastian Burdon) creates art for two reasons: “1. To celebrate an alternative to the ordinary and 2. Because it is something that I cannot do.” Born in Poland in 1982, Burdon began creating digital art at the age of 7, using the Atari 130XE. After moving to London in 2006, Burdon worked as an assistant to British artists and started to craft his own aesthetic, fusing digital and traditional methods.

JOSH ROWELL,VF#17, 2021,Digital Print on Hahnemuhle paper with varnish overlay, signed,62cm x 80cm,Edition of 30Born in 1990 in Kent, England, Josh Rowell graduated from Kingston Art School in 2013, where he received a first class BFA with honours. Following a course in Art Criticism at Central Saint Martins college, Rowell returned to Kingston Art School for an MFA in 2015, where he was awarded a first- class distinction. His works have been exhibited in London, New York, Miami, Seattle, Basel, Hong Kong and Mexico and his works are part of public collections including the Uffizi Gallery in Florence, the Gregorian Foundation in Washington, London Kingston University's contemporary art collection, and the Matilda collection in San Miguel De Allende.Condition is good overall.

DR.D,SET OF THREE WARNING POSTERS,A4 Digital print on 300 gsm paper, Signed.30cm x 21cm,Edition of 100Dr.D. AKA Subvertiser is a legend of street art subversion, using his insightful observations to ‘doctor’ everything from big brand billboards to political posters. Each ‘rip’ forms a defiant protest and a good kick up the backside. Dr. D.’s subverted images often appear with perfect timing to respond to current affairs and social debate and are a paradox by definition; each piece charged with a powerful passivity. Indeed, the artist’s mischievous mode of social commentary is clear to see for those who are actually willing to take a look around. Dr. D. urges you to raise an enlightened middle finger to the establishment.

BEN TURNBULL,GUNG HO,Digital inkjet print with a screen printed varnish overlay on somerset satin 330 gsm, enhanced paper,75cm x 75cm,From an edition of 50Ben Turnbull is a British contemporary pop artist who, fascinated by the dominance of American culture, crafts his realizations about the country’s relationship with violence by adopting toys and objects from the Americana youth. Born in 1974 in London, Turnbull is a self-taught artist and craftsman. As a child, Ben found escape through comic books which heavily influenced his future art.

ART MAN WAN ,G FOR GENESIS, PART 1 & 2,Mixed media diptych on canvas, titled and signed verso,46cm x 46cm,OriginalArt Man Wan is a British self taught mixed media artist and print maker, working out of studios in London. His methods are based on using photographs and/or drawings which are manipulated using basic digital tools to form a vision of how the artist sees the world. His work can challenge us to think about important current affair issues, but primarily encouraging people to enjoy the simple side of life with images that are just fun, creates joy or offers hope.

MARTÍN BADIA (Bariloche, 1979)."The oracle".Digital art and mixed media on Fine Art paper - Hahnemühle, 308 gr/m2 paper.Edition 1/5.Size: 40 x 50 cm.The illustrator, designer and artist Martín Badia lives and works in Barcelona, from where he explores new paths that lead him to create somewhat baroque works expressed with bright colours. It could be said that classical and folk art are some of his main sources of inspiration, borrowing some formalisms and aesthetic features that converge with something new and current.

Coldplay / ParisMylo Xyloto 1, 2013signed Digital Art Print, from an edition of 8, created following the release of the band's album, signed by each member of the group and by the artist, framed and glazed, accompanied by a Kids Company Charity certificate additionally signed by each member of the band 100 x 100cm (39 x 39in).Footnotes:ProvenancePurchased by the vendor at the Kids Company Under One Roof Charity Auction in 2013.Coldplay and street artist Paris created original and limited edition 'Mylo Xyloto' artworks to raise funds for the Kids Company in collaboration with Album Artists. The original exhibition raised over £630,000 for Kids Company and the last limited editions and final one original painting were then auctioned with all proceeds being donated to Kids Company to fund their work helping disadvantaged children in Britain. The auction ran from July 15th-July 25th 2013.Paris is a veteran in the world of graffiti, long loved in his home town of Bristol, not only for his work but for bringing the beauty of street art to the youth of his City. It was in this aspect of a teacher of graffiti that Paris was first introduced to Coldplay – initially being told he was to meet some band to teach them graffiti, much to his surprise when he walked in that room and found Coldplay as his students. Paris so impressed the band that what was initially to be an instruction session turned into more than a year long project with Paris directing and doing much of the work for the bands worldwide number one album Mylo Xyloto, as well as painting the albums imagery on 80 foot concert backdrops, the band's instruments and even the bands stage for the Olympics closing ceremony.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

DAMIEN HIRST (B. 1965)7028. Nothing you can do 2016 from the Currency signed, titled, dated 2016 and stamped with the artist's blindstamp, microdot, watermark and hologram on the reverseone-shot enamel paint on handmade paper21.4 by 30 cm.8 7/16 by 11 13/16 in.This work is number 7028 from a series of 10,000 unique examples. The corresponding non-fungible token has been burned.Footnotes:ProvenanceHENI, LondonAcquired directly from the above by the present owner in 2021Damien Hirst's The Currency has been one of the most hotly discussed artistic projects of recent seasons that will culminate in a grand and fiery finale this October at the artist's Newport Street Gallery. Hirst, the definitive enfant terrible and impresario of contemporary art since his monumental rise to global stardom in the 1990s as the figurehead of the Young British Artists (YBAs), created waves with The Currency when it launched in 2021, forcing buyers of the 10,000 unique pieces to choose between a physical and digital version of the work by June 2022. In October 2022, Hirst will fulfil his promise of burning the unclaimed physical pieces, as well as his own works, daily from Tuesday 11th October, making the present piece, aptly named 7028. Nothing you can do, still more rare from this collection. This sale thus represents the opportunity to acquire and participate in an unprecedented artistic project that has offered one of the most thrilling critiques of desirability, market-dynamics, and the nascent digital realm.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

MAURICE DE VLAMINCK (1876-1958)La forêt signed and inscribed 'Vlaminck La forêt' (lower left)oil on canvas81 x 100cm (31 7/8 x 39 3/8in).Painted circa 1907-1908Footnotes:This work is accompanied by an attestation from the Wildenstein Institute. This work will be included in the forthcoming Maurice de Vlaminck Digital Catalogue, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.Please note that this work has been requested for the exhibition Maurice de Vlaminck: Modern Artist Rebel at the Museum Barberini, Potsdam, 14 September 2024 – 12 January 2025.ProvenanceDaniel-Henry Kahnweiler, Paris and Zurich, no. 68 (probably acquired directly from the artist); on consignment with Galerie Alfred Flechtheim, Dusseldorf, no. 616, subsequently with Galerie Paul Cassirer, Berlin, no. 17219, from 2 October 1919.Private collection, Berlin and London (acquired in the 1920s).Thence by descent to the present owner.ExhibitedDresden, Kunstsalon Emil Richter.(Possibly) Dusseldorf, Städtischer Kunstpalast, Ausstellung des Sonderbundes Westdeutscher Kunstfreunde und Künstler, Düsseldorf 1910, 16 July - 9 October 1910, no. 182 (titled 'Der Wald').(Possibly) Dusseldorf, Galerie Alfred Flechtheim, Wilhelm Kreis, Max Hünten, Manolo, De Vlaminck, 17 August - 6 September 1919, no. 43 (titled 'Der Wald').'When painting I experienced a source of joy, a constantly renewed pleasure, an intense cerebral excitement... I was in communion with the sky, the trees, the clouds, with life... An unceasingly renewed but fleeting illusion... It was precisely that appearance, continually renewed, always ungraspable that I worked furiously at capturing, at fixing on the canvas in greens, yellows, blues and reds.' - M. de VlaminckUnseen in public for almost a century, La forêt is a luminescent example of Maurice de Vlaminck's liberal and emotional presentation of colour and the evolving modernisation of his style. At the same time the work has a history as rich as its palette, traversing the shifting tides of European art collecting and dealing in the 20th century. Passing through the hands of Daniel-Henry Kahnweiler, Alfred Flechtheim and Paul Cassirer, before being taken to London following the rise of Nazi Germany, the provenance trajectory of the present work encapsulates some of the most fundamental developments in the history of art and of the world.A chance meeting in July 1900, on the same suburban St Germain-en-Laye to Gare St Lazare rail line that had coincidentally brought together Paul Sérusier and Maurice Denis some ten years previously, gave birth to a blossoming friendship and to two of Fauvism's most ardent proponents: André Derain and Maurice de Vlaminck: 'It is certain that if it had not been for that meeting... the idea would never have entered my mind to make 'Painting' my livelihood!' (M. de Vlaminck, Portraits avant décès, Paris, 1943, p. 13).Together Derain and Vlaminck set up in Chatou, a quiet suburb of Paris, penniless, but nonetheless flush with a burning passion for their impending artistic endeavours. As Renoir and Monet had done in the summer of 1869, the pair worked on the banks of the Seine, inspiring one another in turn and ceaselessly conversing to generate a unique aesthetic. Over the 1900-1905 period, the 'School of Chatou' was born. When apart, the two artists would continue their discussion via letter and Vlaminck kept the entire body of letters written to him by Derain, eventually giving them to the Musée de Chartres. These invaluable notes offer an important insight into the aesthetic development of Derain and, in turn, Vlaminck, offering a gauge on the exchange of ideas, discussion of aesthetics, and questionings that nourished and stimulated the relationship between the young artists.Galerie Bernheim-Jeune's major exhibition of Vincent van Gogh in March 1901 was to have an unimaginably profound effect on Vlaminck, who was 'bowled over' by the Dutch artist's 'revolutionary direction, an almost religious feeling in his interpretation of nature' (M. de Vlaminck, op. cit., 1943, p. 31), an effect we see come to the fore through Vlaminck's later use of lengthened brushstrokes, to give form to his subjects. At this same exhibition, Derain introduced his friend and visionary accomplice to the third Fauve master of colour, Henri Matisse. Matisse later recalled to his son-in-law, Georges Duthuit, the exclamation of Vlaminck at this meeting: 'You see, you have to paint using pure cobalts, pure vermilions, pure Veronese greens!' (Matisse quoted in G. Duthuit, Les Fauves, Braque, Derain, Van Dongen, Dufy, Friesz, Manguin, Marquet, Matisse, Puy, Vlaminck, Geneva, 1949, p. 72).Vlaminck's artistic output in the following years was as monumental as it was influential, ultimately creating an oeuvre of some 6,000 works. He was, however, constantly financially challenged in these early years. Juggling a young family and a voracious appetite for painting, he supplemented his salary as an evening musician by giving violin lessons. As he recalled later, 'I quite often went without the necessaries in order to be able to cover my canvases with colours, which I later scraped off so I could use them again. My most recurrent problem was that I lacked the money to buy tubes and stretchers!' (M. de Vlaminck, Le Ventre ouvert, Paris, 1937, p. 50).This hardship prevented Vlaminck from travelling with Derain and Matisse to the South of France and discovering the light of the Midi. Instead, he remained in the regions along the Seine valley to the west of Paris, travelling by foot and by bicycle in search of the perfect place to paint en plein air. This did not matter for Vlaminck, for his relationship to the landscape, the motif, was instinctive and it was 'far from the intense southern light that Vlaminck's personal style rose to a level on which the colour exploded' (M. Vallès-Bled, Maurice de Vlaminck, La période fauve, 1900-1907, Paris, 2008, p. 37). His emotional and aesthetic attachment to the landscape drew comparisons to Cézanne, who was often drawn back to the views of Mont-Sainte Victoire and the gardens of Jas du Bouffan.Some financial respite was to come later however, from his first dealer Ambroise Vollard. After the preliminary exhibitions of his Fauvist works, Vollard bought up much of his stock and made monthly purchases that allowed Vlaminck to live as a painter. He also played a crucial role in disseminating Vlaminck's works through the frequency of his purchases, his national and international sales and his loans to a wide number of exhibitions. To find himself in such a position however, Vlaminck had to first run the gauntlet of the 1905 Salon d'Automne, a Salon that would secure itself in the annals of art history.'A tremendously bright room, of the most daring, the most extreme, of those whose intentions have to be decoded... At the centre of the room, the torso of a child and a small marble bust by Albert Marquet, whose modelling is a delicate science. The ingenuousness of these busts is striking, set amidst the orgy of pure colours: Donatello amongst the wild beasts' (L. Vauxcelles, 'Le Salon d'Automne', in Gil Blas, 17 October 1905).Thenceforth Matisse, Derain and Vlaminck became known as les Fauves (wild beasts), proudly and defiantly adopting the sobriquet given at the infamous Salon. Now the Fauvists would continue their vivid journey with a new title and exacerbated purpose. As Vlaminck recalls: 'Fauvism was no... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

MARCELA JARDÓN (Buenos Aires, 1964)."Mutating perception III".2017.Acrylic and oil on canvas.Size: 100 x 100 cm.Degree in Visual Arts. National Professor of Visual Arts. National School of Fine Arts Prilidiano Pueyrredón, Buenos Aires. Her works have been exhibited and published in America, Europe and Asia, in institutions such as the University of Valencia, Sociedad Argentina de Artistas Plásticos de Buenos Aires, the Opera House of Sydney, Australia, the Kanazawa Art Center Citizen, Japan, the Museo Universidad de Alicante, the Bangkok Regional Office of The Rockefeller Foundation, the Centro de Cultura Contemporánea de Barcelona, the Departamento de Expresiones Artísticas de la Universidad de Panamá, the Museo Social Argentino de Buenos Aires, Buenos Aires, the Centro de Cultura Contemporánea de Barcelona, the Museo Social Argentino de Buenos Aires, Buenos Aires, and the Museo Social Argentino de Buenos Aires, Buenos Aires, the Museo Social Argentino in Buenos Aires, the Museo Provincial de Quilmes in Argentina, the Museo de Arte Moderno in Buenos Aires, the Museo y Archivo Histórico Cabildo de Montevideo in Uruguay, the Museo de Aveiro in Portugal, the Museu de Reus, the Museo La Neomudéjar in Madrid, the Centro de Arte Santa Mónica in Barcelona, the Reial Cercle Artístic de Barcelona, at the Spectrum Fair Miami (2018), LA Art Show, Fair (2019) and in several galleries. Some of them already belong to private and public collections in Argentina, Spain, Canada, Panama, Australia, Italy, Germany, France, UK, Japan, Sweden, USA, Mexico, Netherlands, Belgium, among others.Work in public collections -Catalogue of the Department of Fine Arts and Cartography of the National Library of Spain, BNE. -Library Specialising in Contemporary Photography of the Forvm Foundation for Photography, in Tarragona -AICOA -Art Fund of the University of Valencia. -Pinacoteca Universitaria, University of Panama, Panama -Procreation-Postcreation. womanifesto2003. Bangkok Regional Office, The Rockefeller Foundation, Thailand. -The University of the West of England, Department of Creative Arts, Centre for Fine Print Research, Bristol. Awards and recognitions 2004 -First Prize, Azulazul Audiovisual Competition, Barcelona; -Finalist in Canariasmediafest04. 2002 -Finalist in Canariasmediafest 02. 2001 -Finalist for the Discoveries of Photoespaña 01;-Third Prize in the Photography Competition "mirar i veure" University of Valencia;2000 -Accessit Photography Competition "Festa Major de Gracia 2000" Barcelona. 1995 - Mention in the Small Format Exhibition at Neumann Gallery & Assoc,Bs As; 1993 - First Prize Salón Sociedad Argentina de Artistas Plasticos, Bs As.1992 -First Prize VII Salón la Actualidad en el Arte, Buenos Aires; -Second Prize IX Salón de Artistas Plásticos Municipalidad de San Isidro; -First Prize II Salón de Almagro, Buenos Aires; 1991 -Third Prize IV Salón Arte Joven, Municipalidad de San Isidro; -Second Prize VIII Salón Anual de Artistas Plásticos, Municipalidad de San Isidro; 1990 -First Prize III Salón de Arte Joven, Municipalidad de San Isidro. His artistic practice is at the intersection of drawing, photography, video, new media, installation, visual poetry, artist's books. He investigates the relationship between images and language as symbolic productions. The exploration of hybrid forms, vision and production process spans various disciplines and distances between the past and the present, the analogue and the digital. In his projects he incorporates texts as "graphic repentisms", fragments of texts, decontextualised quotations from different sources, as well as original photography, and the recreation of fragments of his own earlier works. He works using everyday images, rescuing previous images, simple objects, exploring the dark places of the unconscious, controversial concepts, and the hidden histories that often underlie what surrounds us.

A Pigment Of Your Imagination Artist:Ellie HignettEllie studied art and product design at school as well as AS-Level. She is mostly creative in her spare time by drawing, painting and primarily digital illustration Sponsor:ReachReach offers bespoke support for individuals or groups through its unique blend of counselling, coaching, supervision and training. reach will help you move forward in a way that's right for you.https://reachfortheway.com/ Measurements (approx.)Length 95cmHeight   45cmWidth    30cm

This Little Piggy Went To The Disco Artist:Cora StudiosRachael took the leap into self-employment founding Cora Studios in 2019 having worked in the education sector. She is now a full-time freelance illustrator and graphic artist and is terrified and elated in equal measure! Supporting clients with a wide range of disciplines, including graphic art, digital marketing and communication, illustration, and website design, she is never ever bored! Rachael is an East Anglian through and through; born in Cambridge, raised in Suffolk, and now living on the Norfolk Broads. Rachael feels privileged to have had the opportunity to design her own pig this, her second, year after designing the logo and marketing literature since the trail began. Sponsor:Minster Cleaning Services Norfolk & SuffolkMinster Cleaning has been providing office and commercial cleaning services since 1982 and now take great care of thousands of organisations, across many sectors, throughout the UK. To provide you with the very best service, reliability is just as important as high standards of cleaning. By delivering both, their value-for-money cleaning service will ensure your premises are consistently clean, welcoming and hygienic. Their regional office in Eye, Suffolk manages hundreds of cleaning contracts across Norfolk & Suffolk with a strong focus on medical centres, schools, offices and showrooms.https://www.minstercleaning.co.uk/ Measurements (approx.)Length 95cmHeight   45cmWidth    30cm

* EDWARD SUMMERTON RSA,ICE CREAM FOR CROWoil on canvas, signed, titled and dated 1986 versoimage size 153cm x 123cm, overall size 154cm x 124cm Framed.Note: The Royal Scottish Academy entry states: "Edward Summerton RSA is a critically-acclaimed artist whose work has expanded from the practice of painting into photography, sound works, prints, objects, collaborations and the organising of events and exhibitions. He has recently curated Blind Sight where 50 visual artists were invited to submit sound works to be exhibited as a jukebox installation; Doctor Skin, a unique public art event where artists designed temporary tattoos to be worn by the public; Bird of the Devil, a publication collaborating with 17 writers, and Digital VD, a one hour film work involving one minute films by 60 artists. Summerton is Senior Lecturer in Art and Media at Duncan of Jordanstone College of Art, Dundee. His work has been exhibited in solo and group exhibitions worldwide and is held within public collections including the BBC and the Museum of Modern Art, New York (MOMA)". Edward Summerton's paintings very rarely appear at auction.

* EDWARD SUMMERTON RSA,THE MARINERcharcoal on paper, signed, titled label versoimage size 46cm x 40cm, overall size 68cm x 59cm Mounted, framed and under glass.Label verso: Paisley Art Institute Exhibition.Note: The Royal Scottish Academy entry states: "Edward Summerton RSA is a critically-acclaimed artist whose work has expanded from the practice of painting into photography, sound works, prints, objects, collaborations and the organising of events and exhibitions. He has recently curated Blind Sight where 50 visual artists were invited to submit sound works to be exhibited as a jukebox installation; Doctor Skin, a unique public art event where artists designed temporary tattoos to be worn by the public; Bird of the Devil, a publication collaborating with 17 writers, and Digital VD, a one hour film work involving one minute films by 60 artists. Summerton is Senior Lecturer in Art and Media at Duncan of Jordanstone College of Art, Dundee. His work has been exhibited in solo and group exhibitions worldwide and is held within public collections including the BBC and the Museum of Modern Art, New York (MOMA)". Edward Summerton's paintings very rarely appear at auction.

* CRAIG MULHOLLAND (SCOTTISH b. 1969), TWO HEADS SELF PORTRAITcharcoal on paper, titled label versoimage size 77cm x 55cm, overall size 101cm x 79cm Mounted, frame and under glass.Note: Craig Mulholland was born in Glasgow and studied Drawing and Painting at Glasgow School of Art. He lives and works in Glasgow and is currently Course Leader and Lecturer in Fine Art at The Glasgow School of Art. Mulholland’s work is included in a variety of public and private collections including: Scottish National Gallery Of Modern Art, Glasgow; The Royal Bank of Scotland; the Rudin Dewoody Collection; the Gregory Papadimitriou Collection and The Fleming Collection, London. He has been the recipient of a number of visual arts awards from the Scottish Arts Council and Creative Scotland, and exhibits regularly. Artistically, Mulholland is preoccupied with dialogues between emerging digital technologies and the clearer limits of more traditional painting and sculpture.

Giovanni Boldini (Italian, 1842-1931)Al caffè signed and inscribed 'To Miss B. Pearce/with admiration/Boldini' (on the reverse)oil on card10.5 x 18.5cm (4 1/8 x 7 5/16in).Footnotes:ProvenancePrivate collection, Italy.Please note that this lot is accompanied by a digital certificate of authenticity issued by expert on the artist and author of his catalogue raisonné, Dr Francesca Dini.The son of an artist, Boldini undertook training in his hometown of Ferrara before moving to Florence where he lived for about a decade. Here, from 1864, he joined the Macchiaioli group of artists, now known as the greatest exponents of Realist art in Italy. The portraits painted by the young Boldini at this time - mainly of his artist friends and of some members of the Russian and English aristocracy residing in Tuscany - mark in Italy the renewal of this pictorial genre and they cemented the young Boldini's reputation. Subsequently, in 1871, he travelled to London where he sought patrons amongst English high society; however, in the same year, drawn by the light and glamour, he decided to settle in Paris. Here, he began producing small fanciful oils designed not only to capture the costumes and lifestyle found in the city's grand homes, but also to please the international clientele of the famous gallery, La Maison Goupil. During the 1880s, however, Boldini moved away from these somewhat staid subjects and instead devoted himself to the more faithful representation of his beloved Paris. Now, the French capital appears at its most vital with paintings depicting the squares and animated streets, the outdoor cafes, the transit of carriages and their horses' manes in the wind, the elegant bourgeoisie and street vendors, all characterised by a new freedom of brushstroke and modern spatiality. The present lot can be placed during this period of the artist's life.This work is an early example of his Parisian café sketches, a subject which he revisited several times. These studies seem to have been produced in preparation for one his masterworks, Scène de fête au Moulin Rouge, currently housed at the Musée d'Orsay in Paris. In the Musee d'Orsay painting, during one of the usual night sorties, Boldini stops in at the famous Parisian restaurant, made characteristic by the bright reds of the tapestries; he welcomes the clamour of the voices that mix with the sounds of music, of shimmering garlands of suspended lights that come down from the ceiling and make the glasses sparkle, illuminating the wonderful costumes; he has revelled in the attitudes of bystanders, with their desire to seduce and be seduced, as in the case of the seated gentleman to the right of the scene, who confidently perches in front of the cocotte that has approached his table, smiling at him, winking and amused. The atmosphere of this finished oil is captured in the present study, and this shows how the immediacy of these sketches could inform his more highly finished works. This painting can therefore be seen as an early idea on this theme, defined with quick brushstrokes with the characteristic Tiepolesque white lighting. The dedication placed on the back of the card brings us to the second half of the eighties, at which time Boldini - who was perfecting his new style of portraiture, highlighted by elegant figures painted on a large scale, with energetic and loose brushwork - befriended John Singer Sargent and the group of American painters active in Paris at the time, including Charles Sprague Pearce, a genre painter native to Boston who was distinguished by his gold medal at the Salon of 1883. Pearce married a French lady and remained in France for the rest of his life, so the Miss Pearce mentioned on the reverse of the card could be an American relative of the painter.We are grateful to Dr Francesca Dini for compiling this catalogue entry.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

Sir Peter Blake R.A. (British, born 1932)Under Milk Wood The complete set of six digital prints in colours, 2013, on wove, each signed and numbered 'A/P 3/10' in pencil, one of ten artist's proofs aside from the numbered edition of 50, published by Enitharmon Editions, London, the full sheet, 390 x 297mm (15 3/8 x 11 5/8in)(SH)(6)Footnotes:Dylan Thomas's groundbreaking radio play Under Milk Wood (1954) has long echoed in the imagination of the founding father of British Pop Art, Sir Peter Blake. Blake's Under Milk Wood project comprises richly detailed sequences of 140 watercolours, pencil portraits and collages — one of his most significant bodies of work. These six signed original print editions were published on the occasion of its first public exhibition at the National Museum Wales in 2013.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

A unique Lenticular image 'Avro Lancaster over Beachy Head' by Jim Dooley Living Pictures Limited,a Lenticular Animation picture, whereby the image of the Lancaster moves across the width of the picture together with the movement of the viewer, whilst the background stays static. This is the only image of a Lancaster aircraft in this format, common mounted with 8 signatures of members of 617 Squadron including Johnny Johnson and Leonard Cheshire. in Gilded frame, 116 x 150cm overall. The successful bidder will receive a letter from 617 Squadron Association confirming the picture's authenticity and with an endorsement by Guy Gibson VC., plus an invitation to the Dambusters 80th anniversary dinner. This exclusive work is donated by Jim Dooley Living Pictures Ltd., Jim was chairman of fundraising for the much acclaimed RAF Bomber Command Memorial in Piccadilly. Footnotes:This lot is offered for sale to raise funds for the 617 Squadron 80th Anniversary Appeal in aid of the Scampton Chapel Windows and Guy Gibson Flying Scholarships for the disabled.The Lenticular Process. The genesis of this unique piece of interactive wall art was first created by using an original sequence of images captured by an extremely high resolution digital camera. Each frame was then hand picked by Jim Dooley to maximise the drama of this Avro Lancaster flying over the iconic white cliffs of Beachy Head. The selected images were then converted into an HD GIF by computer modelling. Once the GIF was received by the printers, the lenticular conversion process could begin. Firstly, the correct lens pitch needed to be chosen (how many lenses to use per inch) in order to project the best and most realistic movement across the entire picture. This part of the manufacturing process was pivotal and needed to be accurate within 1/100mm tolerance. Weather and temperature changes can affect image quality, so this unique Living Picture was created within a controlled environment. Once the correct lens width had been selected, they were individually laid by hand across the entire length of the picture (this is always the most time consuming part of the manufacturing process). It was then ready to print using a UV flatbed printer. In order for the UV ink to bond with the individual lenses, they were secured by using a powerful vacuum. The inks were printed and cured to the back of the picture, the final colour finish for this unique Living Picture being white. The 3mm resin print then needed to harden for a further 24 hours before the picture was ready to be cut, sized and framed. This Living Picture doesn't require any power cell to project movement, this is achieved by using just optics and natural light.For further information on this lot please visit Bonhams.com

printed or framed 2012, a set of six colour photographs, Cibachrome prints, each from (1970s?) negatives of manipulated images using pre-digital technology, some or all these prints are from multiple superimposed negatives, five signed in ink on the image, four with photographer's hand written notes taped verso regarding the images and framing, images 31cm x 29.3cm, in identical glazed frames 51cm x 49cm Note 1: These six photographs were selected by Pamela Bone and were displayed together at her in residence in Dorking, Surrey Note 2: : Pamela Bone (Lady Pamela Goodale) Pamela Bone (British, 1925-2021) created a significant body of experimental photographic works between 1952 and 1992. Though some of her works were published and exhibited in her lifetime – and she collaborated with notable figures in the world of film, conceptual art and electronic music during the 1970s – this innovative work is now being re-assessed and appreciated. At her death Bone bequeathed her photographic works to the Victoria and Albert Museum. Martin Barnes, Senior Curator, Photography, at the V&A oversaw the accession of this collection. Pamela Bone’s estate included some multiples and small editions of some of her works, these have been released for sale by auction at Flints. Please note that purchasers acquire the original physical print or artwork, where an image is also held in the V&A’s collection, the V&A holds copyright to reproduction of that image. Martin Barnes has summarised Pamela Bone’s career and work: “Bone attended Guildford School of Art between 1952-54, creating black and white still-lifes and portraiture alongside colour work. In 1953, she also studied in Paris with advertising and portrait photographer André Thevenet and worked in advertising. Her photographs were published in Photomonde, Vogue, Queen and House and Garden magazines. In 1958, she went to stay with a student friend in Calcutta and from there travelled throughout the following year in India, Sikkim and Kashmir. On returning to the UK, she abandoned commercial photography and focussed on independent art practice. She photographed in North Uist, Outer Hebrides and around Dartmoor, for her Dartmoor Trees and River series. She also studied sound recording. From 1965 Bone began experimenting with a conceptual slide show of her transparencies, based around the themes of her travels, the seasons and children, still life and landscape. She applied this approach in her printing methods, which combined and overlayed transparencies and prints from different periods with photograms to create dreamlike, textured impressions of imagined landscapes. This culminated in Circle of Light, (1972) an experimental film created from transparencies by Bone collaborating with filmmaker Anthony Roland, video art and installation artist Elsa Stansfield (1945-2004) and composer Delia Derbyshire (1937-2001) of the BBC Radiophonic Workshop (and who famously recorded the Doctor Who theme tune). A VHS copy of Circle of Light is in the V&A National Art Library (NAL). Bone’s approach to collaging and recombining works became her main approach and is a pre-cursor to contemporary practices of sampling. In 1973, she married Sir Ernest William Goodale, becoming Lady Pamela Goodale, but she continued to sign her artworks with her maiden-name. Bone was a lifelong follower of Christian Science. There were many books by the movement’s founder, the religious leader and author Mary Baker Eddy (1821- 1910) in her library. Bone was shy and reclusive and worked largely in seclusion. She set up a Cibachrome colour processing darkroom in 1981 in an outbuilding at her home in Dorking. This process allowed her to make her own direct colour positive prints from her colour transparencies. She made use of ‘lith’ printing as overlay masking for her cibachromes, and also produced pictures using silks. An exhibition of cibachrome prints, Let There Be Light was shown at West Dean College in 1991. Bone ceased printing in 1992 but began meticulously preserving her works. Towards the end of her life, she produced two limited-edition, hand-printed publications of her photographs, Wings of the Wind (2000) and Seven Doors: Finding Freedom of Expression Through Photography (2009) both in the NAL”

PACO PEREGRÍN; (Almería, 1976)."Efimera,II".Caja de luz, 2018.Digital photography. Round LED light box 100 cm in diameter. Fine art print on Samba canvas with water-repellent and fireproof latex inks mounted with black phenolic wood profile Banova. Material and inks 100% ecological.Current edition of 10 copies plus an artist's proof. Copy 1/10.Enclosed certificate issued by the artist.Signed and numbered by the artist.Measurements: 100 cm (diameter).Exhibitions: Artificio position, retrospective of Paco Peregrín curated by Rafael Doctor Roncero at the Centro Andaluz de la Fotografía. Almería, 2018. Catalogue.Photo that belongs to a polyptych made up of 10 photographic works of different sizes, like a cosmology, where different periods and dimensions of the life cycle are symbolically captured. The series "Ephemeral" deals with the unknown and imperfect beauty. Focusing on the various interconnected artistic views of an androgynous female model, these images evoke the four ages of human beings (through aspects such as birth, breastfeeding, adolescent rebellion, maturity, ageing and death). Concepts such as existence, destruction, life and death are treated symbolically in this project, thus proposing a reflection on loneliness and the transience of life. This international and innovative project, which combines 3D computer graphics with digital photography, delves into the unknown origin and end of the human being and the fragile imperfect beauty as a metaphor for the ephemeral nature of beauty and life.The series focuses on a face that acts as a changing and versatile entity (plays of colour and light, marked features with unconventional make-up, movement and constant evolution). The face, the protagonist, stands out against a neutral background and alludes to a particular concept of beauty (sometimes unusual, alien and even monstrous), to its ephemeral nature and to the passage of time. Make-up, a symbol of consumerism, also functions as a mask, moving away from conventionalisms and the traditional representation of the portrait, reflecting on the idea of identity and constituting a proposal of make-up as a contemporary mask that camouflages and protects us and also helps us to construct a superego. With a dramatic and creative aesthetic, Efímera is a reflection on the passing of time, but also a powerful ode to diversity and freedom.Paco Peregrín is a visual artist and photographer from Andalusia, currently considered one of the world's leading talents in artistic, editorial and advertising photography, always highlighting his experimental side in all his work, characterised by its strength and forcefulness. He studied Fine Arts in Seville, adopting then a mystical sensibility of compositional schemes and chromatisms inspired by baroque art. He later trained at leading centres such as the International Center of Photography (New York) and the Central Saint Martins College of Art and Design (London). It is possible that it has been his theatrical experience that has allowed him the ability to direct the models in front of his camera, the development of his spatial perception and to show the body, presence and time in his work. He currently lives in Madrid, a detail that, together with his time in important cultural capitals, has added contemporaneity and freshness to his unique work. It is also important to highlight his wide experience in design, communication, theatre and painting. He alternates fashion photography for magazines such as Vogue, Harper's Bazaar or L'Officiel with commercial work for brands such as Dior, Chanel, Saint Laurent, L'Oréal Paris, Adidas, Nike, Gant, Toyota, Lancôme, Shiseido... with signature photography, having exhibited his work in galleries in New York, Paris, Barcelona, Beijing, Madrid, Berlin, Seville, San Sebastian, etc. and

Zeitgenössische Kunst - Street Art - - Banksy. (1974). The Walled Off Hotel Box Set. Digitaldruck auf Papier, Beton, Sprühfarbe, IKEA Rahmen. 25,5 x 25,5 x 4,5 cm. Verso nummeriert. - Guter Zustand. Beigegeben: Original nummerierte Rechnung. - 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.

TWO BOXES OF CDS, TENNIS RACKETS, BINOCULARS AND MISCELLANEOUS ITEMS, three 'Grays' of Cambridge tilt head Real Tennis rackets, a Dunlop 'Tactical Rage' ShokBlok tennis racket, a Slazenger 'Princes' tennis racket, Sony ear phones, a hard cased Rank Aldis 1000 slide projector, a 100K digital camera, over seventy CDs mostly classical music, a 1950s black and white photo of Alec and Eric Bedser, known as the Bedser Twins (British cricket bowlers), six Celtic Art placemats, a Novelty Tennis 'Bryn Parry' clock, a Ted Baker men's 'Well Groomed' manicure set, four pairs of binoculars (Miranda, Zenith, Aquilus, Praktica), etc (s.d) (2 boxes + loose)

* CRAIG MULHOLLAND (SCOTTISH b. 1969), TWO HEADS SELF PORTRAITcharcoal on paper, titled label versoimage size 77cm x 55cm, overall size 101cm x 79cm Mounted, frame and under glass.Note: Craig Mulholland was born in Glasgow and studied Drawing and Painting at Glasgow School of Art. He lives and works in Glasgow and is currently Course Leader and Lecturer in Fine Art at The Glasgow School of Art. Mulholland’s work is included in a variety of public and private collections including: Scottish National Gallery Of Modern Art, Glasgow; The Royal Bank of Scotland; the Rudin Dewoody Collection; the Gregory Papadimitriou Collection and The Fleming Collection, London. He has been the recipient of a number of visual arts awards from the Scottish Arts Council and Creative Scotland, and exhibits regularly. Artistically, Mulholland is preoccupied with dialogues between emerging digital technologies and the clearer limits of more traditional painting and sculpture.

Signed LPs. Collection of 15 modern 21st century vinyl records, all signed and/or sealed as indicated, including Glass Animals "Dreamland" (2020, 180g LP, Wolf Tone 0883362, signed and sealed), Idles "Ultra Mono, Momentary Acceptance of the Self" (2020, Limited Edition Vortex Vinyl, Partisan Records, signed and sealed), Doves "The Universal Want" (2020, Heavenly VY 3248, signed and sealed), Celeste "Not Your Muse" (2021, Both Sides / Polydor 0881443, signed and sealed), The Streets "None of Us Are Getting Out of This Life Alive" (2020, Island 0889985, signed and sealed), Lyr "Call In The Crash Team" (2020, 180g LP, Mercury 0857439, signed and sealed), Longpigs "The Sun Is Often Out" (2020 re-issue, 180g blue vinyl, Demon DEMREC707, signed and sealed), Jack Garratt "Love, Death & Dancing" (2020, Island 0882868, signed and sealed), Phoebe Bridgers "Punisher" (2020, Dead Oceans DOC200, sealed, signed 12" x 12" art print included), Fontaines D.C. "A Hero's Death" (2020, Partisan PTKF 2182-1, Limited Edition Colour Vinyl, sealed, signed 12" x 12" art print included), The Divine Comedy "Office Politics" (DCRL 112LP, 180g gatefold Limited Edition coloured vinyl 2-LP, digital download included, sealed, signed A4 photo included), Laura Marling "Song For Our Daughter" (2020, Chrysalis / Partisan BRRVC002, Limited Edition Marble Vinyl, sealed, signed 12" x 12" art print included), Angel Olsen "Whole New Mess" (2020, JAGJAGUWAR JAG354, digital download included, sealed, signed 12" x 12" art print included), David Byrne & St. Vincent "Love This Giant" (2012, Todo Mundo / 4AD CAD 3231, sealed, signed 5" x 5" art print included) and Haim "Women in Music, Part III" (2020, Polydor 0813817, sealed, signed 12" x 12" art print included)QTY: (15)

Jenna Gribbon (American 1978-), 'Comment Section', 2021, digital print in colours on 305gr Hahnemuhle photo rag paper, signed, from an edition of 20 + 2 APs, published by Art for Black Lives; sheet: 29.7 x 21cm

After Ronnie Wood (b. 1947). Weaving; limited edition digital screen print 235/295, signed, printed by Pratt Studios and published by Scream Art 2007, 75cm x 50cm, with certificate of authenticity.

After Ronnie Wood (b. 1947). Play on Hands; limited edition digital screen print 235/295, signed, printed by Pratt Studios and published by Scream Art 2007, 75cm x 50cm, with certificate of authenticity.

After Ronnie Wood (b. 1947). Twang; limited edition digital screen print 235/295, signed, printed by Pratt Studios and published by Scream Art 2007, 75cm x 50cm, with certificate of authenticity.

Hondartza Fraga Turntable Drawings I, 2022 Inks on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Fraga's practice combines traditional forms of drawing with a wider range range of media. Her interests lie in the tensions between drawing and digital forms of image making. She is interested in our relationship to remote places, places like deep sea and deep space and the mediated images through which we might experience them. Her work often zooms in on the errors, noise and fragmentation of the imagery and how those idiosyncrasies shaped our understanding of the images and their objects.   Education   2017-present PhD Practice-led Candidate School of Design, University of Leeds, UK 2005-07 MA Fine Art at Sheffield Hallam University, UK 2000-05 BA Fine Art at University of the Basque Country, Spain   Select Exhibitions/Awards   Solo Shows 2021 Ghosts of Saturn, Espacio Alexandra, Santander, Spain 2021 Wonderful Order, new work commissioned by North Lincolnshire Museum 2020 Conjunctions and Oppositions, Beyond Scale (miniature gallery), Online 2018 Not for Navigation, (curated by Our Big Picture) Grimsby Minster, Grimsby, UK (solo exhibition) Group Shows 2022 Seeing Stars (also curated by Fraga), The Stanley and Audrey Burton Gallery, University of Leeds 2021 Definitions of Drawing, Sunny Bank Mills, Leeds 2021 Letting it Settle, Touchbase Gallery, Folskstone 2018 Cosmic Perspectives, curated by Lumen Studios, Ugly Duck, London 2018 Truth and Fantasy, Chrysalis Arts, touring exhibition, UK Awards 2017-present White Rose of the Arts and Humanities Full Scholarship Award (PhD Practice-Led) 2014 Arts Council GfA Award for the project Cuiroseaty, with Lorna Johnson 2013 The Leverhulme Trust: Artist in Residence, Maritime Historical Studies Centre, University of Hull   Gallery Representation   Espacio Alexandra, Santander, Spain   Statement about AOAP Submitted Artwork   Turntable Drawings' are abstract drawings produced with ink on wet paper using an adapted turntable. As the paper rotates at a speed of 33rpm (revolutions per minute) it spreads and distorts how the ink settles on it. The work is an exploration of tensions between control and letting go, chaos and order, gesture and trace, form and content, stillness and movement. Each little drawings is the trace of an encounter between materials and actions.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Hondartza Fraga Turntable Drawings II, 2022 Inks on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Fraga's practice combines traditional forms of drawing with a wider range range of media. Her interests lie in the tensions between drawing and digital forms of image making. She is interested in our relationship to remote places, places like deep sea and deep space and the mediated images through which we might experience them. Her work often zooms in on the errors, noise and fragmentation of the imagery and how those idiosyncrasies shaped our understanding of the images and their objects.   Education   2017-present PhD Practice-led Candidate School of Design, University of Leeds, UK 2005-07 MA Fine Art at Sheffield Hallam University, UK 2000-05 BA Fine Art at University of the Basque Country, Spain   Select Exhibitions/Awards   Solo Shows 2021 Ghosts of Saturn, Espacio Alexandra, Santander, Spain 2021 Wonderful Order, new work commissioned by North Lincolnshire Museum 2020 Conjunctions and Oppositions, Beyond Scale (miniature gallery), Online 2018 Not for Navigation, (curated by Our Big Picture) Grimsby Minster, Grimsby, UK (solo exhibition) Group Shows 2022 Seeing Stars (also curated by Fraga), The Stanley and Audrey Burton Gallery, University of Leeds 2021 Definitions of Drawing, Sunny Bank Mills, Leeds 2021 Letting it Settle, Touchbase Gallery, Folskstone 2018 Cosmic Perspectives, curated by Lumen Studios, Ugly Duck, London 2018 Truth and Fantasy, Chrysalis Arts, touring exhibition, UK Awards 2017-present White Rose of the Arts and Humanities Full Scholarship Award (PhD Practice-Led) 2014 Arts Council GfA Award for the project Cuiroseaty, with Lorna Johnson 2013 The Leverhulme Trust: Artist in Residence, Maritime Historical Studies Centre, University of Hull   Gallery Representation   Espacio Alexandra, Santander, Spain   Statement about AOAP Submitted Artwork   Turntable Drawings' are abstract drawings produced with ink on wet paper using an adapted turntable. As the paper rotates at a speed of 33rpm (revolutions per minute) it spreads and distorts how the ink settles on it. The work is an exploration of tensions between control and letting go, chaos and order, gesture and trace, form and content, stillness and movement. Each little drawings is the trace of an encounter between materials and actions.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Hondartza Fraga Turntable Drawings III, 2022 Inks on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Fraga's practice combines traditional forms of drawing with a wider range range of media. Her interests lie in the tensions between drawing and digital forms of image making. She is interested in our relationship to remote places, places like deep sea and deep space and the mediated images through which we might experience them. Her work often zooms in on the errors, noise and fragmentation of the imagery and how those idiosyncrasies shaped our understanding of the images and their objects.   Education   2017-present PhD Practice-led Candidate School of Design, University of Leeds, UK 2005-07 MA Fine Art at Sheffield Hallam University, UK 2000-05 BA Fine Art at University of the Basque Country, Spain   Select Exhibitions/Awards   Solo Shows 2021 Ghosts of Saturn, Espacio Alexandra, Santander, Spain 2021 Wonderful Order, new work commissioned by North Lincolnshire Museum 2020 Conjunctions and Oppositions, Beyond Scale (miniature gallery), Online 2018 Not for Navigation, (curated by Our Big Picture) Grimsby Minster, Grimsby, UK (solo exhibition) Group Shows 2022 Seeing Stars (also curated by Fraga), The Stanley and Audrey Burton Gallery, University of Leeds 2021 Definitions of Drawing, Sunny Bank Mills, Leeds 2021 Letting it Settle, Touchbase Gallery, Folskstone 2018 Cosmic Perspectives, curated by Lumen Studios, Ugly Duck, London 2018 Truth and Fantasy, Chrysalis Arts, touring exhibition, UK Awards 2017-present White Rose of the Arts and Humanities Full Scholarship Award (PhD Practice-Led) 2014 Arts Council GfA Award for the project Cuiroseaty, with Lorna Johnson 2013 The Leverhulme Trust: Artist in Residence, Maritime Historical Studies Centre, University of Hull   Gallery Representation   Espacio Alexandra, Santander, Spain   Statement about AOAP Submitted Artwork   Turntable Drawings' are abstract drawings produced with ink on wet paper using an adapted turntable. As the paper rotates at a speed of 33rpm (revolutions per minute) it spreads and distorts how the ink settles on it. The work is an exploration of tensions between control and letting go, chaos and order, gesture and trace, form and content, stillness and movement. Each little drawings is the trace of an encounter between materials and actions.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

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

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

Adam Dix Untitled (1), 2022 Ink and Oil Glaze on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.)   About   The work of Adam Dix (b.1967) explores the history of transmission, and wrestles with components of contemporary communication. His work brings together a world depicting community and ritual, whilst traversing the landscape of analogue and digital medias through a blend of traditional folk customs, religious ceremony and contemporary communication.   Coupling the contemporary instant-ness of a screen shot, with the slower historic ghostly feel of lithography, Adam Dix's work is concerned with communication through the ages, the constant effort of humanity to come together, share, inspire, pass on our narratives. Humanity has communicated for millennia through illustrations, rituals, customs, choreography, music, writing, religion and symbolism in an attempt to understand one another. Pilgrimages to sites both known and unexpected are suggested in Dix's paintings, religious ceremony is referenced. Costume, disguise and the borrowing and interpretation of symbols are prevalent. Timeframes are indistinct, in Dix's work the present assimilates the residue of the past, we are left contemplating whether a scene is contemporary or historic.   Education   2009 - M.A. Fine Art Wimbledon College of Art 1990 - B.A. (Hons) Graphics and Illustration. Middlesex Polytechnic   SELECTED RECENT EXHIBITIONS AND ART FAIRS: 2020 - bo.lee gallery at London Art Fair 2020, bo.lee gallery Papyrophylia, Charlie Smith Gallery 2019 - bo.lee gallery at London Art Fair 2020, bo.lee gallery   2018 - In Search of the Author, Zedes Gallery, Brussels bo.lee gallery at London Art Fair 2020, bo.lee gallery 2016 - New Paintings, Slete Gallery, Los Angeles All are Welcome, Eleven, London Yesterday's Prophets, Eleven, London   SELECTED GROUP EXHIBITIONS   2017 - In Residence, Griffin Gallery, London Relics from the De-Crypt, Gossamer Fog, London   2016 - Telling Tales, Colleyer Bristow, London   2015 - BFAMI Contemporary Art Auction, Sotheby's, London The Mdina Biennale, Malta Strange Cities, Onassis Cultural Centre, Athens and New York London Art Fair Project Space, The Contemporary London, London   2014 - 100 Painters of Tomorrow, Christies and Beers Contemporary, London So Long and Thanks for All the Fish, Lawrie Shabbi, Dubai   2013 - Salon 10. Marine Contemporary, Los Angeles Ici Londres, Galierie Silin, Paris News From The Sun, Phoenix Art Centre, Exeter 2012 - Editions, Other Criteria, London Programming Myth, Sumarria Lunn, London Unobtrusive Measures, Kunstpavillion, Munich On The Horizon, New Generation of British Painters, Marine Contemporary, Los Angeles   2011 - Fraternise, Beaconsfield Gallery, London Exam, Transition Gallery, London   2010 - Transmission, Haunch of Venison, London Keep Me Posted, Julia Royse, London   2009 - Black Dog Yellow House, Trolley Gallery, London   Gallery Representation   Candida Stevens Gallery in the UK, Zedes Art Gallery in Belgium and Obsolete in Los Angeles. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Adam Dix Untitled (2), 2022 Ink and Oil Glaze on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.)   About   The work of Adam Dix (b.1967) explores the history of transmission, and wrestles with components of contemporary communication. His work brings together a world depicting community and ritual, whilst traversing the landscape of analogue and digital medias through a blend of traditional folk customs, religious ceremony and contemporary communication.   Coupling the contemporary instant-ness of a screen shot, with the slower historic ghostly feel of lithography, Adam Dix's work is concerned with communication through the ages, the constant effort of humanity to come together, share, inspire, pass on our narratives. Humanity has communicated for millennia through illustrations, rituals, customs, choreography, music, writing, religion and symbolism in an attempt to understand one another. Pilgrimages to sites both known and unexpected are suggested in Dix's paintings, religious ceremony is referenced. Costume, disguise and the borrowing and interpretation of symbols are prevalent. Timeframes are indistinct, in Dix's work the present assimilates the residue of the past, we are left contemplating whether a scene is contemporary or historic.   Education   2009 - M.A. Fine Art Wimbledon College of Art 1990 - B.A. (Hons) Graphics and Illustration. Middlesex Polytechnic   SELECTED RECENT EXHIBITIONS AND ART FAIRS: 2020 - bo.lee gallery at London Art Fair 2020, bo.lee gallery Papyrophylia, Charlie Smith Gallery 2019 - bo.lee gallery at London Art Fair 2020, bo.lee gallery   2018 - In Search of the Author, Zedes Gallery, Brussels bo.lee gallery at London Art Fair 2020, bo.lee gallery 2016 - New Paintings, Slete Gallery, Los Angeles All are Welcome, Eleven, London Yesterday's Prophets, Eleven, London   SELECTED GROUP EXHIBITIONS   2017 - In Residence, Griffin Gallery, London Relics from the De-Crypt, Gossamer Fog, London   2016 - Telling Tales, Colleyer Bristow, London   2015 - BFAMI Contemporary Art Auction, Sotheby's, London The Mdina Biennale, Malta Strange Cities, Onassis Cultural Centre, Athens and New York London Art Fair Project Space, The Contemporary London, London   2014 - 100 Painters of Tomorrow, Christies and Beers Contemporary, London So Long and Thanks for All the Fish, Lawrie Shabbi, Dubai   2013 - Salon 10. Marine Contemporary, Los Angeles Ici Londres, Galierie Silin, Paris News From The Sun, Phoenix Art Centre, Exeter 2012 - Editions, Other Criteria, London Programming Myth, Sumarria Lunn, London Unobtrusive Measures, Kunstpavillion, Munich On The Horizon, New Generation of British Painters, Marine Contemporary, Los Angeles   2011 - Fraternise, Beaconsfield Gallery, London Exam, Transition Gallery, London   2010 - Transmission, Haunch of Venison, London Keep Me Posted, Julia Royse, London   2009 - Black Dog Yellow House, Trolley Gallery, London   Gallery Representation   Candida Stevens Gallery in the UK, Zedes Art Gallery in Belgium and Obsolete in Los Angeles. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Adam Dix Untitled (3), 2022 Ink and Oil Glaze on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.)   About   The work of Adam Dix (b.1967) explores the history of transmission, and wrestles with components of contemporary communication. His work brings together a world depicting community and ritual, whilst traversing the landscape of analogue and digital medias through a blend of traditional folk customs, religious ceremony and contemporary communication.   Coupling the contemporary instant-ness of a screen shot, with the slower historic ghostly feel of lithography, Adam Dix's work is concerned with communication through the ages, the constant effort of humanity to come together, share, inspire, pass on our narratives. Humanity has communicated for millennia through illustrations, rituals, customs, choreography, music, writing, religion and symbolism in an attempt to understand one another. Pilgrimages to sites both known and unexpected are suggested in Dix's paintings, religious ceremony is referenced. Costume, disguise and the borrowing and interpretation of symbols are prevalent. Timeframes are indistinct, in Dix's work the present assimilates the residue of the past, we are left contemplating whether a scene is contemporary or historic.   Education   2009 - M.A. Fine Art Wimbledon College of Art 1990 - B.A. (Hons) Graphics and Illustration. Middlesex Polytechnic   SELECTED RECENT EXHIBITIONS AND ART FAIRS: 2020 - bo.lee gallery at London Art Fair 2020, bo.lee gallery Papyrophylia, Charlie Smith Gallery 2019 - bo.lee gallery at London Art Fair 2020, bo.lee gallery   2018 - In Search of the Author, Zedes Gallery, Brussels bo.lee gallery at London Art Fair 2020, bo.lee gallery 2016 - New Paintings, Slete Gallery, Los Angeles All are Welcome, Eleven, London Yesterday's Prophets, Eleven, London   SELECTED GROUP EXHIBITIONS   2017 - In Residence, Griffin Gallery, London Relics from the De-Crypt, Gossamer Fog, London   2016 - Telling Tales, Colleyer Bristow, London   2015 - BFAMI Contemporary Art Auction, Sotheby's, London The Mdina Biennale, Malta Strange Cities, Onassis Cultural Centre, Athens and New York London Art Fair Project Space, The Contemporary London, London   2014 - 100 Painters of Tomorrow, Christies and Beers Contemporary, London So Long and Thanks for All the Fish, Lawrie Shabbi, Dubai   2013 - Salon 10. Marine Contemporary, Los Angeles Ici Londres, Galierie Silin, Paris News From The Sun, Phoenix Art Centre, Exeter 2012 - Editions, Other Criteria, London Programming Myth, Sumarria Lunn, London Unobtrusive Measures, Kunstpavillion, Munich On The Horizon, New Generation of British Painters, Marine Contemporary, Los Angeles   2011 - Fraternise, Beaconsfield Gallery, London Exam, Transition Gallery, London   2010 - Transmission, Haunch of Venison, London Keep Me Posted, Julia Royse, London   2009 - Black Dog Yellow House, Trolley Gallery, London   Gallery Representation   Candida Stevens Gallery in the UK, Zedes Art Gallery in Belgium and Obsolete in Los Angeles. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Rachel Isabel Mukendi Untitled Waves III, 2022 Mixed Media Collage Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Rachel is a multidisciplinary artist, born in Kinshasa, raised in London. Graduated from Chelsea College of Arts London in 2017, and is currently studying Contemporary Art History at Goldsmiths. Her work explores blackness, femininity and being soft using mediums such as digital collage, illustration, film and poetry to unpack these themes.   Education   Chelsea College of Arts 2017   Select Exhibitions/Awards   POW WOW Black History Month Group Show WAW Studios, London 2021   Statement about AOAP Submitted Artwork   I wanted to be play more with this work. I recycled pervious artwork to make these pieces. Water is a consistent feature in my work and I want to expand the flow with yarn. The process was an integral part of the work and required a delicate touch and care. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Chike Azuonye The Search for Answer, 2022 Watercolour on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   My name is Chike Azuonye, a Nigeria-born British artist living and working in London, and have been active in the London art scene since the late 1980s. I am a graduate of Fine and Applied Arts from the University of Nigeria. I have a diploma in digital origination from the University of the Arts London. Also, I am a qualified artist working in schools. I have had several solo exhibitions and many group exhibitions both in London and abroad. My paintings are in public and private collections in Nigeria, UK, France, Finland and Italy. My paintings are remarkable for their depths of expression and thought. I believe that art is life, a celebration and made to be enjoyed and appreciated. My artworks go beyond the aesthetic and delve deep into the narrative of my African roots, as well as my philosophical leaning and pursuits. I am eclectic in my approach to painting, and challenge myself with the mastery of various artistic media, such as acrylic, oil, pastel, charcoal and watercolour, even though I paint mainly in oil and acrylic."   Education   University of Nigeria, Nsukka 1987 University of the Arts London 2005 University of London (Institute of Education) Artists in Schools Programme 1995   Select Exhibitions/Awards   2021/2022: Nigeria Art Society UK - "Legacies of Biafra" Touring Exhibition-Gallery Oldham, 2021: Combat Stress Secret Postcard Auction, Bohnams London 2018: Nigeria Art Society UK - "Legacies of Biafra" Art Exhibition, The Brunei Gallery SOAS 2017: Nigeria Art Society UK - "Ariya" Art Exhibition, WAC Gallery, London 2016: Nigeria Art Society UK - "Aurora" Art Exhibition, WAC Gallery, London   Statement about AOAP Submitted Artwork   It is said that "it takes two to tango." In every endeavour in life, two factors are at work to produce something further. This painting "The Search for Answers" looks at how to resolve a complex question and finding an answer. The problem posed by Hepatitis C today is very serious and poses a lot of questions about finding a lasting cure, but with our combined efforts, a solution will be found one day. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.