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*Gerald Leslie Brockhurst RA (British, 1890 - 1978)Young Womanhood, 1931hand-signed to the lower right margin25.5 x 18.5 (sight); together with a second etching, a Venetian view by Andrew Fairbairn Affleck, signed, 31 x 26.5cm (sight), (2)

After Giovanni Battista Piranesi (Italian, 1720-1778) Veduta del Campo Vaccino (1772), probably a later strikesigned in the plateetching41 x 55cm; together with two further etchings after Giovanni Battista Piranesi, Antique vases, each 54 x 39.5cm; an etching of one of the Colossi del Quirinale, after Francesco Piranesi (unframed); and a watercolour of a mountainous landscape, 19th century school, likely from a sketchbook, a further landscape verso (unframed)

▴ Eileen Cooper RA (b.1953)'The Healer'etching and aquatint in colours, printer's proof, signed and dated 'Eileen Cooper 1989' in pencil l.r., inscribed with title and numbered 'pp1/8'sheet 59 x 75.5cm,unframedCondition ReportThe print has deckled edges and the top edge has some light surface dirt. Some light spots of foxing to the top half.

Picasso, Pablo: (1811 Malaga - Mougins 1973). La sauvetage de la noyée II. Orig.-Radierung. Signiert und numeriert. 1932/1961. Auf Arches Bütten. 15,8 x 20 cm. Papierformat 32,5 x 37,5 cm. Eines von 50 numerierten Exemplaren - Das ebenfalls im gleichen Jahr unter dem Titel geschaffene Ölgemälde wurde vor knapp 10 Jahren zu 31 Millionen Dollar versteigert. - Die Rettung einer Ertrinkenden beschäftigte Picasso so sehr, daß er gleich drei Radierungen zu dem Thema schuf. - Druck der Edition Galerie Louise Leiris, Paris 1961. - PROVENIENZ: Seit 2011 in hessischem Privatbesitz. - Saving a drowning woman occupied Picasso so much that he created 3 different etchings on the subject. The oil painting, also created in the same year under the title, was auctioned off almost 10 years ago for 31 million dollars. Orig. etching. Signed and numbered. 1932/1961. On Arches laid paper. 15.8 : 20 cm. Paper size 32.5 : 37.5 cm. - Slightly browned, upper edge verso in 2 places with small mounting remains. Privately owned in Hesse since 1981. R

Rembrandt van Rijn, Harmensz.: (1606 Leiden - Amsterdam 1669). Christus und die Frau von Samaria (Bogenabschluss). Radierung mit Kaltnadel auf feinem Bütten mit WZ "Pro Patria" (verwendet in den Niederlanden ab 1650), 1657. Blgr. 12,5 x 15,9 cm. Auf Plattenkante geschn. Unter Passep. mont. New Ho. 302 III (v. V). B. 70. W.-B. 130. Sehr guter zeitgenössischer Abdruck des III. Zustands. Selten. - Christ and the Woman of Samaria. Etching and drypoint. State III. D

Etching, 1958, with the original copper etching plate, the two items framed as one Each 15 x 20cm. *Condition: The etching paper slightly time-toned; the copper plate in good condition.

Etching and aquatint with hand colouring, formerly in a single strip, now cut into twelve sections (running from image 1, the King's Herb Woman; to image 131, peers on horseback) and framed as two, published 1822 Each strip 8.5 x 74.5cm approx. (2 frames). *Condition: The sections all gummed onto support sheet; some evident foxing and stains; tears/damages on image numbers 9, 19, 69, 131; some fading; scuffs and grazes etc; fair only but quite a scarce print.

A .22 BSA STANDARD PRE-WAR UNDER-LEVER AIR-RIFLE OF IMPROVED MODEL 'D' TYPE, serial no. S72019, for 1913 / 14, with 19 1/4in. tapering barrel, dove-tailed fore-sight, elevating notch rear-sight, tap-action breech, plain air-chamber with faint traces of etching (unusually marked 'STANDARD'), single pin trigger unit fitted with a period Parker Hale 'PH16B' adjustable diopter peep-sight, chequered walnut straight-hand butt-stock ribbed at heel, trigger adjuster to front of the cast guard, side-catch under-lever and no provision for fore-end. Pre-1939

A SCARCE .177 A.G. PARKER CRANK-WOUND AIR-PISTOL, serial no. 209, pre World War Two, with 10in. sighted scratch-rifled barrel, plain air-cylinder (no etching visible), slab-sided crude frame with crank, smooth wood grips (possible replacements), the whole probably refinished, action untested. Pre-1939

An etching by Laura Beaumont of Old Frankfurt

An etching by Edgar James Maybury of Shakespeare's school

Glynn Thomas, pencil signed limited edition etching of Ipswich docks, number 52 of 150, unframed

Matthews, etching "The Guildhall Kitchen, Boston"

An etching by Joseph Gray, of John Knox's house

A SELECTION OF DECORATIVE PAINTINGS AND PRINTS ETC, comprising Jonna White 'Dragonfly' an etching with embossing depicting a female figure wearing a dress of African fabrics 46/225, approximate size 79cm x 103cm, an indistinctly signed wood block print depicting grape harvesting scenes, three small unsigned early 20th century watercolours depicting Venetian scenes, Julita Jones 'The Snowy Owl', a print depicting Christina Rossetti with her mother with hand written poems initialled K.S.B, Michael Aubrey open edition print, amateur paintings, two prints after William Hogarth 'The Times' plate 1 & 2 and three empty picture frames

Harry Becker (1865-1928), drypoint etching, Study of a labourer, 14.5 x 7.5cm, an etching of Kersey, Suffolk by Ricketts and two small woodcuts

John Wright (20th C.), etching and aquatint, 'Immotive Forces number 1', signed and dated '71, 3/20, 36 x 37cm and a linocut landscape, dated 1964, 1/20, 34 x 46cm, unframed

•John Bellany C.B.E., R.A. (Scottish 1942-2013), Serendipity, etching, signed in pencil, artist's proof, framed. Plate 22cm by 22.5cm. Note: this lot may be subject to ARR.

•Dame Elizabeth Blackadder O.B.E., R.A., R.S.A., R.S.W., R.G.I., D. Litt (Scottish, 1931-2021), Murano, etching, signed lower right, ed. 16/30, pub. 1998, framed. 9cm by 30cm. Provenance: Glasgow Print Studio. Note: this lot may be subject to ARR.

William Walcot (Scottish, 1874-1943), Segovia Bridge, Madrid, signed in pencil lower right, etching, framed. Plate 14.5cm by 33.5cm. Provenance: Aitken Dott, Edinburgh, gallery label verso.

Pierre-Auguste Renoir (1841-1919), Femme Nue Couchee (Tournee a Droite), etching, inscribed "Eau-Forte originale / Nu couche" and "Renoir" in pencil on the mount, framed. Plate 13.5cm by 19cm

A French monochrome topographical engraving, French topographical etching, pastel, various unframed engravings etc

After Captain J Morse - Morning promenade upon the cliff at Brighton, satirical colour etching, 35 x 55cm; together with unframed monochrome etchings, prints and engravings, to include a monochrome photograph of the Shern Hall Gymnastic Club in Walthamstow

After Rowlandson - A trip to Gretna Green, satirical colour etching, 35 x 24cm; together with other satirical etchings to include after James Gillray (5)We have not removed from the frames to inspect or see backs.A Voluptuary – good condition, No.85.A Fungus – good conditio, no number visible n.Gretna Green – some staining, no number visible.The Gout – good condition, No.454.Temperance – good condition, No.86.The Excresence – good condition, no number visible.

R. Randolph - A picturesque scrap near Beauvais, Northern France, watercolour, signed and titled lower left, 35 x 25cm; P. Fidanza - Portrait study, etching, 41 x 29cm; and a contemporary still life lithograph (3)

Ernst Fuchs (1930-2015) - Jacob and Joseph, etching, signed and numbered '543/3000' in pencil to the lower margin, visible sheet dimensions 24.5 x 20.5cm

Dancing Shepherdess with Butterflies, hand coloured etching in 1930's style, monogram of overlapping V's or possibly W on lower right, framed and glazed. 14 x 18 cm.

James Grant. London Bridge, etching, 11.5 x 16cm, framed and glazed and a portrait of a woman, oil on canvas, indistinctly signed lower right, 60 x 30cm

Three framed pictures to include Henry G. Walker, pencil signed etching "The Little Mint in Brixham" 19 x 30cm, a print of Tournee Du Chat Noir 36.5 x 28cm and a print of "Parliament street looking north, at the beginning of the century" signed lower right Alan Burns 27 x 41cm.

A signed etching of Norwich Cathedral by Alfred Richard Blundell. Image size 23 x 27cm.

A Francoise de Herain etching 'Learning to Read' 1925 with two limited edition prints 'The Good Brig' by Stuart Evans and a Gaillard original print 'Charleston Fish Pie'.

An ornate framed Etching titled 'Off Gravesend', signed lower left W. L. Wyllie, published 1910 by W.R. Howell & Co.

An ornate framed Etching depicting 'Mercury Lane, Canterbury', signed lower left T.I. Dagleish, published in 1910 by W.R. Howell & Co.

After Valerie Thornton (1931-1991) - 'Cloister, Arles', etching in colours, no. 94/240, pencil signed to lower right margin, 56 x 76 cm overall

After Henry Wilkinson - Pheasant shooting, hand-coloured etching, pencil signed and numbered 108/200, 25.5 x 34.5 cm

Charles Frederick Tunnicliffe RA (British,1901-1979), Moving the pig, circa 1921, etching, 8x11ins, signed in pencil, framed and glazed.

A POSTCLASSICAL CARNELIAN INTAGLIO SET IN A SILVER AND GOLD PENDANT. VOTIVE SCENE. 17th- 18th centuryStone 13x16x2; 3 grA male character, turned to the left, is seated down on the ground on a small base, holding a snake in his right hand and pointing at a bowl with the left one; ; behind, a naked female figure, with a fluttering drapery held by her right arm, is lifting a patera with her right hand while holding a goat head in the left one, close to a plynth. Groundline. An allegorical scene, inspired by ancient models, which recurs in glyptic production from 17th century up to 18th-19th. The gem is broken into two parts, kept together by the metallic mounting. For comparisons: Valerio Belli vicentino. 1468c. - 1546, Howard Burns, Marco Collareta, Davide Gasparotto, p.248 ("Sacrificio bacchico". Etching from P.J. Mariette), p. 522 n. cat. n. 157.I). Provenance: U.K private collection

Margaret Ashman (British: 1959 - ), Volante, etching, artist's proof no. 20, signed in pencil bottom right, in ebonised frame (36cm x 36cm)

Ellen Graubart, British Contemporary, ‘Miss Goodyear’. Coloured etching, inscribed with title in pencil and signed, AP 1982. , 5x5ins

David Dodsworth (British, contemporary), 'Elektra I', carborandum etching, limited edition, numbered (211 of 350) and signed in pencil,12x22ins, framed and glazed.

Richard Smith (British,1931-2016), 'Butterfly VII', etching, numbered 24 of 40, signed and dated 72', 22x32ins, framed and glazed.

Disney: Sowa & Reiser Limited Edition Hand Painted Etching of Minnie Mouse, Framed, 15 x 15cm Frame

The Kray Twins addressed invoice for monuments and sculptures. Dated 1997, this invoice is on headed paper and comes housed in a Mossfords wallet. Addressed to R Kray billing for memorial etching of photograph and inscription at Pantmawr Cemetery. This letter also has handwritten notes on it. A great piece of memorabilia for any Kray fan.. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.

‡ LUIS CARLOS BARRIOS (Columbian-Mexican, 1953-2011) watercolour - Bull, signed and dated, 58 x 77cms, JOAQUIN BARRIOS (Columbian, b. 1956) oil on card - Bird, 16 x 29cms; a portrait and etching by the same hand, all three signed and dated and GLEN SUJO (b. 1952) pastel and charcoal - First study for the Tempietto, 1986, signed and dated 87, titled on Contemporary Arts Soc. label verso, 42 x 42cms (5)

‡ PATRICK PYE (b.1929), etching diptych, 'The Mystical Inn', signed and numbered, (PL) 38 x 74cm

WILLIAM LIONEL WYLLIE (1851-1931) drypoint etching - 'Greenwich Reach', signed in pencil, 16 x 37.5cmsComments: tinting to border, some worm holes to lower margin, minor fixing.

After Robert Herdman-Smith (1872-1945) - The Rickshaw - coloured etching, signed in pencil to the margin, 18cm by 12cm; A watercolour sargent major Jo Kamanda, court messenger, a Chinese watercolour a colour coloured etching depicting a geisha. (4) ? which is the 3rd picture?

After Pierre Auguste Renoir (1841-1918) "Le Chapeau Epingle""Sur la plage a Berneval"Etching, 12cm by 9cm and 13.5cm by 9.5cm respectively (2)

Harold Wyllie (1880-1973)Clipper off the coastSigned in pencil and numbered 15/100, etching, 19cm by 35cm; together with two works after Rowland Langmaid (1897-1956), "Bound South" and "The Endeavour" (3)

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

Helen Fay Trees, 2023 Etching Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About For many years my work has been about the beauty, dignity and character of animals. The poise and movement of animals, their behaviour and nature are an area I find endlessly fascinating. I like to think of them observing the world as I am observing them and then try to deduce what it is that they rely on to navigate their way through life. Whether it is the curiosity of a primate or the heightened senses of a hound, each and every creature has unique adaptations and behaviours, skills and strengths and these are what I try to convey in my work. Education 1990-1992 Royal College of Art, London. M.A. (R.C.A) Natural History Illustration. 1987-1990 Sunderland University. B.A. Hons. Fine Art Printmaking. 1986-1987 Newcastle College of Art and Design. Foundation studies in Art and Design Select Exhibitions/Awards 2017 Featured artist show at Glasgow Print Studio. 2016 Exhibition at Fotheringham Gallery, Bridge of Allan 2016 Group show at Fisherton Mill 2016 Group show at Moy McKay Gallery, Peebles. 2016 Mixed show at Framed Gallery, Perth. 2015 Selected from the Royal Academy exhibition, Zillah Bell Gallery, Thirsk.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Melanie Bellis Urban Scene II, 2023 Etching on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Melanie's work focuses on urban and industrial landscapes, and the man-made structures that populate them. Her drawings and prints explore architecture in all its forms, derelict sites from our industrial past, well-known buildings of our time, and new developments under construction. The underlying theme in her work is change and the way we constantly develop and reshape our surroundings. Education Melanie was trained in Fine Art Printmaking at Doncaster College then Norwich School of Art. Select Exhibitions/Awards Melanie's work has been exhibited across the UK and internationally, including being selected several times for the Royal Academy Summer Exhibition. Her work is held in a number of collections, including the Ashmolean Museum in Oxford, and the V&A and British Museums in London. She was elected to the Royal Society of Painter Printmakers (RE) in 2017. Gallery Representation Bankside Gallery, London Statement about AOAP Submitted Artwork The two works feature small studies of an urban landscape near Brick Lane in London. They are sections taken from a larger etching made on steel. Melanie uses steel for its gritty and industrial feel, creating images with a dark and brooding atmosphere. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Helen Fay Moon, 2023 Etching Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About For many years my work has been about the beauty, dignity and character of animals. The poise and movement of animals, their behaviour and nature are an area I find endlessly fascinating. I like to think of them observing the world as I am observing them and then try to deduce what it is that they rely on to navigate their way through life. Whether it is the curiosity of a primate or the heightened senses of a hound, each and every creature has unique adaptations and behaviours, skills and strengths and these are what I try to convey in my work. Education 1990-1992 Royal College of Art, London. M.A. (R.C.A) Natural History Illustration. 1987-1990 Sunderland University. B.A. Hons. Fine Art Printmaking. 1986-1987 Newcastle College of Art and Design. Foundation studies in Art and Design Select Exhibitions/Awards 2017 Featured artist show at Glasgow Print Studio. 2016 Exhibition at Fotheringham Gallery, Bridge of Allan 2016 Group show at Fisherton Mill 2016 Group show at Moy McKay Gallery, Peebles. 2016 Mixed show at Framed Gallery, Perth. 2015 Selected from the Royal Academy exhibition, Zillah Bell Gallery, Thirsk.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Melanie Bellis Urban Scene I, 2023 Etching on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Melanie's work focuses on urban and industrial landscapes, and the man-made structures that populate them. Her drawings and prints explore architecture in all its forms, derelict sites from our industrial past, well-known buildings of our time, and new developments under construction. The underlying theme in her work is change and the way we constantly develop and reshape our surroundings. Education Melanie was trained in Fine Art Printmaking at Doncaster College then Norwich School of Art. Select Exhibitions/Awards Melanie's work has been exhibited across the UK and internationally, including being selected several times for the Royal Academy Summer Exhibition. Her work is held in a number of collections, including the Ashmolean Museum in Oxford, and the V&A and British Museums in London. She was elected to the Royal Society of Painter Printmakers (RE) in 2017. Gallery Representation Bankside Gallery, London Statement about AOAP Submitted Artwork The two works feature small studies of an urban landscape near Brick Lane in London. They are sections taken from a larger etching made on steel. Melanie uses steel for its gritty and industrial feel, creating images with a dark and brooding atmosphere. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Cliona Doyle Paeony II, 2023 Etching and Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Cliona Doyle was born in Dublin in 1968. She studied fine art at National College of Art and Design, Dublin. She received an Honours Degree in fine art in 1991. Since then Cliona has been a member of the Graphic Studio Dublin and has exhibited widely at home and abroad. Her work has been exhibited in the following Institutions - The National Gallery, Dublin, The Hugh Lane Gallery, Dublin, The Chester Beatty Library, Dublin, The Royal Hibernian Academy, Dublin. Her work is in many public and private collections. Cliona was a director of the Graphic Studio, Dublin (2005-2009). She teaches etching classes and drawing workshops. Education National College of Art and Design, Select Exhibitions/Awards Selected Solo Exhibitions 2012 "The Orchard" The Droichead Arts Centre 2018 "The Art of Perfume" So Fine Art Editions 2018 "Bower" The Graphic Gallery Dublin Two-Person Exhibitions 1996 Exhibition with Mary Rose O'Neill at the Original Print Gallery, Dublin. 2000 "Into the Garden" The Mullingar Arts Centre. 2000 Exhibition with Jessica Grehan at The Print Room. Selected Group Exhibitions 2004 Blooming Fields of Ireland , Origin Gallery, Dublin. 2006 "Gardens of Earthly Delight", The Chester Beatty Library 2007 Royal Hibernian Academy Annual Exhibition 2008 " Revelation", The National Gallery, Ireland 2010 Yeats and the Golden Age of Print, Sligo Art Gallery 2011 Royal Hibernian Academy Annual Exhibition 2013 " A Natural Selection" at The Botanic Gardens, Glasnevin 2014 Variations on a Theme II, Graphic Studio Gallery 2015 Flowing Forms, Visitors Centre Gallery, Botanic Gardens 2016 RHA Hibernian Academy Annual Exhibition 2017 Another Bite of The Cherry, National Botanic Gardens 2019 Water Colour Society of Ireland Annual Exhibition   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Cliona Doyle Paeony Rose, 2023 Etching on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Cliona Doyle was born in Dublin in 1968. She studied fine art at National College of Art and Design, Dublin. She received an Honours Degree in fine art in 1991. Since then Cliona has been a member of the Graphic Studio Dublin and has exhibited widely at home and abroad. Her work has been exhibited in the following Institutions - The National Gallery, Dublin, The Hugh Lane Gallery, Dublin, The Chester Beatty Library, Dublin, The Royal Hibernian Academy, Dublin. Her work is in many public and private collections. Cliona was a director of the Graphic Studio, Dublin (2005-2009). She teaches etching classes and drawing workshops. Education National College of Art and Design, Select Exhibitions/Awards Selected Solo Exhibitions 2012 "The Orchard" The Droichead Arts Centre 2018 "The Art of Perfume" So Fine Art Editions 2018 "Bower" The Graphic Gallery Dublin Two-Person Exhibitions 1996 Exhibition with Mary Rose O'Neill at the Original Print Gallery, Dublin. 2000 "Into the Garden" The Mullingar Arts Centre. 2000 Exhibition with Jessica Grehan at The Print Room. Selected Group Exhibitions 2004 Blooming Fields of Ireland , Origin Gallery, Dublin. 2006 "Gardens of Earthly Delight", The Chester Beatty Library 2007 Royal Hibernian Academy Annual Exhibition 2008 " Revelation", The National Gallery, Ireland 2010 Yeats and the Golden Age of Print, Sligo Art Gallery 2011 Royal Hibernian Academy Annual Exhibition 2013 " A Natural Selection" at The Botanic Gardens, Glasnevin 2014 Variations on a Theme II, Graphic Studio Gallery 2015 Flowing Forms, Visitors Centre Gallery, Botanic Gardens 2016 RHA Hibernian Academy Annual Exhibition 2017 Another Bite of The Cherry, National Botanic Gardens 2019 Water Colour Society of Ireland Annual Exhibition   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.    

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

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

Helen Fay Tangle, 2023 Etching Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About For many years my work has been about the beauty, dignity and character of animals. The poise and movement of animals, their behaviour and nature are an area I find endlessly fascinating. I like to think of them observing the world as I am observing them and then try to deduce what it is that they rely on to navigate their way through life. Whether it is the curiosity of a primate or the heightened senses of a hound, each and every creature has unique adaptations and behaviours, skills and strengths and these are what I try to convey in my work. Education 1990-1992 Royal College of Art, London. M.A. (R.C.A) Natural History Illustration. 1987-1990 Sunderland University. B.A. Hons. Fine Art Printmaking. 1986-1987 Newcastle College of Art and Design. Foundation studies in Art and Design Select Exhibitions/Awards 2017 Featured artist show at Glasgow Print Studio. 2016 Exhibition at Fotheringham Gallery, Bridge of Allan 2016 Group show at Fisherton Mill 2016 Group show at Moy McKay Gallery, Peebles. 2016 Mixed show at Framed Gallery, Perth. 2015 Selected from the Royal Academy exhibition, Zillah Bell Gallery, Thirsk.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.    

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