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Albert Wainwright (1898-1943) - Clifford's Tower, York Castle, a landscape study of a castle on the hill top, to the reverse an architectural line drawing, pen, ink and wash, unframed, 13cm x 28cm.

Albert Wainwright (1898-1943) - A sketch depicting a line of dancing boys in red and green costumes, with a line drawing of singing choir boys, to the reverse small sketches of figures embracing and drums, pen, ink and wash, unframed, 23cm x 17cm.

Albert Wainwright (1898-1943) - A sketch depicting multiple full length drawing of male figures, above three bust length portraits, to the reverse further studies of female figures mostly partially dressed in various poses, pen and ink, unframed, 22.5cm x 17cm.

Norwood Nurses, a poorly cat recuperating in a chair with his feet in a footbath, probably biographical, inscribed, 'Don't Leave this page open long, or I shall get a chill on the liver, and shall require one of the "Norwood Nurses", Nurse J. Jones preferred' (sic), signed 'Louis Wain, Love from Ve-ra Leins 14.1.09', 20.3 x 16.4cms (double page); together with cloth pocket folder of various poems, sketches, nursing records, etc. all relating to Nurse Lissie JonesProvenance: Lissie Jones, bequeathed to close family firends, thence by descent. Lissie Jones workd as a private nurse in London in the early years of her career, and is remembered for caring for several celebrities including Harry Lauder and Louis Wain, at West Norwood Private Nursing Institution from 1903.Condition report: Comments: Wain drawing - small smudge to word 'ppreeferred', correction in blue ink to letter J to L, minor discolouration to margins.

CHARLES SISSMORE TOMES: MANNINGTON HALL AND ITS OWNERS, Norwich, Goose & Son, 1916, 1st edition, 3 photographic plates, folding pedigree, double page folding plan, original wraps worn with old clear adhesive tape reinforcement + W H MILEHAM: an early Victorian original pen, ink and wash drawing of Mannington Hall dated 1852, approx 150 x 250mm, contemporary glazed birds eye maple frame (2)

λ Elwin Hawthorne (British 1905-1954)Devon's Road, BowBlack and blue ink, double-sided12.8 x 18cm (5 x 7 in.)UnframedThe present work is an original drawing for a linocut. It depicts All Hallows Church which was destroyed during WWII and 'The Widow's Son' pub. A painting of this view was created in 1931, whereabouts unknown.The authenticity of this work has been confirmed by the artist's son.

Mary Yacoob Manifold 02 Ink on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Mary Yacoob's work encompasses ink on paper, printmaking, large-scale vinyl artworks and light boxes. She appropriates the visual languages of electrical and engineering diagrams, architectural plans, cartography, and alphabetical systems. Playing with repetition and geometry, systems and chance, her work involves transfiguring source materials, creating intricate, yet monumental and mysterious thought forms.   Education Based in London, Mary Yacoob gained a MA in Fine Art at Central Saint Martins, and a BA in Fine Art at London Metropolitan University. She received a BA in English Literature and Political Science.   Select Exhibitions/Awards Solo exhibitions include Five Years Gallery, The Hospital Club, The Centre for Recent Drawing and Seven Seven Gallery. Group exhibitions include The Royal Academy Summer Exhibitions in 2019 and 2021, Gallery 46, &Model, PayeShurvell, Guest Projects, Saturation Point, and Dark Matter Studio. Residencies include The Delta (Δ) Research Placement at Flat Time House with the Diagram Research Group, The North Devon Artist Residency in 2020, Mutton Fist Press in 2019 and the AA2A residency at Camberwell College of Art print department in 2011. Mary Yacoob's works are in the collections of Yinka Shonibare / Guest Projects, Brunel University Art Collection, and private collections. Her artist books are in the Tate Gallery Archive; Chelsea College of Art Special Collection and in the London College of Communication Library.   Statement about AOAP Submitted Artwork Mary Yacoob's drawings are inspired by geometric proof pictures. The drawings deconstruct simple forms, such as circles and triangles, reconstructing them with fractured lines, forming complex perceptual fields. The drawings explore how simple diagrams can be repurposed for playful, gestural and creative encounters.

Lucy MJ Ball Looking Back Pen, Ink and Gouache on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lucy was born in 1956 and has lived in the UK since then. She studied at Swansea College of Art on the foundation course and at Canterbury College of Art on the Fine Art course, specialising in painting. Later on, as a mature student, she studied History of Art at Birkbeck College, University of London. Before moving to Devon from Oxfordshire in 1997, Lucy was principally a painter, once in Devon her practice as an artist went on hold for many years and for very many reasons. Returning to her practice she found herself producing very different work. Having done very little printmaking previously, she became captivated by the medium and in particular etching and aquatint. She exploits the darkness of the technique which perfectly suits much of her imagery which is often of dark subject matter peppered with a similarly dark humour. Subject matter is mostly to do with the human condition, relationships of people, of people and place and of people and animals. Lucy's subject matter is also informed by literature and myth. She also sees it as a cathartic process. The alchemical violence of the etching process perfectly suits this subject matter. She enjoys the unpredictability of printmaking and the surprises it creates. The process of etching provides her with a feeling of alchemically creating magic. It is a process requiring both creativity and a patient, often slow but considered adherence to technical considerations. Considerations which can of course, be bent and manipulated. Lucy suggests that monotype printmaking satisfies a need for intuitive and often unlikely outcomes, this medium along with drawing feeds and adds to her library of images and scenarios.   Select Exhibitions/Awards 2021 Selected for Woolwich Contemporary Print Fair November 2021 Selected for RA Summer exhibition September '21-January '22 2021 Limekiln Gallery, Cornwall Summer Exhibition 2020/21 Journey: A Mayflower 400 Project. A Transatlantic Touring Exhibition. Tamar Valley Printmakers UK and Printmakers of Cape Cod USA - Torre Abbey and Plymouth exhibitions 2020/21 RWA 168 Annual Open Exhibition 2020 Fresh off the Press, Limekiln Gallery, Calstock, Cornwall 2019 Red Dot Art Mini Print Exhibition 2019 Fresh off the Press, Limekiln Gallery, Calstock, Cornwall (group) 2019 RWA 167 Annual Open Exhibition 2018 RWA 166 Annual Open Exhibition 2018 Red Dot Art Mini Print Exhibition 2018: RBSA Print Prize Open exhibition (third prize winner) 2018: International Mini Print - Seacourt (group) 2018: Fresh off the Press, Limekiln Gallery, Calstock, Cornwall (group) 2017: Endelienta, open exhibition, Cornwall (group) 1991: HallRichards Gallery, London (solo) 1990: Cole and Cole Solicitors, Oxford (group) 1988: RWA, Bristol (136th annual open) 1988: Oxford Billboard project 1988: Red in Tooth and Claw, Westgate Exhibition Room, Oxford (group) 1987/8: Cahill and Grebler Gallery, London. Christmas show (group) 1986: Women on Men, Cahill and Grebler Gallery, London (group) 1980's: Open studio shows during the decade.

Lucy MJ Ball Showroom Pen, Ink, Watercolour and Crayon on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lucy was born in 1956 and has lived in the UK since then. She studied at Swansea College of Art on the foundation course and at Canterbury College of Art on the Fine Art course, specialising in painting. Later on, as a mature student, she studied History of Art at Birkbeck College, University of London. Before moving to Devon from Oxfordshire in 1997, Lucy was principally a painter, once in Devon her practice as an artist went on hold for many years and for very many reasons. Returning to her practice she found herself producing very different work. Having done very little printmaking previously, she became captivated by the medium and in particular etching and aquatint. She exploits the darkness of the technique which perfectly suits much of her imagery which is often of dark subject matter peppered with a similarly dark humour. Subject matter is mostly to do with the human condition, relationships of people, of people and place and of people and animals. Lucy's subject matter is also informed by literature and myth. She also sees it as a cathartic process. The alchemical violence of the etching process perfectly suits this subject matter. She enjoys the unpredictability of printmaking and the surprises it creates. The process of etching provides her with a feeling of alchemically creating magic. It is a process requiring both creativity and a patient, often slow but considered adherence to technical considerations. Considerations which can of course, be bent and manipulated. Lucy suggests that monotype printmaking satisfies a need for intuitive and often unlikely outcomes, this medium along with drawing feeds and adds to her library of images and scenarios.   Select Exhibitions/Awards 2021 Selected for Woolwich Contemporary Print Fair November 2021 Selected for RA Summer exhibition September '21-January '22 2021 Limekiln Gallery, Cornwall Summer Exhibition 2020/21 Journey: A Mayflower 400 Project. A Transatlantic Touring Exhibition. Tamar Valley Printmakers UK and Printmakers of Cape Cod USA - Torre Abbey and Plymouth exhibitions 2020/21 RWA 168 Annual Open Exhibition 2020 Fresh off the Press, Limekiln Gallery, Calstock, Cornwall 2019 Red Dot Art Mini Print Exhibition 2019 Fresh off the Press, Limekiln Gallery, Calstock, Cornwall (group) 2019 RWA 167 Annual Open Exhibition 2018 RWA 166 Annual Open Exhibition 2018 Red Dot Art Mini Print Exhibition 2018: RBSA Print Prize Open exhibition (third prize winner) 2018: International Mini Print - Seacourt (group) 2018: Fresh off the Press, Limekiln Gallery, Calstock, Cornwall (group) 2017: Endelienta, open exhibition, Cornwall (group) 1991: HallRichards Gallery, London (solo) 1990: Cole and Cole Solicitors, Oxford (group) 1988: RWA, Bristol (136th annual open) 1988: Oxford Billboard project 1988: Red in Tooth and Claw, Westgate Exhibition Room, Oxford (group) 1987/8: Cahill and Grebler Gallery, London. Christmas show (group) 1986: Women on Men, Cahill and Grebler Gallery, London (group) 1980's: Open studio shows during the decade.

Lucy MJ Ball Train Window - Rain Pen, Ink, Watercolour and Crayon on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lucy was born in 1956 and has lived in the UK since then. She studied at Swansea College of Art on the foundation course and at Canterbury College of Art on the Fine Art course, specialising in painting. Later on, as a mature student, she studied History of Art at Birkbeck College, University of London. Before moving to Devon from Oxfordshire in 1997, Lucy was principally a painter, once in Devon her practice as an artist went on hold for many years and for very many reasons. Returning to her practice she found herself producing very different work. Having done very little printmaking previously, she became captivated by the medium and in particular etching and aquatint. She exploits the darkness of the technique which perfectly suits much of her imagery which is often of dark subject matter peppered with a similarly dark humour. Subject matter is mostly to do with the human condition, relationships of people, of people and place and of people and animals. Lucy's subject matter is also informed by literature and myth. She also sees it as a cathartic process. The alchemical violence of the etching process perfectly suits this subject matter. She enjoys the unpredictability of printmaking and the surprises it creates. The process of etching provides her with a feeling of alchemically creating magic. It is a process requiring both creativity and a patient, often slow but considered adherence to technical considerations. Considerations which can of course, be bent and manipulated. Lucy suggests that monotype printmaking satisfies a need for intuitive and often unlikely outcomes, this medium along with drawing feeds and adds to her library of images and scenarios.   Select Exhibitions/Awards 2021 Selected for Woolwich Contemporary Print Fair November 2021 Selected for RA Summer exhibition September '21-January '22 2021 Limekiln Gallery, Cornwall Summer Exhibition 2020/21 Journey: A Mayflower 400 Project. A Transatlantic Touring Exhibition. Tamar Valley Printmakers UK and Printmakers of Cape Cod USA - Torre Abbey and Plymouth exhibitions 2020/21 RWA 168 Annual Open Exhibition 2020 Fresh off the Press, Limekiln Gallery, Calstock, Cornwall 2019 Red Dot Art Mini Print Exhibition 2019 Fresh off the Press, Limekiln Gallery, Calstock, Cornwall (group) 2019 RWA 167 Annual Open Exhibition 2018 RWA 166 Annual Open Exhibition 2018 Red Dot Art Mini Print Exhibition 2018: RBSA Print Prize Open exhibition (third prize winner) 2018: International Mini Print - Seacourt (group) 2018: Fresh off the Press, Limekiln Gallery, Calstock, Cornwall (group) 2017: Endelienta, open exhibition, Cornwall (group) 1991: HallRichards Gallery, London (solo) 1990: Cole and Cole Solicitors, Oxford (group) 1988: RWA, Bristol (136th annual open) 1988: Oxford Billboard project 1988: Red in Tooth and Claw, Westgate Exhibition Room, Oxford (group) 1987/8: Cahill and Grebler Gallery, London. Christmas show (group) 1986: Women on Men, Cahill and Grebler Gallery, London (group) 1980's: Open studio shows during the decade.

Anna Harmon What Do You Know About Apples? Observation Is The Source To The Knowledge of Life Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About I was born in the small Siberian city of Sayansk. Since childhood, I studied at an art school, but classical painting and traditional drawing caused boredom and irritation. After moving to St. Petersburg, being influenced by the history and architecture of the city, the Hermitage, the Russian Museum and other exhibition spaces, I realized that it was possible to go beyond the academic school and try myself in completely different techniques: oil, aerosol paints, ink. At the same time, an image was formed that can be traced in all the works of the author. Young spontaneity, openness to the world, something that allows you to look beyond social dogmas - the beauty of the naked human body, conflicts, the magic of the transition of one into another. At that time, in the Golitsyn Hall in 2019, the first exhibition was held together with other artists, the inspiration for these works were paintings by Henri Matisse, ancient Greek painting and personal impressions. With the help of naked impersonal images, I conveyed various aspects of human relationships and attitudes towards myself. In 2021, I signed a contract with MSK Eastside Gallery. The variety of shapes and colors collected on my canvas refers us to the unity of the unlike. To the fact that in our multicultural world, pluralism of opinions and the ability to live with them is the only thing that moves the world forward.   Education Self-taught   Select Exhibitions/Awards Golitsyn Hall. Moscow. 2019 RABOTA Auction. London. 2021   Gallery Representation MSK Eastside Gallery   Statement about AOAP Submitted Artwork What do you know about apples? What do you know about oranges? People admire the sea or mountains, modern cities, but no one pays attention to apples and oranges lying on the table at home. That's why they are so flat and simple on my postcards. These are familiar household items that our eye ignores. But take a closer look, what do you know about apples?

Anna Harmon What Do You Know About Oranges? Observation Is The Source To The Knowledge of Life Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About I was born in the small Siberian city of Sayansk. Since childhood, I studied at an art school, but classical painting and traditional drawing caused boredom and irritation. After moving to St. Petersburg, being influenced by the history and architecture of the city, the Hermitage, the Russian Museum and other exhibition spaces, I realized that it was possible to go beyond the academic school and try myself in completely different techniques: oil, aerosol paints, ink. At the same time, an image was formed that can be traced in all the works of the author. Young spontaneity, openness to the world, something that allows you to look beyond social dogmas - the beauty of the naked human body, conflicts, the magic of the transition of one into another. At that time, in the Golitsyn Hall in 2019, the first exhibition was held together with other artists, the inspiration for these works were paintings by Henri Matisse, ancient Greek painting and personal impressions. With the help of naked impersonal images, I conveyed various aspects of human relationships and attitudes towards myself. In 2021, I signed a contract with MSK Eastside Gallery. The variety of shapes and colors collected on my canvas refers us to the unity of the unlike. To the fact that in our multicultural world, pluralism of opinions and the ability to live with them is the only thing that moves the world forward.   Education Self-taught   Select Exhibitions/Awards Golitsyn Hall. Moscow. 2019 RABOTA Auction. London. 2021   Gallery Representation MSK Eastside Gallery   Statement about AOAP Submitted Artwork What do you know about apples? What do you know about oranges? People admire the sea or mountains, modern cities, but no one pays attention to apples and oranges lying on the table at home. That's why they are so flat and simple on my postcards. These are familiar household items that our eye ignores. But take a closer look, what do you know about apples?

Allison Gildersleeve Untitled Ink and Gouache on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Behind Allison Gildersleeve's canvases, collages and drawings lies a singular proposition: places are not inert; they are repositories for all that passes through them. Gildersleeve deliberately returns again and again to familiar settings - wooded areas, home interiors, open highways, back country roads - to show that repeated visits to the same place invariably result in wildly divergent depictions. Gildersleeve received her MFA from Bard College in 2004, and her BA from College of William and Mary in 1992. Gildersleeve has exhibited widely across the United States and abroad. Notable solo exhibitions include Olle Nymans Ateljeer (Stockholm, SE), Asya Geisberg Gallery (New York, NY), Auxiliary Projects (Brooklyn, NY), Robischon Gallery (Denver, CO), Cynthia Reeves (Walpole NH), Valley House Gallery (Dallas, TX), The George Gallery (Charleston, SC) and Galleri Andersson/Sandstrom (Stockholm, SE). Selected group exhibitions include Hudson Valley Center for Contemporary Art (NY), CRG Gallery (New York, NY), PS122 (New York, NY), Sharon Arts Center (Peterborough, NH), Dunkers Kulturhus (Helsingberg, SE) and Gana Art Space (Seoul, Korea). Gildersleeve was a 2018-2019 recipient of The Sharpe-Walentas Studio Program in Brooklyn, NY. She has been awarded a NYFA Fellowship as well as residencies at Yaddo, the Millay Colony, the Vermont Studio Center, the Liquitex International Research Residency in London and the Norman Bird Sanctuary in Newport RI. Gildersleeve lives and works in Brooklyn, NY.   Education BA College of William and Mary, MFA Bard College   Select Exhibitions/Awards 2021 ASYA GEISBERG GALLERY, A Thousand Other Things, New York, NY VALLEY HOUSE GALLERY, Swiftly Flow the Days, Dallas, TX 2019 THE GEORGE GALLERY, Tilt-A-Whirl, Charleston, SC AUXILIARY PROJECTS, Paper Trail, Brooklyn, NY 2018 CYNTHIA-REEVES GALLERY, In the Retelling, North Adams, MA VALLEY HOUSE GALLERY, High Frequency, Dallas, TX 2017 GALLERI ANDERSSON SANDSTRÖM: OLLE NYMANS ATELJEER, Stockholm, Sweden LA GRUA CENTER, Beyond the Range of Sight: Allison Gildersleeve & Sue McNally, Stonington, CT ASYA GEISBERG GALLERY, Unruly, New York, NY 2015 VALLEY HOUSE GALLERY, Closer Than They Appear, Dallas, TX 2014 CYNTHIA-REEVES GALLERY, Walpole, NH ASYA GEISBERG GALLERY, Elsewhere, New York, NY ROBISCHON GALLERY, Within Earshot, Denver, CO 2012 GALLERI ANDERSSON SANDSTRÖM, Static Electric, Umeå, Sweden CYNTHIA-REEVES GALLERY, Written Under, Hanover, NH ASYA GEISBERG GALLERY, Let Me Show It To You Unfixed, New York, NY 2011 JOHANSSON PROJECTS, Bramblur: Katy Stone & Allison Gildersleeve, Oakland, CA 2010 CYNTHIA-REEVES GALLERY, Homeward Bound, Hanover, NH ALLEGRA LAVIOLA GALLERY, Eric Jeor & Allison Gildersleeve, New York, NY 2009 GALLERI ANDERSSON SANDSTRÖM, The Here and Then, two part exhibition: Umeå & Stockholm, Sweden 2007 MICHAEL STEINBERG FINE ART, Loss of Place, New York, NY 2005 650 MADISON AVE EXHIBITION PROGRAM, New York, NY 2004 SUPREME TRADING, Brooklyn, NY 2003 PS122 GALLERY, Allison Gildersleeve & Cynthia Innis, New York, NY 1999 SARAH NIGHTINGALE GALLERY, Allison Gildersleeve & Carol Hinrichsen, Water Mill, NY 1998 RED MILL GALLERY, Good Girl, Vermont Studio Center, Johnson, VT Selected Group Exhibitions 2021 ROBISCHON GALLERY, Root + Branch, Denver, CO 2020 CYNTHIA-REEVES GALLERY, Forefront 2020, North Adams, MA 2019 1GAP GALLERY, Sense of Place, curated by Michael Holden, Brooklyn, NY 2018 PARK PLACE GALLERY, Sense of Place, Brooklyn, NY 2017 ROBISCHON GALLERY, Out of View, Denver, CO VALLEY HOUSE GALLERY, Trees, Dallas, TX 2016 THE DRAWING ROOMS, The Nature of Things, curated by Anne Trauben, Jersey City, NJ GALLERI ANDERSSON SANDSTRÖM, 140 Artists-15 Years, Umeå, Sweden SHARON ARTS CENTER, NHIA, Collaboration: The Artist and the Land, curated by Kate Lenahan, Peterborough, NH 2014 VALLEY HOUSE GALLERY, 60TH Anniversary Show, Dallas, TX VALLEY HOUSE GALLERY, Summer Cut, Dallas, TX TOMARPS KUNGSGÅRD, Atelje Larsen, Kvidinge, Sweden 2013 ASYA GEISBERG GALLERY, A.G.G.W.O.P., New York, NY GALLERI PERSSON, Mästargrafik från Atelje Larsen, Malmö, Sweden 2012 HEINER CONTEMPORARY, Housebound, Washington, DC 2011 DUNKERS KULTURHUS, Under Great Pressure, Helsingborg, Sweden STOREFRONT GALLERY, Color Schemes, Brooklyn, NY ASYA GEISBERG GALLERY, The Woods are Lovely, Dark and Deep, New York, NY 2010 SILAS MARDER GALLERY, The Big Show, Bridgehampton, NY HESKIN CONTEMPORARY, Natural Reaction, Brooklyn, NY 2009 DUMBO ART UNDER THE BRIDGE FESTIVAL, The Map is Not the Territory, Brooklyn, NY LAVIOLA BANK GALLERY, Summer Salon, New York, NY 2008 MICHAEL STEINBERG FINE ART, Back to the Drawing Board, New York, NY 2007 HESKIN CONTEMPORARY, Red Desert, curated by Sarah Trigg, New York, NY 2006 COLLABORATIVE CONCEPTS, Flow: Navigating the Super Paradigm, curated by Karlos Carcamo, Beacon, NY CRG GALLERY, Greater Brooklyn, curated by Alex Dodge and Glen Baldridge, New York, NY HUDSON VALLEY CENTER FOR CONTEMPORARY ART, First Look, Peekskill, NY 2004 SUPREME TRADING, Six, Brooklyn, NY MILTON AVERY GRADUATE SCHOOL, The Warm Weather is Holding, Red Hook, NY 2001 BAY AREA CENTER FOR THE CONSOLIDATED ARTS, Berkeley, CA 2000 BOWERY GALLERY, curated by Joan Snyder, New York, NY GANA ART SPACE, Cross Point, Seoul, Korea 381G GALLERY, Delicate, San Francisco, CA Awards & Residencies 2018 SHARPE-WALENTAS STUDIO PROGRAM AWARD 2018-2019, Brooklyn, NY NORMAN BIRD SANCTUARY ARTIST IN RESIDENCE, Middletown, RI LIQUITEX INTERNATIONAL RESIDENCY, Griffin Gallery Studios, London, UK 2008 NEW YORK FOUNDATION OF THE ARTS FELLOW, New York 2004 ELAINE DE KOONING MEMORIAL FELLOWSHIP, Bard College 2002 YADDO, Saratoga Springs, NY 2001 MILLAY COLONY, Austerlitz, NY 1999 VERMONT STUDIO CENTER FELLOWSHIP, Johnson, VT 1995 WOODSTOCK SCHOOL OF ART, Woodstock, NY   Gallery Representation Asya Geisberg, New York, NY. Robischon, Denver, CO, Valley House Gallery, Dallas, TX. The George Gallery, Charleston, SC

Isabelle Hayman 80's Dancer Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About I am a French artist working from my studio in south London. I simultaneously work on 2 groups of artworks. One inspired by my curiosity for the decorative arts, formed by a large series of botanical drawings. Large drawings filled with multiple references and details forming an eclectic mosaic of different patterns carefully assembled. Alongside a series focused on the female representation. Portraits based on graphic lines, oversized eyes, strong profiled decorative elements. Female bodies expressing strength and movement. My work is strongly rooted in a daily drawing practice.   Education ESAA Duperré Printed Textiles Master of Fine Arts Paris I   Select Exhibitions/Awards RA Summer Exhibition 2021 ING Discerning Eye 2021 Paul Smith Group Show November 2020 Compton Verney "Lucas Cranach, Artist and Innovator"   Gallery Representation School Gallery London   Statement about AOAP Submitted Artwork The series of 4 ink drawings belongs to a recent group of drawings called the dancers. I have previously worked with a contemporary dancer and choreographer on 2 series of live drawings. I am interested in the geometry created by bodies in movement, this geometry being emphasised by clothing, accessories and colour. They are a joyful and humorous representation of the female form.

Isabelle Hayman With My Cat Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About I am a French artist working from my studio in south London. I simultaneously work on 2 groups of artworks. One inspired by my curiosity for the decorative arts, formed by a large series of botanical drawings. Large drawings filled with multiple references and details forming an eclectic mosaic of different patterns carefully assembled. Alongside a series focused on the female representation. Portraits based on graphic lines, oversized eyes, strong profiled decorative elements. Female bodies expressing strength and movement. My work is strongly rooted in a daily drawing practice.   Education ESAA Duperré Printed Textiles Master of Fine Arts Paris I   Select Exhibitions/Awards RA Summer Exhibition 2021 ING Discerning Eye 2021 Paul Smith Group Show November 2020 Compton Verney "Lucas Cranach, Artist and Innovator"   Gallery Representation School Gallery London   Statement about AOAP Submitted Artwork The series of 4 ink drawings belongs to a recent group of drawings called the dancers. I have previously worked with a contemporary dancer and choreographer on 2 series of live drawings. I am interested in the geometry created by bodies in movement, this geometry being emphasised by clothing, accessories and colour. They are a joyful and humorous representation of the female form.

Isabelle Hayman Purple Jumpsuit Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About I am a French artist working from my studio in south London. I simultaneously work on 2 groups of artworks. One inspired by my curiosity for the decorative arts, formed by a large series of botanical drawings. Large drawings filled with multiple references and details forming an eclectic mosaic of different patterns carefully assembled. Alongside a series focused on the female representation. Portraits based on graphic lines, oversized eyes, strong profiled decorative elements. Female bodies expressing strength and movement. My work is strongly rooted in a daily drawing practice.   Education ESAA Duperré Printed Textiles Master of Fine Arts Paris I   Select Exhibitions/Awards RA Summer Exhibition 2021 ING Discerning Eye 2021 Paul Smith Group Show November 2020 Compton Verney "Lucas Cranach, Artist and Innovator"   Gallery Representation School Gallery London   Statement about AOAP Submitted Artwork The series of 4 ink drawings belongs to a recent group of drawings called the dancers. I have previously worked with a contemporary dancer and choreographer on 2 series of live drawings. I am interested in the geometry created by bodies in movement, this geometry being emphasised by clothing, accessories and colour. They are a joyful and humorous representation of the female form.

Isabelle Hayman Green Dots Swimsuit Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About I am a French artist working from my studio in south London. I simultaneously work on 2 groups of artworks. One inspired by my curiosity for the decorative arts, formed by a large series of botanical drawings. Large drawings filled with multiple references and details forming an eclectic mosaic of different patterns carefully assembled. Alongside a series focused on the female representation. Portraits based on graphic lines, oversized eyes, strong profiled decorative elements. Female bodies expressing strength and movement. My work is strongly rooted in a daily drawing practice.   Education ESAA Duperré Printed Textiles Master of Fine Arts Paris I   Select Exhibitions/Awards RA Summer Exhibition 2021 ING Discerning Eye 2021 Paul Smith Group Show November 2020 Compton Verney "Lucas Cranach, Artist and Innovator"   Gallery Representation School Gallery London   Statement about AOAP Submitted Artwork The series of 4 ink drawings belongs to a recent group of drawings called the dancers. I have previously worked with a contemporary dancer and choreographer on 2 series of live drawings. I am interested in the geometry created by bodies in movement, this geometry being emphasised by clothing, accessories and colour. They are a joyful and humorous representation of the female form.

Allison Gildersleeve Untitled (1) Ink and Gouache on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Behind Allison Gildersleeve's canvases, collages and drawings lies a singular proposition: places are not inert; they are repositories for all that passes through them. Gildersleeve deliberately returns again and again to familiar settings - wooded areas, home interiors, open highways, back country roads - to show that repeated visits to the same place invariably result in wildly divergent depictions. Gildersleeve received her MFA from Bard College in 2004, and her BA from College of William and Mary in 1992. Gildersleeve has exhibited widely across the United States and abroad. Notable solo exhibitions include Olle Nymans Ateljeer (Stockholm, SE), Asya Geisberg Gallery (New York, NY), Auxiliary Projects (Brooklyn, NY), Robischon Gallery (Denver, CO), Cynthia Reeves (Walpole NH), Valley House Gallery (Dallas, TX), The George Gallery (Charleston, SC) and Galleri Andersson/Sandstrom (Stockholm, SE). Selected group exhibitions include Hudson Valley Center for Contemporary Art (NY), CRG Gallery (New York, NY), PS122 (New York, NY), Sharon Arts Center (Peterborough, NH), Dunkers Kulturhus (Helsingberg, SE) and Gana Art Space (Seoul, Korea). Gildersleeve was a 2018-2019 recipient of The Sharpe-Walentas Studio Program in Brooklyn, NY. She has been awarded a NYFA Fellowship as well as residencies at Yaddo, the Millay Colony, the Vermont Studio Center, the Liquitex International Research Residency in London and the Norman Bird Sanctuary in Newport RI. Gildersleeve lives and works in Brooklyn, NY.   Education BA College of William and Mary, MFA Bard College   Select Exhibitions/Awards 2021 ASYA GEISBERG GALLERY, A Thousand Other Things, New York, NY VALLEY HOUSE GALLERY, Swiftly Flow the Days, Dallas, TX 2019 THE GEORGE GALLERY, Tilt-A-Whirl, Charleston, SC AUXILIARY PROJECTS, Paper Trail, Brooklyn, NY 2018 CYNTHIA-REEVES GALLERY, In the Retelling, North Adams, MA VALLEY HOUSE GALLERY, High Frequency, Dallas, TX 2017 GALLERI ANDERSSON SANDSTRÖM: OLLE NYMANS ATELJEER, Stockholm, Sweden LA GRUA CENTER, Beyond the Range of Sight: Allison Gildersleeve & Sue McNally, Stonington, CT ASYA GEISBERG GALLERY, Unruly, New York, NY 2015 VALLEY HOUSE GALLERY, Closer Than They Appear, Dallas, TX 2014 CYNTHIA-REEVES GALLERY, Walpole, NH ASYA GEISBERG GALLERY, Elsewhere, New York, NY ROBISCHON GALLERY, Within Earshot, Denver, CO 2012 GALLERI ANDERSSON SANDSTRÖM, Static Electric, Umeå, Sweden CYNTHIA-REEVES GALLERY, Written Under, Hanover, NH ASYA GEISBERG GALLERY, Let Me Show It To You Unfixed, New York, NY 2011 JOHANSSON PROJECTS, Bramblur: Katy Stone & Allison Gildersleeve, Oakland, CA 2010 CYNTHIA-REEVES GALLERY, Homeward Bound, Hanover, NH ALLEGRA LAVIOLA GALLERY, Eric Jeor & Allison Gildersleeve, New York, NY 2009 GALLERI ANDERSSON SANDSTRÖM, The Here and Then, two part exhibition: Umeå & Stockholm, Sweden 2007 MICHAEL STEINBERG FINE ART, Loss of Place, New York, NY 2005 650 MADISON AVE EXHIBITION PROGRAM, New York, NY 2004 SUPREME TRADING, Brooklyn, NY 2003 PS122 GALLERY, Allison Gildersleeve & Cynthia Innis, New York, NY 1999 SARAH NIGHTINGALE GALLERY, Allison Gildersleeve & Carol Hinrichsen, Water Mill, NY 1998 RED MILL GALLERY, Good Girl, Vermont Studio Center, Johnson, VT Selected Group Exhibitions 2021 ROBISCHON GALLERY, Root + Branch, Denver, CO 2020 CYNTHIA-REEVES GALLERY, Forefront 2020, North Adams, MA 2019 1GAP GALLERY, Sense of Place, curated by Michael Holden, Brooklyn, NY 2018 PARK PLACE GALLERY, Sense of Place, Brooklyn, NY 2017 ROBISCHON GALLERY, Out of View, Denver, CO VALLEY HOUSE GALLERY, Trees, Dallas, TX 2016 THE DRAWING ROOMS, The Nature of Things, curated by Anne Trauben, Jersey City, NJ GALLERI ANDERSSON SANDSTRÖM, 140 Artists-15 Years, Umeå, Sweden SHARON ARTS CENTER, NHIA, Collaboration: The Artist and the Land, curated by Kate Lenahan, Peterborough, NH 2014 VALLEY HOUSE GALLERY, 60TH Anniversary Show, Dallas, TX VALLEY HOUSE GALLERY, Summer Cut, Dallas, TX TOMARPS KUNGSGÅRD, Atelje Larsen, Kvidinge, Sweden 2013 ASYA GEISBERG GALLERY, A.G.G.W.O.P., New York, NY GALLERI PERSSON, Mästargrafik från Atelje Larsen, Malmö, Sweden 2012 HEINER CONTEMPORARY, Housebound, Washington, DC 2011 DUNKERS KULTURHUS, Under Great Pressure, Helsingborg, Sweden STOREFRONT GALLERY, Color Schemes, Brooklyn, NY ASYA GEISBERG GALLERY, The Woods are Lovely, Dark and Deep, New York, NY 2010 SILAS MARDER GALLERY, The Big Show, Bridgehampton, NY HESKIN CONTEMPORARY, Natural Reaction, Brooklyn, NY 2009 DUMBO ART UNDER THE BRIDGE FESTIVAL, The Map is Not the Territory, Brooklyn, NY LAVIOLA BANK GALLERY, Summer Salon, New York, NY 2008 MICHAEL STEINBERG FINE ART, Back to the Drawing Board, New York, NY 2007 HESKIN CONTEMPORARY, Red Desert, curated by Sarah Trigg, New York, NY 2006 COLLABORATIVE CONCEPTS, Flow: Navigating the Super Paradigm, curated by Karlos Carcamo, Beacon, NY CRG GALLERY, Greater Brooklyn, curated by Alex Dodge and Glen Baldridge, New York, NY HUDSON VALLEY CENTER FOR CONTEMPORARY ART, First Look, Peekskill, NY 2004 SUPREME TRADING, Six, Brooklyn, NY MILTON AVERY GRADUATE SCHOOL, The Warm Weather is Holding, Red Hook, NY 2001 BAY AREA CENTER FOR THE CONSOLIDATED ARTS, Berkeley, CA 2000 BOWERY GALLERY, curated by Joan Snyder, New York, NY GANA ART SPACE, Cross Point, Seoul, Korea 381G GALLERY, Delicate, San Francisco, CA Awards & Residencies 2018 SHARPE-WALENTAS STUDIO PROGRAM AWARD 2018-2019, Brooklyn, NY NORMAN BIRD SANCTUARY ARTIST IN RESIDENCE, Middletown, RI LIQUITEX INTERNATIONAL RESIDENCY, Griffin Gallery Studios, London, UK 2008 NEW YORK FOUNDATION OF THE ARTS FELLOW, New York 2004 ELAINE DE KOONING MEMORIAL FELLOWSHIP, Bard College 2002 YADDO, Saratoga Springs, NY 2001 MILLAY COLONY, Austerlitz, NY 1999 VERMONT STUDIO CENTER FELLOWSHIP, Johnson, VT 1995 WOODSTOCK SCHOOL OF ART, Woodstock, NY   Gallery Representation Asya Geisberg, New York, NY. Robischon, Denver, CO, Valley House Gallery, Dallas, TX. The George Gallery, Charleston, SC

Charmaine Watkiss Your Inner Resourcefulness Will Serve You Well Pencil, Graphite, Watercolour and Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Charmaine Watkiss was born in London to Jamaican parents, she lives and works in London. Her work is concerned with what she calls 'memory stories'. She creates these stories primarily through research connected to the African Caribbean diaspora, and then maps the stories onto female figures. She draws herself only as a conduit to relay stories which speak about a collective experience; starting with a theme then allowing intuition and a dialogue with the work to take over. Her practice addresses themes including diaspora, ritual, tradition, ancestry, mythology and cosmology. Recently Charmaine has shifted her gaze towards the natural world, investigating the herbal healing traditions of Caribbean women, especially those of her mothers generation, and connecting those traditions to their roots in Africa. Her recent first solo Show, The Seed Keepers, was the start of her investigating the medicinal and psychical capabilities of plants; where she explored stories of resistance and survival through the history of colonisation. Her narratives expanded her archetypal language through the creation of a matrilineal pantheon of 'plant warriors', safeguarding and facilitating cross-generational knowledge and empowerment.   Education MA Drawing Wimbledon College of Art 2018, BA Hons Contemporary Media Practice University of Westminster 1994   Select Exhibitions/Awards Shortlisted for the 198 Gallery Woman of Colour Award 2020, Shortlisted for the Trinity Buoy Wharf Drawing Prize 2019 Exhibitions 2021: RA Summer Exhibition, To the Edge of Time KU Leuven Libraries Belgium, The Seed Keepers Solo Show at Cromwell Place, Breakfast Under the Tree (Curated by Russel Tovey) Carl Freedman Gallery Margate, Drawing Biennial at Drawing Room and Cromwell Place   Gallery Representation Tiwani Contemporary Gallery   Statement about AOAP Submitted Artwork 'Your resourcefulness will serve you well' is the title of my work submitted. She is a plant warrior and was created with the idea that plants, just like humans, have different levels of spiritual evolution as well as special personal attributes. When we ingest a plant we are taking on those properties. So, this plant warrior is the Artichoke - whose purpose is to help to cleanse the liver - which is the kind of support needed when one is trying to heal from Hepatitis C. On her arm is a Ghanaian Adinkra symbol which speaks about endurance and overcoming great difficulty.

Allison Gildersleeve Untitled (2) Ink and Gouache on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Behind Allison Gildersleeve's canvases, collages and drawings lies a singular proposition: places are not inert; they are repositories for all that passes through them. Gildersleeve deliberately returns again and again to familiar settings - wooded areas, home interiors, open highways, back country roads - to show that repeated visits to the same place invariably result in wildly divergent depictions. Gildersleeve received her MFA from Bard College in 2004, and her BA from College of William and Mary in 1992. Gildersleeve has exhibited widely across the United States and abroad. Notable solo exhibitions include Olle Nymans Ateljeer (Stockholm, SE), Asya Geisberg Gallery (New York, NY), Auxiliary Projects (Brooklyn, NY), Robischon Gallery (Denver, CO), Cynthia Reeves (Walpole NH), Valley House Gallery (Dallas, TX), The George Gallery (Charleston, SC) and Galleri Andersson/Sandstrom (Stockholm, SE). Selected group exhibitions include Hudson Valley Center for Contemporary Art (NY), CRG Gallery (New York, NY), PS122 (New York, NY), Sharon Arts Center (Peterborough, NH), Dunkers Kulturhus (Helsingberg, SE) and Gana Art Space (Seoul, Korea). Gildersleeve was a 2018-2019 recipient of The Sharpe-Walentas Studio Program in Brooklyn, NY. She has been awarded a NYFA Fellowship as well as residencies at Yaddo, the Millay Colony, the Vermont Studio Center, the Liquitex International Research Residency in London and the Norman Bird Sanctuary in Newport RI. Gildersleeve lives and works in Brooklyn, NY.   Education BA College of William and Mary, MFA Bard College   Select Exhibitions/Awards 2021 ASYA GEISBERG GALLERY, A Thousand Other Things, New York, NY VALLEY HOUSE GALLERY, Swiftly Flow the Days, Dallas, TX 2019 THE GEORGE GALLERY, Tilt-A-Whirl, Charleston, SC AUXILIARY PROJECTS, Paper Trail, Brooklyn, NY 2018 CYNTHIA-REEVES GALLERY, In the Retelling, North Adams, MA VALLEY HOUSE GALLERY, High Frequency, Dallas, TX 2017 GALLERI ANDERSSON SANDSTRÖM: OLLE NYMANS ATELJEER, Stockholm, Sweden LA GRUA CENTER, Beyond the Range of Sight: Allison Gildersleeve & Sue McNally, Stonington, CT ASYA GEISBERG GALLERY, Unruly, New York, NY 2015 VALLEY HOUSE GALLERY, Closer Than They Appear, Dallas, TX 2014 CYNTHIA-REEVES GALLERY, Walpole, NH ASYA GEISBERG GALLERY, Elsewhere, New York, NY ROBISCHON GALLERY, Within Earshot, Denver, CO 2012 GALLERI ANDERSSON SANDSTRÖM, Static Electric, Umeå, Sweden CYNTHIA-REEVES GALLERY, Written Under, Hanover, NH ASYA GEISBERG GALLERY, Let Me Show It To You Unfixed, New York, NY 2011 JOHANSSON PROJECTS, Bramblur: Katy Stone & Allison Gildersleeve, Oakland, CA 2010 CYNTHIA-REEVES GALLERY, Homeward Bound, Hanover, NH ALLEGRA LAVIOLA GALLERY, Eric Jeor & Allison Gildersleeve, New York, NY 2009 GALLERI ANDERSSON SANDSTRÖM, The Here and Then, two part exhibition: Umeå & Stockholm, Sweden 2007 MICHAEL STEINBERG FINE ART, Loss of Place, New York, NY 2005 650 MADISON AVE EXHIBITION PROGRAM, New York, NY 2004 SUPREME TRADING, Brooklyn, NY 2003 PS122 GALLERY, Allison Gildersleeve & Cynthia Innis, New York, NY 1999 SARAH NIGHTINGALE GALLERY, Allison Gildersleeve & Carol Hinrichsen, Water Mill, NY 1998 RED MILL GALLERY, Good Girl, Vermont Studio Center, Johnson, VT Selected Group Exhibitions 2021 ROBISCHON GALLERY, Root + Branch, Denver, CO 2020 CYNTHIA-REEVES GALLERY, Forefront 2020, North Adams, MA 2019 1GAP GALLERY, Sense of Place, curated by Michael Holden, Brooklyn, NY 2018 PARK PLACE GALLERY, Sense of Place, Brooklyn, NY 2017 ROBISCHON GALLERY, Out of View, Denver, CO VALLEY HOUSE GALLERY, Trees, Dallas, TX 2016 THE DRAWING ROOMS, The Nature of Things, curated by Anne Trauben, Jersey City, NJ GALLERI ANDERSSON SANDSTRÖM, 140 Artists-15 Years, Umeå, Sweden SHARON ARTS CENTER, NHIA, Collaboration: The Artist and the Land, curated by Kate Lenahan, Peterborough, NH 2014 VALLEY HOUSE GALLERY, 60TH Anniversary Show, Dallas, TX VALLEY HOUSE GALLERY, Summer Cut, Dallas, TX TOMARPS KUNGSGÅRD, Atelje Larsen, Kvidinge, Sweden 2013 ASYA GEISBERG GALLERY, A.G.G.W.O.P., New York, NY GALLERI PERSSON, Mästargrafik från Atelje Larsen, Malmö, Sweden 2012 HEINER CONTEMPORARY, Housebound, Washington, DC 2011 DUNKERS KULTURHUS, Under Great Pressure, Helsingborg, Sweden STOREFRONT GALLERY, Color Schemes, Brooklyn, NY ASYA GEISBERG GALLERY, The Woods are Lovely, Dark and Deep, New York, NY 2010 SILAS MARDER GALLERY, The Big Show, Bridgehampton, NY HESKIN CONTEMPORARY, Natural Reaction, Brooklyn, NY 2009 DUMBO ART UNDER THE BRIDGE FESTIVAL, The Map is Not the Territory, Brooklyn, NY LAVIOLA BANK GALLERY, Summer Salon, New York, NY 2008 MICHAEL STEINBERG FINE ART, Back to the Drawing Board, New York, NY 2007 HESKIN CONTEMPORARY, Red Desert, curated by Sarah Trigg, New York, NY 2006 COLLABORATIVE CONCEPTS, Flow: Navigating the Super Paradigm, curated by Karlos Carcamo, Beacon, NY CRG GALLERY, Greater Brooklyn, curated by Alex Dodge and Glen Baldridge, New York, NY HUDSON VALLEY CENTER FOR CONTEMPORARY ART, First Look, Peekskill, NY 2004 SUPREME TRADING, Six, Brooklyn, NY MILTON AVERY GRADUATE SCHOOL, The Warm Weather is Holding, Red Hook, NY 2001 BAY AREA CENTER FOR THE CONSOLIDATED ARTS, Berkeley, CA 2000 BOWERY GALLERY, curated by Joan Snyder, New York, NY GANA ART SPACE, Cross Point, Seoul, Korea 381G GALLERY, Delicate, San Francisco, CA Awards & Residencies 2018 SHARPE-WALENTAS STUDIO PROGRAM AWARD 2018-2019, Brooklyn, NY NORMAN BIRD SANCTUARY ARTIST IN RESIDENCE, Middletown, RI LIQUITEX INTERNATIONAL RESIDENCY, Griffin Gallery Studios, London, UK 2008 NEW YORK FOUNDATION OF THE ARTS FELLOW, New York 2004 ELAINE DE KOONING MEMORIAL FELLOWSHIP, Bard College 2002 YADDO, Saratoga Springs, NY 2001 MILLAY COLONY, Austerlitz, NY 1999 VERMONT STUDIO CENTER FELLOWSHIP, Johnson, VT 1995 WOODSTOCK SCHOOL OF ART, Woodstock, NY   Gallery Representation Asya Geisberg, New York, NY. Robischon, Denver, CO, Valley House Gallery, Dallas, TX. The George Gallery, Charleston, SC

Allison Gildersleeve Untitled (3) Ink and Gouache on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Behind Allison Gildersleeve's canvases, collages and drawings lies a singular proposition: places are not inert; they are repositories for all that passes through them. Gildersleeve deliberately returns again and again to familiar settings - wooded areas, home interiors, open highways, back country roads - to show that repeated visits to the same place invariably result in wildly divergent depictions. Gildersleeve received her MFA from Bard College in 2004, and her BA from College of William and Mary in 1992. Gildersleeve has exhibited widely across the United States and abroad. Notable solo exhibitions include Olle Nymans Ateljeer (Stockholm, SE), Asya Geisberg Gallery (New York, NY), Auxiliary Projects (Brooklyn, NY), Robischon Gallery (Denver, CO), Cynthia Reeves (Walpole NH), Valley House Gallery (Dallas, TX), The George Gallery (Charleston, SC) and Galleri Andersson/Sandstrom (Stockholm, SE). Selected group exhibitions include Hudson Valley Center for Contemporary Art (NY), CRG Gallery (New York, NY), PS122 (New York, NY), Sharon Arts Center (Peterborough, NH), Dunkers Kulturhus (Helsingberg, SE) and Gana Art Space (Seoul, Korea). Gildersleeve was a 2018-2019 recipient of The Sharpe-Walentas Studio Program in Brooklyn, NY. She has been awarded a NYFA Fellowship as well as residencies at Yaddo, the Millay Colony, the Vermont Studio Center, the Liquitex International Research Residency in London and the Norman Bird Sanctuary in Newport RI. Gildersleeve lives and works in Brooklyn, NY.   Education BA College of William and Mary, MFA Bard College   Select Exhibitions/Awards 2021 ASYA GEISBERG GALLERY, A Thousand Other Things, New York, NY VALLEY HOUSE GALLERY, Swiftly Flow the Days, Dallas, TX 2019 THE GEORGE GALLERY, Tilt-A-Whirl, Charleston, SC AUXILIARY PROJECTS, Paper Trail, Brooklyn, NY 2018 CYNTHIA-REEVES GALLERY, In the Retelling, North Adams, MA VALLEY HOUSE GALLERY, High Frequency, Dallas, TX 2017 GALLERI ANDERSSON SANDSTRÖM: OLLE NYMANS ATELJEER, Stockholm, Sweden LA GRUA CENTER, Beyond the Range of Sight: Allison Gildersleeve & Sue McNally, Stonington, CT ASYA GEISBERG GALLERY, Unruly, New York, NY 2015 VALLEY HOUSE GALLERY, Closer Than They Appear, Dallas, TX 2014 CYNTHIA-REEVES GALLERY, Walpole, NH ASYA GEISBERG GALLERY, Elsewhere, New York, NY ROBISCHON GALLERY, Within Earshot, Denver, CO 2012 GALLERI ANDERSSON SANDSTRÖM, Static Electric, Umeå, Sweden CYNTHIA-REEVES GALLERY, Written Under, Hanover, NH ASYA GEISBERG GALLERY, Let Me Show It To You Unfixed, New York, NY 2011 JOHANSSON PROJECTS, Bramblur: Katy Stone & Allison Gildersleeve, Oakland, CA 2010 CYNTHIA-REEVES GALLERY, Homeward Bound, Hanover, NH ALLEGRA LAVIOLA GALLERY, Eric Jeor & Allison Gildersleeve, New York, NY 2009 GALLERI ANDERSSON SANDSTRÖM, The Here and Then, two part exhibition: Umeå & Stockholm, Sweden 2007 MICHAEL STEINBERG FINE ART, Loss of Place, New York, NY 2005 650 MADISON AVE EXHIBITION PROGRAM, New York, NY 2004 SUPREME TRADING, Brooklyn, NY 2003 PS122 GALLERY, Allison Gildersleeve & Cynthia Innis, New York, NY 1999 SARAH NIGHTINGALE GALLERY, Allison Gildersleeve & Carol Hinrichsen, Water Mill, NY 1998 RED MILL GALLERY, Good Girl, Vermont Studio Center, Johnson, VT Selected Group Exhibitions 2021 ROBISCHON GALLERY, Root + Branch, Denver, CO 2020 CYNTHIA-REEVES GALLERY, Forefront 2020, North Adams, MA 2019 1GAP GALLERY, Sense of Place, curated by Michael Holden, Brooklyn, NY 2018 PARK PLACE GALLERY, Sense of Place, Brooklyn, NY 2017 ROBISCHON GALLERY, Out of View, Denver, CO VALLEY HOUSE GALLERY, Trees, Dallas, TX 2016 THE DRAWING ROOMS, The Nature of Things, curated by Anne Trauben, Jersey City, NJ GALLERI ANDERSSON SANDSTRÖM, 140 Artists-15 Years, Umeå, Sweden SHARON ARTS CENTER, NHIA, Collaboration: The Artist and the Land, curated by Kate Lenahan, Peterborough, NH 2014 VALLEY HOUSE GALLERY, 60TH Anniversary Show, Dallas, TX VALLEY HOUSE GALLERY, Summer Cut, Dallas, TX TOMARPS KUNGSGÅRD, Atelje Larsen, Kvidinge, Sweden 2013 ASYA GEISBERG GALLERY, A.G.G.W.O.P., New York, NY GALLERI PERSSON, Mästargrafik från Atelje Larsen, Malmö, Sweden 2012 HEINER CONTEMPORARY, Housebound, Washington, DC 2011 DUNKERS KULTURHUS, Under Great Pressure, Helsingborg, Sweden STOREFRONT GALLERY, Color Schemes, Brooklyn, NY ASYA GEISBERG GALLERY, The Woods are Lovely, Dark and Deep, New York, NY 2010 SILAS MARDER GALLERY, The Big Show, Bridgehampton, NY HESKIN CONTEMPORARY, Natural Reaction, Brooklyn, NY 2009 DUMBO ART UNDER THE BRIDGE FESTIVAL, The Map is Not the Territory, Brooklyn, NY LAVIOLA BANK GALLERY, Summer Salon, New York, NY 2008 MICHAEL STEINBERG FINE ART, Back to the Drawing Board, New York, NY 2007 HESKIN CONTEMPORARY, Red Desert, curated by Sarah Trigg, New York, NY 2006 COLLABORATIVE CONCEPTS, Flow: Navigating the Super Paradigm, curated by Karlos Carcamo, Beacon, NY CRG GALLERY, Greater Brooklyn, curated by Alex Dodge and Glen Baldridge, New York, NY HUDSON VALLEY CENTER FOR CONTEMPORARY ART, First Look, Peekskill, NY 2004 SUPREME TRADING, Six, Brooklyn, NY MILTON AVERY GRADUATE SCHOOL, The Warm Weather is Holding, Red Hook, NY 2001 BAY AREA CENTER FOR THE CONSOLIDATED ARTS, Berkeley, CA 2000 BOWERY GALLERY, curated by Joan Snyder, New York, NY GANA ART SPACE, Cross Point, Seoul, Korea 381G GALLERY, Delicate, San Francisco, CA Awards & Residencies 2018 SHARPE-WALENTAS STUDIO PROGRAM AWARD 2018-2019, Brooklyn, NY NORMAN BIRD SANCTUARY ARTIST IN RESIDENCE, Middletown, RI LIQUITEX INTERNATIONAL RESIDENCY, Griffin Gallery Studios, London, UK 2008 NEW YORK FOUNDATION OF THE ARTS FELLOW, New York 2004 ELAINE DE KOONING MEMORIAL FELLOWSHIP, Bard College 2002 YADDO, Saratoga Springs, NY 2001 MILLAY COLONY, Austerlitz, NY 1999 VERMONT STUDIO CENTER FELLOWSHIP, Johnson, VT 1995 WOODSTOCK SCHOOL OF ART, Woodstock, NY   Gallery Representation Asya Geisberg, New York, NY. Robischon, Denver, CO, Valley House Gallery, Dallas, TX. The George Gallery, Charleston, SC

Esmé Clutterbuck Celebrity Hair Ink and Pen on Magazine Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Esmé lives and works in Bristol, UK. She has exhibited and completed residencies here and abroad and has had work in numerous Open Exhibitions including the Royal Academy Summer Exhibition, Woolwich Print Open, International Print Biennale and The Discerning Eye (Drawing Bursary, finalist) and many others. She has work in public and private collections; is a member of BV Studios Bristol and a sometime member of Spike Print Studios. She has been a visiting lecturer and tutor at numerous colleges and universities.   Education 1979 - 82 Portsmouth Polytechnic, BA Fine Art 1982 - 85 Royal Academy Schools, Post Graduate Diploma - Painting 1993 - 95 Central St Martins, Post Graduate Diploma (PT) Printmaking Select Exhibitions/Awards 2021 Royal Academy Summer Exhibition, London 'This House Protects the Dreamer' Safe House 2, Peckham, London 2020 Collaborative Residencies at The Garage, Bristol RWA Open, Bristol (delayed 'til 2021) 2019 'Hidden' Fringe Arts Bath, Milsom Place, Milsom St, Bath Drawing Residency, Drawing Projects UK, Trowbridge RWA Open Exhibition, Bristol 2018 Royal Academy Summer Exhibition, London Collaborators 5: The Hand of the Artist, Roaming Room, London 2017 RWA Open Exhibition, RWA, Bristol 2016 The Royal Academy, Summer Exhibition, London Woolwich Print Fair, London (Invited Artist) 'Print', 44AD Gallery, Bath 'Outline', Heritage Courtyard Gallery, Wells, Somerset RWA Open Exhibition, RWA, Bristol 2015 'Drawn' Open, RWA, Bristol 2014 'The Discerning Eye', Mall Galleries, London. (Invited Artist). International Print Biennale, Northern Print, Newcastle-upon-Tyne Statement about AOAP Submitted Artwork Esmé's thoughtful work and intimate work is sometimes representational and sometimes not. It is telling a story but indirectly often through representation and sometimes through simple shapes and pattern. She works with a variety of processes including drawing, photography and print. The relationship between drawing and surface is important whether that be watercolour paper, women's magazines, digital images or domestic linen. These drawings are part of an on-going examination of hair in all its beauty and uncanniness. They are concerned with the sense of loss and otherness that is present when hair is removed from the body. In these images the figure is absent but the woman is nevertheless present; represented by her hair.

Esmé Clutterbuck Curl Ink, Spray Paint and Conté on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Esmé lives and works in Bristol, UK. She has exhibited and completed residencies here and abroad and has had work in numerous Open Exhibitions including the Royal Academy Summer Exhibition, Woolwich Print Open, International Print Biennale and The Discerning Eye (Drawing Bursary, finalist) and many others. She has work in public and private collections; is a member of BV Studios Bristol and a sometime member of Spike Print Studios. She has been a visiting lecturer and tutor at numerous colleges and universities.   Education 1979 - 82 Portsmouth Polytechnic, BA Fine Art 1982 - 85 Royal Academy Schools, Post Graduate Diploma - Painting 1993 - 95 Central St Martins, Post Graduate Diploma (PT) Printmaking Select Exhibitions/Awards 2021 Royal Academy Summer Exhibition, London 'This House Protects the Dreamer' Safe House 2, Peckham, London 2020 Collaborative Residencies at The Garage, Bristol RWA Open, Bristol (delayed 'til 2021) 2019 'Hidden' Fringe Arts Bath, Milsom Place, Milsom St, Bath Drawing Residency, Drawing Projects UK, Trowbridge RWA Open Exhibition, Bristol 2018 Royal Academy Summer Exhibition, London Collaborators 5: The Hand of the Artist, Roaming Room, London 2017 RWA Open Exhibition, RWA, Bristol 2016 The Royal Academy, Summer Exhibition, London Woolwich Print Fair, London (Invited Artist) 'Print', 44AD Gallery, Bath 'Outline', Heritage Courtyard Gallery, Wells, Somerset RWA Open Exhibition, RWA, Bristol 2015 'Drawn' Open, RWA, Bristol 2014 'The Discerning Eye', Mall Galleries, London. (Invited Artist). International Print Biennale, Northern Print, Newcastle-upon-Tyne Statement about AOAP Submitted Artwork Esmé's thoughtful work and intimate work is sometimes representational and sometimes not. It is telling a story but indirectly often through representation and sometimes through simple shapes and pattern. She works with a variety of processes including drawing, photography and print. The relationship between drawing and surface is important whether that be watercolour paper, women's magazines, digital images or domestic linen. These drawings are part of an on-going examination of hair in all its beauty and uncanniness. They are concerned with the sense of loss and otherness that is present when hair is removed from the body. In these images the figure is absent but the woman is nevertheless present; represented by her hair.

Victoria Cantons Change is the Natural Order Watercolour and Archival Ink on Paper Signed on Front and Verso 15 x 10cm (5¾ x 3¾ in.) About Victoria Cantons is an artist who happens to be a woman, transgender, and gay. As a trans woman she is keenly aware of limitations and stigmas, which leads her to question how much freedom we have and where our boundaries lie. Cantons wants to understand as much as she can about what it means to be human. She believes that what we as individuals present to the world is multifaceted and not always visible; a continuous evolution in response to experience, and in relationship to each other. The human condition and questions of identity are central to her work. Cantons is interested in themes of power, identity, and male and female perceptions of each other. She says "These aspects connect us all and yet we are also unique individuals". Cantons' painting is figurative and she could be described as a colourist. She is interested in the dialogue between painting's contemporary iterations and its histories. Cantons uses drawing and written notes combined with found and made photographs to navigate between intuitive, intellectual, and aesthetic content informed by a multinational, -cultural and -religious background. An interest in the internal-external dichotomy manifests in an attention to scale, to how shadows form, and to where absences appear. Memories of being different suggest the need to use masks and camouflage as protection, while influencing the paintings as they evolve in an exploration of identity, self, and representation.   Education 2018 - 21 MFA Painting (Distinction), Slade School of Art, University College London 2017 - 18 Painters Studio Programme, Turps Art School, London 2014 - 17 BA (Hons) Fine Art: Painting, Wimbledon College of Arts, University of the Arts London 2013. . . . Summer Foundation Course, Slade School of Art, University College London 1995 - 97 Drama Studies, Academy of Live and Recorded Arts (ALRA South), London

Victoria Cantons Hope is Everything Watercolour and Archival Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Victoria Cantons is an artist who happens to be a woman, transgender, and gay. As a trans woman she is keenly aware of limitations and stigmas, which leads her to question how much freedom we have and where our boundaries lie. Cantons wants to understand as much as she can about what it means to be human. She believes that what we as individuals present to the world is multifaceted and not always visible; a continuous evolution in response to experience, and in relationship to each other. The human condition and questions of identity are central to her work. Cantons is interested in themes of power, identity, and male and female perceptions of each other. She says "These aspects connect us all and yet we are also unique individuals". Cantons' painting is figurative and she could be described as a colourist. She is interested in the dialogue between painting's contemporary iterations and its histories. Cantons uses drawing and written notes combined with found and made photographs to navigate between intuitive, intellectual, and aesthetic content informed by a multinational, -cultural and -religious background. An interest in the internal-external dichotomy manifests in an attention to scale, to how shadows form, and to where absences appear. Memories of being different suggest the need to use masks and camouflage as protection, while influencing the paintings as they evolve in an exploration of identity, self, and representation.   Education 2018 - 21 MFA Painting (Distinction), Slade School of Art, University College London 2017 - 18 Painters Studio Programme, Turps Art School, London 2014 - 17 BA (Hons) Fine Art: Painting, Wimbledon College of Arts, University of the Arts London 2013. . . . Summer Foundation Course, Slade School of Art, University College London 1995 - 97 Drama Studies, Academy of Live and Recorded Arts (ALRA South), London

Penny Goring For Better Or Worser Ink and Felt Tip Pen on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Penny Goring is a London-based artist and poet who makes sculptures, drawings, paintings, videos and poems that are explorations of the contemporary state of emergency.   Education Kingston University, BA (Hons) Fine Art (Painting), 1994. London College of Fashion, Fashion Writing, 1981.   Select Exhibitions/Awards Selected gallery exhibitions include: Tate St. Ives, UK, Museum of Modern Art, Warsaw, Campoli Presti, Paris, and Arcadia Missa, London. Goring has performed her poetry at many venues, including: South London Gallery, London, Pogo Bar/KW Institute, Berlin. Upcoming solo exhibition: ICA, London, June - September 2022.   Gallery Representation Arcadia Missa   Statement about AOAP Submitted Artwork For AOAP Goring created a unique version of a drawing from her ART HELL series, 2019-20, which is comprised of 55 ART HELL drawings.

Runayker Night Comes To A Running Sea Indian Ink and Pencil on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Practicing artist since 1958. Teaching experience includes visiting lecturer in painting and studio practice, honours degree course at the now renamed Ruskin Cambridge School of Art for four years. Education Camberwell School of Arts and Crafts. NDD painting and weaving as secondary subject - 1954 to 1958. Followed by 2 years life drawing with Merlin Evans at Central School of Art. Tate Gallery, 'Modern and Contemporary Art Course', distinction in curating. Tate Gallery, 'Ways to Wander the Gallery' Triarchy Press, editors Clare Qualma and Claire Hind - 2018 (from the artists course of same name)   Select Exhibitions/Awards 2000 Millennium British artists in New York. Exhibition and talk at Whitechapel Art Gallery as opening seminar of ESRC 'Cultural Narratives and ways of Knowing'. Talk and exhibition University of East London 'Nomadic lines in becoming a woman artist's, convener Maria Tamboukou. Paper on M. Tamboukou. 'Places by water:poetic enquiries' Three women artists, three approaches. Academia.com   Gallery Representation Linchpin Gallery - now closed   Statement about AOAP Submitted Artwork Living by the sea, waves and rhythm permeate thinking by osmosis. These drawings also hold other hidden experiences which surface occasionally from my history of weaving threads. These were resurrected during the Annie Albers wonderful show at Tate Modern and oceans of histories, the warp and weft of space/time.

Olivia Kemp In the Green Garden Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Olivia Kemp is a British artist and draughtswoman working with pen and ink. She makes complex and detailed drawings, sometimes expansive, imagined and surreal. Since her "Richard Ford Award" residency in the Museo del Prado in 2015; much of her work is inspired by art history and the classic painters. Kemp and her work have featured on BBC R4 Front Row, Marie Claire, The Evening Standard, Colnaghi Foundation Lates, Mashable, Colossal and many more.   Education BA (Hons) Fine Art: Painting, Winchester School of Art, 2011 MA Drawing, Wimbledon College of Art (UAL) 2013 The Drawing Year, Postgraduate Programme, Royal Drawing School 2014.   Select Exhibitions/Awards Detail - solo exhibition - Galeria F&deO - Madrid 2021 Fieldwork - solo exhibition - James Freeman Gallery - London 2020 Prince And Patron - Royal Collection Exhibition - Buckingham Palace - London 2018 Where The Land Lies - solo exhibition - Browse & Darby - London 2017 Art For Guernsey - solo exhibition - Guernsey 2017 Drawings from The Royal Drawing School - Christies - New York 2016 Gallery Representation James Freeman Gallery   Statement about AOAP Submitted Artwork This drawing is of a friend of the artist. During the 2020 Kemp had her friends send photos of themselves for her to draw from. This is worked up from one of those photographs, inspired by images of the venus and graces.

Anastasia Lopoukhine Someone's Hands Pen on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Anastasia Lopoukhine is a French-Russian artist educated in the UK, the US and Russia. Anastasia makes large scale pen and ink drawings, sometimes adding watercolour and oil pastel to build a sense of tactility. The detailed nature of the process gives Anastasia's work an intensity, often lifted with a hint of wry humour. Her approach is that of a narrator inspired by events in history or by personal experiences in different corners of the world. Anastasia holds an MAScot from the University of Edinburgh in History and Russian studies and an MFA from the New York Academy of Art, where she majored in Drawing and Printmaking. Over the past decade Anastasia has participated in group exhibitions and auctions in London, Moscow and New York.   Education Stowe School, UK: 2009-2014 The University of Edinburgh, UK: MAScot, 2015-2019 The New York Academy of Art, US: MFA, 2019-2021.   Select Exhibitions/Awards TriBeCa Ball, New York, 2020/2021 Réaction Exhibition, London, 2020 Susan Eley Fine Art, Online Show 'Ghost of Presence', New York, September 2021 The Russian Artist Fund, Group Show at the Museum of Applied Arts, Moscow, October 2021 The Christmas Group Show, A3 Gallery, Moscow 17 December 2021 - 17 January 2022   Statement about AOAP Submitted Artwork I wanted to draw what was around me when I opened the envelope with the cards: my favorite chair at my friend's house and my boyfriend's hands. I drew both in pen for that is my medium of choice.

Katarina Ranković Personal Fleet Pen Drawing on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Katarina Rankovic (b.1994) is a video, drawing and text-based artist exploring the extent to which personhood is encoded in character, and whether fictional characters can be reverse engineered into something approximating persons; a kind of literary prototype of general artificial intelligence. Current projects include 'Empathy Drawings', a means of becoming other through the body of line; 'Anomaline', a novel about an anti-person; 'Vernacular Spectacular', a one-woman empathy circus, and 'Scripting for Agency', a PhD project at Goldsmiths College. As a Serb born in Yorkshire, raised in Norway and working in London, both the theory and practice of Katarina's work originates from the daily necessity of inhabiting and switching between many selves.   Education PhD Art - Goldsmiths College, 2019-2022 MA Fine Art - Central Saint Martins, 2016-2018 BA Fine Art (Painting) - Wimbledon College of Arts, 2013-2016   Select Exhibitions/Awards New Writing with New Contemporaries, South London Gallery, 19 February 2022 Bloomberg New Contemporaries 2021, South London Gallery, 10 Dec 2021 - 20 Feb 2022 Bloomberg New Contemporaries 2021, Firstsite Gallery, Colchester, 25 Sept - 28 Nov 2021 Ridiculous! Elephant West, London, 9 Jan - 2 Feb 2020 Pseudo, Perfomistanbul Performance Research Archive, 2020 Vernacular Spectacular, solo exhibition, Tension Fine Art, 9 Aug - 7 Sept 2019 Winner of the Golden Aesop Grand Prix in Contemporary Art at the 24th Biennial of Humour and Satire, Gabrovo, Bulgaria, 2019 TBCTV, Somerset House, London, 3 - 7 Oct 2018 Xhibit 2018, Art Bermondsey Project Space, 19 Apr - 12 May 2018 NOVA Awards; Aberystwyth Arts Center, Royal Cambrian Society, Arcade Cardiff, 26 Jan - 1 Apr 2018 Art to Artillery, short film commissioned by NOWNESS and Louis Vuitton Moët Hennessy, 2017 Winner of Refinery29 Artist Vision Award, 2017 Altered Realities, Lethaby Gallery, London, 22 Feb - 15 Mar 2017 Blind Scripting, Tate Exchange, Tate Modern, 13 Jan, 2017 Blind Scripting, Nottingham Contemporary, 1 - 2 Dec 2016 Crypt Residency, Crypt Gallery, London, Oct 2016 A Ritual Resuscitation of Eternal Lovers, The Cockpit Theatre, London, 21 Dec 2015 The Doctor, Artists' Locomotion Moving Image Festival, London, 2 - 4 May 2014   Statement about AOAP Submitted Artwork These improvised ink drawings are part of a strand of my practice called 'Empathy Drawings'. The drawings grow out of an initial appreciation of the medium itself; the body of the line. I then imagine the line that comes out of my pen to be an enviable body, something which I desire to wriggle into like a second skin. The line is a perfectly impressionable being which yields to the vibrations of my fledgling intent. I discover myself in them. By empathising with the line I create for myself a spiritual prosthesis through which I can temporarily become other, like a dancer slipping into character.

Katarina Ranković Stage Moose Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Katarina Rankovic (b.1994) is a video, drawing and text-based artist exploring the extent to which personhood is encoded in character, and whether fictional characters can be reverse engineered into something approximating persons; a kind of literary prototype of general artificial intelligence. Current projects include 'Empathy Drawings', a means of becoming other through the body of line; 'Anomaline', a novel about an anti-person; 'Vernacular Spectacular', a one-woman empathy circus, and 'Scripting for Agency', a PhD project at Goldsmiths College. As a Serb born in Yorkshire, raised in Norway and working in London, both the theory and practice of Katarina's work originates from the daily necessity of inhabiting and switching between many selves.   Education PhD Art - Goldsmiths College, 2019-2022 MA Fine Art - Central Saint Martins, 2016-2018 BA Fine Art (Painting) - Wimbledon College of Arts, 2013-2016   Select Exhibitions/Awards New Writing with New Contemporaries, South London Gallery, 19 February 2022 Bloomberg New Contemporaries 2021, South London Gallery, 10 Dec 2021 - 20 Feb 2022 Bloomberg New Contemporaries 2021, Firstsite Gallery, Colchester, 25 Sept - 28 Nov 2021 Ridiculous! Elephant West, London, 9 Jan - 2 Feb 2020 Pseudo, Perfomistanbul Performance Research Archive, 2020 Vernacular Spectacular, solo exhibition, Tension Fine Art, 9 Aug - 7 Sept 2019 Winner of the Golden Aesop Grand Prix in Contemporary Art at the 24th Biennial of Humour and Satire, Gabrovo, Bulgaria, 2019 TBCTV, Somerset House, London, 3 - 7 Oct 2018 Xhibit 2018, Art Bermondsey Project Space, 19 Apr - 12 May 2018 NOVA Awards; Aberystwyth Arts Center, Royal Cambrian Society, Arcade Cardiff, 26 Jan - 1 Apr 2018 Art to Artillery, short film commissioned by NOWNESS and Louis Vuitton Moët Hennessy, 2017 Winner of Refinery29 Artist Vision Award, 2017 Altered Realities, Lethaby Gallery, London, 22 Feb - 15 Mar 2017 Blind Scripting, Tate Exchange, Tate Modern, 13 Jan, 2017 Blind Scripting, Nottingham Contemporary, 1 - 2 Dec 2016 Crypt Residency, Crypt Gallery, London, Oct 2016 A Ritual Resuscitation of Eternal Lovers, The Cockpit Theatre, London, 21 Dec 2015 The Doctor, Artists' Locomotion Moving Image Festival, London, 2 - 4 May 2014   Statement about AOAP Submitted Artwork These improvised ink drawings are part of a strand of my practice called 'Empathy Drawings'. The drawings grow out of an initial appreciation of the medium itself; the body of the line. I then imagine the line that comes out of my pen to be an enviable body, something which I desire to wriggle into like a second skin. The line is a perfectly impressionable being which yields to the vibrations of my fledgling intent. I discover myself in them. By empathising with the line I create for myself a spiritual prosthesis through which I can temporarily become other, like a dancer slipping into character.

Helen Walsh Spotty Feather Pen and Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About I am fascinated by the natural world, our connection to it and our place within it. I am interested in our desire to transcend, to move beyond what we know. The cycle of the seasons and of life change accordingly and I am interested in moving my practice forward through exploring this dichotomy. Birds and feathers are an important element in my creative practice. I'm inspired by the way they move, their plumage, their otherness. They are freer; their ability to fly suggests a means of escape, implying there is something to escape from. They are symbols of transcendence, linking the physical to the spiritual world. This theme occurs in myths and stories across cultures and throughout history. In my practice they represent us, our spirits and a desire to transcend and change. Drawing is a central element of my practice, it is the starting point and a means of creation in itself. I use drawing to research, explore and explain. Drawing is an excellent method of communication and I use a variety of drawing techniques in my participatory practice to support participants to explore and develop ideas. Increasing awareness of our impact on the environment and our responsibilities draws me to work more with natural materials. Creating my own dyes from responsibly foraged materials connects my work to the land; adding another layer to the spiral of connection. Education BA (Hons) Embroidery, Manchester Metropolitan University   Select Exhibitions/Awards Scottish Drawing Competition Exhibition 2021 (Paisley Art Institute) Whither Shall I Wander? 2020-21 (Wildfowl and Wetlands Trust Caerlaverock) Stitched Art is Art 2019 (Society for Embroidered Work, London) Draw the Line 2017 (Surface Gallery, Nottingham) Wingspan 2017 (Farfield Mill, Sedbergh)   Statement about AOAP Submitted Artwork Feathers (and birds) fascinate me; intricate, beautiful and so seemingly delicate yet incredibly strong. Drawing feathers allows me to explore this dichotomy and our relationship with the natural world.

DICK KET (1902 - 1940)."Dutch City View", 1928.Ink drawing on paper.Informative annotation on the back.Signed and dated in the lower right-hand corner.Provenance: Private collection Mallorca.Size: 27.5 x 23 cm; 39.5 x 45 cm (frame).Although Ket's first paintings are impressionist in style, he was decisively influenced by the art of Neue Sachlichkeit in 1929 and, from then on, he painted in a magical realist style. His meticulously composed and rendered still lifes feature favourite objects such as bottles, an empty bowl, eggs and musical instruments. Ket juxtaposed these objects in angular arrangements, seen from a high viewpoint, their cast shadows creating emphatic diagonals. These compositions reveal the influence of Cubism filtered through Cassandre's posters, which are frequently depicted in Ket's paintings. Another source of inspiration came from early Dutch painting, which Ket admired for its atmosphere of austere reverence that he called its "intrusive" quality. Ket completed approximately 140 paintings, including forty self-portraits. As a result of his technical experimentation with different formulations and additives to the glaze medium, some of his paintings are not completely dry after six decades. In his self-portraits the progressive symptoms of his physical deterioration are evident. Museums housing works by Dick Ket include the Rijksmuseum in Amsterdam, the Arnhem Museum and the Boijmans Van Beuningen Museum in Rotterdam.

French School, probably early 19th Century, Cattle by a well, ink drawing with wash, 14x24cm; and another drawing, indistinctly signed, and dated 1836. (2)

Edward Tucker, watercolour, shipping off a harbour mouth, signed, 9.5ins x 13.5ins, gilt framed together with a late 18th / early 19th Century English school ink drawing of a group of figures talking and dancing, unsigned, 6.25ins x 7.5ins, gilt framed

Comprising (1) James Bourne ink and wash panoramic view entitled 'Neath town', 12 x 33cms, (2) Primitive 19th Century school titled to mount 'The Old Green Dragon Hotel, Cadoxton, Neath (C.1825)', 25 x 31.5cms (3) James Ward pencil drawing titled with annotations of Neath, Wales, signed, 16 x 34cms, (4) Attributed to Elizabeth Blaquiere, pen and ink, titled to back 'Neath Abbey', 16 x 10cms, (5) Thomas Girtin watercolour, titled to mount 'Melincourt waterfall, Vale of Neath', 33 x 23cmsdeceased estate Neath/Port Talbot collection, Cardiff/Carmarthen office consignment Condition report: Comments: each framed and glazed, please examine

Two Rotring technical drawing pen sets and inks and approximately twenty-five spare nibs and eight Staedtler technical drawing pens and ink

David Evans (British 20th/21st century) "One Horse Town", signed, titled on verso, pen and ink.75cm x 54.5cm (29.5in x 21.5in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The drawing is in very good, original condition with no obvious faults to report. The drawing is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

'MAPLE TREE AND BIRD', BY XIE ZHILIU (1910-1997)China. Ink and watercolors on paper. Finely painted with a white-crested long-tailed bird perched on a gnarled maple branch bearing red, worm-eaten leaves and dense buds, the bird's head turned to one side. With a silk brocade frame and mounted as a hanging scroll.Inscriptions: Upper right, signed 'Xie Zhiliu' and dated April of the Guiwei year (corresponding to 1943), with two seals, 'Xie zhi' and 'Zhiliu'.Provenance: From an English private collection.Condition: Very good condition with minor wear, soiling, foxing, and creasing, the watercolors lightly smudged in some areas.Dimensions: Image size 64 x 35 cm, Size incl. mounting 203 x 48.5 cmXie Zhiliu (1910-1997) was a leading traditional painter, calligrapher, and art connoisseur of modern China. He was a noted member of the Shanghai School. Xie and his wife Chen Peiqiu are one of the most famous couples in Chinese art. Xie began learning to paint at the age of nine, and received an education according to the Chinese artistic tradition, which is a combination of drawing directly from life and copying the paintings of old masters. At the age of 19, he began to emulate the style of Ming dynasty master Chen Hongshou. In the 1930s, Xie Zhiliu befriended the famous painter Zhang Daqian. In 1942 Xie went to Dunhuang with Zhang to study the art of the Mogao Caves. After returning he published several books including 'Records of Dunhuang Art' and 'Compilation of Dunhuang Cave Art'. In 1943, Xie was hired as an art professor by the National Central University (now Nanjing University), then exiled in Chongqing during the Second Sino-Japanese War. He held personal exhibitions in many Chinese cities including Chengdu, Chongqing, Kunming, Xi'an, and Shanghai. After the founding of the People's Republic of China in 1949, he worked on cultural relic preservation, and served as a consultant for the Shanghai Museum.Auction result comparison: Compare a closely related painting by Xie Zhiliu at Bonhams Hong Kong in Fine Chinese Paintings on 1 June 2021, lot 850, sold for HKD 114,750. 謝稚柳（1910-1997）《翠羽清秋圖》中國。紙本設色立軸。黑嘴白頭翁倚立於枝頭，神色靈動而又機警，貼近自然。秋葉的凋零，盡顯簡約之美。款識：翠羽釵梁欹鬢橫，粉痕凝夜動幽情。鏡台銀帶都無色，試上瓊樓有月明。癸未四月為挺秋先生法家雅教，謝稚柳稚榆林窟下。鈴印：謝稚，稚柳 來源：英國私人收藏。品相：狀況極好，有輕微磨損、汙漬和摺痕。尺寸：畫面64 x 35 厘米，總203 x 48.5 厘米 拍賣結果比較：比較一件謝稚柳畫作，見香港邦翰思Fine Chinese Paintings 2021年6月1日 lot 850, 售價HKD 114,750。

A RARE DRAWING OF AN ELEPHANT ESCAPING CAPTIVITY, KOTA SCHOOLIndia, Rajasthan, c. 1840. Ink and watercolors on paper. The mighty animal is depicted in a dynamic posture with its front leg raised still bearing the remnants of a broken chain. A bell is attached to its back. Finely executed with sensitive eyes.Published: Maggs Bros., Oriental Miniatures and Illumination, Bulletin No. 30, January 1979, Plate XXI. Provenance: Maggs Bros., Berkeley Square, London, 11 March 1979. English private collection, acquired from the above. The reverse with a typed paper label, 'Kotah, c. 1840. Pen drawing of an elephant, touched with colour. Purchased from Maggs Bros., Berkely Square, London, 11 March 1979. Illustrated in Maggs bulletin no. 30 of January 1979, Plate XXI'. With the original Maggs Bros. description for this lot, cut out and mounted by the previous owner, '[36] Kotah Artist: c. 1840. An elephant stands with his front foot tethered to a post [sic]. Pen drawing touched with colour, on paper: 51/2 x 61/4 in. £185. [See Plate XXI] Edges frayed, just affecting tail of elephant; slight staining.' Maggs Bros. Ltd. is one of the longest-established antiquarian booksellers in the world, established in 1853 by Uriah Maggs, born c. 1828 in Midsomer Norton, Somerset. Maggs Bros. sold the penis of Napoleon Bonaparte in 1924, and pulled off the greatest bookselling coup of the inter-war period, when in 1932 they successfully negotiated with the government of Soviet Russia to acquire not only a Gutenberg Bible, but also the celebrated Codex Sinaiticus. All four of Uriah's sons eventually joined the business, taking over on his retirement in 1894. Maggs Bros. is still under family ownership, and as of 2018 was managed by Edward Maggs.Condition: Good condition with minor wear, soiling, staining, creasing, minimal tears to edges, few small losses.Dimensions: Image size 15.5 x 13.5 cm, total size 33 x 30.5 cm (including frame). Matted and framed behind glass.Auction result comparison: Compare a related Kota School miniature painting of a running elephant at Sotheby's London, 24 October 2017, lot 326, sold for GBP 12,500.

Harold Riley (British 1934-) Two Jewish men walking, signed and dated '68, ink and pastel.20cm x 25.5cm (8in x 10in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The drawing is in very good, original condition with no obvious faults to report. The drawing is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Harold Riley (British 1934-) Study of Lowry painting a man on top of his drawing, signed and dated 2002 in ink in the margin, artist's proof, lithograph.image size 35cm x 25.5cm (13.75in x 10in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The print is in very good, original condition with no obvious faults to report. The print is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Geoffrey Woolsey Birks (British 1929-1993) "Hillborough Mill", signed and dated '76, titled on verso, watercolour and ink.8.5cm x 12.5cm (3.25in x 5in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The drawing is in very good, original condition with no obvious faults to report. The drawing is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

William (Bill) Papas (British 1927-2000) "The River Irwell, Manchester", signed and titled, ink drawing.47cm x 74cm (18.5in x 29in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The drawing is in very good, original condition with no obvious faults to report. The drawing is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Geoffrey Key (British 1941-) "Seated Figure", signed and dated 20.3.78, titled on gallery label - 'Pitcairn Galleries, Knutsford' verso, ink drawing,40.5cm x 27.5cm (16in x 10.75in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The drawing is in good, original condition. The ink has faded universally across the drawing. The drawing is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Harold Riley (British 1934-) Portrait of a lady, signed and indistinctly dated '70, ink and pastel.42cm x 24cm (16.5in x 9.5in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The drawing is in fair, original condition. The ink has faded universally across the drawing. The drawing is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Attributed to William Charles Ross (1794-1860). The Three Graces, pencil on grey paper, depicting 3 bare-footed young ladies in flowing diaphanous gowns, with pencil attribution on verso, sheet size 26.8 x 18cm (10 1/2 x 7ins), together with 2 others attributed to the same artist: a pencil drawing on grey paper of a small child standing on her seated mother's lap, captioned 'Poor Mamma - Poor Mamma', top blank margin with a crease, image size 15.5 x 14.3cm (6 1/8 x 5 5/8ins), sheet size 23.7 x 18cm (9 3/8 x 7ins); and a watercolour on paper of a young lady seated drawing at an easel, slightly creased and dusty to edges, sheet size 13.3 x 12cm (5 1/4 x 4 3/4ins), plus 20 other watercolours and drawings, mostly British, 18th or 19th century, including a watercolour on paper of a seated young lady wearing a large hat attributed to William Henry Bunbury, with black circular ink stamp of Thomas Esmond Lowensky lower left (Lugt 2420a), 2 small pencil drawings on paper attributed to William Hoare, each of a slumbering child, a pencil and sepia watercolour on cardof a historical beheading scene, attributed to Alfred Elmore, 2 sepia watercolours on laid paper depicting scenes from 'Tom Jones' attributed to John Wright, and a pencil sketch on paper of a gentleman seated at a table, attributed to William MulreadyQty: (21)

Detaille (Edouard, 1848-1912). Caricatural self-portrait, pen & ink on wove paper, full-length portrait of a gentleman in mililtary costume, initialled in pencil lower right, sheet size 22 x 13cm (8 5/8 x 5 1/8ins), mounted, together with a pencil drawing on wove paper by Detaille, depicting a mounted officer, with the artist's initial ink stamp lower left, and partial watermark of Laroche Joubert, a few small nicks to edges, sheet size 28.1 x 15.2cm (11 1/8 x 6ins), together with:Colin (Alexandre Marie, 1798-1875). Portrait of a Swiss peasant girl, pen, ink and monochrome wash on card, depicting a young lady wearing national costume, including a fan-shaped headdress, signed lower left, sheet size 13.6 x 7cm (5 3/8 x 2 6/8ins), mounted,Léandre (Charles, 1862-1934). Girl with a Lily, pen, ink, and monochrome wash on paper, half-length portrait, profile to right, of a young lady holding a lily flower to her nose, signed to lower margin, red ink stamp of Gustav Engelbrecht lower right (Lugt 1148), partially toned, sheet size 28 x 20cm (11 x 7 7/8ins), mounted, and 4 other drawings, comprising 2 by Théodore Gérard, 1 by Pierre Luc Charles Cicero, and 1 by Charles Jouas, each mountedQty: (8)Footnote:

Donadoni (Stefano, 1844-1911). Arco di Costantino, watercolour, depicting the Arch of Constantine in Rome, signed and titled in red lower right, lightly toned, 16.3 x 26.9cm (6 3/8 x 10 5/8ins), mounted, framed and glazed (29.1 x 38.7cm), together with:Ouvrié (Justin, 1806-1879). A ruined fortification, 1835, watercolour, depicting a large building with classical features and a round tower, with figures, signed and dated lower right, 4.3 x 8.2cm (1 5/8 x 3 2/8ins), mounted, framed, and glazed (33.8 x 37.2cm), and 4 other Continental views, comprising a watercolour of Florence, and 3 monochrome watercolours (Agrigento, Sicily; a view possibly of Malta attributed to François Louis Thomas Francia; and a view of ruins titled 'Baths of Caracalla', dated 1852), plus 3 pen & ink drawings of Siracusa, Sicily, by Salvadore Politi, one dated 1845, a panoramic pencil sketch of Naples from St. Lucia, dated 1831, a pencil drawing entitled 'Chaine du Mont Blanc', and a pen, ink, and watercolour panorama entitled 'Vue de la Cascade et du Cirque de Gavarnie' Qty: (12)

Lear (Edward, 1812-1888). Saint Moritz, Switzerland, watercolour on grey paper, depicting a panoramic landscape, with a village nestling at the foot of a range of snow-topped mountains, trees in the foreground to the left, and clouds gathering overhead, annotated in brown ink by the artist lower right '101.H.', with pencilled title 'St. Maurice' to verso also in the artist's hand, and additional sketches by the artist to verso of a standing man and seated woman in Swiss costume, as well as a small sketch of a panoramic landscape, 15.5 x 23.9cm (6 1/8 x 9 3/8ins), mounted, framed and glazed (33.4 x 41.7cm), backboard with typed label detailing Sotheby's provenance and printed label of The Rowley Gallery, LondonQty: (1)Footnote: Provenance: Sotheby's, July 29th, 1971.This drawing is almost certainly one of a number dating from Edward Lear’s tour of Europe in the summer of 1837. On July 10th that year the artist boarded the Antwerp packet, accompanied by his sister, Ann, who travelled with him as far as Brussels. On leaving Belgium Lear travelled through Luxembourg, Germany and Switzerland, reaching the Italian lakes by the autumn, arriving in Florence in November and Rome in December. In 2012 Christie's sold a drawing of Sion in Switzerland by Lear, dated 17th September 1837, which, like the present work, was annotated with an 'H' to the lower right corner (Christie's, London, Old Master & Early British Drawings and Watercolours, 3rd July 2012, lot 156).We are grateful to Charles Nugent, former curator of British Drawings at the Whitworth Art Gallery, Manchester, and author of Edward Lear the Landscape Artist: Tours of Ireland and the English Lakes, 1835 & 1836, for assistance with this catalogue description.

After Anthony van Dyck (1599-1641). Madonna and Child with female saints, late 17th century, pen and brown ink on laid paper, some surface abrasion and pale dampstaining to left side, upper right area with two tears (one 7.5cm), small loss to upper edge, partially laid on thin board, sheet size 26.4 x 18.0cm (10 3/8 x 7 1/8 ins), board verso with old inscription in red crayon 'Van Dyck (17 S Flamand)', together with Italian School. Giardino a S:'to' Gio'vanni' Laterano, mid 18th century, black chalk on laid paper, numbered '42' to upper left corner, verso with ink manuscript title relating to a different drawing (no.43), some pale foxing, sheet size 14.9 x 21.0 cm (5 7/8 x 8 1/4 ins), window mounted, copy of ink manuscript title (for no.42) on separate loose piece of paper, framed and glazed (26.5 x 32.5cm), with other miscellaneous prints and drawings, mostly 19th and 20th century, including a black chalk drawing 'Rocks on the Isle of Wight coast' by Thomas Monro (1759-1833), framed and glazed; two English pen & ink figure studies, one in the manner of George Romney, with grey wash and remnant of red wax seal to lower left corner; a 20th century print of Putti from Pompeii, framed and glazed, etc.Qty: (27)

Pissarro (Camille, 1830-1903). Drawing of a putto corbel, pencil on wove paper, laid down on thin card and corners rounded, depicting a carved wood corbel in the shape of a putto holding an urn on its head, artist's initial ink stamp lower right, upper blank margin with small piece missing and 1.5cm closed tear, some light marginal staining (mostly to right-hand edge), sheet size 12.4 x 10cm (4 7/8 x 4ins)Qty: (1)Footnote: Lugt 613e (noting that Camille Pissarro used this ink stamp only on works executed by himself, never on works by other artists in his collection).

Read (Harold Hope, 1881-1959). Beach Scenes and Figures, 8 watercolours, comprising 4 pen, ink, and watercolour drawings of humorous crowded beach scenes, a similar watercolour of figures in a park, a pen, ink, and monochrome wash drawing of figures gathered around an infant, a self-portrait in pastels, and an oil painting of a man smoking a pipe, with a woman and other figures behind, smallest 19.4 x 23.2 cm (7 5/8 x 9 1/8 ins), largest 26.7 x 36.4cm (10 1/2 x 14 1/4 ins), all mounted, with matching glazed frames (largest 41.6 x 51.5 cm), self-portrait with glass crackedQty: (8)

Attributed to Stefano della Bella (1610-1664). Fantasia di Animali, fine pen and brown ink on laid paper, depicting griffins guarding a martial cartouche, a hunting dog chasing a hare on the first tier; two eagles supporting a banner with a Roman trophy on the second tier; and two chained dogs, a dog eating grapes and a Roman trophy, lined with laid paper with a pen and ink border in brown and rose ink, with an indistinct watermark, sheet size 12.2 x 20.4 cm (4 3/4 x 8 ins) framed and glazed (39 x 31.3 cm)Qty: (1)Footnote: Provenance: Unidentified owner (partial printed collector's mark of intertwined initials LL or LZ within a black oval, not in Lugt); Weschler's Auctioneers, Washington DC, where purchased in 1972 for $80.We are grateful to Dr Peter Fuhring of the Fondation Custodia, Frits Lugt Collection for pointing out that all the different elements of the drawing are inspired by three etchings from the series of 16 by Stefano della Bella, Ornamenti et fregi e fogliami, published in Paris shortly after 1647 (see A. de Vesme and P. Massar, Stefano della Bella, Catalogue Raisonné, New York, 1971, numbers 990, 992, and 995). The drawings are in the same direction as the etchings.

Attributed to Luca Giordano (Naples 1634-1705). Women preparing fish in a kitchen, circa 1680, pen and brown ink with traces of black chalk, on firm laid paper, bearing inscriptions in pen and brown ink, 'Jordan' and 'No 73' lower left, and '360 r' lower right, a further, apparently crossed out inscription in the lower right corner, a few minor losses touched in with brown ink, sheet size 31 x 44.1 cm (12 1/4 x 17 3/8 ins), framed (50 x 65.3 cm)Qty: (1)Footnote: Provenance: Charles Robert Rudolf (1884-1974); Colnaghi, London; A.J. Mackenzie Stuart, Edinburgh; Day & Faber, London (their label, verso); Christie's, London, Old Master and British Drawings and Watercolours, 7 July 2015, lot 16.Literature: O. Ferrari and G. Scavizzi, Luca Giordano: L'opera completa, Naples, 1992, D79.Exhibited: London, Colnaghi, Exhibition of Old Master Drawings, 1967, number 21, illustrated; Edinburgh, Merchants' Hall, Italian 17th century drawings from British private collections, 1972, number 63, illustrated (Scottish Arts Council label to verso)A similar inscription to the one on the present drawing ('Jordan', 'Nº. 73' and '360 r') can be found in The Triumph of Cybele by Giordano dated to his Spanish period, circa 1697, in pen and brown ink lower right 'Jorda/N.º 72. 324Ps, 4 . . . Rs [?].' now in the Metropolitan Museum of Art, New York (inv. 63.76.4; J. Bean, 100 European Drawings in the Metropolitan Museum of Art, 1964, 38). Like the present drawing, the Metropolitan example is executed in brush and brown over black chalk. Another version of the present drawing, of women preparing fish in a kitchen with a cat stealing fish from a table, in pen and brown ink and grey-brown wash over black chalk and grey wash and measuring 32.4 x 44.8 cm. is in the British Museum (inv. 1950,1111.41; O. Ferrari and G. Scavizzi, op. cit., no. D79).

Humphrey (Ozias, 1742-1810). Portrait of Edward Leveson Gower, 1782, pencil, red and black chalks and charcoal on paper, inscribed and dated by the artist in pen and brown ink ‘Master Edward Leveson Gower AO:1782’ to verso (visible in window mount on the backboard), laid onto the mount, the paper incised to make an oval at top and incised to just beneath the inscription verso, discoloured under the mount, pen and ink inscription faintly visible recto, 17.8 x 15.3 cm (7 x 6 ins) where incised, full sheet size 21.2 x 15.5 cm (8 3/4 x 6 1/8 ins), framed and glazed Qty: (1)Footnote: Provenance: The artist; bequeathed by him to a member of the Longman family; collection of A.G. Fisher Esq., 25 George Street, Hanover Square, London; with Thomas Agnew & Sons Ltd. (their label stock number 10336 on reverse); collection of Arthur Jaffé OBE (1880–1954), and thence by descent.Exhibited: Agnew’s, 66th Annual Exhibition, February to March 1939, number 116.Literature: George C. Williamson, Life and Works of Ozias Humphrey, R.A., 1918, p. 240 (illustrated). According to G.C. Williamson, this work was one of a collection of drawings, mostly signed, inscribed and dated, which were given by the artist to the Longman family, and subsequently passed on to Mr A.G. Fisher of George Street, Hanover Square. Williamson also states that the work is a preparatory drawing for a painting.

Attributed to Bernardino India (Verona 1528-1590). Striding Angel, pen and red-brown ink, brush and brown wash on laid paper, with an inked-in borderline, laid to the mount at the edges, some foxing, 19.2 x 12.3 cm (7 5/8 x 4 3/4 ins), framed (45 x 36 cm), with Christie's stencil to verso PV657Qty: (1)Footnote: Provenance: With Crispian Riley-Smith (exhibition label verso).This drawing is characteristic of the draftsmanship of Bernardino India, who developed a mannerist style after Giulio Romano and Parmigianino. The dramatic chiaroscuro washes, and treatment of the facial features half in shadow and half in light, is comparable to Design for a Wall Decoration over an Arched Doorway with Grimani Arms, held at the Metropolitan Museum of Art (accession no. 1974.389), and Angels making music in the clouds: design for a lunette, at Christie's New York, 31st January 2013, lot 38.

CRUZEIRO SEIXAS (1920-2020)A noite sem fim indistinctly signed (lower left)gouache, watercolour, brush, pen and India ink and pencil on paper30.5 x 42.9cm (12 x 16 7/8in).Executed in 1977Footnotes:ProvenanceThe artist's collection.Acquired from the above by the present owner.ExhibitedLisbon, Perve Galeria, Homenagem a Cruzeiro Seixas, 9 February – 24 March 2012.Lisbon, Freedom House - Mário Cesariny, Real-Surreal, 27 June – 21 July 2013.Lisbon, Freedom House - Mário Cesariny, Colaborativamente, 25 April – 30 June 2018.Lisbon, Sociedade Nacional de Belas-Artes, Núcleo Cadávre Exquis, 3 – 31 December 2020.Lisbon, Freedom House - Mário Cesariny, Construir o Nada Perfeito, 19 September 2020 – 15 May 2021.Surrealism is a truly global movement, albeit one with localised offshoots that are enlightened by their own indigenous mythologies, natural phenomena and national politics. For Os Surrealistas, the Surrealists of Portugal, Cruzeiro Seixas was of central significance. An artistic shapeshifter possessing innumerable skills across painting, sculpture, drawing, poetry, scenography, curation and collage, Seixas delivered to the movement unique and diverse invocations of André Breton's philosophies. Beyond Portugal, Seixas also lived a peripatetic life, travelling throughout Africa, India and Asia while enlisted in the merchant navy from 1950 – 1964. Momentous in this regard was his period in Angola, during which he collected indigenous artworks, contributed fervently to his own practice (see, for example, lot 36), and curated landmark exhibitions of Modern Portuguese art.Seixas' work has been described as a 'poetics of the fantastic', as he weaves together central Surrealist paradoxes: dream and nightmare, sacred and profane, sex and death, body and soul. His works achieve atmospheres that strike both tranquillity and anxiety, overlaying sublime nocturnal environments with alien vegetation, hollow architecture, celestial phenomena, ghosts, monsters, and youthful human bodies with zoomorphic heads. In tone and imagery, his influences from Salvador Dalí, Giorgio de Chirico, William Blake, Arthur Rimbaud and Hieronymus Bosch ring true. Like his forebears, Seixas was able to deftly hint at the existence of some narrative, while at the same time obscuring it beneath eerie layers of outlandish imagery. Yet despite this disquiet and distortion, Seixas generates tonal harmonies with bold and comforting colour fields, such as the seductive midnight blue in A noite sem fim (lot 34) and the shining golden feathery flame in Untitled (lot 37). The jagged, re-worked and highly expressive cut-outs of his collaging practice (as in Untitled, lot 35) display his overarching fascination with exploring the subconscious potential of the unexpected. Seixas was not only a hero to Os Surrealistas but was also the last of his movement. In the late 1990s he established the Portuguese Surrealism Centre in collaboration with the Cupertino de Miranda family, to whom he donated his collection. He passed away in 2020 at the age of 99, after which he was honoured in a resplendent array of global exhibitions, including in 2021 at the United Nations Educational, Scientific and Cultural Organization (UNESCO) in Paris.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

RAFAEL ALBERTI (El Puerto de Santa María, Cádiz, 1902 - 1999).Untitled, 1980s.Four ink drawings on paper.All of them signed, two dated (1983 and 1989).Size: 54 x 38 cm; 63 x 46 cm (frame).In parallel to his brilliant poetic career, Rafael Alberti entered the world of painting and drawing, with an avant-garde vocation, exhibiting already in early times in the Salón de Otoño and the Ateneo de Madrid. He was a writer and poet belonging to the Generation of '27, considered one of the greatest writers of the so-called Silver Age of Spanish literature. He received numerous prizes and awards, including the National Poetry Prize (1925), the Lenin de la Paz (1965), the National Theatre Prize (1980), the Cervantes Prize (1983) and the Roma Prize for Literature (1991). He renounced the other great Spanish literary award, the Prince of Asturias, because of his strong republican convictions. Rafael Alberti's first vocation was painting, but his real discovery of this art came in 1917, when he moved to Madrid with his family and visited the Prado Museum for the first time. He first exhibited his plastic work in 1920 at the Salón de Otoño in Madrid, and two years later he exhibited at the Athenaeum in the same city. His painting was characterised by the fact that it was not his definitive path, since after the death of his father, he began to write his first verses. As a writer, Alberti enjoyed great success from the beginning of his career, but at first his success was linked to artistic prestige, as he was still financially dependent on his family. The new literary magazines accepted and wanted to publish his works. He was also beginning to make friends within the circle known today as the Generation of '27. He began to write in a style that was not only more formally demanding, but also allowed him to be more satirical and dramatic. From then on, his life gradually opened up to what would become the centre of his inspiration, poetry, without ever completely abandoning his vocation as a painter. Among his last works is A la pintura ('On Painting') (1945). These reflect his intellectual activity during his exile, as Alberti returned to painting and began a series of poems to bring together his thoughts on painting. A subject to which he continued to devote himself for many years. Among these poems dedicated to painting he wrote a series of sonnets on the retina, the hand, the canvas, the brush, etc.; a series of short poems in free verse on colours; and finally a series of poems in homage to various painters such as Titian, El Greco and others.

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984).Untitled (Harlequin with Painted Face), ca. 1955.Gouache and ink on laid paper.Signed on the back.Work referenced in Joan Ponç's online catalogue.Measurements: 67 x 49 cm; 69 x 51 cm (frame).In this composition, which represents a harlequin with his face painted, a character he painted on numerous occasions, Joan Ponç's imaginary is synthesised in all its splendour. During the 1950s, the period in which he lived in Brazil and to which this painting belongs, Ponç's plastic universe had already been nourished by premonitory visions and hunches, giving shape to a clairvoyant, mystical and existential language. The perspective of time has reaffirmed the relevance and exceptionality of his work, as well as the intensity of his voice and the need for its rediscovery.A painter and draughtsman, he trained in Barcelona, in the studio of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After devoting himself to painting and drawing in anonymity, he held his first individual exhibition in 1946, at the Galería Arte in Bilbao, which was to be his definitive establishment on the national art scene. In 1948, together with Tharrats, Puig, Cuixart, Tàpies and Brossa, among others, he founded the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he took part in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and managed to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year Dau al Set disbanded, he held an exhibition at the city's Museum of Modern Art, which was so successful that the organisation acquired all his works. In Brazil he visited the equatorial jungles, where he was impressed by their fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to illness, as a fully established artist he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and various Spanish cities. In 1965 he won the International Grand Prize for Drawing at the São Paulo Biennial. Ponç's paintings present phantasmagoric images that are both painful and tortured, in which the subconscious is the protagonist. For the painter, art is nothing more than an introduction to the mystery and secrets of the spirit. More of a draughtsman than a painter, his work is extremely detailed and meticulous. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the period of the metaphysical characters (1970), the acupainting period (1971) and a final period of synthesis (1972).