William Kentridge (born 1955)Soho in Bed with Rhinoceros' (Drawing for Mine) signed 'Kentridge' and dated '91' (lower right)charcoal and red chalk120 x 141cm (47 1/4 x 55 1/2in).Footnotes:ProvenanceAcquired by the current owner at the Goodman Gallery, 'Drawings for Projection' in 1992;A private collection.ExhibitedJohannesburg, Goodman Gallery, 'Drawings for Projection', February, 1992.Brussels, Palais des Beaux-Arts/Paleis voor Schone Kunsten; Munich, Kunstverein München; Austria, Neue Galerie Graz am Landesmuseum Joanneum, William Kentridge, May, 1998 to January, 1999.LiteratureDan Cameron, William Kentridge, (London, 1999) p.115 (illustrated)Mark Rosenthal, William Kentridge, Five Themes, (New Haven and London: Yale University Press, 2009), p. 79 (illustrated)Carolyn Christov-Bakargiev, William Kentridge, (Brussels: Societe des Expositions du Palais des Beaux-Arts de Bruxelles/Vereniging voor Tentoonstellingen van het Paleis voor Schone Kunsten Brussel, 1998), p. 69 (illustrated)Lilian Tone, William Kentridge Fortuna, (London: Thames & Hudson, 2013), p. 151 (illustrated)Matthew Kentridge, The Soho Chronicles, 10 Films by William Kentridge, (London, New York & Calcutta: Seagull Books, 2015), p. 187 (illustrated) Margaret K. Koerner, Smoke, Ashes, Fable, William Kentridge In Bruges, (New Haven and London: Yale University Press, 2017), p. 125 (illustrated) This drawing, which dates from 1991 is from Mine, the second of Kentridge's animated films. It was used as the final sequence in this film from 5:25 min to 5:32 min., when the Rhinoceros tenderly nuzzles at Soho's out-stretched hand.The work is the most significant of the 'Drawings for Projection' to come to the market in recent times and has not been seen publicly since its inclusion in the 1998/99 exhibition.'In these films Kentridge established the story line that would prevail throughout the series: the evolution of the dark-suited industrialist Soho Eckstein, whose complex combination of economic power, personal ruthlessness, and guilt-laden memory characterize one aspect of contemporary South Africa, and his alter ego Felix Teitlebaum, who is portrayed as nude and thoughtful, an artist who wins Soho's wife at least temporarily. In these early films Soho builds his empire and becomes a civic benefactor... ...The early films focus extensively on the struggle of Soho and Felix for Mrs. Eckstein...Soho's appearance derives from a linocut Kentridge had made in his youth of 'my grandfather in his three-piece pin-stripe suit sitting on Muizenberg beach from an old family photograph'...In these early films, Soho is most often seen in his bed surrounded by a clutter of half-eaten food and office machines. The utter jumble of these objects on his bed, and the conjunction of Soho's public and private life, recall the late self-portraits of Philip Guston, in which the artist lies haunted by nightmare and doubt' (Neal Benezra, William Kentridge: Drawings for Projection, exhib. cat. for New York, pgs. 19-20).Playing a consistent caricature throughout Kentridge's work, references of the rhinoceros can be seen in early drawings from the 1980's, to a symbol of the repressed by the hands of the German colonial force in Black Box created in 2005. Here we see the rhinoceros not as a wild animal, but a domestic pet tamely interacting with Soho who dominates the scene. While this may be a display of Kentridge's affection for the animal, given his favourable use of the subject, the rhinoceros also symbolises the bourgeois exploitation of the South African ecosystem. Following the consequences that the mining industry had on the South African environment, Kentridge critiques conservation motivations whilst simultaneously examining the irony of controlling wild animals through eco-tourism. Eco-tourism, Kentridge analyses, has obscured and consequentially manipulated the nature in South Africa, throwing into question the definition of 'wild' given the nature and game reserve's domesticized state.'The technique I use is to have a sheet of paper stuck up on the studio wall and, half-way across the room, my camera, usually an old Bolex. A drawing is tarted on the paper, I walk across to the camera, shoot one or two frames, walk back to the paper, change the drawing (marginally), walk back to the camera, walk back to the paper, to the camera, and so on. So that each sequence as opposed to each frame of the film is a single drawing. In all there may be twenty drawings to a film rather than the thousands one expects. It is more like making a drawing than making a film (albeit a gray, battered and rubbed about drawing). Once the film, editing, adding sound, music and so on proceeds like any other. '...I started filming drawings as a way of recording their histories. Often I found – I find – that a drawing that starts well, or with some interest in its first impulse, becomes too cautious, too overworked, too tame, as the work progresses. (The ways in which a drawing can die on you are depressingly numerous.) A film of the drawing holds each moment. And of course, often, as a drawing proceeds, interest shifts from what was originally central, to something that initially appeared incidental. Filming enables me to follow this process of vision and revision as it happens. This erasing of charcoal, and imperfect activity, always leaves a gray smudge on the paper. So filming not only records the changes in the drawing but reveals too the history of those changes, as each erasure leaves a snail-trail of what has been.' (Lecture, 1993, published in Cycnos: Image et Langage, Problemes, Approches, Méthodes, Nice, vol. 11 no.1, 1994, pp. 163-168. Republished in C. Christov-Bakargiev, William Kentridge, William Kentridge, Societe des Expositions du Palais de Beaux-Arts, Bruxelles 1998, pgs.61-64)BibliographyMatthew Kentridge, The Soho Chronicles, 10 Films by William Kentridge, (London, New York & Calcutta: Seagull Books, 2015)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
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A 9ct yellow gold, peridot and pearl oval cluster ring, comprising a centre oval peridot within a border of twelve 2.7mm pearls, all in claw settings with open scrollwork shoulders, peridot dimensions approx 8.9 x 6.95 x 3.5mm, weight estimated as 1.66 carats, size S, gross weight 3.9g, hallmarked 9ct, Birmingham 1995
An 18ct yellow gold, sapphire and diamond seven stone half eternity ring, comprising three graduated oval sapphires and four Old European cut diamonds in carved claw settings, sapphire dimensions between approx 3.7 x 3.4 x 5.05mm and 4.1 x 2.1mm, total weight estimated as 0.82 carats, diamond dimensions approx 2.4 x 1.7mm, total weight estimated as 0.24 carats, assessed mounted collectively colour H to I and clarity SI1 to SI2, size S, gross weight 3.3g, hallmarked 18ct, Birmingham 1901
A 9ct gold double watch chain having alternating elongated and rope twist sections with Albert and double clasp and supporting a George V 1915 gold half sovereign, in pendant mount, gross weight 29.8g, watch chain total length 36cmClips and T bar are marked EW&S and 9.375.Coin mount - 9ct.Each link – 9.375.Some handling wear but no damage.
Zara Matthews Mesh (Study-Blue), 2022 Gesso and Pigment on Watercolour Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About Zara Matthews is an artist working in Painting, Printmaking and Photography. She lives and works in London and has also spent considerable amounts of time living and working in Italy and France. Since the mid-1980's Matthews has shown extensively in the UK, and also Europe and USA. Her current work concentrates on the auras of objects, and their sense of presence and history. Education Zara Matthews studied at Goldsmiths College from 1979 - 1980, Kingston Polytechnic from 1980 - 1983 and The Royal College of Art from 1997 - 1999. Select Exhibitions/Awards Most recently in 2022 Zara Matthews has been invited to show in 'Small is Beautiful', Flowers Gallery, Cork Street, She has had a 3 person show titled (RE)Configured at The Mall Galleries, and exhibited in the Royal Academy Summer Exhibition 2022. She was long-listed for Future Now - 125 Artist from The Aesthetica Art Prize 2021, selected for 100 Contemporary Artists, Aesthetica Magazine 2020, shortlisted for The Trinity Buoy Wharf Drawing Prize in 2019, and nominated for The 6th Max Mara Art Prize for Women 2016-17. She was awarded The Wapping Project Berlin Residency in 2015 and during 2023 she has been invited to spend 2 months on an artist residency in Pouch Cove, Newfoundland, Canada. Statement about AOAP Submitted Artwork The 4 postcards are small studies for larger paintings that depict, or include, the stretchy netting often used to protect fruit, including papayas. These polystyrene sleeves protect vulnerable fruit as they travel around the globe, but are a single use plastic that damages the planet. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising.
Johanna Seidel Hidden (In Plain Sight), 2022 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About *1993, Sebnitz, Germany lives and works in Dresden. In my artistic work I deal with the nature of perceived realities. I approach these by means of a poetic visual language, in which symbols from history, mythology and dreams mix with the everyday and the personal. The canvas offers me the space in which I can freely create references and develop narratives, constantly searching for the balance between realistic and naive figuration. From the painting itself, I thus develop stories and still images that exist in an atmospheric space, condensing memories into abstract moments that become universally accessible and experiential here. Education 2014 - 2021 Studies of Fine Arts at the Academy of Fine Arts Dresden with Peter Bömmels, Anton Henning and Anne Neukamp 2017 - 2018 Semester in exchange at the École nationale superieure des Beaux-Arts Paris 2021 Diploma of Fine Arts Since 2022 Master class studies of Fine Arts at the Academy of Fine Arts Dresden Select Exhibitions/Awards 2022 Azul Celeste, Artistellar Gallery, London Nocturne, Galerie Mellies, Detmold Dear Diary, Scotty, Berlin If it´s not baroque, don´t fix it, Tchotchke Gallery, New York City 2021 Nymph, Am Walkgraben 13, Chemnitz Staycation Beach, Kunsthalle Ost, Leipzig 2019 Solani Dulcamarae, Phyllis Johnson, Leipzig Dreamers, Galerie Stephanie Kelly, Dresden Statement about AOAP Submitted Artwork On my postcards you can see my playful approach to the arrangement of motifs that meet in the picture and speak to each other in associative ways. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Johanna Seidel Darling, 2022 Crayon and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About *1993, Sebnitz, Germany lives and works in Dresden. In my artistic work I deal with the nature of perceived realities. I approach these by means of a poetic visual language, in which symbols from history, mythology and dreams mix with the everyday and the personal. The canvas offers me the space in which I can freely create references and develop narratives, constantly searching for the balance between realistic and naive figuration. From the painting itself, I thus develop stories and still images that exist in an atmospheric space, condensing memories into abstract moments that become universally accessible and experiential here. Education 2014 - 2021 Studies of Fine Arts at the Academy of Fine Arts Dresden with Peter Bömmels, Anton Henning and Anne Neukamp 2017 - 2018 Semester in exchange at the École nationale superieure des Beaux-Arts Paris 2021 Diploma of Fine Arts Since 2022 Master class studies of Fine Arts at the Academy of Fine Arts Dresden Select Exhibitions/Awards 2022 Azul Celeste, Artistellar Gallery, London Nocturne, Galerie Mellies, Detmold Dear Diary, Scotty, Berlin If it´s not baroque, don´t fix it, Tchotchke Gallery, New York City 2021 Nymph, Am Walkgraben 13, Chemnitz Staycation Beach, Kunsthalle Ost, Leipzig 2019 Solani Dulcamarae, Phyllis Johnson, Leipzig Dreamers, Galerie Stephanie Kelly, Dresden Statement about AOAP Submitted Artwork On my postcards you can see my playful approach to the arrangement of motifs that meet in the picture and speak to each other in associative ways. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Zara Matthews Mesh (Study-Dark Blue), 2022 Gesso and Pigment on Watercolour Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About Zara Matthews is an artist working in Painting, Printmaking and Photography. She lives and works in London and has also spent considerable amounts of time living and working in Italy and France. Since the mid-1980's Matthews has shown extensively in the UK, and also Europe and USA. Her current work concentrates on the auras of objects, and their sense of presence and history. Education Zara Matthews studied at Goldsmiths College from 1979 - 1980, Kingston Polytechnic from 1980 - 1983 and The Royal College of Art from 1997 - 1999. Select Exhibitions/Awards Most recently in 2022 Zara Matthews has been invited to show in 'Small is Beautiful', Flowers Gallery, Cork Street, She has had a 3 person show titled (RE)Configured at The Mall Galleries, and exhibited in the Royal Academy Summer Exhibition 2022. She was long-listed for Future Now - 125 Artist from The Aesthetica Art Prize 2021, selected for 100 Contemporary Artists, Aesthetica Magazine 2020, shortlisted for The Trinity Buoy Wharf Drawing Prize in 2019, and nominated for The 6th Max Mara Art Prize for Women 2016-17. She was awarded The Wapping Project Berlin Residency in 2015 and during 2023 she has been invited to spend 2 months on an artist residency in Pouch Cove, Newfoundland, Canada. Statement about AOAP Submitted Artwork The 4 postcards are small studies for larger paintings that depict, or include, the stretchy netting often used to protect fruit, including papayas. These polystyrene sleeves protect vulnerable fruit as they travel around the globe, but are a single use plastic that damages the planet. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising.
Archie Franks M&S Pie, 2022 Oil Pastel and Watercolour on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About Born in 1986 Archie Franks lives and works in London. He graduated from the Royal Academy Schools in 2012 and has been awarded the Sainsbury Scholarship in Painting 2013 which enabled him to work fully funded in Rome at the British School at Rome for a year, and a Jerwood Painting Fellowship 2016 which consisted of financial support, a mentor scheme and a U.K wide touring show starting at Jerwood Space in London. He has exhibited in numerous group and solo shows both in the U.K and in Europe, including 'Bloomberg New Contemporaries' for promising new graduates in 2013 as well as having contributed articles to publications 'Garageland' and 'Arty'. His work has been positively reviewed in 'Time Out', 'Critic's choice in the Financial Times', 'Art Monthly' 'This is Tomorrow' and 'Fad magazine' amongst others. Education Royal Academy Schools 2009-12 City and Guilds of London Art School 2006-9 Select Exhibitions/Awards 'Wells art contemporary' Wells 2022 'We are such stuff as dreams are made on' The cello factory (with Aleph contemporary), London 2021 'The stifled cry' Aleph contemporary (online) 2021 'MK Calling' MK gallery Milton Keynes 2020 'Wells art contemporary' Wells 2019 'Creekside open 2019-selected by Sacha Craddock' APT Gallery London 2019 'Creekside open 2019-selected by Brian Griffiths' APT Gallery London 2019 'Night Plinths' Narrative Projects London 2018 'Disintegration' (solo) Salon London 2017 'Dumb' Mercer Chance London 2017 'Jerwood Painting Fellowship show' Jerwood Space, London (touring to Arts University Bournemouth, Cardiff Bay Arts 2016 and Norwich University 2017) 2016 'Europa' Transition gallery, London 2016 'Carnival Glass' Block 336, London 2015 'Bloomberg New Contemporaries' Spike Island Bristol and ICA London 2013 Gallery Representation Aleph Contemporary Statement about AOAP Submitted Artwork I use imagery from popular culture, leisure and consumer culture and my own everyday and history and mix it in with grand eras of art history. Two paintings in particular have been staple points of reference for some time; Caravaggio's 'Still life with basket of fruit' and Fragonard's 'Le petite parc'. I love the way the basket in Caravaggio's painting appears to fall out of the painting and invade your space, modern day advertising seems to do something similar. An advert for Costa or Mcdonalds uses the same tactics Caravaggio did in 1599. I love the atmosphere in Fragonard's 'Le petite parc painting, and I've tried to incorporate that particular feeling into some of my landscapes and fairground paintings. A gothic atmosphere permeates the work and although the emphasis from painting to painting alters slightly, memory, decadence, and a dream like unreality are core recurring themes. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Sue Bryan Sunset With Trees, 2022 Charcoal and Watercolour on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About A native of Ireland, Sue is primarily self-trained. After studying briefly in the School of Visual Arts in New York in the mid 90's, she continued to work independently, finding most influential the works of Inness, Blakelock, Turner and Corot. Her work has been selected for several juried and invitational exhibitions throughout Ireland and the US, including the Bradley International Print and Drawing Exhibition in 2011 and 2015. She has exhibited in many galleries and group shows, including the Fort Wayne Museum of Art, the Florence Academy of Art, and the National Arts Club in New York. She has exhibited annually in the Royal Hibernian Academy's Summer Exhibition since 2014. She is the recipient of many awards, including an Award of Distinction at the 5th Annual Drawing Discourse, an international exhibition of contemporary drawing held at the University of North Carolina, Asheville. Gallery Representation Carrie Haddad Gallery, New York; Galerie Felli, Paris, France; GBS Fine Art, UK Statement about AOAP Submitted Artwork My work is drawing based. My process is one of building up tones and textures using a method of charcoal, carbon and graphite combined, all of which yield a wonderful range of blacks and grays that vary in density and transparency as much as in tonality. As a native of Ireland, the landscape there has certainly shaped and influenced my work. Many of my drawings are of places that have a deep personal association for me; an endeavour perhaps to stay connected to my roots. The work is not just about particular places however, but an attempt to find meaning in my response to the natural world, a way of looking beyond and beneath what I see. As the climate continues to change, there is added poignancy in the gloaming. I look for it now more than ever. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising.
Elise Ansel Esther II, 2022 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Elise Ansel was born and raised in New York City. Ansel received a BA in Comparative Literature from Brown University in 1984. While at Brown, she studied art at both Brown and the Rhode Island School of Design. She worked briefly in the film industry before deciding to make painting her first order medium. Ansel has exhibited her work throughout the United States and in Europe. Her works are held in the permanent collections of the Museum of Contemporary Art in Krakow, the Bowdoin College Museum of Art and the Evansville Museum of Arts and Sciences. She was represented by Danese/Corey in NYC until they closed in April 2020. She now works with Miles McEnery Gallery and Auxier/Kline in New York City and Cadogan Contemporary in London. Education Brown University Select Exhibitions/Awards SELECTED SOLO EXHIBITIONS: 2023 Cadogan Contemporary, Recent Work, Milan, Italy (forthcoming) 2023 Cadogan Contemporary, Recent Work, London, UK (forthcoming) 2023 Cover Street Arts, Recent Work, Portland, Maine (forthcoming) 2023 Miles McEnery Gallery, Recent Work, New York, New York (forthcoming) 2022 Auxier/Kline, "Time and Materials," New York, New York 2022 Michael S. Currier Center at the Putney School, "Space Between Angels," Putney, Vermont 2021 Cadogan Contemporary, "Polarity," London, UK 2021 Carol Corey Fine Art, "The Women," Kent, Connecticut 2021 The Schoolhouse Gallery, "Ocean," Provincetown, MA 2020 Carol Corey Fine Art, "Flower of the Mountain," Kent, Connecticut 2020 David Klein Gallery, "Palimpsest," Detroit, Michigan 2019 Cadogan Contemporary, "yes I said Yes," London, UK 2018 Danese/Corey, "Time Present," New York, NY 2017 Cadogan Contemporary, "Amber and Ebony," London, UK 2017 Danese/Corey, "Dialogue," New York, NY Gallery Representation Miles McEnery Gallery; Cadogan Contemporary; AB NY Gallery; Carol Corey Fine Art Statement about AOAP Submitted Artwork My work involves translating Old Master paintings into a contemporary pictorial language. I examine shifting respresenations of the spiritual in art. I try to give voice to the female characters that have been for so long depicted by men Abstraction allows me to interrupt this one sided narrative and transform it into sensually capacious non-narrative form of visual communication that embraces multiple points of view. The Esther watercolors are studies for a series of larger oil paintings. They spring from Esther Before Ahasuerus, ca. 1758 by Lorenzo de Caro,which is the permanent collection of the Detroit Institute of the Arts Museum. I often begin with a series of small improvisational studies. Allowing the constant discovery of one state to give rise to another, I use the small studies as points of departure for larger works. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Elise Ansel Esther III, 2022 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Elise Ansel was born and raised in New York City. Ansel received a BA in Comparative Literature from Brown University in 1984. While at Brown, she studied art at both Brown and the Rhode Island School of Design. She worked briefly in the film industry before deciding to make painting her first order medium. Ansel has exhibited her work throughout the United States and in Europe. Her works are held in the permanent collections of the Museum of Contemporary Art in Krakow, the Bowdoin College Museum of Art and the Evansville Museum of Arts and Sciences. She was represented by Danese/Corey in NYC until they closed in April 2020. She now works with Miles McEnery Gallery and Auxier/Kline in New York City and Cadogan Contemporary in London. Education Brown University Select Exhibitions/Awards SELECTED SOLO EXHIBITIONS: 2023 Cadogan Contemporary, Recent Work, Milan, Italy (forthcoming) 2023 Cadogan Contemporary, Recent Work, London, UK (forthcoming) 2023 Cover Street Arts, Recent Work, Portland, Maine (forthcoming) 2023 Miles McEnery Gallery, Recent Work, New York, New York (forthcoming) 2022 Auxier/Kline, "Time and Materials," New York, New York 2022 Michael S. Currier Center at the Putney School, "Space Between Angels," Putney, Vermont 2021 Cadogan Contemporary, "Polarity," London, UK 2021 Carol Corey Fine Art, "The Women," Kent, Connecticut 2021 The Schoolhouse Gallery, "Ocean," Provincetown, MA 2020 Carol Corey Fine Art, "Flower of the Mountain," Kent, Connecticut 2020 David Klein Gallery, "Palimpsest," Detroit, Michigan 2019 Cadogan Contemporary, "yes I said Yes," London, UK 2018 Danese/Corey, "Time Present," New York, NY 2017 Cadogan Contemporary, "Amber and Ebony," London, UK 2017 Danese/Corey, "Dialogue," New York, NY Gallery Representation Miles McEnery Gallery; Cadogan Contemporary; AB NY Gallery; Carol Corey Fine Art Statement about AOAP Submitted Artwork My work involves translating Old Master paintings into a contemporary pictorial language. I examine shifting respresenations of the spiritual in art. I try to give voice to the female characters that have been for so long depicted by men Abstraction allows me to interrupt this one sided narrative and transform it into sensually capacious non-narrative form of visual communication that embraces multiple points of view. The Esther watercolors are studies for a series of larger oil paintings. They spring from Esther Before Ahasuerus, ca. 1758 by Lorenzo de Caro,which is the permanent collection of the Detroit Institute of the Arts Museum. I often begin with a series of small improvisational studies. Allowing the constant discovery of one state to give rise to another, I use the small studies as points of departure for larger works. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Elise Ansel Esther IV, 2022 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Elise Ansel was born and raised in New York City. Ansel received a BA in Comparative Literature from Brown University in 1984. While at Brown, she studied art at both Brown and the Rhode Island School of Design. She worked briefly in the film industry before deciding to make painting her first order medium. Ansel has exhibited her work throughout the United States and in Europe. Her works are held in the permanent collections of the Museum of Contemporary Art in Krakow, the Bowdoin College Museum of Art and the Evansville Museum of Arts and Sciences. She was represented by Danese/Corey in NYC until they closed in April 2020. She now works with Miles McEnery Gallery and Auxier/Kline in New York City and Cadogan Contemporary in London. Education Brown University Select Exhibitions/Awards SELECTED SOLO EXHIBITIONS: 2023 Cadogan Contemporary, Recent Work, Milan, Italy (forthcoming) 2023 Cadogan Contemporary, Recent Work, London, UK (forthcoming) 2023 Cover Street Arts, Recent Work, Portland, Maine (forthcoming) 2023 Miles McEnery Gallery, Recent Work, New York, New York (forthcoming) 2022 Auxier/Kline, "Time and Materials," New York, New York 2022 Michael S. Currier Center at the Putney School, "Space Between Angels," Putney, Vermont 2021 Cadogan Contemporary, "Polarity," London, UK 2021 Carol Corey Fine Art, "The Women," Kent, Connecticut 2021 The Schoolhouse Gallery, "Ocean," Provincetown, MA 2020 Carol Corey Fine Art, "Flower of the Mountain," Kent, Connecticut 2020 David Klein Gallery, "Palimpsest," Detroit, Michigan 2019 Cadogan Contemporary, "yes I said Yes," London, UK 2018 Danese/Corey, "Time Present," New York, NY 2017 Cadogan Contemporary, "Amber and Ebony," London, UK 2017 Danese/Corey, "Dialogue," New York, NY Gallery Representation Miles McEnery Gallery; Cadogan Contemporary; AB NY Gallery; Carol Corey Fine Art Statement about AOAP Submitted Artwork My work involves translating Old Master paintings into a contemporary pictorial language. I examine shifting respresenations of the spiritual in art. I try to give voice to the female characters that have been for so long depicted by men Abstraction allows me to interrupt this one sided narrative and transform it into sensually capacious non-narrative form of visual communication that embraces multiple points of view. The Esther watercolors are studies for a series of larger oil paintings. They spring from Esther Before Ahasuerus, ca. 1758 by Lorenzo de Caro,which is the permanent collection of the Detroit Institute of the Arts Museum. I often begin with a series of small improvisational studies. Allowing the constant discovery of one state to give rise to another, I use the small studies as points of departure for larger works. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Isaac Aldridge Your Head, 2022 Oil, Ink and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Painter (b.1996 Essex, England). Lives and works in Glasgow, Scotland. Education MLitt Fine Art Practice Painting, Glasgow School of Art 2022. BA Fine Art, Falmouth University 2018. Select Exhibitions/Awards Sonnet Eyes, GSA Stow Building, Glasgow (2022); Good Life, Glasgow Botanic Gardens, Glasgow (2022); Shrewn Taboos, The Barnes Garage, Glasgow (2022); Early Days, The Barnes Garage, Glasgow (2021); LA Summer, Arusha, Edinburgh (2018); Manchester Art Fair, Arusha, Manchester (2018); Isaac Aldridge Residency Show, Back Lane West, Redruth (2018); BA Degree Show, Falmouth University, Falmouth (2018); The Thrown Gauntlet Festival, Falmouth (2018); 1 of 2, The Poly, Falmouth (2017); Harwich Arts Festival, Old Bank Studios, Harwich (2015); Limited Additions, The Minories, Colchester (2015). Gallery Representation A selection of work available with New Blood Art. Statement about AOAP Submitted Artwork Isaac sees painting as a slippery structure that provides visual bonds a surface to redefine the value of an image. The visual bonds are the debris of an audio-visual production(s). I am mostly interested in oxymorons, irony and satire; where the Postdigital provokes translation and mistranslation. Image making in this way creates disruptive engagements of thought and affect. In short, painting imitates life, if only for a moment. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Isaac Aldridge My Chest, 2022 Oil, Ink and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Painter (b.1996 Essex, England). Lives and works in Glasgow, Scotland. Education MLitt Fine Art Practice Painting, Glasgow School of Art 2022. BA Fine Art, Falmouth University 2018. Select Exhibitions/Awards Sonnet Eyes, GSA Stow Building, Glasgow (2022); Good Life, Glasgow Botanic Gardens, Glasgow (2022); Shrewn Taboos, The Barnes Garage, Glasgow (2022); Early Days, The Barnes Garage, Glasgow (2021); LA Summer, Arusha, Edinburgh (2018); Manchester Art Fair, Arusha, Manchester (2018); Isaac Aldridge Residency Show, Back Lane West, Redruth (2018); BA Degree Show, Falmouth University, Falmouth (2018); The Thrown Gauntlet Festival, Falmouth (2018); 1 of 2, The Poly, Falmouth (2017); Harwich Arts Festival, Old Bank Studios, Harwich (2015); Limited Additions, The Minories, Colchester (2015). Gallery Representation A selection of work available with New Blood Art. Statement about AOAP Submitted Artwork Isaac sees painting as a slippery structure that provides visual bonds a surface to redefine the value of an image. The visual bonds are the debris of an audio-visual production(s). I am mostly interested in oxymorons, irony and satire; where the Postdigital provokes translation and mistranslation. Image making in this way creates disruptive engagements of thought and affect. In short, painting imitates life, if only for a moment. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Ella Freire JFK Pan Am Tag, 2022 Unique Gicleé Print 1/1 Signed verso 15 x 10cm (5¾ x 3¾ in.) About Ella Freire is a London artist, a silk screen printer, based at Delta House Studios, in Wimbledon. Having a passion for classic cars, amongst other vintage interests, she has been inspired to produce her collection of classic car prints. She has also been fascinated with hearing stories about her Grandfather racing round Brooklands, in his Bugatti in the 1930's, and these have also caught her imagination. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Ella Freire London Pan Am Tag, 2022 Unique Gicleé Print 1/1 Signed verso 15 x 10cm (5¾ x 3¾ in.) About Ella Freire is a London artist, a silk screen printer, based at Delta House Studios, in Wimbledon. Having a passion for classic cars, amongst other vintage interests, she has been inspired to produce her collection of classic car prints. She has also been fascinated with hearing stories about her Grandfather racing round Brooklands, in his Bugatti in the 1930's, and these have also caught her imagination. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Brian McKenzie Hanging Bosci Suits, 2022 Etching Signed verso 15 x 10cm (5¾ x 3¾ in.) About My work focusses on the human figure. I'm interested in aberration, distortion and happenstance. I love to use or adapt processes that incorporate random, natural self creating pattern fused with fine drawing / making. My practice is often printmaking but I also love to paint, sculpt and make videos. Education Started out as an engineering student but switched to study graphic design at the London College of Printing in the late 80's. This is where I learned and loved printmaking especially drypoint, etching and monotype. Select Exhibitions/Awards Exhibited at the Royal Academy Summer show several times Gallery Representation Something Gallery Statement about AOAP Submitted Artwork I have printed from etching plates directly onto the blank postcards. I chose a broad selection of the sort of images I like to make. This includes my ongoing 'alter ego' artwork Bosci. He is a animal like house guest creature who collects items for his growing hermitage/museum. I have an interest in the Fukushima Nuclear plant disaster and its ongoing effects. I have recently been making a growing suite of fine, very detailed etchings where humans and fungi are fused.Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Brian McKenzie Hanging Bosci Suits II, 2022 Etching Signed verso 15 x 10cm (5¾ x 3¾ in.) About My work focusses on the human figure. I'm interested in aberration, distortion and happenstance. I love to use or adapt processes that incorporate random, natural self creating pattern fused with fine drawing / making. My practice is often printmaking but I also love to paint, sculpt and make videos. Education Started out as an engineering student but switched to study graphic design at the London College of Printing in the late 80's. This is where I learned and loved printmaking especially drypoint, etching and monotype. Select Exhibitions/Awards Exhibited at the Royal Academy Summer show several times Gallery Representation Something Gallery Statement about AOAP Submitted Artwork I have printed from etching plates directly onto the blank postcards. I chose a broad selection of the sort of images I like to make. This includes my ongoing 'alter ego' artwork Bosci. He is a animal like house guest creature who collects items for his growing hermitage/museum. I have an interest in the Fukushima Nuclear plant disaster and its ongoing effects. I have recently been making a growing suite of fine, very detailed etchings where humans and fungi are fused. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Zara Matthews Mesh (Study-Orange), 2022 Gesso and Pigment on Cartridge Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About Zara Matthews is an artist working in Painting, Printmaking and Photography. She lives and works in London and has also spent considerable amounts of time living and working in Italy and France. Since the mid-1980's Matthews has shown extensively in the UK, and also Europe and USA. Her current work concentrates on the auras of objects, and their sense of presence and history. Education Zara Matthews studied at Goldsmiths College from 1979 - 1980, Kingston Polytechnic from 1980 - 1983 and The Royal College of Art from 1997 - 1999. Select Exhibitions/Awards Most recently in 2022 Zara Matthews has been invited to show in 'Small is Beautiful', Flowers Gallery, Cork Street, She has had a 3 person show titled (RE)Configured at The Mall Galleries, and exhibited in the Royal Academy Summer Exhibition 2022. She was long-listed for Future Now - 125 Artist from The Aesthetica Art Prize 2021, selected for 100 Contemporary Artists, Aesthetica Magazine 2020, shortlisted for The Trinity Buoy Wharf Drawing Prize in 2019, and nominated for The 6th Max Mara Art Prize for Women 2016-17. She was awarded The Wapping Project Berlin Residency in 2015 and during 2023 she has been invited to spend 2 months on an artist residency in Pouch Cove, Newfoundland, Canada. Statement about AOAP Submitted Artwork The 4 postcards are small studies for larger paintings that depict, or include, the stretchy netting often used to protect fruit, including papayas. These polystyrene sleeves protect vulnerable fruit as they travel around the globe, but are a single use plastic that damages the planet. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising.
Brian McKenzie Collecting Mutated Plants Near Fukushima Daiichi Reactor, 2022 Etching Signed verso 10 x 15cm (3¾ x 5¾ in.) About My work focusses on the human figure. I'm interested in aberration, distortion and happenstance. I love to use or adapt processes that incorporate random, natural self creating pattern fused with fine drawing / making. My practice is often printmaking but I also love to paint, sculpt and make videos. Education Started out as an engineering student but switched to study graphic design at the London College of Printing in the late 80's. This is where I learned and loved printmaking especially drypoint, etching and monotype. Select Exhibitions/Awards Exhibited at the Royal Academy Summer show several times Gallery Representation Something Gallery Statement about AOAP Submitted Artwork I have printed from etching plates directly onto the blank postcards. I chose a broad selection of the sort of images I like to make. This includes my ongoing 'alter ego' artwork Bosci. He is a animal like house guest creature who collects items for his growing hermitage/museum. I have an interest in the Fukushima Nuclear plant disaster and its ongoing effects. I have recently been making a growing suite of fine, very detailed etchings where humans and fungi are fused. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Brian McKenzie Fungal Dream, 2022 Etching Signed verso 15 x 10cm (5¾ x 3¾ in.) About My work focusses on the human figure. I'm interested in aberration, distortion and happenstance. I love to use or adapt processes that incorporate random, natural self creating pattern fused with fine drawing / making. My practice is often printmaking but I also love to paint, sculpt and make videos. Education Started out as an engineering student but switched to study graphic design at the London College of Printing in the late 80's. This is where I learned and loved printmaking especially drypoint, etching and monotype. Select Exhibitions/Awards Exhibited at the Royal Academy Summer show several times Gallery Representation Something Gallery Statement about AOAP Submitted Artwork I have printed from etching plates directly onto the blank postcards. I chose a broad selection of the sort of images I like to make. This includes my ongoing 'alter ego' artwork Bosci. He is a animal like house guest creature who collects items for his growing hermitage/museum. I have an interest in the Fukushima Nuclear plant disaster and its ongoing effects. I have recently been making a growing suite of fine, very detailed etchings where humans and fungi are fused. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Brian McKenzie Francois De Sarra Eaten By Frogs + Worms, 2022 Etching Signed verso 10 x 15cm (3¾ x 5¾ in.) About My work focusses on the human figure. I'm interested in aberration, distortion and happenstance. I love to use or adapt processes that incorporate random, natural self creating pattern fused with fine drawing / making. My practice is often printmaking but I also love to paint, sculpt and make videos. Education Started out as an engineering student but switched to study graphic design at the London College of Printing in the late 80's. This is where I learned and loved printmaking especially drypoint, etching and monotype. Select Exhibitions/Awards Exhibited at the Royal Academy Summer show several times Gallery Representation Something Gallery Statement about AOAP Submitted Artwork I have printed from etching plates directly onto the blank postcards. I chose a broad selection of the sort of images I like to make. This includes my ongoing 'alter ego' artwork Bosci. He is a animal like house guest creature who collects items for his growing hermitage/museum. I have an interest in the Fukushima Nuclear plant disaster and its ongoing effects. I have recently been making a growing suite of fine, very detailed etchings where humans and fungi are fused. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Brian McKenzie Another Crime-Free Day In The Busy Life of Batman, 2022 Etching Signed verso 15 x 10cm (5¾ x 3¾ in.) About My work focusses on the human figure. I'm interested in aberration, distortion and happenstance. I love to use or adapt processes that incorporate random, natural self creating pattern fused with fine drawing / making. My practice is often printmaking but I also love to paint, sculpt and make videos. Education Started out as an engineering student but switched to study graphic design at the London College of Printing in the late 80's. This is where I learned and loved printmaking especially drypoint, etching and monotype. Select Exhibitions/Awards Exhibited at the Royal Academy Summer show several times Gallery Representation Something Gallery Statement about AOAP Submitted Artwork I have printed from etching plates directly onto the blank postcards. I chose a broad selection of the sort of images I like to make. This includes my ongoing 'alter ego' artwork Bosci. He is a animal like house guest creature who collects items for his growing hermitage/museum. I have an interest in the Fukushima Nuclear plant disaster and its ongoing effects. I have recently been making a growing suite of fine, very detailed etchings where humans and fungi are fused. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Zara Matthews Mesh (Study-Pink), 2022 Gesso and Pigment on Cartridge Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About Zara Matthews is an artist working in Painting, Printmaking and Photography. She lives and works in London and has also spent considerable amounts of time living and working in Italy and France. Since the mid-1980's Matthews has shown extensively in the UK, and also Europe and USA. Her current work concentrates on the auras of objects, and their sense of presence and history. Education Zara Matthews studied at Goldsmiths College from 1979 - 1980, Kingston Polytechnic from 1980 - 1983 and The Royal College of Art from 1997 - 1999. Select Exhibitions/Awards Most recently in 2022 Zara Matthews has been invited to show in 'Small is Beautiful', Flowers Gallery, Cork Street, She has had a 3 person show titled (RE)Configured at The Mall Galleries, and exhibited in the Royal Academy Summer Exhibition 2022. She was long-listed for Future Now - 125 Artist from The Aesthetica Art Prize 2021, selected for 100 Contemporary Artists, Aesthetica Magazine 2020, shortlisted for The Trinity Buoy Wharf Drawing Prize in 2019, and nominated for The 6th Max Mara Art Prize for Women 2016-17. She was awarded The Wapping Project Berlin Residency in 2015 and during 2023 she has been invited to spend 2 months on an artist residency in Pouch Cove, Newfoundland, Canada. Statement about AOAP Submitted Artwork The 4 postcards are small studies for larger paintings that depict, or include, the stretchy netting often used to protect fruit, including papayas. These polystyrene sleeves protect vulnerable fruit as they travel around the globe, but are a single use plastic that damages the planet. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising.
Robert James Clarke Gill, 2022 Coloured Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Painting since the 60's, dogs mostly from the 2000's AOP since the beginning Like the canines Education St Martins School of Art London Fine Art Degree Select Exhibitions/Awards Point Gallerie Hamburg 1990 Rebecca Hossack A-Z of dogs NY 2011 Cricket fine art Best in show 2018 Gallery Representation Cricket Fine Art London Willard Gallery Maine USA Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Robert James Clarke Jill, 2022 Coloured Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Painting since the 60's, dogs mostly from the 2000's AOP since the beginning Like the canines Education St Martins School of Art London Fine Art Degree Select Exhibitions/Awards Point Gallerie Hamburg 1990 Rebecca Hossack A-Z of dogs NY 2011 Cricket fine art Best in show 2018 Gallery Representation Cricket Fine Art London Willard Gallery Maine USA Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Elizabeth Chisholm Proximity To Her Power, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Canadian born, UK citizen Education NSCAD, SFAI, (BFA); Institute Of Continental Philosophy (Post Grad dip). Select Exhibitions/Awards Top Graduating Painter (female) SFAI, Anna Leon Owens Gallery, NS., Group Drawing MOWA, "Women At Work", group show, London C&C Gallery, solo exhibition, London Royal Academy Summer Exhibition(s) Havelock Walk Studios, ongoing Open events Statement about AOAP Submitted Artwork I work from the "surveillance gaze". We surveil our own lives (reflectively), we surveil our profession (linkd In), online we also surveil new people we've just met, people we'd like to have sex with, we surveil celebrities, and (doubling down on the surveillance!) we do most of this as we look down on our phones... like a CCTV camera; we become the surveillance gaze. This gaze creates a thread through all my work, but also gives me the freedom to consider all sorts of subjects. (Hint: the titles give some indication of where my head was at when I created these work of art). Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Elizabeth Chisholm Proximity To Holiday Memories, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Canadian born, UK citizen Education NSCAD, SFAI, (BFA); Institute Of Continental Philosophy (Post Grad dip). Select Exhibitions/Awards Top Graduating Painter (female) SFAI, Anna Leon Owens Gallery, NS., Group Drawing MOWA, "Women At Work", group show, London C&C Gallery, solo exhibition, London Royal Academy Summer Exhibition(s) Havelock Walk Studios, ongoing Open events Statement about AOAP Submitted Artwork I work from the "surveillance gaze". We surveil our own lives (reflectively), we surveil our profession (linkd In), online we also surveil new people we've just met, people we'd like to have sex with, we surveil celebrities, and (doubling down on the surveillance!) we do most of this as we look down on our phones... like a CCTV camera; we become the surveillance gaze. This gaze creates a thread through all my work, but also gives me the freedom to consider all sorts of subjects. (Hint: the titles give some indication of where my head was at when I created these work of art). Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Elizabeth Chisholm Proximity To Little Joys, 2022 Archival Permanent Ink, Pigment Ink Pen and Brush on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Canadian born, UK citizen Education NSCAD, SFAI, (BFA); Institute Of Continental Philosophy (Post Grad dip). Select Exhibitions/Awards Top Graduating Painter (female) SFAI, Anna Leon Owens Gallery, NS., Group Drawing MOWA, "Women At Work", group show, London C&C Gallery, solo exhibition, London Royal Academy Summer Exhibition(s) Havelock Walk Studios, ongoing Open events Statement about AOAP Submitted Artwork I work from the "surveillance gaze". We surveil our own lives (reflectively), we surveil our profession (linkd In), online we also surveil new people we've just met, people we'd like to have sex with, we surveil celebrities, and (doubling down on the surveillance!) we do most of this as we look down on our phones... like a CCTV camera; we become the surveillance gaze. This gaze creates a thread through all my work, but also gives me the freedom to consider all sorts of subjects. (Hint: the titles give some indication of where my head was at when I created these work of art). Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Elizabeth Chisholm Proximity To Moon Station B, 2022 Archival Permanent Ink, Pigment Ink Pen and Brush, and Fine Art Coloured Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Canadian born, UK citizen Education NSCAD, SFAI, (BFA); Institute Of Continental Philosophy (Post Grad dip). Select Exhibitions/Awards Top Graduating Painter (female) SFAI, Anna Leon Owens Gallery, NS., Group Drawing MOWA, "Women At Work", group show, London C&C Gallery, solo exhibition, London Royal Academy Summer Exhibition(s) Havelock Walk Studios, ongoing Open events Statement about AOAP Submitted Artwork I work from the "surveillance gaze". We surveil our own lives (reflectively), we surveil our profession (linkd In), online we also surveil new people we've just met, people we'd like to have sex with, we surveil celebrities, and (doubling down on the surveillance!) we do most of this as we look down on our phones... like a CCTV camera; we become the surveillance gaze. This gaze creates a thread through all my work, but also gives me the freedom to consider all sorts of subjects. (Hint: the titles give some indication of where my head was at when I created these work of art). Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
An Anglo-Indian silver three-piece tea set, circa 1880Comprising teapot, cream jug and sugar bowl, with serpent handles and spouts, the sides embossed and chased with processional scenes of deities and other figures carrying banners, marked PO&S SILVER, with fitted wooden case bearing a silver label inscribed P.Orr & Sons Madras & Rangoon.Teapot 16cm, cream jug 13cm, sugar bowl 11cm. Total weight 62ozPeter Orr began as a clock and watchmaker in London in the early 1830s. In 1843 he moved to Madras, India, with his younger brother Alexander, opening their first showroom in 1873 on Mount Road, later known as Anna Salai, in Chennai. Originally established to sell jewellery, sporting guns and silverware, Orr eventually sold watches and clocks, becoming the first retailer to carry the Rolex brand in India. P.Orr & Sons remains a premier watch and luxury goods retailer in Chennai.Very good, practically unused condition with only negligible signs of age. A small amount of play in the teapot handle between the spacers.
An 18K gold keyless wind quarter repeating chronograph full hunter pocket watchDate: Circa 1900Movement: Swiss lever, cut and compensated bi-metallic balance, flyball governor, two polished hammers striking on two gongsDial: White, black Roman numerals, black outer minute and 1/5th second divisions, subsidiary seconds at 6, blued steel spade hands, centre chronograph handCase: Polished round hinged, Ingilby family crest of a boars head to front, repeat button at 6, start/stop button at 2, inner front engraved 'S. Africa 1899-1902, No.311979Size: 52mmFootnotes:The current lot belonged to Sir William Henry Ingilby (1874-1950) who served as a lieutenant in the first battalion of the Scots Guards in the Boer War (1897-1900). He saw action at the battles of Belmont, Modder River, Diamond Hill and in the relief of Pretoria and was awarded the Queen's Medal with six clasps and the Kings Medal with two clasps. Upon the inner front of this watch is engraved 'S. Africa 1899-1902'.Lots 12-19 form part of the Ripley Castle Collection. Located three miles from Harrogate on the edge of the Yorkshire Dales National Park, Ripley Castle has been the seat of the Ingilby family since the 14th century. Sir Thomas Ingliby (c. 1290–1352) married the heiress, Edeline Thwenge in 1308/9 and acquired the Ripley Castle estate with its medieval manor house as her dowry. While hunting, their eldest son, Thomas (1310–1369), saved Edward III from being attacked by a wild boar and was duly knighted with the boar's head incorporated into the Ingilby family crest. Subsequent generations of the Ingilby family have survived periods of political and religious turmoil and witnessed great societal change. Today, the Ingilby family still live at Ripley Castle and have been opening it to the public since 1954.For further information on this lot please visit Bonhams.com
Jaeger-LeCoultre. A Limited Edition 18K rose gold manual wind wristwatchModel: Master Control, No.226/575Reference: 172.2.79.SDate: Circa 2010Movement: 19-jewel manual wind, No.3530359Dial: Chocolate brown, applied gilt dart hour markers with Arabic numeral quarters, gilt dot outer minute divisions, gilt sword handsCase: Polished round, exhibition back secured by 4 screws, No.2502020Strap/Bracelet: Brown Jaeger-LeCoultre alligator leatherBuckle/Clasp: Signed double folding claspSigned: Case, dial & movementSize: 38mmThis lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
S. Lasker, Cape Town. An 18K gold key wind full hunter pocket watchDate: London Hallmark for 1864Movement: Gilt full plate cylinder, 3-arm balance, diamond end stone, No.51651Dial: Guilloche engraved centre, applied gilt Roman numerals, blued steel fleur de lys handsCase: Engraved round, small cartouche to front with initials 'McK', No.51651Signed: Dial & movement, case stamped JVSize: 40mmFor further information on this lot please visit Bonhams.com
Hardy Bros, Sydney & Brisbane, 32 Old Burlington St. An 18K gold keyless wind half hunter pocket watchDate: London Import mark for 1912Movement: Gilt 3/4 plate English lever, cut and compensated bi-metallic balance, No.371872Dial: White, black Roman numerals, black outer minute track, subsidiary seconds at 6, blued steel Breguet style handsCase: Polished hinged, blue Roman numeral chapter to front, No.542Signed: Dial & movement, case stamped R&SSize: 49mmFor further information on this lot please visit Bonhams.com
Waltham. A nickel keyless wind open face military issue pocket watchDate: Circa 1945Movement: Nickel finish 22-jewel Swiss lever, cut and compensated bi-metallic balance, adjusted to 3 positions, No.31789658Dial: Black, white 24 hour markers, inner and outer minute markers, white spade hands, centre secondsCase: Brushed and polished round, screw down back engraved 'AN 5740 MFR'S PART NO.1622-S-24-C CONT.NO.W-11-107 ac-581 SER.NO.AF-44-2642', No.55985Signed: Case & movement Size: 51mmFor further information on this lot please visit Bonhams.com
Eterna. A stainless steel manual wind Military Issue wristwatchModel: 'Dirty Dozen'Date: Circa 1945Movement: Jewelled manual windDial: Black, broad arrow, luminous Arabic numerals, outer minute track with lume dot five minute markers, subsidiary seconds at 6, polished pointed baton hands with luminous insertsCase: Polished round, screw down back engraved '↑ WWW P.3796 3112124' fixed bars, inner capStrap/Bracelet: Associated brown leatherBuckle/Clasp: Steel buckleSigned: Dial & movementSize: 36mmFootnotes:During the Second World War the British Ministry of Defence tasked 12 watch companies with the role of producing watches that were fit for military action. These companies were Buren, Cyma, Eterna, Grana, Jaeger-LeCoultre, Lemania, Longines, IWC, Omega, Record, Timor, and Vertex. The term 'Dirty Dozen' (after the 1960's film) has been coined to describe these watches.For further information on this lot please visit Bonhams.com
Omega. A stainless steel manual wind military issue wristwatchModel: 'Dirty Dozen'Date: Circa 1944Movement: 15-jewel Cal.30 T2 manual wind, No.10282371Dial: Black, broad arrow below 12, white Arabic numerals, white outer minute track with luminous 5 minute markers, subsidiary seconds at 6, polished syringe hands with luminous insertsCase: Brushed and polished round, screw down back engraved 'WWW ↑ Y19586 10683785'Strap/Bracelet: Tan brown leatherBuckle/Clasp: Steel buckleSigned: Case, dial & movementSize: 34mmFootnotes:During the Second World War the British Ministry of Defence tasked 12 watch companies with the role of producing watches that were fit for military action. These companies were Buren, Cyma, Eterna, Grana, Jaeger-LeCoultre, Lemania, Longines, IWC, Omega, Record, Timor, and Vertex. The term 'Dirty Dozen' (after the 1960's film) has been coined to describe these watches.For further information on this lot please visit Bonhams.com
Tudor. A stainless steel manual wind calendar chronograph wristwatchModel: Oysterdate Monte CarloReference: 7149/0Date: Circa 1972Movement: 17-jewel Valjoux Cal.234 manual windDial: Blue accented matte grey, black and white block hour markers, white outer 1/5th second divisions on blue surround with orange Arabic numeral 5 minute markers, magnified date aperture at 6, subsidiary dials at 3 and 9 for seconds and 45 minute recording, black accented hands with luminous inserts, orange centre chronograph handCase: Brushed and polished tonneau form, screw down back and shouldered crown, twin screw down pushers, fixed bezel with black tachymeter insert, No.775757Strap/Bracelet: Associated brown leatherBuckle/Clasp: Associated steel buckleSigned: Case, dial & movementSize: 39mmFootnotes:These were the first chronographs produced by Tudor and are instantly recognisable by the distinctive dial with angled blue subsidiary dials instead of the more normal circular subsidiaries used by the other chronographs of its time. The combination of the vibrant orange chronograph seconds hand and 5 minute markers against the blue grey dial is a great example of 70's design and a look that remains distinctive working equally well today as it did when it was produced.For further information on this lot please visit Bonhams.com
Rolex. A stainless steel automatic bracelet watch with metres first dialModel: SubmarinerReference: 5513Date: Circa 1966Movement: 26-jewel Cal.1520 automaticDial: Black, luminous dot hour markers, baton quarters, white outer minute divisions, polished Mercedes hands with luminous inserts, centre secondsCase: Brushed and polished tonneau form, screw down back, shouldered screw down crown, bi-directional bezel, inside back date coded I.66, No.1333856Strap/Bracelet: Brushed and polished riveted expandable Oyster linkBuckle/Clasp: Signed folding clasp stamped 1 67Signed: Case, dial & movementSize: 39mm Accompaniments: Rolex box (AF), Service Guarantee dated 07/03/12Footnotes:Rolex introduced to the market reference 5513 in 1962, and produced the reference until the mid-1980's. The model is recognizable by its lack of date feature, allowing the dial to have a well-balanced design. Early examples of the 5513 featured a glossy black dial with gilt text, and in the mid-1960's, Rolex started producing the reference with a matte dial and white printing. These dials featured the depth rating with meters indicated first '200m=660ft', and towards the end of the 1960's, Rolex began producing dials with the depth rating that indicated feet first. The matte dial reference 5513 appeals to vintage Rolex enthusiasts for its dial symmetry, durability, and place in Rolex history as inspiration for future Submariner models.For further information on this lot please visit Bonhams.com
EASTERN EUROPE -- POLAND -- "UHLAN PRUSSIEN". (Paris, 1815). Cold. aquatint by Debucourt after Vernet. 340 x 260 mm. -- "J. PONIATOWSKI". N.d. (1830's). Plain lithogr. by Visser after C.C.A. Last. 340 x 263 mm (paper size). -- "GIUSEPPE PONIATOWSKI alla Bataglia di Lipsia del 1813" - "I POLACCHI alla Battaglia di Sammo Sierra" - "GIOVANNI SOBIESKI alla Battaglia di Vienna del 1683" - (Florence, 1831). 3 engr. by Verico. 170 x 400 mm (image size). -- "KOSSYNIER/SENSENTRÄGER". Warsaw, K.L. Magnus, n.d. Plain lithogr. 420 x 280 mm. -- And 1 o. (7).
DIK, G.C. De Zeven Provinciën. Een poging tot reconstructie, (…) van 's lands schip de Zeven Provinciën van 80-86 stukken. (1993). Prof. ill. Fol.-obl. Ocl. -- W. v. ZIJDERVELD. Schouwen & aken. Een verdwijnend beeld in de polders. (1996). Obrds. -- J. v. BEYLEN. De hoogaars en de visserij v. Arnemuiden. (1993). Sm-4°. Obrds. -- Id. De hoogaars, geschied. & bouw. (1978). Sm-4°. Obrds. w. dust-j. -- And 4 o. (8).
REVE, G. "Herkenning". (Uit: Nader tot U). 1984. Or. manuscript in ink by Reve on 1 leaf (r°). -- VASALIS. (=M. Droogleever Fortuyn-Leenmans). Verjaars-brief voor Gerard. Leiden, De Vijf Winden Pers, 2003. Small booklet printed in two colours, in envelope. In or. pictorial cardboard box. Published for Reve's 80th birthday. Printed in 300 numb. copies, signed by the author. -- REVE-TEGEL nr. 3: Droom. Rott., Uitg. Bébert, 1986. Tile printed w. poem in R.'s handwriting on upper surface. Made in 300 numb. copies, monogrammed "GR" on back side in blue pencil. -- PHOTOGRAPH of Gerard Reve. 1981. 30 x 24 cm. Signed by the artist. -- And 4 o. by/on R. (8).
CICERO. The treatise of Cicero. De Officiie=s; or, his essay on moral duty. Transl., and accomp. w. notes and observ. by W. M'Cartney. Edinburgh, 1798. (4), 365 pp. W. engr. portr. on ti-p. Cont. cf. w. red label & gilt coat of arms of 'The Soc. of Writers to the Signet' on both sides. (Joints split, front side loosening, corners a bit worn). -- Id. Orationes. Cum Chr. Cellarii (…) interpret. Cur. (…) A.H. Westerhovius. Amst., J. Wetstenii, & G. Smith, 1735. (12), 390, 41, (10) pp. W. engr. front. & engr. ti-vign. Cont. blind tooled vellum w. gilt dec. on both sides. (New ties, w. stamp and name entries on free endpaper, a few annot. in ink, lower outer corner stained at the beginning, a bit browned/foxed). -- (2). NOTE:Schweiger II, 233; 132.
BUDDHISM -- PREMATILLEKE, L. (a.o., eds.). Senarat Paranavitana commemoration volume. 1978. W. a front. & plts. 4º. Ocl. w. dust-j. -- S. BANDARANAYAKE. Sinhalese monastic architecture. The Vihâras of Anurâdhapura. 1974. W. illustr. 4º. Ocl. w. dust-j. -- D. CHIHARA. Hindu-Buddhist architecture in Southeast Asia. 1996. W. plts. 4º. Ocl. w. dust-j. -- (3).
INDIA -- PRIOR, K. & J. ADAMSON. Maharajas' jewels. Par., Assouline, (2000). W. many plts. 4º. Ocl. w. dust-j. -- O. UNTRACHT. Traditional jewelry of India. N.Y., (1997). Prof. ill. 4°. Ocl. w. dust-j. -- S. STRONGE, (a.o.). A golden treasury. Jewellery from the Indian subcontinent. Lond., (1988). W. many photo ill. Ocl. w. dust-j. -- R.J. MEHTA. The handicrafts & industrial arts of India. Bombay, (1960). Ocl. (Very well preserved). -- And 2 o. (6).
EX LIBRIS -- COLLECTION of c. 1000 ex libris for Dutch language owners whose names begin with N to S. 20th c. Various sizes, techniques and artists, partly signed in pencil. All but a few tipped-onto mounts, loose/partly in portfolios in alphabetical order, together in 1 board box. NOTE:Incl. duplicates/variants. Comprises ex libris for a.o. H. Naninck, Heinz Nobel, Ch. Nypels (by Henri Jonas and by S.H. de Roos), Hetty van Oppenraaij, H. van Oss, Remmet Jacobus Ouwejan, A.A. Vorsterman van Oyen, J.Th.A Peskens, R. Petry, H.D. Pfann, Allard Pierson Stichting, P.C.L. Poortman, Pieter Post, Ed. Reeser (after Pyke Koch), members of the De Ridder family, B. Roozen, W.J.J. van Rossum, Pam G. Rueter, Pieter van Santen, J.C.J. van Schagen, John van Schaik, Marius Schalkwijk, G. Schippers, Jan Schonken and Johan Schwencke.
ORNITHOLOGY -- GOULD -- COLLECTION of 10 coloured and hand finished lithographed plates drawn from nature, taken from John Gould's 'Folio Bird Books', incl. 2 duplicates. London, printed by Hullmandel & Walton, 1840's/50's. 555 x 384 mm each (paper size). (Some marginal splits and staple holes in places, but in fine and clean condition). NOTE:The quality of Gould's lithographs hardly needs comment; they are among the best made in the nineteenth century. Present: "Pteroglossus Humboldtii" - "Eulampis Holosericeus" - "Eriocnemis Squamata" (2x)- "Hirundo Filifera" - "Paëtornis Intermedius" (2x) - "Spathura Rufocaligata" - "Dorifera Johannæ" - "Ramphomicron Vulcani".
FABLE BOOKS -- GELLERT, C.F. Fabelen en vertelsels, in Nederduitsche vaerzen gevolgd. Amst., P. Meijer, 1772-74. 3 vols. W. 1 engr. ti., 3 (identical) engr. ti.-vign., & 149 fine full-p. engr. by N. v.d. Meer after J. Buijs. Cont. hcf. w. black labels. Spine raised in compartments. (A bit thumbed in places, but a good set). -- Added: PHAEDRUS. Ezopische fabelen. In Nederduitsch dicht vert. en met aenm. verrykt d. D. v. Hoogstraten. Amst., S. v. Esveldt, 1753. (48), 260, (28) pp. 8º. W. engr. ti.-vign. Cont. h. vellum. (Binding slightly chafed). -- (4).
ATLANTIC -- "CHART, A, of the Maderas and Canary Islands, from the draughts and Memoirs of Cap.tn George Glas; (…)" - "CHART of the Açores (Hawks) Islands, called also Flemish and Western Islands from Mr. D'Anville with several additions". - Lond., R. Sayer, 1775. 2 engr. maps, cold. by hand, both w. several insets and coastal profiles. 495 x 645 each. (Central fold visible, v°'s reinforced w. Japanese paper, but in very good condition). NOTE:From Thomas Jefferys 'The West Indian Atlas' (1775).
TIEMERSMA, H.J. Kijkjes in 't Wonderland, langs wei en strand. N.pl., n.d., (1890's). W. ti-p. and 4 cold. lihogr. pop-ups. 4°. Or. clothbacked cold. lihogr. brds. (Possibly lacking the last leaf, but w. all the pop-ups). -- Added: SPEELDAGEN. Nieuw linnen prentenboek. N.pl., n.d. (1930's). (4) lvs. w. cold. illustr. Sm-8°. -- J.F.L. MÜLLER. De kluchtige poes en het hondje. Een tegenhanger van De Kluchtige aap en het poesje. Amst., J. Guijkens, (1838). W. 16 full-p. engr., all cold. by hand. 16°. Obrds. (Spine dam.). -- PRENTEBOEKJE tot Nut der Jeugd, in 16 afbeeldingen. N.pl., n.d. W. 16 woodcuts, cold. by hand. Sm-8°. Owrps. -- And 4 o. (8).
JAPAN -- COLLECTION of 402 fine photographs of Japanese country side scenery, shrines and temples, festivities, beauties, vendors, professions and handicrafts, activities, etc. c. 1900's. All (but 5) coloured by hand. 235 photographs sized c. 200 x 260 mm and 168 photographs sized c. 93 x 137 mm. For the greater tipped in/laid down on greyish limp paper mounts from the period. The larger photographs partly captioned in the image. (Apart from some obvious slight fading/age-toning in very good condition, NB all photographs can be easily removed from mounts). NOTE:Large collection of souvenir photographs which value "lies not only in the information they contain about Japan, but also in the artistic acumen they convey. […] A noteworthy feature of these tourist photographs is that they are hand-coloured. This technique, which was apparently introduced by Wirgman and Beato, became common in Japan from the 1880s onward. Allthough this practice occurred in the West as well, it never reached the degree of sophistication it attained in Japan. Photographers [had] at their disposal […] a pool of well-trained artisans, men who worked in the print shops producing woodblock prints. When lack of work in this field caused them to lose their jobs, the blooming photographic industry presented a new employment opportunity." (M. Winkel 'Souvenirs from Japan' (1991), p. 31).
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