There are 977058 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeWEST HAM UNITED Fifty four programmes, 6 X 59-60, 21 X 60's including v Wolves 17/12/60 & 18/12/61, v Burnley FAC 29/2/64,& 9 X 70's. 18 modern away friendlies including the rare Ilford 80th Anniversary programme 3/5/62, v Crystal Palace A4 typed page 26/1/85 & v Exeter 2/8/98. Others include Peter Reeves Testimonial at Charlton 12/11/74 & friendlies at Celtic, Dagenham & Redbridge, Ipswich & Reading among others. Generally good
POCKET FOOTBALL PROGRAMMES Small programmes from the 50's and 60's. 63 in total. Good Bradford Park Avenue content, 9 homes and 8 aways. 30 Crystal Palace, 57-62, also includes Notts County v England XI 2/5/62, Crystal Palace friendly v Aberdeen 17/5/66 & Barnsley v Manchester United FAC 5th Round tie 15/2/64. Minor faults only. Generally good
1940'S FOOTBALL PROGRAMMES Ten programmes in total, Brentford v West Ham United 22/9/45, Bolton v Wolves 28/8/48, Bradford Park Avenue v Preston North End 12/11/49, Bradford City v Hartlepools United 19/3/49, Bristol Rovers v Notts County 10/4/48, Chesterfield v Leicester 10/4/48, Coventry v Hull City 8/9/51, Millwall v Crystal Palace 1/1/49, & Plymouth v Preston North End 29/10/49. Inter City Match London Boys v Birmingham Boys at Dulwich Hamlet 24/5/47, punched holes replaced and slightly marked. Minor faults Generally good
NON LEAGUE PROGRAMMES Ten 40's programmes. Chelmsford City v Worcester City 12/10/49, At Ilford FC, Grays Athletic v Romford 22/3/47, Essex senior Cup Semi-Final. Leyton v Sutton United 23/4/47, Leytonstone v Woking 8/10/49, Merthyr Tydfil v Gravesend 13/12/47 & v Bath City 27/8/49, gatefold programmes. Nelson v Bacup Borough 23/9/47, & v Clitheroe 7/5/49. Tooting & Mitcham v Bromley 25/4/49, Worthing v East Grimstead 7/9/46. Minor repairs. Generally good
PROGRAMME MISCELLANY A collection of 12 miscellaneous programmes. FA XI v Universities Athletic Union XI at Darlington 13/3/1946, Southampton v West Bromwich Albion 1945/46, Bury Town v Cambridge Town (FAC) 1947/48, Bournemouth v Rotherham United (Fr)1948/49, Aldershot v Portsmouth (Fr) 1953/54, Manchester United Reserves v West Bromwich Albion , Burnley (both lacking tokens) 1957/58, Liverpool Reserves v Manchester City Reserves 1968/69 and 1970/71, London v Glasgow at Fulham 1969/70, Portsmouth v Goaldiggers XI (s/s) 1973/74, England XI v Scotland XI at Manchester United and New York Cosmos v Southampton 1980/81. Comes with a letter from the London Banks Association dated 6/4/1932 selecting a player for the Banks v The Stock Exchange at Fulham 18/4/1932. Generally good
NORWICH CITY Seven away programmes v, Cardiff City Reserves 19/8/1961, QPR 17/2/1964 Youth Cup, Chelmsford City 3/10/1960 creased, Ely City '56 XI v Norwich City All Stars XI 1/10/1967, Dagenham 1/5/1972 East Anglian Cup S-F, vertical crease and score on cover, Jimmy Thompson's All Stars 2/5/1975, vertical crease and Chelsea 11/8/1976 Anglo-Scottish Cup. Generally good
FOOTBALL MISCELLANY / STAN MATTHEWS AUTOGRAPH A signed Sportsmans Dinner menu 20/2/1991 at York City with a dedicated signature by Matthews plus 17 programmes including Cork Athletic Selected v Frank Swift's XI 15/5/1955 at Dalymount Park, year written on the cover, York City v Newcastle United 1955 FA Cup S-F at Sheff. Weds., horizontal creases and minor tears, York City v Tottenham 1954/5 FA Cup, York City v Arsenal 74/5 FA Cup, Hartlepools United v Accrington Stanley 30/12/1961 postponed in Accrington's final League season before relegation to Non-League and the match was never played at a later date and 12 Yeovil Town homes 1955 - 1967 in various condition including Hasting 7/5/1955 souvenir edition with tape on the inside back cover and ageing marks and 2 X 1958/9. Fair to generally good
WARTIME FOOTBALL Three items, previously the possession of Private S. Trip of the Royal Dutch Army. Menu 25/10/1941 in Birmingham v Belgium Services, menu 18/4/1942 v Free French Army, signed on the reverse by the Dutch team and a diploma for playing in the Inter-Allied Services Cup v Norwegians in Dumfries 20/12/1941. Generally good
WARTIME FOOTBALL Four items, previously the possession of Private S. Trip of the Royal Dutch Army. Three at the Connaught Rooms, London Belgium v Holland matches, Luncheon menu 10/10/1941 and Dinner menu 11/10/1941 and a Luncheon menu 14/1/1944 and an Invitation Card from the Lord Mayor of London to meet the Holland and Belgium teams at the Mansion House 17/1/1944. Generally good
WARWICKSHIRE CCC / HAMPSHIRE CCC AUTOGRAPHS A 7" X 6" album page from the mid 1930's, hand signed by 10 Warwickshire players on one side, including Wyatt, Kilner, Santall, Smart, Roberts, Hollies, Mayer and pained and by 7 Hampshire players on the reverse including Arnold, Herman, Hill and Kennedy. Good
CRICKET PRESS PHOTOGRAPHS Approximately 50 b/w photos with stamps on the reverse and the majorly being 10" X 8" from the 1970's and 1980's including County and International players and teams in action and portraits including Middlesex, MCC v Australians, Leicestershire, Keith Fletcher, John Edrich, Bruce Edgar, Minor Counties v Australia 1977 and Yorkshire. Good
CRICKET Thirty seven BW press photos. The majority are 10" x 8" and plus some smaller photos from the 1980’s, inc. England, West Indies and other Internationals, Test Matches, Bob Simpson, Curtley Ambrose, India, Slack, Allott, Gladstone Small, Ravi Shastri selection, Yorkshire, Ames, Botham, Gomes etc. Generally good
FOOTBALL AUTOGRAPHS 1970'S & 1980'S A folder with over 90 signed magazine and newspaper pictures including Bobby Moore, small photo with tape on some of the autograph, Kenny Samson, Alan Brazil, John Richards, Steve Perryman, Malcolm MacDonald, Chris Waddle, Mark Falco, Alan Sunderland, Jeff Astle, Trevor Brooking, Wyn Davies, Terry Paine, Bobby Gould, Preston North End 1978/9 sheet, Peter Thompson, Ron Saunders, Keith Robson, Bryan Robson, Bobby Robson, Tony Kay, Ivor Allchurch, John Connelly, Jimmy Armfield, Alan Smith, Kerry Dixon, Ken Morgans, Gary Lineker and Billy Wright. Generally good
CRICKET AUTOGRAPHS 1970'S A folder with over 90 signed magazine and newspaper pictures including Sarfraz Nawaz, Mike Gatting, Graham Gooch, Brian Rose, Peter Roebuck, Andy Roberts, Pat Pocock, Ray Illingworth, Javed Miandad, John Jameson, Collis King, David Lloyd, Colin Milburn, Mike Proctor, John Lever, Tom Graveney, John Snow, Dennis Amiss, Asif Iqbal, Bishen Bedi, Jackie Bond, Geoff Arnold, Ted Dexter and Keith Fletcher. Generally good
Jeremy Gardiner Portland Stone, Anvil Point, Swanage, 2021 Acrylic and Jesmonite on Poplar Panel Signed on verso 15 x 10cm (5¾ x 3¾ in.) Jeremy Gardiner's artistic excavation of the geology of landscape is shaped both by human activity and by the forces of nature. His painting is informed by science, geomorphology, new technologies and direct physical engagement with ancient landscapes. Gardiner interprets, through his painting and printmaking, a variety of landscapes that contain the marks and secrets of their own distant formation, giving them a unique, contemporary depth and beauty. His artistic exploration has taken him from the Jurassic Coast of Dorset to the rugged coast of Cornwall, the Oceanic islands of Brazil, the arid beauty of the island of Milos in Greece and the Lake District and its numerous waterfalls. Gardiner's spatially probing and texturally explicit pictures creatively transform the lessons learnt from pioneering modern British landscape painters such as John Tunnard, Ben Nicholson, Peter Lanyon and the American artist Richard Diebenkorn. 'Gardiner's distinctive laminar landscapes reveal their layered meanings only over time - this is not instant art, but art which discloses itself gradually. Its richness matches the complexity of the world it seeks to evoke, and offers back an interpretation of it which is both personal and penetrating.' Andrew Lambirth, Art Critic Gardiner studied Fine Art at Newcastle University from 1975 -79 and painting at the Royal College of Art from 1980-83. He was a Harkness Fellow at Massachusetts Institute of Technology from 1984-86.Gardiner's monograph 'The Art of Jeremy Gardiner: Unfolding Landscape' was published by Lund Humphries in 2013 that year Gardiner was awarded the prestigious Discerning Eye ING Art prize for 'Pendeen Lighthouse', the first painting in a series that would evolve into Pillars of Light, his sellout exhibition which took place in September, 2016 at The Nine British Art, St James's, London. His paintings have been exhibited in Europe, the USA, South America, and Japan. He has won numerous awards throughout his career including a Churchill Fellowship and New York Foundation for the Arts Fellowship. Gardiner's paintings are represented in public and corporate collections including the Victoria and Albert Museum, the Government Art Collection, BNP Paribas and Pincent Masons. His most recent exhibitions include Drawn to the Coast in 2017, and Tintagel to Lulworth in 2019. South by Southwest a recent touring museum exhibition was a journey to explore the modern-day reality of our coastline from Kent to Cornwall, looking afresh at the harbours, bays, coves, castles and follies that characterise the remarkable shoreline of the South Coast. The show was cut short by the pandemic in 2020, paintings from this body of work are on display at Linley Belgravia and The Nine British Art, St James's, London during summer 2021.The Nine British Art, 9 Bury Street, St James's, LondonMy work reflects a deep and long-term interest with the geology of landscape and how it is shaped by the forces of nature. In this piece, a study of the Purbeck limestone at Anvil Point my working method involves building accretions of paint on poplar panel and sanding them down, in an attempt to emulate on the surface of my paintings, the effects of geological time on the terrain. Landscape painting is thriving in the 21st Century, reasons may include our imminent environmental collapse and an increasingly digitally mediated existence. I believe if I can paint pictures that encompass an understanding of different landscapes their underlying structures, contours and unique history, then it is time well spent.
Deborah Azzopardi Last Night..., 2021 Acrylic on Paper Signed on front and verso 15 x 10cm (5¾ x 3¾ in.) About Deborah Azzopardi has been producing her distinctive, playful images for over 35 years. She is determined to enjoy life to the fullest, to express herself creatively, whether or not her work is commercially viable. Essential to her success is painting things that make her happy. As a result, her images are inviting, colourful, and honest. Without any great philosophical mission, she is free to play with the drama and joy of the everyday. She breaks her subjects down into vibrant segments, into moments we have all experienced, and which she has captured forever in paint. Deborah's unique and feminine take on contemporary art is best described by the esteemed art critic Estelle Lovatt FRSA: "America has Lichtenstein, we have Azzopardi!" The respect she has gained in publishing reflects the honesty and innocence of her intentions. The viewer is allowed to ponder, without preconceptions, the moments she represents. Her paintings and Limited Editions celebrate the comedy of turbulent relationships, seductions, the fantasies and worries of us all. To possess a piece of her work is to embrace the qualities that make us human, to be captivated by her palette of colour. Education Life! Exhibitions The exhibition list is vast! Gallery Representation The Cynthia Corbett Gallery Also: Fine art publisher, Felix Rosenstiel`s Widow and Son. About the postcard artworks Title: 'Last Night....' It was a memorable and fun evening, full of emotion and possibly passion. This is a moment in the twilight hour.
Alex Jorgensen Untitled/ SP1.01, 2021 Oil on Paper Signed on verso 10 x 15cm (3¾ x 5¾ in.) (b. 1967, London, UK) Alex Jorgensen studied at Bath Academy of Art and Brighton Polytechnic, where he received the Annabel Birtles Award. His interest lies in quiet exploration of form, composition and construction of works that give weight to small things. He had a workshop near Bath in the '90s, where he made small oil paintings and curated several exhibitions of work by important British potters, before a move to London and starting a family with his late wife Amanda (nee Lewis). Recent years have seen a return to oil paint and a move to Buckinghamshire. "I am something of a contemplative and see my work closer, perhaps, to prayer or song than art. A distillation of things - using a few simple materials. It is slow work. Circular and constructive in nature. A lifelong interest". Exhibitions 1980s / 1990s: Artist '89, London Contemporary Arts Art of the Printmaker, Royal Festival Hall (Printmakers Council) Royal Society of Painter-Etchers, Bankside Gallery Contemporary British Prints, Scarborough Art Gallery ICAF, Olympia Victoria Art Gallery, Bath Miniprint International, Cadaques, Spain & Japan Oxford Gallery Godfrey & Watt, Harrogate Zella 9 Gallery, London Portobello Open, Tabernacle Gallery, London Printworks Gallery, Colchester Countryworks Gallery, Powys Blackheath Gallery, London Montpelier Gallery, Cheltenham Beatrice Royal Gallery, Eastleigh Sudeley Castle, Cheltenham Vena Bunker Gallery, Bristol West Ox Arts Gallery, Bampton A Return to Beauty, Roy Miles Gallery, London Mistral Gallery, London Bough & Lime Gallery, Bath Whitechapel Open 2000s: Lena Boyle Fine Art, London Bcontemporary Art, London Candy & Candy, London Andersson Hall Art, London Workplace Art, London Gallery S, Faervik, Norway Flair, Cambridge Contemporary Art Moreton Contemporary Art, London Woolff Gallery, London 2010 / 2020s: Lynne Strover Gallery, Cambridge Cambridge Art Fair St. Anne's Galleries, Lewes Abstract, Woolff Gallery, London Lena Boyle Fine Art, London London Art Fair Art on a Postcard, Unit, London Birdie Fortescue, Fakenham Brady Williams, London Cricket Fine Art, London Gallery Representation Cricket Fine Art
Alex Jorgensen Untitled/ SP1.02, 2021 Oil on Paper Signed on verso 10 x 15cm (3¾ x 5¾ in.) (b. 1967, London, UK) Alex Jorgensen studied at Bath Academy of Art and Brighton Polytechnic, where he received the Annabel Birtles Award. His interest lies in quiet exploration of form, composition and construction of works that give weight to small things. He had a workshop near Bath in the '90s, where he made small oil paintings and curated several exhibitions of work by important British potters, before a move to London and starting a family with his late wife Amanda (nee Lewis). Recent years have seen a return to oil paint and a move to Buckinghamshire. "I am something of a contemplative and see my work closer, perhaps, to prayer or song than art. A distillation of things - using a few simple materials. It is slow work. Circular and constructive in nature. A lifelong interest". Exhibitions 1980s / 1990s: Artist '89, London Contemporary Arts Art of the Printmaker, Royal Festival Hall (Printmakers Council) Royal Society of Painter-Etchers, Bankside Gallery Contemporary British Prints, Scarborough Art Gallery ICAF, Olympia Victoria Art Gallery, Bath Miniprint International, Cadaques, Spain & Japan Oxford Gallery Godfrey & Watt, Harrogate Zella 9 Gallery, London Portobello Open, Tabernacle Gallery, London Printworks Gallery, Colchester Countryworks Gallery, Powys Blackheath Gallery, London Montpelier Gallery, Cheltenham Beatrice Royal Gallery, Eastleigh Sudeley Castle, Cheltenham Vena Bunker Gallery, Bristol West Ox Arts Gallery, Bampton A Return to Beauty, Roy Miles Gallery, London Mistral Gallery, London Bough & Lime Gallery, Bath Whitechapel Open 2000s: Lena Boyle Fine Art, London Bcontemporary Art, London Candy & Candy, London Andersson Hall Art, London Workplace Art, London Gallery S, Faervik, Norway Flair, Cambridge Contemporary Art Moreton Contemporary Art, London Woolff Gallery, London 2010 / 2020s: Lynne Strover Gallery, Cambridge Cambridge Art Fair St. Anne's Galleries, Lewes Abstract, Woolff Gallery, London Lena Boyle Fine Art, London London Art Fair Art on a Postcard, Unit, London Birdie Fortescue, Fakenham Brady Williams, London Cricket Fine Art, London Gallery Representation Cricket Fine Art
Alex Jorgensen Untitled/ SP1.03, 2021 Oil on Paper Signed on verso 10 x 15cm (3¾ x 5¾ in.) (b. 1967, London, UK) Alex Jorgensen studied at Bath Academy of Art and Brighton Polytechnic, where he received the Annabel Birtles Award. His interest lies in quiet exploration of form, composition and construction of works that give weight to small things. He had a workshop near Bath in the '90s, where he made small oil paintings and curated several exhibitions of work by important British potters, before a move to London and starting a family with his late wife Amanda (nee Lewis). Recent years have seen a return to oil paint and a move to Buckinghamshire. "I am something of a contemplative and see my work closer, perhaps, to prayer or song than art. A distillation of things - using a few simple materials. It is slow work. Circular and constructive in nature. A lifelong interest". Exhibitions 1980s / 1990s: Artist '89, London Contemporary Arts Art of the Printmaker, Royal Festival Hall (Printmakers Council) Royal Society of Painter-Etchers, Bankside Gallery Contemporary British Prints, Scarborough Art Gallery ICAF, Olympia Victoria Art Gallery, Bath Miniprint International, Cadaques, Spain & Japan Oxford Gallery Godfrey & Watt, Harrogate Zella 9 Gallery, London Portobello Open, Tabernacle Gallery, London Printworks Gallery, Colchester Countryworks Gallery, Powys Blackheath Gallery, London Montpelier Gallery, Cheltenham Beatrice Royal Gallery, Eastleigh Sudeley Castle, Cheltenham Vena Bunker Gallery, Bristol West Ox Arts Gallery, Bampton A Return to Beauty, Roy Miles Gallery, London Mistral Gallery, London Bough & Lime Gallery, Bath Whitechapel Open 2000s: Lena Boyle Fine Art, London Bcontemporary Art, London Candy & Candy, London Andersson Hall Art, London Workplace Art, London Gallery S, Faervik, Norway Flair, Cambridge Contemporary Art Moreton Contemporary Art, London Woolff Gallery, London 2010 / 2020s: Lynne Strover Gallery, Cambridge Cambridge Art Fair St. Anne's Galleries, Lewes Abstract, Woolff Gallery, London Lena Boyle Fine Art, London London Art Fair Art on a Postcard, Unit, London Birdie Fortescue, Fakenham Brady Williams, London Cricket Fine Art, London Gallery Representation Cricket Fine Art
Pure Evil Eyes, 2021 Stencil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Pure Evil (British, b.1968) is the alias of Welsh-born Graffiti artist Charles Uzzell Edwards. The son of painter John Uzzell Edwards , the artist studied fashion and graphics in London, before relocating to California, where he was first exposed to Street Art while working as a designer, and was inspired, in particular, by the works of artists such as Twist and Reminisce, who were very active in the West Coast Graffiti Art scene of the 1990s. After a decade in California, he moved back to London, became involved in Banksy 's pop-up gallery concept known as "Santa's Ghetto," and began producing his now-famous images of fanged bunnies. Known today for his wide-ranging body of work, including his portraits of famous figures depicted with drips of dark paint under their eyes, he has had exhibitions around the world, at the Saatchi Gallery and Victoria and Albert Museum in London, at the Culture Gallery in Cape Town, South Africa, and at the Baker Gallery in Cologne, among others. Education School of hard knocks Gallery Representation Self-represented at Pure Evil Gallery About the postcard artworks From my Mind to yours
Pure Evil Tommy Cooper, 2021 Stencil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Pure Evil (British, b.1968) is the alias of Welsh-born Graffiti artist Charles Uzzell Edwards. The son of painter John Uzzell Edwards , the artist studied fashion and graphics in London, before relocating to California, where he was first exposed to Street Art while working as a designer, and was inspired, in particular, by the works of artists such as Twist and Reminisce, who were very active in the West Coast Graffiti Art scene of the 1990s. After a decade in California, he moved back to London, became involved in Banksy 's pop-up gallery concept known as "Santa's Ghetto," and began producing his now-famous images of fanged bunnies. Known today for his wide-ranging body of work, including his portraits of famous figures depicted with drips of dark paint under their eyes, he has had exhibitions around the world, at the Saatchi Gallery and Victoria and Albert Museum in London, at the Culture Gallery in Cape Town, South Africa, and at the Baker Gallery in Cologne, among others. Education School of hard knocks Gallery Representation Self-represented at Pure Evil Gallery About the postcard artworks From my Mind to yours
Pure evil Betty, 2021 Stencil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Pure Evil (British, b.1968) is the alias of Welsh-born Graffiti artist Charles Uzzell Edwards. The son of painter John Uzzell Edwards , the artist studied fashion and graphics in London, before relocating to California, where he was first exposed to Street Art while working as a designer, and was inspired, in particular, by the works of artists such as Twist and Reminisce, who were very active in the West Coast Graffiti Art scene of the 1990s. After a decade in California, he moved back to London, became involved in Banksy 's pop-up gallery concept known as "Santa's Ghetto," and began producing his now-famous images of fanged bunnies. Known today for his wide-ranging body of work, including his portraits of famous figures depicted with drips of dark paint under their eyes, he has had exhibitions around the world, at the Saatchi Gallery and Victoria and Albert Museum in London, at the Culture Gallery in Cape Town, South Africa, and at the Baker Gallery in Cologne, among others. Education School of hard knocks Gallery Representation Self-represented at Pure Evil Gallery About the postcard artworks From my Mind to yours
Pure Evil Gainsbourg, 2021 Stencil on Paper Signed on verso 10 x 15cm (3¾ x 5¾ in.) Pure Evil (British, b.1968) is the alias of Welsh-born Graffiti artist Charles Uzzell Edwards. The son of painter John Uzzell Edwards , the artist studied fashion and graphics in London, before relocating to California, where he was first exposed to Street Art while working as a designer, and was inspired, in particular, by the works of artists such as Twist and Reminisce, who were very active in the West Coast Graffiti Art scene of the 1990s. After a decade in California, he moved back to London, became involved in Banksy 's pop-up gallery concept known as "Santa's Ghetto," and began producing his now-famous images of fanged bunnies. Known today for his wide-ranging body of work, including his portraits of famous figures depicted with drips of dark paint under their eyes, he has had exhibitions around the world, at the Saatchi Gallery and Victoria and Albert Museum in London, at the Culture Gallery in Cape Town, South Africa, and at the Baker Gallery in Cologne, among others. Education School of hard knocks Gallery Representation Self-represented at Pure Evil Gallery About the postcard artworks From my Mind to yours
Marina Adams Art on a Postcard for Hep C, 2021 Ink on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Marina Adams is a painter based in NYC, Bridgehampton, NY and Parma Italy. She earned degrees from Tyler School of Art, Temple University, Philadelphia, PA and Columbia University, New York, NY. Upcoming solo exhibitions include Wild Is Its Own Way, Stephen Friedman Gallery, London; Deep Breathing, Von Bartha, S-Chanf, Switzerland; and Works on Paper (2016-2021), Stephen Friedman Gallery. Recent solo exhibitions include The Journal Gallery, New York, NY; FOCUS: Marina Adams, The Modern Art Museum, Fort Worth, TX; Anemones at Salon 94 Bowery, NYC, which was accompanied by her monograph; and The Secret of Greek Grammar at Larsen Warner Gallery in Stockholm, Sweden. Adams has collaborated with poets generating Actualities with Norma Cole (Litmus Press, 2015); Portrait and a Dream with a poem by Charles Bernstein; Taormina with Vincent Katz (Kayrock, 2012); The Tango with Leslie Scalapino (Granary Books, 2001); and Vue sur Mer with Christian Prigent (Gervais Jassaud, 2010). Education Tyler School of Art, Temple University, Philadelphia, PA Columbia University, New York, NY Exhibitions Marina Adams: Works on Paper (2016-2021) at Stephen Friedman Gallery, London, UK, June 4 - July 10, 2021 Marina Adams, Deep Breathing, Von Bartha, S-chanf, Switzerland, July 8 - August 28, 2021 Marina Adams, Wild Is Its Own Way, Stephen Friedman Gallery, London UK, September 17 - October 23, 2021 Current group shows are: Affinities for Abstraction: Artists on Eastern Long Island 1950 to 2020, Parrish Art Museum, Water Mill, NY, May 2 - July 18, 2021 Shapes, Alexander Berggruen, New York, NY, April 21 - May 27, 2021 She is a 2016 recipient of the John Simon Guggenheim Memorial Fellowship, and received the 2018 Award of Merit Medal for Painting from the American Academy of Arts and Letters. Gallery Representation Salon 94, New York and Stephen Friedman Gallery, London, UK.
Martin Greenland Cordoba of the Mind (Sunrise), 2021 Oil on Paper Signed on verso 10 x 15cm (3¾ x 5¾ in.) ABOUT Martin Greenland is an unintentional Cumbrian, this being the county in which his parents were resident in 1985, the year he graduated with first class honours in Fine Art (Painting) from Exeter College of Art. Only intending to stay a short while and always intending to return to Devon, he remained and has been a resident of Cumbria for 36 years. Greenland is also an unintentional landscape painter, never wanting to 'end up' in this unfashionable end of the art world but a hereditary family trait of championing the underdog has led him to focus diligently and faithfully on this most honest of subjects. The influences of his long adopted home county have also very gradually come to influence his work. Always a northerner (Yorkshire by birth) but never necessarily 'proud' of the fact, he now has come to love the north and love landscape, that thing which surrounds us all, wherever it is. There is never any grand plan in his work. Themes come and go but he always works on what feels right or is utmost in his mind at the time. This deliberate lack of planning comes from knowing that what is planned will inevitably change anyway. More frequently, a canvas will be taken and work will start without any idea of what is going to happen. This makes painting always a surprise. His work is always totally invented and this has become an increasingly important concept in his painting. As well as being able to be much more in the nature of a composer, to be able to add or subtract at will and delighting at being able to exercise and challenge his skill as a painter in creating illusions of 'new' landscapes, it has become increasingly obvious to Greenland that this challenge to invent is not about showing off skill but is a test to him of his knowledge of the workings of the world. This actual dedication to truth keeps his work away from fantasy, until the time comes to tease or to jolt the viewer. For this reason there has always been a surreal element here though today even this is being played down until it is almost unnoticeable. The need for scientific truth is almost one hundred percent important in his work. Greenland has exhibited his work in Cumbria and other parts on the U.K. regularly since the 1980's, currently by The Portland Gallery in London, The Scottish Gallery in Edinburgh, The John Davies Gallery in Moreton-in-Marsh and Castlegate House in Cockermouth. He was represented in the John Moores Exhibition of Contemporary Painting, held biennially in Liverpool, for four consecutive times from 1989 to 1995, and in 2006 (John Moores 24) he was awarded the £25,000 First Prize for his painting 'Before Vermeer's Clouds', which is now a part of the permanent collection there. His work is held in collections worldwide. EDUCATION B.A. Hons. (1st) Fine Art (Painting) Exeter College of Art, 1985 SELECTED EXHIBITION/AWARDS EXHIBITIONS LIST JOINT EXHIBITIONS 2019: Miniature, Scottish Gallery, Edinburgh Prized, New Ashgate Gallery, Farnham, Surrey Unpicturesque, Heaton Cooper Archive Gallery, Grasmere 2018: John Moores UK & China Prizewinners Show, Corke Art Gallery, Liverpool Tatha Gallery, Newport on Tay, Fife Scottish Gallery, Edinburgh New Ashgate Gallery, Farnham, Surrey 2017: Beaux Arts, Bath 2014: Beaux Arts, Bath 2013: Mixed exhibition, Corke Art Gallery, Liverpool Discerning Eye, Mall Galleries, London Dutch Italianates, Mall Galleries, London GBS Fine Art, London Art Fair, Islington, London 2011: I know a place, Flowers East, London Charter of the Forest, Usher Art Gallery and Collection, Lincoln 12, Art Gallery at Rheged Exhibition Space, Cumbria Fashback, 25 Years Anniversary Exhibition, Art Space Gallery, London 2010: Places of the Mind, Art Space Gallery, London Layers, John Moores Contemporary Painting Prize Show, Seongnam, South Korea 2006: FIRST PRIZE WINNER John Moores 24, Walker Art Gallery, Liverpool 2000: Discerning Eye, Mall Galleries, London. PRIZE WINNER 1998: (to present) The Lake Artists Society Summer Exhibition, Grasmere 1997: Discerning Eye, Mall Galleries, London. 1995 - 96: John Moores Liverpool Exhibition 19. Walker Art Gallery, Liverpool 1993 - 94: John Moores Liverpool Exhibition 18. Walker Art Gallery, Liverpool. 1991 - 92: John Moores, Liverpool Exhibition 17. Walker Art Gallery, Liverpool 1989 - 90: John Moores Liverpool Exhibition 16. Walker Art Gallery, Liverpool. 1987: Abbot Hall, Kendal 1985 - 86: Whitworth Young Contemporaries, Manchester. SOLO EXHIBITIONS 2017: New Work, Beaux Arts, Bath 2016: I am (not) Making This Up, Corke Gallery, Liverpool 2016: New Paintings, Castlegate House, Cockermouth, Cumbria 2015: New Paintings, Beaux Arts, Bath 2015: ONE TO ONE, The Blue Gallery, Brantwood, Coniston, Cumbria 2014: Second Novels, Tullie House Museum & Art Gallery, Carlisle 2012: Inventions and Re-inventions, Corke Art Gallery, Liverpool 2011: Uncharted Land, Art Space Gallery, London 2010: New Fiction, Cornerstone Gallery, Liverpool Hope University, Liverpool 2009: Arrangements of Memory, Art Space Gallery, Islington, London AWARDS 2014: North of England Regional Prize winner, Discerning Eye, Mall Galleries, London 2006: FIRST PRIZE WINNER of the John Moores, 24 - Walker Art Gallery, Liverpool. 2003: Commissioned to produce a painting of the newly re-built Paternoster Square, next to St. Paul's Cathedral, London, which was presented to The Lord Mayor of London, and which now hangs in The Mansion House. 2000 GCI Financial Purchase Prize at Discerning Eye, Mall Galleries, London. GALLERY REPRESENTATION PORTLAND GALLERY, London, SCOTTISH GALLERY, Edinburgh, CASTLEGATE HOUSE, Cockermouth, Cumbria STATEMENT ABOUT AOAP SUBMITTED ART The four submitted works are studies for paintings or possible paintings which incorporate partly remembered and recognisable landscape, in this case the Coniston mountain range in Cumbria, from the south, with completely invented landscape. This invention includes hints of buildings of the Islamic city of Cordoba, transplanted into this northern landscape. I deliberately avoided referring to any actual images of the city, past or present, but wanted to show how the city looks in my mind. Thus the paintings are all titled CORDOBA OF THE MIND, with a time of day to distinguish each one. The essential concept of the idea is of thinking about this once almost perfect, tolerant, progressive, beautiful city and just how the world might have become had the Moors not been driven from Spain by the Christians.
Martin Greenland Cordoba of the Mind (An Afternoon in Autumn), 2021 Oil on Paper Signed on verso 10 x 15cm (3¾ x 5¾ in.) ABOUT Martin Greenland is an unintentional Cumbrian, this being the county in which his parents were resident in 1985, the year he graduated with first class honours in Fine Art (Painting) from Exeter College of Art. Only intending to stay a short while and always intending to return to Devon, he remained and has been a resident of Cumbria for 36 years. Greenland is also an unintentional landscape painter, never wanting to 'end up' in this unfashionable end of the art world but a hereditary family trait of championing the underdog has led him to focus diligently and faithfully on this most honest of subjects. The influences of his long adopted home county have also very gradually come to influence his work. Always a northerner (Yorkshire by birth) but never necessarily 'proud' of the fact, he now has come to love the north and love landscape, that thing which surrounds us all, wherever it is. There is never any grand plan in his work. Themes come and go but he always works on what feels right or is utmost in his mind at the time. This deliberate lack of planning comes from knowing that what is planned will inevitably change anyway. More frequently, a canvas will be taken and work will start without any idea of what is going to happen. This makes painting always a surprise. His work is always totally invented and this has become an increasingly important concept in his painting. As well as being able to be much more in the nature of a composer, to be able to add or subtract at will and delighting at being able to exercise and challenge his skill as a painter in creating illusions of 'new' landscapes, it has become increasingly obvious to Greenland that this challenge to invent is not about showing off skill but is a test to him of his knowledge of the workings of the world. This actual dedication to truth keeps his work away from fantasy, until the time comes to tease or to jolt the viewer. For this reason there has always been a surreal element here though today even this is being played down until it is almost unnoticeable. The need for scientific truth is almost one hundred percent important in his work. Greenland has exhibited his work in Cumbria and other parts on the U.K. regularly since the 1980's, currently by The Portland Gallery in London, The Scottish Gallery in Edinburgh, The John Davies Gallery in Moreton-in-Marsh and Castlegate House in Cockermouth. He was represented in the John Moores Exhibition of Contemporary Painting, held biennially in Liverpool, for four consecutive times from 1989 to 1995, and in 2006 (John Moores 24) he was awarded the £25,000 First Prize for his painting 'Before Vermeer's Clouds', which is now a part of the permanent collection there. His work is held in collections worldwide. EDUCATION B.A. Hons. (1st) Fine Art (Painting) Exeter College of Art, 1985 SELECTED EXHIBITION/AWARDS EXHIBITIONS LIST JOINT EXHIBITIONS 2019: Miniature, Scottish Gallery, Edinburgh Prized, New Ashgate Gallery, Farnham, Surrey Unpicturesque, Heaton Cooper Archive Gallery, Grasmere 2018: John Moores UK & China Prizewinners Show, Corke Art Gallery, Liverpool Tatha Gallery, Newport on Tay, Fife Scottish Gallery, Edinburgh New Ashgate Gallery, Farnham, Surrey 2017: Beaux Arts, Bath 2014: Beaux Arts, Bath 2013: Mixed exhibition, Corke Art Gallery, Liverpool Discerning Eye, Mall Galleries, London Dutch Italianates, Mall Galleries, London GBS Fine Art, London Art Fair, Islington, London 2011: I know a place, Flowers East, London Charter of the Forest, Usher Art Gallery and Collection, Lincoln 12, Art Gallery at Rheged Exhibition Space, Cumbria Fashback, 25 Years Anniversary Exhibition, Art Space Gallery, London 2010: Places of the Mind, Art Space Gallery, London Layers, John Moores Contemporary Painting Prize Show, Seongnam, South Korea 2006: FIRST PRIZE WINNER John Moores 24, Walker Art Gallery, Liverpool 2000: Discerning Eye, Mall Galleries, London. PRIZE WINNER 1998: (to present) The Lake Artists Society Summer Exhibition, Grasmere 1997: Discerning Eye, Mall Galleries, London. 1995 - 96: John Moores Liverpool Exhibition 19. Walker Art Gallery, Liverpool 1993 - 94: John Moores Liverpool Exhibition 18. Walker Art Gallery, Liverpool. 1991 - 92: John Moores, Liverpool Exhibition 17. Walker Art Gallery, Liverpool 1989 - 90: John Moores Liverpool Exhibition 16. Walker Art Gallery, Liverpool. 1987: Abbot Hall, Kendal 1985 - 86: Whitworth Young Contemporaries, Manchester. SOLO EXHIBITIONS 2017: New Work, Beaux Arts, Bath 2016: I am (not) Making This Up, Corke Gallery, Liverpool 2016: New Paintings, Castlegate House, Cockermouth, Cumbria 2015: New Paintings, Beaux Arts, Bath 2015: ONE TO ONE, The Blue Gallery, Brantwood, Coniston, Cumbria 2014: Second Novels, Tullie House Museum & Art Gallery, Carlisle 2012: Inventions and Re-inventions, Corke Art Gallery, Liverpool 2011: Uncharted Land, Art Space Gallery, London 2010: New Fiction, Cornerstone Gallery, Liverpool Hope University, Liverpool 2009: Arrangements of Memory, Art Space Gallery, Islington, London AWARDS 2014: North of England Regional Prize winner, Discerning Eye, Mall Galleries, London 2006: FIRST PRIZE WINNER of the John Moores, 24 - Walker Art Gallery, Liverpool. 2003: Commissioned to produce a painting of the newly re-built Paternoster Square, next to St. Paul's Cathedral, London, which was presented to The Lord Mayor of London, and which now hangs in The Mansion House. 2000 GCI Financial Purchase Prize at Discerning Eye, Mall Galleries, London. GALLERY REPRESENTATION PORTLAND GALLERY, London, SCOTTISH GALLERY, Edinburgh, CASTLEGATE HOUSE, Cockermouth, Cumbria STATEMENT ABOUT AOAP SUBMITTED ART The four submitted works are studies for paintings or possible paintings which incorporate partly remembered and recognisable landscape, in this case the Coniston mountain range in Cumbria, from the south, with completely invented landscape. This invention includes hints of buildings of the Islamic city of Cordoba, transplanted into this northern landscape. I deliberately avoided referring to any actual images of the city, past or present, but wanted to show how the city looks in my mind. Thus the paintings are all titled CORDOBA OF THE MIND, with a time of day to distinguish each one. The essential concept of the idea is of thinking about this once almost perfect, tolerant, progressive, beautiful city and just how the world might have become had the Moors not been driven from Spain by the Christians.
Martin Greenland Cordoba of the Mind (Sunset), 2021 Oil on Paper Signed on verso 10 x 15cm (3¾ x 5¾ in.) ABOUT Martin Greenland is an unintentional Cumbrian, this being the county in which his parents were resident in 1985, the year he graduated with first class honours in Fine Art (Painting) from Exeter College of Art. Only intending to stay a short while and always intending to return to Devon, he remained and has been a resident of Cumbria for 36 years. Greenland is also an unintentional landscape painter, never wanting to 'end up' in this unfashionable end of the art world but a hereditary family trait of championing the underdog has led him to focus diligently and faithfully on this most honest of subjects. The influences of his long adopted home county have also very gradually come to influence his work. Always a northerner (Yorkshire by birth) but never necessarily 'proud' of the fact, he now has come to love the north and love landscape, that thing which surrounds us all, wherever it is. There is never any grand plan in his work. Themes come and go but he always works on what feels right or is utmost in his mind at the time. This deliberate lack of planning comes from knowing that what is planned will inevitably change anyway. More frequently, a canvas will be taken and work will start without any idea of what is going to happen. This makes painting always a surprise. His work is always totally invented and this has become an increasingly important concept in his painting. As well as being able to be much more in the nature of a composer, to be able to add or subtract at will and delighting at being able to exercise and challenge his skill as a painter in creating illusions of 'new' landscapes, it has become increasingly obvious to Greenland that this challenge to invent is not about showing off skill but is a test to him of his knowledge of the workings of the world. This actual dedication to truth keeps his work away from fantasy, until the time comes to tease or to jolt the viewer. For this reason there has always been a surreal element here though today even this is being played down until it is almost unnoticeable. The need for scientific truth is almost one hundred percent important in his work. Greenland has exhibited his work in Cumbria and other parts on the U.K. regularly since the 1980's, currently by The Portland Gallery in London, The Scottish Gallery in Edinburgh, The John Davies Gallery in Moreton-in-Marsh and Castlegate House in Cockermouth. He was represented in the John Moores Exhibition of Contemporary Painting, held biennially in Liverpool, for four consecutive times from 1989 to 1995, and in 2006 (John Moores 24) he was awarded the £25,000 First Prize for his painting 'Before Vermeer's Clouds', which is now a part of the permanent collection there. His work is held in collections worldwide. EDUCATION B.A. Hons. (1st) Fine Art (Painting) Exeter College of Art, 1985 SELECTED EXHIBITION/AWARDS EXHIBITIONS LIST JOINT EXHIBITIONS 2019: Miniature, Scottish Gallery, Edinburgh Prized, New Ashgate Gallery, Farnham, Surrey Unpicturesque, Heaton Cooper Archive Gallery, Grasmere 2018: John Moores UK & China Prizewinners Show, Corke Art Gallery, Liverpool Tatha Gallery, Newport on Tay, Fife Scottish Gallery, Edinburgh New Ashgate Gallery, Farnham, Surrey 2017: Beaux Arts, Bath 2014: Beaux Arts, Bath 2013: Mixed exhibition, Corke Art Gallery, Liverpool Discerning Eye, Mall Galleries, London Dutch Italianates, Mall Galleries, London GBS Fine Art, London Art Fair, Islington, London 2011: I know a place, Flowers East, London Charter of the Forest, Usher Art Gallery and Collection, Lincoln 12, Art Gallery at Rheged Exhibition Space, Cumbria Fashback, 25 Years Anniversary Exhibition, Art Space Gallery, London 2010: Places of the Mind, Art Space Gallery, London Layers, John Moores Contemporary Painting Prize Show, Seongnam, South Korea 2006: FIRST PRIZE WINNER John Moores 24, Walker Art Gallery, Liverpool 2000: Discerning Eye, Mall Galleries, London. PRIZE WINNER 1998: (to present) The Lake Artists Society Summer Exhibition, Grasmere 1997: Discerning Eye, Mall Galleries, London. 1995 - 96: John Moores Liverpool Exhibition 19. Walker Art Gallery, Liverpool 1993 - 94: John Moores Liverpool Exhibition 18. Walker Art Gallery, Liverpool. 1991 - 92: John Moores, Liverpool Exhibition 17. Walker Art Gallery, Liverpool 1989 - 90: John Moores Liverpool Exhibition 16. Walker Art Gallery, Liverpool. 1987: Abbot Hall, Kendal 1985 - 86: Whitworth Young Contemporaries, Manchester. SOLO EXHIBITIONS 2017: New Work, Beaux Arts, Bath 2016: I am (not) Making This Up, Corke Gallery, Liverpool 2016: New Paintings, Castlegate House, Cockermouth, Cumbria 2015: New Paintings, Beaux Arts, Bath 2015: ONE TO ONE, The Blue Gallery, Brantwood, Coniston, Cumbria 2014: Second Novels, Tullie House Museum & Art Gallery, Carlisle 2012: Inventions and Re-inventions, Corke Art Gallery, Liverpool 2011: Uncharted Land, Art Space Gallery, London 2010: New Fiction, Cornerstone Gallery, Liverpool Hope University, Liverpool 2009: Arrangements of Memory, Art Space Gallery, Islington, London AWARDS 2014: North of England Regional Prize winner, Discerning Eye, Mall Galleries, London 2006: FIRST PRIZE WINNER of the John Moores, 24 - Walker Art Gallery, Liverpool. 2003: Commissioned to produce a painting of the newly re-built Paternoster Square, next to St. Paul's Cathedral, London, which was presented to The Lord Mayor of London, and which now hangs in The Mansion House. 2000 GCI Financial Purchase Prize at Discerning Eye, Mall Galleries, London. GALLERY REPRESENTATION PORTLAND GALLERY, London, SCOTTISH GALLERY, Edinburgh, CASTLEGATE HOUSE, Cockermouth, Cumbria STATEMENT ABOUT AOAP SUBMITTED ART The four submitted works are studies for paintings or possible paintings which incorporate partly remembered and recognisable landscape, in this case the Coniston mountain range in Cumbria, from the south, with completely invented landscape. This invention includes hints of buildings of the Islamic city of Cordoba, transplanted into this northern landscape. I deliberately avoided referring to any actual images of the city, past or present, but wanted to show how the city looks in my mind. Thus the paintings are all titled CORDOBA OF THE MIND, with a time of day to distinguish each one. The essential concept of the idea is of thinking about this once almost perfect, tolerant, progressive, beautiful city and just how the world might have become had the Moors not been driven from Spain by the Christians.
Martin Greenland Cordoba of the Mind (Moonlight), 2021 Oil on Paper Signed on verso 10 x 15cm (3¾ x 5¾ in.) ABOUT Martin Greenland is an unintentional Cumbrian, this being the county in which his parents were resident in 1985, the year he graduated with first class honours in Fine Art (Painting) from Exeter College of Art. Only intending to stay a short while and always intending to return to Devon, he remained and has been a resident of Cumbria for 36 years. Greenland is also an unintentional landscape painter, never wanting to 'end up' in this unfashionable end of the art world but a hereditary family trait of championing the underdog has led him to focus diligently and faithfully on this most honest of subjects. The influences of his long adopted home county have also very gradually come to influence his work. Always a northerner (Yorkshire by birth) but never necessarily 'proud' of the fact, he now has come to love the north and love landscape, that thing which surrounds us all, wherever it is. There is never any grand plan in his work. Themes come and go but he always works on what feels right or is utmost in his mind at the time. This deliberate lack of planning comes from knowing that what is planned will inevitably change anyway. More frequently, a canvas will be taken and work will start without any idea of what is going to happen. This makes painting always a surprise. His work is always totally invented and this has become an increasingly important concept in his painting. As well as being able to be much more in the nature of a composer, to be able to add or subtract at will and delighting at being able to exercise and challenge his skill as a painter in creating illusions of 'new' landscapes, it has become increasingly obvious to Greenland that this challenge to invent is not about showing off skill but is a test to him of his knowledge of the workings of the world. This actual dedication to truth keeps his work away from fantasy, until the time comes to tease or to jolt the viewer. For this reason there has always been a surreal element here though today even this is being played down until it is almost unnoticeable. The need for scientific truth is almost one hundred percent important in his work. Greenland has exhibited his work in Cumbria and other parts on the U.K. regularly since the 1980's, currently by The Portland Gallery in London, The Scottish Gallery in Edinburgh, The John Davies Gallery in Moreton-in-Marsh and Castlegate House in Cockermouth. He was represented in the John Moores Exhibition of Contemporary Painting, held biennially in Liverpool, for four consecutive times from 1989 to 1995, and in 2006 (John Moores 24) he was awarded the £25,000 First Prize for his painting 'Before Vermeer's Clouds', which is now a part of the permanent collection there. His work is held in collections worldwide. EDUCATION B.A. Hons. (1st) Fine Art (Painting) Exeter College of Art, 1985 SELECTED EXHIBITION/AWARDS EXHIBITIONS LIST JOINT EXHIBITIONS 2019: Miniature, Scottish Gallery, Edinburgh Prized, New Ashgate Gallery, Farnham, Surrey Unpicturesque, Heaton Cooper Archive Gallery, Grasmere 2018: John Moores UK & China Prizewinners Show, Corke Art Gallery, Liverpool Tatha Gallery, Newport on Tay, Fife Scottish Gallery, Edinburgh New Ashgate Gallery, Farnham, Surrey 2017: Beaux Arts, Bath 2014: Beaux Arts, Bath 2013: Mixed exhibition, Corke Art Gallery, Liverpool Discerning Eye, Mall Galleries, London Dutch Italianates, Mall Galleries, London GBS Fine Art, London Art Fair, Islington, London 2011: I know a place, Flowers East, London Charter of the Forest, Usher Art Gallery and Collection, Lincoln 12, Art Gallery at Rheged Exhibition Space, Cumbria Fashback, 25 Years Anniversary Exhibition, Art Space Gallery, London 2010: Places of the Mind, Art Space Gallery, London Layers, John Moores Contemporary Painting Prize Show, Seongnam, South Korea 2006: FIRST PRIZE WINNER John Moores 24, Walker Art Gallery, Liverpool 2000: Discerning Eye, Mall Galleries, London. PRIZE WINNER 1998: (to present) The Lake Artists Society Summer Exhibition, Grasmere 1997: Discerning Eye, Mall Galleries, London. 1995 - 96: John Moores Liverpool Exhibition 19. Walker Art Gallery, Liverpool 1993 - 94: John Moores Liverpool Exhibition 18. Walker Art Gallery, Liverpool. 1991 - 92: John Moores, Liverpool Exhibition 17. Walker Art Gallery, Liverpool 1989 - 90: John Moores Liverpool Exhibition 16. Walker Art Gallery, Liverpool. 1987: Abbot Hall, Kendal 1985 - 86: Whitworth Young Contemporaries, Manchester. SOLO EXHIBITIONS 2017: New Work, Beaux Arts, Bath 2016: I am (not) Making This Up, Corke Gallery, Liverpool 2016: New Paintings, Castlegate House, Cockermouth, Cumbria 2015: New Paintings, Beaux Arts, Bath 2015: ONE TO ONE, The Blue Gallery, Brantwood, Coniston, Cumbria 2014: Second Novels, Tullie House Museum & Art Gallery, Carlisle 2012: Inventions and Re-inventions, Corke Art Gallery, Liverpool 2011: Uncharted Land, Art Space Gallery, London 2010: New Fiction, Cornerstone Gallery, Liverpool Hope University, Liverpool 2009: Arrangements of Memory, Art Space Gallery, Islington, London AWARDS 2014: North of England Regional Prize winner, Discerning Eye, Mall Galleries, London 2006: FIRST PRIZE WINNER of the John Moores, 24 - Walker Art Gallery, Liverpool. 2003: Commissioned to produce a painting of the newly re-built Paternoster Square, next to St. Paul's Cathedral, London, which was presented to The Lord Mayor of London, and which now hangs in The Mansion House. 2000 GCI Financial Purchase Prize at Discerning Eye, Mall Galleries, London. GALLERY REPRESENTATION PORTLAND GALLERY, London, SCOTTISH GALLERY, Edinburgh, CASTLEGATE HOUSE, Cockermouth, Cumbria STATEMENT ABOUT AOAP SUBMITTED ART The four submitted works are studies for paintings or possible paintings which incorporate partly remembered and recognisable landscape, in this case the Coniston mountain range in Cumbria, from the south, with completely invented landscape. This invention includes hints of buildings of the Islamic city of Cordoba, transplanted into this northern landscape. I deliberately avoided referring to any actual images of the city, past or present, but wanted to show how the city looks in my mind. Thus the paintings are all titled CORDOBA OF THE MIND, with a time of day to distinguish each one. The essential concept of the idea is of thinking about this once almost perfect, tolerant, progressive, beautiful city and just how the world might have become had the Moors not been driven from Spain by the Christians.
Alex Williams Elderly Shepherd, 2021 Coloured Pencil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Born in 1942, Alex Williams trained at St Martin's School of Art and The University of Wales. He became an art teacher, later Head of Art, at schools in Hertfordshire before moving to Hay-on-Wye to set up his design and print studio. Moving to the Welsh Border country in the late 1970's was catalytic in his development as a painter of farm landscapes, animals, buildings and agriculture. His work was widely exhibited in the UK and Alex then moved to Los Angeles for three years, exhibiting there and undertaking commissions for Tom Jones and Jackson Browne as well as for magazines and companies. His images have been widely used in Tableware and Fine Bone China, Limited Edition Prints and Greetings Cards. His versatility also extends to numerous TV appearances as artist and art teacher, in Australia as well as in the UK. He has exhibited widely in both individual and group shows and his work is in many public and private collections; The National Museum of Wales has purchased a number of his landscapes of the Welsh Borders and he has collaborated very successful with the National Trust on a range of products.
Alex Williams Shepherd, 2021 Pen and Ink on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Born in 1942, Alex Williams trained at St Martin's School of Art and The University of Wales. He became an art teacher, later Head of Art, at schools in Hertfordshire before moving to Hay-on-Wye to set up his design and print studio. Moving to the Welsh Border country in the late 1970's was catalytic in his development as a painter of farm landscapes, animals, buildings and agriculture. His work was widely exhibited in the UK and Alex then moved to Los Angeles for three years, exhibiting there and undertaking commissions for Tom Jones and Jackson Browne as well as for magazines and companies. His images have been widely used in Tableware and Fine Bone China, Limited Edition Prints and Greetings Cards. His versatility also extends to numerous TV appearances as artist and art teacher, in Australia as well as in the UK. He has exhibited widely in both individual and group shows and his work is in many public and private collections; The National Museum of Wales has purchased a number of his landscapes of the Welsh Borders and he has collaborated very successful with the National Trust on a range of products.
Michael Scoggins Love, 2021 Coloured Pencil, Graphite Signed on front and verso 10 x 15cm (3¾ x 5¾ in.) Michael Scoggins is an American artist best known for his works on notebook paper which feign the attitude of a petulant adolescent doodling. Similarly to the works of David Shrigley , the artist utilizes cynicism, irony, and novice drawing. Scoggins came to this style by revisiting his own childhood sketchbooks and realizing how disarmingly truthful they were in comparison to the paintings he had been making as an adult. His alter-ego, a personality reminiscent of the Dadaist tradition, Michael S., presents the artist as an uninhibited child. "I want to present my work with sincerity, and it is truly a reflection of who I am," he mused. "If that means showing vulnerability or rage, then so be it. I'm interested in talking about human nature and realism." Many of his works are either on or consist of crumpled pieces of paper, and are sometimes presented as sculpture. Born in 1973 in Washington D.C., he attended the Skowhegan School of Painting and Sculpture and Painting in 2003 and received his MFA from the Savannah College of Art and Design in 2006. Today, his works are in the collections of The Museum of Modern Art in New York, the Hammer Museum in Los Angeles, CA, and the Telfair Museum of Art in Savannah, GA, among others. Scoggins lives and works in Brooklyn, NY.
Michael Scoggins Black Lives Matter 1, 2021 Marker on Postcard Signed on front and verso 10 x 15cm (3¾ x 5¾ in.) Michael Scoggins is an American artist best known for his works on notebook paper which feign the attitude of a petulant adolescent doodling. Similarly to the works of David Shrigley , the artist utilizes cynicism, irony, and novice drawing. Scoggins came to this style by revisiting his own childhood sketchbooks and realizing how disarmingly truthful they were in comparison to the paintings he had been making as an adult. His alter-ego, a personality reminiscent of the Dadaist tradition, Michael S., presents the artist as an uninhibited child. "I want to present my work with sincerity, and it is truly a reflection of who I am," he mused. "If that means showing vulnerability or rage, then so be it. I'm interested in talking about human nature and realism." Many of his works are either on or consist of crumpled pieces of paper, and are sometimes presented as sculpture. Born in 1973 in Washington D.C., he attended the Skowhegan School of Painting and Sculpture and Painting in 2003 and received his MFA from the Savannah College of Art and Design in 2006. Today, his works are in the collections of The Museum of Modern Art in New York, the Hammer Museum in Los Angeles, CA, and the Telfair Museum of Art in Savannah, GA, among others. Scoggins lives and works in Brooklyn, NY.
Alex Williams Young Shepherd, 2021 Pen and Ink on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Born in 1942, Alex Williams trained at St Martin's School of Art and The University of Wales. He became an art teacher, later Head of Art, at schools in Hertfordshire before moving to Hay-on-Wye to set up his design and print studio. Moving to the Welsh Border country in the late 1970's was catalytic in his development as a painter of farm landscapes, animals, buildings and agriculture. His work was widely exhibited in the UK and Alex then moved to Los Angeles for three years, exhibiting there and undertaking commissions for Tom Jones and Jackson Browne as well as for magazines and companies. His images have been widely used in Tableware and Fine Bone China, Limited Edition Prints and Greetings Cards. His versatility also extends to numerous TV appearances as artist and art teacher, in Australia as well as in the UK. He has exhibited widely in both individual and group shows and his work is in many public and private collections; The National Museum of Wales has purchased a number of his landscapes of the Welsh Borders and he has collaborated very successful with the National Trust on a range of products.
James Owens Empty Stage, 2021 Watercolour on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) James Owens' (B. 1995) work depicts imagined folk-like scenes, largely inspired by his upbringing spent between the countryside and a Yorkshire fisherman's village. His work gathers past, present and imagined scenes to form new narratives, blurring the boundaries between memory and contemplation. The works offer moments of liminality which draw from external visual references such as 1920/30's Disney animation. Nature and its mysteries also come to play, revealed through flowers which sway sinisterly and knowing eyes which seem to have it all sussed out. Meanwhile, curling blades of grass peer curiously across the canvas, weighed down by water droplets, drooping as though upset. Though inherently figurative, it isn't hard to feel like nature has the upper hand in Owens' works. 2016 - 2018
 BA Illustration
Camberwell College of Arts (UAL) 2015 - 2016 
BA Illustration and Visual Media
London College of Communication (UAL) 2014 - 2015 
Foundation Diploma in Art and Design London College of Communication (UAL) 2021 Bloodroot, Arusha Gallery, Edinburgh Spring Fling, All Mouth Gallery, London What I See I Will Never Tell, Wilder Gallery, London Safe As Milk, Arusha Gallery, Edinburgh '07', PM/AM Gallery, online exhibition When Shit Hits the Fan Again, Guts Gallery, virtual exhibition via Instagram 2020 Curated for Christmas, All Mouth & Bowes Parris Gallery, London Delphian Open Call 2020, virtual exhibition Cellar Door, APT Gallery, London [postponed] Tender Kith, 155a Gallery, London Hung Up, All Mouth Gallery, The Hackney Tub, London In Response, The Viewing Room Gallery, Blue Shop Cottage, London Anti Freeze, The Viewing Room Gallery, virtual exhibition Curated for Covid, online exhibition When Shit Hits the Fan, Guts Gallery, virtual exhibition via Instagram 2019 Winter Fair, 155a Gallery, London Pop-up Exhibition, Partnership Editions, Islington Square, London 2018 Evening Standard Art Prize (shortlisted), National Gallery, London Modernist Miniaturists, Benk + Bo, London Affordable Art Fair (Battersea) recent graduates show, London Oh, What a Tangled Web we Weave, Take Courage Gallery, London About the Postcards These works are imagined scenes inspired by films, life and memory. Watercolour on paper works act as a preparatory method used to conjure up ideas for larger works on canvas. So these become the most raw form of a new work; experimenting with dry brushstrokes and pools of colour to create a semi abstracted flow to the painting.
James Owens Dawn by the Riverside, 2021 Watercolour on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) James Owens' (B. 1995) work depicts imagined folk-like scenes, largely inspired by his upbringing spent between the countryside and a Yorkshire fisherman's village. His work gathers past, present and imagined scenes to form new narratives, blurring the boundaries between memory and contemplation. The works offer moments of liminality which draw from external visual references such as 1920/30's Disney animation. Nature and its mysteries also come to play, revealed through flowers which sway sinisterly and knowing eyes which seem to have it all sussed out. Meanwhile, curling blades of grass peer curiously across the canvas, weighed down by water droplets, drooping as though upset. Though inherently figurative, it isn't hard to feel like nature has the upper hand in Owens' works. 2016 - 2018
 BA Illustration
Camberwell College of Arts (UAL) 2015 - 2016 
BA Illustration and Visual Media
London College of Communication (UAL) 2014 - 2015 
Foundation Diploma in Art and Design London College of Communication (UAL) 2021 Bloodroot, Arusha Gallery, Edinburgh Spring Fling, All Mouth Gallery, London What I See I Will Never Tell, Wilder Gallery, London Safe As Milk, Arusha Gallery, Edinburgh '07', PM/AM Gallery, online exhibition When Shit Hits the Fan Again, Guts Gallery, virtual exhibition via Instagram 2020 Curated for Christmas, All Mouth & Bowes Parris Gallery, London Delphian Open Call 2020, virtual exhibition Cellar Door, APT Gallery, London [postponed] Tender Kith, 155a Gallery, London Hung Up, All Mouth Gallery, The Hackney Tub, London In Response, The Viewing Room Gallery, Blue Shop Cottage, London Anti Freeze, The Viewing Room Gallery, virtual exhibition Curated for Covid, online exhibition When Shit Hits the Fan, Guts Gallery, virtual exhibition via Instagram 2019 Winter Fair, 155a Gallery, London Pop-up Exhibition, Partnership Editions, Islington Square, London 2018 Evening Standard Art Prize (shortlisted), National Gallery, London Modernist Miniaturists, Benk + Bo, London Affordable Art Fair (Battersea) recent graduates show, London Oh, What a Tangled Web we Weave, Take Courage Gallery, London About the Postcards These works are imagined scenes inspired by films, life and memory. Watercolour on paper works act as a preparatory method used to conjure up ideas for larger works on canvas. So these become the most raw form of a new work; experimenting with dry brushstrokes and pools of colour to create a semi abstracted flow to the painting.
James Owens Walk in Peckham Rye Park, 2021 Watercolour on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) James Owens' (B. 1995) work depicts imagined folk-like scenes, largely inspired by his upbringing spent between the countryside and a Yorkshire fisherman's village. His work gathers past, present and imagined scenes to form new narratives, blurring the boundaries between memory and contemplation. The works offer moments of liminality which draw from external visual references such as 1920/30's Disney animation. Nature and its mysteries also come to play, revealed through flowers which sway sinisterly and knowing eyes which seem to have it all sussed out. Meanwhile, curling blades of grass peer curiously across the canvas, weighed down by water droplets, drooping as though upset. Though inherently figurative, it isn't hard to feel like nature has the upper hand in Owens' works. 2016 - 2018
 BA Illustration
Camberwell College of Arts (UAL) 2015 - 2016 
BA Illustration and Visual Media
London College of Communication (UAL) 2014 - 2015 
Foundation Diploma in Art and Design London College of Communication (UAL) 2021 Bloodroot, Arusha Gallery, Edinburgh Spring Fling, All Mouth Gallery, London What I See I Will Never Tell, Wilder Gallery, London Safe As Milk, Arusha Gallery, Edinburgh '07', PM/AM Gallery, online exhibition When Shit Hits the Fan Again, Guts Gallery, virtual exhibition via Instagram 2020 Curated for Christmas, All Mouth & Bowes Parris Gallery, London Delphian Open Call 2020, virtual exhibition Cellar Door, APT Gallery, London [postponed] Tender Kith, 155a Gallery, London Hung Up, All Mouth Gallery, The Hackney Tub, London In Response, The Viewing Room Gallery, Blue Shop Cottage, London Anti Freeze, The Viewing Room Gallery, virtual exhibition Curated for Covid, online exhibition When Shit Hits the Fan, Guts Gallery, virtual exhibition via Instagram 2019 Winter Fair, 155a Gallery, London Pop-up Exhibition, Partnership Editions, Islington Square, London 2018 Evening Standard Art Prize (shortlisted), National Gallery, London Modernist Miniaturists, Benk + Bo, London Affordable Art Fair (Battersea) recent graduates show, London Oh, What a Tangled Web we Weave, Take Courage Gallery, London About the Postcards These works are imagined scenes inspired by films, life and memory. Watercolour on paper works act as a preparatory method used to conjure up ideas for larger works on canvas. So these become the most raw form of a new work; experimenting with dry brushstrokes and pools of colour to create a semi abstracted flow to the painting.
James Owens Holding onto her love in the soil, 2021 Watercolour on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) James Owens' (B. 1995) work depicts imagined folk-like scenes, largely inspired by his upbringing spent between the countryside and a Yorkshire fisherman's village. His work gathers past, present and imagined scenes to form new narratives, blurring the boundaries between memory and contemplation. The works offer moments of liminality which draw from external visual references such as 1920/30's Disney animation. Nature and its mysteries also come to play, revealed through flowers which sway sinisterly and knowing eyes which seem to have it all sussed out. Meanwhile, curling blades of grass peer curiously across the canvas, weighed down by water droplets, drooping as though upset. Though inherently figurative, it isn't hard to feel like nature has the upper hand in Owens' works. 2016 - 2018
 BA Illustration
Camberwell College of Arts (UAL) 2015 - 2016 
BA Illustration and Visual Media
London College of Communication (UAL) 2014 - 2015 
Foundation Diploma in Art and Design London College of Communication (UAL) 2021 Bloodroot, Arusha Gallery, Edinburgh Spring Fling, All Mouth Gallery, London What I See I Will Never Tell, Wilder Gallery, London Safe As Milk, Arusha Gallery, Edinburgh '07', PM/AM Gallery, online exhibition When Shit Hits the Fan Again, Guts Gallery, virtual exhibition via Instagram 2020 Curated for Christmas, All Mouth & Bowes Parris Gallery, London Delphian Open Call 2020, virtual exhibition Cellar Door, APT Gallery, London [postponed] Tender Kith, 155a Gallery, London Hung Up, All Mouth Gallery, The Hackney Tub, London In Response, The Viewing Room Gallery, Blue Shop Cottage, London Anti Freeze, The Viewing Room Gallery, virtual exhibition Curated for Covid, online exhibition When Shit Hits the Fan, Guts Gallery, virtual exhibition via Instagram 2019 Winter Fair, 155a Gallery, London Pop-up Exhibition, Partnership Editions, Islington Square, London 2018 Evening Standard Art Prize (shortlisted), National Gallery, London Modernist Miniaturists, Benk + Bo, London Affordable Art Fair (Battersea) recent graduates show, London Oh, What a Tangled Web we Weave, Take Courage Gallery, London About the Postcards These works are imagined scenes inspired by films, life and memory. Watercolour on paper works act as a preparatory method used to conjure up ideas for larger works on canvas. So these become the most raw form of a new work; experimenting with dry brushstrokes and pools of colour to create a semi abstracted flow to the painting.
Jonathan S. Hooper Pentire Head and Newland Island (North Cornwall), 2021 Ink on Paper Signed on verso 10 x 15cm (3¾ x 5¾ in.) Cornish painter and sculptor Bodmin Grammer School Falmouth School of Art (foundation) Nottingham University BSc structural engineering Imperial College MSc DICSe The Nine British Art, 9 Bury Street, St James's, LONDON About the Postcards These simple line drawings are representative of the preliminary, underlying drawing used in my painting practice. The single continuous line alludes to the process of walking or forging pathways and the interconnectedness of the features of landscape.
Henrietta Armstrong SEER, 2021 Collage, Masking Tape and Spray Paint Signed on verso 15 x 10cm (5¾ x 3¾ in.) Henrietta Armstrong is a multimedia artist and curator based in London, specialising in sculpture, installation and public art. She looks at man-made objects and structures from everyday technologies that are often obsolete or defunct, and the symbolism or meaning that we imbue them with. Her recent work has been looking at the brutalist forms of sea defences, sea erosion and the global threat of rising sea levels. Co-founder of Come Quick Disaster - a platform for arts providing help & information for artists as well as curating exhibitions and running regular events. Studied BA Fine Art (Hons) at Sir John Cass School of Art, London, graduating in 2003. Henrietta has recently been selected as a finalist for the National Sculpture Prize 2021, working on a sculpture to be installed at the Broomhill Estate Sculpture Park in Devon later this year. She was awarded as a runner up for the Soho House Art Prize 2020 and is currently working on a public sculpture commission for the village of Tytherington commissioned by Cotswold Homes & South Gloucestershire Council. Exhibitions include: Soho Editions: Art Prize 2020 where she created a print edition for Soho Home with Jealous Gallery - 2021, Jealous Gallery Rooftop Mural - 2021, Throwing Bones II at Window 135 - 2020, The Pendle Hill Stones, a permanent public sculpture installed on Pendle Hill in Lancashire - 2018, Contemporary Perspectives in Printmaking at Mall Galleries, London - 2017. About the Postcards The SEERs were created by Henrietta for her 'Temple of M E D U S A' installation around the time of the #metoo movement. Demonised for her beauty by those that desired her, punished for being a victim of rape, then vilified as a monster, never to be looked at again, Medusa's story scarily echoes the misogynistic realities of today. She was mortal and not a goddess so creating a temple for Medusa felt like a reprieve. The SEERS are Medusa's victims that she has turned to stone. They now watch over and protect her with their sightless eyes, her servants for eternity. Seers in Ancient Greece interpreted signs sent by the gods through bird signs, animal entrails and other methods of divination. However only direct yes & no questions could be answered.
Henrietta Armstrong SEER III, 2021 Collage, Spray Paint and Holographic Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Henrietta Armstrong is a multimedia artist and curator based in London, specialising in sculpture, installation and public art. She looks at man-made objects and structures from everyday technologies that are often obsolete or defunct, and the symbolism or meaning that we imbue them with. Her recent work has been looking at the brutalist forms of sea defences, sea erosion and the global threat of rising sea levels. Co-founder of Come Quick Disaster - a platform for arts providing help & information for artists as well as curating exhibitions and running regular events. Studied BA Fine Art (Hons) at Sir John Cass School of Art, London, graduating in 2003. Henrietta has recently been selected as a finalist for the National Sculpture Prize 2021, working on a sculpture to be installed at the Broomhill Estate Sculpture Park in Devon later this year. She was awarded as a runner up for the Soho House Art Prize 2020 and is currently working on a public sculpture commission for the village of Tytherington commissioned by Cotswold Homes & South Gloucestershire Council. Exhibitions include: Soho Editions: Art Prize 2020 where she created a print edition for Soho Home with Jealous Gallery - 2021, Jealous Gallery Rooftop Mural - 2021, Throwing Bones II at Window 135 - 2020, The Pendle Hill Stones, a permanent public sculpture installed on Pendle Hill in Lancashire - 2018, Contemporary Perspectives in Printmaking at Mall Galleries, London - 2017. About the Postcards The SEERs were created by Henrietta for her 'Temple of M E D U S A' installation around the time of the #metoo movement. Demonised for her beauty by those that desired her, punished for being a victim of rape, then vilified as a monster, never to be looked at again, Medusa's story scarily echoes the misogynistic realities of today. She was mortal and not a goddess so creating a temple for Medusa felt like a reprieve. The SEERS are Medusa's victims that she has turned to stone. They now watch over and protect her with their sightless eyes, her servants for eternity. Seers in Ancient Greece interpreted signs sent by the gods through bird signs, animal entrails and other methods of divination. However only direct yes & no questions could be answered.
Henrietta Armstrong SEER IV, 2021 Collage, Masking Tape and Spray Paint Signed on verso 15 x 10cm (5¾ x 3¾ in.) Henrietta Armstrong is a multimedia artist and curator based in London, specialising in sculpture, installation and public art. She looks at man-made objects and structures from everyday technologies that are often obsolete or defunct, and the symbolism or meaning that we imbue them with. Her recent work has been looking at the brutalist forms of sea defences, sea erosion and the global threat of rising sea levels. Co-founder of Come Quick Disaster - a platform for arts providing help & information for artists as well as curating exhibitions and running regular events. Studied BA Fine Art (Hons) at Sir John Cass School of Art, London, graduating in 2003. Henrietta has recently been selected as a finalist for the National Sculpture Prize 2021, working on a sculpture to be installed at the Broomhill Estate Sculpture Park in Devon later this year. She was awarded as a runner up for the Soho House Art Prize 2020 and is currently working on a public sculpture commission for the village of Tytherington commissioned by Cotswold Homes & South Gloucestershire Council. Exhibitions include: Soho Editions: Art Prize 2020 where she created a print edition for Soho Home with Jealous Gallery - 2021, Jealous Gallery Rooftop Mural - 2021, Throwing Bones II at Window 135 - 2020, The Pendle Hill Stones, a permanent public sculpture installed on Pendle Hill in Lancashire - 2018, Contemporary Perspectives in Printmaking at Mall Galleries, London - 2017. About the Postcards The SEERs were created by Henrietta for her 'Temple of M E D U S A' installation around the time of the #metoo movement. Demonised for her beauty by those that desired her, punished for being a victim of rape, then vilified as a monster, never to be looked at again, Medusa's story scarily echoes the misogynistic realities of today. She was mortal and not a goddess so creating a temple for Medusa felt like a reprieve. The SEERS are Medusa's victims that she has turned to stone. They now watch over and protect her with their sightless eyes, her servants for eternity. Seers in Ancient Greece interpreted signs sent by the gods through bird signs, animal entrails and other methods of divination. However only direct yes & no questions could be answered.
Henrietta Armstrong SEER VIII, 2021 Collage, Spray Paint and Holographic Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Henrietta Armstrong is a multimedia artist and curator based in London, specialising in sculpture, installation and public art. She looks at man-made objects and structures from everyday technologies that are often obsolete or defunct, and the symbolism or meaning that we imbue them with. Her recent work has been looking at the brutalist forms of sea defences, sea erosion and the global threat of rising sea levels. Co-founder of Come Quick Disaster - a platform for arts providing help & information for artists as well as curating exhibitions and running regular events. Studied BA Fine Art (Hons) at Sir John Cass School of Art, London, graduating in 2003. Henrietta has recently been selected as a finalist for the National Sculpture Prize 2021, working on a sculpture to be installed at the Broomhill Estate Sculpture Park in Devon later this year. She was awarded as a runner up for the Soho House Art Prize 2020 and is currently working on a public sculpture commission for the village of Tytherington commissioned by Cotswold Homes & South Gloucestershire Council. Exhibitions include: Soho Editions: Art Prize 2020 where she created a print edition for Soho Home with Jealous Gallery - 2021, Jealous Gallery Rooftop Mural - 2021, Throwing Bones II at Window 135 - 2020, The Pendle Hill Stones, a permanent public sculpture installed on Pendle Hill in Lancashire - 2018, Contemporary Perspectives in Printmaking at Mall Galleries, London - 2017. About the Postcards The SEERs were created by Henrietta for her 'Temple of M E D U S A' installation around the time of the #metoo movement. Demonised for her beauty by those that desired her, punished for being a victim of rape, then vilified as a monster, never to be looked at again, Medusa's story scarily echoes the misogynistic realities of today. She was mortal and not a goddess so creating a temple for Medusa felt like a reprieve. The SEERS are Medusa's victims that she has turned to stone. They now watch over and protect her with their sightless eyes, her servants for eternity. Seers in Ancient Greece interpreted signs sent by the gods through bird signs, animal entrails and other methods of divination. However only direct yes & no questions could be answered.
Adam Handler Lavender Ghost, 2021 Oil Stick and Pencil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Adam Handler (1986) was born in Queens NY and grew up on Long Island. As a young child and adolescent, he spent countless hours at his grandparents framing factory in New York City. There, his passion for the arts grew and it became inevitable that he too would discover the many possibilities of art. Handler studied Life Drawing in Italy and went on to graduate from Purchase College with a major in Art History. He has also studied craft design with Jorge Nieves and printing color photography with Debra Mesa-Pelly. Handler has mounted solo exhibitions throughout New York City and East Hampton. His work has also been shown extensively at major art fairs which include, Art New York, Art Market Hamptons, Art Context Miami, Spring/Break Art Fair and the Armory Print Fair. In addition, Handler's work has been included in numerous exhibitions throughout the United States, Canada, Middle East, Asia and Europe. Education BA in Art History: State University at Purchase, NY, 2008 Exhibitions Solo Exhibitions 2021 Cohle Gallery- Twinkling Unknowns- Paris, France 2020 Spring/Break Art Show with CB Gallery- NYC D'Stassi Art- London, UK 2019 Artual Gallery-Under Softer Summer Skies-Beirut, Lebanon Janet Lehr Fine Art- New Girls-East Hampton, NY Rarity Gallery- Mykonos, Greece Madelyn Jordon Fine Art- Between Nightmares and Fairy Tales-Scarsdale, NY Ober Gallery- Angels Around Here-Kent, CT 2018 The Lane Contemporary- Things we dream about- Katonah, NY One River School of Arts and Design- Smiling Eyes- Harstdale, NY Brega Artist Space- Love Sick - Seoul, Korea Janet Lehr Fine Art- Sweet Things- East Hampton, NY Group Exhibitions: 2021 FNG Art- Blue- Taichung, Taiwan Madelyn Jordon Fine Art- Look Forward, Look Back- Scarsdale, NY FNG Art- One Art Taipei Art Fair- New Taipei City, Taiwan Morton Contemporary- Girls and Ghosts- Philadelphia, PA 2020 Granada Gallery- Swab Art Fair- Barcelona, Spain Cohle Gallery- Beyond the Walls- Paris, France Rarity Gallery- Mykonos, Greece Galerie COA- Échafaudage- Montreal, Canada ZQ Gallery- Needs More Salt- Hamptons Art Fair- South Hampton, NY Saint Maison Gallery- Blessing in Disguise- Tokyo, Japan 2019 CB Gallery- POW!- Katonah, NY Janet Lehr Fine Art - The Philadelphia Fine Art Fair- Philadelphia, PA LC Gallery- Inaugural Exhibition (Adam Handler, Taylor White, Rob Tucker and Jean Philippe Duboscq). Brussels Madelyn Jordon Fine Art- Staging Nature- Scarsdale, NY Janet Lehr Fine Art- Texas Contemporary- Houston, TX 2018 Janet Lehr Fine Art- Art on the Edge- East Hampton, NY Art Market Hamptons showing with Janet Lehr Fine Art- Bridgehampton, NY Maison 10- Top Ten- NYC Moniker Art Fair showing with Janet Lehr Fine Art- Brooklyn, NY Madelyn Jordon Fine Art- Local/Global-Scarsdale, NY Artual Gallery- The Urban Experience- Beirut, Lebanon Untitled Gallery in association with EK Gallery- Dreams of la la land- Los Angeles, CA The Lane Contemporary- Small works- Katonah, NY Artual Gallery- Holiday show- Beirut, Lebanon O'Silas Gallery at Concordia College- Flower Power- Bronxville, NY Massey Klein Gallery and Groupe- 3 Artists- NYC Texas Contemporary with Janet Lehr Fine Art- Houston, TX About the postcard artworks Ghost Works: The ghost paintings along with my "girl paintings" have been my longest running series of works. In my early 20's a childhood friend of mine passed away and at the same time I started to see grandparents get older and the realization that we are not invincible and "nothing lasts forever" started to set in. The ghosts were born from that anxiety and an attempt to create a friendly and non-threatening relationship with death. The works are in a sense not about dying but rather a reminder to live life to the fullest. More recently the works started to contain short vague phrases. I wanted to keep the sayings simple and open to interpretation as each person viewing the work will have their own personal relationship with the words.
Adam Handler Lemon Angel Ghost, 2021 Oil Stick and Pencil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Adam Handler (1986) was born in Queens NY and grew up on Long Island. As a young child and adolescent, he spent countless hours at his grandparents framing factory in New York City. There, his passion for the arts grew and it became inevitable that he too would discover the many possibilities of art. Handler studied Life Drawing in Italy and went on to graduate from Purchase College with a major in Art History. He has also studied craft design with Jorge Nieves and printing color photography with Debra Mesa-Pelly. Handler has mounted solo exhibitions throughout New York City and East Hampton. His work has also been shown extensively at major art fairs which include, Art New York, Art Market Hamptons, Art Context Miami, Spring/Break Art Fair and the Armory Print Fair. In addition, Handler's work has been included in numerous exhibitions throughout the United States, Canada, Middle East, Asia and Europe. Education BA in Art History: State University at Purchase, NY, 2008 Exhibitions Solo Exhibitions 2021 Cohle Gallery- Twinkling Unknowns- Paris, France 2020 Spring/Break Art Show with CB Gallery- NYC D'Stassi Art- London, UK 2019 Artual Gallery-Under Softer Summer Skies-Beirut, Lebanon Janet Lehr Fine Art- New Girls-East Hampton, NY Rarity Gallery- Mykonos, Greece Madelyn Jordon Fine Art- Between Nightmares and Fairy Tales-Scarsdale, NY Ober Gallery- Angels Around Here-Kent, CT 2018 The Lane Contemporary- Things we dream about- Katonah, NY One River School of Arts and Design- Smiling Eyes- Harstdale, NY Brega Artist Space- Love Sick - Seoul, Korea Janet Lehr Fine Art- Sweet Things- East Hampton, NY Group Exhibitions: 2021 FNG Art- Blue- Taichung, Taiwan Madelyn Jordon Fine Art- Look Forward, Look Back- Scarsdale, NY FNG Art- One Art Taipei Art Fair- New Taipei City, Taiwan Morton Contemporary- Girls and Ghosts- Philadelphia, PA 2020 Granada Gallery- Swab Art Fair- Barcelona, Spain Cohle Gallery- Beyond the Walls- Paris, France Rarity Gallery- Mykonos, Greece Galerie COA- Échafaudage- Montreal, Canada ZQ Gallery- Needs More Salt- Hamptons Art Fair- South Hampton, NY Saint Maison Gallery- Blessing in Disguise- Tokyo, Japan 2019 CB Gallery- POW!- Katonah, NY Janet Lehr Fine Art - The Philadelphia Fine Art Fair- Philadelphia, PA LC Gallery- Inaugural Exhibition (Adam Handler, Taylor White, Rob Tucker and Jean Philippe Duboscq). Brussels Madelyn Jordon Fine Art- Staging Nature- Scarsdale, NY Janet Lehr Fine Art- Texas Contemporary- Houston, TX 2018 Janet Lehr Fine Art- Art on the Edge- East Hampton, NY Art Market Hamptons showing with Janet Lehr Fine Art- Bridgehampton, NY Maison 10- Top Ten- NYC Moniker Art Fair showing with Janet Lehr Fine Art- Brooklyn, NY Madelyn Jordon Fine Art- Local/Global-Scarsdale, NY Artual Gallery- The Urban Experience- Beirut, Lebanon Untitled Gallery in association with EK Gallery- Dreams of la la land- Los Angeles, CA The Lane Contemporary- Small works- Katonah, NY Artual Gallery- Holiday show- Beirut, Lebanon O'Silas Gallery at Concordia College- Flower Power- Bronxville, NY Massey Klein Gallery and Groupe- 3 Artists- NYC Texas Contemporary with Janet Lehr Fine Art- Houston, TX About the postcard artworks Ghost Works: The ghost paintings along with my "girl paintings" have been my longest running series of works. In my early 20's a childhood friend of mine passed away and at the same time I started to see grandparents get older and the realization that we are not invincible and "nothing lasts forever" started to set in. The ghosts were born from that anxiety and an attempt to create a friendly and non-threatening relationship with death. The works are in a sense not about dying but rather a reminder to live life to the fullest. More recently the works started to contain short vague phrases. I wanted to keep the sayings simple and open to interpretation as each person viewing the work will have their own personal relationship with the words.
Adam Handler Tangerine Ghost, 2021 Oil Stick and Pencil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Adam Handler (1986) was born in Queens NY and grew up on Long Island. As a young child and adolescent, he spent countless hours at his grandparents framing factory in New York City. There, his passion for the arts grew and it became inevitable that he too would discover the many possibilities of art. Handler studied Life Drawing in Italy and went on to graduate from Purchase College with a major in Art History. He has also studied craft design with Jorge Nieves and printing color photography with Debra Mesa-Pelly. Handler has mounted solo exhibitions throughout New York City and East Hampton. His work has also been shown extensively at major art fairs which include, Art New York, Art Market Hamptons, Art Context Miami, Spring/Break Art Fair and the Armory Print Fair. In addition, Handler's work has been included in numerous exhibitions throughout the United States, Canada, Middle East, Asia and Europe. Education BA in Art History: State University at Purchase, NY, 2008 Exhibitions Solo Exhibitions 2021 Cohle Gallery- Twinkling Unknowns- Paris, France 2020 Spring/Break Art Show with CB Gallery- NYC D'Stassi Art- London, UK 2019 Artual Gallery-Under Softer Summer Skies-Beirut, Lebanon Janet Lehr Fine Art- New Girls-East Hampton, NY Rarity Gallery- Mykonos, Greece Madelyn Jordon Fine Art- Between Nightmares and Fairy Tales-Scarsdale, NY Ober Gallery- Angels Around Here-Kent, CT 2018 The Lane Contemporary- Things we dream about- Katonah, NY One River School of Arts and Design- Smiling Eyes- Harstdale, NY Brega Artist Space- Love Sick - Seoul, Korea Janet Lehr Fine Art- Sweet Things- East Hampton, NY Group Exhibitions: 2021 FNG Art- Blue- Taichung, Taiwan Madelyn Jordon Fine Art- Look Forward, Look Back- Scarsdale, NY FNG Art- One Art Taipei Art Fair- New Taipei City, Taiwan Morton Contemporary- Girls and Ghosts- Philadelphia, PA 2020 Granada Gallery- Swab Art Fair- Barcelona, Spain Cohle Gallery- Beyond the Walls- Paris, France Rarity Gallery- Mykonos, Greece Galerie COA- Échafaudage- Montreal, Canada ZQ Gallery- Needs More Salt- Hamptons Art Fair- South Hampton, NY Saint Maison Gallery- Blessing in Disguise- Tokyo, Japan 2019 CB Gallery- POW!- Katonah, NY Janet Lehr Fine Art - The Philadelphia Fine Art Fair- Philadelphia, PA LC Gallery- Inaugural Exhibition (Adam Handler, Taylor White, Rob Tucker and Jean Philippe Duboscq). Brussels Madelyn Jordon Fine Art- Staging Nature- Scarsdale, NY Janet Lehr Fine Art- Texas Contemporary- Houston, TX 2018 Janet Lehr Fine Art- Art on the Edge- East Hampton, NY Art Market Hamptons showing with Janet Lehr Fine Art- Bridgehampton, NY Maison 10- Top Ten- NYC Moniker Art Fair showing with Janet Lehr Fine Art- Brooklyn, NY Madelyn Jordon Fine Art- Local/Global-Scarsdale, NY Artual Gallery- The Urban Experience- Beirut, Lebanon Untitled Gallery in association with EK Gallery- Dreams of la la land- Los Angeles, CA The Lane Contemporary- Small works- Katonah, NY Artual Gallery- Holiday show- Beirut, Lebanon O'Silas Gallery at Concordia College- Flower Power- Bronxville, NY Massey Klein Gallery and Groupe- 3 Artists- NYC Texas Contemporary with Janet Lehr Fine Art- Houston, TX About the postcard artworks Ghost Works: The ghost paintings along with my "girl paintings" have been my longest running series of works. In my early 20's a childhood friend of mine passed away and at the same time I started to see grandparents get older and the realization that we are not invincible and "nothing lasts forever" started to set in. The ghosts were born from that anxiety and an attempt to create a friendly and non-threatening relationship with death. The works are in a sense not about dying but rather a reminder to live life to the fullest. More recently the works started to contain short vague phrases. I wanted to keep the sayings simple and open to interpretation as each person viewing the work will have their own personal relationship with the words.
Adam Handler Tangerine Ghost at Night, 2021 Oil Stick and Pencil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Adam Handler (1986) was born in Queens NY and grew up on Long Island. As a young child and adolescent, he spent countless hours at his grandparents framing factory in New York City. There, his passion for the arts grew and it became inevitable that he too would discover the many possibilities of art. Handler studied Life Drawing in Italy and went on to graduate from Purchase College with a major in Art History. He has also studied craft design with Jorge Nieves and printing color photography with Debra Mesa-Pelly. Handler has mounted solo exhibitions throughout New York City and East Hampton. His work has also been shown extensively at major art fairs which include, Art New York, Art Market Hamptons, Art Context Miami, Spring/Break Art Fair and the Armory Print Fair. In addition, Handler's work has been included in numerous exhibitions throughout the United States, Canada, Middle East, Asia and Europe. Education BA in Art History: State University at Purchase, NY, 2008 Exhibitions Solo Exhibitions 2021 Cohle Gallery- Twinkling Unknowns- Paris, France 2020 Spring/Break Art Show with CB Gallery- NYC D'Stassi Art- London, UK 2019 Artual Gallery-Under Softer Summer Skies-Beirut, Lebanon Janet Lehr Fine Art- New Girls-East Hampton, NY Rarity Gallery- Mykonos, Greece Madelyn Jordon Fine Art- Between Nightmares and Fairy Tales-Scarsdale, NY Ober Gallery- Angels Around Here-Kent, CT 2018 The Lane Contemporary- Things we dream about- Katonah, NY One River School of Arts and Design- Smiling Eyes- Harstdale, NY Brega Artist Space- Love Sick - Seoul, Korea Janet Lehr Fine Art- Sweet Things- East Hampton, NY Group Exhibitions: 2021 FNG Art- Blue- Taichung, Taiwan Madelyn Jordon Fine Art- Look Forward, Look Back- Scarsdale, NY FNG Art- One Art Taipei Art Fair- New Taipei City, Taiwan Morton Contemporary- Girls and Ghosts- Philadelphia, PA 2020 Granada Gallery- Swab Art Fair- Barcelona, Spain Cohle Gallery- Beyond the Walls- Paris, France Rarity Gallery- Mykonos, Greece Galerie COA- Échafaudage- Montreal, Canada ZQ Gallery- Needs More Salt- Hamptons Art Fair- South Hampton, NY Saint Maison Gallery- Blessing in Disguise- Tokyo, Japan 2019 CB Gallery- POW!- Katonah, NY Janet Lehr Fine Art - The Philadelphia Fine Art Fair- Philadelphia, PA LC Gallery- Inaugural Exhibition (Adam Handler, Taylor White, Rob Tucker and Jean Philippe Duboscq). Brussels Madelyn Jordon Fine Art- Staging Nature- Scarsdale, NY Janet Lehr Fine Art- Texas Contemporary- Houston, TX 2018 Janet Lehr Fine Art- Art on the Edge- East Hampton, NY Art Market Hamptons showing with Janet Lehr Fine Art- Bridgehampton, NY Maison 10- Top Ten- NYC Moniker Art Fair showing with Janet Lehr Fine Art- Brooklyn, NY Madelyn Jordon Fine Art- Local/Global-Scarsdale, NY Artual Gallery- The Urban Experience- Beirut, Lebanon Untitled Gallery in association with EK Gallery- Dreams of la la land- Los Angeles, CA The Lane Contemporary- Small works- Katonah, NY Artual Gallery- Holiday show- Beirut, Lebanon O'Silas Gallery at Concordia College- Flower Power- Bronxville, NY Massey Klein Gallery and Groupe- 3 Artists- NYC Texas Contemporary with Janet Lehr Fine Art- Houston, TX About the postcard artworks Ghost Works: The ghost paintings along with my "girl paintings" have been my longest running series of works. In my early 20's a childhood friend of mine passed away and at the same time I started to see grandparents get older and the realization that we are not invincible and "nothing lasts forever" started to set in. The ghosts were born from that anxiety and an attempt to create a friendly and non-threatening relationship with death. The works are in a sense not about dying but rather a reminder to live life to the fullest. More recently the works started to contain short vague phrases. I wanted to keep the sayings simple and open to interpretation as each person viewing the work will have their own personal relationship with the words.
Loading...
