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Click here to subscribeStandkreuz im gotischen Stil, deutsch M. 19. Jh., Kreuz u. Dreipass-Sockel aus Holz, schwarz gefasst und mit partieller Goldbemalung, Korpus als Viernageltypus und Inri-Tafel aus Ton, heller Scherben, farbig gefasst, Holz mit kleineren Spannungsrissen, vorderes Stück des Dreipass gelockert, Farbabplatzungen, H: 106 cm, B: 25 cm, Altersspuren, 3554 - 0044
Zwei Kupferstiche mit Ansichten mit Homburg von der Höhe, M. 17. Jh., einmal aus Daniel Meisner´s Schatzkästlein, 9,7 x 14 cm u. einmal M. Merian, 8,7 x 17,4 cm (jeweils Passepartoutausschnitt), der Kupferstich von Merian stärker gebräunt, jeweils unt. Glas in alten Berliner Leistenrahmen, Gesamtgrößen: 23,5 x 28,4 bzw. 24 x 29,7 cm. 4036-014a
Zwei Miniaturen, 1. H. bis M. 20. Jh., Darstellung zweier Damen als Schulterstück, Kopien nach Originalen aus der Schönheiten-Galerie Ludwigs I von Bayern, eine nach Stieler, auf Bein gemalt, eine D: ca. 7 cm, die andere 6,3 x 5,3 cm, in zeitgenössischer dekorativer Rahmung, Gesamtgrößen: 12 x 12,5 bzw. 12 x 10 cm. 4134-0031
9 Teile Besteck "Champagner" mit partiell granulierten Griffen, Entw.: Jens H. Quistgaard 1947 für O.V. Mogensen, Kopenhagen 1956-59, Herstellermarke M, Silber, 186g (o. Messer und Heber), bestehend aus: 3 Kuchengabeln, 3 Mokkalöffel, 1 kleiner Kuchenheber, 1 Heber und 1 Käsemesser mit Stahlklinge, L. 11,2-26,5cm
Colonial School. Guatemala. 18th century."Virgin Mary" and "Mary Magdalena"Pair of carved, gilded and polychromed wooden sculptures.Virgin measurements: 36 x 20,5 x 20,5 cm. Mary Magdalene measurements: 35,5 x 18 x 22 cm.These images serve as splendid examples of the refinement of sculpture in Guatemala in the 18th century. Fully covered in gold, with estofado technique and "picado de lustre" - a patterned effect achieved using small chisels or burins. It is painted with various colours by brush. The sclptures are adorned with flowers, palm leaves, and small delicate geometric motifs. The mastery of the carving is evident in the multitude of folds in their elaborate garments, the emotion and sadness conveyed by the faces, and the beautiful strands of Mary Magdalene's hair.These images are comparable in quality to two sculptures that are part of the collection of the LACMA Museum in Los Angeles: the Archangel Saint Michael (collection number M.2021.1a-b) with significant similarities in the rich and fine polychrome, and the Virgin of the Rosary, polychromed by the artist Felipe de Estrada.It is important to highlight that in the society of that era, both in New Spain and in Europe, there was an enormous demand for this type of figure. Writings from the time reflect the society's desire to possess these excellent images. As indicated by Professor Ilona Katzew (Curator and Head of the Latin American Art Department at LACMA in Los Angeles), "in a letter to a fellow priest in Guatemala, the Franciscan commissioner in New Spain, Manuel de Nájara, thanked him for obtaining some images, emphasizing that the fame of Guatemalan carvings was widely recognized throughout the viceroyalty."Reference Bibliography:Katzew, Ilona. "Archive of the World. Art and imagination in Spanish America, 1500 - 1800." Los Angeles County Museum of Art.
Juan de la Corte (Antwerp, circa 1585 - Madrid, 1662)"Garden and Neptune Fountain"Oil on canvas.153 x 251 cm.Born in Antwerp, as documented in his will, and probably trained in Flanders, he primarily developed his career in Spain, especially at the Court in Madrid. Juan de la Corte himself, as reported by the Prado Museum, confesses that he "focused on 'architectures, battles, and countries,' genres in which he was highly valued by his contemporaries." Specifically, the "proliferation of architectural perspectives" is a noteworthy aspect of his work, which can be seen by taking a leisurely look at the painting we have here. Additionally, he excelled in mythological themes, a subject matter uncommon in 17th-century Spain but one that the painter frequently engaged with.On the back, the label of Antonio Trillo's workshop, with the handwritten inscription: "Trillo forrador de Pinturas de S. M. Ce. de Jacometrezo Nº 80", and the remains of the label of the Junta de Incautación y Protección del Patrimonio Artístico (Board for the Seizure and Protection of Artistic Heritage).It is interesting to note that Antonio Trillo Díaz (1808-1853) was part of the painting restoration team at the Prado Museum, then known as the Royal Museum of Paintings, from 1829 onwards, working as a liner and colour grinder. As an interesting article in the Museo del Prado indicates, this initial staff was a hierarchical pyramid made up of three restorers, a liner and colour grinder and an assistant. The team was made up of the painters "José Bueno and Victoriano Gómez, both of whom had been involved in the restoration of the king's paintings from an early date" and had collaborated, before the Museum was founded, with Vicente López Portaña, First Court Painter and later Artistic Director of the Museum. Both painters, together with Pedro Bueno, José Bueno's brother, were the restorers and Manuel Fernández completed the team as an auxiliary assistant painter. The team worked in a newly built restoration room, created, organised and regulated between 1827 and 1829 and "approved by the king on the proposal of Vicente López", according to the Prado. Reference bibliography:- Museo del Prado. (n.d.). "Corte, Juan de la". https://www.museodelprado.es/aprende/enciclopedia/voz/corte-juan-de-la/4236322c-50b0-4cfa-aa66-36a16bb44dda- Ruiz Gómez, Leticia. (n.d.). "Restauración en el Museo del Prado". Museo del Prado. https://www.museodelprado.es/aprende/enciclopedia/voz/restauracion-en-el-museo-del-prado/6aee105c-9c94-4ef8-a726-de393fd7eaea
Francisco Martinez (Mexico, 1687 - 1758)"The Good Shepherd as the Mystical Lamb"Oil on canvas.133 x 157 cm.A beautiful and sensitive depiction of the Good Shepherd, who gazes upon his flock questioningly, full of tenderness and mercy, opening his chest as a clear symbol of altruism leading to the complete sacrifice of himself. "I shed my blood for you, and whoever drinks from it shall never die."Undoubtedly, the painting shows a more humanised and Christian vision typical of colonial painting when compared with the famous Ghent Altarpiece "The Adoration of the Mystic Lamb" by the Van Eyck brothers, in which the Lamb of God, on an altar, with blood flowing from its chest, fills a chalice symbolising Christ and His sacrifice on the Cross, his giving of himself in the Eucharist.Both in the Ghent painting and in this one, there is a dove representing the Holy Spirit and, around it, several angels in adoration.Above the Good Shepherd, the inscription reads: "EGO SVM PASTOR BONVS ..." (I am the Good Shepherd).The Mexican painter Francisco Martínez, active between 1717 and 1758, was a New Spanish artist who still lacks a comprehensive monograph. However, Professor Luisa Elena Alcalá, a specialist in Ibero-American art of the Viceroyalty period, raises various relevant questions about the artist in her study "La obra del pintor novohispano Francisco Martínez" (1999). In addition to being a painter, as was common in the era, Martínez was a "gilder, reredos assembler, and decorator for short-lived festivals, enjoying great prestige in several of these fields," Alcalá explains. "Among his most outstanding works are the gilding of the main altarpiece of the Mexico Cathedral (1743), the erection of the funerary tomb of Felipe V in Guatemala (1747), and the subsequent creation of ephemeral architecture for the swearing-in of Fernando VI in Mexico (1747)." Also noteworthy is the "Nun’s Badge with the Annunciation and Saints" (circa 1750), signed "Martínez Sancti Officii Notarius Fecit," which is in the collection of the Los Angeles County Museum of Art (LACMA) (Inv. M.2015.142.1).His professional prestige, as noted by Alcalá, "can also be inferred from the numerous occasions when he provided expert opinions on miraculous images, enquiries into manufacturing processes and fairly common supernatural transformations in the religious sphere of the Viceroyalty."The painter, who also had a relationship with José de Ibarra, an "inescapable reference for understanding the figure of Francisco Martínez," with whom he coincided "on several commissions and competitions," carried out numerous commissions for the Jesuits. In fact, Alcalá asserts that "the 18th century was the golden age of the Jesuits in New Spain, when the profits from estates and mills allowed for massive reconstruction of their colleges and churches, and Martínez knew how to meet the artistic needs of the Society." Lastly, it should be mentioned that he was appointed notary of the Holy Tribunal, a prestigious title that, as pointed out by Ilona Katzew in her description of the aforementioned nun's shield for LACMA, "indicates his high social position."Reference bibliography:- Alcalá, Luisa Elena. (1999). “La obra del pintor novohispano Francisco Martínez”. En Anales del Museo de América (7), 175-187. Ministerio de Educación Cultura y Deporte: Subdirección General de Documentación y Publicaciones. https://hdl.handle.net/10486/671800- Katzew, Ilona (2015). “Nun’s Badge with the Annunciation and Saints”. Conservationist's notes. LACMA. https://collections.lacma.org/node/2115912
Colonial School. Mexico. 18th century."Coronation of the Virgin"Nun's shield. Oil on copper. With tortoiseshell frame and back.Diameter: 19 cm.The LACMA in Los Angeles, has a nun’s badge in its collection by the Mexican painter Francisco Martínez (Mexico, 1687-1758) dated circa 1750, with the central theme of The Annunciation surrounded by Saints. (Inv. M.2015.142.1)As Professor Ilona Katzew, Curator and Head of the Latin American Art Department at the LACMA in Los Angeles, notes with respect to these nun’s shields:"This small-scale painting is a badge worn by nuns of the Order of the Immaculate Conception (also known as Conceptionists) in Mexico as part of their dress. Painted badges originated in Mexico in response to religious reforms introduced by the archbishop Francisco Manso y Zúñiga (ruled 1629-1635), who attempted to curtail the luxury and privilege of the convent lifestyle. He forbade nuns to wear shields made of gold, precious stones, and enamel. The nuns circumvented this rule by commissioning shields painted on copper or parchment, and set into frames made of tortoiseshell. Many of the badges were painted by the best artists of the day."This genre of devotional art was widespread during the 17th and 18th centuries in Spain and the New Hispanic world.They tended to be small pictures painted or embroidered with religious scenes, which nuns wore on their chests as they took their vows.It is in the classic portraits of crowned nuns, also with flowers, veils and other ornaments, where we can see the relevance these badges had.On occasions, artists of the calibre of José de Páez, Luís Juárez or Miguel Cabrera made some of these badges.
Colonial School. Mexico. 18th century."Adoration of the Shepherds"Friar's Badge. Oil on copper. 11 x 9,5 cm.This is a monk's shield, which they wore tied to their habits through the small holes can be found on the four tabs on the copper plate.There are few surviving examples due to the monks' vow of poverty, and they are even rarer than nun's shields.The Los Angeles County Museum of Art (LACMA) has a "Friar's Badge with the Nativity" in its collection (M.2005.59), circa 1768, after José de Páez. In that case, it is a badge from the Catholic order Brother of the Bethlehemite, who, as stated in LACMA's descriptive card, were "devoted to educating poor children and helping the sick". Around 1660, in Guatemala, the order was established "and quicklyspread throughout Spanish America. Its founder, Pedro de San José de Betancourt (1626–1667), was profoundly devoted to the Virgin of Bethlehem and the mystery of the Nativity. José de Páez painted several badges with the Nativity, which members were prescribed to wear on their cape". Reference bibliography:- LACMA. (n.d.). “Friar’s Badge with the Nativity”. https://collections.lacma.org/node/211274
HEINRICH HOERLE (Köln 1895 - 1936 Köln)Mann mit Pfeife, 1931Linolschnitt/Papier, 22,6 × 17,5 cmmonogrammiert im Druck h, datiert 1931nummeriert 3/50SCHÄTZPREIS °€ 800 - 1600STARTPREIS °€ 800Der deutsche Maler Heinrich Hoerle begann als Rheinischer Expressionist, war Teil des Kölner Dada und malte im Stil des Konstruktivismus und des Surrealismus. Er befasste sich scherpunktmäßig mit den Schrecken des Krieges, dem Alltag der Arbeiter und der Entmenschlichung in der Masse. war überwiegend als Autodidakt; für kurze Zeit besuchte er die Kunstgewerbeschule in Köln. 1913 schloss er sich dem avantgardistischen Gereonsklub an (Olga Oppenheimer, Franz M. Jansen und Emmy Worringer), der auch Bilder von August Macke, Franz Marc, Paul Klee und Robert Delaunay zeigte. Mit Otto Freundlich und Max Ernst gehörte Heinrich Hoerle auch den Lunisten an. Während seines Kriegsdiensts, 1917, veröffentlichte Hoerle erste Bilder in Franz Pfemferts Zeitschriften Aktion und Simplicissimus. Nach Kriegsende heiratete Heinrich Hoerle Angelika Fick, Schwester des Malerkollegen Willy Fick. Hoerle pflegte Kontakte zu Ret Marut, Hans Schmitz-Wiedenbrück und Franz Wilhelm Seiwert, mit dem ihn bis 1932 eine Freundschaft verband. Er gehörte zu den Kölner Dadaisten um Johannes Theodor Baargeld (Alfred Gruenwald) an, beteiligte sich 1920 an der dadaistischen Wochenzeitschrift „Der Ventilator“ und zeigte seine Arbeiten im dadaistischen Raum auf der Herbstausstellung der expressionistischen Gesellschaft der Künste. Die Kriegserfahrungen verarbeitete Heinrich Hoerle in seiner „Krüppelmappe“. Während Johannes Theodor Baargeld und Max Ernst sich am eher unpolitischen französischen Dada orientierten, wollten Heinrich und Angelika Hoerle politisch wirken: Das Ehepaar Hoerle gründete mit Anton Räderscheidt, Hans Arp, Willy Fick und Franz Wilhelm Seiwert die Gruppe Stupid. Für seine sozialistische Kunst übernahm Hoerle konstruktivistische und neusachliche Elemente. Hoerle war befreundet mit den Düsseldorfer Künstlern Gottfried Brockmann und Gerd Arntz, die seine sozialkritischen Ansätze teilten. Der Fotograf August Sander dokumentierte Bilder Heinrich Hoerles und dessen Arbeit. später änderte Hoerle seine Malweise unter dem Eindruck der von Giorgio de Chirico, Max Ernst und Juan Gris und malte in einem lockeren surrealistischen Stil.Bitte beachten: Der Kaufpreis besteht aus Meistbot zuzüglich des Aufgeldes, der Umsatzsteuer sowie gegebenenfalls der Folgerechtsabgabe. Bei Normalbesteuerung (mit ° gekennzeichnet) kommt auf das Meistbot ein Aufgeld in der Höhe von 24% hinzu. Auf die Summe von Meistbot und Aufgeld kommt die gesetzliche Umsatzsteuer von 13%, bei Fotografien 20% hinzu. Bei Differenzbesteuerung beträgt das Aufgeld 28%. Die Umsatzsteuer ist bei der Differenzbesteuerung inkludiert.
SILBERMÜNZEN, Konvolut von 14,bestehend aus: 10x 5 DM aus 1951-72, je 11,2g 625er-Silber; 3x 3 Rubel 1990/ 91, je 31,1g 900er-Silber, PP; Mexico, Siegesgöttin 1993, 1/20 Unze 999er-Silber, dazu Italien, Folder m Medaillen-FDC, 925er-Silber, 500. Geb. Michelangelo u Medaille Reichsburg Cochem
MÜNZTABLETT,Hersteller Wilkens/ Bremen, MZ, Beschau, 835er-Silber, Dm ca. 29 cm, besetzt mit 7 Münzen, je 900er-Silber: Frankfurt, 1 Vereinsthaler 1860; Preussen Ausbeutethaler 1860, Krönungsthaler 1861, Siegesthaler 1871, DR 3 M Befreiuungskriege 1913, DR 5 M 1913; Sachsen 1 Thaler 1871; total ca. 630g 835- u 900er-Silber, Gebrauchsspuren, 1 Münze locker
Mixed Lot to include 10 Year Old Tawny Port 16 bottles Mixed Lot to include 10 Year Old Tawny Port comprising: 4 bottles Domaine Lalande Pinot Noir Vieilli en Futs de Chene Vin de Pays D’Oc 2008, 2 bottles Belvedere de Valmarie Cotes du Roussillon Vieilli en Futs de Chene 2002, 1 bottle Le Pavillon des Remparts Cotes de Roussillon Villages 2000, 2 bottles Grande Reserve du Taleyran Corbieres 2004, 1 bottle Mercurey Blanc ‘Les Bacs’ Chateau Genot Boulanger 2005, 2 bottles Domaine de l’Etang Chardonnay Vin de Pays D’Oc 2004, 3 bottles Rey de Los Andes Merlot Reserva Central Valley Chile 2009, 1 bottle M&S 10 Year Old Tawny Port.Wilson55 can help with delivery! Click on the shipping tab for more details.
Mixed Lot Mature Claret 6 bottles Mixed Lot Mature Claret to include Fine Pomerol and St Emilion comprising: 2 bottles Chateau La Croix de Gay ‘Grand Vin’ Pomerol 1985 (2 x b/n), 1 bottle Chateau La Tour du Pin Figeac Grand Cru Classe St Emilion 1987 (mus), 1 bottle Chateau Pontet-Fume St Emilion Grand Cru 1985 (m/s), 1 bottle Chateau Haut Pichon Lussac St Emilion 1989 (b/n), 1 bottle Chateau Bel Air Bordeaux Superieur 1991.
Mixed Lot Fine 6 bottles Mixed Lot Fine, mature Classified and Cru Bourgeois Haut Medoc comprising: 1 bottle Chateau Lynch-Moussas Grand Cru Classe Pauillac 2006 (vts), 1 bottle Chateau Chasse-Spleen Cru Exceptionnel Moulis en Medoc 1985 (vts), 1 bottle Chevalier de Gruaud (of Gruaud Larose) St Julien 1993 (b/n),1 bottle Connetable Talbot (2nd Wine of Chateau Talbot) St Julien 1994 (b/n), 1 bottle Maitre d’Estournel (of Cos d’Estournel) 1982 (m/s), 1 bottle Chateau Larose Trintaudon Cru Bourgeois Haut-Medoc 1988 (mus).Wilson55 can help with delivery! Click on the shipping tab for more details.
Ken Nwadiogbu In the Wave Charcoal and acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Ken Nwadiogbu (b. 1994, Lagos, Nigeria) is a self-taught multidisciplinary artist, based in Lagos, Nigeria. A trained civil engineer, he soon pivoted to fine art, first embracing hyperrealism and charcoal drawing before expanding his creative horizon to more conceptual works and a wider array of techniques, including acrylic painting, sculpture and installation. His works are inspired by iconic American contemporary art figures such as J.-M. Basquiat, Kehinde Wiley, Toyin Ojih Odutola and Kerry James Marshall. On Ken's large canvases, stories superimpose themselves in multiple layers. Mixing together hyperrealism with contemporary elements, he creates ingenious, politically charged visual illusions that deploy a singular outlook, daring the audience to question their own, for "value lies in the perspective". Defending an art that can be at once smart and fun, he explores grave matters in intense colours and playful cut-outs, addressing altogether black representation and identity, displacement, and socio-political control. Popularly known as KenArt, Ken is credited for introducing the "Contemporealism" movement and was named by Guardian Life as one of the most "Outstanding Personalities" in Nigeria. In 2019, he was awarded the prestigious The Future Awards Africa in recognition of his contributions to the Nigerian arts community. A core focus for him is to inspire and encourage young creatives. He does this through public speaking and mentorship, as well as through his creative companies. He nurtures an art collective called 'Title Deed' and co-found Artists Connect NG, the largest artist gathering in Nigeria, created to foster creativity, collaboration and community. His works have been exhibited in a number of galleries including Omenka Gallery ('Insanity' group show, Lagos, 2016), Retro Africa ('In the making', Abuja, 2018), Bricklane Gallery ('Contemporealism', London, 2019), Bomb Factory Art Foundation ('Journey Mercies', London, 2021) and Thinkspace ('Ubuntu', LA, 2021). His works were showcased at ART X Lagos on several occasions, at 154 London, and Prizm Art Fair, in Miami. He has worked on multiple projects with respected international brands like Martell Cognac, McMillan Publishers, Flight Logistics, and many others. Ken enjoys expanding his perspective -and ours, rarely ever leaving anything to chance, but rather proceeding from a place of joy, and intentional care. He is constantly revitalizing his practice by challenging modes of Black representation. His oeuvres do not just encompass various forms of painting but most recently transcends into photography, sculpture, installation, NFT and video Education MA Painting, Royal College of Art Select Exhibitions/Awards Awards: 2019: The Future Awards Africa Prize for Art Exhibitions: 2022, SCOPE Art Fair Miami, 2020, Prizm International Art Fair Miami, 2020, 1-54 African Art Fair New York, Portrait of a Top boy and Summer exhibition Royal Academy Gallery Representation Retro Africa Gallery and Kristin Hjellegjerde Gallery. Statement about AOAP Submitted Artwork In my artistic endeavours, I explore my personal experiences while also providing a social commentary on the shared experiences of others. For this AOAP project, I have delved into my own encounters in London, using them as a lens to shed light on the collective experiences of African immigrants in the city. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Clay Arlington Untitled 1 Pigment print on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Frankie Shea About Clay Arlington is an artist and designer based in London. He is also a creative director of M House gallery, New Partner Agency, and the fashion brand and art project "Prison Material". He has held numerous exhibitions around the world in cities that are leading the cultural trends - in London, Tokyo, Los Angeles, Paris, Berlin and many other cities. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Peter Messer Clearing, 2023 Egg Tempera on Gesso Panel Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Peter Messer is a well-known artist from Lewes, East Sussex in the United Kingdom. Peter works mainly in egg tempera on a traditional gesso ground and has exhibited in solo and group shows in the UK, US, Germany and France. Many of his paintings have been set in, around or parallel with his home town of Lewes in Sussex. In 1998 he won the Sotheby's-sponsored Chichester Art Prize and in 2000 was commissioned to provide twelve paintings for the Sussex Book of Revelations, an Arts Council Millennium Project which toured Sussex libraries. In 2004 he completed a commission for the House of Lords. In 2014 he was invited to present a major solo exhibition at Schloss Tiengen in the Lewes twin town of Waldshut-Tiengen in Germany. Education Fine Art degree course, University of Brighton Select Exhibitions/Awards Chichester Art Prize 1998, House of Lords commission 2004, frequently exhibited at RA Summer Exhibition Gallery Representation Star Brewery Gallery, Castle Ditch Lane, Lewes, East Sussex, BN71YJ Statement about AOAP Submitted Artwork These artworks are something of a spin-off from the exhibition I'm currently working towards, 'In and out of the Woods' at the Star Brewery Gallery, Lewes in late November. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Ken Nwadiogbu Red Dots Charcoal and acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Ken Nwadiogbu (b. 1994, Lagos, Nigeria) is a self-taught multidisciplinary artist, based in Lagos, Nigeria. A trained civil engineer, he soon pivoted to fine art, first embracing hyperrealism and charcoal drawing before expanding his creative horizon to more conceptual works and a wider array of techniques, including acrylic painting, sculpture and installation. His works are inspired by iconic American contemporary art figures such as J.-M. Basquiat, Kehinde Wiley, Toyin Ojih Odutola and Kerry James Marshall. On Ken's large canvases, stories superimpose themselves in multiple layers. Mixing together hyperrealism with contemporary elements, he creates ingenious, politically charged visual illusions that deploy a singular outlook, daring the audience to question their own, for "value lies in the perspective". Defending an art that can be at once smart and fun, he explores grave matters in intense colours and playful cut-outs, addressing altogether black representation and identity, displacement, and socio-political control. Popularly known as KenArt, Ken is credited for introducing the "Contemporealism" movement and was named by Guardian Life as one of the most "Outstanding Personalities" in Nigeria. In 2019, he was awarded the prestigious The Future Awards Africa in recognition of his contributions to the Nigerian arts community. A core focus for him is to inspire and encourage young creatives. He does this through public speaking and mentorship, as well as through his creative companies. He nurtures an art collective called 'Title Deed' and co-found Artists Connect NG, the largest artist gathering in Nigeria, created to foster creativity, collaboration and community. His works have been exhibited in a number of galleries including Omenka Gallery ('Insanity' group show, Lagos, 2016), Retro Africa ('In the making', Abuja, 2018), Bricklane Gallery ('Contemporealism', London, 2019), Bomb Factory Art Foundation ('Journey Mercies', London, 2021) and Thinkspace ('Ubuntu', LA, 2021). His works were showcased at ART X Lagos on several occasions, at 154 London, and Prizm Art Fair, in Miami. He has worked on multiple projects with respected international brands like Martell Cognac, McMillan Publishers, Flight Logistics, and many others. Ken enjoys expanding his perspective -and ours, rarely ever leaving anything to chance, but rather proceeding from a place of joy, and intentional care. He is constantly revitalizing his practice by challenging modes of Black representation. His oeuvres do not just encompass various forms of painting but most recently transcends into photography, sculpture, installation, NFT and video Education MA Painting, Royal College of Art Select Exhibitions/Awards Awards: 2019: The Future Awards Africa Prize for Art Exhibitions: 2022, SCOPE Art Fair Miami, 2020, Prizm International Art Fair Miami, 2020, 1-54 African Art Fair New York, Portrait of a Top boy and Summer exhibition Royal Academy Gallery Representation Retro Africa Gallery and Kristin Hjellegjerde Gallery. Statement about AOAP Submitted Artwork In my artistic endeavours, I explore my personal experiences while also providing a social commentary on the shared experiences of others. For this AOAP project, I have delved into my own encounters in London, using them as a lens to shed light on the collective experiences of African immigrants in the city. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Vilte Fuller Sucking Diesel Study, 2023 Oil and beeswax on paper Signed on Verso 11 x 15cm (4¼ x 5¾ in.) This lot has been curated by Ell Pennick About Vilte Fuller, born in 1996 in Klaipeda, Lithuania, lives and works in London, UK. Vilte makes figurative paintings depicting glamorous hellscapes taking influence from the popularity of dystopian narratives in popular culture and storytelling from her Baltic heritage. Each individual painting is a small vignette of a larger whole with recurring characters, landscapes and motifs. The paintings might be seen as stills from a film, except that they are very insistent on their status as paintings, using different textures on the canvas and a variety of scales. Education 2018, BA Hons Fine Art: Painting and Printmaking, Glasgow School of Art Select Exhibitions/Awards Solo Exhibitions: Upcoming 2023 'Corporate Horrors', Brooke Benington, London 2023 'Gravesend', Mou Projects, Hong Kong 2023 'Sleeper Agent', Superzoom, Paris 2022, Strangers by the side of the road, Polina Berlin Gallery, NY 2022, Little Kiosk of Bone Juice, Niru Ratnam, London 2021 The shuttle to the moon has crashed and now I'm falling, Superzoom, Paris Group Exhibitions: 2022, To Bodily Go, Curated by Sasa Bogojev, Superzoom, Miami 2022, Grand Opening, Superzoom, Paris 2022, The Feeling is Mutual, Galerie Hussenot, Paris 2021, The Fisherman's Dream, Ruttkowski 68, Paris Gallery Representation Guts Gallery You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Kate Walters Ms. (2) Watercolour sticks, oil pastels and ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Kate lives and works in west Cornwall. She works every day in her studio, after walking beside the sea. Viewing Kate's totemic figures, so delicately rendered in Rorschach-esque watercolour, for the first time, is as though peering into the very cycles of life and death. These paintings show both an abstract interest and material contact between the primordial and the universal -- a suggested communion with that same spirit who first cast images on those low-lit caves in Lascaux. Indeed, like them, it is not so much figure Kate's works seek to represent: her preoccupation is rather with movement, with spirit and sensation, with being itself. Education Foundation Byam Shaw; Fine Art Brighton University; post graduate studies at Falmouth University. Also studied classical shamanism with Chris Luttichau at Northern Drum. Select Exhibitions/Awards RA summer show 2005; ACE awards 2004, 2007 and 2020; a-n awards to visit and write about Venice Biennale, and tour the Outer Hebrides researching and working; awards from Cultivator Cornwall and Creative Skills to research Shetland and Venice. Solo show Newlyn Art Gallery 2012, with support from Newlyn Art Gallery and the Juliet Gomperts Trust. Short-listed for the Trinity Buoy Wharf Drawing Prize in 2023 and Jerwood Drawing Prize in 2003 and 2008. Solo exhibition Tremenheere Gallery 2019. Solo exhibitions with Arusha Gallery in 2014, 2019, 2022 and forthcoming May 2024 (London). Gallery Representation Arusha Gallery, Edinburgh, New York and London. Statement about AOAP Submitted Artwork I made these drawings as part of a long sequence of drawings I'm making in found and vintage books. They explore imagery I receive in dreams and from spiritual traditions which fascinate and inspire me. Everything I do and make is through the lens of my deeply felt bodily sensations. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Peter Messer Avenue, 2023 Egg Tempera on Gesso Panel Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Peter Messer is a well-known artist from Lewes, East Sussex in the United Kingdom. Peter works mainly in egg tempera on a traditional gesso ground and has exhibited in solo and group shows in the UK, US, Germany and France. Many of his paintings have been set in, around or parallel with his home town of Lewes in Sussex. In 1998 he won the Sotheby's-sponsored Chichester Art Prize and in 2000 was commissioned to provide twelve paintings for the Sussex Book of Revelations, an Arts Council Millennium Project which toured Sussex libraries. In 2004 he completed a commission for the House of Lords. In 2014 he was invited to present a major solo exhibition at Schloss Tiengen in the Lewes twin town of Waldshut-Tiengen in Germany. Education Fine Art degree course, University of Brighton Select Exhibitions/Awards Chichester Art Prize 1998, House of Lords commission 2004, frequently exhibited at RA Summer Exhibition Gallery Representation Star Brewery Gallery, Castle Ditch Lane, Lewes, East Sussex, BN71YJ Statement about AOAP Submitted Artwork These artworks are something of a spin-off from the exhibition I'm currently working towards, 'In and out of the Woods' at the Star Brewery Gallery, Lewes in late November. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
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