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Marion Elizabeth Adnams (1898–1995) Derby, Oil on board "Drying the Nets" 1955. framed, 59cm x 69cm. signed bottom left with title and Artist's address 22 Otter St Derby verso. Marion Adnams initially trained as a modern languages teacher; however, woodcuts she made while travelling in Europe during the 1920s received significant praise when she exhibited them at Derby Art Gallery, prompting her to re-train at Derby School of Art during the 1930s. She qualified as an art teacher in 1938 and in 1946 she became Head of Art at Derby Diocesan Training College. From the late 1930s onwards, Adnams became known for her distinctive Surrealist paintings, and exhibited in local galleries and in London, including at the British Art Centre and the Modern Art Gallery. Although she never formally joined any Surrealist societies, she made a significant contribution to the movement, particularly regarding female/male dichotomies within the group, which she explored extensively in her work. In 2017 she was the subject of a retrospective at Derby Art Gallery.

A modern hammered metal folk art style figure of a standing cat, with part pierced body, 59cm high, a Shudehill gift ware cat and another similar. (3)

Two modern art glass items to include amethyst coloured single-handled ewer and a ruby glass baluster vase. (2)(B.P. 21% + VAT)

Modern red ground art glass vase of waved form,   signed Mdina  to the underside.(B.P. 21% + VAT)

An important tankard with cover from the collection of King Fernando II (1816-1885)Portuguese silver tankard with cover, 19th century Double body, the inner in plain gilt silver and the outer of profuse repoussé and chiselled decoration with classical female masks, floral and foliage motifs and fruits, interlaced with volutes Fruit basket lid pommel Acanthus leaf, foliage motifs and classical bearded mask decoration to handle and neo-medieval thumbpiece with female bust Marked with King Fernando's gothic F monogram under the Royal Crown and inventory number 36 Maker's mark CIMS for Cirilo José Maz da Silva (L-198.0), registered June, 9th 1826 and Lisbon city mark (L-42.0) for ca. 1822 to ca. 1860Literature: F. Moutinho de Almeida/Rita Carlos "Inventário de Marcas de Pratas Portuguesas e Brasileiras" séc. XV a 1887 pp. 141, 111Height: 16 cm845 g  Catalogue EssayAn unquestionable defining figure within the Portuguese 19th century cultural panorama, King Fernando II (Ferdinand of Saxe-Coburg-Gotha-Koháry, (Vienna 1816 – Lisbon 1885) would reveal himself, soon after his arrival in Portugal following his marriage to Queen Maria II of Portugal (1819-1853), as a committed and knowledgeable art collector. Amongst the broad scope of his interests, gold smithery certainly occupied a most relevant position as can be assessed from the 1866 inventory of his estate. In this long manuscript list, compiled by the king himself, all the collected objects are described and classified, possible manufacture dates proposed, and technical and aesthetic analyses annotated. This inventory is also revealing in terms of provenances, both in terms of which objects were King Fernando’s own acquisitions and which were gifted to him. Additionally, to dissipate any possible doubts on their ownership, the king also noted at the end of each entry: “Propriedade Minha” (My Own Property). Bequeathed to the Pena National Palace, in whose archive it is now preserved, this important inventory has recently been studied and published on-line, allowing for a deeper knowledge of various objects that have, through time, been dispersed, and are now owned by various public and private collections, or whose location is unknown, as a consequence of the splitting of the inheritance upon the King’s death. The tankard now brought to sale at auction by Veritas is recorded in this inventory list under nr.119, book I, which lists “Objects in silver, gold, etc.”: N.º 119) Caneca de prata por dentro dourada em relevo e cinzelada. Feita no estilo da renaissance, na officina de R. Pinto. Foi-me dada pela rainha D. Maria II de saudosa memoria, é uma bonita peça e tem a particularidade de me ter servido desde os primeiros annos depois da minha chegada a este paiz até ao dia de hoje, para conter a agoa para lavar a bocca; e accompanhou-me em muitas viagens n’este paiz. – Tem tampa móvel. Propr. minha. (Nr. 199) Silver tankard gilded on the inside in reliefs and chiselled. Made in the Renaissance style at the workshop of R. Pinto. It was gifted to me by Queen Maria II of wistful memory, it is an elegant piece and it has the peculiarity of having served me from the early years of my arrival to this country up untiltoday, to hold water to wash my mouth; and it has accompanied me in many travels through this country. – It has a mobile cover. My Property.) It is thus confirmed that the tankard was made in the workshop of Raimundo José Pinto (1807-1859), the Royal Silversmith that was also, certainly not coincidentally, the main supplier of both antique and modern silver pieces to the King consort. A master goldsmith, Raimundo José Pinto established himself as a businessman and dealer, having owned a very active workshop where Cirilo José Maz da Silva worked and whose mark (registered 1826) has been identified in this the tankard. Raimundo was also the co-owner of the firm Pinto & Sousa, based at Rua da Prata, in Lisbon, which after his death, becomes the renowned jeweller Estevão de Sousa. The inventory also clarifies that the tankard was a gift from Queen Maria II, prematurely dead in 1853, as well as that it was used for the King’s oral hygiene, a fact that explains its plain gilt interior. The fact that it accompanied King Fernando in his travels, from his early days in Portugal, suggests that it was a cherished object, as it can be expected within the Romantic sentimental context of the time, and independently of the antiquity or artistic merit that in general defined his collecting criteria, so clearly assessed from the secular 16th century Portuguese silver collection, partly preserved at Ajuda National Palace. Aware of her husband’s collecting interests, D. Maria gifted him other gold and silver pieces that are also described in the inventory and whose present location remains mostly unknown. D. Fernando refers such gifts in the “memorial diary” written following the Queen’s death, a document also kept in the Portuguese National Archives, a section of which we transcribe herewith: “Maria era tão boa, que prazer ela tinha em adivinhar os meus gostos. Para me ser agradável, ela, que antes não tinha a menor ideia de tais coisas, aprendera a apreciar e a amar as obras de arte. Com que alegria ela me trazia uma gravura de um bom mestre, alguma linda água-forte antiga ou algum belo trabalho em prata ou em prata dourada! Tudo o que veio dela, tudo o que ela arranjou e instalou comigo será sempre querido e precioso!” (Maria was very kind and had genuine pleasure in guessing my tastes. To be agreeable to me, she, who before had no idea of such things, had learned to enjoy and to love works of art. She would joyfully bring me a print by a renowned master, a charming antique etching or some beautiful silver or gilt-silver object! Everything that came from her, everything that she found and fitted with me will always be cherished and precious!). The tankard herewith described was engraved on the base with the King’s ownership mark (gothic script F) and the number 36, corresponding, not to the inventory referred above, but to another list compiled by a secretary in 1858, which is equally preserved at the National Archives. It this inventory it is described as “trabalho moderno, imitando o antigo, com cinco mascarões, sendo um na aza” (modern work copying the antique, with five classical masks, one in the handle). Following King Fernando II’s death it was eventually inventoried in his Necessidades Palace apartments Toilette, under nr. 2283, a detail that suggests that it had maintained the use for which it was originally destined. Described as “replicating Renaissance work” it was valued, for inheritance purposes, at 36 thousand reals. According to this post mortem inventory, also preserved at the National Archives, it became part of the lot inherited by Prince Afonso, Duke of Porto (1865-1920), commonly known as “O Arreda” (The Move Away), for his early interest in automobiles and speed. It was probably disposed of during the prince’s life, as was the case with other objects inherited from his grandfather which were acquired by Counsellor João Arroyo (1861-1930) and subsequently auctioned in the latter 1905 estate sale.Hugo XavierLiterature: Hugo Xavier, “Propriedade Minha”: ourivesaria, marfins e esmaltes da coleção de D. Fernando II, Coleções Em Foco | Palácios Nacionais |Sintra Queluz Pena, n.º 4, PSML, 2022. Disponível online em www.parquesdesintra.pt

Charlotte Keates Under Treetops 1 Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Charlotte's work is inspired by interiors, travels, and architectural composition, in seamless communion with elements from the natural world. Trees push through flat concrete, while perspectives unfold in sheets of glass. These images of modernist leisure leave one with the feeling of having entered a space only recently vacated, dramatising stillness without surrendering movement. These are environments that suggest, technically as well as artistically, indistinct human activity and motion. "The interiors that I paint are entirely imagined - I am very interested in architecture; a certain angle or spatial construction within a room. I do not necessarily have a constructed interior in my head, I start with one element that has inspired me and let the painting unfold. There is a sense of anticipation yet stillness, almost like a moment frozen in time, remembering the split second of a place or object. It is this fragility and vulnerability I want to convey, almost waiting for something to happen or even emerge."If, as Kevin Lynch argues in his essay The Image of the City (1960), architecture is 'construction in space' and therefore a 'temporal art', then Keates's paintings, replete with geometric and trapezoidal imagery, are the artist fracticalising the no-less concrete practice of the architect. Keates's work is interdisciplinary, meta-textual - serene, airy landscapes that shock the viewer with 'more than the eye can see, more than the ear can hear', evermore settings, corners and aspects 'waiting to be explored'.Charlottes works can be found in collections across the globe including the UK, Europe, US, Bahamas, Taiwan and Hong Kong.   Select Exhibitions/Awards   UPCOMING Mestre Projects, Bahamas London Art Fair 2022, Arusha Gallery May 2022 Group Show, Asia Art Centre, Taiwan   2021 The Armory Show 2021, New York Group show with Cristea Roberts 'Just what is it...?' Safe as Milk, Arusha Gallery, London A Constant Hum, Arusha Gallery, London   2019 London Art Fair, Arusha Gallery 'Art on the Mind' Charity Auction, Mayfair PULSE Miami Contemporary Art Fair (group booth presentation with Arusha Gallery)   2018 PULSE Miami Contemporary Art Fair (solo booth with Arusha Gallery) 'LA Summer' group exhibition, Arusha Gallery, Edinburgh 'A Focus On Painting' Cynthia Corbett Gallery London Columbia Threadneedle Prize, Mall Galleries London January (2 paintings) London Art Fair, Arusha Gallery Marie Curie 'Garden of Light' Charity Installation - guest artist, London 'Art on the Mind' Charity Auction featuring Tracy Emin, Antony Gormley, Anish Kapoor Mayfair, April   2017 'Sojourn' Solo Exhibition, Arusha Gallery   2016 Royal Academy Summer Exhibition London, exhibiting artist Lynn Painter Stainers Prize Exhibition, The Mall Galleries London 'Geometry of Space' Group Exhibition The Porthminster Gallery 'Form, Colour, Light' Group Exhibition, The Project Gallery 'Exploiting Perspectives; a harmony in chaos' Solo Exhibition Arusha Gallery Stockholm Art Fair, Arusha Gallery   2015 'Perspectives on Space' The Project Gallery 'Alternatives Never Found' Arusha Gallery, Edinburgh 'Margaret Lovell Retrospective: 50 Years On Accompanied by Charlotte Keates and paintings, drawings and prints by St Ives Modern Artists such as Barbara Hepworth, Peter Lanyon and Ben Nicholson' The Porthminster Gallery, St Ives 'Summer Collective Exhibition' The Project Gallery Manchester Art Fair, Arusha Gallery 'Small Scapes' The Project Gallery, Arundel, West Sussex

Charlotte Keates Under Treetops 2 Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Charlotte's work is inspired by interiors, travels, and architectural composition, in seamless communion with elements from the natural world. Trees push through flat concrete, while perspectives unfold in sheets of glass. These images of modernist leisure leave one with the feeling of having entered a space only recently vacated, dramatising stillness without surrendering movement. These are environments that suggest, technically as well as artistically, indistinct human activity and motion. "The interiors that I paint are entirely imagined - I am very interested in architecture; a certain angle or spatial construction within a room. I do not necessarily have a constructed interior in my head, I start with one element that has inspired me and let the painting unfold. There is a sense of anticipation yet stillness, almost like a moment frozen in time, remembering the split second of a place or object. It is this fragility and vulnerability I want to convey, almost waiting for something to happen or even emerge."If, as Kevin Lynch argues in his essay The Image of the City (1960), architecture is 'construction in space' and therefore a 'temporal art', then Keates's paintings, replete with geometric and trapezoidal imagery, are the artist fracticalising the no-less concrete practice of the architect. Keates's work is interdisciplinary, meta-textual - serene, airy landscapes that shock the viewer with 'more than the eye can see, more than the ear can hear', evermore settings, corners and aspects 'waiting to be explored'.Charlottes works can be found in collections across the globe including the UK, Europe, US, Bahamas, Taiwan and Hong Kong.   Select Exhibitions/Awards   UPCOMING Mestre Projects, Bahamas London Art Fair 2022, Arusha Gallery May 2022 Group Show, Asia Art Centre, Taiwan   2021 The Armory Show 2021, New York Group show with Cristea Roberts 'Just what is it...?' Safe as Milk, Arusha Gallery, London A Constant Hum, Arusha Gallery, London   2019 London Art Fair, Arusha Gallery 'Art on the Mind' Charity Auction, Mayfair PULSE Miami Contemporary Art Fair (group booth presentation with Arusha Gallery)   2018 PULSE Miami Contemporary Art Fair (solo booth with Arusha Gallery) 'LA Summer' group exhibition, Arusha Gallery, Edinburgh 'A Focus On Painting' Cynthia Corbett Gallery London Columbia Threadneedle Prize, Mall Galleries London January (2 paintings) London Art Fair, Arusha Gallery Marie Curie 'Garden of Light' Charity Installation - guest artist, London 'Art on the Mind' Charity Auction featuring Tracy Emin, Antony Gormley, Anish Kapoor Mayfair, April   2017 'Sojourn' Solo Exhibition, Arusha Gallery   2016 Royal Academy Summer Exhibition London, exhibiting artist Lynn Painter Stainers Prize Exhibition, The Mall Galleries London 'Geometry of Space' Group Exhibition The Porthminster Gallery 'Form, Colour, Light' Group Exhibition, The Project Gallery 'Exploiting Perspectives; a harmony in chaos' Solo Exhibition Arusha Gallery Stockholm Art Fair, Arusha Gallery   2015 'Perspectives on Space' The Project Gallery 'Alternatives Never Found' Arusha Gallery, Edinburgh 'Margaret Lovell Retrospective: 50 Years On Accompanied by Charlotte Keates and paintings, drawings and prints by St Ives Modern Artists such as Barbara Hepworth, Peter Lanyon and Ben Nicholson' The Porthminster Gallery, St Ives 'Summer Collective Exhibition' The Project Gallery Manchester Art Fair, Arusha Gallery 'Small Scapes' The Project Gallery, Arundel, West Sussex

Florence Peake National Gallery Performance Rosalie I Acrylic Paint on Card Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Florence Peake is a London-based artist who has been making solo and group performance works intertwined with an extensive visual art practice since 1995. Presenting work internationally and across the UK in galleries, theatres and the public realm, Peake is known for an approach which is at once sensual and witty, expressive and rigorous, political and intimate. Peake produces movement, interactive sculpture, paintings that use the whole body's physicality, text, film and drawings which respond and intercept each other to articulate, extend and push ideas. Peake's work explores notions of materiality and physicality: the body as site and vehicle of protest; the erotic and sensual as tools for queering materiality; the subjective and imagined body as a force equal to those that move in our objective flesh-bound world. By encouraging chaotic relationships between the body and material, Peake creates radical and outlandish performances, which in turn generate temporary alliances and micro-communities within the audience. Peake's painting is as an extension of the body itself: it is produced gesturally and performatively, and is both a manifestation of the external body in motion and the way personal experience and feeling is recorded within the tissue and bones. Their painting practice comes together with sculpture and performance in a reciprocal nature: engaging in a shared dialogue and creating multiple modes of processing performance, and the interrelations between dancers, audiences and sites. Peake has worked with filmmakers, artists and choreographers including Joe Moran, Gaby Agis, Tai Shani, Jonathan Baldock, Serena Korda, Nicola Conibere, Gary Stevens, Catherine Hoffmann, Eve Stainton, Station House Opera and Theatre of Mistakes.   Select Exhibitions/Awards Peake is part of the Hayward Gallery's touring British Art Show 9 (2021). Peake's work has been presented at Arsenic theatre and Sudpol theatre in Switzerland (2020),Venice Biennale 2019; CRAC Occitanie, Sète, France (2018), London Contemporary Music Festival, UK (2018), Bosse & Baum, London, UK (2019); De La Warr Pavilion, Bexhill, UK (2018); Palais De Tokyo, Paris, France (2018); Hayward Gallery, London UK (2018), Wysing Arts Centre, Cambridge, UK (2017), Studio Leigh, London UK (2017); Sara Zanin Gallery, Rome, Italy (2017); Serpentine, London UK (2016); Whitechapel Gallery, London, UK (2016); ICA, London (2016); Modern Art Oxford (2016); BALTIC, Newcastle UK (2013), Frieze, London UK (2013), Yorkshire Sculpture Park (2012).

Pina Ambrosino Off Her Tits Watercolour on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About By the age of 14 I was drawing nudes at Roar Studios in Melbourne's then seedy Brunswick Street Fitzroy and sipping on glasses of red wine with Art Professors and students. I studied Bachelor of Fine Art at Monash University, then at RMIT in Melbourne. I was lucky enough to have been taught by great Australian lecturers and contemporary painters. I have always been interested in the human form, perhaps those early influences of the unashamedly nude forms have stuck with me. I am currently exploring these forms using Acrylic on 100% archival quality cotton paper. I love the fluidity that paper brings to my work. I am currently expanding my artistic medium by working on an extensive range of Ceramic Art Objects. I use underglazes and scratching techniques to explore the human form and explore the importance of human connection through my images. The vases, plates and Urns are all limited editions and one of a kind - exploring similar techniques. Each object has its own character and tells a different story, my figures often lean on each other for support & are a source of comfort to each other. Education Studied Bachelor of Fine Art   Select Exhibitions/Awards June 24 2021- Solo Show at Lyons Gallery Sydney Australia November 11 2021- Group Show at Lyons Gallery Sydney Australia December 8th 2021- Solo Show at Coogee Wine Room - Hosted by Lyons Gallery Sydney   Gallery Representation Unsigned   Statement about AOAP Submitted Artwork The bottling up of emotions as well as the pouring out of feelings are referenced in my work. The figures appear to be trapped, however I feel they are sitting comfortably in the spaces that they occupy. My work reflects what makes me most uncomfortable and how I choose to look at myself with total equanimity. My work counters modern day culture: The desire to be liked, to be looked at and adored. It is disturbing to see the lack of self-love and acceptance of our physical selves in our modern-day communities. I hope to inspire others to look upon the human form and revel in the perfection of the imperfections. Working as a contemporary artist nothing has left me with the greater gift of introspection than being faced with one's own mortality. I choose to accept myself the way I am - post Breast Cancer treatment. I aim to focus on celebrating the human form and celebrate the human experience.

Pina Ambrosino The Resting Place Watercolour on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About By the age of 14 I was drawing nudes at Roar Studios in Melbourne's then seedy Brunswick Street Fitzroy and sipping on glasses of red wine with Art Professors and students. I studied Bachelor of Fine Art at Monash University, then at RMIT in Melbourne. I was lucky enough to have been taught by great Australian lecturers and contemporary painters. I have always been interested in the human form, perhaps those early influences of the unashamedly nude forms have stuck with me. I am currently exploring these forms using Acrylic on 100% archival quality cotton paper. I love the fluidity that paper brings to my work. I am currently expanding my artistic medium by working on an extensive range of Ceramic Art Objects. I use underglazes and scratching techniques to explore the human form and explore the importance of human connection through my images. The vases, plates and Urns are all limited editions and one of a kind - exploring similar techniques. Each object has its own character and tells a different story, my figures often lean on each other for support & are a source of comfort to each other. Education Studied Bachelor of Fine Art   Select Exhibitions/Awards June 24 2021- Solo Show at Lyons Gallery Sydney Australia November 11 2021- Group Show at Lyons Gallery Sydney Australia December 8th 2021- Solo Show at Coogee Wine Room - Hosted by Lyons Gallery Sydney   Gallery Representation Unsigned   Statement about AOAP Submitted Artwork The bottling up of emotions as well as the pouring out of feelings are referenced in my work. The figures appear to be trapped, however I feel they are sitting comfortably in the spaces that they occupy. My work reflects what makes me most uncomfortable and how I choose to look at myself with total equanimity. My work counters modern day culture: The desire to be liked, to be looked at and adored. It is disturbing to see the lack of self-love and acceptance of our physical selves in our modern-day communities. I hope to inspire others to look upon the human form and revel in the perfection of the imperfections. Working as a contemporary artist nothing has left me with the greater gift of introspection than being faced with one's own mortality. I choose to accept myself the way I am - post Breast Cancer treatment. I aim to focus on celebrating the human form and celebrate the human experience.

Pina Ambrosino Consumed By Space Watercolour on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About By the age of 14 I was drawing nudes at Roar Studios in Melbourne's then seedy Brunswick Street Fitzroy and sipping on glasses of red wine with Art Professors and students. I studied Bachelor of Fine Art at Monash University, then at RMIT in Melbourne. I was lucky enough to have been taught by great Australian lecturers and contemporary painters. I have always been interested in the human form, perhaps those early influences of the unashamedly nude forms have stuck with me. I am currently exploring these forms using Acrylic on 100% archival quality cotton paper. I love the fluidity that paper brings to my work. I am currently expanding my artistic medium by working on an extensive range of Ceramic Art Objects. I use underglazes and scratching techniques to explore the human form and explore the importance of human connection through my images. The vases, plates and Urns are all limited editions and one of a kind - exploring similar techniques. Each object has its own character and tells a different story, my figures often lean on each other for support & are a source of comfort to each other. Education Studied Bachelor of Fine Art   Select Exhibitions/Awards June 24 2021- Solo Show at Lyons Gallery Sydney Australia November 11 2021- Group Show at Lyons Gallery Sydney Australia December 8th 2021- Solo Show at Coogee Wine Room - Hosted by Lyons Gallery Sydney   Gallery Representation Unsigned   Statement about AOAP Submitted Artwork The bottling up of emotions as well as the pouring out of feelings are referenced in my work. The figures appear to be trapped, however I feel they are sitting comfortably in the spaces that they occupy. My work reflects what makes me most uncomfortable and how I choose to look at myself with total equanimity. My work counters modern day culture: The desire to be liked, to be looked at and adored. It is disturbing to see the lack of self-love and acceptance of our physical selves in our modern-day communities. I hope to inspire others to look upon the human form and revel in the perfection of the imperfections. Working as a contemporary artist nothing has left me with the greater gift of introspection than being faced with one's own mortality. I choose to accept myself the way I am - post Breast Cancer treatment. I aim to focus on celebrating the human form and celebrate the human experience.

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

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

Gerda Roper A Renaissance Look Pencil on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About My work is pencil on paper or oil on linen. I work figuratively.   Education MFA (Master of Fine Art) Reading University. BA Hons Fine Art, Exeter College of Art and Design   Select Exhibitions/Awards Member of Welsh Group. Large one person Exhibition Summer 21 Museum of Modern Art Machynlleth   Gallery Representation Kooywood Gallery 2018-2020 Attic Gallery Swansea 2021 and Waterfront Gallery Milford Haven 2021   Statement about AOAP Submitted Artwork I find profiles intriguing; I liked the quietness of this pose.

Ceal Warnants Girls Are Loud Digital Print Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About b. 1984, Guildford, Surrey. Lives and works in London. The work draws parallels between the youth of 'then' and 'now'. The angst is the same but the pressures are different. Basing work on illustrations from the past helps to lend it an authenticity but also highlights the differences between two timeframes. Innocence is the truth of childhood whatever the era and it is fascinating.   Education 2002 - 2006 BA (Hons) Winchester School of Art (Printmaking) 2006 - 2008 MA RCA (Printmaking)   Select Exhibitions/Awards 2021 'ROYAL ACADEMY SUMMER EXHIBITION' - ROYAL ACADEMY OF ARTS 'CHOOSE LOVE' SOHO REVUE GALLERY, LONDON WITH THE PRINT CLUB 'ART CAR BOOT FAIR' WITH JEALOUS GALLERY 'ART ON A POSTCARD - INTERNATIONAL WOMEN'S DAY' 2020 "HOUSE OF VANS COMMUNITY MARKET" - HOUSE OF VANS, LONDON 'ROYAL ACADEMY SUMMER (WINTER) EXHIBITION 2020' - ROYAL ACADEMY OF ARTS, LONDON. 'WOMENKIND NORTH" - WITH LAE CONSULTANCY, PRESTON. 'ART ON A POSTCARD - INTERNATIONAL WOMEN'S DAY' - ALL BRIGHT, MAYFAIR, LONDON. 2019 'NOTICE THE SMALL THINGS" - JEALOUS GALLERY, LONDON. 'BLISTERS - WAY BACK WHEN' - PRINT CLUB, LONDON. 2018 'THE CUT' - HICKS GALLERY, LONDON 'POP ART FEMMES' - GINA CROSS GALLERY X ARTSY X GUCCI, LONDON 'CHOOSE LOVE' - THE PRINT CLUB @ SOMERSET HOUSE, LONDON 'WEIL ICH EIN MÄDCHEN BIN' - ODAPARK, CENTRUM VOOR HEDENDAAGSE KUNST, NETHERLANDS. 'ROYAL ACADEMY SUMMER EXHIBITION 2018' - ROYAL ACADEMY OF ARTS, LONDON. COLLABORATION WITH "COCO FENNELL" FOR SS18 COLLECTION #COCOXCEAL 2017 COLLABORATION WITH "THE BIG ISSUE" #WEARABIGISSUE 'ROYAL ACADEMY SUMMER EXHIBITION' - ROYAL ACADEMY OF ARTS, LONDON. 'GIRLS, GIRLS, GIRLS' - JEALOUS NORTH, LONDON. 2016 'KIDDING' (W/KRISTIAN JONES), JEALOUS GALLERY, LONDON. '20 BEST OF ART ON A POSTCARD' - JEALOUS GALLERY, LONDON. 2015 'FRACTURED FAIRYTALES' (3 PERSON SHOW WITH JESSICA HARRISON & JOE WEBB) - JEALOUS GALLERY, LONDON. 2014 'ROYAL ACADEMY SUMMER EXHIBITION' - ROYAL ACADEMY OF ARTS, LONDON. 'TIME OF THE MONTH' - JEALOUS GALLERY, LONDON. 2013 'ENGLISH EDITION' - CULTURE GALLERY, CAPE TOWN, SOUTH AFRICA. 'CONTES DE NOËL' - LESS IS MORE PROJECTS, PARIS, FRANCE. 2012 'ASSEMBLY' - HARTINGTON ROAD, LONDON. 'JEALOUS @ HEAL'S, HEAL'S', TOTTENHAM COURT ROAD. 2011 'EXAM.' - TRANSITION GALLERY, LONDON. 2010 'ROYAL ACADEMY SUMMER EXHIBITION' - ROYAL ACADEMY, LONDON. 'LA COLLECTION DE MONSIEUR X, OU LES AVANTAGES D'ÊTRE UN COLLECTIONNEUR' - ATELIER RICHELIEU, 60, RUE DE RICHELIEU, PARIS. 2009 'MANDERLEY' - JOHN JONES PROJECT SPACE, FINSBURY. 'ROYAL ACADEMY SUMMER EXHIBITION' - ROYAL ACADEMY, LONDON. 'TATE'S LONG WEEKEND', BOXBOT STAGE - TATE MODERN, SOUTHWARK. 'NEW PRINTS FROM THE ROYAL COLLEGE OF ART SELECTED BY CHRIS ORR RA' - ROYAL ACADEMY OF ARTS, IN THE SIR HUGH CASSON ROOM FOR FRIENDS OF THE ROYAL ACADEMY, LONDON. 2008 '10' - AN EXHIBITION TO CELEBRATE THE 10 YEARS OF CHRIS ORR'S PROFESSORSHIP IN CONJUNCTION WITH THE WORK OF NOTABLE ARTISTS INCLUDING TRACEY EMIN AND MICHAEL CRAIG-MARTIN - ROYAL COLLEGE OF ART GALLERIES, KENSINGTON, LONDON. 'MAKE BELIEVE' - SHOW WITH BOO RITSON, RUTH CLAXTON ET AL. PART OF 'CONCRETE AND GLASS' MUSIC AND ART FESTIVAL NICHOLLS & CLARKE BUILDING, 3-10 SHOREDITCH HIGH STREET. 'BEAUTIFULLY CRAFTED' - NATIONAL GLASS CENTRE, SUNDERLAND. 'SHOW RCA 2008' - HENRY MOORE GALLERY, ROYAL COLLEGE OF ART, KENSINGTON, LONDON. 2007 'IF YOU COULD DO ANYTHING TOMORROW - WHAT WOULD IT BE?' - EXPOSURE GALLERY, LITTLE PORTLAND STREET, LONDON. 'OVER AND OVER AGAIN' - CURATED BY SASHA CRADDOCK - SADLER'S WELLS, ROSEBERY AVENUE, LONDON. COLLECTIONS CHAPMAN BROTHER'S FAMILY ARCHIVE ROYAL COLLEGE OF ART ARCHIVE WSA LIBRARY ARTIST'S BOOK COLLECTION PRIVATE COLLECTIONS WORLDWIDE COLLABORATIONS 2018 COCO FENNELL 2017 THE BIG ISSUE #WEARABIGISSUE SCHOLARSHIPS AND AWARDS 2008 TIM MARA PRIZE - WINNER 2008 PRINTMAKING COUNCIL AWARD - WINNER 2008 SOUTH SQUARE TRUST SCHOLARSHIP - WINNER   Gallery Representation Jealous Gallery, Gas Gallery, Chappell Contemporary   Statement about AOAP Submitted Artwork Neither demure, shrinking, nor prim... "Girls are Loud" just as they should be. Shout to be heard. Shout anyway.

Joy Hawkridge Emotional Playground (1 of 2) Acrylic Mixed Media on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Joy is a self-taught abstract artist whose passion for art started at an early age. Born in Germany to English and German parents, raised in South Africa and now based in London. Her love for travel and nature play a huge roll in inspiring her work. Joy recently completed 6 months Studio Arts College in Barcelona, alongside completing a diploma in The History of Modern Art. Joy uses texture and colour to bring emotion and feeling into her large abstract art pieces. Select Exhibitions/Awards Featured in Capsules Book Vol 3   Gallery Representation Saatchi Online Gallery Degree Art Galleries Capital Art Gallery Tobias Oliver Interiors   Statement about AOAP Submitted Artwork Emotional Playground 1 and 2 are inspired by our playful emotions, often when we feel shy, embarrassed or overwhelmed in a situation we revert to childish behaviour, there's an innocence about it that is quite lovely, also it can be a sign or cry out for help, it's a playground we can have fun or get hurt.

Joy Hawkridge Emotional Playground (2 of 2) Acrylic Mixed Media on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Joy is a self-taught abstract artist whose passion for art started at an early age. Born in Germany to English and German parents, raised in South Africa and now based in London. Her love for travel and nature play a huge roll in inspiring her work. Joy recently completed 6 months Studio Arts College in Barcelona, alongside completing a diploma in The History of Modern Art. Joy uses texture and colour to bring emotion and feeling into her large abstract art pieces. Select Exhibitions/Awards Featured in Capsules Book Vol 3   Gallery Representation Saatchi Online Gallery Degree Art Galleries Capital Art Gallery Tobias Oliver Interiors   Statement about AOAP Submitted Artwork Emotional Playground 1 and 2 are inspired by our playful emotions, often when we feel shy, embarrassed or overwhelmed in a situation we revert to childish behaviour, there's an innocence about it that is quite lovely, also it can be a sign or cry out for help, it's a playground we can have fun or get hurt.

Sandra Chevrier La Cage, Trouver L'espoir Mix Media on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) Sandra Chevrier is a Canadian contemporary / pop urban artist, known for her captivating portraits of women from The Cages series. Born in 1983, Chevrier got her Bachelor's degree in visual and media arts from UQAM - L'Université du Québec à Montréal. As a self-taught artist, Sandra Chevrier first fell in love with art as a kid, to her; Art rapidly became a language on its own. At first, she draws sketches of eyes, all the time. This initial obsession is highly visible in her present work. Sandra likes to describe herself as a "gaze collector" and her work; a dichotomy or a dance between power and fragility, freedom and captivity, the poison and the cure. Her work is exhibited internationally and her artworks are now in the collections of art collectors all over the world. Sandra produces work ranging over vastly fluctuating emotional enigmas and concepts that have set the standard of our modern communication, exposing the limitations of our world; our self-imposed expectations and the cages we have allowed to bar us from the fullness of life's experience. With work demanding to be dissected beyond its surface value, Chevrier's portraits are quite literally torn between the fantastical heroics and iconography of comic books and the harsher underlying tragedy of oppressed female identity and the exposed superficial illusion it conveys. In addition to exhibiting a male-dominated world within her 'Cages', Chevrier's subjects denounce the role given to the female counterpart therein, refusing to play the part of seducer or victim. In the greater body of Chevrier's work, the images used within the 'cages' range from scenes of conflict, triumph and defeat. They also represent the social limitations, which corrupt what truly is beautiful and lock women into prisons of highly-codified and narrow identities. By doing so, they are asked to become nothing short of superheroines. Sandra paints masterfully detailed portraiture, making her women seemingly emerge from a surreal world, onto the canvas, wherein a dance is performed between reality and imagination, truth and deception. The artist chooses to highlight the fragility of the superhero, their struggles and weaknesses, and exposes the humanity within the superhuman. Despite all the playfulness of the thing itself and all the "CRASH BAM POW," superheroes are also fragile. We are merely human men and women, and we are entitled to our flaws and errors.

Maryam Deyhim Union Oil Colours on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Maryam's work is characterised by a fine attention to detail and acute observation of society and human behaviour in general. Her special interest is in the way that people interact and co-exist both in the modern-day environment and the commonality and contrasts with the past. Maryam's art captures and contrasts the emotional energy and vibrancy of the crowd or group with the more profound, and often more genuine, emotional response of the individual.   Education She previously studied graphic design and took classes in caricature and animation.   Select Exhibitions/Awards 2021 Summer Exhibition ( Royal Academy Of Art - London) 2020 NDSM-Fuse Gallery (Amsterdam) 2018 "Passion For Freedom" Royal Opera Arcade (ROA) Gallery (London) 2016 The Royal Birmingham Society of Artists (RBSA) Prize 2016 Exhibition 2016 Ashurst Emerging Art Prize exhibition (London) 2015 "Passion For Freedom" at Mall Galleries (London) 2015 Ashurst Emerging Art Prize exhibition (London) 2014 "Passion for Freedom" at Embassy Tea Gallery (London) 2013 Espacio Gallery (London) 2021 Summer Exhibition ( Royal Academy of Art- London) 2021 Finalist - International Artist Grand Prize/Art Revolution Taipei 2020 Shortlisted "Smash the Narrative" at NDSM-Fuse Gallery (Amsterdam) 2020 Finalist - International Artist Grand Prize/Art Revolution Taipei (Taiwan) 2019 Shortlisted "Soundstripes 3" short silent films (Huddersfield) 2018 Shortlisted "Passion For Freedom " awards at Royal Opera Arcade (ROA) Gallery (London) 2016 Finalist- London International Creative Competition (LICC-London) 2016 Highly commended, Ashurst Emerging Artist Prize, UK (London) 2015 1st place - Self-Portrait category for Self Portrait( American Art Awards ) 2015 Shortlisted "Passion For Freedom " awards at Mall Galleries (London) 2015 Shortlisted for Ashurst Emerging Art Prize (London) 2014 Shortlisted for "Passion for Freedom" awards at Embassy Tea Gallery (London) 2013 1st place - Art Brut category for Bar ( American Art Awards) Statement about AOAP Submitted Artwork Art is more than just an activity that brings pleasure and relaxation for me; it is my means of self-expression, the point of access to a world without boundaries and artificial constraints. I am generally an optimistic person and hope that one day everyone will be truly free and able to express themselves in a world of harmony and equality.

Maryam Deyhim She Oil Colours on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Maryam's work is characterised by a fine attention to detail and acute observation of society and human behaviour in general. Her special interest is in the way that people interact and co-exist both in the modern-day environment and the commonality and contrasts with the past. Maryam's art captures and contrasts the emotional energy and vibrancy of the crowd or group with the more profound, and often more genuine, emotional response of the individual.   Education She previously studied graphic design and took classes in caricature and animation.   Select Exhibitions/Awards 2021 Summer Exhibition ( Royal Academy Of Art - London) 2020 NDSM-Fuse Gallery (Amsterdam) 2018 "Passion For Freedom" Royal Opera Arcade (ROA) Gallery (London) 2016 The Royal Birmingham Society of Artists (RBSA) Prize 2016 Exhibition 2016 Ashurst Emerging Art Prize exhibition (London) 2015 "Passion For Freedom" at Mall Galleries (London) 2015 Ashurst Emerging Art Prize exhibition (London) 2014 "Passion for Freedom" at Embassy Tea Gallery (London) 2013 Espacio Gallery (London) 2021 Summer Exhibition ( Royal Academy of Art- London) 2021 Finalist - International Artist Grand Prize/Art Revolution Taipei 2020 Shortlisted "Smash the Narrative" at NDSM-Fuse Gallery (Amsterdam) 2020 Finalist - International Artist Grand Prize/Art Revolution Taipei (Taiwan) 2019 Shortlisted "Soundstripes 3" short silent films (Huddersfield) 2018 Shortlisted "Passion For Freedom " awards at Royal Opera Arcade (ROA) Gallery (London) 2016 Finalist- London International Creative Competition (LICC-London) 2016 Highly commended, Ashurst Emerging Artist Prize, UK (London) 2015 1st place - Self-Portrait category for Self Portrait( American Art Awards ) 2015 Shortlisted "Passion For Freedom " awards at Mall Galleries (London) 2015 Shortlisted for Ashurst Emerging Art Prize (London) 2014 Shortlisted for "Passion for Freedom" awards at Embassy Tea Gallery (London) 2013 1st place - Art Brut category for Bar ( American Art Awards) Statement about AOAP Submitted Artwork Art is more than just an activity that brings pleasure and relaxation for me; it is my means of self-expression, the point of access to a world without boundaries and artificial constraints. I am generally an optimistic person and hope that one day everyone will be truly free and able to express themselves in a world of harmony and equality.

Maryam Deyhim Magic Face Oil Colours on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Maryam's work is characterised by a fine attention to detail and acute observation of society and human behaviour in general. Her special interest is in the way that people interact and co-exist both in the modern-day environment and the commonality and contrasts with the past. Maryam's art captures and contrasts the emotional energy and vibrancy of the crowd or group with the more profound, and often more genuine, emotional response of the individual.   Education She previously studied graphic design and took classes in caricature and animation.   Select Exhibitions/Awards 2021 Summer Exhibition ( Royal Academy Of Art - London) 2020 NDSM-Fuse Gallery (Amsterdam) 2018 "Passion For Freedom" Royal Opera Arcade (ROA) Gallery (London) 2016 The Royal Birmingham Society of Artists (RBSA) Prize 2016 Exhibition 2016 Ashurst Emerging Art Prize exhibition (London) 2015 "Passion For Freedom" at Mall Galleries (London) 2015 Ashurst Emerging Art Prize exhibition (London) 2014 "Passion for Freedom" at Embassy Tea Gallery (London) 2013 Espacio Gallery (London) 2021 Summer Exhibition ( Royal Academy of Art- London) 2021 Finalist - International Artist Grand Prize/Art Revolution Taipei 2020 Shortlisted "Smash the Narrative" at NDSM-Fuse Gallery (Amsterdam) 2020 Finalist - International Artist Grand Prize/Art Revolution Taipei (Taiwan) 2019 Shortlisted "Soundstripes 3" short silent films (Huddersfield) 2018 Shortlisted "Passion For Freedom " awards at Royal Opera Arcade (ROA) Gallery (London) 2016 Finalist- London International Creative Competition (LICC-London) 2016 Highly commended, Ashurst Emerging Artist Prize, UK (London) 2015 1st place - Self-Portrait category for Self Portrait( American Art Awards ) 2015 Shortlisted "Passion For Freedom " awards at Mall Galleries (London) 2015 Shortlisted for Ashurst Emerging Art Prize (London) 2014 Shortlisted for "Passion for Freedom" awards at Embassy Tea Gallery (London) 2013 1st place - Art Brut category for Bar ( American Art Awards) Statement about AOAP Submitted Artwork Art is more than just an activity that brings pleasure and relaxation for me; it is my means of self-expression, the point of access to a world without boundaries and artificial constraints. I am generally an optimistic person and hope that one day everyone will be truly free and able to express themselves in a world of harmony and equality.

Kate Milsom Modern Mark Oil and Mixed Media on Fabriano Watercolour Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Kate Milsom (SWA) works from her studio on the Welsh Borders creating elaborate mixed media pieces. She is endlessly fascinated with how and why society functions, what 'rules' we accept to live by, where they are subverted and who among us is brave enough to pay them no heed. Working in series, her paintings often investigate socio-political themes using historical comparisons to highlight contemporary issues. Using the form of narrative portraiture the images are intended to ask of the viewer "Where do I fit in?" and subsequently "Where do you?" and ultimately "Are we all sitting comfortably?". Her work has been described as "subversive, heretical, beautiful, chaotic, surprising, highly weird, spontaneous, and deeply joyful all at the same time." In addition to her own work she is the curator of The Kilvert Gallery, a collection of art work predominantly produced in the past 70 years by a variety of Welsh border artists, and in 2021 was elected a full member of The Society of Women Artists. Education Fine Art BA (Hons) at Oxford Brookes University and the School of the Art Institute of Chicago.   Select Exhibitions/Awards   EXHIBITIONS 2021 Society of Women Artists 2021 Oriel Y Bont | University of South Wales 2020 Society of Women Artists 2020 Battersea Affordable Art Fair 2019 Royal West of England Academy, Bristol 2018 7 Painters, GalaFineArt , Bristol 2018 Royal West of England Academy, Bristol 2018 Vis-à-Vis Oriel Y Bont | University of South Wales. 2018 Solo Show, Martin Tinney, Cardiff AWARDS Society of Women Artists Special Fine Art Award 2020 the Princess Michael of Kent Award 2020 Oxford Brookes University Travel Scholarship 1991 Art Institute of Chicago Extended Study Scholarship 1992   Gallery Representation The Martin Tinney Gallery, Cardiff Gala Fine Art, Bristol saatchiart.com singulart.com   Statement about AOAP Submitted Artwork These postcards were created with International Women's Day very much at the forefront of my mind. Two issues of "Ladies Home Journal - the magazine women believe in" from 1948/49 provided not only a wealth of 'femmage' material, but also a chance to ponder on how far the perceived role of women has progressed (or not) over three generations. Peppered with adverts about how to feed your baby more meat whilst keeping yourself as fresh and trim as the day you married, I found them simultaneously highly amusing and deeply unsettling. The resulting images parody the absurdity of stereotypical gender roles in a healthy society.

Sofia Echa Thinking Of You Mixed Media on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Sofia Echa was born in 1992 in Vladivostok, Russia and settled in New York City in 2013 to continue her pursuit of a career in art after she received a bachelor degree in Economics and Japanese studies at Federal University of Vladivostok, Russia. She graduated from the National Academy School in New York. Before that, Sofia studied fine arts in Art School in Vladivostok and in Cambridge School of Visual & Performing Arts, Cambridge, UK. Her works are in private collections in the United States and Russia. She is honored to have donated work to the 2015 National Academy Gala auction honoring National Academician, Eric Fischl, with a Lifetime Achievement Award, and to the Bailey House Auction in 2016, 2017, and 2020. In September 2015, she had her first solo show in the Center of Contemporary Art Sol' in Vladivostok, Russia, and in 2017 - the first solo show in New York (Sonia Gechtoff gallery, National Academy Museum and School). In September 2018 her work was auctioned off at the Phillips auction house in New York.   Education BA in Japanese studies, Federal University of Vladivostok, Russia Cambridge School of Visual & Performing Arts, Cambridge, UK Studio Intensive Diploma Program, National Academy School, New York   Select Exhibitions/Awards   Solo Exhibitions 2018 Illusions of reflection, Oyster Bay Gallery, Oyster Bay, NY 2017 Traversing a Space, Sonia Gechtoff Gallery, National Academy Museum & School, New York, NY 2015 Fluidity, Sol' Center for Contemporary Art (Artetage Museum of Modern Art), Vladivostok, Russia   Selected Group Exhibitions 2020 Spring pop-up show, Oakcliff Sailing Center, Oyster Bay, NY Bailey House auction, New York, NY 2019 Treat America Project, Foley Gallery, New York, NY Treat America project, Satellite Art show, The Museum of Human Achievement, Austin, TX Pop-in/Poppin, pop-up show,198 Allen St., New York, NY 2018 New Now, Phillips auction, New Nork, NY Friends of the border, The Border project space, Brooklyn NY LANDSCAPE: Representation of where we inhabit, Experimental Space gallery, Reis Studios, Queens, NY 2017 Memories of Our Town, Maritime Garage Gallery, Norwalk, CT Creative Mischief, National Academy Museum, New York, NY 2014 Year-End Exhibition Prize, National Academy School of Fine Arts Gallery Representation Arti NYC Gallery

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

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

Carrie Reichardt Untitled Ceramic Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Carrie Reichardt's ancestry can be traced back through a long line of aristocratic eccentrics. Her grandfather, Joseph Reichardt owned estates in the Austrian Empire and was known as The Camel Hair King of America after making a fortune shipping camel hair wool from Persia via his offices in New York. He worked for the Tsar of Russia during World War I and was awarded the title of Count before fleeing the Russian Revolution. Count Reichardt was bankrupted after losing the cutting rights to all the trees on the Caspian Sea. He moved to England with three sons. The eldest became a Nuclear Scientist. The youngest was Tony Reichardt, who prospered as an influential dealer in Modern Art in post-war London and was close friends with Francis Bacon. The second son was Carrie Reichardt's father Roland, who became a Rigsbyesque property landlord as well as being a faith healer with a keen interest in erotica. Carrie Reichardt gained a First Class degree in Fine Art at Leeds University and has had a career spanning many media, including film, performance and sculpture. She is perhaps best known as a ceramicist and mosaicist, working internationally on large scale public murals. A renegade who is revered in anti-establishment circles, Reichardt's preoccupation with seditious ceramics places her within an artistic tradition extending back to William Morris. She creates anarchic artworks where vintage floral, kitsch, royal and religious crockery is given a new twist by re-firing with layers of new ceramic decals They are modified in a "radical use of traditional things" and often adorned with skulls, cheeky slogans and political statements. Her first solo exhibition, entitled "Mad in England", provided an exploration of this theme, which she has continued to pursue in subsequent work. Carrie Reichardt has spoken publicly about the use of craft and art as protest and her skills have been put to good use as a vehicle for her own political activism, most notably her campaigning for prisoners on Death Row and her involvement with the fight to gain justice for the Angola 3. Despite having a rebellious streak, it is testament to her talent and vivacious personality that Reichardt was awarded the Winston Churchill Travelling Fellowship in 2013, enabling her to work with local communities in Chile and Mexico. Carrie Reichardt has been an outspoken advocate for using Art as a form of personal therapy and "Mad In England" is a perfect back stamp for her work. It is fitting that her house and studio in Chiswick is famously called The Treatment Rooms.

Carrie Reichardt Untitled Ceramic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Carrie Reichardt's ancestry can be traced back through a long line of aristocratic eccentrics. Her grandfather, Joseph Reichardt owned estates in the Austrian Empire and was known as The Camel Hair King of America after making a fortune shipping camel hair wool from Persia via his offices in New York. He worked for the Tsar of Russia during World War I and was awarded the title of Count before fleeing the Russian Revolution. Count Reichardt was bankrupted after losing the cutting rights to all the trees on the Caspian Sea. He moved to England with three sons. The eldest became a Nuclear Scientist. The youngest was Tony Reichardt, who prospered as an influential dealer in Modern Art in post-war London and was close friends with Francis Bacon. The second son was Carrie Reichardt's father Roland, who became a Rigsbyesque property landlord as well as being a faith healer with a keen interest in erotica. Carrie Reichardt gained a First Class degree in Fine Art at Leeds University and has had a career spanning many media, including film, performance and sculpture. She is perhaps best known as a ceramicist and mosaicist, working internationally on large scale public murals. A renegade who is revered in anti-establishment circles, Reichardt's preoccupation with seditious ceramics places her within an artistic tradition extending back to William Morris. She creates anarchic artworks where vintage floral, kitsch, royal and religious crockery is given a new twist by re-firing with layers of new ceramic decals They are modified in a "radical use of traditional things" and often adorned with skulls, cheeky slogans and political statements. Her first solo exhibition, entitled "Mad in England", provided an exploration of this theme, which she has continued to pursue in subsequent work. Carrie Reichardt has spoken publicly about the use of craft and art as protest and her skills have been put to good use as a vehicle for her own political activism, most notably her campaigning for prisoners on Death Row and her involvement with the fight to gain justice for the Angola 3. Despite having a rebellious streak, it is testament to her talent and vivacious personality that Reichardt was awarded the Winston Churchill Travelling Fellowship in 2013, enabling her to work with local communities in Chile and Mexico. Carrie Reichardt has been an outspoken advocate for using Art as a form of personal therapy and "Mad In England" is a perfect back stamp for her work. It is fitting that her house and studio in Chiswick is famously called The Treatment Rooms.

Diana Copperwhite Laura in Framing The Light Oil on Card Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Diana Copperwhite (b. 1969, Ireland) lives and works in Dublin and New York. Recent solo exhibitions include Driven by Distraction, Royal Hibernian Academy, Dublin (2016), Depend on the Morning Sun, Thomas Jaeckal Gallery, New York (2016) and A Million and One Things Under the Sun, Kevin Kavanagh, Dublin (2015). Selected group exhibitions include Last Picture Show w/Mary Heilmann, Chris Ofili, Danny Rolph, Vanessa Jackson, Elio Rodriguez, Jill Levine, Rebecca Smith, Thomas Jaeckel Gallery, New York (2017) and Virtú, inc. Picasso, Giacometti, Henry Moore, Elizabeth Magill and Sean Scully at the Hunt Museum, Limerick, Ireland (2017). Copperwhite's work is held in numerous public and private collections including: the Irish Museum of Modern Art, Arts Council of Ireland, Limerick City Gallery of Art, Office of Public Works, Contemporary Irish Art Society, Highlanes Municipal Art Gallery, Mariehamn Stadbiblioteque, Aland (Finland), Dublin Institute of Technology and The President of Ireland.   Education 1999-2000 Winchester School of Art and Design, Barcelona, MA European Fine Art 1992-94 National College of Art & Design, BA Hons painting 1987-92 Limerick School of Art & Design, NCEA Diploma Painting   Select Exhibitions/Awards Solo Exhibition 2021/22 Upcoming, Limerick City Gallery of Art and touring show 2020 Lock Down Series, works on paper, Kevin Kavanagh Gallery, Dublin 2019 Proto Fiction and the Sleep of Reason, Kevin Kavanagh Gallery, Dublin 2019 The Clock Struck between time, Thomas Jaeckel New York 2017 Crooked Orbit, Kevin Kavanagh Gallery, Dublin 2016 Depend on the morning sun, Thomas Jaeckel gallery, New York Driven by Distraction, RHA gallery Dublin. 2015 A Million and One Things Under the Sun, Kevin Kavanagh, Dublin. 2014 Shadowland, Thomas Jaeckel Gallery, New York. Solo presentation, Pulse, Thomas Jaeckel Gallery, New York 2013 Loose Ends, 532 Gallery Thomas Jaeckel, New York Solo presentation at VOLTANY, Kevin Kavanagh, New York 2011 An Island from the day before, Kevin Kavanagh, Dublin 2009 perfect near miss, Kevin Kavanagh, Dublin eclipse of a title, Highlanes Municipal Art Gallery, Drogheda eclipse of a title, Centre Culturel Irlandais, Paris * 2008 eclipse of a title, West Cork Arts Centre * 2007 BLIND SPOT, Limerick City Art Gallery *   Gallery Representation Kevin Kavanagh, Dublin. 532 Gallery Thomas Jaeckel, New York

Emilia Dubicki Riverview - Spring Acrylic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About I am primarily an abstract painter, but there is a representational aspect to some of my work. I like to work large scale but also do smaller paintings and drawings. My work is in private and corporate collections nationally and internationally. I am represented by the Fred.Giampietro Gallery in New Haven, CT. I have received artist residency grants from the Pouch Cove Foundation, I-Park Foundation, The Vermont Studio Center, and the Wurlitzer Foundation.   Select Exhibitions/Awards SOLO Oracle, Fred.Giampietro Gallery, New Haven, CT 6/18-8/18 solo show Fred.Giampietro Gallery, New Haven CT; 6/23/16 -8/5/16 Gallery East, Norwalk Community College, Norwalk, CT; "Abstractionx2," 11/2/15-1/8/16 GROUP Jason McCoy Gallery, NY, NY; Drawing Challenge XXIV online exhibit 11/21 Jason McCoy Gallery, NY, NY; Drawing Challenge XXII online exhibit 6/21 Jason McCoy Gallery, NY, NY; Drawing Challenge XVIII online exhibit 3/21 Five Points Gallery, Torrington, CT; 7/20-8/22 True Blue Susan Powell Fine Art, Madsion, CT 4/20- 5/20 Bridging Realism to Abractraction Jason McCoy Gallery, NY, NY; Drawing Challenge II online exhibit 2020 6x6 Invitational Show, City Gallery, New Haven, CT 1/19-3/19 Museum of Modern Art, New York, New York; digital exhibition, 1/18 Five Points Gallery, Torrington, CT; 5/17-6/17 Fred.Giampietro Gallery, New Haven, CT; 12/16 Palazzo dell' Annunziata, "Arte Internazionale" Matera, Italy; 5/16-6/16

Emilia Dubicki Riverview - Summer Acrylic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About I am primarily an abstract painter, but there is a representational aspect to some of my work. I like to work large scale but also do smaller paintings and drawings. My work is in private and corporate collections nationally and internationally. I am represented by the Fred.Giampietro Gallery in New Haven, CT. I have received artist residency grants from the Pouch Cove Foundation, I-Park Foundation, The Vermont Studio Center, and the Wurlitzer Foundation. Select Exhibitions/Awards   SOLO Oracle, Fred.Giampietro Gallery, New Haven, CT 6/18-8/18 solo show Fred.Giampietro Gallery, New Haven CT; 6/23/16 -8/5/16 Gallery East, Norwalk Community College, Norwalk, CT; "Abstractionx2," 11/2/15-1/8/16 GROUP Jason McCoy Gallery, NY, NY; Drawing Challenge XXIV online exhibit 11/21 Jason McCoy Gallery, NY, NY; Drawing Challenge XXII online exhibit 6/21 Jason McCoy Gallery, NY, NY; Drawing Challenge XVIII online exhibit 3/21 Five Points Gallery, Torrington, CT; 7/20-8/22 True Blue Susan Powell Fine Art, Madsion, CT 4/20- 5/20 Bridging Realism to Abractraction Jason McCoy Gallery, NY, NY; Drawing Challenge II online exhibit 2020 6x6 Invitational Show, City Gallery, New Haven, CT 1/19-3/19 Museum of Modern Art, New York, New York; digital exhibition, 1/18 Five Points Gallery, Torrington, CT; 5/17-6/17 Fred.Giampietro Gallery, New Haven, CT; 12/16 Palazzo dell' Annunziata, "Arte Internazionale" Matera, Italy; 5/16-6/16

Emilia Dubicki Riverview - Fall Acrylic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About I am primarily an abstract painter, but there is a representational aspect to some of my work. I like to work large scale but also do smaller paintings and drawings. My work is in private and corporate collections nationally and internationally. I am represented by the Fred.Giampietro Gallery in New Haven, CT. I have received artist residency grants from the Pouch Cove Foundation, I-Park Foundation, The Vermont Studio Center, and the Wurlitzer Foundation. Select Exhibitions/Awards   SOLO Oracle, Fred.Giampietro Gallery, New Haven, CT 6/18-8/18 solo show Fred.Giampietro Gallery, New Haven CT; 6/23/16 -8/5/16 Gallery East, Norwalk Community College, Norwalk, CT; "Abstractionx2," 11/2/15-1/8/16 GROUP Jason McCoy Gallery, NY, NY; Drawing Challenge XXIV online exhibit 11/21 Jason McCoy Gallery, NY, NY; Drawing Challenge XXII online exhibit 6/21 Jason McCoy Gallery, NY, NY; Drawing Challenge XVIII online exhibit 3/21 Five Points Gallery, Torrington, CT; 7/20-8/22 True Blue Susan Powell Fine Art, Madsion, CT 4/20- 5/20 Bridging Realism to Abractraction Jason McCoy Gallery, NY, NY; Drawing Challenge II online exhibit 2020 6x6 Invitational Show, City Gallery, New Haven, CT 1/19-3/19 Museum of Modern Art, New York, New York; digital exhibition, 1/18 Five Points Gallery, Torrington, CT; 5/17-6/17 Fred.Giampietro Gallery, New Haven, CT; 12/16 Palazzo dell' Annunziata, "Arte Internazionale" Matera, Italy; 5/16-6/16

Emilia Dubicki Riverview - Winter Acrylic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About I am primarily an abstract painter, but there is a representational aspect to some of my work. I like to work large scale but also do smaller paintings and drawings. My work is in private and corporate collections nationally and internationally. I am represented by the Fred.Giampietro Gallery in New Haven, CT. I have received artist residency grants from the Pouch Cove Foundation, I-Park Foundation, The Vermont Studio Center, and the Wurlitzer Foundation. Select Exhibitions/Awards   SOLO Oracle, Fred.Giampietro Gallery, New Haven, CT 6/18-8/18 solo show Fred.Giampietro Gallery, New Haven CT; 6/23/16 -8/5/16 Gallery East, Norwalk Community College, Norwalk, CT; "Abstractionx2," 11/2/15-1/8/16 GROUP Jason McCoy Gallery, NY, NY; Drawing Challenge XXIV online exhibit 11/21 Jason McCoy Gallery, NY, NY; Drawing Challenge XXII online exhibit 6/21 Jason McCoy Gallery, NY, NY; Drawing Challenge XVIII online exhibit 3/21 Five Points Gallery, Torrington, CT; 7/20-8/22 True Blue Susan Powell Fine Art, Madsion, CT 4/20- 5/20 Bridging Realism to Abractraction Jason McCoy Gallery, NY, NY; Drawing Challenge II online exhibit 2020 6x6 Invitational Show, City Gallery, New Haven, CT 1/19-3/19 Museum of Modern Art, New York, New York; digital exhibition, 1/18 Five Points Gallery, Torrington, CT; 5/17-6/17 Fred.Giampietro Gallery, New Haven, CT; 12/16 Palazzo dell' Annunziata, "Arte Internazionale" Matera, Italy; 5/16-6/16

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

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

Janaina Tschäpe Winter I Watercolour and Crayon on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Janaina Tschäpe was born in Munich, Germany in 1973 and lives and works in New York. She has had solo exhibitions at the Den Frie Center of Contemporary Art, Copenhagen, Denmark; the Sarasota Art Museum, Florida; the Musée L'Orangerie, Paris, France; the Museum of Contemporary Art Tucson, Arizona; Kasama Nichido Museum of Art, Kasama, Japan; the Irish Museum of Modern Art, Dublin, Ireland, and the Contemporary Museum of Art, St Louis. She has been featured in numerous group exhibitions at venues including The Lewis Glucksman Gallery, Cork, Ireland; NCA Taipei, Taiwan; Whitechapel Gallery, London; TBA21-Augarten, Vienna, Austria; CCBB, Rio de Janeiro, Brazil; Centre D'Art Contemporain de Normandie, France; 21st Century Museum of Contemporary Art, Nanazawa, Japan; Instituto Tomie Ohtake, São Paulo; Storefront for Art and Architecture, New York; National Museum of Women in the Arts, Washington D.C.; Pratt Manhattan Gallery; OCA Museu da Cidade, São Paulo; Kunsthal Kade, Netherlands; Cidade Matarazzo, São Paulo, Brazil; Ronnebaeksholm, Denmark; Cultural Centro Banco do Brazil in Belo Horizonte, Brazil; Museum of Fine Arts Boston, Massachusetts; and Museum of Contemporary Art Taipei, Taiwan. Tchäpe's work is found in important public collections including Centre Pompidou, Paris, France; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Harvard Art Museum, Cambridge, Massachusetts; Museu de Arte Moderna do Rio de Janeiro, Brazil; Moderna Museet, Stockholm, Sweden; Thyssen-Bornemisza Art Contemporary, Vienna, Austria; and the Solomon R. Guggenheim Museum, New York, among others. She has completed public commissions in New York City; Miami Beach, Florida; São Paulo, Brazil; and Holbæk, Denmark. Education 1997-1998 Master in Fine Arts, School of Visual Arts, New York 1992-1997 Bachelor of Fine Arts, Hochschule für bilende Künste, Hamburg, Germany   Gallery Representation Sean Kelly Gallery in New York / Fortes D'Aloia & Gabriel, São Paulo, Brazil / Galleri Bo Bjerggaard, Copenhagen, Denmark / nca | nichido contemporary art, Tokyo, Japan

Janaina Tschäpe Winter II Watercolour and Crayon on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Janaina Tschäpe was born in Munich, Germany in 1973 and lives and works in New York. She has had solo exhibitions at the Den Frie Center of Contemporary Art, Copenhagen, Denmark; the Sarasota Art Museum, Florida; the Musée L'Orangerie, Paris, France; the Museum of Contemporary Art Tucson, Arizona; Kasama Nichido Museum of Art, Kasama, Japan; the Irish Museum of Modern Art, Dublin, Ireland, and the Contemporary Museum of Art, St Louis. She has been featured in numerous group exhibitions at venues including The Lewis Glucksman Gallery, Cork, Ireland; NCA Taipei, Taiwan; Whitechapel Gallery, London; TBA21-Augarten, Vienna, Austria; CCBB, Rio de Janeiro, Brazil; Centre D'Art Contemporain de Normandie, France; 21st Century Museum of Contemporary Art, Nanazawa, Japan; Instituto Tomie Ohtake, São Paulo; Storefront for Art and Architecture, New York; National Museum of Women in the Arts, Washington D.C.; Pratt Manhattan Gallery; OCA Museu da Cidade, São Paulo; Kunsthal Kade, Netherlands; Cidade Matarazzo, São Paulo, Brazil; Ronnebaeksholm, Denmark; Cultural Centro Banco do Brazil in Belo Horizonte, Brazil; Museum of Fine Arts Boston, Massachusetts; and Museum of Contemporary Art Taipei, Taiwan. Tchäpe's work is found in important public collections including Centre Pompidou, Paris, France; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Harvard Art Museum, Cambridge, Massachusetts; Museu de Arte Moderna do Rio de Janeiro, Brazil; Moderna Museet, Stockholm, Sweden; Thyssen-Bornemisza Art Contemporary, Vienna, Austria; and the Solomon R. Guggenheim Museum, New York, among others. She has completed public commissions in New York City; Miami Beach, Florida; São Paulo, Brazil; and Holbæk, Denmark. Education 1997-1998 Master in Fine Arts, School of Visual Arts, New York 1992-1997 Bachelor of Fine Arts, Hochschule für bilende Künste, Hamburg, Germany   Gallery Representation Sean Kelly Gallery in New York / Fortes D'Aloia & Gabriel, São Paulo, Brazil / Galleri Bo Bjerggaard, Copenhagen, Denmark / nca | nichido contemporary art, Tokyo, Japan

DIONISDIO FIERROS ÁLVAREZ (La Ballota, Asturias, 1827 - Madrid, 1894)."Cliffs".Watercolour on paper.Lack of glass.With restorations.Signed in the lower right corner.Measurements: 77 x 51 cm; 88 x 61 cm (frame).Born in a peasant environment, Dionisio Fierros trained in Madrid, first in the workshop of José Madrazo and then in that of his son Federico. At the same time he enrolled at the San Fernando Academy of Fine Arts and copied works at the Prado Museum. In 1885 he left the court and moved to Galicia, determined to succeed as a painter, and devoted himself to commissioned portraits, a genre in which he excelled with a strong personality, somewhere between realist and romantic. He remained in Galicia for three years and tirelessly painted portraits, landscapes and genre scenes featuring the popular types of the area. In 1860 Fierros took part in the National Exhibition of Fine Arts in Madrid and won one of the first medals with his painting "Romería en las cercanías de Santiago" ("Pilgrimage near Santiago"), which would give prestige in Madrid to the genre of genre painting, so popular at the time. He then travelled to Paris to complete his training, thanks to the protection of the Marquis of San Adrián, and on his return to Spain he settled in Santiago de Compostela, painting landscapes and popular Galician customs. He continued his picturesque wanderings, which took him to Salamanca, where he also left numerous testimonies of popular types. In 1866 he again took part in the National Competition and was again awarded a prize. Dionisio Fierros is currently represented in the Prado Museum, the Museum of Modern Art in Madrid, the National Museum of Fine Arts in Buenos Aires, the Pazo Quiñones de León in Vigo, the Provincial Museum in Lugo, the Museum of Fine Arts in Asturias, the University of Santiago de Compostela, the Museo Casa Natal de Jovellanos, the Royal Sites and various provincial and town councils, among others.

ISMAEL DE LA SERNA GONZÁLEZ (Guadix, Granada, 1898 - Paris, 1968)."Still life violin". Watercolour and coloured pencils.Signed in the lower right area.Size: 30 x 41,5 cm; 48 x 54,5 cm (frame).Ismael González de la Serna began his art studies in Granada and concluded them in Madrid, at the San Fernando School of Fine Arts. In his early years he developed an eclectic pictorial style, drawing on impressionist, symbolist and modernist sources. One of the first examples of his youthful language can be found in the illustrations he made for his childhood friend Federico García Lorca, in what was to be his first book, "Impresiones y paisajes" (1918). That same year, Ismael de la Serna held his first exhibition in Granada, and shortly afterwards he presented his works at the Ateneo in Madrid. In 1921 he moved to Paris in order to broaden his artistic horizons, joining the circles of the School of Paris. Among his Parisian friends was Pablo Picasso, who influenced his work but was, above all, the Granada painter's protector. During this period De la Serna's style was permeable to the influences of the avant-garde, particularly Cubism and Expressionism, which he worked in a highly personal manner. Likewise, the initial influence of Impressionism was always evident in his work. The year 1927 marked the beginning of a period of strong influence on his work, which began with the painter's solo exhibition at the influential Paris gallery of Paul Guillaume. This exhibition was followed by many others, both in Paris and in Berlin, Brussels, Copenhagen, Granada and Mexico. In 1928 he was commissioned by the director of "Cahiers d'Art", Christian Zervos, to illustrate a special edition of twenty sonnets by Góngora. The key to his recognition lies in his sensual interpretation of the forms of Cubism, based on the relevance of a drawing with a sinuous and highly decorative line, combined with strong chromatic contrasts. With a marked spatial sense and without ever abandoning figuration, De la Serna mainly depicted still lifes, in which he emphasised the sensory aspect of his painting with metaphorical sensory references such as music, fruit or open windows. He also worked on landscapes and portraits. After inaugurating the activities of the Asociación de Artistas Ibéricos in Madrid with a solo exhibition in 1932, the painter embarked on new avenues of artistic experimentation which, after the Second World War, led to a more schematic and simplified style of painting, close to contemporary abstract solutions. Ismael de la Serna is represented in the Patio Herreriano Museum in Valladolid, the Reina Sofía Museum in Madrid, the Fine Arts Museums of Granada and Seville, the ARTIUM in Vitoria, the Popular Museum of Contemporary Art in Vilafamés and the Museum of Modern Art in Paris, among many others.

RICARDO OPISSO I SALA (Tarragona, 1880 - Barcelona, 1966)."Bar scene".Oil crayon on paper.Signed in the lower right corner.Size: 25 x 20 cm; 48 x 42 cm (frame).Opisso was a painter, draughtsman and cartoonist. In his youth he took part in the modernist environment of Barcelona, and in fact in 1894 he began to work as an apprentice with Antoni Gaudí in the works of the Sagrada Familia. Two years later, backed by the architect, he became a member of the Círculo Artístico de Sant Lluc, with whom he would later exhibit at the Sala Parés. He was linked to the group Els Quatre Gats, together with Ramon Casas, Manuel Hugué, Isidre Nonell and Pablo Picasso, among others. In 1901 he made a trip to Paris, where Picasso and Hugué were already there. He worked as an illustrator in publications such as "Cu-cut!" and "L'Esquella de la Torratxa", signing drawings aimed at political satire, in a style close to art nouveau. In 1907 he took part in the Fine Arts Exhibition in Barcelona and was awarded a third-class medal. Due to the dictatorship of Miguel Primo de Rivera, Opisso abandoned political satire and his drawings moved towards genre themes, specialising in popular scenes. His works from this period are characterised by the presentation of motley crowds of people in popular Barcelona settings. After exhibiting several times in succession at the Sala Parés, he held his first solo exhibition in 1935 at the Syra galleries in Barcelona. During the post-war period he continued to exhibit in various galleries in Barcelona, and reaped considerable success with both critics and the public. In 1953 he received recognition from his home town at the 4th Tarragona Art Fair. Most of his work is kept in the Opisso Museum in Barcelona, but it is also present in the National Art Museum of Catalonia and the Museum of Modern and Contemporary Art in Strasbourg. In terms of exhibitions, the one held at the Thyssen-Bornemisza Museum in 2004 under the title "Catalan Painting, from Naturalism to Noucentisme", in which his work "Carnival" was exhibited, is particularly noteworthy. He has also had anthological exhibitions at the Saló del Tinell (1979), the Palau de la Virreina (1980), the Barcelona International Boat Show (1973), the Fundació La Caixa (1988, 2004, 2008) and the Caixa Tarragona (2003).In the scene proposed by Opisso, the author uses humour and caricature as he often does. With a forced point of view, from the lower, swooping area, Opisso portrays in the foreground a marine's attempt to kiss a beautiful woman. The positions of their bodies create diagonal lines, some of them opposing each other, especially if we look at the couple's legs. While the sailor aggressively approaches the woman, she is cornered at the right edge of the work, being subjected to his kiss. Meanwhile, in the background, the sailor's companions are also enjoying the effervescent atmosphere of the place.

French school; 19th century.Oil on canvas.Signed E. Delacroix.Presents X-ray and GSS analysis.Measurements: 65.5 x 81.5 cm; 81 x 98 cm (frame).In a sumptuous and delicate way the author of this work wraps the body of a naked young woman in rich fabrics. The woman, who adopts a languid, carefree pose, is oblivious to the viewer and absorbed in her own intimacy. This is a totally romantic attitude, the impossible attracts and fascinates the imagination, turning the image of the woman into a symbol of sensuality. It is the representation of an impossible because the romantics would never be able to find what they dreamed of, as they were realities that did not exist. It should also be noted that, within the subject matter of this nude, the author was inspired by the depictions of odalisques, which became widely popular. This recourse to Orientalism should be understood as one of the currents that fuelled European art in the 19th century, coinciding with the triumph of the capitalist bourgeoisie and the imperialist countries, especially England and France. Within the Romantic rejection of time itself, a fantastic and free flight in time and space developed, towards antiquity and towards an Orient that stretched from Spain to Russia, passing through North Africa and even reaching Japan. If Chinese art dominated the 18th century and Japanese art dazzled the Impressionists, the Middle East will be the new discovery. Starting with Ingres' beautiful and unattainable odalisques, with their pale skin and elegant gestures that always make one think of a captive Christian princess, never an Arab woman, the various schools of painting developed a whole new iconography that sought to recreate in a fantastic way - since nothing was known about the Orient - a world forbidden to Westerners and full of attractions. Painters such as the French painters Bouguereau and Giraud recreated exotic scenes in minute detail, seeking to serve as a window onto the unknown through an almost photographic reproduction that lends verisimilitude to the narratives and stimulates the imagination of the European spectator. The oriental protagonists are almost always beautiful, elegant women, who embody the yearning for the unattainable. Romantic exoticism is thus the quintessence of modern nostalgia; it is the constant pursuit of something impossible to attain, something that does not exist or has been transformed. Thus, although paintings like this one may appear realistic at first glance, they remain first and foremost Romantic, emblematic of an era and a way of thinking that ushered in the modern age.Both the aesthetic and thematic treatment of the work indicate that this is a painter in contact with the currents of both Romanticism and Neoclassicism. In short, the characteristics of this work bring together various trends that developed in France in the early 19th century, making the country, and in particular the city of Paris, one of the most important cultural centres of the period.

A silver ‘molecule’ bracelet by YEN, composed of multiple ‘molecule’ links, with maker’s mark ‘YD’ and London hallmark for 2014, length 18.2cm. £100-£200 --- Yen Duong is a modern designer of Vietnamese heritage, her early years being spent in Wales. She studied at the Sir John Cass School of Art in London, graduating in 1995. She established YEN Jewellery the following year, her designs showing her fascination with the structural elements of jewellery, and incorporating movement and fluidity, with a highly tactile quality. Previous exhibitions of her work include those held at The Goldsmiths’ Company and the Crafts Council, and she has worked with Liberty of London, Selfridges and Harvey Nichols.

An apothecary's cabinet,20th century, the upper section with two glazed doors opening to glass shelves, above the base with two panelled doors,123cm wide53cm deep199cm highThis cabinet, believed to originate from Eastern Europe, features a practical slide-out shelf with a resin finish and newly-installed interior lighting. Layers of old paint have been stripped back, with the original wood given a 'scumbled' effect grain, while the interiors have been freshly painted and missing shelves remade. A once drab and utilitarian cabinet is now a functional, bold and versatile piece, perfect in any room of a modern home.Condition report: This lot was featured on 'Salvage Hunters: The Restorers' (Discovery Network - Quest).Salvage Hunters: The Restorers is a popular prime time show broadcast on the Discovery Network (Quest), where industry experts seek out lots in need of a little TLC and restore them to their former glory. We are delighted to now offer these restored lots for sale. The lots here are presented with stills from the programme.All details were true at the time of transmission. All items are bought as seen at the auction only and Discovery Corporate Service Limited and its affiliates make no representations or warranties as to the condition, suitability or at all in relation to any lot offered for sale; and no further documentation can be provided. All valuations stated herein are given by Sworders Fine Art Auctioneers at the time of printing, please note that these may differ to the valuations given to the items within the programme which was broadcast at an earlier time.

A collection of silver novelty items,comprising an Art Nouveau silver mounted and leather purse, a pair of modern salt and pepper pots modelled as shotgun cartridges, by L J Millington, Birmingham 2001, a plain Edwardian vesta case, another vesta case modelled as a pig, marked 925, and a pair of metal pincushions modelled as elephants, weighable 3.85ozt (6)Condition report: Scratches throughout. Marks to the leather purse. Rubbing and wear to the elephant pin cushions.

Small Victorian brass letter rack, early 20th Century brass door handle, Art Deco gilt decorated figure of an Art Deco lady and a modern letter rack

H.: 67 cm. Sculpture by Javier Marin, a Mexican sculptor best known for his precise yet expressive depictions of the human face and figure. His work is part of major private and public collections, a.o. the Museum of Modern Art in Mexico, the Museum of Fine Arts in Boston and the Santa Barbara Museum of Art. Including pedestal. Estimated: € 20.000 - € 30.000.

Tom Wesselmann1931 Cincinnati - 2004 New York - "Look at Wesselmann, Nude with Still Life" (Poster Galerie Thomas, 1968) - Farbserigrafie/Papier. 58,4 x 69,9 cm, 62,5 x 80,5 cm (Sichtmaß). Unter Glas gerahmt. Ungeöffnet. Glas defekt. Neben Roy Lichtenstein und Andy Warhol wurde Wesselmann zu den wichtigsten Vertretern der amerikanischen Pop-Art. Sein Leitmotiv waren weibliche Akte in sexueller Provokation. Berühmt sind seine großformatigen Great American Nudes, von denen die Große Nackte Nr. 98 im Kölner Museum Ludwig ausgestellt ist. Andere Arbeiten werden vom Museum of Modern Art in New York City verwahrt.

The Nash Motor Company forms part of the very backbone of the American motor industry right from its inception in 1916 right through until relatively recently in 1957. It is also responsible for several safety innovations from unibody construction right through to seat belts with many models available throughout this period and it is the eight cylinder Advanced model that we have today.This standard Art-Deco coupé body was designed by Count Alexis de Sakhnoffsky, the Russian-born son of Prince Vladimir Sakhnoffsky who came to the West after fleeing the Bolshevik Revolution in Russia. By the early 1920s, Sakhnoffsky had become known in Europe as a designer of ultra-modern, streamlined sports cars. This put his design skills in high demand and, by 1929, Sakhnoffsky moved to America and began working for several motor companies including Auburn, Cord, and American Austin. Indeed, the L-29 Cord body he designed for himself won the Grand Prize at the 1929 Monaco Concours d'Elegance and the Grand Prix d'Honneur at the 1929 Beaulieu Concours.In fact, it was the coupé that formed the basis of what we have here. An Australian (hence righthand drive) industrialist fell in love with this model and bought three examples. This was just the beginning however as he then had them stripped back and rebuilt to his own specification.They benefitted from a huge straight eight-cylinder, overhead valve engine with an advanced twin ignition, 16 sparkplug layout with power passing through a flexible three-speed manual gearbox.Restored in Australia by the previous owner, now deceased, it was then shipped to the UK by the vendor in September 2005. During its time here, it has been meticulously prepared to the extent that every single element of the original electrical and mechanical system now works and every part of this car functions as it should. For safety, directional signals have been added and it also benefits from a recent service and 12-month MoT test. It has since gone on to win a myriad of accolades including several concourse prizes, full details of which can be found in the accompanying file.Whilst two other examples of this car were thought to have been built, the whereabouts of these are unknown and so, therefore this, with its period set of hickory-shafted golf clubs and picnic set, represents one of the rarest Nashs in the world.Interested parties should note that this example is fully UK road registered and complete with a UK V5C.

Hochseltener geätzter Halbharnisch, Pisaner Art, um 1580Bestehend aus Brust und Rücken, Beintaschen, Kragen, Schultern, Armzeug und Helm, jeweils aus Blech getrieben und geätzt, Brust mit tiefem Tapul und dazugehörigem Rücken, jeweils einteilig geschlagen, gebördelte (Brech-) Ränder, bewegliche Armausschnitte, Belederung unter Verwendung der alten Schnallen ergänzt, ein Riss im Blech modern mit Blech hinterlegt (von außen nicht sichtbar), an einigen Stellen alterstypische "Schichtstruktur" des Bleches erkennbar, jeweils streifenförmig geätzt mit floralen Ornamenten und antikisierendem Trophaion, auf Brust und Rücken je zwei zentrale Voluten mit Personenköpfen (Brust: Junge und Mädchen, Rücken: Mann und Frau), darüber Krieger mit Speer (Mars?) bzw. nackte Frau mit Speer und Schild, Rücken mit wenigen leichten Beulen, dazu Kragen, zwei Beintaschen mit Ätzdekor, jedoch neuzeitlich unbeweglich und kurz vernietet (unter Entfernung der orig. Riemen). Große Schultern mit zwei Folgen, daran mit drehbaren T-Bolzen angebrachtes, geschlossenes Armzeug, Ätzdekor, auf den Schultern Medaillons mit Frauen- und Männerköpfen sowie antikisierende Krieger, dazu ein einteilig geschlagener Birnhelm, Futter fehlt, innen Sammlungsnummer, Helm im Ätzdekor dem Harnisch folgend, zum Harnisch gehörte ehemals jedoch ein Visierhelm. Dem Alter ensprechend sehr guter Erhaltungszustand mit einigen modernen Reparaturen, neuen Nieten sowie neuer Beriemung unter Verwendung alter Schnallen, wenige Altersrisse, Restaurierungen, eine Schulter abweichend, zusammengesetzt, an dieser Schulter eine historische Reparaturstelle (angenietetes Stück einer anderen Schulter), Harnisch daher in Teilen passend aus Teilen eines gleich zu datierenden Harnisches zusammengestellt. Dazu ein passender Rüstungsständer, montiert auf einem Rollbrett. Die Literatur weist entsprechende Harnische im Pisaner Stil häufig Stadtkommandanten zu. Lit.: Kat. Kostbare Waffen und Rüstungen aus der ehem. Waffenslg. Hearst, Nr. 64; G. Cameron Stone, A glossary of the Construction…, S. 512; H. Peterson, Arms and Armour in Colonial America, S. 131; H. Wackernagel, Münchner Zeughaus, Nr. 69; H. Nickel, Ullstein Waffenbuch, S. 122. Versand ohne den Rüstungsständer möglich. ETCHED NORTH ITALIAN HALF ARMOUR, c. 1580, in Pisan style, rich etched decor, later restorations (rivets, leather straps), in addition a helmet and an armor stand, rare ensemble. Consisting of chest and back protection, upper leg protection, collar, shoulders, arm gear and helmet, each made of metal and etched, chest with deep tapul and associated back, each forged in one piece, flanged edges, movable armholes, leather covering added later using the old buckles, a crack in the metal backed with modern sheet metal (not visible from the outside), in some places age-typical "layered structure" of the metal recognizable, each strip-shaped etched with floral ornaments and an antique-looking trophy, on the chest and back two central volutes with heads of people (chest: boy and girls, back: man and woman), above it a warrior with a spear (Mars?) and a naked woman with a spear and shield, back with a few slight dents, collar, two leg protections with etched decoration, but modernly riveted immobile and short (with the original straps removed). Large shoulders, closed arm gear attached with rotating T-bolts, etched decoration, on the shoulders medallions with women's and men's heads as well as antique-style warriors, in addition a helmet forged in one piece, lining missing, collection number on the inside, helmet in etched decoration following the armor, but the armour has been associated with a closed helmet in the past. In very good condition for its age with some modern repairs, new rivets and new fittings using old buckles, few cracks due to age, the left shoulder is different and bears also a historical repair, that shoulder put together using two originals, so some parts of the armour are put together in parts from an other armour with the same dating. In addition, a matching armor stand, mounted on a roller board. The literature often assigns corresponding suits of armor in the Pisan style to city commanders. Lit.: Kat. Kostbare Waffen und Rüstungen aus der ehem. Waffenslg. Hearst, Nr. 64; G. Cameron Stone, A glossary of the Construction…, S. 512; H. Peterson, Arms and Armour in Colonial America, S. 131; H. Wackernagel, Münchner Zeughaus, Nr. 69; H. Nickel, Ullstein Waffenbuch, S. 122. Shipping is possible without the armour stand.

KETTENANHÄNGER IM ART-DECO-STIL, 750/ooo Gelbgold, besetzt mit einem Rubincabochon, zwei Smaragdcabochons sowie Brillanten von zusammen ca. 1,7 ct., modern kombinierbar mit Kautschuk- oder Lederband, rest., L 4,1, 9,0 g

A TERRACOTTA RELIEF OF NANDI, GUPTA PERIODIndia, Uttar Pradesh, 6th century. Finely and heavily potted, the recumbent holy bull with the legs tucked in and head raised looking toward the upper corner, a neatly incised column capped with a fierce tiger head to the right.Provenance: The James and Marilynn Alsdorf Collection, Chicago, USA. Christie's New York, 21 September 2007, lot 232. An English private collection, acquired from the above. Over four decades, James and Marilynn Alsdorf assembled a remarkable collection with some of the biggest names of modern art, including Rene Magritte, Frida Kahlo, Joan Miro, and Jean Dubuffet, as well as a significant number of highly important Chinese works of art. Married in 1952, James and Marilynn built a life centered on art, philanthropy and family. “My grandparents were the picture of elegance, and they had impeccable taste, but to their family they were known for their warmth, wit, and humor,” recalls Bridget Alsdorf, the couple's granddaughter.Published: Pratapaditya Pal, A Collecting Odyssey: Indian, Himalayan, and Southeast Asian Art from the James and Marilynn Alsdorf Collection, 1997, Chicago, p. 260, cat. 350.Exhibited: The Art Institute of Chicago, 2 August to 26 October 1997, A Collecting Odyssey: Indian, Himalayan, and Southeast Asian Art from the James and Marilynn Alsdorf Collection.Condition: Very good condition, commensurate with age. Extensive wear, some losses, small chips and nicks, minor bruises, structural cracks, encrustations.Weight: 8.4 kgDimensions: Length 35 cm

A SILVERED AND PARCEL-GILT BRONZE BUST OF AVALOKITESHVARAWestern Tibet, 14th-15th century. Finely cast with a sash around his torso and adorned with beaded jewelry, the necklace and an earring inlaid with turquoise glass paste. The serene face with heavy-lidded almond-shaped eyes below gently arched eyebrows centered by a gilt urna, flanked by elongated earlobes, the hair in fine rows surmounted by a crown centered by a small image of Buddha Amitabha.Provenance: Property of the Museum fuer Asiatische Kunst, Radevormwald, Germany. The private museum was founded by Peter Hardt, a notable German expert, collector and dealer for Asian art. During his long career, which spanned more than 35 years, Hardt built a substantial collection that is now housed in the museum.Condition: Good condition, commensurate with age. Extensive wear and losses. Small nicks, light scratches, some dents and cracks. Parts of the crown are bent. The figure was once parcel-gilt, with only minute traces of the gilding remaining in some recesses. Fine, naturally grown, dark patina. Remnants of ancient pigment.Weight: 507.7 g (excl. stand)Dimensions: Height 16.5 cm (excl. stand) and 19.5 cm (incl. stand)Mounted on a modern metal stand. (2)Auction result comparison: Compare a closely related but considerably larger (34 cm high) Western Tibetan bronze bust of a bodhisattva, also dated 14th-15th century, at Christie's New York in Indian and Southeast Asian Art on 21 September 2007, lot 119, sold for USD 8,750.鍍銀鎏金銅觀音半身像 西藏，十四至十五世紀。半身像飾有瓔珞首飾、項鍊和鑲嵌有綠松石色玻璃的耳環。面容平靜，杏仁狀的大眼，微微拱起的眉毛，以鍍金白毫為中心，兩側是細長的耳垂。頭髮高束，頭戴上方是王冠，中間有一尊阿彌陀佛的小像。 來源：德國Radevormwald 亞洲藝術博物館藏品。這個私人博物館由Peter Hardt建立。Peter Hardt是一位德國知名亞洲藝術專家、收藏家及經銷商。在他長達三十五年多的漫長職業生涯中，Hardt建立了大型收藏，現在都在博物館中。 品相：品相良好，與年代相符。廣泛的磨損和缺損。小劃痕、一些凹痕和裂縫。王冠部分彎曲。銅像曾經鍍金，在一些凹處只剩下鍍金的微小痕跡。自然生長的深色包漿。古代顏料的殘餘。 重量：507.7 g (不含底座) 尺寸：高16.5 厘米 (不含底座) 與19.5 厘米 (含底座) 現代金屬底座。 (2) 拍賣結果比較：比較一件相近但更大 (高34 厘米)的西藏菩薩半身像，同樣為十四至十五世紀，見紐約佳士得Indian and Southeast Asian Art 2007年9月21日 lot 119, 售價USD 8,750。

A PINK SANDSTONE LIFESIZE HEAD OF LAKSHMI, MATHURANorthern India, Uttar Pradesh, 2nd century. Superbly carved with a fine expression, marked by heavy-lidded eyes below gently arched eyebrows centered by an urna, flanked by long pendulous earlobes suspending large and distinct cylindrical earrings. The neatly incised hair arranged in wavy strands with a beaded string along the center terminating in a lotus flower above the forehead.Provenance: From an old private collection in Niagara Falls, acquired in India during a honeymoon trip in the 1950s, thence by descent. Anthony M. Lee, Toronto, acquired from the above. Over the past 40 years Anthony M. Lee has been an art consultant, gallery owner, and collector. He developed Asian art departments for several auction houses and has worked with almost every major museum collection of Asian art in North America. He is the author of two books on Zen Buddhism and one on the Japanese tea ceremony.Condition: Good condition, commensurate with age. Extensive wear, losses, minor signs of weathering and erosion, small nicks, few structural cracks.Weight: 10.2 kg (excl. stand) Dimensions: Height 28.5 cm (excl. stand) and 36.5 cm (incl. stand)Mounted to a modern metal stand. (2)Literature comparison: Compare a related sandstone statue of Lakshmi, also attributed to Mathura and dated to the 2nd century, in the collection of the National Museum, New Delhi. Compare a related sandstone pillar with a yakshi, also attributed to Mathura and dated to the 2nd century, in the collection of the Cleveland Museum of Art, accession number 1965.250. Compare a related sandstone relief depicting Hariti, also attributed to Mathura and dated to the 2nd century, in the collection of the Ashmolean Museum Oxford, accession number EA1971.36.

A RARE BRONZE FIGURE OF AVALOKITESHVARA, SRIVIJAYA PERIODIndonesia, Sumatra, 9th-11th century. Standing in samabhanga on a square base, his main right hand lowered in abhaya mudra and the main left held in karana mudra, the upper hands holding a malla and a sacred text. The serene face with heavy-lidded downcast eyes below arched brows, an urna and full lips forming a subtle smile. The hair in wavy locks pulled into a high chignon centered by a diminutive Amitabha Buddha.Provenance: A private collection in Jakarta, acquired prior to 1996. A diplomatic collection in Singapore, acquired from the above in Bali via a local art gallery.Condition: Excellent condition, commensurate with age. Extensive old wear, small losses, minor casting flaws, signs of weathering and erosion, small nicks and light scratches, few minuscule cracks. Fine, naturally grown patina with malachite encrustation.Weight: 2,647 g (excl. base) Dimensions: Height 29 cm (excl. base) and 33 cm (incl. base)With an old associated wood base. (2)Srivijaya was a Buddhist thalassocratic empire based on the island of Sumatra (in modern-day Indonesia), which influenced much of Southeast Asia and was an important center for the expansion of Buddhism from the 7th to the 12th century AD. It also was the first unified kingdom to dominate much of the Malay Archipelago. Due to its location, the powerful state over time developed more and more complex technology utilizing maritime resources. The rise of the Srivijayan Empire was therefore also parallel to the end of the Malay sea-faring period.Literature comparison: For a closely related bronze figure of a four-armed Avalokiteshvara, found in a riverbed at Palembang, Sumatra, in 1930, now at the Museum National, Jakarta, see Versunkene Konigreiche Indonesiens, Roemer- und Pelizaeus-Museum Hildesheim, 1995, cat. no. 9. For a closely related bronze figure of a six-armed Avalokiteshvara, in the National Museum, Bangkok, see The Sculpture of Thailand, Asia House Gallery, 1972, cat. no. 12.Auction result comparison: Compare a closely related bronze figure of a six-armed Avalokiteshvara, 44.5 cm high (including the base!), dated to the 9th century, at Christie's New York in Indian and Southeast Asian Art on 20 September 2006, lot 202, sold for USD 66,000.

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

A CARVED STONE LINGA, NEPAL, 16TH-17TH CENTURYSuperbly carved with four faces each representing aspects of Shiva, all four holding a rosary and a bottle, with elaborate coiffure and elaborate crown, fine expression, and richly adorned with jewelry, a raised band of wave diaper behind the heads.Provenance: Arturo Schwarz, Milan, 1997. A private collection in Bergamo, Italy, acquired from the above. Collection of Leonardo Vigorelli, Bergamo, acquired from the above. Arturo Schwarz (1924-2021) was an Italian scholar, art historian, poet, writer, lecturer, art consultant and curator of international exhibitions. He lived in Milan, where he amassed a large collection of Dada and Surrealist art, including many works by personal friends such as Marcel Duchamp, Andre Breton, Man Ray, and Jean Arp. In 1975, Schwarz started working as curator and writer, writing extensive publications on the work of Marcel Duchamp, as well as books and numerous essays on the Kabbalah, Tantrism, alchemy, prehistoric and tribal art, and Asian art and philosophy. His 1977 book on Man Ray's works and life was the first to reveal Ray's real name.Condition: Very good condition with old wear, mostly to the top, small nicks and losses, occasional light surface scratches. With a good, unctuous feel overall and an elegant, naturally grown patina and luster. Dimensions: Height 37.5 cm (excl. base) and 47.5 cm (incl. base)Mounted on a modern stepped base. (2)This large linga is in the form of panchamukhalinga, the five-headed Shiva. The four faces protruding from the sides are directed in the cardinal directions, representing different aspects of the deity, the ferocious Bhairava (south), Nandin with a lion crown (west), Tamreshvara with floral and serpent earrings (north), Mahadeva with matted hairstyle (east), all bearing rosaries and a bottle with the elixir of immortality. The fifth, representing the absolute, is generally not shown, in keeping with the Hindu belief that the absolute is formless.Literature comparison: For an earlier example, dated 10th century, see the Asian Art Museum of San Francisco, object number B87S7. Compare a gray stone linga, dated 10th-11th century, at Christie's New York, 31 March 2005, lot 178.Auction result comparison: Compare a related copper repousse linga cover, dated 15th-16th century, at Christie's New York in Sacred and Imperial: The James and Marilynn Alsdorf Collection Online on 29 September 2020, lot 14, sold for USD 35,000. 尼泊爾十六至十七世紀石雕林迦精雕細刻，四面各有一濕婆神，各持一串念珠和一個寳瓶，髮型精美，頭戴王冠，裝飾華麗。 來源：米蘭Arturo Schwarz, 1997年；義大利貝加莫私人收藏，購於上述收藏；貝加莫Leonardo Vigorelli 收藏，購於上述收藏。Arturo Schwarz (1924-2021) 是一位義大利學者、藝術史學家、詩人、作家、講師、藝術顧問和國際展覽策展人。 他住在米蘭，收藏了大量達達主義和超現實主義藝術作品，其中包括馬塞爾·杜尚、安德烈·布雷頓、曼·雷和讓·阿爾普等私人朋友的許多作品。1975 年，Schwarz開始擔任策展人并開始撰寫大量關於馬塞爾·杜尚作品的書籍以及關於卡巴拉、密宗、煉金術、史前和部落藝術以及亞洲藝術和哲學的書籍和大量論文。他在 1977 年出版的關於曼雷作品和生活的書是第一本揭露雷的真名的書。 品相：狀況極好，磨損，大部分到頂部，小劃痕和缺損，局部有輕微的表面劃痕。 整體感覺良好，包漿瑩潤優雅。尺寸：高37.5 厘米 (不含底座)，總 47.5 厘米 安裝在現代階梯式底座上。(2) 這個大林伽是五頭濕婆神的形式。從側面突出的四張臉朝向主要方向，代表神祇的不同方面，兇猛的陪臚（南）、戴獅冠的 南迪（西）、戴花卉和蛇形耳環的 Tamreshvara（北）、瑪哈德娃（東），都帶著念珠和一瓶長生不老藥。 第五，代表絕對，一般不顯示，與印度教認為絕對是無形的信仰一致。 文獻比較: 一件更早的十世紀的林迦，見 舊金山亞洲美術館，編號B87S7；比較一件灰石雕林迦, 十至十一世紀，見紐約佳士得，2005年3月31日，lot 178。 拍賣結果比較：比較一件相近的銅錘鍱林迦蓋，十五至六十世紀，見紐約佳士得Sacred and Imperial: The James and Marilynn Alsdorf Collection Online 2020年9月29日 lot 14, 售價USD 35,000。

A LARGE SANDSTONE HEAD OF A MALE DEITY, BAPHUON STYLE, ANGKOR PERIODKhmer Empire, 11th century. Well carved with almond-shaped eyes, a ridged brow, broad nose, full lips, and long pendulous earlobes, the chin with a subtle cleft. His finely carved hair pulled up into a chignon and secured with a band sculpted with lotus petals, the topknot surmounted by a lotus finial.Provenance: Collection of Lucia Muzio, Milan, Italy. A private collector in Milan, Italy, acquired from the above. Collection of Leonardo Vigorelli, Bergamo, acquired from the above. Lucia Muzio was the daughter of the Italian architect Giovanni Muzio (1893-1982), who was closely associated with the Novecento Italiano artists group. A notable project by Muzio was the design of the Basilica of the Annunciation in Nazareth, completely rebuilt between 1960 and 1969.Condition: Very good condition, commensurate with age. Extensive weathering, some wear, several losses, minor fissure, dents and a fine natural patina overall. Dimensions: Height 46 cm (excl. stand) and 55.5 cm (incl. stand)Mounted on a modern stand. (2)This superbly detailed sculptural male head epitomizes the finest possible artworks created during the Baphuon period. His enigmatic facial expression shows a faint smile playing around his lips and his hair is finely carved with slender tresses combed backwards, rising into a chignon, and decorated with a flowerhead at the top.Auction result comparison: Compare a closely related Baphuon-style sandstone head, 19.5 cm high, also dated to the 11th century, at Christie's Paris in Art d'Asie on 22 June 2016, lot 27, sold for EUR 49,500.

'BIRD AND BAMBOO', BY ZHAO SHAO'ANG (1905-1998)China. Ink and watercolors on paper. Finely painted with a long-tailed, blue-crested bird with its beak wide open, perched on a thin bamboo stalk amid leaves and further stalks of varying thickness. Executed in bold and vivid brushstrokes with expressive splashes of warm colors. With a silk brocade frame.Inscriptions: Lower left, inscribed and signed 'Shao'ang', two seals of the artist. Dated to the Yimao year (corresponding to 1975).Provenance: From a noted private collection. Condition: Very good condition with minor wear, minimal soiling, and very little creasing to edges.Dimensions: Image size 92 x 51 cm, Size incl. frame 119 x 67 cmZhao Shao'ang (1905-1998) is considered one of the Four Great Masters of the Lingnan School. In the late 19th century, scholars in China broke through entrenched conservative thought schools and began to create and promote new styles of art. This not only cultivated ideological progress within social elites but also gave birth to the eclectic fusion of the Han Chinese and Western styles, as advocated by the Lingnan School, which today is considered – along with the Beijing and Shanghai schools – as one of the three pillars of modern Chinese painting.Auction result comparison: Compare a related painting by Zhao Shao'Ang with a kingfisher at a lotus pond, dated 1969, at Sotheby's Hong Kong in Fine Chinese Paintings on 3 October 2016, lot 1234, sold for HKD 750,000.趙少昂（1905-1998）《竹鳥圖》中國。紙本設色。一隻長尾藍冠鳥，棲息於細竹上，張開小嘴，似乎在唱歌。筆觸生動，極富表現力。絲綢錦框。 款識：乙卯春三月，少昂於蟬焉室 來源：知名私人收藏。 品相：狀況極好，輕微磨損，少量汙漬，邊緣輕微摺痕。 尺寸：畫面92 x 51 厘米，總119 x 67 厘米 拍賣結果比較：比較趙少昂1969年的《翠鳥圖》，見香港蘇富比Fine Chinese Paintings on 3 October 2016, lot 1234, 售價HKD 750,000。

A GILT-BRONZE 'MAKARA' FITTING, 17TH-18TH CENTURYDeccan, Southern India. Finely cast as the head of a makara with large bulging eyes, distinct brows accentuated with incised curved lines, a short trunk-like snout, and the mouth wide open revealing teeth and sharp fangs. The curved neck of square section and pierced for attachment.Provenance: Millner Manolatos, London, 16 October 2007, acquired in the Helsinki trade. English private collection, acquired from the above. A copy of the original invoice from Millner Manolatos, dated 16 October 2007 and describing the present lot as a “Makara Finial” from “Deccan, Southern India, late 17th century”, accompanies this lot. A copy of the original catalog description from Millner Manolatos for this piece also accompanies this lot.Condition: Very good condition with minor old wear, particularly to the gilt, few tiny nicks and dents, occasional light scratches.Weight: 414.4 g (incl. stand)Dimensions: Length 6.8 cm (excl. stand), Height 8.5 cm (incl. stand)Mounted to a modern metal stand. (2)Makara are legendary sea-creatures in Hindu mythology and in astrology, they are equivalent to the Zodiac sign of Capricorn. They appear as the vehicle of the river goddess Ganga, Narmada, and of the sea god Varuna. Makara are considered guardians of gateways and thresholds, protecting throne rooms as well as entryways to temples. It is the most commonly recurring creature in Hindu and Buddhist temple iconography, and also frequently appears as a Gargoyle or as a spout attached to a natural spring. Through its association with water, it symbolizes the unpredictable power of the elemental forces that govern life.The present lot once most likely served as a fitting for a palanquin or was part of a hilt or handle for a sword or other thrusting weapon.Literature comparison: Compare a related Indian sword hilt in the form of a makara, also dated 17th-18th century, with similar eyes and snout, in the collection of the Metropolitan Museum of Art, accession number 36.25.1540.

A RARE AND LARGE BRONZE FIGURE OF VAJRASATTVA, WESTERN TIBET11th-12th century. Finely cast standing in tribhanga, his right hand holding a four-pronged vajra, the left stretched along his body and holding a lotus stem forming a small loop at the elbow. His diaphanous robe secured by a belt with sacred thread, richly adorned with beaded jewelry. The serene face with heavy-lidded almond-shaped eyes, elegantly curved eyebrows, an urna, and full lips, flanked by long pendulous earlobes.Provenance: Dr. J. Macken, Antwerp, Belgium.Expert Authentication: A certificate on the letterhead of Galerie de Ruimte, Oude Aziatische Kunst, Jean en Marcel Nies, signed personally by Marcel Nies, addressed to Dr. J. Macken, confirming the attribution and dating stated above, accompanies this lot. Marcel Nies is a Belgian art expert and dealer who specializes in important works of art from Southeast Asia, India, and the Himalaya regions. Active since 1975, he has built an internationally recognized expertise and advises numerous vetting committees worldwide. Apart from the annual exhibitions held at his gallery, Marcel Nies has taken part in TEFAF Maastricht for over 30 years, showcasing some of the finest pieces in his collection. He has supplied works of art to important private collections and museums, including the Rijksmuseum in Amsterdam, the museum for Ostasiatische Kunst Koeln, the Victoria and Albert Museum London, the Rietberg Museum Zurich, the Metropolitan Museum New York, the Asian Art Museum San Francisco, the Barbier-Mueller Museum Dallas, and the Asian Civilization Museum in Singapore.Condition: Good condition, commensurate with age. Old wear, casting flaws, minor nicks, light scratches, few small cracks and dents. Several minor losses, some with associated old fills. Remnants of pigment. The base is modern. Weight: 6.9 kg Dimensions: Height 60.5 cmBronzes from the vital early years of the Second Transmission of Buddhism to Western Tibet in the late 10th and early 11th century under King Yeshe, the translator Rinchen Sangpo, and the Indian sage Atisha, are extremely rare. This example is remarkable for its presence and strength with strongly pronounced features, combined with a prominent, large size.Literature comparison: Compare a related brass figure of Padmapani, 26.2 cm high, dated 10th-11th century, in the collection of the Cleveland Museum of Art, accession number 1976.70.Auction result comparison: Compare a related bronze figure of Padmapani, 56 cm high, dated late 11th to early 12th century, at Christie's New York in Indian and Southeast Asian Art on 17 September 1999, lot 69, sold for USD 189,500.西藏罕見大型金剛薩陲立像十一至十二世紀。呈三區姿勢，右手握金剛杵，左手握蓮莖，在肘部形成一個小圈。 他那透明的長袍被一條用腰帶繫著，上面綴滿了珠飾。金剛薩陲面容安詳，眼睛呈杏仁狀，優雅的眉毛，眉間白毫，豐滿的嘴唇，兩側是長長的耳垂。來源：比利時安特衛普Dr. J. Macken收藏。 專家鑒定: 隨附一份亞洲藝術藝廊Galerie de Ruimte Marcel Nies 簽名的證書，收件人為 Dr. J. Macken, 確認了其製作時期。Marcel Nies是比利時藝術專家和經銷商，專營東南亞、印度和喜馬拉雅地區的重要藝術品。 他自 1975 年開始，積累了很多專業知識，並為全球眾多審查委員會提供建議。除了在他的畫廊舉辦的年度展覽外，Marcel Nies 參加 TEFAF Maastricht 已有 30 多年，展示了他收藏中的一些最好的作品。 他為重要的私人收藏和博物館提供了藝術作品，包括阿姆斯特丹國立博物館、德國科隆東亞藝術博物館、倫敦Victoria and Albert Museum博物館、蘇黎世Rietberg Museum博物館、紐約大都會博物館、舊金山亞洲藝術博物館 、達拉斯Barbier-Mueller Museum博物館和新加坡亞洲文明博物館。品相：狀況良好，與年齡相稱。 磨損、鑄件瑕疵、輕微劃痕、小裂紋和凹痕，一些小缺損填充，色素殘留，現代底座。 重量：6.9 公斤 尺寸：高60.5 厘米 公元10世紀末至11世紀初葉，西王、譯者仁欽桑波、印度聖賢阿底峽等第二次在西藏傳播佛教，此時期的青銅造像極爲罕見。 這個例子因其存在和造型引人注目，而且尺寸碩大，極具有衝擊力。 文獻比較: 比較一件蓮花手菩薩立像，高 26.2 厘米，十至十一世紀，見Cleveland Museum of Art美術館收藏, 編號1976.70。 拍賣結果比較：比較一件蓮花手菩薩銅像，高56 厘米，十一世紀末至十二世紀初，見紐約佳士得 Indian and Southeast Asian Art 1999年9月17日 lot 69, 售價USD 189,500。

'TOAD', BY PAN TIANSHOU (1897-1971) AND ZHANG ZONGXIANG (1882-1965)China. Ink on a paper folding fan. Finely painted to depict a toad with large eyes and distinct feet perched on a rock. The reverse with a poem in cursive script.Inscriptions: To the front, signed 'Shouzhe', dated 1956, two seals of the artist, and dedicated to Wang Lifu (1911-2014). To the reverse, signed 'Zhang Zongxiang', with another dedication to Wang Lifu, and two seals of the artist. The fan frame dated to the Dinghai year (corresponding to 1947).Provenance: Wang Lifu (1911-2014). Thence by descent within the family and subsequently to the last owner. Wang Lifu was a Chinese revolutionary and government official, who joined the Chinese Communist Party in 1937. He later served as a Director of the Foreign Affairs Office, and the Deputy Secretary of the Party Leadership Group.Condition: Good condition with minor wear and soiling, few small tears, minimal losses and traces of usage.Dimensions: Length 49.5 cm, Height 18 cm (the painting) and 30 cm (the frame)Pan Tianshou (1897-1971) was a Chinese painter and art educator. He was born in Guanzhuang, Ninghai County, Zhejiang Province. He studied Chinese traditional painting with Wu Changshuo, and built the foundation of Chinese traditional painting education. He was persecuted during the Cultural Revolution until his death in 1971.Auction result comparison: Compare a related scroll painting (58 x 44.5 cm) of a toad by Pan Tianshou at Poly International in Important Modern Chinese Painting and Calligraphy on 4 December 2020, lot 670, sold for CNY 5,750,000 (approx. EUR 724,895). Compare also a related fan painting by Pan Tianshou and Zhang Zongxiang at Poly International in Modern Chinese Painting and Calligraphy on 17 October 2020, lot 1902, sold for CNY 575,000 (approx. EUR 73,238). 潘天壽《蛙聲滿田圖》張宗祥書中國。成扇紙本水墨。一面靈蛙伏於石上，墨韻濃重、焦淡相滲疊，以凝煉和沉健的線條將青蛙的姿態描寫得栩栩如生。構圖精簡而意遠。青蛙身體朝向畫外，似要躍出畫面，畫面的右側有行草書題寫的自作詩，錯落有致。另一面可見張宗祥為王黎夫草書題詩。 款識：江南水滿田，蛙閣閣，聲連天。歌頌禾黍豐收，年年復年年。一九五六年夏日，黎夫同志 屬，壽者。鈴印：壽者、阿壽。張宗祥 (1882-1965) 草書詩一首，黎夫同志正；鈴印：張宗祥印、冷僧。扇骨上可見“丁亥夏日行人唐雲寫於邏思齋”（應爲1947年）。 來源：王黎夫 (1911-2014) 收藏，在同一家族保存直至最後一任藏家。王黎夫曾是中國共產黨幹部，後曾任浙江省人民政府外事辦公室原主任。 品相：狀況良好，磨損和輕微污漬，少量撕裂，損失和使用痕跡極少。 尺寸：長49.5 厘米，高18 厘米 (畫) ，成扇高 30 厘米 拍賣結果比較：比較一件相似的潘天壽《蛙聲滿田圖》(58 x 44.5 厘米) ，見保利《望山堂藏畫》Important Modern Chinese Painting and Calligraphy 2020年12月4日 lot 670, 售價CNY 5,750,000 (approx. EUR 724,895)。比較一件潘天壽與張宗祥的成扇，見保利Modern Chinese Painting and Calligraphy 2020年10月17日 lot 1902, 售價CNY 575,000 (approx. EUR 73,238)。