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1931 Rolls-Royce 20 / 25 Sedanca De Ville by Windovers Transmission: manualMileage:57000First registered on 7th May 1931 and finished in pastel blue and black with black leather interior, GNS75 was initially ordered by J.J. Jones of 88 St. James's Street, London however the first owner was actually Hylton Ralph Murray-Philipson (Jnr) of Stobo Castle, Peebles. Stobo Castle had been purchased by Hylton Murray-Philipson Snr in 1905 and in 1924 he conveyed the estate to his son who was a pioneer aviator. Hylton's career consisted of being the C.O. of the City of Edinburgh Auxiliary Air Force Squadron, Conservative MP for Twickenham; Chairman of N.E. Marine Engineering Company and a member of the King's Bodyguard for Scotland and the Royal Company of Archers. Hylton Murray-Philipson suffered from ill health and died in 1934 aged 32 leaving GNS75 to his wife Monica and two young children. In 1939 Monica Murray-Philipson sold Stobo Castle to Wenefryde Agatha Scott, 10th Countess of Dysart and after 10 years of being a widow Monica married Colonel P.H. Lloyd of Stone House in Blaston. The Colonel and Murray-Philipson had business connections as they were both company directors of Manvers Main Collieries Ltd Murray-Philipson in 1923/33 and Lloyd in 1940/47. In 1943 GNS75 is shown as being with her second family, that of John Stanley Coombe Beard of Grayshott Hall, Surrey. John Beard was an architect well known for designing over 100 cinemas in many styles, Baroque, Art Deco, Italian Renaissance, Greek Revival and even Egyptian. Interestingly in 1937 Mrs Beard made call to the police about an attempted burglary which resulted in the first arrest directly attributable to the new 999 service.A rare, possibly unique and very attractively designed car incorporating many appealing features such as stylish wings, separate steps in place of running boards, slim bumpers, external visor and louvred bonnet and scuttle with beautifully proportioned coachwork. With a polished aluminium bonnet top and waistline and P80 'bullseye' headlamps with pillar spot lamp all adds to the overall gorgeous design with the incorporation of various Art Deco touches.This 20/25 allows you to instruct your chauffeur from the privacy of the rear passenger compartment with the interior dividing screen while keeping an eye on progress with your own speedometer which is naturally mounted atop the built-in drink's cabinet. Such unusual original features are what make this Rolls-Royce special, even the delightful Sedanca de Ville coachwork is rare with its split separate steps and Art Deco flourishes. The front compartment provides accommodation for the driver and a passenger with a removable roof section for open-air motoring and wind-up windows. The driver's window also featuring a quick release lower section to allow hand signals to be easily executed. A right hand gear change allows for plenty of legroom and the large steering wheel is surmounted by a collection of hand controls. A large bulb horn lies easily to hand and the windscreen can be opened for ventilation. It is shaded by a glass visor and a spot lamp is within the driver's reach. Gauges are also a feature of the rear passenger compartment, although separated by a dividing screen, the rear passengers can keep an eye on their own speedometer as well as being supplied with a clock, barometer and a circular thermometer. The clock, and possibly the barometer, appear to be later additions. The drinks cabinet has provision for holding several decanters and a few glasses in a Lazy Susan, although the glassware itself is no longer present. The leather upholstery looks to be in lovely condition throughout, exhibiting just the right amount of patina without looking tatty. The carpets, door cards and headlining are similarly well presented as are stylish Art Deco door handles and window winders, which place this Rolls-Royce squarely in the 1930s.To the exterior, the Palladian radiator surround is topped with the Spirit of Ecstasy and the long bonnet is flanked by twin side-mount spare wheels. A pair of large Lucas tripod headlamps illuminate the road ahead and are assisted by a centrally mounted spot lamp, as well as the swivelling spot lamp near the driver. Twin horns complete the scene at the front of the car, along with a polished chrome-plated bumper. The Windovers Sedanca de Ville coachwork suits the car well and is beautifully proportioned. It features the unusual running boards, separate for front and rear passengers, as well as a useful luggage boot to the rear. Polished aluminium discs cover the wire wheels and the car runs on a full set of Paymaster tyres. Lifting the long bonnet reveals the powerful, straight-six, 3.7 litre engine. The engine features coil ignition and is fed by an Autovac fuel pump and, unusually for a car of this period, there is a glass bottle of screen wash mounted on the bulkhead, which is likely to be a later addition coupled to a small modern electric pump which has been added for ease of use. Supplied with a history file which includes historic photographs of restoration, instruction book and the original buff logbook coupled to the V5C registration document and copies of handwritten service records. The vendor informs us that the engine starts up easily every time and runs well. It is said to be a joy to drive and mechanically sound with its overhead valves, four-speed gearbox and powerful engine, this Rolls-Royce is certainly very capable and splendidly opulent. An imposing motorcar, which wears fabulously unusual coachwork and retains many original details.

EERO SAARINEN & CHARLES EAMES "Zwei Organic Conference-Chair" Design des 20,Jh. VITRA, formverleimte Holzschale, gepolsterter, Bezugstoff, beine aus Eiche, H: 93,5 cm. Alters-und Gebrauchsspuren.Entworfen für den Wettbewerb "Organic Design in Home Furnishing", den das Department of Industrial Design des Museum of Modern Art in New York am 1. Oktober 1940 ausgeschrieben hatte. Die Initiative ging von Elliot Noyes, dem ersten Kurator dieses neu geschaffenen Departments aus. Ziel war Architekten und Firmen zu motivieren moderne Möbel für ein zeitgemäßes Wohnen auf den Markt zu bringen.| EERO SAARINEN & CHARLES EAMES "Two Organic Conference-Chair".VITRA, moulded wooden shell, upholstered, cover fabric, oak legs, h: 93,5 cm. Signs of age and use.Designed for the competition "Organic Design in Home Furnishing", which was announced by the Department of Industrial Design of the Museum of Modern Art in New York on 1 October 1940. The initiative came from Elliot Noyes, the first curator of this newly created department. The aim was to motivate architects and companies to bring modern furniture for contemporary living onto the market.

EERO SAARINEN & CHARLES EAMES "Zwei Ornanic Conference-Chair" Design des 20.Jh. VITRA, formverleimte Holzschale, gepolsterter, Bezugstoff, beine aus Eiche, H: 93,5 cm. Alters-und Gebrauchsspuren.Entworfen für den Wettbewerb "Organic Design in Home Furnishing", den das Department of Industrial Design des Museum of Modern Art in New York am 1. Oktober 1940 ausgeschrieben hatte. Die Initiative ging von Elliot Noyes, dem ersten Kurator dieses neu geschaffenen Departments aus. Ziel war Architekten und Firmen zu motivieren moderne Möbel für ein zeitgemäßes Wohnen auf den Markt zu bringen.| EERO SAARINEN & CHARLES EAMES "Two Ornanic Conference-Chair".VITRA, moulded wooden shell, upholstered, cover fabric, oak legs, h: 93,5 cm. Signs of age and use.Designed for the competition "Organic Design in Home Furnishing", which was announced by the Department of Industrial Design of the Museum of Modern Art in New York on 1 October 1940. The initiative came from Elliot Noyes, the first curator of this newly created department. The aim was to motivate architects and companies to bring modern furniture for contemporary living onto the market.

Poetic Art Nouveau silver tea and coffee set by Bruckmann, on the original tray. The silver set includes a large teapot with a hinged lid, a large coffee pot with a hinged lid, a sugar bowl with a removable lid, a milk jug. The set is installed on a large oval-shaped tray with two handles. The objects are decorated with overhead volumetric details made on floral motifs. The decorations, handles and shape of objects are made in the modern style, the lids are decorated with a voluminous cast flower bud on the stem. Silver, bone, traces of gilding on the inner surfaces. The outer surface of the objects is polished. Casting, stamping, drawing, rolling, embossing, carving (bone). Item sizes: Milkman. Height -11.3 cm, maximum width - 15.5 cm, base diameter (bottom) - 5.8 cm, weight - 239 gr. Coffee pot. Height - 21.0 cm, maximum width - 25.0 cm, base diameter (bottom) - 9.0 cm, weight - 817 gr. Kettle. Height - 15.0 cm, maximum width - 27.0 cm, base diameter (bottom) - 9. cm, weight - 936 gr. Sugar bowl. Height with lid - 16.0 cm, maximum width with handles - 17.0 cm, lid weight - 113 g, total weight - 461 g. Tray. Oval. Cast handles. Total length with handles - 55.0 cm, width - 38.0 cm, weight - 1480 gr. The total weight of the set is 4.045 kg. Silver, Germany, after 1888. Hallmarks: crescent moon, crown, silver standard 800, makers mark (unknown workshop, possibly Bruckmann). Excellent collectible condition. Width: 25cm, Height: 21cm, Depth: 1cm, Weight: 4.045kg, Condition: Good, Material: Silver 800

Russian silver creamer and cloisonne enamel sugar bowl in Art Nouveau style. Moscow, 1894 Conical shapes, decorated with polychrome enamel patterns. Spectacular handles of flowering shoots form a dynamic and recognizable modern silhouette. The sugar bowl has a flat lid with matching decor. On the handle there is an MC mark in an oval, presumably from the workshop of Maria Semenova, a city mark and a double-headed eagle. Assay master: Alexander Alekseevich Smirnov. Signs of wear. Total weight: 736 g. Width: 8cm, Height: 13cm, Depth: 19cm, Weight: 0.736kg, Condition: Good, Material: Silver 84, Cloisonne enamel, GildingChoose Color  

Impressive large chest of drawers in the Louis XVI style, embellished with decorative elements in gilded bronze. Mni Leon BERTAUX mark. Presumably a model of the famous furniture workshop CHARLES-GUILLAUME DIEHL, PARIS together with Leon Bertau.Historical note: Madame Leon (Helene) Berteau (1865-1909) - Leon Bertau, French sculptor In 1889 she received a gold medal at the World Exhibition in Paris. She organized a sculpture school for women. In 1896, she became the first woman to be selected by the jury of the Salon exhibitions. She became famous thanks to the subtlety of the work with the material and the struggle for the rights of women. Charles-Guillaume Diehl French furniture and cabinetmaker of German origin was born in Steinbach (Grand Duchy of Hesse) on July 20, 1811. In 1840 CHARLES-GUILLAUME DIEHL moved to Paris at 3rd rue Turigny and then at 170th rue in the city. Saint Martin. In 1850, Charles-Guillaume Die was listed in the Trade Almanac at 16 rue Michel-le-Comte. According to reports, the workshops were located at 39 Rue Saint-Sebastian, where more than six hundred workers worked between 1868 and 1870. CHARLES-GUILLAUME DIEHL has evolved its business towards creating luxury furniture that attracts crowds of fans to the universal exhibitions. Deal made the dainty little pieces of rosewood furniture, as well as the boule bars, boxes and gloves that made his workshop famous. Jules Mesnard Jules Mesnard wrote in 1867 about CHARLES-GUILLAUME DIEHL: His works cover the entire line of works of art, from two-franc pins to large furniture worth 70,000 francs. He has ordinary and modern furniture, as well as expensive furniture. (The Miracles of the World Exhibition of 1867). Parisian and international clientele loved Diehls sumptuous and tasteful luxuries, as well as elegant marquetry pieces. His works in marquetry technique were awarded a silver medal at the 1867 World Exhibition in Paris. Charles-Guillaume Dill products were known not only for small forms, but also for large furniture, tables, cabinet bases, cabinets made of very high quality and decorated with bronze and marquetry elements. ¸ Width: 142cm, Height: 116cm, Depth: 42cm, Weight: 50kg, Condition: Good, Material: Bronze, marble, woodChoose Color  

A 9ct white gold watermelon tourmaline and diamond cluster ring, in Art Deco style, set with modern round brilliant-cut diamonds, total diamond content approx 0.5ct, setting height 16.1mm, size M, 6gAll stones present, diamonds very bright white and fiery, settings very lightly abraded with 1 well concealed join mark on back of shank, hallmarks clear, stamped 375

BANKSY (b. 1974) Cut & Run Glasgow Gallery Of Modern Art Exhibition Poster Framed and glazed Picture size 58 x 40cm Overall size 84 x 64cm

William Rubin, 'Picasso and Portraiture', Thames and Hudson ISBN 0-500-23724-7. Modern Masterpieces of British Art, Kearton's Nature picture. Ruper Bear Dossier. The Christmas Churchmouse, etc:- One Box.

"Portrait of the Cornejo Sancho Family"Oil on canvas. Dated 1754.245 x 317 cm.This lot has a valid export permit from the Spanish Ministry of Culture.An extensive and well-documented study by Dr. Clara Zamora Meca is attached. In it, she mentions the possible attribution to the painter Cristóbal de Aguilar. "It is possible to attribute it to Cristóbal de Aguilar, a portraitist who worked in Lima in the second half of the 18th century, a contemporary of Cristóbal de Lozano. His best-known painting is the portrait of Viceroy Amat, painted in 1771 for the Nazarene Monastery. The chronology of his known artworks ranges from 1745 to 1769, some are signed and others attributed."Furthermore, it is relevant that Cristóbal Aguilar was a painter who specialised in portraying members of the Lima nobility and the political elite of the Viceroyalty of Peru. It is logical to assume that the commission of such an important painting by a well-known personality in the period would have been entrusted to one of the best artists of the time. Despite not being signed (as was the case in most instances), its authorship cannot be anonymous.This is an exceptional Lima painting of enormous interest from both a historical, artistic, and iconographic point of view, and because of the extremely interesting information that the painting itself provides, reflecting the different social strata, the Marian invocation that presides over it, the detailed depiction of each character with their personal information, and the union of both continents depicted in the family's transposition to the New World (through two of its members). The information is obtained through the commission of this portrait, as well as the information provided by the study of the painting by Dr. Clara Zamora, which includes data extracted from, the Archivo de Indias or the Archivo Municipal de Arganda, among others.Interesting documents such as Manuel Cornejo's passenger licence to the Indies (1711) and four papal bulls with the signature of José Cornejo are attached to her study, two from Innocent XIII to King Philip V, communicating the provision of the archbishopric of La Plata (Charcas) and the archbishopric of Lima (both from 1723), and the other two from Clement XI to King Philip V, communicating the provision of Nueva Segovia (Ilocos) and Nueva Cáceres (Camarines), both located in the Philippines.In this case, as in other frequent cases, it was customary to make posthumous portraits, as we read in Dr. Zamora's study: "The true boom in portraits occurred in the 18th century. The end of the War of Succession marked a turning point between the predominantly historical and commemorative character of portraiture and that of ostentation, as is the case here, which was introduced, fundamentally, by the French artistic trend. As the elite acquired noble titles, their portraits became richer in decoration, although their expression remained very severe. The portrait was not intended to reproduce the psychology of the sitter, but to manifest their belonging to a social group, a religious community, or a corporation. As in this case, it was common for some portraits to be made posthumously. Some of the subjects were no longer alive when this work was painted in 1754."Regarding the representation of this peculiar portrait, Zamora continues: "It is an atypical composition, a scene with twelve people, who appear between two palatial rooms, in a kind of hallway. The scene is crowned by Our Lady of the Sanctuary of Toledo. There are several artistic relationships between the Cathedral of Toledo and Spanish America during the Modern Age. Our Lady of the Sanctuary was worshipped to an enormous extent in New Spain. The 1672 painting by Francisco Rizi to be sent to Puebla de los Ángeles (Mexico) at the request of Manuel Miranda Palomeque is another example. Our Lady of the Sanctuary was considered "mother and protector," as also stated in the inscription surrounding her in this painting. "Bajo tu protección" (Under your protection) is the oldest hymn currently preserved of the Virgin Mary as Mother of God. The transcription of the text surrounding the virgin in the painting is the same: MONSTRATE ESSE MATREM SUB TUUM PRESIDIUM CONFUGIMUS."The composition is adapted to the style of elite portraits of the time: the subjects stand, with four essential elements: drapery, a heraldic shield (with a marquess crown in this case), cartouches with descriptions of the characters, and elements that allude to the positions of those represented (for example, the mitre belonging to one of them). Colonial painting was almost always executed on canvas, with large-sized canvases. The size of this painting is striking, as is the large family group it depicts, making it an artwork of tremendous interest.Cano Picó and Puig Galindo write about the unmistakable Hispano-American aspect of the work, "The painting has all the characteristics of the portrait painting style that developed in Hispanic America during the Viceroyalty or Colonial period. The background architecture with irregular perspective have all the characteristics of colonial architecture from the Viceroyalty period. Another aspect of the painting related to Hispanic America is in the clothing, such as the use of richly made aprons that complement the attire of important people. In Spain, the attire of aristocratic ladies did not include aprons as accessories, while in Hispanic America, the use of aprons as a complement to the clothing of important ladies was frequent."The painting features a central cartouche with the family crest at the bottom that reads: "DON MANUEL CORNEJO. / I D. JULIANA SANCHO. / I SUS HIJOS." This shield corresponds to the Cornejo Family in Arganda del Rey.At the bottom, there are ten cartouches with the name and titles identifying each of the characters. In this regard, the excellent study carried out by Ramón Cano Picó and Cristina Puig Galindo, which thoroughly delves into each of the characters, is very interesting.Regarding those portrayed, as Zamora notes, "The Sancho Granado family was a very prominent family in Arganda del Rey (Spain). The Sanchos, upon uniting with the Granados, achieved the definitive merger between this place and the Society of Jesus. In 1613, Juan Sancho, mayor of the Holy Brotherhood, led a group of 27 people from Arganda who opposed the sale of the Villa to the powerful Duke of Lerma. This same Sancho led the Villa of Arganda against the power of the Society of Jesus." One of the daughters, Juliana Sancho Granado, married the physician don Manuel Cornejo, forming the Cornejo Sancho family, portrayed in this painting.Two of the sons travelled to New Spain, as Zamora continues, "Lawyer Manuel Cornejo, who appears in the information file and passenger licence to the Indies in the year 1711, with Manuel de la Cruz, a native of Toledo, as a superior commissioner (Archivo General de Indias, Signature: CONTRATACION, 5466, N. 1, R. 19. Date, 1711-07-28). This is the character that serves as a link for us to understand the transposition of this family to the New Spain. Also, the second of them, Juan Hernando, appears as "Dean and Canon of the Holy Metropolitan Church of Santiago" (Santiago de Chile, as it was called, not Santiago de Compostela)."In the conclusion of her study, Dr. Zamora leaves us with a phrase that we would like to highlight: "A very peculiar, ambitious, and rich piece that will spark much discussion in the future if we continue to investigate the path that opens up to all those who are interested in the history of humanity."Attached: - Study by Dr. in Art History, Clara Zamora Meca.Technical report by Ramón Cano Picó and Cristina Puig Galindo.

Attributed to Jan Gossart "Mabuse" (Maubeuge, circa 1478 - Antwerp, 1532)"Virgin and Child (Portrait of Anna van Bergen with her son Hendrik)"Oil on panel. 47.5 x 36 cm.Our hypothesis regarding this painting, of which there are a few copies by Gossart's contemporaries and followers, is that it is the original by Mabuse which belonged to the Marqués de Leganés, registered in the inventory of his collection as number 379 ("Another image of Our Lady with the Child in her arms, holding a handheld rosary by Mabuse, measuring just under half a yard in number three hundred and seventy-nine, valued at twelve hundred Reales"). It was documented for the last time in 1655 and not located since then.  The information that supports our hypothesis can be found in the doctoral thesis "El Marqués de Leganés y las Artes" by José Juan Pérez Preciado: "The motif of the rosary in the hands of the Virgin was frequently repeated among Flemish artists of the 15th century. Gossaert used it in a devotional work of which several copies are known. According to Karel van Mander, it was a painting created during Gossaert's service at the court of Adolf de Bourgogne, Marquess of Vere and Teerveuren. The artist used portraits of the nobleman's wife and son. According to Friedländer, the main painting under this iconography that the author created is that of the Metropolitan Museum in New York (inv. 17.190.17 T. 45 x 34). Although others are also preserved in the Royal Museum of Brussels (T. 43.7 x 31; inv. 3377), or in the Dresden Gallery. The fate of the painting is unknown, as it had already left the collection in 1711, when it was claimed by the Count of Altamira, the legal heir to the entire collection. It has not been possible to link any known copy to the work owned by Leganés, although the presence of a copy in the K. Kocherthaler collection in Madrid at the beginning of the 20th century is significant, as Friedländer himself attests."As indicated by the typewritten label on the back, with data from the former owner, it states that it was acquired precisely from the Kuno Kocherthaler collection in Madrid. Therefore, our painting is the one mentioned earlier in the thesis by José Juan Pérez Preciado, which was in Madrid at the beginning of the 20th century and could well be the one belonging to the Marqués de Leganés that has not been located to date.The MET in New York, as mentioned by Preciado, has a Virgin and Child similar to this one in its collections a, painted by a follower of Gossart, with collection number: 17.190.17.The Metropolitan, in its description of the work dating from after 1522, suggests that it may be "a replica of the lost original portrait by Gossart of the noble Anna van Bergen posing with her son Hendrik as the Virgin and Child." The note continues, stating that "portraits in which secular people adopt the appearance of sacred figures may seem provocative to modern sensibilities, but they capture the aspirations of their subjects to emulate the ideals of virtue and piety."As we read in the Museo del Prado's entry on Jan Gossaert, "The signed works that are preserved by Jan Gossaert, known as Mabuse, allude to his origin in Maubeuge, in Hainaut - currently in northern France. Although there is no news of where he was trained, it is possible that he received his education in Bruges, in the workshop of Gérard David (doc. 1484-1523), before 1503 when he enrolled in the Guild of Antwerp. In October 1508, he accompanied Philip of Burgundy to Rome, and during his stay in this city, Gossaert drew ancient statues and architectural monuments for him, becoming the first Flemish painter to directly experience Italian art. Upon returning to Flanders, he introduced classical models into his works, which abound in themes from Antiquity and nudes, such as those he painted in 1516 for Philip of Burgundy in the decoration of the castle of Suytburg in Zeeland, in collaboration with Jacopo de Barbari (ca. 1445-ca. 1515). Simultaneously, Gossaert became interested in 15th-century Flemish painting and copied some artworks, including those of Jan van Eyck (doc. 1422-1441), as he did in this panel at the Prado. His debt to tradition is also evident in his interest in translating the qualities of things, an interest that he maintained even in paintings and drawings of religious or mythological subjects in which classical forms are embodied in human types originating from Flanders (González Mozo, A .: El trazo oculto. Dibujos subyacentes en pinturas de los siglos XV y XVI, Museo Nacional del Prado, 2006, pp. 102-113)."Provenance:Former Kuno Kocherthaler Collection, Madrid. Early 20th century.Private collection.Reference bibliography: - Pérez Preciado, José Juan. (2008). "El Marqués de Leganés y las Artes”. [Tesis de doctorado. Universidad Complutense de Madrid]. Docta Complutense.- Museo del Prado. (s.f.). "Gossaert, Jan". https://www.museodelprado.es/coleccion/artista/gossaert-jan/c0969eda-6fea-4a7c-a868-2b919aa9a01f- Metropolitan Museum of Art. (s.f.). "Virgin and Child". https://www.metmuseum.org/art/collection/search/436539

Nahem Shoa Gbenya Ilumoka Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Nahem Shoa is a contemporary artist born in Notting Hill where he still lives and works. Nahem has an international reputation as a painter of contemporary multicultural life. Until 2007 Nahem painted from life giant heads of people from black and ethnic backgrounds. 19 of Nahem's portraits are in major museum collections. Nahem then turned to other subjects that drew on 'unreal' sources, photograph, TV and film as well as memory, creating hugely multi-layered paintings bursting with incident, including floods and nuclear explosions. Education Manchester College of Art Post-grad Royal Drawing School Select Exhibitions/Awards Winner of Royal Society of Portrait painters, Face of Britain at Southampton City Art Gallery, Into The Light at Walker Art Gallery, Liverpool, Black Presence, The Atkinson Art Gallery, Southport, Seen and Not Seen at Ferens Art Gallery, Hull, We are Here at The Herbert Art Gallery, Coventry, Into The Wild Abyss, Royal Albert Memorial Museum, Exeter, Youth Culture, The Box, Plymouth, Royal Academy, Summer Show, London BP portrait awards, National Portrait Gallery. Lord Leighton Prize, London, Elizabeth Greenshields Award, What's New, Manchester City Art Gallery, Modern Art, Hatton Gallery Newcastle, V&A, London, Facing Yourself, Bury City Art Gallery, 100 years of Collecting, The Laing Art Gallery, Newcastle. Gallery Representation Gallery East Statement about AOAP Submitted Artwork All the sitters in these paintings are friends, who have sat for all my major museums exhibitions and collections in England. My aim in to readdress the negative images of black people in museums, with my powerful portraits of Black British Londoners. I am already known as the Lucian Freud of Multiculturalism. The four postcards are my decorative, with a bit of imagination thrown in. The portrait of Queen Tiye, is from a 3000-year-old Egyptian portrait of grandmother of Tutankhamun, it is the first realistic portrait in western art and it of a black woman. I just gave her a modern haircut. Please google my name or check me out on Wikipedia.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Nahem Shoa London Woman with Pearl Earring, 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Nahem Shoa is a contemporary artist born in Notting Hill where he still lives and works. Nahem has an international reputation as a painter of contemporary multicultural life. Until 2007 Nahem painted from life giant heads of people from black and ethnic backgrounds. 19 of Nahem's portraits are in major museum collections. Nahem then turned to other subjects that drew on 'unreal' sources, photograph, TV and film as well as memory, creating hugely multi-layered paintings bursting with incident, including floods and nuclear explosions. Education Manchester College of Art Post-grad Royal Drawing School Select Exhibitions/Awards Winner of Royal Society of Portrait painters, Face of Britain at Southampton City Art Gallery, Into The Light at Walker Art Gallery, Liverpool, Black Presence, The Atkinson Art Gallery, Southport, Seen and Not Seen at Ferens Art Gallery, Hull, We are Here at The Herbert Art Gallery, Coventry, Into The Wild Abyss, Royal Albert Memorial Museum, Exeter, Youth Culture, The Box, Plymouth, Royal Academy, Summer Show, London BP portrait awards, National Portrait Gallery. Lord Leighton Prize, London, Elizabeth Greenshields Award, What's New, Manchester City Art Gallery, Modern Art, Hatton Gallery Newcastle, V&A, London, Facing Yourself, Bury City Art Gallery, 100 years of Collecting, The Laing Art Gallery, Newcastle. Gallery Representation Gallery East Statement about AOAP Submitted Artwork All the sitters in these paintings are friends, who have sat for all my major museums exhibitions and collections in England. My aim in to readdress the negative images of black people in museums, with my powerful portraits of Black British Londoners. I am already known as the Lucian Freud of Multiculturalism. The four postcards are my decorative, with a bit of imagination thrown in. The portrait of Queen Tiye, is from a 3000-year-old Egyptian portrait of grandmother of Tutankhamun, it is the first realistic portrait in western art and it of a black woman. I just gave her a modern haircut. Please google my name or check me out on Wikipedia.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Nahem Shoa Queen Tiye, 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Nahem Shoa is a contemporary artist born in Notting Hill where he still lives and works. Nahem has an international reputation as a painter of contemporary multicultural life. Until 2007 Nahem painted from life giant heads of people from black and ethnic backgrounds. 19 of Nahem's portraits are in major museum collections. Nahem then turned to other subjects that drew on 'unreal' sources, photograph, TV and film as well as memory, creating hugely multi-layered paintings bursting with incident, including floods and nuclear explosions. Education Manchester College of Art Post-grad Royal Drawing School Select Exhibitions/Awards Winner of Royal Society of Portrait painters, Face of Britain at Southampton City Art Gallery, Into The Light at Walker Art Gallery, Liverpool, Black Presence, The Atkinson Art Gallery, Southport, Seen and Not Seen at Ferens Art Gallery, Hull, We are Here at The Herbert Art Gallery, Coventry, Into The Wild Abyss, Royal Albert Memorial Museum, Exeter, Youth Culture, The Box, Plymouth, Royal Academy, Summer Show, London BP portrait awards, National Portrait Gallery. Lord Leighton Prize, London, Elizabeth Greenshields Award, What's New, Manchester City Art Gallery, Modern Art, Hatton Gallery Newcastle, V&A, London, Facing Yourself, Bury City Art Gallery, 100 years of Collecting, The Laing Art Gallery, Newcastle. Gallery Representation Gallery East Statement about AOAP Submitted Artwork All the sitters in these paintings are friends, who have sat for all my major museums exhibitions and collections in England. My aim in to readdress the negative images of black people in museums, with my powerful portraits of Black British Londoners. I am already known as the Lucian Freud of Multiculturalism. The four postcards are my decorative, with a bit of imagination thrown in. The portrait of Queen Tiye, is from a 3000-year-old Egyptian portrait of grandmother of Tutankhamun, it is the first realistic portrait in western art and it of a black woman. I just gave her a modern haircut. Please google my name or check me out on Wikipedia.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Nahem Shoa The Poet and The Night Sky, 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Nahem Shoa is a contemporary artist born in Notting Hill where he still lives and works. Nahem has an international reputation as a painter of contemporary multicultural life. Until 2007 Nahem painted from life giant heads of people from black and ethnic backgrounds. 19 of Nahem's portraits are in major museum collections. Nahem then turned to other subjects that drew on 'unreal' sources, photograph, TV and film as well as memory, creating hugely multi-layered paintings bursting with incident, including floods and nuclear explosions. Education Manchester College of Art Post-grad Royal Drawing School Select Exhibitions/Awards Winner of Royal Society of Portrait painters, Face of Britain at Southampton City Art Gallery, Into The Light at Walker Art Gallery, Liverpool, Black Presence, The Atkinson Art Gallery, Southport, Seen and Not Seen at Ferens Art Gallery, Hull, We are Here at The Herbert Art Gallery, Coventry, Into The Wild Abyss, Royal Albert Memorial Museum, Exeter, Youth Culture, The Box, Plymouth, Royal Academy, Summer Show, London BP portrait awards, National Portrait Gallery. Lord Leighton Prize, London, Elizabeth Greenshields Award, What's New, Manchester City Art Gallery, Modern Art, Hatton Gallery Newcastle, V&A, London, Facing Yourself, Bury City Art Gallery, 100 years of Collecting, The Laing Art Gallery, Newcastle. Gallery Representation Gallery East Statement about AOAP Submitted Artwork All the sitters in these paintings are friends, who have sat for all my major museums exhibitions and collections in England. My aim in to readdress the negative images of black people in museums, with my powerful portraits of Black British Londoners. I am already known as the Lucian Freud of Multiculturalism. The four postcards are my decorative, with a bit of imagination thrown in. The portrait of Queen Tiye, is from a 3000-year-old Egyptian portrait of grandmother of Tutankhamun, it is the first realistic portrait in western art and it of a black woman. I just gave her a modern haircut. Please google my name or check me out on Wikipedia.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Keith Milow Cross D/01/23 Iron powder on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Born in London in 1945 Lived in New York 1980-2002 Lived in Amsterdam 2002-2014 Lives in London since 2014 Education Camberwell School of Art, London, 1962-1967 Royal College of Art, London, 1967-1968 Select Exhibitions/Awards AWARDS: 1976 Calousts Gulbenkian Foundation Award 1979 Arts Council of Great Britain, major award 1979 First Prize, Eastern Arts National Exhibition 1983 Edward Albee Foundation Award 2015 Royal Academy Charles Wollaston Award (nominee) 2017 Pollock-Krasner Award SELECTED PUBLIC COLLECTIONS: Arts Council of England, UK, British Museum, London Contemporary Arts Society, London, Scottish National Gallery of Modern Art, Edinburgh, Victoria and Albert Museum, London, Denver Art Museum, Denver, CO Guggenheim Museum, New York, NY, Metropolitan Museum, New York, NY Museum of Modern Art. New York, NY 53 solo exhibitions between 1968-2017. Numerous group exhibitions   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Keith Milow Cross D/02/23 Iron Powder on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Born in London in 1945 Lived in New York 1980-2002 Lived in Amsterdam 2002-2014 Lives in London since 2014 Education Camberwell School of Art, London, 1962-1967 Royal College of Art, London, 1967-1968 Select Exhibitions/Awards AWARDS: 1976 Calousts Gulbenkian Foundation Award 1979 Arts Council of Great Britain, major award 1979 First Prize, Eastern Arts National Exhibition 1983 Edward Albee Foundation Award 2015 Royal Academy Charles Wollaston Award (nominee) 2017 Pollock-Krasner Award SELECTED PUBLIC COLLECTIONS: Arts Council of England, UK, British Museum, London Contemporary Arts Society, London, Scottish National Gallery of Modern Art, Edinburgh, Victoria and Albert Museum, London, Denver Art Museum, Denver, CO Guggenheim Museum, New York, NY, Metropolitan Museum, New York, NY Museum of Modern Art. New York, NY 53 solo exhibitions between 1968-2017. Numerous group exhibitions   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Laurence de Valmy I'm a Pharmacist Acrylics on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Laurence de Valmy combines painting and digital mediums, to bring a new light on our collective imagery and make the viewers ponder on our society including the notion of fame, the place of women or the role of social media. Laurence de Valmy is French American and lives in San Diego, USA. Her work is represented by galleries based in New York, UK and France. She is an active member of Artcan.org, a non-profit artist community. Education Laurence de Valmy studied painting in private studios and art history at the Ecole du Louvre. She holds a Master from the University of Paris, and an MBA from the Institute of Business Administration Aix. SELECT EXHIBITIONS/AWARDS SELECT EXHIBITIONS 2023 Pop Color, Artspace Warehouse, Los Angeles Fall exhibition, Range of Arts, Honfleur, France Pop: Summer exhibition, Azart Gallery, NY ArtCan with love, London Opening exhibition, Amber Galleries, Henley on Thames NFT event at Santa Monica Art Museum (California) 2022 Urban Pop, Bountiful Davis Art Center, UT curated by Todd Marshall Feminist connect, Charles Adam Studio Project, in Lubbock, Texas Explore 01, Kroll x ArtCan, New York Eye of the beholder, 508 King Gallery, London 2021 Connected, Summit Public Art, Summit, NJ, USA Monumental, juried by Sergio Gomez, USA A Thousand Words, The Curator's Salon, juried by Gita Joshi Art on a Postcard, London, curated by Gemma Peppe - Invitational Wish You Were Here, The Postal Museum, London Flower Fever, Sorunda, Sweden, curated by Brandy Kraft Women artists, Kahn Gallery, (London) Through her eyes, Singulart, curated by Rania Elafifi and Marion Sailhen Not so classic Classics, Range of Arts, Honfleur Group Show 3, Shrine Gallery, New York, USA 2020 The Watermill Center: Benefit Auction - Invitational Art on a Postcard, London, curated by Gemma Peppe - Invitational Cosmopolis, Azart Gallery, NYC curated by Latifa Metheny USPS Art Project, Ely Center of Contemporary Art, New Haven, USA To Beirut, Range of Arts, Honfleur, France SolidArty, Sothebys Institute of London curated by Amira Gad and Emily Butler Juried Concepts, CICA Museum, Seoul, South Korea 2019 POST, Michele Mariaud Gallery, NYC curated by Michele Mariaud (Solo show) SOLO Azart Gallery & French Wink, NYC (Solo show) Art on a Postcard, London, curated by Gemma Peppe - Invitational Mana Open House, Mana Decentralized, Jersey City, NJ Lost in Abstraction, Kahn Gallery, London 2018 Art on a Postcard, London, curated by Gemma Peppe - Invitational The BUNTE Art, Museum of Urban and Contemporary Art, Munich, curated by Mon Muellerschoen Let's Connect, Barnes Foundation, Philadelphia Stranger than Fiction, BG Gallery, Santa Monica, curated by Om Bleicher 2017 Dialogue, AZART Gallery, New York, curated by Latifa Metheny Wrap Around 13: Laurence de Valmy, George Horner, Karen Lederer, ARENA at Suite 806, New York, curated by Renée Riccardo 2016 French Reflections, FIAF Montclair, NJ, curated by Marie-Catherine Glaser (Solo show) AWARDS 2023 Finalist of the Trophy of French in the USA by Le Petit Journal 2020 St Petersburg Art Residency #VirtualSPAR 2019 Guest Artist Museum Week, Michele Mariaud Gallery, NYC 2017 Artist Residency Fellowship, Eileen Kaminsky Family Foundation ESKFF, Mana Contemporary, Jersey City, NJ 2016 Fall price, Connection Magazine, NJ 2005 Mention, Prix de l'Ebouillante, Paris, France 2004 First Prize, Watercolor competition BHV, Paris, France Gallery Representation Azart Gallery (NY), Artspace Warehouse (LA), Amber Galleries (UK), Range of Arts (France), Singulart (France) Statement about AOAP Submitted Artwork Art is a continuum and a mirror of our society. In the tradition of art appropriation, I bring my own view to existing artworks, pay a tribute to their authors, and play with the concept of originality. My goals are to bring a new light on our collective imagery and to make the viewers ponder on our current society including the notion of fame, the place of women or the role of media. By painting the positive portrayal of women and girls in modern-day comic books like Pokemon, my ambition is to highlight and amplify an empowering narrative.  You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Laurence de Valmy Sisterhood Acrylics on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Laurence de Valmy combines painting and digital mediums, to bring a new light on our collective imagery and make the viewers ponder on our society including the notion of fame, the place of women or the role of social media. Laurence de Valmy is French American and lives in San Diego, USA. Her work is represented by galleries based in New York, UK and France. She is an active member of Artcan.org, a non-profit artist community. Education Laurence de Valmy studied painting in private studios and art history at the Ecole du Louvre. She holds a Master from the University of Paris, and an MBA from the Institute of Business Administration Aix. SELECT EXHIBITIONS/AWARDS SELECT EXHIBITIONS 2023 Pop Color, Artspace Warehouse, Los Angeles Fall exhibition, Range of Arts, Honfleur, France Pop: Summer exhibition, Azart Gallery, NY ArtCan with love, London Opening exhibition, Amber Galleries, Henley on Thames NFT event at Santa Monica Art Museum (California) 2022 Urban Pop, Bountiful Davis Art Center, UT curated by Todd Marshall Feminist connect, Charles Adam Studio Project, in Lubbock, Texas Explore 01, Kroll x ArtCan, New York Eye of the beholder, 508 King Gallery, London 2021 Connected, Summit Public Art, Summit, NJ, USA Monumental, juried by Sergio Gomez, USA A Thousand Words, The Curator's Salon, juried by Gita Joshi Art on a Postcard, London, curated by Gemma Peppe - Invitational Wish You Were Here, The Postal Museum, London Flower Fever, Sorunda, Sweden, curated by Brandy Kraft Women artists, Kahn Gallery, (London) Through her eyes, Singulart, curated by Rania Elafifi and Marion Sailhen Not so classic Classics, Range of Arts, Honfleur Group Show 3, Shrine Gallery, New York, USA 2020 The Watermill Center: Benefit Auction - Invitational Art on a Postcard, London, curated by Gemma Peppe - Invitational Cosmopolis, Azart Gallery, NYC curated by Latifa Metheny USPS Art Project, Ely Center of Contemporary Art, New Haven, USA To Beirut, Range of Arts, Honfleur, France SolidArty, Sothebys Institute of London curated by Amira Gad and Emily Butler Juried Concepts, CICA Museum, Seoul, South Korea 2019 POST, Michele Mariaud Gallery, NYC curated by Michele Mariaud (Solo show) SOLO Azart Gallery & French Wink, NYC (Solo show) Art on a Postcard, London, curated by Gemma Peppe - Invitational Mana Open House, Mana Decentralized, Jersey City, NJ Lost in Abstraction, Kahn Gallery, London 2018 Art on a Postcard, London, curated by Gemma Peppe - Invitational The BUNTE Art, Museum of Urban and Contemporary Art, Munich, curated by Mon Muellerschoen Let's Connect, Barnes Foundation, Philadelphia Stranger than Fiction, BG Gallery, Santa Monica, curated by Om Bleicher 2017 Dialogue, AZART Gallery, New York, curated by Latifa Metheny Wrap Around 13: Laurence de Valmy, George Horner, Karen Lederer, ARENA at Suite 806, New York, curated by Renée Riccardo 2016 French Reflections, FIAF Montclair, NJ, curated by Marie-Catherine Glaser (Solo show) AWARDS 2023 Finalist of the Trophy of French in the USA by Le Petit Journal 2020 St Petersburg Art Residency #VirtualSPAR 2019 Guest Artist Museum Week, Michele Mariaud Gallery, NYC 2017 Artist Residency Fellowship, Eileen Kaminsky Family Foundation ESKFF, Mana Contemporary, Jersey City, NJ 2016 Fall price, Connection Magazine, NJ 2005 Mention, Prix de l'Ebouillante, Paris, France 2004 First Prize, Watercolor competition BHV, Paris, France Gallery Representation Azart Gallery (NY), Artspace Warehouse (LA), Amber Galleries (UK), Range of Arts (France), Singulart (France) Statement about AOAP Submitted Artwork Art is a continuum and a mirror of our society. In the tradition of art appropriation, I bring my own view to existing artworks, pay a tribute to their authors, and play with the concept of originality. My goals are to bring a new light on our collective imagery and to make the viewers ponder on our current society including the notion of fame, the place of women or the role of media. By painting the positive portrayal of women and girls in modern-day comic books like Pokemon, my ambition is to highlight and amplify an empowering narrative.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Laurence de Valmy It's Called an Ambition, 2023 Acrylics on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Laurence de Valmy combines painting and digital mediums, to bring a new light on our collective imagery and make the viewers ponder on our society including the notion of fame, the place of women or the role of social media. Laurence de Valmy is French American and lives in San Diego, USA. Her work is represented by galleries based in New York, UK and France. She is an active member of Artcan.org, a non-profit artist community. Education Laurence de Valmy studied painting in private studios and art history at the Ecole du Louvre. She holds a Master from the University of Paris, and an MBA from the Institute of Business Administration Aix. SELECT EXHIBITIONS/AWARDS SELECT EXHIBITIONS 2023 Pop Color, Artspace Warehouse, Los Angeles Fall exhibition, Range of Arts, Honfleur, France Pop: Summer exhibition, Azart Gallery, NY ArtCan with love, London Opening exhibition, Amber Galleries, Henley on Thames NFT event at Santa Monica Art Museum (California) 2022 Urban Pop, Bountiful Davis Art Center, UT curated by Todd Marshall Feminist connect, Charles Adam Studio Project, in Lubbock, Texas Explore 01, Kroll x ArtCan, New York Eye of the beholder, 508 King Gallery, London 2021 Connected, Summit Public Art, Summit, NJ, USA Monumental, juried by Sergio Gomez, USA A Thousand Words, The Curator's Salon, juried by Gita Joshi Art on a Postcard, London, curated by Gemma Peppe - Invitational Wish You Were Here, The Postal Museum, London Flower Fever, Sorunda, Sweden, curated by Brandy Kraft Women artists, Kahn Gallery, (London) Through her eyes, Singulart, curated by Rania Elafifi and Marion Sailhen Not so classic Classics, Range of Arts, Honfleur Group Show 3, Shrine Gallery, New York, USA 2020 The Watermill Center: Benefit Auction - Invitational Art on a Postcard, London, curated by Gemma Peppe - Invitational Cosmopolis, Azart Gallery, NYC curated by Latifa Metheny USPS Art Project, Ely Center of Contemporary Art, New Haven, USA To Beirut, Range of Arts, Honfleur, France SolidArty, Sothebys Institute of London curated by Amira Gad and Emily Butler Juried Concepts, CICA Museum, Seoul, South Korea 2019 POST, Michele Mariaud Gallery, NYC curated by Michele Mariaud (Solo show) SOLO Azart Gallery & French Wink, NYC (Solo show) Art on a Postcard, London, curated by Gemma Peppe - Invitational Mana Open House, Mana Decentralized, Jersey City, NJ Lost in Abstraction, Kahn Gallery, London 2018 Art on a Postcard, London, curated by Gemma Peppe - Invitational The BUNTE Art, Museum of Urban and Contemporary Art, Munich, curated by Mon Muellerschoen Let's Connect, Barnes Foundation, Philadelphia Stranger than Fiction, BG Gallery, Santa Monica, curated by Om Bleicher 2017 Dialogue, AZART Gallery, New York, curated by Latifa Metheny Wrap Around 13: Laurence de Valmy, George Horner, Karen Lederer, ARENA at Suite 806, New York, curated by Renée Riccardo 2016 French Reflections, FIAF Montclair, NJ, curated by Marie-Catherine Glaser (Solo show) AWARDS 2023 Finalist of the Trophy of French in the USA by Le Petit Journal 2020 St Petersburg Art Residency #VirtualSPAR 2019 Guest Artist Museum Week, Michele Mariaud Gallery, NYC 2017 Artist Residency Fellowship, Eileen Kaminsky Family Foundation ESKFF, Mana Contemporary, Jersey City, NJ 2016 Fall price, Connection Magazine, NJ 2005 Mention, Prix de l'Ebouillante, Paris, France 2004 First Prize, Watercolor competition BHV, Paris, France Gallery Representation Azart Gallery (NY), Artspace Warehouse (LA), Amber Galleries (UK), Range of Arts (France), Singulart (France) Statement about AOAP Submitted Artwork Art is a continuum and a mirror of our society. In the tradition of art appropriation, I bring my own view to existing artworks, pay a tribute to their authors, and play with the concept of originality. My goals are to bring a new light on our collective imagery and to make the viewers ponder on our current society including the notion of fame, the place of women or the role of media. By painting the positive portrayal of women and girls in modern-day comic books like Pokemon, my ambition is to highlight and amplify an empowering narrative.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Laurence de Valmy It's Our Turn, 2023 Acrylics on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Laurence de Valmy combines painting and digital mediums, to bring a new light on our collective imagery and make the viewers ponder on our society including the notion of fame, the place of women or the role of social media. Laurence de Valmy is French American and lives in San Diego, USA. Her work is represented by galleries based in New York, UK and France. She is an active member of Artcan.org, a non-profit artist community. Education Laurence de Valmy studied painting in private studios and art history at the Ecole du Louvre. She holds a Master from the University of Paris, and an MBA from the Institute of Business Administration Aix. SELECT EXHIBITIONS/AWARDS SELECT EXHIBITIONS 2023 Pop Color, Artspace Warehouse, Los Angeles Fall exhibition, Range of Arts, Honfleur, France Pop: Summer exhibition, Azart Gallery, NY ArtCan with love, London Opening exhibition, Amber Galleries, Henley on Thames NFT event at Santa Monica Art Museum (California) 2022 Urban Pop, Bountiful Davis Art Center, UT curated by Todd Marshall Feminist connect, Charles Adam Studio Project, in Lubbock, Texas Explore 01, Kroll x ArtCan, New York Eye of the beholder, 508 King Gallery, London 2021 Connected, Summit Public Art, Summit, NJ, USA Monumental, juried by Sergio Gomez, USA A Thousand Words, The Curator's Salon, juried by Gita Joshi Art on a Postcard, London, curated by Gemma Peppe - Invitational Wish You Were Here, The Postal Museum, London Flower Fever, Sorunda, Sweden, curated by Brandy Kraft Women artists, Kahn Gallery, (London) Through her eyes, Singulart, curated by Rania Elafifi and Marion Sailhen Not so classic Classics, Range of Arts, Honfleur Group Show 3, Shrine Gallery, New York, USA 2020 The Watermill Center: Benefit Auction - Invitational Art on a Postcard, London, curated by Gemma Peppe - Invitational Cosmopolis, Azart Gallery, NYC curated by Latifa Metheny USPS Art Project, Ely Center of Contemporary Art, New Haven, USA To Beirut, Range of Arts, Honfleur, France SolidArty, Sothebys Institute of London curated by Amira Gad and Emily Butler Juried Concepts, CICA Museum, Seoul, South Korea 2019 POST, Michele Mariaud Gallery, NYC curated by Michele Mariaud (Solo show) SOLO Azart Gallery & French Wink, NYC (Solo show) Art on a Postcard, London, curated by Gemma Peppe - Invitational Mana Open House, Mana Decentralized, Jersey City, NJ Lost in Abstraction, Kahn Gallery, London 2018 Art on a Postcard, London, curated by Gemma Peppe - Invitational The BUNTE Art, Museum of Urban and Contemporary Art, Munich, curated by Mon Muellerschoen Let's Connect, Barnes Foundation, Philadelphia Stranger than Fiction, BG Gallery, Santa Monica, curated by Om Bleicher 2017 Dialogue, AZART Gallery, New York, curated by Latifa Metheny Wrap Around 13: Laurence de Valmy, George Horner, Karen Lederer, ARENA at Suite 806, New York, curated by Renée Riccardo 2016 French Reflections, FIAF Montclair, NJ, curated by Marie-Catherine Glaser (Solo show) AWARDS 2023 Finalist of the Trophy of French in the USA by Le Petit Journal 2020 St Petersburg Art Residency #VirtualSPAR 2019 Guest Artist Museum Week, Michele Mariaud Gallery, NYC 2017 Artist Residency Fellowship, Eileen Kaminsky Family Foundation ESKFF, Mana Contemporary, Jersey City, NJ 2016 Fall price, Connection Magazine, NJ 2005 Mention, Prix de l'Ebouillante, Paris, France 2004 First Prize, Watercolor competition BHV, Paris, France Gallery Representation Azart Gallery (NY), Artspace Warehouse (LA), Amber Galleries (UK), Range of Arts (France), Singulart (France) Statement about AOAP Submitted Artwork Art is a continuum and a mirror of our society. In the tradition of art appropriation, I bring my own view to existing artworks, pay a tribute to their authors, and play with the concept of originality. My goals are to bring a new light on our collective imagery and to make the viewers ponder on our current society including the notion of fame, the place of women or the role of media. By painting the positive portrayal of women and girls in modern-day comic books like Pokemon, my ambition is to highlight and amplify an empowering narrative.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Ian Everard Recto Vanishing Point Four, 2023 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About I was born in St. Ives, Cornwall, in 1953. I have lived in Santa Cruz, California, since 1980. Influenced by Minimalism in my youth, I treat Minimalism now as a lapsed Catholic might the Church. So, I find myself still, absurdly perhaps, attempting to pare painting down to its essentials. However, unlike the Minimalists, my focus is, irreverently, on representation. I paint things I have found or inherited, such as books, pamphlets, photos or, in fact, post cards. These things are often mass-market, sexy, romantic, sensational, mysterious or deeply personal. They have been around for a while, show signs of wear and tear and, for me, there is always more to them than meets the eye. They are products of swift manufacture and mass production, but I work many hours to faithfully copy them, right down to each accident, crease, smudge or tear. The paintings are not always finished but I consider them complete. When complete, I almost always juxtapose the thing and the painting of the thing, within the frame - but not always. If not, as with these postcard pieces, it can be assumed that I took a long time making a good copy, and that the exception, absent the original, proves the rule Education B.A. Painting, Stourbridge College of Art; Graduate Certificate, Science Communication/illustration, University of California, Santa Cruz; M.F.A., San Francisco State University, California. Select Exhibitions/Awards I have exhibited my work extensively, in museums, commercial galleries in the U.S. and internationally. Museums include the de Young Museum, San Francisco, the Crocker Museum, Sacramento, the Riverside Museum, Los Angeles, and the Museum of Art and History, Santa Cruz. Commercial galleries include the Jack Fischer and Andrea Schwartz Galleries, in San Francisco, Senior and Shopmaker, in New York, Couturier, Grey McGear Modern and Sherry Frumkin Galleries, in Los Angeles, and Mirage Gallery in Tokyo. COLLECTIONS INCLUDE: The Lawrence B. Benenson Collection, Greenwich, Connecticut; University of California Santa Cruz, Special Collections; The Achenbach Collection at the Fine Arts Museums, San Francisco, California; The Oakland Museum, Oakland, California; The Crocker Art Museum, Sacramento, California; The Farhat Museum Collection, California. AWARDS / SCHOLARSHIPS / FELLOWSHIPS: 2023, The Tree Of Life Individual Artist Award; 2012, Rydell Visual Arts Fellowship; 2007, The Murphy Fellowship; 2004, The George Sugarman Award. Gallery Representation Jack Fischer Gallery, San Francisco, California. Statement about AOAP Submitted Artwork Art on a Postcard has become a mail art adventure, for me! In 2021, for the Art on a Postcard auction, I submitted art of a postcard (well, of two postcards, actually). They were both very exact watercolour copies of postcards in my possession. One of the postcards showed a street scene of my birthplace - St. Ives, in Cornwall; the other, a 1950s leaning man at the Mystery Spot, in Santa Cruz, California, where I live. I knew that the successful bidder, or bidders, for the Mystery Spot postcard painting lives, or live, in Portland, Oregon. Not long after the auction, I received a postcard from Portland in the mail. It was a leaning man Mystery Spot postcard that had been altered. The leaning man had been cut out and replaced with a cosmic pattern leaning man. So, for the Art on a Postcard auction, in 2022, I made a very exact copy of the leaning man Mystery Spot postcard, but left the cosmic pattern out. I also made a very exact watercolour copy of the street scene in St. Ives, with the cosmic leaning man inserted into the scene. Another successful bid was made from Portland, Oregon. Early in 2023, I received another postcard from Portland, Oregon. This time, it was the street scene in St. Ives that had been altered. The background had been cut out and replaced with a repetitive patterned paper, resembling a biological phenomenon of some sort. There was also the addition of an enormous barefoot, as if Gulliver were turning the corner at the end of the street, which was now a fluorescent orange river. I painted an exact copy of this and submitted it for the Art on a Postcard auction. I also painted an exact copy of the reverse side of the postcard, with its Solar eclipse stamp, franked in Portland, and quotation from Victor Segalen; "Is the imagination weakened or reinforced when it comes face to face with the real?". In addition, I painted a fairly exact, but subtly different, watercolour copy of Art on a Postcard's self-addressed envelope bearing the appropriate legend "Please do not bend".   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Ian Everard Verso Vanishing Point Four, 2023 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About I was born in St. Ives, Cornwall, in 1953. I have lived in Santa Cruz, California, since 1980. Influenced by Minimalism in my youth, I treat Minimalism now as a lapsed Catholic might the Church. So, I find myself still, absurdly perhaps, attempting to pare painting down to its essentials. However, unlike the Minimalists, my focus is, irreverently, on representation. I paint things I have found or inherited, such as books, pamphlets, photos or, in fact, post cards. These things are often mass-market, sexy, romantic, sensational, mysterious or deeply personal. They have been around for a while, show signs of wear and tear and, for me, there is always more to them than meets the eye. They are products of swift manufacture and mass production, but I work many hours to faithfully copy them, right down to each accident, crease, smudge or tear. The paintings are not always finished but I consider them complete. When complete, I almost always juxtapose the thing and the painting of the thing, within the frame - but not always. If not, as with these postcard pieces, it can be assumed that I took a long time making a good copy, and that the exception, absent the original, proves the rule Education B.A. Painting, Stourbridge College of Art; Graduate Certificate, Science Communication/illustration, University of California, Santa Cruz; M.F.A., San Francisco State University, California. Select Exhibitions/Awards I have exhibited my work extensively, in museums, commercial galleries in the U.S. and internationally. Museums include the de Young Museum, San Francisco, the Crocker Museum, Sacramento, the Riverside Museum, Los Angeles, and the Museum of Art and History, Santa Cruz. Commercial galleries include the Jack Fischer and Andrea Schwartz Galleries, in San Francisco, Senior and Shopmaker, in New York, Couturier, Grey McGear Modern and Sherry Frumkin Galleries, in Los Angeles, and Mirage Gallery in Tokyo. COLLECTIONS INCLUDE: The Lawrence B. Benenson Collection, Greenwich, Connecticut; University of California Santa Cruz, Special Collections; The Achenbach Collection at the Fine Arts Museums, San Francisco, California; The Oakland Museum, Oakland, California; The Crocker Art Museum, Sacramento, California; The Farhat Museum Collection, California. AWARDS / SCHOLARSHIPS / FELLOWSHIPS: 2023, The Tree Of Life Individual Artist Award; 2012, Rydell Visual Arts Fellowship; 2007, The Murphy Fellowship; 2004, The George Sugarman Award. Gallery Representation Jack Fischer Gallery, San Francisco, California. Statement about AOAP Submitted Artwork Art on a Postcard has become a mail art adventure, for me! In 2021, for the Art on a Postcard auction, I submitted art of a postcard (well, of two postcards, actually). They were both very exact watercolour copies of postcards in my possession. One of the postcards showed a street scene of my birthplace - St. Ives, in Cornwall; the other, a 1950s leaning man at the Mystery Spot, in Santa Cruz, California, where I live. I knew that the successful bidder, or bidders, for the Mystery Spot postcard painting lives, or live, in Portland, Oregon. Not long after the auction, I received a postcard from Portland in the mail. It was a leaning man Mystery Spot postcard that had been altered. The leaning man had been cut out and replaced with a cosmic pattern leaning man. So, for the Art on a Postcard auction, in 2022, I made a very exact copy of the leaning man Mystery Spot postcard, but left the cosmic pattern out. I also made a very exact watercolour copy of the street scene in St. Ives, with the cosmic leaning man inserted into the scene. Another successful bid was made from Portland, Oregon. Early in 2023, I received another postcard from Portland, Oregon. This time, it was the street scene in St. Ives that had been altered. The background had been cut out and replaced with a repetitive patterned paper, resembling a biological phenomenon of some sort. There was also the addition of an enormous barefoot, as if Gulliver were turning the corner at the end of the street, which was now a fluorescent orange river. I painted an exact copy of this and submitted it for the Art on a Postcard auction. I also painted an exact copy of the reverse side of the postcard, with its Solar eclipse stamp, franked in Portland, and quotation from Victor Segalen; "Is the imagination weakened or reinforced when it comes face to face with the real?". In addition, I painted a fairly exact, but subtly different, watercolour copy of Art on a Postcard's self-addressed envelope bearing the appropriate legend "Please do not bend".   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Ian Everard PLEASEDONOTBEND, 2023 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About I was born in St. Ives, Cornwall, in 1953. I have lived in Santa Cruz, California, since 1980. Influenced by Minimalism in my youth, I treat Minimalism now as a lapsed Catholic might the Church. So, I find myself still, absurdly perhaps, attempting to pare painting down to its essentials. However, unlike the Minimalists, my focus is, irreverently, on representation. I paint things I have found or inherited, such as books, pamphlets, photos or, in fact, post cards. These things are often mass-market, sexy, romantic, sensational, mysterious or deeply personal. They have been around for a while, show signs of wear and tear and, for me, there is always more to them than meets the eye. They are products of swift manufacture and mass production, but I work many hours to faithfully copy them, right down to each accident, crease, smudge or tear. The paintings are not always finished but I consider them complete. When complete, I almost always juxtapose the thing and the painting of the thing, within the frame - but not always. If not, as with these postcard pieces, it can be assumed that I took a long time making a good copy, and that the exception, absent the original, proves the rule Education B.A. Painting, Stourbridge College of Art; Graduate Certificate, Science Communication/illustration, University of California, Santa Cruz; M.F.A., San Francisco State University, California. Select Exhibitions/Awards I have exhibited my work extensively, in museums, commercial galleries in the U.S. and internationally. Museums include the de Young Museum, San Francisco, the Crocker Museum, Sacramento, the Riverside Museum, Los Angeles, and the Museum of Art and History, Santa Cruz. Commercial galleries include the Jack Fischer and Andrea Schwartz Galleries, in San Francisco, Senior and Shopmaker, in New York, Couturier, Grey McGear Modern and Sherry Frumkin Galleries, in Los Angeles, and Mirage Gallery in Tokyo. COLLECTIONS INCLUDE: The Lawrence B. Benenson Collection, Greenwich, Connecticut; University of California Santa Cruz, Special Collections; The Achenbach Collection at the Fine Arts Museums, San Francisco, California; The Oakland Museum, Oakland, California; The Crocker Art Museum, Sacramento, California; The Farhat Museum Collection, California. AWARDS / SCHOLARSHIPS / FELLOWSHIPS: 2023, The Tree Of Life Individual Artist Award; 2012, Rydell Visual Arts Fellowship; 2007, The Murphy Fellowship; 2004, The George Sugarman Award. Gallery Representation Jack Fischer Gallery, San Francisco, California. Statement about AOAP Submitted Artwork Art on a Postcard has become a mail art adventure, for me! In 2021, for the Art on a Postcard auction, I submitted art of a postcard (well, of two postcards, actually). They were both very exact watercolour copies of postcards in my possession. One of the postcards showed a street scene of my birthplace - St. Ives, in Cornwall; the other, a 1950s leaning man at the Mystery Spot, in Santa Cruz, California, where I live. I knew that the successful bidder, or bidders, for the Mystery Spot postcard painting lives, or live, in Portland, Oregon. Not long after the auction, I received a postcard from Portland in the mail. It was a leaning man Mystery Spot postcard that had been altered. The leaning man had been cut out and replaced with a cosmic pattern leaning man. So, for the Art on a Postcard auction, in 2022, I made a very exact copy of the leaning man Mystery Spot postcard, but left the cosmic pattern out. I also made a very exact watercolour copy of the street scene in St. Ives, with the cosmic leaning man inserted into the scene. Another successful bid was made from Portland, Oregon. Early in 2023, I received another postcard from Portland, Oregon. This time, it was the street scene in St. Ives that had been altered. The background had been cut out and replaced with a repetitive patterned paper, resembling a biological phenomenon of some sort. There was also the addition of an enormous barefoot, as if Gulliver were turning the corner at the end of the street, which was now a fluorescent orange river. I painted an exact copy of this and submitted it for the Art on a Postcard auction. I also painted an exact copy of the reverse side of the postcard, with its Solar eclipse stamp, franked in Portland, and quotation from Victor Segalen; "Is the imagination weakened or reinforced when it comes face to face with the real?". In addition, I painted a fairly exact, but subtly different, watercolour copy of Art on a Postcard's self-addressed envelope bearing the appropriate legend "Please do not bend".   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Annette van Waaijen The Pool (Rio) I, 2023 Giclee print on Hahnemühle Photorag with stitching Signed on Verso 8.7 x 14.6cm (3¼ x 5½ in.) This lot has been curated by AOAP About Annette has an eye to uncover the beauty of the ordinary and of the unappreciated. She captures it with her lens, prints the photograph on canvas, and embroiders the work to highlight its beauty. This approach not only adds physical structure and depth to the otherwise flat surface but also creates a layered effect that is both figurative and tangible. The embroidery serves to enhance, blend, and imbue new significance to the artwork. In fact, the embroidery work is executed with such finesse that it can be challenging to discern where thread has been used and where it has not, giving the impression of painting with needle and thread. Following her graduation from the Gerrit Rietveld Academy in Amsterdam, Annette embarked on her journey as an independent artist at the age of 40. During her travels to places like Italy and Brazil, she captures photographs, often unposed, to serve as the foundation for her artwork. After printing these photos on canvas, she incorporates embroidery and textiles, sometimes to accentuate specific details, sometimes to add something that were not already there. The use of textiles, embroidery, and handicrafts has long been a tradition among the women in her family, albeit in a different manner. Annette's work is frequently showcased in exhibitions and art fairs, including the Affordable Art Fair in Amsterdam and Brussels, as well as the Cobra Museum in Amstelveen. Notably, one of her pieces, titled "THE POOL," was featured in the Summer Exhibition 2023 at the Royal Academy of Art last summer. Education Gerrit Rietveld Art Academy, Amsterdam; Photofactory (Private Photography college); Graphic School of Amsterdam (Design education) Select Exhibitions/Awards Select Exhibitions: 2023 Summer Exhibition 2023, Royal Academy of Art, London, June 13 - August 20 Art Fair Brabant, Tilburg, March 18-19 Atelierroute Amstelveen, Amstelveen, June 17 - 18 CV EDUCATION 2000 - 2004, Gerrit Rietveld Academie, grafisch ontwerpen 1990 - 1992, Grafisch Lyceum Amsterdam 2005 - 2006, Fotofactory PRICES 2007, Aemstelle Kunstprijs 2007, Cobra Museum voor Moderne Kunst, Amstelveen 2005, Prijswinnaar Groninger Archieven fotowedstrijd 2001, Prijswinnaar NPCI (Nikon Photocontest International) 2000-2001 PUBLICATIONS 2012, Amstelveens Nieuwsblad, oktober 2012, over 'Flirten onder het Viaduct'. 2011, Naturelle Magazine, 2 spreads 2010, Amstelveens Nieuwsblad, kunstpagina 2009, BK Info, nr 1, afbeelding werkAriadne, special interieurs i.v.m. Huishoudbeurs, afbeelding werk 2008, Friesch Dagblad, 8 oktober, recensie expositie bij Galerie de VisAmstelveens Nieuwsblad, 10 december 2007, Amstelveens Nieuwsblad, 31 oktober 2002, Distel, tijdschrift voor universiteiten, afbeelding 2 werken in spreads 2001, NPCI, Nikon photocontest, boek met prijswinnaars   OVERVIEW EXHIBITIONS 2023 Art on a Postcard, auction of postcard-size artwork prints, London, October 27 - November 15 Summer Exhibition 2023, Royal Academy of Art, London, June 13 - August 20 Art Fair Brabant, Tilburg, March 18-19 Overview of the Atelierroute, Cobra Museum of modern Art, Amstelveen, June 9 - 18 Atelierroute Amstelveen, Amstelveen, June 17 - 18 2022 NEST, Collage series, Galleria Café, Saõ Paulo, Brasil, December 1 - March 31 GLEICH IS NICHT GLEICH, Boterhal, Hoorn, February 13 - March 14 2021 The Future, Het Oude Raadhuis Aalsmeer, June 18 - September 29 In & Out of the Box, Ateliers 2005, Amstelveen, June 25 - 27 Sustainable Art, De Boem, Amstelveen, September 25 - 26 Awards: Aemstelle Artprice 2007, Cobra Museum for Modern Art, Amstelveen; NPCI (Nikon Photocontest International) 2001; Groninger Archives Photography competition. Statement about AOAP Submitted Artwork Painting with needle and thread. The Pool is found somewhere in the suburbs of Rio de Janeiro, in a private garden surrounded by rainforest. It was not used for some time. The silence of that pool in this garden made it a very special moment. Adding embroidery emphasises the colours, creates even more depth and makes the work tactile.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Annette van Waaijen The Pool (Rio) II, 2023 Giclee print on Hahnemühle Photorag with stitching Signed on Verso 9.5 x 14.9cm (3½ x 5¾ in.) This lot has been curated by AOAP About Annette has an eye to uncover the beauty of the ordinary and of the unappreciated. She captures it with her lens, prints the photograph on canvas, and embroiders the work to highlight its beauty. This approach not only adds physical structure and depth to the otherwise flat surface but also creates a layered effect that is both figurative and tangible. The embroidery serves to enhance, blend, and imbue new significance to the artwork. In fact, the embroidery work is executed with such finesse that it can be challenging to discern where thread has been used and where it has not, giving the impression of painting with needle and thread. Following her graduation from the Gerrit Rietveld Academy in Amsterdam, Annette embarked on her journey as an independent artist at the age of 40. During her travels to places like Italy and Brazil, she captures photographs, often unposed, to serve as the foundation for her artwork. After printing these photos on canvas, she incorporates embroidery and textiles, sometimes to accentuate specific details, sometimes to add something that were not already there. The use of textiles, embroidery, and handicrafts has long been a tradition among the women in her family, albeit in a different manner. Annette's work is frequently showcased in exhibitions and art fairs, including the Affordable Art Fair in Amsterdam and Brussels, as well as the Cobra Museum in Amstelveen. Notably, one of her pieces, titled "THE POOL," was featured in the Summer Exhibition 2023 at the Royal Academy of Art last summer. Education Gerrit Rietveld Art Academy, Amsterdam; Photofactory (Private Photography college); Graphic School of Amsterdam (Design education) Select Exhibitions/Awards Select Exhibitions: 2023 Summer Exhibition 2023, Royal Academy of Art, London, June 13 - August 20 Art Fair Brabant, Tilburg, March 18-19 Atelierroute Amstelveen, Amstelveen, June 17 - 18 CV EDUCATION 2000 - 2004, Gerrit Rietveld Academie, grafisch ontwerpen 1990 - 1992, Grafisch Lyceum Amsterdam 2005 - 2006, Fotofactory PRICES 2007, Aemstelle Kunstprijs 2007, Cobra Museum voor Moderne Kunst, Amstelveen 2005, Prijswinnaar Groninger Archieven fotowedstrijd 2001, Prijswinnaar NPCI (Nikon Photocontest International) 2000-2001 PUBLICATIONS 2012, Amstelveens Nieuwsblad, oktober 2012, over 'Flirten onder het Viaduct'. 2011, Naturelle Magazine, 2 spreads 2010, Amstelveens Nieuwsblad, kunstpagina 2009, BK Info, nr 1, afbeelding werkAriadne, special interieurs i.v.m. Huishoudbeurs, afbeelding werk 2008, Friesch Dagblad, 8 oktober, recensie expositie bij Galerie de VisAmstelveens Nieuwsblad, 10 december 2007, Amstelveens Nieuwsblad, 31 oktober 2002, Distel, tijdschrift voor universiteiten, afbeelding 2 werken in spreads 2001, NPCI, Nikon photocontest, boek met prijswinnaars   OVERVIEW EXHIBITIONS 2023 Art on a Postcard, auction of postcard-size artwork prints, London, October 27 - November 15 Summer Exhibition 2023, Royal Academy of Art, London, June 13 - August 20 Art Fair Brabant, Tilburg, March 18-19 Overview of the Atelierroute, Cobra Museum of modern Art, Amstelveen, June 9 - 18 Atelierroute Amstelveen, Amstelveen, June 17 - 18 2022 NEST, Collage series, Galleria Café, Saõ Paulo, Brasil, December 1 - March 31 GLEICH IS NICHT GLEICH, Boterhal, Hoorn, February 13 - March 14 2021 The Future, Het Oude Raadhuis Aalsmeer, June 18 - September 29 In & Out of the Box, Ateliers 2005, Amstelveen, June 25 - 27 Sustainable Art, De Boem, Amstelveen, September 25 - 26 Awards: Aemstelle Artprice 2007, Cobra Museum for Modern Art, Amstelveen; NPCI (Nikon Photocontest International) 2001; Groninger Archives Photography competition. Statement about AOAP Submitted Artwork Painting with needle and thread. The Pool is found somewhere in the suburbs of Rio de Janeiro, in a private garden surrounded by rainforest. It was not used for some time. The silence of that pool in this garden made it a very special moment. Adding embroidery emphasises the colours, creates even more depth and makes the work tactile.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Nicholas Wyatt The Anchoress, 2023 Watercolour, ink and acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Dr Nicholas Wyatt is a founding member of Cubitt, an artist-run gallery and studios in London which has gained an international recognition and receives public funding. Nicholas Wyatt's paintings explore how narratives of presence are communicated in painting with particular reference to the reception aesthetics of certain key examples of Baroque religious iconography. Nicholas has exhibited at Victoria Miro, London; Arnolfini, Bristol; Museum Kunstpalast, Dusseldorf; Academia Italiana, London, Galerie de Rijk, Netherlands, Basilica Santa Anastasia Al Palatino, Rome and and with Cubitt Artists at London Art Fair. He has shown work with Peter Doig, Petra van Harte, Tacita Dean, Mariele Neudecker, Neal Tait, Henriette van t'Hoog, Uwe Esser, Howard Rogers, Nelson Diplexcito and Jan Kolata. His work in public collections includes CCR Collection, Palazzo Calista, The Vatican and Stadt Sparkasse Bank, Dusseldorf and private collections in UK, Netherlands and Germany. He has curated international exhibitions - Crosscurrents, the Netherlands, 1993; Sconfinamenti, Italy 1995-97; After the Endgame - New Abstraction, Amsterdam 2008. In 1997 with Simon Morley, he founded The Friedrich Society (an artist debating society on the legacy of German Romanticism in contemporary practice) and co-curated the Wreck of Hope exhibition at The Nunnery Gallery, Bow Arts Trust, London. He has given conference papers in his area of research at The Barber Institute of Fine Arts, University of Birmingham, Liverpool Anglican Cathedral and Loughborough University. Education 2009-2015. PhD. Loughborough University. Thesis (practice-based): The Christian Image & Contemporary British Painting. (The communication of Meaning and Experience in Religious Paintings) 1981-1984 Central St Martins School of Art, London. BA Hons Fine Art (Painting) Select Exhibitions/Awards 2023 Cubitt Artists at London Art Fair 2022 Cubitt 30 Victoria Miro Gallery London 2022 Cubitt 30 Victoria Miro online in association with Vortic Art 2022 St. Ives Society of Artists Spring exhibition. 2021 Art on a Postcard Winter Auction 2021 The Art of Painting, Copeland Gallery, London 2017 Angels & The City, Cubitt Salon #10, Cubitt, London (Petra van Harte) 2017 Basilica Santa Anastasia al Palatino, Rome, 2014 Nicholas Wyatt. Loughborough University. (solo) 2013 Research as Practice. Beaconsfield Gallery, London. 2008 True Romance, Galerie Anton, The Hague. 2007 After the Endgame-New Abstraction. R.C. de Ruimte, Amsterdam 2005 Nicholas Wyatt Showcase nl. Amsterdam. (solo) 2003 Nicholas Wyatt. Galerie de Rijk, The Hague . 2003 Lonely this Christmas. James Windsor Art, London 2000 Nicholas Wyatt. Azul Galerie, The Hague. (solo), 2000 The Wreck of Hope. The Nunnery Gallery, London. 1999. Where do You Want to Go Today? Cubitt, London (Petra van Harte) 1997 Sconfinamenti. Accademia Italiana, London 1996 Grosse Kunst Austellung, Museum Kunstpalast, Dusseldorf 1996 Nicholas Wyatt. Ateliers Hoherweg, Dusseldorf (solo) 1996 The Question of Scale. Arnolfini, Bristol. 1993 Crosscurrents, Centrum Beeldende Kunst Rotterdam (TENT) 1991 Hearts Desire. Knapp Gallery, London (solo) Gallery Representation Cubitt, London Statement about AOAP Submitted Artwork The paintings I have submitted for Art on a Postcard Winter Auction 2023 - 'Tippi at Cooling' and 'The Anchoress' - are examples of my current painting practice, which relates two systems of thought routinely dissociated by modern secular concepts and values: religion and aesthetics. My paintings propose an intervention, not in what is generally regarded as a defunct system of vision - religious imagery - but an intervention in the discourses of a contemporary visual system: - the contemporary painted image - and conflates those historical idioms with contemporary secular visual systems such as fashion photography and cinema. 'Tippi at Cooling' is very much about a genius loci -'spirit of place' - in this case the low-lying marshlands of Cooling in Kent. Across this landscape the figure of the American actress, Tippi Hedren walks, carrying a bird cage. Above her a small group of birds is thrown into relief by the stormy sky. The scene depicted is based on a personal memory. 'The Anchoress' is a smaller version of a larger studio painting which presents a 1930's fashion model holding lilies against a dark and contemplative background. The image suggested to me a similar sense of genius loci - 'spirit of place' - in this case the devotional cell of a mediaeval anchorite (e.g., St. Julian) These paintings explore the contemporary communication of meaning and experience in religious paintings (the visionary, the religious ecstatic). You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Nicholas Wyatt Tippi At Cooling, 2023 Watercolour, Ink and Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Dr Nicholas Wyatt is a founding member of Cubitt, an artist-run gallery and studios in London which has gained an international recognition and receives public funding. Nicholas Wyatt's paintings explore how narratives of presence are communicated in painting with particular reference to the reception aesthetics of certain key examples of Baroque religious iconography. Nicholas has exhibited at Victoria Miro, London; Arnolfini, Bristol; Museum Kunstpalast, Dusseldorf; Academia Italiana, London, Galerie de Rijk, Netherlands, Basilica Santa Anastasia Al Palatino, Rome and and with Cubitt Artists at London Art Fair. He has shown work with Peter Doig, Petra van Harte, Tacita Dean, Mariele Neudecker, Neal Tait, Henriette van t'Hoog, Uwe Esser, Howard Rogers, Nelson Diplexcito and Jan Kolata. His work in public collections includes CCR Collection, Palazzo Calista, The Vatican and Stadt Sparkasse Bank, Dusseldorf and private collections in UK, Netherlands and Germany. He has curated international exhibitions - Crosscurrents, the Netherlands, 1993; Sconfinamenti, Italy 1995-97; After the Endgame - New Abstraction, Amsterdam 2008. In 1997 with Simon Morley, he founded The Friedrich Society (an artist debating society on the legacy of German Romanticism in contemporary practice) and co-curated the Wreck of Hope exhibition at The Nunnery Gallery, Bow Arts Trust, London. He has given conference papers in his area of research at The Barber Institute of Fine Arts, University of Birmingham, Liverpool Anglican Cathedral and Loughborough University. Education 2009-2015. PhD. Loughborough University. Thesis (practice-based): The Christian Image & Contemporary British Painting. (The communication of Meaning and Experience in Religious Paintings) 1981-1984 Central St Martins School of Art, London. BA Hons Fine Art (Painting) Select Exhibitions/Awards 2023 Cubitt Artists at London Art Fair 2022 Cubitt 30 Victoria Miro Gallery London 2022 Cubitt 30 Victoria Miro online in association with Vortic Art 2022 St. Ives Society of Artists Spring exhibition. 2021 Art on a Postcard Winter Auction 2021 The Art of Painting, Copeland Gallery, London 2017 Angels & The City, Cubitt Salon #10, Cubitt, London (Petra van Harte) 2017 Basilica Santa Anastasia al Palatino, Rome, 2014 Nicholas Wyatt. Loughborough University. (solo) 2013 Research as Practice. Beaconsfield Gallery, London. 2008 True Romance, Galerie Anton, The Hague. 2007 After the Endgame-New Abstraction. R.C. de Ruimte, Amsterdam 2005 Nicholas Wyatt Showcase nl. Amsterdam. (solo) 2003 Nicholas Wyatt. Galerie de Rijk, The Hague . 2003 Lonely this Christmas. James Windsor Art, London 2000 Nicholas Wyatt. Azul Galerie, The Hague. (solo), 2000 The Wreck of Hope. The Nunnery Gallery, London. 1999. Where do You Want to Go Today? Cubitt, London (Petra van Harte) 1997 Sconfinamenti. Accademia Italiana, London 1996 Grosse Kunst Austellung, Museum Kunstpalast, Dusseldorf 1996 Nicholas Wyatt. Ateliers Hoherweg, Dusseldorf (solo) 1996 The Question of Scale. Arnolfini, Bristol. 1993 Crosscurrents, Centrum Beeldende Kunst Rotterdam (TENT) 1991 Hearts Desire. Knapp Gallery, London (solo) Gallery Representation Cubitt, London Statement about AOAP Submitted Artwork The paintings I have submitted for Art on a Postcard Winter Auction 2023 - 'Tippi at Cooling' and 'The Anchoress' - are examples of my current painting practice, which relates two systems of thought routinely dissociated by modern secular concepts and values: religion and aesthetics. My paintings propose an intervention, not in what is generally regarded as a defunct system of vision - religious imagery - but an intervention in the discourses of a contemporary visual system: - the contemporary painted image - and conflates those historical idioms with contemporary secular visual systems such as fashion photography and cinema. 'Tippi at Cooling' is very much about a genius loci -'spirit of place' - in this case the low-lying marshlands of Cooling in Kent. Across this landscape the figure of the American actress, Tippi Hedren walks, carrying a bird cage. Above her a small group of birds is thrown into relief by the stormy sky. The scene depicted is based on a personal memory. 'The Anchoress' is a smaller version of a larger studio painting which presents a 1930's fashion model holding lilies against a dark and contemplative background. The image suggested to me a similar sense of genius loci - 'spirit of place' - in this case the devotional cell of a mediaeval anchorite (e.g., St. Julian) These paintings explore the contemporary communication of meaning and experience in religious paintings (the visionary, the religious ecstatic). You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Felicity Gill Swimmer Oil paint on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Felicity Gill is a Portrait Painter and Figurative Artist. Education Adelaide Central School of Art Select Exhibitions/Awards Select Exhibitions 2023 Summer Exhibition 'Land Sea Sky' Cameron Contemporary 'Fresh' Cameron Contemporary Chosen as 'One to Watch' by Affordable Art Fair director Hugo Barclay 2022 'Figure' Cameron Contemporary Invited Artist ING Discerning Eye Affordable Art Fair Royal Society of Portrait Painters Chelsea Arts Club Group Painting show 2021 Turner Contemporary Open 2020 The RA Summer Exhibition Solo show Stash Gallery London 2019 Solo show Oxford North Wall Gallery 2013 Modern Baroque, Medici Gallery, Cork Street, London Select Portrait Commissions: Boris Johnson, Prime Minister; Sir Henry Cecil Jockey Club; Dame Joan Bakewell; Dame Barbara Windsor; David Skinner OBE; Sir Mark Rylance. "Already a hugely talented and successful portrait artist, it feels as if Felicity Gill is on the cusp of a major breakthrough in her painting career.'' Steve Pill A&I magazine Gallery Representation Cameron Contemporary, Brighton; Tart Gallery London Statement about AOAP Submitted Artwork My figurative work has been evolving into an exploration of how to paint emotions and the connections between people. I have been developing a looser gestural approach and smudging washes of oil to add to the emotional narrative. In these pieces I have been inspired by vintage imagery such as amateur photographs and old films.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Felicity Gill Dreamer Oil paint on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Felicity Gill is a Portrait Painter and Figurative Artist. Education Adelaide Central School of Art Select Exhibitions/Awards Select Exhibitions 2023 Summer Exhibition 'Land Sea Sky' Cameron Contemporary 'Fresh' Cameron Contemporary Chosen as 'One to Watch' by Affordable Art Fair director Hugo Barclay 2022 'Figure' Cameron Contemporary Invited Artist ING Discerning Eye Affordable Art Fair Royal Society of Portrait Painters Chelsea Arts Club Group Painting show 2021 Turner Contemporary Open 2020 The RA Summer Exhibition Solo show Stash Gallery London 2019 Solo show Oxford North Wall Gallery 2013 Modern Baroque, Medici Gallery, Cork Street, London Select Portrait Commissions: Boris Johnson, Prime Minister; Sir Henry Cecil Jockey Club; Dame Joan Bakewell; Dame Barbara Windsor; David Skinner OBE; Sir Mark Rylance. "Already a hugely talented and successful portrait artist, it feels as if Felicity Gill is on the cusp of a major breakthrough in her painting career.'' Steve Pill A&I magazine Gallery Representation Cameron Contemporary, Brighton; Tart Gallery London Statement about AOAP Submitted Artwork My figurative work has been evolving into an exploration of how to paint emotions and the connections between people. I have been developing a looser gestural approach and smudging washes of oil to add to the emotional narrative. In these pieces I have been inspired by vintage imagery such as amateur photographs and old films.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Taya De La Cruz Hope is a waking dream Ink and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Verity Babbs About Taya De La Cruz uses detailed, minuscule handwriting as a way of methodically distilling chaos into order. She invites the viewer to move closer to the work and uncover the layers of narrative. The concept of the written word is expanded and redefined by its intention, which is not necessarily legibility, but representation as a form of its own. Taya's work is thematically centred around the human brain, and how we respond to life's challenging events. She is particularly inspired by the psychology of overcoming hardship, and mindset required for elite performance. She focuses on finding light in the dark; difficult circumstances are made approachable and even beautiful. Her art encourages introspection and re-evaluation. Taya's artistic approach serves as an antidote to the modern expectations of pace, achievement and results. Each labour-intensive piece visually articulates the considerable amount of time taken to create it, and reinforces the message of slowing down and being present. The ultimate relationship with time. She created a new technique of painting, using medical-grade syringes and needles, which allow her to work with paint on a microscopic level. Taya is a half-Spanish, half-Indian Londoner who was raised in sleepy southern Spain and educated in Gibraltar. She trained as an actress, and expanded her discipline into visual art. Select Exhibitions/Awards 2023 Royal Academy of Arts Summer Exhibition Statement about AOAP Submitted Artwork I wanted to lean heavily on the theme of "hope" for these pieces. Hope and courage take many forms, and the wonderful work the organisation does inspires both. I hope the postcards serve as reminders that you already have the power of both.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Taya De La Cruz Hope is the last thing ever lost Ink and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Verity Babbs About Taya De La Cruz uses detailed, minuscule handwriting as a way of methodically distilling chaos into order. She invites the viewer to move closer to the work and uncover the layers of narrative. The concept of the written word is expanded and redefined by its intention, which is not necessarily legibility, but representation as a form of its own. Taya's work is thematically centred around the human brain, and how we respond to life's challenging events. She is particularly inspired by the psychology of overcoming hardship, and mindset required for elite performance. She focuses on finding light in the dark; difficult circumstances are made approachable and even beautiful. Her art encourages introspection and re-evaluation. Taya's artistic approach serves as an antidote to the modern expectations of pace, achievement and results. Each labour-intensive piece visually articulates the considerable amount of time taken to create it, and reinforces the message of slowing down and being present. The ultimate relationship with time. She created a new technique of painting, using medical-grade syringes and needles, which allow her to work with paint on a microscopic level. Taya is a half-Spanish, half-Indian Londoner who was raised in sleepy southern Spain and educated in Gibraltar. She trained as an actress, and expanded her discipline into visual art. Select Exhibitions/Awards 2023 Royal Academy of Arts Summer Exhibition Statement about AOAP Submitted Artwork I wanted to lean heavily on the theme of "hope" for these pieces. Hope and courage take many forms, and the wonderful work the organisation does inspires both. I hope the postcards serve as reminders that you already have the power of both.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Taya De La Cruz Hope is the thing with feathers Ink and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Verity Babbs About Taya De La Cruz uses detailed, minuscule handwriting as a way of methodically distilling chaos into order. She invites the viewer to move closer to the work and uncover the layers of narrative. The concept of the written word is expanded and redefined by its intention, which is not necessarily legibility, but representation as a form of its own. Taya's work is thematically centred around the human brain, and how we respond to life's challenging events. She is particularly inspired by the psychology of overcoming hardship, and mindset required for elite performance. She focuses on finding light in the dark; difficult circumstances are made approachable and even beautiful. Her art encourages introspection and re-evaluation. Taya's artistic approach serves as an antidote to the modern expectations of pace, achievement and results. Each labour-intensive piece visually articulates the considerable amount of time taken to create it, and reinforces the message of slowing down and being present. The ultimate relationship with time. She created a new technique of painting, using medical-grade syringes and needles, which allow her to work with paint on a microscopic level. Taya is a half-Spanish, half-Indian Londoner who was raised in sleepy southern Spain and educated in Gibraltar. She trained as an actress, and expanded her discipline into visual art. Select Exhibitions/Awards 2023 Royal Academy of Arts Summer Exhibition Statement about AOAP Submitted Artwork I wanted to lean heavily on the theme of "hope" for these pieces. Hope and courage take many forms, and the wonderful work the organisation does inspires both. I hope the postcards serve as reminders that you already have the power of both.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Jane Bustin Mother Avocado dye and toilet tissue paper on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Jane Bustin, born 1964, London, studied at Portsmouth University and lives and works in London, her practice spans three decades of single works in painting and ceramic as well as installation, text, film and performance. The paintings are made as sequential, monochrome abstract works, executed in a variety of mediums and surfaces. They explore the metaphysical potential for painting to 'make visual' philosophical concepts found primarily in modernist literature, feminism, theology as well as music and dance. The work is usually project based and can incorporate paintings, ceramic objects, text and live performance. The works influences come from 14th century frescos, 17th century painting, Belle epoque iconography, modernist literature, Nineteenth century poetry, women artists, 70's feminist movement, Japanese ceramics, fabrics, books, hardware stores, neon signs, cosmetics, sweet wrappers... Education Portsmouth University 1983 - 1986 Select Exhibitions/Awards 2019 Mark Rothko Memorial Trust Award/Residency, Daugavpils, Latvia 2006 Arts Council England 1996 London Arts Board 1993 Pollock-Krasner Foundation Solo / Two Person Shows 2023 Pirelli, Let me count the ways: Copperfield London Jane Bustin/Anne Lindberg at September Gallery, Kinderhook, New York The Colour of Words, The Rothko Museum, Daugavpils, Latvia 2022 Après Mallarmé, Le petit pan de jaune, le sentiment des choses, Paris 2021 This woman's work, Fox Jensen McCory, Auckland 2021 Le petit pan de jaune, le sentiment des choses, Paris 2012 The Colour of Words pt2, Jane Lombard Gallery, Tribeca, NY 2020 The Colour of Words, Jane Lombard Gallery, Chelsea, NY 2019 Blindspot, Copperfield Gallery, London 2019 V, le sentiment des choses, Paris 2019 The Feeling of Things, Fox Jensen, Sydney 2017 Modern Domestics, Jane Lombard Gallery, Chelsea, NY 2017 Fühler, Leslie Gallery, Berlin 2016 Rehearsal, Copperfield Gallery, London 2014 The Astonishing, Austin Forum, London 2012 Anatole Notes at Testbed1, London 2009 Unseen - A Collaboration with Tracy Chevalier and John Hull, The British Library, London 2008 Paintings 1998-2008, Artprojx Space, London 2005 Time Share, with Alexis Harding, Eagle Gallery, London 2004 Violet and the War, Eagle Gallery, London 2000 Atemwende, Eagle Gallery, London 1998 Nameless Grace, Eagle Gallery, London Performances 2022 The Nijinsky project - Faun, Zabludowicz Collection in collaboration with Maria Lassnig 2021 Nameless Grace, Daata Film Programme, New World Symphony, SoundScape Park, Miami Beach In darkness let me dwell, in collaboration with John Woolrich, Folkestone Fringe Festival 2018 The Nijinsky project - Faun, Art Night London at Marriott, London County Hall, South Bank 2014 The Astonishing with 'Where are You?' by Lina Lapelyte at Austin Forum, London 2000 Hoxton New Music Days/ Almeida Opera commission with Deirdre Gribben & Matthew Barley, Hoxton Hall Selected Group Shows 2023 No One's Rose, Fox Jensen McCrory, New Zealand TERRITORY OF ONESELF, Zembla Gallery, Hawick, Scotland One Foot in the Sky, curated by Jen Ellis, Contemporary Sculpture at Fulmer WORKABLE, Huidenclub, Rotterdam Ballroom Project, Antwerp 2022 Looking through the window wearing only socks - curated by Francesco Giaveri, L21 Gallery, Mallorca, Spain Fundamenteel, Cultuurcentrum de Werft, Geel, Belgium 2021 Not Painting, Copperfield, London Raven, Fox Jensen Sydney & Fox Jensen McCrory, Auckland Aora III, Aora Space, Online 2020 Luminosity, Fox Jensen McCrory, Auckland Hazard, Piccadilly Arcade/Frieze Art Fair, Copperfield, London 2019 Olaph the Oxman curated by Tiago de Abreu Pinto, Copperfield, London Eros, curated by Andrew Jensen, Fox Jensen, Sydney Art Basel Hong Kong, Fox Jensen 2018 Sit-In, September, Hudson, New York The Day of the Triffids Ep 5, news of the world gallery, London Combining Materials, Rosenfeld Porcini, London 2016 Left to Right, Copperfield Gallery, London Imperfect Reverse, Camberwell Space Projects, London 2015 Resistance and Persistence, Ingleby Gallery, Edinburgh London Open, Whitechapel Gallery ABJAD, at Ingleby Gallery, Edinburgh 2014 Towards Tomorrow, Parasol Unit, London More Material, curated by Duro Oluwu, Salon 94, Bowery, NYC John Moores Painting Prize, Walker Art Gallery Liverpool "a little patch of yellow wall ..." (curated by Jane Bustin) Lion and Lamb Gallery 2013 Mud, Rokeby Gallery, London Jerwood Drawing Prize, selected by Michael Craig-Martin, Jerwood Gallery London Mostyn Open Prize, selected by Ryan Gander, Mostyn Gallery Llandudno 2012 John Moores Painting Prize, Walker Art Gallery Liverpool Jerwood Drawing Prize, Jerwood Gallery London, Hastings and mac, Birmingham RA Summer Show, selected by Tess Jaray Back and Forth, Budapest, Hungary 2011 Will Alsop's A Few Friends - Testbed 1, London 2008 Figuring Light: Colour and the Intangible - Djanogly Gallery, Nottingham 2006-7 Darkness Visible, Ferens Art Gallery, Hull & Southampton City Art Gallery 2005 iD, Ferens Art Gallery, Hull Gallery Representation Copperfield, London   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Hynek Martinec Dream in color (1) Pencil and watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Hynek Martinec graduated from the Studio of Classical Painting Techniques at the Academy of Fine Arts, Prague. After his studies he left for Paris (2005-2007) and since 2007 has been living in London. He received the prestigious BP Young Artist Award (2007) for his hyper realistic portraits. His paintings are inspired by Old Masters and/or photographs, which link the past with the future, using modern technologies. Education Cooper Union, New York 2004 Middlesex University, London 2002 Academy of Fine Art (MgA.), Prague 1999-2005 Select Exhibitions/Awards 2008 The Changing Faces, London 2007 BP Young Artist Award, National Portrait Gallery, London BP Visitor Choice, National Portrait Gallery, London BP Visitor Choice, National Scottish Portrait Gallery, Edinburgh 2003 Studio Prize, Academy of Fine Art, Prague Selected Solo Exhibitions and Projects 2023 Thank You For Looking at Me, OHSH Projects, London 2021/22 Will and Representation, Parafin, London 2019 The Everyday Archive, Brixton Beneficiary, London 2018 Voyage to Iceland, National Gallery, Prague Kilián Ignác D. Galerie Dům, Broumov 2017 El Greco is Watching, (ongoing), Spain The Birth of Tragedies, Parafin, London 2016 Hybrid, The Factory Gallery, London Thank You For Looking at Me, (ongoing), Iceland 2015 Intellectual Properties, Galerie Václava Špály, Prague 2014 Every Minute You Are Closer To Death, Parafin, London 2013 Every Minute You Are Closer To Death, Flowers Gallery, London Selected Group Exhibitions 2023 Summer Exhibition, Royal Academy of Arts, London Gallery Artist, Parafin, London 2022 BFAMI, Art Auction, Phillips, London ABSURD, OHSH Projects, London Men, AJG - Alšova jihočeská galerie, Czech Republic STILL LIFE/LIFE STILL, OHSH Projects, London 2021 Vanitas, Dox Centre for Contemporary Art, Prague Signál II, Telegraph Gallery, Olomouc The Will to Power, ASC Gallery, London 2020 Complex States - Art in the Years of Brexit, AR platform International and virtual exhibition, Worldwide Same For Everyone, Parafin, London Inspiration - Iconic Works, Finnish National Gallery, Helsinki Inspiration - Iconic Works, Nationalmuseum, Stockholm 2019 In Loving Memory, Emo Court, Co Laois, Republic of Ireland Vanité, Brixton Beneficiary, London 2017 Fascination with Reality, Museum of Modern Art, Olomouc Arc of Time, Zahorian and Van Espen, Prague 2015 Blow-up, Parafin, London 2014 John Moores Painting Prize, Walker Art Gallery, Liverpool 2013 BP Portrait Award, National Portrait Gallery, London 2012 Beyond Reality. British Painting Today, Galerie Rudolfinum, Prague Ein Weisses Feld, Schlachthaus Aschaffenburg Coal and Steel, Candid Arts Trust Gallery, London Coal and Steel, Czech Centre Gallery, Prague Gallery Representation Parafin Gallery Statement about AOAP Submitted Artwork Watercolours are reflecting my dream world. A topic consistent to my practice and one I have for years pursued in drawings. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Hynek Martinec Dream in color (2) Pencil and watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Hynek Martinec graduated from the Studio of Classical Painting Techniques at the Academy of Fine Arts, Prague. After his studies he left for Paris (2005-2007) and since 2007 has been living in London. He received the prestigious BP Young Artist Award (2007) for his hyper realistic portraits. His paintings are inspired by Old Masters and/or photographs, which link the past with the future, using modern technologies. Education Cooper Union, New York 2004 Middlesex University, London 2002 Academy of Fine Art (MgA.), Prague 1999-2005 Select Exhibitions/Awards 2008 The Changing Faces, London 2007 BP Young Artist Award, National Portrait Gallery, London BP Visitor Choice, National Portrait Gallery, London BP Visitor Choice, National Scottish Portrait Gallery, Edinburgh 2003 Studio Prize, Academy of Fine Art, Prague Selected Solo Exhibitions and Projects 2023 Thank You For Looking at Me, OHSH Projects, London 2021/22 Will and Representation, Parafin, London 2019 The Everyday Archive, Brixton Beneficiary, London 2018 Voyage to Iceland, National Gallery, Prague Kilián Ignác D. Galerie Dům, Broumov 2017 El Greco is Watching, (ongoing), Spain The Birth of Tragedies, Parafin, London 2016 Hybrid, The Factory Gallery, London Thank You For Looking at Me, (ongoing), Iceland 2015 Intellectual Properties, Galerie Václava Špály, Prague 2014 Every Minute You Are Closer To Death, Parafin, London 2013 Every Minute You Are Closer To Death, Flowers Gallery, London Selected Group Exhibitions 2023 Summer Exhibition, Royal Academy of Arts, London Gallery Artist, Parafin, London 2022 BFAMI, Art Auction, Phillips, London ABSURD, OHSH Projects, London Men, AJG - Alšova jihočeská galerie, Czech Republic STILL LIFE/LIFE STILL, OHSH Projects, London 2021 Vanitas, Dox Centre for Contemporary Art, Prague Signál II, Telegraph Gallery, Olomouc The Will to Power, ASC Gallery, London 2020 Complex States - Art in the Years of Brexit, AR platform International and virtual exhibition, Worldwide Same For Everyone, Parafin, London Inspiration - Iconic Works, Finnish National Gallery, Helsinki Inspiration - Iconic Works, Nationalmuseum, Stockholm 2019 In Loving Memory, Emo Court, Co Laois, Republic of Ireland Vanité, Brixton Beneficiary, London 2017 Fascination with Reality, Museum of Modern Art, Olomouc Arc of Time, Zahorian and Van Espen, Prague 2015 Blow-up, Parafin, London 2014 John Moores Painting Prize, Walker Art Gallery, Liverpool 2013 BP Portrait Award, National Portrait Gallery, London 2012 Beyond Reality. British Painting Today, Galerie Rudolfinum, Prague Ein Weisses Feld, Schlachthaus Aschaffenburg Coal and Steel, Candid Arts Trust Gallery, London Coal and Steel, Czech Centre Gallery, Prague Gallery Representation Parafin Gallery Statement about AOAP Submitted Artwork Watercolours are reflecting my dream world. A topic consistent to my practice and one I have for years pursued in drawings. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Taya De La Cruz Hope is being able to see that there is light, despite all the darkness Ink and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Verity Babbs About Taya De La Cruz uses detailed, minuscule handwriting as a way of methodically distilling chaos into order. She invites the viewer to move closer to the work and uncover the layers of narrative. The concept of the written word is expanded and redefined by its intention, which is not necessarily legibility, but representation as a form of its own. Taya's work is thematically centred around the human brain, and how we respond to life's challenging events. She is particularly inspired by the psychology of overcoming hardship, and mindset required for elite performance. She focuses on finding light in the dark; difficult circumstances are made approachable and even beautiful. Her art encourages introspection and re-evaluation. Taya's artistic approach serves as an antidote to the modern expectations of pace, achievement and results. Each labour-intensive piece visually articulates the considerable amount of time taken to create it, and reinforces the message of slowing down and being present. The ultimate relationship with time. She created a new technique of painting, using medical-grade syringes and needles, which allow her to work with paint on a microscopic level. Taya is a half-Spanish, half-Indian Londoner who was raised in sleepy southern Spain and educated in Gibraltar. She trained as an actress, and expanded her discipline into visual art. Select Exhibitions/Awards 2023 Royal Academy of Arts Summer Exhibition Statement about AOAP Submitted Artwork I wanted to lean heavily on the theme of "hope" for these pieces. Hope and courage take many forms, and the wonderful work the organisation does inspires both. I hope the postcards serve as reminders that you already have the power of both.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

John Simpson Willow Ink and charcoal on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About John Simpson's prints and drawings fuse image meaning and medium to explore our relationship with the natural world. The process and examination of drawing is at the core of his practice. Often abandoning the control of the studio and working with public collaborators, he embraces an element of chaos and the natural mutations which occur in printmaking. This symbiotic process is one way in which his work looks to biology to explore our relationship with nature. The frequent use of natural materials like earth and wood reflects both the subject and the wild nature of these works. John's latest drawings and prints have their origins in a time spent exploring local woodlands with his young twin daughters whilst seeking refuge from their city apartment. These works evolved from being continuously immersed in this environment. The process and materials directly relate to the physicality and texture of these hidden spaces. He has exhibited at major UK institutions as well as internationally with solo exhibitions in London, Los Angeles and Sao Paulo. He has led interactive printmaking and drawing projects at Spike Island, Bristol and at Tate Modern in 2017, 2018 and 2019. Education 1995 - 1998: Cambridge School of Art, BA Hons 1994 - 1995: University of Gloucestershire, Foundation Art Select Exhibitions/Awards 13 June - 20 August 2023: Summer Exhibition - Royal Academy of Arts, Burlington House, Piccadilly, London W1 17 April - 21 April 2019: The Museum as Ecosystem; Interactive drawing for Tate Exchange - Tate Modern, London 28 February - 3 March 2019: Hepworth Wakefield Print Fair - Hepworth Wakefield, Yorkshire 2 February - 4 February 2018: Mitosis; Interactive Cellular Printing for Tate Exchange - Tate Modern, London 31 May - 10 June 2013: John Simpson, Dream and Metamorphosis - Hoxton Gallery, London E2 27 April 2013: Brit Week - John Simpson, Beverly Hills Gallery, Los Angeles 21 November - 20 December 2008: John Simpson - O Contemporary, 193 Wardour Street, London W1 3 July - 14 August 2008: John Simpson - Galeria Choque Cultural, Rua Joao Moura, 997, Sao Paulo, Brazil Statement about AOAP Submitted Artwork These drawings examine a sensation of complete immersion in the natural landscape. Working at a postcard scale was a fascinating exercise in how very diverse marks can be made at a scale many times smaller than in my regular practice.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Andrew Cranston Scottish Landscape Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Andrew Cranston (b. 1969, Hawick, UK) is a Glasgow-based painter whose narrative vignettes are culled from his own personal history, as well as literary and anecdotal sources. Education Manchester Polytechnic Foundation Course 1989-1990; BA in Fine Art Hons Grays School of Art 1990-1993; MA in Painting Royal College of Art 1994-1996 Select Exhibitions/Awards The Arts Foundation Fellowship 2014; Quality Arts Production Award, Creative Scotland 2013 Artists Award, Scottish Arts Council 2009 Rootstein Hopkins Sabbatical Award for Lecturers, 2006 Gallery Representation Ingleby Gallery (Edinburgh) Karma (New York) Modern Art (London)

Andrew Cranston All Is Well In The Garden Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Andrew Cranston (b. 1969, Hawick, UK) is a Glasgow-based painter whose narrative vignettes are culled from his own personal history, as well as literary and anecdotal sources. Education Manchester Polytechnic Foundation Course 1989-1990; BA in Fine Art Hons Grays School of Art 1990-1993; MA in Painting Royal College of Art 1994-1996 Select Exhibitions/Awards The Arts Foundation Fellowship 2014; Quality Arts Production Award, Creative Scotland 2013 Artists Award, Scottish Arts Council 2009 Rootstein Hopkins Sabbatical Award for Lecturers, 2006 Gallery Representation Ingleby Gallery (Edinburgh) Karma (New York) Modern Art (London)

Andrew Cranston Interior (After Bill Brandt) Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Andrew Cranston (b. 1969, Hawick, UK) is a Glasgow-based painter whose narrative vignettes are culled from his own personal history, as well as literary and anecdotal sources. Education Manchester Polytechnic Foundation Course 1989-1990; BA in Fine Art Hons Grays School of Art 1990-1993; MA in Painting Royal College of Art 1994-1996 Select Exhibitions/Awards The Arts Foundation Fellowship 2014; Quality Arts Production Award, Creative Scotland 2013 Artists Award, Scottish Arts Council 2009 Rootstein Hopkins Sabbatical Award for Lecturers, 2006 Gallery Representation Ingleby Gallery (Edinburgh) Karma (New York) Modern Art (London)

Christabel Blackburn Oh, California Gouache on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Millie Foster About London based artist Christabel Blackburn (born London, 1986) is a painter who conjures atmospheric scenes which focus on the interplay between people and spaces. Using a sensitively reduced visual language, Christabel distils the modern world and our interaction with it into quiet, concentrated scenes. Her figures are largely locked in their own universe, traversing streets formed of intersecting flat planes or drinking in art in colour drenched galleries. Her practice exists in a finely tuned space; we believe this world and yet it is removed from our own in its timelessness and absences. Largely gone is the paraphernalia of the twenty first century and what emerges in the space is a sense of order but more importantly psychological suspension. Perhaps these are what our memories or dreams of a sunny day might look like, no sound, rarely any shadows and none of the encumbrances of existing in the world. Women particularly take up space in an interesting way, confidently walking away or engaging with art alone. Education LARA, London, Figurative Painting and Sculpture, 2009-2011 Charles Cecil Studios, Florence, Figurative Drawing, 2008-2009 University of Newcastle Upon Tyne, Newcastle, Classical Studies, 2005-2008 Select Exhibitions/Awards Recent Paintings, Alex Eagle, Soho | current Splash, Ode to Hockney, Sophie Breitmeyer, Notting Hill | Current Art Uk Charity Auction, London | Sept, 2021 Faces || places, Group Exhibition, Nordic Art Agency, Malmö, Sweden | 2020 Pavements, Solo exhibition, Partnership Editions | 2020 Winner, Sky Arts Portrait Artist of the Year | 2020 Shortlisted for The BP Portrait Award | 2020 Recent Paintings, Alex Eagle, Soho | 2019 'Multiples', Bridgeman Editions, Green and Stone, London | 2019 Sky Arts Portrait Artist of the Year | 2017   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Christabel Blackburn Dry cleaners, Pacific Palisades Gouache on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Millie Foster About London based artist Christabel Blackburn (born London, 1986) is a painter who conjures atmospheric scenes which focus on the interplay between people and spaces. Using a sensitively reduced visual language, Christabel distils the modern world and our interaction with it into quiet, concentrated scenes. Her figures are largely locked in their own universe, traversing streets formed of intersecting flat planes or drinking in art in colour drenched galleries. Her practice exists in a finely tuned space; we believe this world and yet it is removed from our own in its timelessness and absences. Largely gone is the paraphernalia of the twenty first century and what emerges in the space is a sense of order but more importantly psychological suspension. Perhaps these are what our memories or dreams of a sunny day might look like, no sound, rarely any shadows and none of the encumbrances of existing in the world. Women particularly take up space in an interesting way, confidently walking away or engaging with art alone. Education LARA, London, Figurative Painting and Sculpture, 2009-2011 Charles Cecil Studios, Florence, Figurative Drawing, 2008-2009 University of Newcastle Upon Tyne, Newcastle, Classical Studies, 2005-2008 Select Exhibitions/Awards Recent Paintings, Alex Eagle, Soho | current Splash, Ode to Hockney, Sophie Breitmeyer, Notting Hill | Current Art Uk Charity Auction, London | Sept, 2021 Faces || places, Group Exhibition, Nordic Art Agency, Malmö, Sweden | 2020 Pavements, Solo exhibition, Partnership Editions | 2020 Winner, Sky Arts Portrait Artist of the Year | 2020 Shortlisted for The BP Portrait Award | 2020 Recent Paintings, Alex Eagle, Soho | 2019 'Multiples', Bridgeman Editions, Green and Stone, London | 2019 Sky Arts Portrait Artist of the Year | 2017   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Laura Footes Church by the lake Ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Millie Foster About Born in Birmingham, I studied modern foreign languages at university as I am the first to go into higher education in my family and art wasn't encouraged. I lived in France for many years as part of my degree and beyond and it was here that my passion for drawing and art in general resurfaced. I struggle with my illness (Crohn's disease) which has led to multiple hospitalisations over the years for open bowel surgeries which in turn affected my progress and activity. Drawing has become a therapy tool and a means of engaging with my ideas whilst I am convalescing. I am passionate about world cinema, literature and poetry and try to combine elements of this to my work. Each piece I make tells a story. Education The Royal Drawing School 2012-13 one-year postgrad programme University of Paris I Pantheon Sorbonne, BA modern languages and History of Art Select Exhibitions/Awards EXHIBITIONS 2022 Christie's London with Royal Drawing School Royal Scottish Academy Summer exhibition 2021 Royal Academy London, Summer exhibition 2018 Pushkin House solo show, UK Sunday Times Watercolour competition finalist 2017 Glyndebourne Opera House, betweenlands exhibition 2016 Lynn Painter Stainers Prize, Mall Galleries 2014 Buckingham Palace Patrons exhibition, Royal Drawing School Art Students League of New York residency and award 2014 National Arts Club Gramercy Park residency and award NYC 2013 Flowers Gallery London   COLLECTIONS Royal Collection, UK Blavatnik Collection UK Heyman-Moritz Collection UK/US/Italy Rothschild Collection, UK Mittal Collection UK Kabiller Collection, Trustee of Terra Foundation of American Art, US Koc Family Collection, Istanbul Turkey Marks Family Collection, trustees of the Metropolitan Museum NYC Statement about AOAP Submitted Artwork My art centres around ideas of transient states between wellness and unwellness after 15 years of living with chronic debilitating disease. I am interested in re-exploring the experience of living in a female body in dysfunction, the female nude in art is so often objectified, I want to go deeper than the skin and look at the psychology. Art has become therapy over the years and with there not being a cure for my condition, I like to idealise or fantasise ideas of the cure in my work. Drawing is my lab of ideas, I combine it with ideas drawn from poetry as I studied modern languages and literature at university. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Ged Wells Harajuku Ink and acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Frankie Shea About Ged Wells began channelling art through his Insane skateboard clothing brand while working as an archaeological illustrator in 1984. Later competing internationally at skateboarding, creating art-filled skate zines and writing features for R.A.D skateboard magazine. Home educated by artist parents, Wells has exhibited his paintings, drawings, and character sculptures in the UK and Japan since the early 90s. His graphic works, often laced with surreal narrative and anthropomorphic illusion are woven into his Insane product collections, or produced as commissions for brands such as; Playstation, Louis Vuitton and The Idler magazine. Education Home educated. Select Exhibitions/Awards Select exhibitions include; Skullduggerous in aid of the Bhopal Medical appeal, Big Egg Hunt in support of Action for Children, Fleurnication at The Modern Institute in Glasgow. Gallery Representation Currently; Wish Less gallery Tokyo. Statement about AOAP Submitted Artwork Happy holiday double take memories.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Nick Walker 369 (1-4) Stencil and spraypaint on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Frankie Shea About Nick Walker is one of the world's best known street artists. Born in 1969, he emerged from the infamous and ground-breaking Bristol graffiti scene of the early 1980s. As a forerunner of the British graffiti phenomenon, Nick's work has become a blueprint for hundreds of emerging artists. His work is constantly evolving and remains innovative, modern and thought-provoking. Nick draws on the energy and imagery of graffiti but he succeeds in combining the freedom the spray can brings, with very controlled and intricate stenciling. The results are highly sophisticated and infinitely desirable. The methods he uses retain their forcefulness and integrity on the traditional medium of canvas. Nick Walker's instantly recognisable style and humour have gain ed him a worldwide following. In 2008 Nick had sellout shows in LA and London, where collectors queued for over 24 hours to be among the first to get his latest print edition. In 2008, his iconic Moona Lisa sold over ten times its estimated value at auction at Bonhams. Over the years Nick's work has been accoladed by the media and has attracted headlines worldwide, including the front page of the Independent arts magazine and the Observer's round up of the year's biggest events of 2008.   Select Exhibitions/Awards SELECT EXHIBITIONS Vanguard Bristol (group show) - 'Bristol Street Art: The Evolution of a Global Movement' July - October 2021. Art Tokyo (group show) - "The Traces from Pop Art to Street Art" 28 July - 3 August 2021. 2B Art & Toys Gallery - Palma de Mallorca (group show) 'Cross the Line' June - July 2021. Matsuzakaya Nagoya (group show) - "Fine Art Collection" 8 July - 13 July 2021. Matsuzakaya, Ueno (group show) - "Japanese Painting, Western Painting, Handicraft, Special Exhibition" 2 June - 7 June 2021. Maruzen Marunouchi Tokyo (group show) - "Contemporary Art from Around the World" 30 June - 6 July 2020 Matsuzakaya Nagoya (group show) - "Past, Present and Future of Contemporary Art" 19 May - 25 May 2021. Galerie Brugier Rigail- Paris (group show) 'Stencil Power' July - August 2020. Galerie Brugier Rigail- Online Exhibiton (group show) 'Mai - Juin 2020' May - June 2020.     You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Lucas Price Dream Weapon 1 Pigment print on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Frankie Shea About Contemporary artist Lucas Price, formerly known as Cyclops, blends the traditional and the modern, merging contemporary photorealism with antiquated styles and religious iconography. Lucas completed a Master's degree at the Royal College of Art, London. In 2008, he exhibited at the Tate Modern as part of their exhibition 'Art on the Street' and, in 2015, appeared in Bonhams' contemporary auction. As well as working as a fine artist, Lucas Price founded the postmodernist menswear label 'A.Four Labs', with Tokyo-based designer Kazuki Kuraishi. His work centres around the still life, exploring the possibilities of a single snapshot. Fascinated by the coexistence of beauty and decay, Price's work combines the stillness and harmony of photorealist imagery, with the chaos and commotion of urban life, to create an aesthetic which is mournful and modern. His work brings together image and text, to explore the relationship between language and visual culture, and the power of art as a fundamental tool of communication. His photorealist series 'Way of All Flesh', which previewed in November 2013 at The Outsiders, London, combines Baroque imagery with street art motifs, to contemplates the role of the art institution and its relationship to commodity cultures in the twenty-first century.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Lucas Price Long Volatility Pigment print on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Frankie Shea About Contemporary artist Lucas Price, formerly known as Cyclops, blends the traditional and the modern, merging contemporary photorealism with antiquated styles and religious iconography. Lucas completed a Master's degree at the Royal College of Art, London. In 2008, he exhibited at the Tate Modern as part of their exhibition 'Art on the Street' and, in 2015, appeared in Bonhams' contemporary auction. As well as working as a fine artist, Lucas Price founded the postmodernist menswear label 'A.Four Labs', with Tokyo-based designer Kazuki Kuraishi. His work centres around the still life, exploring the possibilities of a single snapshot. Fascinated by the coexistence of beauty and decay, Price's work combines the stillness and harmony of photorealist imagery, with the chaos and commotion of urban life, to create an aesthetic which is mournful and modern. His work brings together image and text, to explore the relationship between language and visual culture, and the power of art as a fundamental tool of communication. His photorealist series 'Way of All Flesh', which previewed in November 2013 at The Outsiders, London, combines Baroque imagery with street art motifs, to contemplates the role of the art institution and its relationship to commodity cultures in the twenty-first century.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Vladimir Logutov From the 'meeting' series (1), 2023 Cotton paper, watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ed Cross About Vladimir Logutov was born in Russia in 1980. Lives and works in London. UK. Artist, curator. Author of about two dozen solo exhibitions in Russia and Europe. The artist's works are both in private and museum collections, including collections of The State Tretyakov Gallery, Moscow Museum of Modern Art, FRAC Bretagne Museum and others. Education 2005 Stuttgarter Kunstverein e.v Grant for Training 2002-06 Pedagogics, Fine Art, Samara Pedagogical University 1996-01 Painting, Samara Art College Select Exhibitions/Awards Vladimir Logutov is participant of the major international projects in the field of contemporary art. In 2012, Vladimir was a participant in the main project The Unseen at the Fourth Guangzhou Triennial, China. In 2014 he participated in the main project of the 4th Moscow International Biennale for Young Art. In 2010, the artist's works were presented at the exhibition Modernikon by Fondazione Sandretto Re Rebaudengo in Turin, Italy, and next year, as part of the presentation of the Modernikon project at the 54th Venice Biennale. At the next, 55th Venice Biennale, the artist was presented as part of the Lost in Translation project and in the exhibition The Way of Enthusiasts within the 13th Architectural Biennale in Venice. In 2020, he was a participant in the 2nd Triennial of Russian Contemporary Art at the Garage Museum, Moscow. Vladimir is the winner of the Innovation Prize 2018, Artist of the Year; the winner of the Joseph Brodsky Prize 2018 in the visual arts. Fellow of the American Academy in Rome in 2019. Gallery Representation Ovcharenko; Stanislas Bourgain; PlinthUK Statement about AOAP Submitted Artwork At first glance, the works in this series may appear as geometric abstractions comprised of colour fields. However, upon closer examination, one can discern that the individual elements coalesce into a figurative image, portraying the various facets of an artwork's existence within a space. This could be represented as a white canvas hanging on a wall, an empty video screen, or even as an installation within a contemporary gallery exhibition.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Vladimir Logutov From the 'meeting' series (2), 2023 Cotton paper, watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ed Cross About Vladimir Logutov was born in Russia in 1980. Lives and works in London. UK. Artist, curator. Author of about two dozen solo exhibitions in Russia and Europe. The artist's works are both in private and museum collections, including collections of The State Tretyakov Gallery, Moscow Museum of Modern Art, FRAC Bretagne Museum and others. Education 2005 Stuttgarter Kunstverein e.v Grant for Training 2002-06 Pedagogics, Fine Art, Samara Pedagogical University 1996-01 Painting, Samara Art College Select Exhibitions/Awards Vladimir Logutov is participant of the major international projects in the field of contemporary art. In 2012, Vladimir was a participant in the main project The Unseen at the Fourth Guangzhou Triennial, China. In 2014 he participated in the main project of the 4th Moscow International Biennale for Young Art. In 2010, the artist's works were presented at the exhibition Modernikon by Fondazione Sandretto Re Rebaudengo in Turin, Italy, and next year, as part of the presentation of the Modernikon project at the 54th Venice Biennale. At the next, 55th Venice Biennale, the artist was presented as part of the Lost in Translation project and in the exhibition The Way of Enthusiasts within the 13th Architectural Biennale in Venice. In 2020, he was a participant in the 2nd Triennial of Russian Contemporary Art at the Garage Museum, Moscow. Vladimir is the winner of the Innovation Prize 2018, Artist of the Year; the winner of the Joseph Brodsky Prize 2018 in the visual arts. Fellow of the American Academy in Rome in 2019. Gallery Representation Ovcharenko; Stanislas Bourgain; PlinthUK Statement about AOAP Submitted Artwork At first glance, the works in this series may appear as geometric abstractions comprised of colour fields. However, upon closer examination, one can discern that the individual elements coalesce into a figurative image, portraying the various facets of an artwork's existence within a space. This could be represented as a white canvas hanging on a wall, an empty video screen, or even as an installation within a contemporary gallery exhibition.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Vladimir Logutov From the 'meeting' series (3), 2023 Cotton paper, watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ed Cross About Vladimir Logutov was born in Russia in 1980. Lives and works in London. UK. Artist, curator. Author of about two dozen solo exhibitions in Russia and Europe. The artist's works are both in private and museum collections, including collections of The State Tretyakov Gallery, Moscow Museum of Modern Art, FRAC Bretagne Museum and others. Education 2005 Stuttgarter Kunstverein e.v Grant for Training 2002-06 Pedagogics, Fine Art, Samara Pedagogical University 1996-01 Painting, Samara Art College Select Exhibitions/Awards Vladimir Logutov is participant of the major international projects in the field of contemporary art. In 2012, Vladimir was a participant in the main project The Unseen at the Fourth Guangzhou Triennial, China. In 2014 he participated in the main project of the 4th Moscow International Biennale for Young Art. In 2010, the artist's works were presented at the exhibition Modernikon by Fondazione Sandretto Re Rebaudengo in Turin, Italy, and next year, as part of the presentation of the Modernikon project at the 54th Venice Biennale. At the next, 55th Venice Biennale, the artist was presented as part of the Lost in Translation project and in the exhibition The Way of Enthusiasts within the 13th Architectural Biennale in Venice. In 2020, he was a participant in the 2nd Triennial of Russian Contemporary Art at the Garage Museum, Moscow. Vladimir is the winner of the Innovation Prize 2018, Artist of the Year; the winner of the Joseph Brodsky Prize 2018 in the visual arts. Fellow of the American Academy in Rome in 2019. Gallery Representation Ovcharenko; Stanislas Bourgain; PlinthUK Statement about AOAP Submitted Artwork At first glance, the works in this series may appear as geometric abstractions comprised of colour fields. However, upon closer examination, one can discern that the individual elements coalesce into a figurative image, portraying the various facets of an artwork's existence within a space. This could be represented as a white canvas hanging on a wall, an empty video screen, or even as an installation within a contemporary gallery exhibition.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Vladimir Logutov From the 'meeting' series (4), 2023 Cotton paper, watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ed Cross About Vladimir Logutov was born in Russia in 1980. Lives and works in London. UK. Artist, curator. Author of about two dozen solo exhibitions in Russia and Europe. The artist's works are both in private and museum collections, including collections of The State Tretyakov Gallery, Moscow Museum of Modern Art, FRAC Bretagne Museum and others. Education 2005 Stuttgarter Kunstverein e.v Grant for Training 2002-06 Pedagogics, Fine Art, Samara Pedagogical University 1996-01 Painting, Samara Art College Select Exhibitions/Awards Vladimir Logutov is participant of the major international projects in the field of contemporary art. In 2012, Vladimir was a participant in the main project The Unseen at the Fourth Guangzhou Triennial, China. In 2014 he participated in the main project of the 4th Moscow International Biennale for Young Art. In 2010, the artist's works were presented at the exhibition Modernikon by Fondazione Sandretto Re Rebaudengo in Turin, Italy, and next year, as part of the presentation of the Modernikon project at the 54th Venice Biennale. At the next, 55th Venice Biennale, the artist was presented as part of the Lost in Translation project and in the exhibition The Way of Enthusiasts within the 13th Architectural Biennale in Venice. In 2020, he was a participant in the 2nd Triennial of Russian Contemporary Art at the Garage Museum, Moscow. Vladimir is the winner of the Innovation Prize 2018, Artist of the Year; the winner of the Joseph Brodsky Prize 2018 in the visual arts. Fellow of the American Academy in Rome in 2019. Gallery Representation Ovcharenko; Stanislas Bourgain; PlinthUK Statement about AOAP Submitted Artwork At first glance, the works in this series may appear as geometric abstractions comprised of colour fields. However, upon closer examination, one can discern that the individual elements coalesce into a figurative image, portraying the various facets of an artwork's existence within a space. This could be represented as a white canvas hanging on a wall, an empty video screen, or even as an installation within a contemporary gallery exhibition.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Europa. Deutschland. Schachfiguren nach Edward Kienholz aus Metalldraht. Eine Partei in weiß, die andere in schwarz. Produktion aus der Zeit um 1997. Höhe König 10,0 cm; Bauer 3,4 cm.(54) * Spiel Nr. 100 von 150 Exemplaren für Verkauf mit eigenhändiger Unterschrift von Nancy Reddin Kienholz; die Gesamtauflage betrug 200. Der abstrakt und modern gestaltete Figurensatz ist vollständig. "Chess" wurde nach dem von Edward Kienholz gefertigten Gesamtentwurf um 1997 unter Aufsicht von Nancy Reddin Kienholz hergestellt. Die Figuren sind zusammen mit einem gefalteten Schachbrett und einem Erläuterungsblatt in einer bezogenen Kassette. Die Schachfiguren sind original verplombt im Samtsäckchen. "Chess" wurde vom Förderverein Berlinische Galerie aus Anlass der Kienholz Retrospektive 1997 in der Berlinischen Galerie, Landesmuseum für Moderne Kunst, Photographie und Architektur im Martin - Gropius - Bau herausgegeben. Edward Kienholz (1927 - 1994) war Objekt- und Installationskünstler und arbeitete u. a. in Berlin. Zustand: Mit benutzungsbedingten Alterungs- und Schabspuren, sowie kleineren Defekten am gefalteten Schachbrett und der bezogenen Kassette. Seltenes und gesuchtes Sammlerstück. / Europe. Germany. Chessmen made of metal wire after Edward Kienholz. One party in white, the other in black. Produced around 1997. King height 10.0 cm; Farmer 3.4 cm. Game No. 100 of 150 copies for sale autographed by Nancy Reddin Kienholz; the total edition was 200. The abstract and modern chess set is complete. "Chess" was made to the overall design by Edward Kienholz circa 1997 under the supervision of Nancy Reddin Kienholz. The figures are in a covered case along with a folded chessboard and an explanation sheet. The chess pieces are originally sealed in the velvet bag. "Chess" was published by the Berlinische Galerie association on the occasion of the Kienholz retrospective in 1997 in the Berlinische Galerie, state museum for modern art, photography and architecture in the Martin - Gropius - Bau. Edward Kienholz (1927 - 1994) was an object and installation artist and worked e.g. in Berlin. With usage-related signs of aging and scraping, as well as smaller defects on the folded chess board and the covered cassette. Rare and sought-after collector's item.

Ex Bridal Boutique Diamanté Head Bands, Art Deco style, together with a decorative hair comb and a modern freshwater pearl bead necklace.

Pair Of Modern Figural Table Lamps, Modelled In The Form Of Embraced Lovers, Height 25 Inches. Together With A Single Table Lamp, In The Art Deco Style Depicting A Dancing Lady, Height 35 Inches.

Modern Art Italian Framed Art Work by Marco Marchesini Gold coloured frame with brown velvet case. La Meta 'The Goal' Limited edition. Measures 48 by 34 cms. With certificate.

A modern cave painting jardinière and floor standing vase each depicting cave art animals on cave wall effect ground, with black base colour, vase measuring 32in. (81cm.) high. (2)

Paul Henry RHA, RUA (Irish, 1876-1958) “Chagrin”, grey and brown crayon on toned paper, signed in pencil lower left and on the reverse, water gilded frame, 9½ x 10¼in. (24.1 x 26cm.). *Provenance: Duncan Miller Fine Arts, London. *Widely considered the most significant Irish landscape painter, Paul Henry was born in Belfast in 1876, attended the Belfast School of Art and then travelled to Paris in 1898 where he studied at the Academie Julian. He worked as an illustrator in London until 1910 before turning to painting and moving to Achill Island off the West Coast of Ireland where the local landscape became the main subject of his work. He moved to Dublin in 1919 and co-founded the Society of Dublin Painters the following year with artists such as Jack B. Yeats and Mary Swanzy. He made frequent visits to the West of Ireland to paint and then moved permanently to Co. Wicklow. Collections: National Gallery of Ireland, Hugh Lane Gallery, Irish Museum of Modern Art, Ulster Museum, Victoria and Albert Museum, and the National Museum of Modern Art in Paris.

A COLLECTION OF SEVEN DIAMANTE NECKLACES TO INCLUDE TWO ART DECO STYLE EXAMPLES, TOGETHER WITH TWO MODERN GILT DIAMANTE NECKLACES

An Art Deco style emerald and diamond ring, with an octagonal shaped head set with a central round cabochon emerald, diameter approximately 8mm, estimated approximate weight 2.25ct, surrounded by old brilliant and modern brilliant cut diamonds (two lacking), and a tapered step cut emerald in each corner, tapered shoulders set with single cut diamonds, size J, unmarked, tested as platinum, weight 3.7gOverall condition: FairTwo diamonds missing from the head, and one diamond missing from a shoulderWear to settings, consistent with ageAbrasion and chipping to the principal emerald and the other four emeralds, visible with a 10X loupeHeavy scratches/minor denting and general wear to mount, consistent with ageVisible solder join in shank, possible re-size