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An Art Deco period silver cigarette box and a pair of WWI medals, together with a canteen of modern silver plated cutlery in a box, similar to King's pattern, a pair of silver plated candlesticks, an entrée dish and a berry spoon, the Pip & Squeak awarded to Cpl. Horton of Surrey Regiment

A modern Mont Blanc limited edition fountain pen, titled "Patron of Art Homnage to Scipione Borghese", the matt grey metal cap with Mont Blanc emblem and having smoky quartz stone set to clip, the barrel with marble or similar stone and having glass portrait terminal, 18ct gold nib, appears to have been inked, presented in a box with plaque to front numbered 1573 / 4810, with booklet

A pair of modern Albany China figures of Art Deco ladies including 'Athena' and 'Zeta', designed by Zandra Rhodes, modelled by Gregory Rose. 28cms high. *Condition: Both in good condition.

A set of five modern Albany China figures of Art Deco ladies, in a variety of poses and mounted on metal stands. Including Charleston, Manhatten, Windsor, and two others. 20.5cms, 20cms, 22.5cms, 21.5cms and 19cms high. (5). *Condition: All seem in good condition.

2 VINTAGE MODERN 9CT YELLOW GOLD PENDANTS, 1 with amethyst & seed pearl the other amethyst, both are Art Nouveau design

MIXED, complete (13), inc. Churchman The Queen Mary; Cope (3), Dickens Characters, The Game Of Poker, Toy Models; Gallaher (7), Animals & Birds Of Commercial Value, Art Treasures Of The World (large), Butterflies And Moths, Dexter, Drapkin etc., in modern album, mainly G to VG, 569*

SILKS, selection, inc. Regimental Badges, tartans, Ceramic Art, Town Arms etc., mostly BDV issues, various sizes, in modern album, FR to VG, Qty.

MIXED, complete (7), inc. Millhoff In the Public Eye (inc. Dixie Dean), Art Treasures; Mitchell Famous Scots, Famous Crosses, Stars of Stage & Screen; Moustafa Real Photos & Osborne Modern Aircraft (brown), in modern album, generally VG to EX, 241*

λ VARVARA STEPANOVA (RUSSIAN 1894-1958)TEXTILE DESIGN 4, STEP 4 GouacheAdditional study in black (verso)14 x 22.8cm (5½ x 8¾ in.)Executed in 1923-1924. Provenance:The estate of the artistEx-collection of Modern Art Oxford, deaccessioned in 2013 Exhibited:Oxford, Museum of Modern Art, Art in Production: Soviet Textiles, Fashion and Ceramics, 1917-35, 1984  Varvara Stepanova was a constructivist artist, and the wife of Alexander Rodchenko. After initially working all media, she decided to dedicate her output to creating functional design, where she felt her work would most benefit the greater Soviet Society. To this end, in 1921 she almost exclusively dedicated herself to clothing and textile design. She spent a year as designer of textiles and the Tsindel (The First State Textile Factory), her abstract textiles were designed to be looked at as they were worn, and clothing was specifically tailored to match the needs of the wearer, garments were meticulously constructed to be both exciting to look at and highly practical to wear. In 1924, Stepanova left the Tsindel to become the professor of textile design at the Vkhutemas: The Higher Art and Technical Design Studio, Moscow, where she also pursued her interest in typography and book design as a regular contributor to the magazine LEF (Left Front of the Arts). 

λ VARVARA STEPANOVA (RUSSIAN 1894-1958)TEXTILE DESIGN 2, STEP 2 Pencil, crayon and gouache 20 x 16cm (7¾ x 6¼ in.)Executed in 1923-24.Provenance:The estate of the artistEx-collection of Modern Art Oxford, deaccessioned in 2013 Exhibited:Oxford, Museum of Modern Art, Art in Production: Soviet Textiles, Fashion and Ceramics, 1917-35, 1984  Varvara Stepanova was a constructivist artist, and the wife of Alexander Rodchenko. After initially working all media, she decided to dedicate her output to creating functional design, where she felt her work would most benefit the greater Soviet Society. To this end, in 1921 she almost exclusively dedicated herself to clothing and textile design. She spent a year as designer of textiles and the Tsindel (The First State Textile Factory), her abstract textiles were designed to be looked at as they were worn, and clothing was specifically tailored to match the needs of the wearer, garments were meticulously constructed to be both exciting to look at and highly practical to wear. In 1924, Stepanova left the Tsindel to become the professor of textile design at the Vkhutemas: The Higher Art and Technical Design Studio, Moscow, where she also pursued her interest in typography and book design as a regular contributor to the magazine LEF (Left Front of the Arts).

λ  AUGUSTUS JOHN (BRITISH 1878-1961)THE LITTLE RAILWAY, MARTIGUESOil on canvasSigned (lower left)54 x 73cm (21¼ x 28½ in.)Painted in 1928.Provenance:Arthur Tooth & Sons Ltd., London (stock no. C3526)Adams Gallery, LondonSale, Christie's, London, 8 June 1990, lot 247Sale, Christie's, London, 9 June 2000, lot 90Exhibited:London, Arthur Tooth & Sons Ltd., Augustus John, April-May 1929, no. 7 or 23Possibly, London, Agnew's, Contemporary British Artists, November-December 1930, no. 18London, Royal Academy of Arts, Diploma Gallery, Exhibition of works by Augustus John O.M., R.A., 1954, no. 383 (lent by Adams Gallery) Sheffield, Graves Art Gallery, Augustus John, O.M., R.A., 1956, no. 38 (lent by Cyril Adams)Literature:M. Chamot, D. Farr and M. Butlin, Tate Gallery Catalogues: The Modern British Paintings, Drawings and Sculpture, vol. I, London, 1964, p. 327'Leaving Arles for Marseilles, the railway skirts the northern shores of the Etang de Berre. Looking south from the train I caught a glimpse in the distance of spires and buildings which seemed to belong to a town sitting in the water. With a feeling that I was going to find what I was seeking, an anchorage at last, I returned from Marseilles, and, changing at Pas des Lanciers, took the little railway which leads to Martigues'. Chiaroscuro: Fragments of Autobiography, p.106 The year was 1910. Augustus bought the Villa Ste Anne at Martigues and over the years painted a series of landscape paintings on small wooden panels which are today among his most sought after works. 'The Little Railway' and another smaller version held by Tate Britain, was painted in 1928, the year the family left Martigues.We are grateful to Rebecca John for her kind assistance in cataloguing this lot. Condition Report: Inspection under UV reveals light scattered retouching mostly visible to the sky. In otherwise very good original condition. Condition Report Disclaimer

λ GRAHAM SUTHERLAND (BRITISH 1903-1980)LE TROPIQUES MENTONOil on paper76 x 53cm (29¾ x 20¾ in.)Provenance:Sale, Bonhams, Knightsbridge, 29 May 2012, lot 54 (a gift from the artist to the vendor's father)Messum's Fine Art, LondonExhibited:London, Messum's Fine Art, Modern Romantics, 2014Condition Report: Unexamined out of glazed frame. A small hole to the upper left corner. Pin holes to the upper right and lower left corners. Staining to the edges of the the sheet visible mostly to the upper corners. A horizontal crease running along the lower edge approx. 1cm up from the bottom edge. Light handling creases throughout. A small possibly repaired tear repaired to the centre of the upper edge. A horizontal crease/fold running through the centre of the sheet. Some water damage visible to the lower right corner. Two horizontal tears with repairs to the left and right edge, approx. 20cm down from the upper edge. One 9cm the other 6cm. Condition Report Disclaimer

HANS STURZENEGGER (GERMAN 1875-1943)LANDSCAPE WITH STEAMBOAT, NEAR MANNENBACH, SWITZERLAND 'BEI MANNENBACH'Oil on canvas 38.5 x 55.5cm (15 x 21¾ in.)Provenance:Artist's estate, label attached verso, no. 40 By descent to private collection, unknownPossibly, Private Collection, Ferdinand Wortmann, Basel Fritz Nathan, St. Gallen, Switzerland Private Collection, Oskar Reinhart (1885-1965), Winterthur, Switzerland, purchased from the above on 27 November 1944 By descent to The Hon. Mrs James Tennant Oskar Reinhart was born in Winterthur, Switzerland in 1885. His father Theodor Reinhart (1849-1919) worked as a textile merchant running Volkart Brothers, which was founded by his wife's family, and facilitated the trade of cotton across the continent mainly from India. Theodor was an active art collector and devoted to supporting the careers of promising artists. By the age of 39 Oskar, inspired by his father, retired from the family firm to focus on building his already established art collection. Reinhart travelled across Europe visiting museums and private collectors devoting his time to art patronage. Reinhart purchased villa Am Römerholz in his hometown which was to become his own private gallery to house his collection as well as his private residence. In 1940 Reinhart donated the Austrian, German and Swiss works of art from his collection to the town of Winterthur which was housed from 1951 in the Museum Oskar Reinhart, now within the Kunst Museum including pieces by Caspar David Friedrich and Adolph Menzel. The rest of the collection was bequeathed to the Swiss Confederation including his home in 1958 and this opened to the public in 1970 and is still available to visit today. The original bequest included over five hundred paintings and several thousand drawings.Reinhart was particularly drawn to French Impressionists and he enjoyed mixing old masters with modern masters arranging displays in order of form and colour rather than period. It was the focus on colour and light used by the Impressionists that sparked Reinharts' interest. Reinhart was conscious of seeking talent and artists with potential in order to support and encourage their careers. The collection on display at Am Römerholz includes works by Pierre-Auguste Renoir, Vincent Van Gogh, Edouard Manet, Paul Cezanne and Alfred Sisley amongst a selection of old masters such as Pieter Brughel the Elder.   

CARL MOLL (AUSTRIAN 1861-1945)OLIVENHAINOil on canvasSigned with monogram (lower left)49.5 x 60cm (19¼ x 23½ in.)Painted in 1931. Provenance:Gallerie Aktuaryus, Zurich where Moll had an exhibition, on 19 June 1934Private Collection, Oskar Reinhart (1885-1965), Winterthur, Switzerland, purchased from the above on 19 June 1934 By descent to The Hon. Mrs James Tennant Exhibited:Zurich, Galerie Aktuaryus, June 1934 Literature:Monthly Journal of the Aktuaryus Gallery, 17 June, 1934, ZurichArthur Roessler, Radio Vienna, Österreichische Rundfunkzeitschrift, Report, vol. 12, no. 35, 22.5, 1936, p.8Cornelia Cabuk, Stella Rollig, Christian Huemer, Carl Moll, Monograph and Catalogue Raisonne, Belvedere, Vienna, 2020, p. 255, no. GE 478, illus. in black & white (recorded with Belvedere no. Ex 43154) Rediscovered portrait by Viennese successionist Carl Moll, hidden away in the private collection of Swiss arts patron Oskar Reinhart comes to market for the very first time. Oskar Reinhart was born in Winterthur, Switzerland in 1885. His father Theodor Reinhart (1849-1919) worked as a textile merchant running Volkart Brothers, which was founded by his wife's family, and facilitated the trade of cotton across the continent mainly from India. Theodor was an active art collector and devoted to supporting the careers of promising artists. By the age of 39 Oskar, inspired by his father, retired from the family firm to focus on building his already established art collection. Reinhart travelled across Europe visiting museums and private collectors devoting his time to art patronage. Reinhart purchased villa Am Römerholz in his hometown which was to become his own private gallery to house his collection as well as his private residence. In 1940 Reinhart donated the Austrian, German and Swiss works of art from his collection to the town of Winterthur which was housed from 1951 in the Museum Oskar Reinhart, now within the Kunst Museum including pieces by Caspar David Friedrich and Adolph Menzel. The rest of the collection was bequeathed to the Swiss Confederation including his home in 1958 and this opened to the public in 1970 and is still available to visit today. The original bequest included over five hundred paintings and several thousand drawings.Reinhart was particularly drawn to French Impressionists and he enjoyed mixing old masters with modern masters arranging displays in order of form and colour rather than period. It was the focus on colour and light used by the Impressionists that sparked Reinharts' interest. Reinhart was conscious of seeking talent and artists with potential in order to support and encourage their careers. The collection on display at Am Römerholz includes works by Pierre-Auguste Renoir, Vincent Van Gogh, Edouard Manet, Paul Cezanne and Alfred Sisley amongst a selection of old masters such as Pieter Brughel the Elder. Carl Moll was born in Vienna in 1861 to Julius Johann Franz Moll and Maria Magdalena Rosina Schmid. Inspired by his uncle Karl Schmid Moll enrolled at the Academy of Fine Arts, Vienna in 1880. Moll studied under Christian Gripenkerl and went on to become the assistant to Emil Jakob Schindler. Shortly after Schindler's death in 1892 Moll married the German actress Anna Sofie Bergen, the widow of Schindler. Significantly Carl Moll was one of the cofounders of the Viennese Secession alongside Josef Hoffman and Gustav Klimt. The Secession was founded by a group of Austrian painters, writers and architects in 1897 to oppose the conservatism of traditional art academies and the forumlaic teachings of the Vienna Academy of the Arts. The group sought to encourage promotion of all arts and creative thinking looking towards the future rather than themes from the past by supporting contemporary artists, both Austrian and international combining ideas from artists and designers. This movement sparked the formation of modern art in Vienna which can be seen to flourish at the turn of the century. In 1905 a number of artists broke away from the secession including Moll who went on to establish the Gallery Miethke. Moll's work is full of light and freshness. He is renowned for mesmerising landscapes and intimate still lifes. The viewer is immediately struck by the sense of harmony created across the composition through the balance of colour and attention to detail. Moll uses the shadows caused by the light hitting the trees to create depth, leading the viewer along the pathway and into the canvas. The broad fluid brushstrokes draw influence from the French neo-impressionists whose work Moll came to admire. The present lot has not been seen on the open market since its creation in the 1930s. The work is included in the catalogue raisonne published in association with the Belvedere museum, its location listed as unknown with a black and white illustration until now. Recorded in the catalogue raisonné are four other works by Carl Moll all depicting olive groves during the early 1930s. The locations include Rapallo and Volterra in Italy and Provence in France including specifically Sanary-sur-Mer which may be the subject matter of the present lot. Extensive correspondence between Carl Moll and Oskar Reinhart is stored in the archives of the Kunst Museum Winterthur.   Condition Report: One pin hole to the upper left and lower left corner. Two pin holes visible to the lower right corner. There is an area of yellowing varnish to the sky which may benefit from a clean. Some very fine craquelure visible to the areas of the thickest impasto, this is hardly noticeable. Inspection under UV reveals a thick green varnish. Overall in good original condition. Condition Report Disclaimer

λ JOHN WARD (BRITISH 1938-2023)A LARGE VESSELStoneware, of flattened disc form with tapering neck, matt white glaze with radiating green lines, impressed with JW sealHeight: 35.5cm (14 in.)Provenance:Private CollectionCompare with a similar example illustrated by Emma Crichton-Miller, The Pottery of John Ward, p.66 and on the coverAt the age of 28 John Ward applied to Camberwell School of Arts & Crafts. He was initially drawn to this particular college as he knew that Lucie Rie and Hans Coper were visiting tutors and after having seen their works at pottery exhibitions in London he was keen to learn more. Ward said 'Lucie Rie's work, which I first saw in a sunlit exhibition room, glowed with its light, life and colour.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 33Ward's life in metropolitan London certainly paved the way for his career in ceramics but it was his move to Pembrokeshire with his family in 1979 which allowed him to take up a slower pace of life, surrounded by serenity and nature. Ward was inspired by the sudden change in colours he witnessed from the city to the coast. The monumental rock formations teetering on the edge of cliffs reiterated the energy and power of nature. His fascination with light and the way in which it fell through the trees making shapes and patterns on the woodland floor were certainly all influential in the development of both his design and form. He hand-built his pots using strips of clay to build vessels of design over function. Cutting and re-joining sections of clay resulted in beautiful unique forms, experimenting also with textured surfaces. The works he created drew inspiration from architectural design, nature's elements found on the shoreline and historic roman vessels. Ward was fascinated by the self-containment of a single vessel combined with the dynamism of design which created an object full of energy and yet 'a still point of the turning world.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 12In 1982 John Ward had his first one-man show at the Peter Dingley Gallery. This exhilarating body of work showcased his wide variety of new forms, including gourd-shaped vessels, double-grooved bowls, square necks and flanged bowls. Ward set himself off on a journey to find 'rightness' which to him was the perfect balance between form, achieved through quality of clay, and decoration, through the experimentation of glazes. Included in this private collection of works by John Ward we are able to identify examples of many of his favourite glazes including three green and white pots with geometric glazes, striking black, tantalising blue and innocent white, like porcelain. Important examples of Ward's ceramics can be found in the Ashmolean Museum in Oxford and The Museum of Modern Art in New York.   Condition Report: In good original condition. No evidence of damage, repair or restoration. Condition Report Disclaimer

λ JOHN WARD (BRITISH 1938-2023)A MATT BLUE VASEStoneware, impressed with JW seal Height: 25cm (9 7/8 in.)Provenance:Courcoux & Courcoux, Hampshire Private Collection (Acquired from the above on 22nd February 1991)At the age of 28 John Ward applied to Camberwell School of Arts & Crafts. He was initially drawn to this particular college as he knew that Lucie Rie and Hans Coper were visiting tutors and after having seen their works at pottery exhibitions in London he was keen to learn more. Ward said 'Lucie Rie's work, which I first saw in a sunlit exhibition room, glowed with its light, life and colour.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 33Ward's life in metropolitan London certainly paved the way for his career in ceramics but it was his move to Pembrokeshire with his family in 1979 which allowed him to take up a slower pace of life, surrounded by serenity and nature. Ward was inspired by the sudden change in colours he witnessed from the city to the coast. The monumental rock formations teetering on the edge of cliffs reiterated the energy and power of nature. His fascination with light and the way in which it fell through the trees making shapes and patterns on the woodland floor were certainly all influential in the development of both his design and form. He hand-built his pots using strips of clay to build vessels of design over function. Cutting and re-joining sections of clay resulted in beautiful unique forms, experimenting also with textured surfaces. The works he created drew inspiration from architectural design, nature's elements found on the shoreline and historic roman vessels. Ward was fascinated by the self-containment of a single vessel combined with the dynamism of design which created an object full of energy and yet 'a still point of the turning world.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 12In 1982 John Ward had his first one-man show at the Peter Dingley Gallery. This exhilarating body of work showcased his wide variety of new forms, including gourd-shaped vessels, double-grooved bowls, square necks and flanged bowls. Ward set himself off on a journey to find 'rightness' which to him was the perfect balance between form, achieved through quality of clay, and decoration, through the experimentation of glazes. Included in this private collection of works by John Ward we are able to identify examples of many of his favourite glazes including three green and white pots with geometric glazes, striking black, tantalising blue and innocent white, like porcelain. Important examples of Ward's ceramics can be found in the Ashmolean Museum in Oxford and The Museum of Modern Art in New York. Condition Report: In good original condition. No evidence of damage, repair or restoration. Condition Report Disclaimer

λ JOHN WARD (BRITISH 1938-2023)A LARGE GREEN AND BROWN BOWLStoneware with textured surface, impressed with JW seal24 x 41cm (9½ x 16 1/8 in.)Provenance: Amalgam Art Ltd, Barnes Private Collection (acquired from the above on 13th May 1993)At the age of 28 John Ward applied to Camberwell School of Arts & Crafts. He was initially drawn to this particular college as he knew that Lucie Rie and Hans Coper were visiting tutors and after having seen their works at pottery exhibitions in London he was keen to learn more. Ward said 'Lucie Rie's work, which I first saw in a sunlit exhibition room, glowed with its light, life and colour.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 33Ward's life in metropolitan London certainly paved the way for his career in ceramics but it was his move to Pembrokeshire with his family in 1979 which allowed him to take up a slower pace of life, surrounded by serenity and nature. Ward was inspired by the sudden change in colours he witnessed from the city to the coast. The monumental rock formations teetering on the edge of cliffs reiterated the energy and power of nature. His fascination with light and the way in which it fell through the trees making shapes and patterns on the woodland floor were certainly all influential in the development of both his design and form. He hand-built his pots using strips of clay to build vessels of design over function. Cutting and re-joining sections of clay resulted in beautiful unique forms, experimenting also with textured surfaces. The works he created drew inspiration from architectural design, nature's elements found on the shoreline and historic roman vessels. Ward was fascinated by the self-containment of a single vessel combined with the dynamism of design which created an object full of energy and yet 'a still point of the turning world.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 12In 1982 John Ward had his first one-man show at the Peter Dingley Gallery. This exhilarating body of work showcased his wide variety of new forms, including gourd-shaped vessels, double-grooved bowls, square necks and flanged bowls. Ward set himself off on a journey to find 'rightness' which to him was the perfect balance between form, achieved through quality of clay, and decoration, through the experimentation of glazes. Included in this private collection of works by John Ward we are able to identify examples of many of his favourite glazes including three green and white pots with geometric glazes, striking black, tantalising blue and innocent white, like porcelain. Important examples of Ward's ceramics can be found in the Ashmolean Museum in Oxford and The Museum of Modern Art in New York. Condition Report: In good original condition. No evidence of damage, repair or restoration. Condition Report Disclaimer

λ JOHN WARD (BRITISH 1938-2023)A LARGE VESSELStoneware, with soft white and mottled green glazes over a textured surface, flattened with bands of concentric rings following the contours of the form front and back, with angled cut rim, impressed with JW sealHeight: 46cm (18 in.)Provenance:Private CollectionCompare with a similar example illustrated by Emma Crichton-Miller, The Pottery of John Ward, p.86At the age of 28 John Ward applied to Camberwell School of Arts & Crafts. He was initially drawn to this particular college as he knew that Lucie Rie and Hans Coper were visiting tutors and after having seen their works at pottery exhibitions in London he was keen to learn more. Ward said 'Lucie Rie's work, which I first saw in a sunlit exhibition room, glowed with its light, life and colour.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 33Ward's life in metropolitan London certainly paved the way for his career in ceramics but it was his move to Pembrokeshire with his family in 1979 which allowed him to take up a slower pace of life, surrounded by serenity and nature. Ward was inspired by the sudden change in colours he witnessed from the city to the coast. The monumental rock formations teetering on the edge of cliffs reiterated the energy and power of nature. His fascination with light and the way in which it fell through the trees making shapes and patterns on the woodland floor were certainly all influential in the development of both his design and form. He hand-built his pots using strips of clay to build vessels of design over function. Cutting and re-joining sections of clay resulted in beautiful unique forms, experimenting also with textured surfaces. The works he created drew inspiration from architectural design, nature's elements found on the shoreline and historic roman vessels. Ward was fascinated by the self-containment of a single vessel combined with the dynamism of design which created an object full of energy and yet 'a still point of the turning world.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 12In 1982 John Ward had his first one-man show at the Peter Dingley Gallery. This exhilarating body of work showcased his wide variety of new forms, including gourd-shaped vessels, double-grooved bowls, square necks and flanged bowls. Ward set himself off on a journey to find 'rightness' which to him was the perfect balance between form, achieved through quality of clay, and decoration, through the experimentation of glazes. Included in this private collection of works by John Ward we are able to identify examples of many of his favourite glazes including three green and white pots with geometric glazes, striking black, tantalising blue and innocent white, like porcelain. Important examples of Ward's ceramics can be found in the Ashmolean Museum in Oxford and The Museum of Modern Art in New York. Condition Report: In good original condition. No evidence of damage, repair or restoration. Condition Report Disclaimer

λ JOHN WARD (BRITISH 1938-2023)A GLOBULAR SQUARE NECKED VASEStoneware, covered in streaked white and pale blue glaze, impressed with JW sealHeight: 38cm (15 in.)Provenance: Private Collection, Peter Dingley Private Collection (acquired from the above in 5th October 1991)Compare with a similar example illustrated by Emma Crichton-Miller,The Pottery of John Ward, p. 62 shown in situ at the Peter Dingwall Gallery Exhibition, 1987At the age of 28 John Ward applied to Camberwell School of Arts & Crafts. He was initially drawn to this particular college as he knew that Lucie Rie and Hans Coper were visiting tutors and after having seen their works at pottery exhibitions in London he was keen to learn more. Ward said 'Lucie Rie's work, which I first saw in a sunlit exhibition room, glowed with its light, life and colour.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 33Ward's life in metropolitan London certainly paved the way for his career in ceramics but it was his move to Pembrokeshire with his family in 1979 which allowed him to take up a slower pace of life, surrounded by serenity and nature. Ward was inspired by the sudden change in colours he witnessed from the city to the coast. The monumental rock formations teetering on the edge of cliffs reiterated the energy and power of nature. His fascination with light and the way in which it fell through the trees making shapes and patterns on the woodland floor were certainly all influential in the development of both his design and form. He hand-built his pots using strips of clay to build vessels of design over function. Cutting and re-joining sections of clay resulted in beautiful unique forms, experimenting also with textured surfaces. The works he created drew inspiration from architectural design, nature's elements found on the shoreline and historic roman vessels. Ward was fascinated by the self-containment of a single vessel combined with the dynamism of design which created an object full of energy and yet 'a still point of the turning world.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 12In 1982 John Ward had his first one-man show at the Peter Dingley Gallery. This exhilarating body of work showcased his wide variety of new forms, including gourd-shaped vessels, double-grooved bowls, square necks and flanged bowls. Ward set himself off on a journey to find 'rightness' which to him was the perfect balance between form, achieved through quality of clay, and decoration, through the experimentation of glazes. Included in this private collection of works by John Ward we are able to identify examples of many of his favourite glazes including three green and white pots with geometric glazes, striking black, tantalising blue and innocent white, like porcelain. Important examples of Ward's ceramics can be found in the Ashmolean Museum in Oxford and The Museum of Modern Art in New York. Condition Report: In good original condition. Inspection under UV reveals a couple of scratches/impurities in the clay. Otherwise no evidence of damage, repair or restoration. Condition Report Disclaimer

λ JOHN WARD (BRITISH 1938-2023)A LARGE BROWN GLAZED BOWLStoneware, impressed with JW seal27 x 34.5cm (10 5/8 x 13 1/2 in.)Provenance: Beaux Arts, BathPrivate Collection (acquired from the above on 13th September 1991)Compare with a similar example illustrated, Emma Crichton-Miller, The Pottery of John Ward, p.73At the age of 28 John Ward applied to Camberwell School of Arts & Crafts. He was initially drawn to this particular college as he knew that Lucie Rie and Hans Coper were visiting tutors and after having seen their works at pottery exhibitions in London he was keen to learn more. Ward said 'Lucie Rie's work, which I first saw in a sunlit exhibition room, glowed with its light, life and colour.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 33Ward's life in metropolitan London certainly paved the way for his career in ceramics but it was his move to Pembrokeshire with his family in 1979 which allowed him to take up a slower pace of life, surrounded by serenity and nature. Ward was inspired by the sudden change in colours he witnessed from the city to the coast. The monumental rock formations teetering on the edge of cliffs reiterated the energy and power of nature. His fascination with light and the way in which it fell through the trees making shapes and patterns on the woodland floor were certainly all influential in the development of both his design and form. He hand-built his pots using strips of clay to build vessels of design over function. Cutting and re-joining sections of clay resulted in beautiful unique forms, experimenting also with textured surfaces. The works he created drew inspiration from architectural design, nature's elements found on the shoreline and historic roman vessels. Ward was fascinated by the self-containment of a single vessel combined with the dynamism of design which created an object full of energy and yet 'a still point of the turning world.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 12In 1982 John Ward had his first one-man show at the Peter Dingley Gallery. This exhilarating body of work showcased his wide variety of new forms, including gourd-shaped vessels, double-grooved bowls, square necks and flanged bowls. Ward set himself off on a journey to find 'rightness' which to him was the perfect balance between form, achieved through quality of clay, and decoration, through the experimentation of glazes. Included in this private collection of works by John Ward we are able to identify examples of many of his favourite glazes including three green and white pots with geometric glazes, striking black, tantalising blue and innocent white, like porcelain. Important examples of Ward's ceramics can be found in the Ashmolean Museum in Oxford and The Museum of Modern Art in New York. Condition Report: In good original condition. No evidence of damage, repair or restoration. Condition Report Disclaimer

λ JOHN WARD (BRITISH 1938-2023)A GREEN AND MATT WHITE BOWLImpressed with JW seal Height: 20cm (7 7/8 in.)Provenance:Private CollectionAt the age of 28 John Ward applied to Camberwell School of Arts & Crafts. He was initially drawn to this particular college as he knew that Lucie Rie and Hans Coper were visiting tutors and after having seen their works at pottery exhibitions in London he was keen to learn more. Ward said 'Lucie Rie's work, which I first saw in a sunlit exhibition room, glowed with its light, life and colour.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 33Ward's life in metropolitan London certainly paved the way for his career in ceramics but it was his move to Pembrokeshire with his family in 1979 which allowed him to take up a slower pace of life, surrounded by serenity and nature. Ward was inspired by the sudden change in colours he witnessed from the city to the coast. The monumental rock formations teetering on the edge of cliffs reiterated the energy and power of nature. His fascination with light and the way in which it fell through the trees making shapes and patterns on the woodland floor were certainly all influential in the development of both his design and form. He hand-built his pots using strips of clay to build vessels of design over function. Cutting and re-joining sections of clay resulted in beautiful unique forms, experimenting also with textured surfaces. The works he created drew inspiration from architectural design, nature's elements found on the shoreline and historic roman vessels. Ward was fascinated by the self-containment of a single vessel combined with the dynamism of design which created an object full of energy and yet 'a still point of the turning world.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 12In 1982 John Ward had his first one-man show at the Peter Dingley Gallery. This exhilarating body of work showcased his wide variety of new forms, including gourd-shaped vessels, double-grooved bowls, square necks and flanged bowls. Ward set himself off on a journey to find 'rightness' which to him was the perfect balance between form, achieved through quality of clay, and decoration, through the experimentation of glazes. Included in this private collection of works by John Ward we are able to identify examples of many of his favourite glazes including three green and white pots with geometric glazes, striking black, tantalising blue and innocent white, like porcelain. Important examples of Ward's ceramics can be found in the Ashmolean Museum in Oxford and The Museum of Modern Art in New York. Condition Report: In good original condition. No evidence of damage, repair or restoration. Condition Report Disclaimer

λ JOHN WARD (BRITISH 1938-2023)A LARGE 'TULIP' VASEStoneware, covered in streaked white and pale blue glazes, impressed with JW sealHeight: 30cm (11 7/8 in.)Provenance:Private CollectionAt the age of 28 John Ward applied to Camberwell School of Arts & Crafts. He was initially drawn to this particular college as he knew that Lucie Rie and Hans Coper were visiting tutors and after having seen their works at pottery exhibitions in London he was keen to learn more. Ward said 'Lucie Rie's work, which I first saw in a sunlit exhibition room, glowed with its light, life and colour.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 33Ward's life in metropolitan London certainly paved the way for his career in ceramics but it was his move to Pembrokeshire with his family in 1979 which allowed him to take up a slower pace of life, surrounded by serenity and nature. Ward was inspired by the sudden change in colours he witnessed from the city to the coast. The monumental rock formations teetering on the edge of cliffs reiterated the energy and power of nature. His fascination with light and the way in which it fell through the trees making shapes and patterns on the woodland floor were certainly all influential in the development of both his design and form. He hand-built his pots using strips of clay to build vessels of design over function. Cutting and re-joining sections of clay resulted in beautiful unique forms, experimenting also with textured surfaces. The works he created drew inspiration from architectural design, nature's elements found on the shoreline and historic roman vessels. Ward was fascinated by the self-containment of a single vessel combined with the dynamism of design which created an object full of energy and yet 'a still point of the turning world.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 12In 1982 John Ward had his first one-man show at the Peter Dingley Gallery. This exhilarating body of work showcased his wide variety of new forms, including gourd-shaped vessels, double-grooved bowls, square necks and flanged bowls. Ward set himself off on a journey to find 'rightness' which to him was the perfect balance between form, achieved through quality of clay, and decoration, through the experimentation of glazes. Included in this private collection of works by John Ward we are able to identify examples of many of his favourite glazes including three green and white pots with geometric glazes, striking black, tantalising blue and innocent white, like porcelain. Important examples of Ward's ceramics can be found in the Ashmolean Museum in Oxford and The Museum of Modern Art in New York. Condition Report: In good original condition. No evidence of damage, repair or restoration. Condition Report Disclaimer

λ JOHN WARD (BRITISH 1938-2023)A LARGE BROWN 'SHOULDER POT'Stoneware, the flattened form rising to a tapering neck with gently dipped rim, with impressed JW sealHeight: 49cm (19¼ in.) Provenance: Oxford Gallery, Oxford Private Collection (acquired in December 1993)Compare with a similar example illustrated by Emma Crichton-Miller, The Pottery of John Ward, p.68 and p. 94At the age of 28 John Ward applied to Camberwell School of Arts & Crafts. He was initially drawn to this particular college as he knew that Lucie Rie and Hans Coper were visiting tutors and after having seen their works at pottery exhibitions in London he was keen to learn more. Ward said 'Lucie Rie's work, which I first saw in a sunlit exhibition room, glowed with its light, life and colour.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 33Ward's life in metropolitan London certainly paved the way for his career in ceramics but it was his move to Pembrokeshire with his family in 1979 which allowed him to take up a slower pace of life, surrounded by serenity and nature. Ward was inspired by the sudden change in colours he witnessed from the city to the coast. The monumental rock formations teetering on the edge of cliffs reiterated the energy and power of nature. His fascination with light and the way in which it fell through the trees making shapes and patterns on the woodland floor were certainly all influential in the development of both his design and form. He hand-built his pots using strips of clay to build vessels of design over function. Cutting and re-joining sections of clay resulted in beautiful unique forms, experimenting also with textured surfaces. The works he created drew inspiration from architectural design, nature's elements found on the shoreline and historic roman vessels. Ward was fascinated by the self-containment of a single vessel combined with the dynamism of design which created an object full of energy and yet 'a still point of the turning world.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 12In 1982 John Ward had his first one-man show at the Peter Dingley Gallery. This exhilarating body of work showcased his wide variety of new forms, including gourd-shaped vessels, double-grooved bowls, square necks and flanged bowls. Ward set himself off on a journey to find 'rightness' which to him was the perfect balance between form, achieved through quality of clay, and decoration, through the experimentation of glazes. Included in this private collection of works by John Ward we are able to identify examples of many of his favourite glazes including three green and white pots with geometric glazes, striking black, tantalising blue and innocent white, like porcelain. Important examples of Ward's ceramics can be found in the Ashmolean Museum in Oxford and The Museum of Modern Art in New York. Condition Report: In good original condition. Inspection under UV reveals a couple of scratches/impurities in the clay. Otherwise no evidence of damage, repair or restoration. Condition Report Disclaimer

λ JOHN WARD (BRITISH 1938-2023)A LARGE WHITE 'SHOULDER POT'Stoneware, the flattened form rising to a tapering neck with gently dipped rim, impressed with JW sealHeight: 43cm (16 7/8in.)Provenance: Victoria and Albert Museum, Crafts Council Shop, London Private Collection (acquired from the above on 5th September 1989, no. 17)Please Note: The measurements should read Height: 43cm (16 7/8in.)Compare with a similar example illustrated by Emma Crichton-Miller, The Pottery of John Ward, p. 95At the age of 28 John Ward applied to Camberwell School of Arts & Crafts. He was initially drawn to this particular college as he knew that Lucie Rie and Hans Coper were visiting tutors and after having seen their works at pottery exhibitions in London he was keen to learn more. Ward said 'Lucie Rie's work, which I first saw in a sunlit exhibition room, glowed with its light, life and colour.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 33Ward's life in metropolitan London certainly paved the way for his career in ceramics but it was his move to Pembrokeshire with his family in 1979 which allowed him to take up a slower pace of life, surrounded by serenity and nature. Ward was inspired by the sudden change in colours he witnessed from the city to the coast. The monumental rock formations teetering on the edge of cliffs reiterated the energy and power of nature. His fascination with light and the way in which it fell through the trees making shapes and patterns on the woodland floor were certainly all influential in the development of both his design and form. He hand-built his pots using strips of clay to build vessels of design over function. Cutting and re-joining sections of clay resulted in beautiful unique forms, experimenting also with textured surfaces. The works he created drew inspiration from architectural design, nature's elements found on the shoreline and historic roman vessels. Ward was fascinated by the self-containment of a single vessel combined with the dynamism of design which created an object full of energy and yet 'a still point of the turning world.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 12In 1982 John Ward had his first one-man show at the Peter Dingley Gallery. This exhilarating body of work showcased his wide variety of new forms, including gourd-shaped vessels, double-grooved bowls, square necks and flanged bowls. Ward set himself off on a journey to find 'rightness' which to him was the perfect balance between form, achieved through quality of clay, and decoration, through the experimentation of glazes. Included in this private collection of works by John Ward we are able to identify examples of many of his favourite glazes including three green and white pots with geometric glazes, striking black, tantalising blue and innocent white, like porcelain. Important examples of Ward's ceramics can be found in the Ashmolean Museum in Oxford and The Museum of Modern Art in New York. Condition Report: In good original condition. Inspection under UV reveals a couple of scratches/impurities in the clay and a hand print, most likely that of the artist. Otherwise no evidence of damage, repair or restoration. Condition Report Disclaimer

λ JOHN WARD (BRITISH 1938-2023)A BLACK AND WHITE VASEStoneware, matt white and black glaze, Impressed with JW seal Height: 23cm (9 in.)Provenance:Private CollectionAt the age of 28 John Ward applied to Camberwell School of Arts & Crafts. He was initially drawn to this particular college as he knew that Lucie Rie and Hans Coper were visiting tutors and after having seen their works at pottery exhibitions in London he was keen to learn more. Ward said 'Lucie Rie's work, which I first saw in a sunlit exhibition room, glowed with its light, life and colour.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 33Ward's life in metropolitan London certainly paved the way for his career in ceramics but it was his move to Pembrokeshire with his family in 1979 which allowed him to take up a slower pace of life, surrounded by serenity and nature. Ward was inspired by the sudden change in colours he witnessed from the city to the coast. The monumental rock formations teetering on the edge of cliffs reiterated the energy and power of nature. His fascination with light and the way in which it fell through the trees making shapes and patterns on the woodland floor were certainly all influential in the development of both his design and form. He hand-built his pots using strips of clay to build vessels of design over function. Cutting and re-joining sections of clay resulted in beautiful unique forms, experimenting also with textured surfaces. The works he created drew inspiration from architectural design, nature's elements found on the shoreline and historic roman vessels. Ward was fascinated by the self-containment of a single vessel combined with the dynamism of design which created an object full of energy and yet 'a still point of the turning world.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 12In 1982 John Ward had his first one-man show at the Peter Dingley Gallery. This exhilarating body of work showcased his wide variety of new forms, including gourd-shaped vessels, double-grooved bowls, square necks and flanged bowls. Ward set himself off on a journey to find 'rightness' which to him was the perfect balance between form, achieved through quality of clay, and decoration, through the experimentation of glazes. Included in this private collection of works by John Ward we are able to identify examples of many of his favourite glazes including three green and white pots with geometric glazes, striking black, tantalising blue and innocent white, like porcelain. Important examples of Ward's ceramics can be found in the Ashmolean Museum in Oxford and The Museum of Modern Art in New York. Condition Report: AMMENDMENT:There is a very small chip to the inner rim. This does not effect the outer edge. In otherwise good original condition. No evidence of restoration or repair. Condition Report Disclaimer

λ JOHN WARD (BRITISH 1938-2023)A MATT BROWN ORANGE AND TURQUOISE-GREEN VASEStoneware, impressed with JW sealHeight: 21cm (8¼ in.)Provenance: By repute Ian Courcoux, Hampshire Most likely acquired from the above by the present owners At the age of 28 John Ward applied to Camberwell School of Arts & Crafts. He was initially drawn to this particular college as he knew that Lucie Rie and Hans Coper were visiting tutors and after having seen their works at pottery exhibitions in London he was keen to learn more. Ward said 'Lucie Rie's work, which I first saw in a sunlit exhibition room, glowed with its light, life and colour.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 33Ward's life in metropolitan London certainly paved the way for his career in ceramics but it was his move to Pembrokeshire with his family in 1979 which allowed him to take up a slower pace of life, surrounded by serenity and nature. Ward was inspired by the sudden change in colours he witnessed from the city to the coast. The monumental rock formations teetering on the edge of cliffs reiterated the energy and power of nature. His fascination with light and the way in which it fell through the trees making shapes and patterns on the woodland floor were certainly all influential in the development of both his design and form. He hand-built his pots using strips of clay to build vessels of design over function. Cutting and re-joining sections of clay resulted in beautiful unique forms, experimenting also with textured surfaces. The works he created drew inspiration from architectural design, nature's elements found on the shoreline and historic roman vessels. Ward was fascinated by the self-containment of a single vessel combined with the dynamism of design which created an object full of energy and yet 'a still point of the turning world.'John Ward,' Emma Crichton -Miller, The Pottery of John Ward, p. 12In 1982 John Ward had his first one-man show at the Peter Dingley Gallery. This exhilarating body of work showcased his wide variety of new forms, including gourd-shaped vessels, double-grooved bowls, square necks and flanged bowls. Ward set himself off on a journey to find 'rightness' which to him was the perfect balance between form, achieved through quality of clay, and decoration, through the experimentation of glazes. Included in this private collection of works by John Ward we are able to identify examples of many of his favourite glazes including three green and white pots with geometric glazes, striking black, tantalising blue and innocent white, like porcelain. Important examples of Ward's ceramics can be found in the Ashmolean Museum in Oxford and The Museum of Modern Art in New York. Condition Report: In good original condition. No evidence of damage, repair or restoration. Condition Report Disclaimer

A Victorian silver horseshoe brooch, a bunch of grapes brooch set foiled stones, a modern Art Nouveau-style brooch and other items.

By Ross Morrow, a modern Canadian silver sauce boat,with maker's mark of RM conjoined and 'Sterling',oval form, the scroll handle with a ball terminal, spot-hammered decoration, on a trefoil pad foot, length 18.5cm, approx. weight 8.7oz.Ross Morrow has been working in silver since 1990 and taught at George Brown College, Georgian College and the Ontario College of Art and Design in Canada. He has won several awards including two from the Metal Arts Guild and has exhibited in the Rabinovitch Collection at the Victoria & Albert Museum.

By The Brighton College of Art, a set of six modern fish knives and forks, London 1952,wide spot-hammered blades, tapering wooden handles. (12)Gerald Benney trained at the Brighton College of Art, where his father was principal,

Martin Weener (American, 1913-2001)'Tombstone' from a series of paintings 'Painted in protest: landscape of violence and climate of assassination', signed 'M.W' l.r., and dated '1964' verso, oil on canvas45.5 x 61cm Exhibited: ASUC Art Gallery, Berkeley, 'Landscape of Violence', 30 April - 15 May 1967. Martin Weener grew up in New York. He started as a TV script writer, writing films and TV scores. After some great success, he moved to Paris to study art which he created until he died.During his lifetime he studied art in Paris and lived for many years in Paris, London, Southern France, and Israel where he maintained a prestigious output of art and works, some of which are now with the Royal Academy of Music, the Jewish Museum, London; and the Tate Modern.Martin was involved in the use of many forms of art whether it be oils, acrylics or watercolours. He was heavily involved in graphics, and much of his work appears in the above institutions.During a turbulent period in America, during the mid-1960s, there was a climate of assassination in the US in which Robert F Kennedy was assasinated together with his brother and such others as Martin Luther King. Martin prepared a number of paintings 'in protest' which were extensively exhibited throughout the whole of the United States and a number of embassies throughout the world.His work at the time was highly praised by Norman Mailer and his work was said to have both strength and delicacy.'Painted in protest: landscape of violence and climate of assassination' is a series of pictures around the theme of President John F Kennedy's death. The series starts from this scene but also seeks to question many of the "sicknesses" of the modern social climate.Condition ReportOverall 47.5cm x 63cmSome scuffing to canvas edges and some surface dirt but otherwise good condition.

Martin Weener (American, 1913-2001)'Deep in the heart of Texas'from a series of paintings: 'Painted in protest: landscape of violence and climate of assassination', signed 'M.W' l.r., and dated '1964' verso, oil on canvas45.5 x 61cm, unframed Exhibited: ASUC Art Gallery, Berkeley, 'Landscape of Violence', 30 April - 15 May 1967.Martin Weener grew up in New York. He started as a TV script writer, writing films and TV scores. After some great success, he moved to Paris to study art which he created until he died. During his lifetime he studied art in Paris and lived for many years in Paris, London, Southern France, and Israel where he maintained a prestigious output of art and works, some of which are now with the Royal Academy of Music, the Jewish Museum, London; and the Tate Modern. Martin was involved in the use of many forms of art whether it be oils, acrylics or watercolours. He was heavily involved in graphics, and much of his work appears in the above institutions.During a turbulent period in America, during the mid-1960s, there was a climate of assassination in the US in which Robert F Kennedy was assassinated together with his brother and such others as Martin Luther King. Martin prepared a number of paintings 'in protest' which were extensively exhibited throughout the whole of the United States and a number of embassies throughout the world. His work was highly praised by Norman Mailer and said to have both strength and delicacy. 'Painted in protest: landscape of violence and climate of assassination' is a series of pictures around the theme of President John F Kennedy's death. The series starts from this scene, but also seeks to question many of the "sicknesses" of the modern social climate.Condition ReportOverall 47.5cm x 63cmSome scuffing to canvas edges and some surface dirt but otherwise good condition.

[TOPOGRAPHY]. BRISTOL Seventeen assorted works, comprising the Trial of Charles Pinney, Esq., in the Court of King's Bench, on an Information,... Charging him with Neglect of Duty in his Office as Mayor of Bristol During the Riots, Cadell, Blackwood et al., Bristol, 1833, modern blue cloth, octavo; Cotterell, Howard Herschel. Bristol and West-Country Pewterers, large paper copy, limited edition 51/150, Bristol Museum and Art Gallery, 1918, original stiff paper covers with fabric ties, plate and text illustrations, 34cm x 26cm. and fifteen assorted others, including five Bristol Record Society publications.

A modern side cabinet in the Art Deco style, in black gloss finish with chrome legs, by Next, some fading to top, width approx. 95cm

Published for the Museum of Modern Art, New York by Arno PressAn examination of the most influential esthetic theories and salient artists during half a decade in Germany. Painting, sculpture, and prints have each been separately chronicled by an outstanding authority. This item has no reserve. Issued: 1972Dimensions: 9.75"L x .75"W x 9.5"HCountry of Origin: USACondition: Age related wear.

Original vintage limited edition artist signed advertising poster Ktas Maintains the Connection / Ktas Holder Forbindelsen vedlige, featuring an illustration of a red silhouette set over blue background. Designed and hand signed by Per Arnoldi (born May 25, 1941 in Copenhagen) is a Danish designer and artist. Arnoldi has worked in many countries around the world and is on permanent exhibit in several prestigious art and design institutions for his unique and influential productions, including Museum of Modern Art in New York. Apart from his prolific poster art production, some of Arnoldi's best known single works are the logo and curtains designs of the Copenhagen Opera House from 2004 and London's National Police Memorial, co-designed with Peter Ridley from Foster + Partners. Other well-known works include the "Romantic Construction", "The Wall", and "Corrections". Herning Museum of Contemporary Art in Denmark holds the largest permanent display of his work. Our copy is 128 from edition of 200. Excellent condition, signed and numbered 128/200. Country of issue: Denmark, designer: Per Arnoldi, size (cm): 96x68, year of printing: 1980.

Original vintage advertising poster for Ktas Exhibition Design competition for new open telephone boxes construction for Milliarder Bella centre 21 Feb - 1 Mar, featuring an illustration of a phone receiver above a box set over yellow and red background. Designed by Per Arnoldi (born May 25, 1941 in Copenhagen) is a Danish designer and artist. Arnoldi has worked in many countries around the world and is on permanent exhibit in several prestigious art and design institutions for his unique and influential productions, including Museum of Modern Art in New York. Apart from his prolific poster art production, some of Arnoldi's best known single works are the logo and curtains designs of the Copenhagen Opera House from 2004 and London's National Police Memorial, co-designed with Peter Ridley from Foster + Partners. Other well-known works include the "Romantic Construction", "The Wall", and "Corrections". Herning Museum of Contemporary Art in Denmark holds the largest permanent display of his work. Excellent condition. Country of issue: Denmark, designer: Per Arnoldi, size (cm): 96x68, year of printing: 1981.

Original vintage advertising poster for Salon de Mai XVII Salon from 7 to 28 May 1961 at Musee d'Art Moderne de la Ville de Paris City of Paris Museum of Modern Art, the poster features an abstract work in black shades by French impressionist and modern artist Edouard Pignon (1905-1993). Printed by Mourlot. Good condition, creasing, tears, minor staining. Country of issue: France, designer: Pignon, size (cm): 66x45, year of printing: 1961.

A FINE ROMAN CHALCEDONY INTAGLIO SET IN A MODERN GOLD RING. ITHYPHALLIC SATYR HOLDING ATTRIBUTES. 1st century A.D.Stone 10x14 mm; int. size 16x18 mm; 18,92 grA unusual apotropaic and pantheistic representation, composed of a satyr advancing to the right, raising his left hand above a cornucopia (attribute of Fortuna Tyche); with his right arm he holds a winged caduceus (attribute of Mercury) and a lion skin (attribute of Hercules). The character is characterized by sharp goat horns, a sculpted torso with extraordinary anatomical details, goat legs covered in hair and an erected phallus (reference to the Dionysian sphere and fertility). Groundline. Wear marks. Provenance: From a private collection, France, acquired on the art market in the early 2000s

A ROMAN CARNELIAN INTAGLIO SET IN A MODERN GOLD SOLID RING. SATYR MAKING OFFERS TO PRIAPUS. 1st century A.D.Stone 11x15 mm; int. Size 18x20 mm; 20,08 grThe scene shows the satyr seated on a rock and facing left. He is making offers to Priapus in the shape of an herm on a short column. Thyrsus. Groundline. Wear marks. Provenance: Formerly Galerie de Serres, Paris ;From a private collection, France, acquired on the art market in the early 2000s

A ROMAN ONYX INTAGLIO SET IN A MODERN GOLD RING. GRYLLOS. 1st century B.C.Stone 10x13 mm; int. size 16x19 mm; 19,16 grGryllos composed of a wild boar's head and a satyr's head. Apotropaic subject. Slight wear marks.Provenance: From a private collection, France, acquired on the art market in the early 2000s

A RARE PHOENICIAN DARK CARNELIAN INTAGLIO SET IN A MODERN GOLD RING. LION ATTACKING A BULL. 6th - 5th century B.C.Stone 12x17 mm; int. Size 17x22 mm; 20,43 grThe lion, on the left, attacks the bull on the right of the scene, according to a stylized composition referable to the Phoenician production of the Classical Era. This production is inspired by archaic Greek models. Hatched border. Slight crack in the center of the stone, set in a heavy modern gold ring. This long popular oriental motif is well represented in a series of gems like this one. The Greek adopted the subject for their archaic scarabs. They also had some Eastern art influence (Persian empire). J. Boardman, Classical Phoenician scarabs, plate 42 n. 39/20 for the same scene and see also plate 43. Provenance: From a private collection, France, acquired from D.C. collection, London.

A MODERN GOLD RING AFTER THE ANTIQUE. SILENUS RIDING A PHALLUS. 20th century or later. Bezel diam. 19 mm; int. Size 16,5x18 mm; 11,48 gr With rounded hoop surmounted by a rounded bezel engraved with a Silenus riding a phallus mounting toward left. Wear marks. Provenance: From a private collection, France, acquired on the art market in the early 2000s

A LARGE RENAISSANCE ROCK CRYSTAL INTAGLIO ATTRIBUITED TO VALERIO BELLI. ALLEGORICAL SCENE WITH SEATED HERO AND ASSOCIATED EMBLEMA. 16th century36x47,5x3 mmThis fine rock crystal intaglio is attributed to the Renaissance gem engraver Valerio Belli (c. 1468 – 1546). The intaglio depicts a seated nude hero offering a statue of Nike to a triumphal ‘victory’ column or cippus surmounted by a sphere and a pile of arms and armor. It is referenced as Tassie-Raspe impression 7846 and has been identified as a model for early Wedgwood works described as an ‘Offering to Victory’ as well as related Matthew Boulton ormolu plaquettes. Although the intaglio is unsigned, there are many physical and stylistic similarities to various works by and attribuited to Valerio Belli, particularly works commissioned by Pope Clement VII. The victorious hero in the scene, depicted with curly hair and sideburns, resembles the Duke of Florence Alessandro de’ Medici, the suspected son of Pope Clement VII. Duke Alessandro had to rumored fathers, one was Lorenzo II de'Medici, later Pope Clement VII who was Valerio Belli's most important patron. Although his lineage cannot be confirmed, historians generally regard Alessandro's father to be Pope Clement VII due the contemporary accounts as well as a Alessandro's lifelong favoritism by Clement VII, including his appointemnt as the Duke of Florence. The Medici dynasty was in perennial conflict with Republican factions in Florence, rebelling against Medici control over the city in 1527.As a consequence of an alliance between Charles V and Clement VII, Papal and Imperial armies laid siege to Florence for 10 months, and Alessandro de Medici was installed on the throne of Venice in 1530 and subsequently made a hereditary Duke by Charles V in 1532, ending the Florentine Republic, and cementing Medici control over the city. The Medici, who were very conscious of their depictions, made numerous efforts to portray the young Duke Alessandro as a warrior, Roman emperor and hero in paintings, sculpture as well as medals, intaglios and cameos attribuited to Domenico de'Polo. Furthermore, a rock crystal vessel, attribuited to Valerio Belli, depicts both Pope Clement VII and Alessandro, demonstrating the intimate connection between these two historical figures. The Duke Alessandro was assassinated in 1537 by his cousin. This rock crystal intaglio, characterized by an exceptional limpidity, was originally mounted in a brooch designed by Marc Koven during the mid 20th century.The rock crystal has an engraved border around the scene and stylistic parallels to several similar Renaissance rock crystals & medals commissioned by the Medici family (particularly the Medici Vase in the Louvre and the famous Medici Chest in the Uffizi). The rock crystal has similar dimensions to valerio Belli's documented and attribuited works, corresponding closely in size to "Herakles between Minerva and Venus, inscribed Valerius VAF (4.7 cm by 3.8 cm), Mutius Scaevola inscribed CONSTANTIOR (4.7 cm by 3.7 cm). It has also a corresponding thickness (3 mm) to the oval rock crystal depicting a sacrifice scene in the British Museum and the rock crystal depictiong the Judgement of Paris in the V&A Museum, both attribuited to Valerio Belli. This rock crystal intaglio, although undocumented in the literature, has a number of clear parallels in works attributed to Valerio Belli in major texts on the 16th century engraver. The scene is typical of Medici coinage from the period, specifically Cavino’s posthumous medal of Giuliano II de’ Medici and is believed to be a depiction of the later assassinated Duke Alessandro de’ Medici. Some features, particularly the cippus with an attached bow and quiver of arrows parallel those identified in an intaglio of Herakles being crowned by Minerva, formerly in the collection of Peter Paul Rubens and later Baron Philip von Stosch, attribuited to Valerio Belli. The composition with a figure seatd in an elegant pose, with one or both legs outstretched, is common in many Belli's compositions. For comparisons: Tassie n. 7846. The intaglio is described in Tassie 7846 as: “*_________ __________ A young hero sitting without arms, with the statue of Victory in his left hand, before a cippus on which his arms are suspended. It may be called Achilles victorious, in his retirement. For such subjects see the article Achilles and Mars in repose.”; There are some minor differences between the rock crystal and the Tassie impression which appear to be the result of an incomplete transfer. It is very likely that Tassie did not identify the owner of the engraved gem or the material in his text because he did not take the impression of the gem, but rather received the impression from another collector or performed his impression from an unidentified impression. The absence of the intaglio border in the Tassie impression suggests the engraved gem was previously mounted in a brooch or pendant which covered the border when the original impression was performed. Two thin spears appear in the rock crystal version, it is only possible to see the traces of a thin line representing one spear in the Tassie impression. The shield also has an additional thin line in the rock crystal. Additionally, small pieces of hair which form the side-burns on the face of the figure are also not visible. Because these differences are very minor features and all other details appear consistent, it is very likely that this Tassie impression derives from the original rock crystal above Unsigned - Attributed - Valerio Belli, Seated Virtue with Fame and a Genius, oval bronze plaquette, 50 x 39mm (Lewis D. in Valerio Belli Vicentino (2000), p. 134, 100 – and also p. 331, 125; Bange 812; Warren, Ashmolean Museum Plaquettes, 243); Tassie 7853. Cornelian. King of France; Intaglio stamp depicting an offering to Victory - 1774 - Wedgwood and Bentley. Intaglios produced from this stamp listed as #300 in Wedgwood and Bentley's 1774 Catalogue. See: Donati and Casadio, Bronzi e Pietre Dure nelle Incisioni di Valerio Belli Vicentino; Vasari, Giorgio Lives of the Most Eminent Painters, Sculptors, and Architects, Volume 3. Howards Burns, MArco Collareta and Davude Gasparotto, Valerio Belli Vicentino 1468 c. - 1546; Nicholas Goodison, Matthew Boulton: Ormolu. Provenance: Acquired by Marc Koven (1903-1970), of Koven Freres who mounted the rock crystal into a modern setting circa late 1960s ; U.S. private collection, acquired on the art market. This lot is sold under temporary import status.

A GREEK CARNELIAN INTAGLIO SET IN A MODERN GOLD RING. SEAHORSE. 5th - 4th century B.C. Stone 14x18 mm; int. size 18x22 mm; 22,59 gr The hybrid creature is facing right and is characterized by an horse protome ending in a long fish tail with sharp fins on the back. Use of globular elements. Rare type. Wear marks. The stone is set in a modern massive gold ring. Provenance: From a private collection, France, acquired on the art market in the early 2000s

A POSTCLASSICAL CARNELIAN INTAGLIO SET IN A MODERN SOLID GOLD RING. EROTIC SCENE. 19th - 20th century Stone 12x15 mm; int. size 16x18 mm; 7,10 gr A female figure is jumping with widespread legs on a huge phallic idole. On each side, a male figure facing down to the ground. Groundline. Wear marks. Provenance: From a private collection, France, acquired on the art market in the early 2000s

A NEOCLASSICAL LARGE CARNELIAN OCTAGONAL INTAGLIO SET IN A MODERN GOLD RING. EROTIC PROCESSION OF A PHALLUS. 19th centuryStone 25x28,5 mm; int. Size 17,5x20 mm; 21,73 grThe scene depicts an erotic allegorical processiom. On the right side, a monumental altar-shaped chariot supporting a huge phallus. The chariot is pulled by an Erote riding a bull to the left. He is surronded by maenades playing trumpets and an erote riding a goat. The procession is going towards a giant vagina, the lips opened by two erotes as they were opening a curtain. On top, a winged erotes is crowning the phallus with a laurel wreath, as in a triumph. Groundline. Slight wear marks.Provenance: From a private collection, France, acquired on the art market in the early 2000s

A POSTCLASSICAL RED JASPER INTAGLIO. EROTIC SCENE. 19th - 20th century24x28x4 mmA fox is penetrating from behind a woman facing left, with her palms and knees on the ground. In front of her a large vase. Double ground line. Post-classical work on the ancient style. Traces of modern tools not pertinent to antiquity. Signs of wear and small natural defects on the stone surface.Provenance: From a private collection, France, acquired on the art market in the early 2000s

Elizabeth Pybus Sutton Two Pears III, 2023 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Elizabeth Pybus Sutton is a contemporary figurative artist, born in Yorkshire and now practising in SW London. Trained in both conceptual and atelier methods, she loves exploring the balance between modern and traditional styles and playing with abstract and representational aspects. Elizabeth's work includes portraiture, life drawing, still life and landscapes, using a range of mediums, primarily in oils. Working from life is an important element in much of her art. Whilst nature is predominantly her teacher and inspiration, she focuses on strength of drawing and a celebration of colour. Education Since completing her Foundation at Chelsea School of Art and BA Hons in Fine Art at Kingston University, Elizabeth has also trained in botanical art at Chelsea Physic Gardens and London Fine Art Studios in atelier methods. Select Exhibitions/Awards As well as completing international commissions, recent exhibitions include The Green and Stone Summer exhibition 2021 & 2022, 'River Views' at The County Hall Arts Exhibition 2022 and The Chelsea Art Society 73rd Annual Exhibition 2022. Statement about AOAP Submitted Artwork I'm delighted to be included in such a worthy cause and hope my paintings create some joy and happiness.   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.  

Henrietta Dubrey Cool Dip, 2023 Pen, crayon and acrylic paint on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.)   About Henrietta Dubrey is a painter who works in both the abstract and figurative genres, exploring the dialogue this creates in her oil paintings and works on paper. The works are informed and inspired from cultural magazines, films and social media as well as contrasting visits to London galleries and restaurants. Originally from Sussex, she grew up at the foot of the South Downs later moving to London to study Fine Art at Wimbledon School of Art followed by post graduate studies at the Royal Academy Schools. Then, after living and starting a family in France for 5 years, Henrietta settled in west Cornwall in 2000 to continue to paint inspired by her love of the middle generation St Ives painters such as Roger Hilton and Terry Frost. Henrietta's paintings are internationally collected. One of the highlights of her career was to have her paintings featured in the twentieth anniversary series of Absolutely Fabulous. Education 1986-89 Wimbledon School of Art 1989-92 Royal Academy Schools Select Exhibitions/Awards Selected Solo Exhibitions 2020 GIRL Edgar Modern, 2019 Diverse Narratives James Worrall Marylebone London RHYTHM Edgar Modern 2018 Genius Loci Sarah Wiseman Gallery Oxford NUDE Edgar Modern Bath (Catalogue) Paintings James Worrall Marylebone London 2017 MUSE Edgar Modern Bath Gallery Representation Self represented Statement about AOAP Submitted Artwork 'Peeling Onions' Fascinated by faces and expressions and the emotions they can evoke, this stylised profile depicts a girl crying, but not necessarily out of sadness. Maybe she is lost in thought as she chops her onions for a barbecue, the tears that are forthcoming cover up a multitude of scenarios that could present themselves. 'Mannequin' This coy looking young woman tries on her outfits, the abstract nature of which echoes her interior. 'Cool Dip' Always fantasising about the perfect swimming pool and a relaxing holiday these girls are oblivious to anything but their own pleasure.   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.  

Pat Harris Stag at Rinn Roe Beach II, 2023 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Pat Harris was born in Dublin in 1953 and studied at the National College of Art and Design, Dublin and at The Higher Institute of Fine Art Antwerp. He was professor of painting at The Royal Academy of Fine Art Antwerp from 1986 till 2015. He now shares his time between his studio in Belgium and that of North Mayo. His work is primarily concerned with the vastness and transience of this wonderful landscape. Education NCAD Dublin Painting & Royal Academy of Fine Art Antwerp Select Exhibitions/Awards He has exhibited widely in Europe with solo shows at Taylor Galleries Dublin, De Zwarte Panter, Antwerp and Gallery S65 Aalst, Belgium. His work has also been included in several major exhibitions of Irish art, including In the Time of Shaking at the Irish Museum of Modern Art. His work is represented in many collections including: The Arts Council of Ireland, Irish Museum of Modern Art, and Hugh Lane Gallery of Modern Art. He is a member of Aosdána and of The Royal Hibernian Academy Ireland where he is Professor of Painting. Gallery Representation Taylor Galleries Dublin, Purdy Hicks Gallery London Statement about AOAP Submitted Artwork These three small watercolours are of a Stag on Rinn Roe Beach North Mayo. I have over the years drawn and painted this Stag many times. It sits defiant at the beach edge and drawing or painting it is a way of somehow situating myself in relation to this marvellous rock. These watercolour sketches are often used later in my studio, to jog my memory, while working on larger pieces of the same subject.   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.  

Tamsin Morse Being Adele, 2023 Pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I focus on social and moral complexities facing the modern world - lived hypocrisies, conflict and crises alongside the strength of human compassion. This is all from my perspective as a modern woman still scrambling for equality. I use symbolism and animism to build narratives around particular themes and retain the movement and playfulness of drawing in the paintings as well. The two paintings for Art on a Postcard look at people and their pets. Education Chelsea Ma, Slade BA fine art (painting) Select Exhibitions/Awards Studio 1.1 London (This Years Model), New Art Gallery Walsall, A Generous Space 2 (Selected by Stephen Snoddy), and recently WomXn with Fair art Fair at Unit 1 Gallery Workshop, London curated by Jo Baring and Beth Greenacre. I have been working with Marcel for art with a serious of accessible and affordable ways of purchasing art through DACS prints and NFTs, other more recent exhibitions have been with the Mall Galleries and the Trinity Buoy Wharf Drawing Prize. Collections owning my work include, The New Art Gallery Walsall (purchased through a Generous Space 2), The Zabludowicz Collection, Timothy Taylor, The Open University and The University of the Arts, London, as well as many other private collections. Gallery Representation One in the Other, 2006-2010 Statement about AOAP Submitted Artwork The paintings look at people and their pets and are a start of a new series looking at how we anthropomorphise our pets. The drawings are fluid studies which feed all levels of work and provide the basis of everything I make   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.    

David Harkins Spring (descending), 2023 Mixed media on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Born in Edinburgh and now living and working in Brighton. Education BSc in Social Anthropology at Edinburgh University CQSW in Social Work Kingston University Psychodynamic Counselling Diploma at Goldsmiths London Returning to Studies/ part time foundation Chelsea College of Art MA in Fine Art Brighton University Select Exhibitions/Awards The Radev Collection at The Victoria Art Gallery Bath 2014 Winner of Tribe Art Prize at Edgar Modern Gallery Bath 2014 followed by solo show in 2015. Exhibited in many solo and group shows in London, Brighton, Bath, Edinburgh, Lewes, Rye and Lancaster between 2001 and 2022 ...... and also at art fairs in London and New York. Most recently a solo show entitled Era at Phoenix Art Space Brighton in June 2022. Work held in Paintings in Hospitals national collection. Statement about AOAP Submitted Artwork The postcards continue a theme using a piece from an early learning jigsaw puzzle to represent a universal figure / presence/ absence. This is to provide a portal for the viewer to consider psychological, real or imagined states of mind - an attempt to make some sense of "the moth eaten tapestry of life!".   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.  

Alexandra Diez de Rivera Confessional II (Open), 2023 Giclée Hahnemühle photo rag Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Alexandra Diez de Rivera is a Spanish-Argentine visual artist based in London working with photography. Her work is characterised by images of psychologically ambiguous objects and spaces that are empty but charged and marked by the passage of people and time. She is interested in psychology, memory, trace and the body. Diez de Rivera's work has been featured in publications such as Vanity Fair, FT Magazine, Vogue, and Le Point and exhibited in galleries both nationally and internationally. She is represented in collections in Europe, China, the US and UAE. Diez de Rivera's work was selected for the 2022-2023 edition of 'Small is Beautiful' at Flowers Gallery, RWA Bristol's 'Photo Open 2023' exhibition, 'London Grads Now 21' at the Saatchi Gallery and 'After the High Tide' at Cromwell Place in London, amongst other exhibitions. Diez de Rivera holds a Postgraduate Diploma in Communications from Central Saint Martins University of the Arts London and a Master's degree in Photography from the Royal College of Art. Education 2018 - 2021 Royal College of Art, London. MA Fine Art Photography 2003 - 2005 Central Saint Martins University of the Arts London. Post Graduate degree Communication and Graphic Design Select Exhibitions/Awards SELECTED EXHIBITIONS 2023 RWA Photo Open Exhibition 2023. Royal West of England Academy, Bristol 2022 Small is Beautiful. Flowers Gallery, London 2022 The Winter Gala for Save the Children exhibition, Guildhall London 2022 PHotoESPANA Discoveries Portfolio Exhibition, Madrid 2022 LONDON GRADS NOW 21. Saatchi Gallery, London 2022 Travers Smith CSR Art Programme Exhibition, Travers Smith HQ London 2021 December Exhibiton. NOUA Gallery, Bodo Norway 2021 Fair Art Fair Curated I. Unit 1 Gallery, London 2021 After the High Tide, RCA Degree Show. Cromwell Place, London 2021 Selected 2021 Art Graduates. Dyson Gallery, Royal College of Art, London 2021 Can We Dance Again? Royal Victoria Patriotic Building, London 2021 Final, Not Over. Unit 1 Gallery, London 2021 Always Present. Void Collective (online) 2020 A Pervading Absence. Windows 187, Greenwich Studios, London 2019 Offprint. Tate Modern, London 2019 Royal College of Art WIP Show. Dyson Building, RCA, London AWARDS 2023 Nominee in Fine Art Photography Awards (Open theme) 2021-2022 Selected for the Travers Smith CSR Art Programme 2021 Selected for The Pupil Sphere Showcase 2021 FAPA Awards - Nominee in Fine Art Photography 2020 Critical Mass Competition - Finalist 2020 Fine Art Photography Awards - Nominee in Conceptual Photography 2019 Fine Art Photography Awards - Nominee in Portrait Photography 2019 UAL Chinese Scholar Association - Winner 2019 Fine Art Photography Awards - Nominee in Portrait Photography Statement about AOAP Submitted Artwork 'A house that has been experienced is not an inert box. Inhabited space transcends geometrical space' Gaston Bachelard, The Poetics of Space My practice looks at the vacant space, the hollow shell, the skin of things. I am drawn to psychologically ambiguous objects and spaces that are empty but charged and marked by the passage of people and time. I work with large format film, cameraless photography, and other creative techniques to seize the heart of my subjects, to capture their presence and aura. I'm interested in psychology, memory, and the body. My subjects have an intimate, physical relationship to the body and have been handled and inhabited, they are inanimate but loaded, exposing the affecting remnants of past lives. Resonating Spaces depicts a series of singular locations which have been inhabited but are vacant in the photograph, allowing the viewer in. Confessionals I and II are included in this series. The camera becomes an instrument for resurrecting archaic and obsolete objects, turning them into something new, allowing us to observe them and re-evaluate their cultural, political and sentimental meaning. I want my stark and silent photographs to act as introspective spaces, mirrors for self-examination which trigger our deeper thoughts and feelings, fears and desires. My work deals with absence. When something is missing, we unwittingly fill in the gaps, occupying the space with our own lived experience and imagination, drawing from memories and emotions which may be hidden or suppressed. The space becomes a reflection of ourselves, a chance to examine our own mind, identity, and feelings.   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.    

Kit Boyd The Coast Pt 1, 2023 Linocut with hand-colour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Kit Boyd follows in the British romantic tradition, in the footsteps of Samuel Palmer and the Neoromantics, finding escape from the frantic modern world in rural idylls. Education Visual Art BA University of Wales, Aberystwyth 1991 Select Exhibitions/Awards 2022 - 6 Railway Posters for the Darent Valley in Kent from Sevenoaks to Swanley 2020 & 2022 - Royal Academy Summer Exhibition 2021 - Queer as Folklore, Gallery 46, Whitechapel with DuoVision Arts 2018 - Rural Surrealism - Twenty Twenty Gallery, Ludlow 2017 In Print - British Landscape, Watts Contemporary, Guildford 2013 - World in My Eyes - solo show at the Barbican Level 2 Gallery 2012 - The Etchings of Samuel Palmer, his Peers & Followers, Chipping Campden 2010 - Figures in the Landscape - Brixton Village Gallery Gallery Representation Pallant House Gallery, Elizabeth Harvey-Lee, Greenwich Printmakers Gallery, Roe and Moore, Prints at galleries across the UK Statement about AOAP Submitted Artwork The Ink and Gum Arabic picture is one of the Man on a Laptop series, where a figure is surrounded by glowing nature using modern technology. The linocuts are just made - hand coloured artists proofs before the editions are printed.   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.  

Jeremy Deller Untitled (1), 2023 Ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Jeremy Deller (born 30 March 1966) is an English conceptual, video and installation artist. Much of Deller's work is collaborative; it has a strong political aspect, in the subjects dealt with and also the devaluation of artistic ego through the involvement of other people in the creative process. He won the Turner Prize in 2004. Education 1992, University of Sussex 1988, Courtauld Institute of Art Select Exhibitions/Awards Recent Solo Exhibitions 2023, 'Warning Graphic Content', Franz Josefs Kai 3, Vienna 2022, 'Pigeon Park 2', Pigeon Park, London 2021, 'Warning Graphic Content', Art concept, Paris 'Warning Graphic Content', The Modern Institute, 3 Aird's Lane, Glasgow 2020, 'Folk Archive', The Burton at Bideford, Bideford (October 6 - January 31) 'Wir haben die Schnauze voll', Bonner Kunstverein, Bonn   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.  

Sinta Tantra Happy Talk, 2023 Gold leaf on paper Signed on Recto 10 x 15cm (3¾ x 5¾ in.) About Artist Sinta Tantra (b.1979) is known for her colourful large scale public artworks and geometric paintings. Living and working in between her two studios in London and Bali, Tantra's artwork occupies multiple dimensions and scales. Her canvas shifts comfortably from a bridge slicing through the urban skyline to a stretched linen frame produced within the intimate setting of her studio - each artwork is an abstract blueprint for her utopian aspirations. Born in New York to Balinese parents, Sintra grew up in London and studied art at the Slade School of Fine Art (2003) and at the Royal Academy Schools (2006). Within her work, motifs derive from Western movements such as Bauhaus, Art Deco, modernism and abstraction. Her Balinese identity within the post-colonial context is central to her work. The drawings of 20th century Balinese artist, architect and stone carver I Gusti Nyoman Lempad have informed explorations into two-dimensional lines and three-dimensional space. Her pop-tropical colour palette draws from the culture and environment of Bali. Education Slade School of Fine Art (2003) Royal Academy Schools (2006) Select Exhibitions/Awards Solo shows such as Modern Times at Kristin Hjellegjerde Gallery in London (2020) have seen Tantra move beyond the walls and into the architectural space, while others explore dimensionality within the canvas as seen at A House in Bali at the ISA Art Advisory in Jakarta (2017), and Flatland: A Romance of Many Dimensions at Pearl Lam Gallery in Hong Kong (2016). Her work has been included in biennials and group exhibitions exploring identity, post-colonialism and the environment such as Framer Framed (2020) in Amsterdam, Karachi Biennale (2019), Folkestone Triennial UK (2017), and Liverpool Biennial UK (2012). Tantra's work is part of the Government Art Collection, the Benetton Foundation collection and other private international collections.   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.  

Paul Nugent Tree - Window, 2023 Acrylic and oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Paul Nugent was born in Dublin Ireland in 1964. Education National College of Art & Design Dublin Select Exhibitions/Awards Paul Nugent's work is represented in the permanent collection of the Irish Museum of Modern Art Dublin. Selected exhibitions include the Virginia Museum of Modern Art USA as part of Re-Imaging Ireland Exhibition, Views from an Island at the Shanghai Gallery of Modern Art. Eternal, at the Centre Cultural Irlandais Paris. Remembrance, at the Kerava Art Museum, Finland, a Solo presentation at Volta New York and Obscura, at the Kevin Kavanagh Gallery Dublin. Gallery Representation Kevin Kavanagh Gallery, Dublin Statement about AOAP Submitted Artwork An obscure room with an obscured view of a landscape with a tree in the foreground. The work is painted in Acrylic & Oil. Many layers of pigment and glazes are applied over the painted image to create a separateness and meditative quality. The liminality of such a space devoid of a human presence looks familiar as all rooms with a view do. As the world turns, we view an interior a memory a still space while the world is at war.   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.  

Carlos Alba Taipei Streets 2, 2023 Analogue photo printed in digital and painted with watercolour and acrylic/spray Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Carlos Alba (*1984 in Madrid, Spain) is visual artist working mainly with photography, video and installation. His work is focused on human and nonhuman relations in the modern world. He is exploring issues from everyday life, especially those which affect vulnerable living beings. He has been living and working in London and Singapore. He is currently based in Madrid, Spain. Education 2003-2005 Photography & Film, UFV, Madrid, Spain. 2017-2018 MA Photography, University of the Arts London, UK. 2019 Photography and Curation, The Photographers Gallery/University of the Arts London, UK. Select Exhibitions/Awards Selected Awards and Grants 2023 Finalist. Photo Book Dummy Award. Kassel, Germany. 2017. Recipient Tokyo International Photography Competition. Tokyo, Japan. 2017. Recipient Arts SU, London College of Fashion. London, UK. 2017. Recipient Landskrona Foto Residency. Landskrona, Sweden. 2016. Selected Flash Forward. Magenta Fundation. Toronto, Canada. 2016. Recipient HACER. PhotoEspaña. Comunidad de Madrid. Spain. 2015. Recipient ZONA C Art Award. Santiago de Compostela, Spain. Solo Exhibitions 2021 The Taste Of The Wind. Art Photo BCN. Barcelona, Spain. 2018 The Taste Of The Wind. Tyghuset. Landskrona Foto Festival, Sweden. 2018 The Observation of Trifles. UAL Holborn Gallery. London, UK. 2017 The Observation of Trifles. Auditorio de Galicia. Zona C. Santiago de Compostela, Spain. 2016 The Observation of Trifles. La Fabrica Gallery. Madrid, Spain. 2016 The Observation of Trifles. PHOTOESPAÑA. El Águila. Madrid, Spain. 2011 Fashion Victim. Colegio de España. Paris, France. Recent Group Exhibitions 2023. Photobook Dummy Award. Photobook Museum. Kassel, Germany. 2022. Small is Beautiful 40th Ed. Flowers. Cork St. London, UK. 2022. HYBRIDS: Forging New Realities as Counter-Narrative. Midnight Sun. Centro Centro, PHE22, Madrid, Spain. 2021. HYBRIDS: Forging New Realities as Counter-Narrative. Midnight Sun. Melkweg, Amsterdam, Holland. 2021. Futures PhotoEspaña. Midnight Sun. Círculo de Bellas Artes. Madrid, Spain. 2021. I'll Bet The Devil My Head. Lianzhou Museum of Photography, Guangdong, China. Statement about AOAP Submitted Artwork These images are a reproduction of a body of work that I did in Taipei at the beginning of the Covid pandemic. I took B&W photographs of Tapei´s streets and painted them with the color that I extracted from the rubbish that I found on the street´s floor.   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.    

Pat Harris Headland, 2023 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Pat Harris was born in Dublin in 1953 and studied at the National College of Art and Design, Dublin and at The Higher Institute of Fine Art Antwerp. He was professor of painting at The Royal Academy of Fine Art Antwerp from 1986 till 2015. He now shares his time between his studio in Belgium and that of North Mayo. His work is primarily concerned with the vastness and transience of this wonderful landscape. Education NCAD Dublin Painting & Royal Academy of Fine Art Antwerp Select Exhibitions/Awards He has exhibited widely in Europe with solo shows at Taylor Galleries Dublin, De Zwarte Panter, Antwerp and Gallery S65 Aalst, Belgium. His work has also been included in several major exhibitions of Irish art, including In the Time of Shaking at the Irish Museum of Modern Art. His work is represented in many collections including: The Arts Council of Ireland, Irish Museum of Modern Art, and Hugh Lane Gallery of Modern Art. He is a member of Aosdána and of The Royal Hibernian Academy Ireland where he is Professor of Painting. Gallery Representation Taylor Galleries Dublin, Purdy Hicks Gallery London Statement about AOAP Submitted Artwork These three small watercolours are of a Stag on Rinn Roe Beach North Mayo. I have over the years drawn and painted this Stag many times. It sits defiant at the beach edge and drawing or painting it is a way of somehow situating myself in relation to this marvellous rock. These watercolour sketches are often used later in my studio, to jog my memory, while working on larger pieces of the same subject.   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.  

Carlos Alba Taipei Streets 1, 2023 Analogue Photo printed in digital and painted with watercolour Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Carlos Alba (*1984 in Madrid, Spain) is visual artist working mainly with photography, video and installation. His work is focused on human and nonhuman relations in the modern world. He is exploring issues from everyday life, especially those which affect vulnerable living beings. He has been living and working in London and Singapore. He is currently based in Madrid, Spain. Education 2003-2005 Photography & Film, UFV, Madrid, Spain. 2017-2018 MA Photography, University of the Arts London, UK. 2019 Photography and Curation, The Photographers Gallery/University of the Arts London, UK. Select Exhibitions/Awards Selected Awards and Grants 2023 Finalist. Photo Book Dummy Award. Kassel, Germany. 2017. Recipient Tokyo International Photography Competition. Tokyo, Japan. 2017. Recipient Arts SU, London College of Fashion. London, UK. 2017. Recipient Landskrona Foto Residency. Landskrona, Sweden. 2016. Selected Flash Forward. Magenta Fundation. Toronto, Canada. 2016. Recipient HACER. PhotoEspaña. Comunidad de Madrid. Spain. 2015. Recipient ZONA C Art Award. Santiago de Compostela, Spain. Solo Exhibitions 2021 The Taste Of The Wind. Art Photo BCN. Barcelona, Spain. 2018 The Taste Of The Wind. Tyghuset. Landskrona Foto Festival, Sweden. 2018 The Observation of Trifles. UAL Holborn Gallery. London, UK. 2017 The Observation of Trifles. Auditorio de Galicia. Zona C. Santiago de Compostela, Spain. 2016 The Observation of Trifles. La Fabrica Gallery. Madrid, Spain. 2016 The Observation of Trifles. PHOTOESPAÑA. El Águila. Madrid, Spain. 2011 Fashion Victim. Colegio de España. Paris, France. Recent Group Exhibitions 2023. Photobook Dummy Award. Photobook Museum. Kassel, Germany. 2022. Small is Beautiful 40th Ed. Flowers. Cork St. London, UK. 2022. HYBRIDS: Forging New Realities as Counter-Narrative. Midnight Sun. Centro Centro, PHE22, Madrid, Spain. 2021. HYBRIDS: Forging New Realities as Counter-Narrative. Midnight Sun. Melkweg, Amsterdam, Holland. 2021. Futures PhotoEspaña. Midnight Sun. Círculo de Bellas Artes. Madrid, Spain. 2021. I'll Bet The Devil My Head. Lianzhou Museum of Photography, Guangdong, China. Statement about AOAP Submitted Artwork These images are a reproduction of a body of work that I did in Taipei at the beginning of the Covid pandemic. I took B&W photographs of Tapei´s streets and painted them with the color that I extracted from the rubbish that I found on the street´s floor.   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.