GWASG GREGYNOG: ‘Inwards where all the battle is; A selection of Alan Lewis’s writings from India’ by Jeremy Hooker, drawings by David Gentleman, 1997, limited edition (146/300), with slipcase, 'Places - Y Man a'r Lle', incomplete box set, sixteen-page booklets on Welsh places, written by different literary figures, each illustrated by different Welsh artists, comprising 1. Robin Llywelyn / Jonah Jones 2. Nigel Jenkins / Mary Lloyd Jones 3. William Owen Roberts / Siarlys Evans 4. Christopher Meredith / Sara Philpott 5. John Barnie / Rhiain M Davies 6. Ruth Bidgood / Bernice Carlill, 8. Gillian Clarke / Margaret Merritt 9. Myrddin ap Dafydd / David Woodford 10. Menna Elfyn / Ozi Rhys Osmond 11. Christine Evans / Kim Atkinson 12. Twm Morys/Anthony Evans, (no. 7 missing) together with a quantity of pamphlets, sample pages, poems, booklets, etc.Provenance: private collection GwyneddComments: immaculate edition from an immaculate collection, unused and still in retail wrapping
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GWASG GREGYNOG: a collection of publications,‘Eirene: A Tribute’ by David Lewis Jones, with personal reflections by Ron Edwards, 2001, quarter cloth, limited edition (136/200), ‘The Twelve; Y Deuddeg’, with bilingual commentary by Glyn Tegai Hughes, twelve accompanying wood-engravings by John Elwyn, 2000, limited edition (105/250), six booklets from 'Places - Y Man a'r Lle' series: 3. William Owen Roberts / Siarlys Evans 'Caerdydd'; 4. Christopher Meredith / Sara Philpott 'Cefn Golau'; 5. John Barnie / Rhiain M Davies 'Abergavenny'; 8. Gillian Clarke / Margaret Merritt 'Banc Siôn Cwilt'; 9. Myrddin ap Dafydd / David Woodford 'Nantybenglog'; 10. Menna Elfyn / Ozi Rhys Osmond (6), 'Gwyddau Yng Ngregynog / Geese at Gregynog', by R. Gerallt Jones, wood engravings by Colin See-Paynton, translation by Joseph P. Clancy, 2000, four limited edition copies (82-3, 85-6/200) (4), ten booklets from 'Gregynog Poets' series of twelve poems, selected by Meic Stephens and each accompanied by a specially commissioned wood engraving, 1. Euros Bowen / Colin Paynton 'Yr Alarch', 3. Leslie Norris / Anne Jope 'Ransoms', 4. Bobi Jones / Hilary Paynter 'Bwyta'n Te', 5. Harri Webb / Yvonne Skargon 'A Crown for Branwen', 8. Alun Llywelyn-Williams / Harry Brockway 'Seren Bethlehem' (2), 9. Roland Mathias / Peter Reddick 'Craswall' (2), 11. Raymond Garlick / George Tute 'Agincourt' (10) and 'Thomas Olivers of Tregynon - The Life of an Early Methodist Preacher Written by Himself', edited and introduced by Glyn Tegai Hughes, 1979, limited edition (305/375), with separate pages of corrections and additions by the editor (qty)Provenance: private collection GwyneddComments: immaculate edition from an immaculate collection, unused and still in retail wrapping
In the manner of General Sir John Miller Adye (British 1819-1900) A pair of coastal pictures of Mauritius, the first Maheburg Bay from lle de la Passe, the second Lion Mountain and Moucheia Bay, watercolour on paper, each titled to the lower half.18.5cm x 35cmQty: 2Generally good condition, slightly loose in frames, fading to the cover.
After Sir John Kyffin Williams, RA, KBE (Welsh 1918-2006), 'Lle Cul', Patagonia Landscape with cliff face and pony, limited edition coloured lithograph print, a Printer's Proof No. 4/4, signed in pencil with initials by the Artist. 46x46cm approx. Framed and glazed. (B.P. 21% + VAT). Good condition, no obvious damage.
Zena Blackwell Major, 2025 Oil on linen Signed on Verso 10 x 15cm (3¾ x 5¾ in.)About Zena Blackwell is an award-winning contemporary painter whose work explores themes pertaining to childhood, parenthood and family life. Working primarily in oils, Zena allows the story on the canvas to unfold organically, with her source material ranging from her personal archive of family photos to specifically sought out found images. Education 2021-2022 TURPS Correspondence Course 2010-2011 MFA In Fine Art, Central Saint Martins 1996 - 1999 BFA in Fine Art, Wimbledon College of Art Solo Exhibitions 2022 A Delicate Balance: Solo show at Canfas, Cardigan, Wales 2018 Seen Not Heard: Solo Exhibition at Cardiff MADE, Cardiff, Wales Group Exhibitions 2025 A Dream Within A Dream, Liminal Gallery, Margate, England Intersum, Oriel Canfas, Cardiff, Wales BEEP Painting Biennial, Aberystwyth School of Art gallery, Aberystwyth, Wales 2024 The Walls Between Us, Saatchi Gallery, London, England BEEP Painting Biennial, Elysium Gallery, Swansea, Wales (Winner of the Friends of the Glynn Vivian Award) Rejects, Art Friend @ Stokey Pop Up, London, Englan Y Lle Celf, National Eisteddfod, Rhondda Cynon Taf, Wales Among Women, Vol 1 curated by Occupata, Art Market, Cardiff, Wales Primal: Tribal: Beats, Studio Cennen, Llandeilo, Wales Made in Roath Open, g39, Cardiff, Wales Arcade Campfa Studio Show, Art Market, Cardiff, Wales Breath: Inspire: Spirit at Studio Cennen, Llandeilo, Wales Cardiff MADE Winter Exhibition, Cardiff, Wales 2023 Latent Dreaming: AucArt x SeeFood Room at SeeFood Room, Hong Kong Through the Looking Glass (Aucart Group Show), Fitzrovia Gallery, London, England New Wave, Spitalfields Studios, London, England SOTA Marketplace: Accessible Art Fair, The Lab, London, England Resilience, Cardiff MADE, Cardiff, Wales Human: Nature, Studio Cennen, Llandeilo, Wales Best of the Solo Art Prize winner's exhibition, Cardiff MADE, Cardiff, Wales Awards 2024 Friends of the Glynn Vivian Award, BEEP Painting Biennial 2022 Shortlisted for BEEP Painting Biennial, BEEP 2021 Shortlisted for Summer Exhibition, Royal Academy 2019 3rd Prize at PAINT, PS MIrabel 2017 1st Prize Summer Exhibition, Cardiff MADE Statement About AOAP Submitted Artwork 'Major' is based on a found photograph of a lion by the same name that used to be an attraction at Magic Mountain theme park in California in the 1970s. He was heavily sedated and children would have their pictures taken with him. Generally, my work explores parental anxiety. Lions first started appearing in my work a few years ago, becoming a symbol of danger but also of protection. I also think a lot about the natural world and Man's destruction of it and what the future will look like for our children. 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.
Lucia Jones I was Nowhere to be Found, 2024 Gouache on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in. About Lucia Jones is a Welsh prize-winning painter. Since graduating from Falmouth University, she has exhibited globally in solo and group exhibitions including BEEP Painting Prize 2018 and 2024. She has also been long listed for a number of art prizes such as John Moores 2020, Jacksons Art Prize 2022 and 2023. Her work is currently held in private collections in Australia, Austria, Hong Kong, Mexico, UK and USA. Jones' practice delves into the female experience through the constructs of paint and film. Drawing from cinematic source imagery-particularly obscure 1950s-1990s B-movies-as well as her own photographs, Jones re-contextualizes women and objects, transforming them into anonymised figures and still lives. These subjects inhabit fractured, fabricated environments. Liberated from their initial mediums and planes of existence, they are absorbed into the painted realm Jones has cultivated throughout her oeuvre. Here, their context is reconstructed, their worlds reshaped, allowing them to serve as cyphers for the viewer-glimpses into layered narratives of lived experience, open to examination. Education 2011-2014 First Class BA(Hons) Fine Art, Falmouth University Solo Exhibitions 2024 Spectacle, Irving Gallery, Oxford, UK 2020 Tales from the Cutting Room Floor, Cardiff M.A.D.E, Cardiff, UK 2016 Desire Lines, Penarth Pier Pavilion, Cardiff, UK Group Exhibitions 2024 Intersum, Occupata x Oriel Canfas, Cardiff, UK Beep Painting Prize 2024, Elysium Gallery, Swansea, UK Among Women Vol I, Occupata x Art Market Cardiff, Cardiff, UK Chairish x Bergdorf Goodmans, NYC, USA 2023 Through a Glass Darkly, Visible Records, Charlottesville VA, USA The Art Unit X The Art City Works, York Street Gallery, London, UK Best of our Solo Art Prize winners exhibition, Cardiff M.A.D.E, Cardiff, UK Trails, Turner House, Cardiff, UK Made in Roath, G39, Cardiff, UK Art on a Postcard Summer Auction, Hoxton Gallery, London, UK A world of her own, Elysium Gallery, Swansea, UK 2022 Unity: British & Ukranian Art, The Art Unit, Koppel Projects Space Piccadilly, London, UK Painting Made Recently in Wales, Lle Projects, Bay Art, Cardiff, UK A Room of her Own, Irving Gallery, Oxford, UK A Woman's Place is Everywhere, The Cello Factory, London, UK 2021 Incandescent, Irving Gallery, Oxford, UK Without Borders, Elysium Gallery, Swansea, UK 2020 Tales from the Cutting Room Floor, Solo Show, Cardiff M.A.D.E, Cardiff, UK Arcade Studio Show, Arcade Campfa, Cardiff, UK 2019 Made in Roath Open, g39, Cardiff, UK Summer Art Prize, Cardiff M.A.D.E, Cardiff, UK Kings Road Artists, Hearth Gallery, Llandough, UK Viridis, Cardiff M.A.D.E, Cardiff, UK Awards 2019 Summer Art Prize, Cardiff M.A.D.E Statement about AOAP Submitted Artwork I was nowhere to be found is one of several works on paper made following Jones' recent solo exhibition, Spectacle, which investigated the performative nature of female existence. Expanding her focus, Jones substitutes the figure for symbolic elements such as phones and curtains-recurring cyphers in her work. These scenes, carefully staged and presented, invite observation and scrutiny, offering meditations on identity 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.
China. Snow (Edgar, editor), Living China: Modern Chinese Short Stories, with an Introduction by the Editor and An Essay on Modern Chinese Literature by Nym Wales, first edition, second impression, London: George G. Harrap & Co. Ltd., January 1937, portrait frontispiece of Lu Xun, original publisher's dustjacket over orange cloth boards, some minor chips and creasing, 8vo
Renamed and Defective Medals (11): India General Service 1854-95 (4), no clasp (-----lle No. 1 By. 1st B-- ----) planchet only, heavily worn with naming barely legible; 1 clasp (2), Burma 1885-7 (55--- Gunr. --ller -- By 1st Bde ---) heavy wear to naming; Hazara 1888 (---- Coley No. 2 By. 1st Bde. C. P. Dn. R.A.) number erased; 2 clasps, Burma 1885-7, Burma 1887-89 (23308 --nner H. Bates No. 1 Bn. 1st. Bde C. B--- R.A.) suspension broken; Abyssinia 1867, erased and suspension re-affixed, on original riband with contemporary silver buckle and pin; Egypt and Sudan 1882-89, dated reverse, no clasp (--335. -unr. T. Yoxall. 5/- -co: Di- R.A.) planchet only; Queen’s South Africa 1899-1902 (2), no clasp (2448 Gnr: T. Jones. 2nd. E.D. R.G.A.) planchet only; 2 clasps, Cape Colony, South Africa 1902, erased; Army L.S. & G.C., V.R., 3rd issue, small letter reverse (3) (------ Corpl. J. Willons. R.A.; 846 --- --------- R.A.; D.. Retho, Gr. Rl. Arty.) naming partially erased on first two, the last a cast copy; generally fine and better (11) £100-£140
GWASG GREGYNOG PRESS, a boxed set of twelve limited edition, Poetry and Prose booklet No 192, Robin Llywelyn, Nigel Jenkins, William Owen Roberts, Christopher Meredith, John Barnie, Ruth Bidgood, Ioan Bowen Rees, Gillian Clarke, Myrddin ap Dafydd Menna Elfyn, Christopher Evans, Tom Morgs, 'Places' Y Man a'r Lle with original pamphlet.
French India, Pondicherry Fanon (Two Sols), undated (1723), crown with 9 globules to crown, rev. 9 small fleur de lis (KM.42). A nice example of a rare coin, very fine or better.Issued by the Compagnie des Indes in 1732 for circulation in the lle de France and the lle de Bourbon (modern Mauritius and Reunion). Rare
2006 MG TF 135 1.8, 2 door convertible, reg. no. RX06 NYM, finished in Starlight Silver metallic with a black half leather interior. This rarer to find '05 model year' TF was one of the last 600 produced by MG Rover Group before their untimely demise. Benefitting from the MY05 features such as the attractive 16'' V Spoke alloy wheels (recently refurbished) and glass rear screen this car also comes complete with a factory hardtop. The car has covered just over 63,000 miles and comes with MOT until August 2025, V5, some old paperwork and service book, last stamped at 62,575, 8/10/21. This good looking example which is also ULEZ compliant is ready to be used and enjoyed by the lucky new owner. (Subject to 12% buyers' premium inclusive of VAT) POST SALE COLLECTIONS:We are open for collections until 1pm on Saturday 7th September and we are open again on Monday 9th & Tuesday 10th September between 9am & 5pm for collections.Any cars remaining onsite after 12 noon on Wednesday 11th September, will be moved to our offsite storage facility at a cost of £50 per vehicle & £10 per day thereafter.
Schiffe im HafenBlick vom Kai auf zahlreiche am Hafen anlegende Segelboote, flott erfasste, pastose, impressionistische Malerei in gedeckter Farbigkeit, Öl auf Leinwand, 1. Hälfte 20. Jh., rechts unten unleserlich signiert und datiert "Mary S?[auta]?lle 19[..]", Impressionistenrahmen, Falzmaße ca. 41 x 31 cm.
Faltfächer mit Spitze und Malerei um 1870/1900 Cremefarbene Chantilly Spitze mit ausgespartem, zentralem Kartuschenfeld, Papier hinterlegt und bemalt mit Deckweiß, in hellen Pastelltönen als idyllische Gartenszene mit Mädchen und Lamm unter Taubenschlag und zwei turtelnden Tauben. Signaturreste "Mo...lle". Perlmuttstäbe, die untere Partie graviert mit Blüten und grün eingefärbter Blattgirlande. L. 28 cm. (Falze ber. und teils besch., ungeöffnet). In Schaukasten als R. (60808)
UK-supplied, right-hand drive, S550 5-litre Mustang Fastback, supercharged by Roush and now understood to offer around 800bhp. The unveiling of the sixth generation (S550) Ford Mustang in December of 2013 caused a seismic shift in global automotive circles, as the quintessential symbol of American muscle car culture evolved once again. Boasting a trio of powertrain options, including the groundbreaking 2.3-litre EcoBoost delivering over 300bhp, a robust 3.7-litre V6 offering a similar power output at 310bhp and the legendary 5-litre V8 churning out over 430bhp, the S550 Mustang set hearts racing worldwide. Transmission choices ranged from a 6-speed manual to a 6-speed automatic with paddle shifters, providing enthusiasts with unparalleled driving experiences.Breaking new ground, the S550 Mustang was engineered for both left and right-hand drive, heralding its entry into global markets and another milestone came in the form of independent rear suspension, transforming its handling dynamics beyond its straight-line speed prowess.The 2016 Ford Mustang 5.0 V8 GT Fastback on offer today is finished in Deep Impact Blue with the traditional white stripes and GT decals. The interior is also presented in a timeless manner with black seating and the steering wheel is finished in Alcantara. Throughout the car there are subtle hints that this might not be your average Ford Mustang GT. Badges bearing the words 'supercharged' and 'Roush' give the game away. The car was initially supplied by Ford as a standard 5-litre V8 GT, however after a while its owner made the understandable decision that 435bhp was simply not enough. It’s generally recognised that the 5-litre ‘Coyote’ V8 engine has a remarkable ability to be tuned for a lot more power so the decision was made to commission a Roush supercharger conversion. Motorsport and Performance (MAP), based in Leeds were chosen as the experts in the field to carry out the job. The result of the forced induction tuning using well known and trusted Roush componentry was outstanding, with 800bhp being achieved with relative ease. Infact, MAP informed us that they detuned from the top output just a small amount to keep the car manageable on the road.With modern Mustangs a common sight on UK roads these days, this smart sixth-generation example offers a perfect opportunity to acquire a modern/classic homage to the Mustang ‘Heritage’ that offers day-to-day luxury and comfort with incredible performance, a ‘Pony’ car with a substantial number of ponies.Specification Make: FORD Model: MUSTANG Year: 2016 Chassis Number: 1FA6P8CF7G5320407 Registration Number: GC16 NYM Transmission: Automatic Engine Number: 5320407 Drive Side: Right-hand Drive Odometer Reading: 34000 Miles Make: RHD Interior Colour: Black LeatherClick here for more details and images
Corgi, New Bright & similar, a boxed & unboxed, commercial, car & similar group. With 3 Remote Control vehicles and controllers. Although untested & unchecked for completeness condition generally appears to be Good in Good boxes where applicable, with some having old price stickers. See photo.
Fournier, Pierre Simon.: De l'origine et les productions de l'imprimerie primitive en tai lle de bois. Paris, Barbou, 1759. 8°. 263 SS. Mod. Hldr. mit Rsch. Bigmore/W. I, 228 (nennt Straßburg als Druckort). - Erste Ausgabe - Fournier war Schriftgießer u. typograph. Theoretiker, der Punkt als Einheit der Schriftgröße wurde von Fournier 1737 eingeführt. Er war Sammler wie auch Urheber von Typen, Fourniers Beiträge zum Druck waren seine Erfindungen von filigranen, dekorativen Ornamenten. "In some of his works he seeks to prove that Gutenberg is not the inventor of printing, and maintains that long before Gutenberg engraving on wood had been employed for printing images and inscriptions." (B./W.). - Unbeschnitten, leicht angestaubt.
An Important Butterfly & Moth Collection & Archive of Dr.T. H. C. Taylor, The cabinet, English, c.1880, constructed of French polished mahogany with panelled sides, plinth base on bun feet, with tall glazed door with key and lock, containing 2 banks of 10 drawers with a separator in the centre, each drawer with mahogany pulls, with fitted glazed tops on wooden runners, the collection consists of mounted specimens with the specimen title on a large label, each individual specimen with a separate mounting label on the pin below showing a collection number or in some cases a more detailed label and is complete with a detailed descriptive book that relates to the numbers on each of the specimens, the book contains the following information for each species Number, Name, Sex, Date, Method of Capture, Location, and a handwritten letter talking about how and when the collection was formed, even detailing the cost of the cabinet at £20.00, cabinet height 124cm The Wing Collection the collection comes with 8 bound albums and several bound folders containing a collection of Insect wings collected from around the globe, these albums and folders are titled; Indo - Aust. Nyn (specimens dated 1925-1932) Indo - Aust. Pap. (specimens dated 1925) Indo - Aust. Pier., Eryc., Lyc., Hesp. (specimens dated 1926) Indo - Aust. Dan., Satyr., Ama (specimens dated 1926) Sphingidae, Uganda, (specimens dated 1925) Uraniidae Epiplemidae, New Guinea (specimens dated 1926-1932) Africa - Pap. (specimens dated 1936) Africa - Lyc., Hesp. (specimens dated 1936-1943) Africa - Nym (specimens dated 1936-1938) Africa - Dan., Satyr., Eryc. (specimens dated 1935) Africa - Nym. (inc Acraea) (specimens dated 1939) Java Fiji With 8 manila folders of wings The Archive of Documents & Books the cabinet comes with a large collection of documents, photographs, and books relating to Dr. T. H. C. Taylor and his work the documents include: A collection of 4 sketchbooks of exceptionally well-executed Zoological pencil drawings including insects, mammal anatomy, and other subjects. Book - The Coconut Moth in Fiji A History of its Control by Means of Parasites, by J. D. Tothill, T. H. C. Taylor & R. W. Paine, 1930, with handwritten dedication form T. H. C. Taylor Letters - a green folder of notes taken on the back of a large number of letters mainly from Uganda Protectorate, Department of Agriculture. Offprint - Scale Parasite from West Indies, 1928. Offprint - Parasite for 'Clidemia hirta', 1928. Journal - Nature, vol 237 No. 5355 June 16 1972. Offprint - locust news letter, with compliments of Gurdas Singh, United Nations 1972. offprints - various most signed. Journal Anti Locust Research Centre 1971. Book - proceedings of the international study Conference on the Current & Future problems of acridology, Hemming 7 Taylor 1970. Book - restricted, Draft, the desert Locust Inter regional, general report, United Nations, 1966, handwritten note by T. H. C. Taylor. Documents - 3 expired British Passports for Taylor with multiple stamps and visas. Journals - Collection of period journals and books related to Taylor's work. Letter - The Commonwealth Institute of Entomology, British Museum, Cromwell Road, London - Possible plates from published work Koninklijke Paketvaart Maatschappij receipt for travel 1933. Photograph - Image of Dr. T. H. C. Taylor as a young man. Photograph - Image of Dr. T. H. C. Taylor as an old man. Photographs - a collection of photographs from Taylor's travells to Fiji & Java Photographs - other various photographs and groups including Taylor. Document - Resume of the work of Dr. T. H. C. Tayloy, Tay, taggers, Tom Document - Obituary Dr T. H. C. Taylor, who died on April 14, 1972, 1 was a leading tropical entomologist and a pioneer of the biological control of insects leaving an enduring impact through his pioneering work on biological control of insects. After graduating with first-class honors in zoology from the University of London in 1924, Taylor's passion led him straight to Fiji, where he embarked on groundbreaking research. In his quest for effective insect control, he traveled extensively throughout Melanesia, Eastern Asia, and the West Indies, collecting suitable parasites and gaining invaluable insights into the diverse challenges of tropical entomology. Taylor's approach, which involved introducing natural predators and parasites to combat destructive pests, challenged conventional methods and established a promising alternative to the widespread use of harmful insecticides. His work laid the foundation for a new era of entomology, inspiring further exploration and advancements in the field. In Fiji, Dr. Taylor took on the coconut moth (Levuana iridescens) problem by introducing the Malaysian fly parasite (Bessa remota). This successful intervention prompted him to further establish the eulophid wasp (Pediobiu.v parvulus) to control the coconut leaf-miner and the coocinellid beetle (Cryptognatha nodiceps) to manage the coconut scale insect. These introductions effectively eliminated these serious pests, thanks to Taylor's hands-on field studies and skillful breeding techniques. Moreover, Dr. Taylor's early research in Trinidad on the thrips (Liothrips urichi) led to a successful control of the pasture weed (Clidemia hirta) in Fiji. By utilizing this natural predator, he demonstrated the potential of biological control as an alternative to harmful insecticides. This approach, which had already been pioneered in California and Hawaii, holds significant relevance today, given the growing global concern over the impact of insecticides on the environment. In his notable publication, "The Biological Control of an Insect in Fiji," Dr. Taylor made a significant contribution to the establishment of biological control as a credible and effective method. He provided valuable insights into the techniques of breeding and deploying predator and parasitic insects in controlled environments. This knowledge formed the foundation for future advancements in the field. In 1935, Dr. Taylor presented a paper in the Jubilee Proceedings of the Association of Applied Biologists, expressing his belief that biological control rarely succeeds in continental areas and is incompatible with chemical use. At the time, his assessment seemed accurate. However, subsequent developments and techniques have proven that biological control can be effective even in continental regions, challenging Dr. Taylor's initial viewpoint. Nonetheless, his early work remains crucial in driving our understanding and exploration of biological control methods.
Arthur Miles (20th century in Wales), Nant Lle Valley with Snowdon in the background, signed date 1983. Watercolours. 30x45cm approx. together with Barbara Allen, two limited edition coloured prints, bicycles, windows and door, signed by the Artist Nos 174 and 90/250. 25x20cm approx. Framed. (3) (B.P. 21% + VAT)
Paar Leuchterengel. 17. Jh., wohl Südfrankreich. Bronze, minimale Reste einer Vergoldung. H bis zum Kopf je 25 cm, gesamt 28 bzw 29 cm. Als annähernd spiegelbildliche Gegenstücke vollplastisch gearbeitete Standfiguren der Engel im bewegten Kontrapost, die mit ausgebreiteten originalen Flügeln je eine Kerzentülle am langen Stängel tragen. Die Tuniken sind in der Art eines Brokatstoffes mit Lilien und Blumen ziseliert; auf der Rückseite mit leicht verändertem Motiv. Der kräftig-gedrungene Körper weist an mehreren Stellen durchgehende Löcher auf, die teils verschlossen sind und wohl von den Kernhaltern des Gussvorganges stammen. Ähnliche Funktion haben neben der Materialeinsparung wohl auch die offenen Stellen auf den Rückseiten. Die mitgegossenen Plinthen weisen je ein zentrales Bohrloch mit Gewinde auf. 1 Verbindung Daumen/Zeigefinger gebrochen, Kratz-/Schleifspuren und geringe Kerben. Zumindest die Tüllen, wohl auch deren Stängel ergänzt, Schrauben zumeist ergänzt. Provenienz : Nachlass Dr. Renate Müller-Krumbach. Aufrufzeit - | voraussichtlich - Uhr (CET)Pair of candlestick angels. 17th century, probably southern France. Bronze, minimal remains of gilding. H to head 25 cm each, total 28 and 29 cm respectively. As approximately mirror-image counterparts fully sculptured standing figures of angels in moving contrapposto, each carrying a candle candle at the long stem with spread original wings. The tunics are chased in the style of brocade fabric with lilies and flowers; on the reverse side with slightly altered motif. The slender body has continuous holes in several places, some of which are closed and probably originate from the core holders of the casting process. In addition to saving material, the open areas on the backs probably have a similar function. The co-cast plinths each have a central drilled hole with threaded. 1 connection thumb / index finger broken, scratch / grind marks and minor nicks. At least the grommets, probably also their stems supplemented, screws mostly supplemented. Provenance : Estate of Dr. Renate Müller-Krumbach. Call time - | expected - clock (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Two Bjorn Wiinblad wall plaques, Nymølle, Denmark, c.1946-76, each with an allegorical depiction for months of the year, one titled 'Juni Roser' and numbered 3013-6, the other titled 'December Mirakel' and numbered 3013-12, each plaque approx. 15cm diameter, together with a Bjorn Wiinblad wall sconce, numbered 3118-700, decorated with a stylised lady holding a sunflower in each hand, approx. 25 x 16.5cm (3)
Family Group: A Second War ‘Internment Camp Commandant’s’ O.B.E. group of five awarded to Colonel E. D. B. Kippen, Veterans Guard of Canada The Most Excellent Order of the British Empire, O.B.E. (Military) Officer’s 2nd type breast badge, silver-gilt; British War and Victory Medals (Lieut. E. D. B. Kippen.); Canadian Volunteer Service Medal; War Medal 1939-45, Canadian issue in silver, mounted as worn, together with mounted companion set of miniature dress medals, good very fine 1914-15 Star (55084 Pte. A. Kippen. 19/Can: Inf:) reverse scratched overall in attempt to obscure naming, otherwise good very fine (6) £280-£340 --- O.B.E. (Military) Canada Gazette 8 June 1944: ‘Colonel Eric Douglas Bruce Kippen, Veterans Guard of Canada.’ The recommendation states: ‘This officer has completed over five year’s service as Officer Commanding Internment Camps of Prisoners-of-War, having in that period an enviable record of success in several military districts. His last command has been Camp 133, Lethbridge, Alberta, with a prisoner of war strength of upwards of 13,000. He has at all times displayed tact and fairness in dealing with his charges, but has been instrumental in fostering among them the ideals and practical machinery of democratic methods, by both precept and practice. His work has been voluntarily enlarged by exhibiting the same qualities in his dealings with the civil population adjacent to camps so that the relationship between them and the guards and other army personnel has been maintained on a basis of good will and courtesy. His service embraces also the war of 1914-1919 in which he served.’ Eric Douglas Bruce Kippen served in France in World War I, having been commissioned in 1916, severely wounded and taken prisoner in the battle of Cambrai in December 1917. The first three months of his captivity were spent in German hospitals, and then for over a year he was detained at four different camps in Germany until he was liberated in December 1918. Returning to Canada in May 1919, Kippen obtained his discharge and went into the investment business in Montreal and New York. In 1922 he launched his own investment firm, Kippen and Company, in Montreal. Anxious to serve his country again when the Second War started, the present commanding officer of Canada's largest Prisoner Of War camp volunteered his services, and in June 1940 became a major in the Veterans Guard of Canada. That same month he opened an internment camp at Lle-Aux-Noix, Quebec, for internees from England and received his first prisoners in July. He opened another camp at Farnham, Quebec, in October 1940. Early in 1942 he was posted to the P.O.W. camp at Espanola, Ontario, in command of a guard company, and after a short stay there was sent to the camp at Angler, Ontario. From Angler he went to the temporary camp at Ozada, near Banff, in the summer of 1942. Promoted to the rank of Lieutenant-Colonel, Kippen was appointed commandant of the internment camp at Angler in September 1942, which was the camp detaining Japanese internees. The following February, Colonel Kippen organised and opened the Prisoner Of War camp at Grande Ligne, Quebec, for German officers, and received his first captives in June. He remained commandant of that camp until moving to Lethbridge Camp in October 1944, at the same time receiving his promotion to the rank of full Colonel. After the war he returned to his investment business, from which he retired as a Director in 1975. Colonel Kippen died at Toronto on 22 October 1988, aged 95. Arnold Kippen ‘is reported wounded again. He went overseas in May 1915. He was then a lance-corporal, but received his commission on the field [as Lieutenant]. He is 23 years old, and was employed at the Merchants Bank. This is his third time wounded. Last March he was severely wounded, and might have had light duty in England, but volunteered to go back on the firing line.’ (Copied news cutting refers). Sold with copied research and the book Prisoners of the Home Front, by Martin F. Auger, which contains numerous mentions of Colonel Kippen.
Lara Davies It Was Too Cold Even For Me (Study), 2023 Oil and primer on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lara Davies was born in 1985 in Wales. She lives in London and has a studio in Hackney Wick. Her work is held in both private and public collections, including the Contemporary Art Society of Wales and the AllBright Mayfair Members' Club. Education 2020-2022 - Royal College of Art, London MA in Painting 2006-2010 - Cardiff University BSc (Hons) Mathematics, Operational Research and Statistics, 1st Class 2005-2006 - Ruskin School of Art, Oxford University Select Exhibitions/Awards 2023 - Positions Part 1, group exhibition, Alma Pearl, London 2023 - Godesses (A Love Explosion), group exhibition,Terrace Gallery, London 2023 - Stage, group exhibition, LLE at Kingsgate Project Space, London 2022 - To Feel All Your Warmth, group exhibition, Warbling Collective, London 2022 - Royal College of Art Degree Show, London 2022 - Blink: Room Share 2, group exhibition, Safehouse One, London 2021 - Pleasure Scene, group exhibition, Trafalgar Avenue, London 2020 - Telling Tales/Cario Clecs, three person exhibition, BayArt Cardiff 2019 - Creekside Open 2019 Selected by Sacha Craddock 2019 - Creekside Open 2019 Selected by Brian Griffiths 2018 - John Moores Painting Prize, Walker Museum Liverpool Y 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.
Ruth Murray Dark Cafe, 2023 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ruth graduated from the Royal College of Art and was the Derek Hill Scholar at the British School at Rome in 2008. Her notable exhibitions include Northern Stars at the A Foundation, Saatchi's 4 New Sensations, The Creative Cities Collection at the Barbican and the BP Portrait Award at the National Portrait Gallery. She was awarded an Elizabeth Greenshields grant in 2021, she won the Jackson's Painting Prize in 2020 and she was shortlisted for the Contemporary British Painting Prize in 2019. Education 2006 - 2008 Royal College of Art, MA Painting 2003 - 2006 Loughborough University, BA Fine Art Select Exhibitions/Awards Selected Solo Exhibitions 2022 Black Pond, The Old School Gallery, Alnmouth, Northumberland Everything is Green, The Whitaker, Rossendale, Lancashire 2021 The Green Ray, Bankley Gallery, Manchester 2019 The Blue Hour, The Old Bank Residency, Manchester Selected Group Exhibitions 2023 Stage part of Pebble / Shoe, LLE Gallery and Kingsgate Project Space, London (24th -26th February) Holding Time (two-person show with Linda Hemmersbach), Rogue Project Space, Manchester (18th February - 12th March 2023) London Art Fair, Second Act Gallery and A Modest Show, London Business and Design Centre 2022 Cool, Warm, Hot!, with Division of Labour, Worcester Art Market Hamptons: A Modest Show Booth, New York 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.
Ruth Murray Anna, 2023 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ruth graduated from the Royal College of Art and was the Derek Hill Scholar at the British School at Rome in 2008. Her notable exhibitions include Northern Stars at the A Foundation, Saatchi's 4 New Sensations, The Creative Cities Collection at the Barbican and the BP Portrait Award at the National Portrait Gallery. She was awarded an Elizabeth Greenshields grant in 2021, she won the Jackson's Painting Prize in 2020 and she was shortlisted for the Contemporary British Painting Prize in 2019. Education 2006 - 2008 Royal College of Art, MA Painting 2003 - 2006 Loughborough University, BA Fine Art Select Exhibitions/Awards Selected Solo Exhibitions 2022 Black Pond, The Old School Gallery, Alnmouth, Northumberland Everything is Green, The Whitaker, Rossendale, Lancashire 2021 The Green Ray, Bankley Gallery, Manchester 2019 The Blue Hour, The Old Bank Residency, Manchester Selected Group Exhibitions 2023 Stage part of Pebble / Shoe, LLE Gallery and Kingsgate Project Space, London (24th -26th February) Holding Time (two-person show with Linda Hemmersbach), Rogue Project Space, Manchester (18th February - 12th March 2023) London Art Fair, Second Act Gallery and A Modest Show, London Business and Design Centre 2022 Cool, Warm, Hot!, with Division of Labour, Worcester Art Market Hamptons: A Modest Show Booth, New York 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.
Lucia Jones Lost Myself in Neon Leaves, 2023 Acrylic and gouache on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lucia Jones is a painter based in Wales. Since graduating from Falmouth University in 2014, she has exhibited throughout the UK in solo and group exhibitions including BEEP Painting Prize 2018. Her work is held in private collections in the UK, USA, Austria and Hong Kong. Lucia's work explores the depiction of self and memory through the constructs of paint and film. Her most recent paintings primarily utilise cinematic source imagery from obscure 50s and 60s b-movies as a means to address the intangible nature of memory and the shifting impressions of lived moments. Impersonal and personal all at once, they allude to fragmented space whilst conjuring an internalised or other world; slivers of the imagined and real sit on the surface of the canvas serving as artefacts of the seen and the experienced. Education 2016-17 Porthmeor Programme, Developing Practice, St Ives School of Painting 2011-14 Fine Art BA (Hons), First Class, Falmouth University 2010-11 Foundation Diploma in Art and Design, Distinction, University of Glamorgan Select Exhibitions/Awards 2023 - Solo exhibition, Irving Contemporary, Oxford 2023 A world of her own, Joint exhibition with Natasha Morely, Elysium Gallery, Swansea 2022 Unity: British & Ukrainian Art, The Art Unit, Koppel Projects Space Piccadilly, London Painting Made Recently in Wales, Lle Projects, Bay Art, Cardiff A Room of her Own, Irving Contemporary, Oxford A Woman's Place is Everywhere, The Cello Factory, London 2021 Incandescent, Irving Contemporary, Oxford Without Borders, Elysium Gallery, Swansea 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.
Lara Davies Those Left Behind, 2023 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lara Davies was born in 1985 in Wales. She lives in London and has a studio in Hackney Wick. Her work is held in both private and public collections, including the Contemporary Art Society of Wales and the AllBright Mayfair Members' Club. Education 2020-2022 - Royal College of Art, London MA in Painting 2006-2010 - Cardiff University BSc (Hons) Mathematics, Operational Research and Statistics, 1st Class 2005-2006 - Ruskin School of Art, Oxford University Select Exhibitions/Awards 2023 - Positions Part 1, group exhibition, Alma Pearl, London 2023 - Godesses (A Love Explosion), group exhibition,Terrace Gallery, London 2023 - Stage, group exhibition, LLE at Kingsgate Project Space, London 2022 - To Feel All Your Warmth, group exhibition, Warbling Collective, London 2022 - Royal College of Art Degree Show, London 2022 - Blink: Room Share 2, group exhibition, Safehouse One, London 2021 - Pleasure Scene, group exhibition, Trafalgar Avenue, London 2020 - Telling Tales/Cario Clecs, three person exhibition, BayArt Cardiff 2019 - Creekside Open 2019 Selected by Sacha Craddock 2019 - Creekside Open 2019 Selected by Brian Griffiths 2018 - John Moores Painting Prize, Walker Museum Liverpool Y 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.
LARGE RARE EWENNY POTTERY SEATED CAT royal blue glaze, modelled with collar, sgraffito whiskers, ears and eyes, inscribed 'Morris' to chest and 'Gwae llygod - lle bo cath fawr', (woe to mice, where there is a big cat), base inscribed Jones Bridgend for Evan Jones, circa 1900Dimensions: 38cms highProvenance:private collection Conwy, consigned via our Colwyn Bay office, owned by the vendor's grandfather Dr Thomas Glynn Morris (Taid) who was a doctor for Penrhyn Estate and the quarryworkers at the turn of the last century and beforeCondition Report:very small losses to glaze, minor repainting to tip of ear, overall excellent
Paar "Warwick-Vasen". Bronze, dunkel patiniert. Mehrfach profilierter Stand, umlaufend kanneliert. Darüber gedrückt bauchiger Korpus mit erhaben reliefierten Maskarons und seitlichen Griffen aus verschlungenen, vegetabilen Streben. Nach der berühmten "Warwick-Vase" aus der römischen Antike. Gießerstempel "Sculp. Mec(ani)que A(chi)lle Collas". Frankreich, 2. Hälfte 19. Jh. H. 13,5 cm.
Daniel MacCarthy Little Boy Lost, 2022 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About The intersection of the man-made with the natural world form the basis of my work. Negative capability; the capacity to accept mystery and doubt rather than the demand for certainty, provides a useful insight into my approach to painting. In allegorical motifs or more oblique atmospheres, the work seeks to capture a place where uncomfortable realities seep in; a search for belonging, a presentiment of loss, anxiety and entropy. Hope too is evident; nature, redemptive if indifferent, is cherished for all its tangled complexity. Education TURPS Studio Programme - 2019 - 2020 Royal Drawing School - Post-Grad Diploma - 2009 - 2011 Sussex University - BA - Modern History - 2005 - 2008 Select Exhibitions/Awards Solo 04/2022 The Peace of Wild Things, The Sidney Nolan Trust, Wales 09/21 Things are in the Saddle - Galera San Soda, Milan, Italy Group 09/2022 - ALL THE LIVES WE EVER LIVED, Canopy COLLECTIONS at Cromwell Place 08/2022 - BEEP painting Biennial, Elysium Gallery, Swansea 05/2022 - Paintings made recently in Wales, curated by LLE, Bay Art Cardiff 03/2022 - The Front Room show, D Contemporary, Mayfair 03/2022 - Royal Watercolour Soc. open, Bankside Gallery, London 02/2022 - Dream baby Dream, Curated by painttalk, Fitzrovia Gallery 11/2021 - A Generous Space, Curated by Matt Buroughs, Hastings Contemporary Gallery Representation Canopy Collections Otomys Gallery (Australia) Statement about AOAP Submitted Artwork These works are all watercolour or ink on paper. Studies like this are how I often get ideas for larger paintings. The characters can be seen as a cast of imagined figures who in occupying my inner landscapes act as a kind of conduit for my thoughts and emotions. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Daniel MacCarthy The Night Gardener, 2022 Watercolour on Gloss Paper Signed verso 14 x 10cm (5½ x 3¾ in.) About The intersection of the man-made with the natural world form the basis of my work. Negative capability; the capacity to accept mystery and doubt rather than the demand for certainty, provides a useful insight into my approach to painting. In allegorical motifs or more oblique atmospheres, the work seeks to capture a place where uncomfortable realities seep in; a search for belonging, a presentiment of loss, anxiety and entropy. Hope too is evident; nature, redemptive if indifferent, is cherished for all its tangled complexity. Education TURPS Studio Programme - 2019 - 2020 Royal Drawing School - Post-Grad Diploma - 2009 - 2011 Sussex University - BA - Modern History - 2005 - 2008 Select Exhibitions/Awards Solo 04/2022 The Peace of Wild Things, The Sidney Nolan Trust, Wales 09/21 Things are in the Saddle - Galera San Soda, Milan, Italy Group 09/2022 - ALL THE LIVES WE EVER LIVED, Canopy COLLECTIONS at Cromwell Place 08/2022 - BEEP painting Biennial, Elysium Gallery, Swansea 05/2022 - Paintings made recently in Wales, curated by LLE, Bay Art Cardiff 03/2022 - The Front Room show, D Contemporary, Mayfair 03/2022 - Royal Watercolour Soc. open, Bankside Gallery, London 02/2022 - Dream baby Dream, Curated by painttalk, Fitzrovia Gallery 11/2021 - A Generous Space, Curated by Matt Buroughs, Hastings Contemporary Gallery Representation Canopy Collections Otomys Gallery (Australia) Statement about AOAP Submitted Artwork These works are all watercolour or ink on paper. Studies like this are how I often get ideas for larger paintings. The characters can be seen as a cast of imagined figures who in occupying my inner landscapes act as a kind of conduit for my thoughts and emotions. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Daniel MacCarthy Lakeside, 2022 Watercolour and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About The intersection of the man-made with the natural world form the basis of my work. Negative capability; the capacity to accept mystery and doubt rather than the demand for certainty, provides a useful insight into my approach to painting. In allegorical motifs or more oblique atmospheres, the work seeks to capture a place where uncomfortable realities seep in; a search for belonging, a presentiment of loss, anxiety and entropy. Hope too is evident; nature, redemptive if indifferent, is cherished for all its tangled complexity. Education TURPS Studio Programme - 2019 - 2020 Royal Drawing School - Post-Grad Diploma - 2009 - 2011 Sussex University - BA - Modern History - 2005 - 2008 Select Exhibitions/Awards Solo 04/2022 The Peace of Wild Things, The Sidney Nolan Trust, Wales 09/21 Things are in the Saddle - Galera San Soda, Milan, Italy Group 09/2022 - ALL THE LIVES WE EVER LIVED, Canopy COLLECTIONS at Cromwell Place 08/2022 - BEEP painting Biennial, Elysium Gallery, Swansea 05/2022 - Paintings made recently in Wales, curated by LLE, Bay Art Cardiff 03/2022 - The Front Room show, D Contemporary, Mayfair 03/2022 - Royal Watercolour Soc. open, Bankside Gallery, London 02/2022 - Dream baby Dream, Curated by painttalk, Fitzrovia Gallery 11/2021 - A Generous Space, Curated by Matt Buroughs, Hastings Contemporary Gallery Representation Canopy Collections Otomys Gallery (Australia) Statement about AOAP Submitted Artwork These works are all watercolour or ink on paper. Studies like this are how I often get ideas for larger paintings. The characters can be seen as a cast of imagined figures who in occupying my inner landscapes act as a kind of conduit for my thoughts and emotions. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Daniel MacCarthy The Winter of Our Lives, 2022 Watercolour on Gloss Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About The intersection of the man-made with the natural world form the basis of my work. Negative capability; the capacity to accept mystery and doubt rather than the demand for certainty, provides a useful insight into my approach to painting. In allegorical motifs or more oblique atmospheres, the work seeks to capture a place where uncomfortable realities seep in; a search for belonging, a presentiment of loss, anxiety and entropy. Hope too is evident; nature, redemptive if indifferent, is cherished for all its tangled complexity. Education TURPS Studio Programme - 2019 - 2020 Royal Drawing School - Post-Grad Diploma - 2009 - 2011 Sussex University - BA - Modern History - 2005 - 2008 Select Exhibitions/Awards Solo 04/2022 The Peace of Wild Things, The Sidney Nolan Trust, Wales 09/21 Things are in the Saddle - Galera San Soda, Milan, Italy Group 09/2022 - ALL THE LIVES WE EVER LIVED, Canopy COLLECTIONS at Cromwell Place 08/2022 - BEEP painting Biennial, Elysium Gallery, Swansea 05/2022 - Paintings made recently in Wales, curated by LLE, Bay Art Cardiff 03/2022 - The Front Room show, D Contemporary, Mayfair 03/2022 - Royal Watercolour Soc. open, Bankside Gallery, London 02/2022 - Dream baby Dream, Curated by painttalk, Fitzrovia Gallery 11/2021 - A Generous Space, Curated by Matt Buroughs, Hastings Contemporary Gallery Representation Canopy Collections Otomys Gallery (Australia) Statement about AOAP Submitted Artwork These works are all watercolour or ink on paper. Studies like this are how I often get ideas for larger paintings. The characters can be seen as a cast of imagined figures who in occupying my inner landscapes act as a kind of conduit for my thoughts and emotions. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Zena Blackwell Fel Menyn, 2022 Oil on Canvas Signed verso 15 x 10cm (5¾ x 3¾ in.) About Zena Blackwell is a painter based in Cardiff, Wales, UK. Returning to painting in 2016 following a break from the medium she won first prize at the Cardiff MADE Summer Exhibition in 2017, presenting her first solo show consisting of over 30 paintings and drawings there the year after. The exhibition, 'Seen Not Heard', was included in a weekly list of the top 5 UK exhibitions by a-n and Wales Arts Review included it in a top 10 list of the best Welsh Visual Arts for 2018. In 2019 she won 3rd prize at 'PAINT', an open painting prize at PS Mirabel in Manchester. Her work is held in the National Library of Wales' permanent collection and in private collections around the World. Zena has been selected to take part in The Other Art Fair, London, this October. Zena founded the instagram blog Contemporary Cymru in 2017 and between 2003-2011, she co-founded a critically acclaimed live music event in London. Education Turps Banana Correspondence Course MA Fine Art Central Saint Martins BA Fine Art Wimbledon College of Art Select Exhibitions/Awards Shortlisted for BEEP Painting Prize 2022 Shortlisted for Royal Academy Summer Exhibition 2021 Third Prize Winner PAINT at PS Miracle, Manchester 2019 First Prize Winner at the Cardiff MADE Summer Exhibition 2017 2022 BEEP Painting Prize 2022, Elysium Gallery A Generous Space, Hastings Contemporary, Hastings A Room of Her Own, Irving Contemporary, Oxford A Women's Place is Everywhere, The Cello Factory, London A Delicate Balance - Solo Show at Canfas, Cardigan Y Lle Celf, National Eisteddfod, Tregaron, Cardigan Statement about AOAP Submitted Artwork My work deals with various themes pertaining to childhood, be it from my own experience of childhood and parenthood or general observations of my own two children. I am interested in the evolving dynamics between them and me; their relationship with the environment, animals and the World in general (and all that it presents). Children can be strange but beautiful and also funny but melancholy. The presence of children in my work provides glimpses into imagination, fantasy; story telling and sometimes surrealism, Identity and gender definitions. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Zena Blackwell When Is It My Turn?, 2022 Oil on Canvas Signed verso 15 x 10cm (5¾ x 3¾ in.) About Zena Blackwell is a painter based in Cardiff, Wales, UK. Returning to painting in 2016 following a break from the medium she won first prize at the Cardiff MADE Summer Exhibition in 2017, presenting her first solo show consisting of over 30 paintings and drawings there the year after. The exhibition, 'Seen Not Heard', was included in a weekly list of the top 5 UK exhibitions by a-n and Wales Arts Review included it in a top 10 list of the best Welsh Visual Arts for 2018. In 2019 she won 3rd prize at 'PAINT', an open painting prize at PS Mirabel in Manchester. Her work is held in the National Library of Wales' permanent collection and in private collections around the World. Zena has been selected to take part in The Other Art Fair, London, this October. Zena founded the instagram blog Contemporary Cymru in 2017 and between 2003-2011, she co-founded a critically acclaimed live music event in London. Education Turps Banana Correspondence Course MA Fine Art Central Saint Martins BA Fine Art Wimbledon College of Art Select Exhibitions/Awards Shortlisted for BEEP Painting Prize 2022 Shortlisted for Royal Academy Summer Exhibition 2021 Third Prize Winner PAINT at PS Miracle, Manchester 2019 First Prize Winner at the Cardiff MADE Summer Exhibition 2017 2022 BEEP Painting Prize 2022, Elysium Gallery A Generous Space, Hastings Contemporary, Hastings A Room of Her Own, Irving Contemporary, Oxford A Women's Place is Everywhere, The Cello Factory, London A Delicate Balance - Solo Show at Canfas, Cardigan Y Lle Celf, National Eisteddfod, Tregaron, Cardigan Statement about AOAP Submitted Artwork My work deals with various themes pertaining to childhood, be it from my own experience of childhood and parenthood or general observations of my own two children. I am interested in the evolving dynamics between them and me; their relationship with the environment, animals and the World in general (and all that it presents). Children can be strange but beautiful and also funny but melancholy. The presence of children in my work provides glimpses into imagination, fantasy; story telling and sometimes surrealism, Identity and gender definitions. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Zena Blackwell Survived, 2022 Oil on Canvas Signed verso 15 x 10cm (5¾ x 3¾ in.) About Zena Blackwell is a painter based in Cardiff, Wales, UK. Returning to painting in 2016 following a break from the medium she won first prize at the Cardiff MADE Summer Exhibition in 2017, presenting her first solo show consisting of over 30 paintings and drawings there the year after. The exhibition, 'Seen Not Heard', was included in a weekly list of the top 5 UK exhibitions by a-n and Wales Arts Review included it in a top 10 list of the best Welsh Visual Arts for 2018. In 2019 she won 3rd prize at 'PAINT', an open painting prize at PS Mirabel in Manchester. Her work is held in the National Library of Wales' permanent collection and in private collections around the World. Zena has been selected to take part in The Other Art Fair, London, this October. Zena founded the instagram blog Contemporary Cymru in 2017 and between 2003-2011, she co-founded a critically acclaimed live music event in London. Education Turps Banana Correspondence Course MA Fine Art Central Saint Martins BA Fine Art Wimbledon College of Art Select Exhibitions/Awards Shortlisted for BEEP Painting Prize 2022 Shortlisted for Royal Academy Summer Exhibition 2021 Third Prize Winner PAINT at PS Miracle, Manchester 2019 First Prize Winner at the Cardiff MADE Summer Exhibition 2017 2022 BEEP Painting Prize 2022, Elysium Gallery A Generous Space, Hastings Contemporary, Hastings A Room of Her Own, Irving Contemporary, Oxford A Women's Place is Everywhere, The Cello Factory, London A Delicate Balance - Solo Show at Canfas, Cardigan Y Lle Celf, National Eisteddfod, Tregaron, Cardigan Statement about AOAP Submitted Artwork My work deals with various themes pertaining to childhood, be it from my own experience of childhood and parenthood or general observations of my own two children. I am interested in the evolving dynamics between them and me; their relationship with the environment, animals and the World in general (and all that it presents). Children can be strange but beautiful and also funny but melancholy. The presence of children in my work provides glimpses into imagination, fantasy; story telling and sometimes surrealism, Identity and gender definitions. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Zena Blackwell The Final Chapter, 2022 Oil on Canvas Signed verso 15 x 10cm (5¾ x 3¾ in.) About Zena Blackwell is a painter based in Cardiff, Wales, UK. Returning to painting in 2016 following a break from the medium she won first prize at the Cardiff MADE Summer Exhibition in 2017, presenting her first solo show consisting of over 30 paintings and drawings there the year after. The exhibition, 'Seen Not Heard', was included in a weekly list of the top 5 UK exhibitions by a-n and Wales Arts Review included it in a top 10 list of the best Welsh Visual Arts for 2018. In 2019 she won 3rd prize at 'PAINT', an open painting prize at PS Mirabel in Manchester. Her work is held in the National Library of Wales' permanent collection and in private collections around the World. Zena has been selected to take part in The Other Art Fair, London, this October. Zena founded the instagram blog Contemporary Cymru in 2017 and between 2003-2011, she co-founded a critically acclaimed live music event in London. Education Turps Banana Correspondence Course MA Fine Art Central Saint Martins BA Fine Art Wimbledon College of Art Select Exhibitions/Awards Shortlisted for BEEP Painting Prize 2022 Shortlisted for Royal Academy Summer Exhibition 2021 Third Prize Winner PAINT at PS Miracle, Manchester 2019 First Prize Winner at the Cardiff MADE Summer Exhibition 2017 2022 BEEP Painting Prize 2022, Elysium Gallery A Generous Space, Hastings Contemporary, Hastings A Room of Her Own, Irving Contemporary, Oxford A Women's Place is Everywhere, The Cello Factory, London A Delicate Balance - Solo Show at Canfas, Cardigan Y Lle Celf, National Eisteddfod, Tregaron, Cardigan Statement about AOAP Submitted Artwork My work deals with various themes pertaining to childhood, be it from my own experience of childhood and parenthood or general observations of my own two children. I am interested in the evolving dynamics between them and me; their relationship with the environment, animals and the World in general (and all that it presents). Children can be strange but beautiful and also funny but melancholy. The presence of children in my work provides glimpses into imagination, fantasy; story telling and sometimes surrealism, Identity and gender definitions. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
SIR KYFFIN WILLIAMS RA limited edition (72/150) print - Patagonian landscape with grazing horses, entitled 'Lle Cul', signed with initials, 50 x 50cms Provenance: private collection Ynys Mon Comments: mounted but unframed Please note that this lot may be subject to Droit de Suite at 4% of the hammer price (Please see terms / enquire)
Camille Léopold Cabaillot Lassale (French, 1839-1888)Il m'aime, il ne m'aime pas signed and dated 'CLLE CABAILLOT-LASSALLE./1878.' (lower left) oil on canvas82.5 x 116.5cm (32 1/2 x 45 7/8in).Footnotes:ProvenanceAnon. sale, Phillips, London, 28 January 1974, lot 92. With Haynes Fine Art, Broadway. Private collection, UK.For further information on this lot please visit Bonhams.com
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