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JOHN KILMARTIN (?), GARY PLAYER, pastel on paper, signed by the artist and the player, dated 1985, 53cm x 73cm, Framed and under glass

JOHN KILMARTIN (?), ARNOLD PALMER, pastel on paper, signed by the artist and the player, dated 1985, 53.5cm x 63.5cm Framed and under glass

Royalty: Two Paper Fans from different decades, commencing with England Since The Conquest, a printed fan, the double paper leaf published by J.Cock and J.P.Crowther in 1793, and mounted on simple varnished wood sticks. The leaf, by S.J. Neele, 352 Strand (London), records England through the ages, from the 11th to the 18th century, printed with all manner of facts, intended, as recorded on the top left border, to educate. ''This Historical page with useful lefsons (sic) fraught, Awakes the mind to every serious thought''. This version, is decorated with a double border, one of leaves, one swagged. The recto starts with William the Conqueror and the verso finishes with George III, and the words ''VIVE LE ROI''. See The Schreiber Collection unmounted leaf 72, English fans 132 and 133. Together with a paper fan celebrating the Coronation 1902 of King Edward VII, and advertising The Carlton Hotel (London), the recto printed with three red and gold crowns, and swags of flowers, to include, roses, thistles, clover. Signed Daudet. Simple gilding to the tan wood guards and gorge. The verso, plain, is marked for Eventails Duvelleroy, Paris; and An 18th Century Bone Fan, the découpé leaf with a Chinoiserie design, in pastel colours, showing ladies holding fans, a beast, and a stylised rocky landscape. The verso is simply painted with berries and leaves (3). The first fan has loss to the leaf on the verso and dark brown stains here and there. The Coronation fan is grubby with some foxing to the verso, and the Chinoiserie Fan has extensive damage to the leaf and problems with the first sticks in from the guards.

Chinoiserie in the 18th Century: Four 18th Century Fans, the first being early and elaborately decorated, with gold foil shapes to the top border, and in three places extending down the leaf, with the addition of foil shells and other miscellaneous motifs. The leaf, divided into three panels, features figures in robes, a humped bridge, and buildings. Stylised foliage and trees are discretely highlighted with gold. The monture, with plain gorge, is piqué to both guards with the addition of Mother of Pearl in the form of a figure, a fish and a leaf, and thumb guards. The double paper leaf features finely painted flowers and leaves to the verso. Guard length approx. 11 inches or 28cm. Together with a slender early 18th fan with shaped lower monture, giving rise to interesting detail when the fan is closed and viewed from the side, the double paper leaf painted in subtle colours, showing a wealthy gentleman in robes and black hat, escorted by a servant shading him from the sun with an enormous parasol, suddenly encountering a monkey on a tree branch ahead. The verso is plain. Guard length approx. 10 inches or 25.5cm; a third ivory fan, the upper guard and lower gorge sections carved and shaped, the double paper leaf painted to the recto with delicate flowers and unusually figures wearing white robes. The verso is plain. Guard length approx. 11.25 inches or 28.5cm; and finally, a Chinese carved ivory fan with export monture, the guards designed in panels, the flowers and buildings minutely carved, the gorge pierced with a central shield containing entwined initials ''M ?'', intricate and elaborate carving of flowers and leaves climbing a minute lattice filling the remaining space. The double paper leaf, with cream ground, is designed with a central cartouche of a pagoda and walled garden near water, a figure at the bank greeting a passing boatman, mountains rising in the background. The reserves are filled with sprays of flowers and leaves in pastel colours. The verso is painted with larger floral sprays. Guard length approx. 11 inches or 28cm (4). The first fan has damage to the leaf and possibly the right side shortened, crude restoration to split folds seen from the verso. The second example is in good general order. Fan 3 has extensive splitting to the leaf making it difficult to view the scene. The final fan has some damage to the leaf, the upper guard has broken, but the section is present, both still attached to leaf and rivet, and the lower guard has broken off at a similar point and lacks approx. 2.5 m of a plain lower section.

Japan: A Bone Fan with double paper leaf, the recto painted with a spray of pastel blooms in full flower, two birds in flight approaching. The verso, in similar vein, shows pastel flowers of more delicate and linear species. The upper guard is decorated with unusual features, two lacquered flower-heads beneath two linear and quite Art Nouveau designs, above which an oval, or eye, has a red stone for the centre. Together with A Fan in Jenny Lind or Palmette Form, vibrantly coloured paper or card panels, in strong yellow and orange, featuring centrally a blue bird on a bough, other foliage scattered on other panels. The monture, wood and painted in dark brown, has some colourful scattered painted blooms. The verso, with no decoration to the monture has basic scrolling to one side of each panel; A Large Paper Fan with double leaf, in red, mounted on simple wood, painted to the recto with extravagant blooms and simple foliage, a blue and pink bird in flight amidst. The recto, in similar vein, has one blousy flower and a few more delicate examples; finally, Another Fan in strong red, the wood monture painted, the leaf of paper, one side with bands of design the largest being floral, the recto showing two cranes in flight over a rocky outcrop. (4). The first fan lacks the upper part of one guard, and the leaf folds are rubbed. Rubbing to the paint on the JL fan.

A Pretty 19th Century Fixed Fan or Face Screen of rectangular form, in cream silk painted with a slender flowering bush in a wooden planter, the flowers attracting butterflies, themselves being chased by two winged cherubs, with another cherub in the foreground. Handle of shaped bone. The verso is a plain, dark golden yellow silk. Together with A Wood Face Screen painted in pastel green, the handle gently rounded, the screen shaped, painted to the recto with a river scene, and to the verso with yellow daisies and delicate hanging flowerheads; and A Near Pair of Black Silk Face Screens, mid-19th century, embroidered with exotic birds and colourful flowers. Both screens are trimmed with braid fringing, and the (presumed) wood handles are covered with glazed black ribbon (3). The cherub face screen's handle has been broken thus it is shorter than usual. Some rubbing to the paint on the second fan.

A Very Pretty Early 20th Century Mother-of-Pearl Fan, in shades of green and pink (burgau), the leaf with cream background net, overlaid with cream silk cut out in places to reveal the net layer. The silk panels alternate in width, and are painted or sequined, narrow panels with blue sequins in bow shapes, wider panels with delicate flowers in pastel shades of blue and pink. All panels have borders of embroidered sequins and a double border along the top and sides enclosed a further row of flower head spangles. Mounted à l'Anglaise with bone ribs. The verso is plain. Previously part-lot 55 in Phillips London on May 19th 1998.. Clean and strong.

Five Fans, two with sequins and two in Palmette or Jenny Lind form. To include a fine circa 1900-1910 example, the bone monture incised and painted with flowers in pastel shades, the guards a strong gold, some of the gorge sticks with gold columns. The leaf, on a base of stiffened net/gauze, is overlaid with olive green silk, cut away in places to reveal the net, these areas then painted with colourful flowers. In the centre, the silk is painted with a wealthy lady taking a stroll in the grounds of a castle a white dove fluttering beside her. To the left, a painted panel featuring a tower and bridge over a river, to the right a back view of a grand building with terraces and steps, presumably other views of the castle. Rows of gold sequins border the features and along the top of the fan leaf. The verso is plain. Contained in a card fan box with green exterior, and gold detail to the lid. The second sequin example is a wood fan stained black, the monture incised and clouté, the double cotton leaf embroidered with sequins and paillettes of different shapes, in silver; thirdly, an early 20th century bone fan mounted with a cream gauze leaf, and featuring a couple spending the afternoon collecting flowers or fruits, the lady wearing a robe à la Polonaise, the gentleman in breeches and waistcoat, being observed rather wistfully by another lady in similar costume. Reserves gently painted with pastel flowers and embroidered with sequins; a Palmette fan or Jenny Lind, the panels cream and painted in pastels with flowers; and another Palmette fan, the fabric panels in royal blue, the bone monture most unusually extending onto the leaf and being embroidered with sequins. Note also the shaping to the upper guards (5). The sequin fans are in good order. The gauze fan has issues, a broken guard and subsequent damage to the leaf to the right. The Palmette fans have wear/staining and crumpling to the leaf panels.

A Slender Wood Brisé Fan, the upper guard carved with a decorative tip and incorporating a mirror. With, unusually, thirty-four inner sticks and two guards, the recto is painted with a tranquil scene of several boats sailing in an estuary. The verso is plain. Fitted with a basic cream cotton tassel. Together with A Painted Black Gauze Fan, mounted on wood sticks, black, the upper guards with gold flowers and fan shapes, the gorge with quite regular gold decoration. The recto is painted with vignettes, one of a lady, holding her fan aloft, on which a tiny bird is perched, the other of her suitor, proffering a red rose, separated by garlands of pastel flowers, gold borders surrounding the images, flowers filling the reserves. The verso is plain; and A Simple Wood Fan, the sticks painted white, with an element of gilding, the cream cotton leaf painted with violets and white blossom within a gold border. (3). Slight splitting to the second fan leaf.

A Vibrant Circa 1870-1880's Fan, featuring an early autumn outdoor musical gathering within a grand garden, stone urns resplendent with cascading flowers, lush reeds indicating nearby water, leaves turning brown, and a Herm, perhaps of Pan, in the bushes beside the clearing wherein a beautifully dressed lady, sheet music on her lap, listens to music provided by a dandified gentleman wearing doublet and ruff. Accompanied by a young lady seated on the ground, holding a fan. The verso is plain cream, the monture, of unadorned green/pink mother-of-pearl /Burgau. Together with A Bone Fan, the monture plain, the double cream silk leaf painted on the recto in pink with a young lady in early 19th century dress feeding two white doves from crumbs she has carried in her skirt; and A 19th Century Horn Brisé, the stick tips forming a gentle point, all sticks intricately pierced, alternate sticks painted vertically with flowers in colours of orange and blue, or pastel pink roses with green leaves, the verso being similar. Twenty-one inner sticks and, two guards. Barrel head (3). Light wear to folds on the first fan. Small silver metal plate repair to the upper guard. Fan 2 has leaf splits recto/verso. Fan 3 requires a new ribbon.

A Selection of Interesting 20th Century Chinese and Japanese Fans, starting with a wood example with simple bands of piercing to the gorge and quite a modern linear textile fabric design to each side of the narrow paper leaf. Finished with a simple cord adorned with a green bead. Together with a folding fan with narrow cotton leaf featuring mountain ranges, the gorge with a drawing of an elder and servant passing a stylised tree. The verso has a gorge design of small birds pecking for food. Both sides have calligraphy; a light wood extensively pierced brisé fan, with the addition of a band of sunflowers. Both sides alike; another wood brisé, with folding action, decoratively pierced and featuring a rural scene with pagodas and stylised trees, the verso with a bunch of grapes, and leaves; a wood fan, painted black, the sticks serpentine and shaped at the shoulder, which is actually where the fan sticks pivot to fold in two, and gilded. The paper leaf is painted with a lady dressed in a blue kimono walking in front of water, habitation behind. The verso, in pastel shades, has the effect of haphazardly applied glitter; a paper cockade fan, the leaf a simple design of clouds, with wood sticks to the centre, the smooth handle with a mechanism for folding the fan closed; a fabric fan with mountain scene, the snowy cap in the tallest peak being worked in silk thread; and a cockade fan on dark wood, the handle smooth, the leaf paper with a design of rolling clouds, the handle in two sections clipping together to hold open. (7). Generally all good used condition.

A Dramatic Fan with black background, featuring mountain ranges and wide river, the land built with ornate temples, the buildings in orange and gold, the figures throughout the scene dressed in robes in pastel green and pink. A dragon boat ferries visitors from one bank to another, most having arrived at the departure point in carriages carried by servants. To the right, a large and ornately decorated dragon boat, figures seen on the upper decks. Dancers in the foreground give rise to the possibility of a major ceremony or celebration. Label with calligraphy to the right of the recto. Monture of mottled wood. The verso is plain black. Together with A Selection of Oriental Tourist Fans to include a pale coloured woven fibre cockade (11)

A Late 19th Century Japanese Fan, Ogi, the monture of ivory, painted with various colours of lacquer, and inset with shibayama. Featuring wisteria, birds, insects and further foliage, perhaps lilies, the guards are exquisitely worked. The gorge sticks are plain but simply shaped. Embossed detail to the white metal loop. The double paper leaf is painted to the recto with a tranquil scene of cranes by a riverbank and in the water, their depiction very detailed and elegant. Slender, stylised trees fill the background and are supplemented by various floral species in soft pink mid blue and white. The verso is painted with large blousy peonies, and hydrangea, in pastel shades of pink, blue and white. A butterfly and moth approach. Accompanied by a tan wood fan box with characters written on the outside. Together with A Very Vibrantly Presented Late 19th Century Japanese Paper Fan, the leaf mounted on rounded dark wood sticks. The recto is painted in strong orange with autumn leaves contrasting colourfully with a part gold background. The verso, with a dull red background and touch of gold, features spring blossom in light shades of white and pink. Guard length approx. 11.75 inches or 29cm (2). Quite extensive damage to the leaf at both sides on the shibayama fan. The floral fan has some rubbed folds.

An Early 20th Century Chinese Fan, the monture of bone, plain other than a carved roundel to each guard tip. The cream gauze leaf is embroidered in pastel silk with a dragon. Contained in a Chinese black lacquer fan box with gold flowers painted on the lid. Together with A 19th Century Chinese Goose Feather Fan, Qing Dynasty, the monture incised and gilded, with a figure on the upper guard. The feathers are boldly painted with royal blue flowers and red peonies, highlighted in white, a pair of peacocks facing each other in the centre. The verso is painted with similar flowers; and A Pair of Hand Screens, formed into circles by curving the quills, the feathers dark to the recto and silvered to the verso. The handles, plain, are in wood painted black. (3). The embroidered fan is in good order. The bone feather fan has wear to the feathers and the paint.

A Good 19th Century Chinese Fan, Qing Dynasty, with unusual wood sticks, the guards with white overlay and calligraphy, the double paper leaf full of symbolism including bats in the borders. The leaf centre, in gold on black, has a central oval with calligraphy, and to each side a dense area of gold symbols surrounding two further vignettes featuring pastel flowers. The verso features a mountain range and rural dwellings. Together with A Second Fan of the period, gorge sticks of bamboo, the guards painted black. The recto features a bird with black wing tips landing on a rocky outcrop close to colourful flowers, the verso is printed with calligraphy and gold coloured flakes; and A Third Chinese Wood Fan, the black leaf featuring a rural landscape with houses, all in shades of green (3). Some rubbing to the folds, fan 1.

An Early 20th Century Chinese Fan, the sticks and ribs of tortoiseshell, the cream gauze leaf embroidered in pastel silks with a dragon and pearl. The verso is plain, the leaf mounted à l'Anglaise. Fitted with a heavy cream silk tassel. Together with A Simple Pierced Bone Fan of the tea ceremony variety; and A Fixed Fan or Face Screen entirely of tortoiseshell, shaped, and pierced, the central detail including a double-headed bird or beast. Formed in two sections, the screen and the handle. Length approx. 8.25 inches or 21cm by 5 inches or 12.5cm at the widest point (3). Slight foxing to the first fan, and some splitting to the leaf at the bottom edge.

Five Examples of Ribbon Work, from the early 19th century to the 1920's. Comprising a fine black wool panel, finished at both ends and edged with a deep woven braid, lilac fringing to the bottom edge, the ribbon work design alternating between floral sprays and stylised paisley boteh, all worked in pastel ribbons in creams, green and pale lilac. Approx. 115cm; a silk bag formed with a ribbon work lattice in turquoise against a cream silk ground, turquoise ribbon to three sides, no handle; a cream gauze rectangular mat worked with ribbon work flowers to the borders and a lattice of cream threads on the diagonal to the centre; a 1920's salmon pink hanky case with pink ribbon flowers as an inner border, the back in satin painted with pink and blue flowers, edged in gold braid; and a silk pincushion embroidered in French knot with lilac and peach flowers, bead fringing to all sides.. Very good for the first panel. A couple of light marks to the turquoise bag. No handle. Item 3 is distressed.

Fine 18th Century Dress Flounces and Fragments, to include a fine white cotton flounce with scalloped bottom, worked with silver metal thread in tiny tambour stitch, with white thread to edge the scalloped border and to form delicate filling designs within flowers. Selvedges to both sides. Probably embroidered in India, approx. 26 inches or 66cm by 11.25 inches by 28.5cm; a fragment of cream embroidery on cotton gauze, featuring a spray of spiky leaves, and buds, two leaves hosting beetles. Appears hand worked; and two more fragments of 18th century embroidery from India, one worked in strong colours and featuring flowers and leaves, the other worked in pastel silks in different stiches (4). First item, a few pinpricks to the cotton near the top but no indication that it has been removed from anything. Second item has been cut from a larger piece; the final two both show signs of being previously part of something. The last item has some scattered holes.

A Panel of 18th Century Coloured Embroidery on very fine lawn, a part-flounce, the silk embroidery worked in large and repeated motifs. Acid green leaves meander up from the scalloped hem, enclosing royal blue panels with light and dark pink and soft gold detail. Approx. 35.5 cm or 90cm by 7.5 inches or 19cm; seven further 18th century or earlier embroidered fragments, the first the end of a larger article, most likely ecclesiastical as the focal point is a gold embroidered lamb with a cross above. To the reserves, fine and colourful silk embroidery of flowers and leaves, supplemented by some gold metal thread work. Bottom and sides are edged with gold bobbin lace. The top edge is turned under, and a pale turquoise fine silk panel has been added as backing approx. 18 inches or 46cm by 6 inches or 15cm; two cream silk panels, probably part sleeve ruffles, embroidered in tambour stitch in strong colours of red, various greens and mustard, both gathered near the top, backed in part with acid green silk, one fragment edged with bright green and yellow bobbin lace, the lace for the other panel detached but present. Approx. 5 inches or 12.75cm by 10.5 inches or 27cm, the panels not quite equal in length; a dark cream silk square embroidered panel, probably the front of a reticule. Embroidered with small flowers in pastel silk threads, a border meandering around all sides with the addition of a with a metal flower-shaped spangle to the top and bottom edge. Centrally, a slender tree or bush with drooping flowers, atop which are perched a pair of creatures or love birds; a small shaped panel embroidered to the edges in light green and featuring a urn of flowers. Approx. 5.75 inches or 14.5cm square; finally, a lilac silk panel delicately embroidered with pale green leaves and tiny pale pink fruits. A cream gauze ribbon applied in sections, alternatively showing the simply embroidered front and the cream net back. The bottom and sides are hand hemmed and the far right is the selvedge. The very last 2 inches have a cream silk backing suggesting the panel was part of the robe's hem. Approx. 21.5 inches or 54.5 cm by 4.5 inches or 11.5cm (7). The ecclesiastical panel has a large hole to the left side and around/under the lamb the cream silk is splitting. The smallest panel has almost entirely distressed silk ground. The tiny panel is distressed.

A Collection of Mainly 19th Century Embroidery Samples from Europe, showing different techniques. To include: A 19th century cream satin panel worked in 4 panels with pastel silks and metal threads, in a floral design. From the left, a stomacher, uncut. To the right, two smaller panels, perhaps cuffs, and beneath these a longer, slimmer panel perhaps for a belt. All uncut. Backed with cream gauze, the embroidery through both layers. Bearing a cotton label perhaps indicating eastern manufacture; a turquoise blue silk panel embroidered in taupe with a floral spray tied with a large bow, tiny beads within the bow, above a wide border also worked with the beads; an embroiderer's workbag of lilac silk, fitted inside with red satin panels making several pockets for needlework tools, showing different embroidery designs, and a top section of cream wool for needles. On the back, the word ''Brodeuse'' is embroidered in red. Red edging throughout, front button fastening. Silk ribbon handle; a small hanky case, pink satin, embroidered with an 18th century gentleman holding a staff, his face painted and applied silk. Corded braid edging; a small circular panel of mid Victorian floral plushwork, worked on canvas; a panel of ribbon work and silk embroidery, featuring a flower basket full of flowers, surrounded by Fuchsias; another more simple ribbon work example; a woolwork silhouette showing a young couple dancing, worked in black wool on cream; a circular appliqué panel of red wool, the floral appliqué in velvet and cotton, edged with silks; a machine embroidered panel of cream flowers and motifs on soft pink; a 20th century eastern European mat embroidered in orange and yellow with a lace border; a black velvet bag with similar floral embroidery to both sides. The top edge with a crochet border; a circular panel of Sol lace, more substantial than usual and in many colours, with a decorative mustard border; An embroidered bird with elaborate plumage; a cream panel embroidered with flowers and leaves in wool; two Bargello or flame stitch type embroidery fragments, one in silk with metal thread detail, the other in wool on heavier canvas; and a decorative pelmet, probably French, embroidered in pastel silk outlined in gold cord, on white net. Scalloped bottom edge. Approx. 8.5 inches or 21.5cm by 98 inches or 251cm . The panel with the bow lacks some beads to the wide border. Most other items strong, clean, purchased as examples so not always finished pieces. The pelmet's gold cording is in extensive need of re-securing.

An Unusual 19th Century Girls or Doll's Hat, beautifully made with panels of hand-made bobbin lace for the rim, in gold metal thread, and a mix of pastel silk thread and gold metal ribbons for the crown. The crown has a stiff interior, in an oval shape, meaning the hat would perch rather than fit securely on the head. The crown is designed with coiled metal ribbon, and silk embroidery in chain stitch, and finished with a pale green and gold ribbon and metal ribbon below that. The rim, with an outer edge shaped over wire, has a particularly intricate lace inner border, and a scalloped outer edge. Finished on the upper and the underside with a pale blue silk bow. Approx. 7.5 inches or 19cm by 8.75 inches or 22.5cm.. Very good.

English School (19th century), Portrait of Bathe Wright aged 35, pastel, monogrammed and dated 1841 lower right, 51 x 38cm

Les Burton, Female nude, pastel, signed and dated 05, 36 x 27cm

Marjorie Dawson, Flower study, pastel, signed lower left, 51 x 40cm

English School (19th century), Lakeland scene with figures and cattle, pastel, 31 x 53cm

Ethel Buckingham, Portrait, pastel, signed and dated 1886 lower centre, 38 x 24cm

Camilla Edwards, Cheetah head, pastel, signed lower right, 30 x 40cm

AR Ken Symonds (1927-2010), "View from Montegfoni", pastel, signed, dated 89 and inscribed with title to lower image, 45 x 63cm

James H. Tyther, summer landscape with mother and children going to the beach, pastel, 31 x 21cms, framed

Simon Turnbull, Veronica, pastel, 50 x 35cms, framed, 1969 Royal Academy exhibition label verso

James H. Tyther, Feeding The Ducks, pastel, unsigned, 20 x 37cms, framed

Peter Barker, (b.1954), Sunset At Barnsdale, pastel, 24cms x 31cms, framed

James H. Tyther, summer landscape with children in an orchard, pastel, unsigned, 20 x 38cms, framed

Peter Clossick Hampstead Heath, 2020 Pastel on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "Peter Clossick focuses on faces, the single figure, men and women, the nature of physical sensuousness itself. The models are still, seated or lying; their eyes cast down or even blanked out, while the composition is enlivened by the physical act of perception. His is the moving and heuristic gaze, the act of discovering of the world through the exploration of possibilities." Corinna Lotz 2016 Peter Clossick studied at Camberwell School of Art and Goldsmiths College during the early 1970s and has been engaged in professional fine art practice since. He is a member and Past President of The London Group an artist collective established in 1913 and also a member of The New English Art Club under the Federation of British Artists. He exhibits regularly both here and abroad.  

Mark Demsteader Faith Seated, 2020 Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Mark Demsteader was born in Manchester in 1963 and still lives and works there. He studied at Rochdale College, Oldham Art College and The Slade. His awards include The Public Eye Award, The Lyceum Prize and The Sidney Andrews Scholarship.   Mark's work has developed from a fascination with the human form and an obsession with classical themes. These pre-occupations can be seen in recent paintings where his close observation combines with surface texture and carefully balanced compositions to create a beautiful and powerful representation of the figure, often in renderings of just black and white paint. He favours absorbent, handmade Indian paper called Khadi as the natural ingredients in it such as grasses and leaves add another element to the finished drawing.   His paintings are about movement, dynamism and expression; he believes that a drawing that is tight and overworked is be avoided at all costs. He loves the accidental marks that occur. He will mix pastel and water and often has a hairdryer to hand to dry the results. Mark likes to have space to move about in when he is working, for that reason, he rents space in an old mill to use as a studio, he makes too much mess to make working at home possible.   Mark's paintings feature in many important collections, and current demand for his work reflects his growing reputation.  

Peter Clossick Parliament Hill, 2020 Pastel on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "Peter Clossick focuses on faces, the single figure, men and women, the nature of physical sensuousness itself. The models are still, seated or lying; their eyes cast down or even blanked out, while the composition is enlivened by the physical act of perception. His is the moving and heuristic gaze, the act of discovering of the world through the exploration of possibilities." Corinna Lotz 2016 Peter Clossick studied at Camberwell School of Art and Goldsmiths College during the early 1970s and has been engaged in professional fine art practice since. He is a member and Past President of The London Group an artist collective established in 1913 and also a member of The New English Art Club under the Federation of British Artists. He exhibits regularly both here and abroad.  

Peter Clossick Across the Med, 2020 Pastel on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "Peter Clossick focuses on faces, the single figure, men and women, the nature of physical sensuousness itself. The models are still, seated or lying; their eyes cast down or even blanked out, while the composition is enlivened by the physical act of perception. His is the moving and heuristic gaze, the act of discovering of the world through the exploration of possibilities." Corinna Lotz 2016 Peter Clossick studied at Camberwell School of Art and Goldsmiths College during the early 1970s and has been engaged in professional fine art practice since. He is a member and Past President of The London Group an artist collective established in 1913 and also a member of The New English Art Club under the Federation of British Artists. He exhibits regularly both here and abroad.  

Kelly Stewart Smithfield Market, 2020 Watercolour, Pastel and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) When I'm printing in the studio, there's no place I'd rather be. I was introduced to screen printing at University and was instantly hooked! We used oil based paint and solvents back then and I remember constantly having paint on my hands. I work with water based inks at Edinburgh printmakers nowadays which is much cleaner and easier to use, not to mention better environmentally. I do all my drawings and colour separations in my studio at home and then take them to Edinburgh Printmakers to screen-print. As a side effect of printmaking I started getting into bookbinding, to use up all my screen-printed offcuts. I now make artist books for a hobby, I don't sell them because then that would change the purpose of me making them.   Kelly Stewart studied BA Design (Visual Communication), majoring in illustration and in 2001 joined Edinburgh Printmakers Workshop where she began to translate drawings into screen prints. Kelly has exhibited in Australia, Ireland, Norway, USA, Switzerland and throughout the UK in exhibitions such as the Glasgow Institute of Fine Arts and the Royal Scottish Academy, Edinburgh. In 2012 Kelly was awarded Printfest's Printmaker of the Year Award.  

Kelly Stewart Isle of Iona - Scotland, 2020 Watercolour, Pastel and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)   When I'm printing in the studio, there's no place I'd rather be. I was introduced to screen printing at University and was instantly hooked! We used oil based paint and solvents back then and I remember constantly having paint on my hands. I work with water based inks at Edinburgh printmakers nowadays which is much cleaner and easier to use, not to mention better environmentally. I do all my drawings and colour separations in my studio at home and then take them to Edinburgh Printmakers to screen-print. As a side effect of printmaking I started getting into bookbinding, to use up all my screen-printed offcuts. I now make artist books for a hobby, I don't sell them because then that would change the purpose of me making them.   Kelly Stewart studied BA Design (Visual Communication), majoring in illustration and in 2001 joined Edinburgh Printmakers Workshop where she began to translate drawings into screen prints. Kelly has exhibited in Australia, Ireland, Norway, USA, Switzerland and throughout the UK in exhibitions such as the Glasgow Institute of Fine Arts and the Royal Scottish Academy, Edinburgh. In 2012 Kelly was awarded Printfest's Printmaker of the Year Award.

Kelly Stewart Isle of Mull - Scotland, 2020 Watercolour, Pastel and Pencil on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.)   When I'm printing in the studio, there's no place I'd rather be. I was introduced to screen printing at University and was instantly hooked! We used oil based paint and solvents back then and I remember constantly having paint on my hands. I work with water based inks at Edinburgh printmakers nowadays which is much cleaner and easier to use, not to mention better environmentally. I do all my drawings and colour separations in my studio at home and then take them to Edinburgh Printmakers to screen-print. As a side effect of printmaking I started getting into bookbinding, to use up all my screen-printed offcuts. I now make artist books for a hobby, I don't sell them because then that would change the purpose of me making them.   Kelly Stewart studied BA Design (Visual Communication), majoring in illustration and in 2001 joined Edinburgh Printmakers Workshop where she began to translate drawings into screen prints. Kelly has exhibited in Australia, Ireland, Norway, USA, Switzerland and throughout the UK in exhibitions such as the Glasgow Institute of Fine Arts and the Royal Scottish Academy, Edinburgh. In 2012 Kelly was awarded Printfest's Printmaker of the Year Award.

Paige Perkins Dogwood and Dandelion, 2020 Watercolour and Oil Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Paige Perkins' work reflects a personal folklore where the borders between human and animal, fantasy and reality dissolve. The paintings reveal a visionary world where time and space unfold with a strange logic that springs from darker sources, including myths, pagan mysticism and fairytales. 
Perkins attended the Turps Banana Art School from 2014 to 2016 and holds an MFA from University of Brighton 2006. She lives and works in London.    

Paige Perkins Elixir of Aphrodite, 2020 Oil Pastel on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Paige Perkins' work reflects a personal folklore where the borders between human and animal, fantasy and reality dissolve. The paintings reveal a visionary world where time and space unfold with a strange logic that springs from darker sources, including myths, pagan mysticism and fairytales. 
Perkins attended the Turps Banana Art School from 2014 to 2016 and holds an MFA from University of Brighton 2006. She lives and works in London.  

Kirsty Lackie Peschetarian, 2020 Oil Pastel and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Glasgow artist Kirsty Lackie was born in 1989, and a sense of her fleeting existence looms large in her work. She enjoys using poetry, theatre and film to parse upon the quotidian and conjugate a sense of performance often with surreal interactions. Her recent work depicts somewhat dream-like scenes shot through with a sense of otherness and humour. Her degree in psychology (2011) from the University of Glasgow went some way to helping her understand the mechanics of a mind, and through her degree in Communication Design from the Glasgow School of Art (2018) she's finding a mode of articulation and expression for these thoughts and observations. Her work often plays with the juxtaposition between our temporary existence and things like, the infrangibility of everyday objects, or the awkwardness in the minutiae of the everyday. But she isn't morose or downbeat about any of this, instead she likes to set it free with humour and a healthy dose the absurd. www.kirstylackie.com

Kirsty Lackie Straw(berry) Hat, 2020 Oil Pastel and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Glasgow artist Kirsty Lackie was born in 1989, and a sense of her fleeting existence looms large in her work. She enjoys using poetry, theatre and film to parse upon the quotidian and conjugate a sense of performance often with surreal interactions. Her recent work depicts somewhat dream-like scenes shot through with a sense of otherness and humour. Her degree in psychology (2011) from the University of Glasgow went some way to helping her understand the mechanics of a mind, and through her degree in Communication Design from the Glasgow School of Art (2018) she's finding a mode of articulation and expression for these thoughts and observations. Her work often plays with the juxtaposition between our temporary existence and things like, the infrangibility of everyday objects, or the awkwardness in the minutiae of the everyday. But she isn't morose or downbeat about any of this, instead she likes to set it free with humour and a healthy dose the absurd. www.kirstylackie.com  

Kirsty Lackie Codswallop, 2020 Oil Pastel and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Glasgow artist Kirsty Lackie was born in 1989, and a sense of her fleeting existence looms large in her work. She enjoys using poetry, theatre and film to parse upon the quotidian and conjugate a sense of performance often with surreal interactions. Her recent work depicts somewhat dream-like scenes shot through with a sense of otherness and humour. Her degree in psychology (2011) from the University of Glasgow went some way to helping her understand the mechanics of a mind, and through her degree in Communication Design from the Glasgow School of Art (2018) she's finding a mode of articulation and expression for these thoughts and observations. Her work often plays with the juxtaposition between our temporary existence and things like, the infrangibility of everyday objects, or the awkwardness in the minutiae of the everyday. But she isn't morose or downbeat about any of this, instead she likes to set it free with humour and a healthy dose the absurd. www.kirstylackie.com

Kirsty Lackie Venus & Serena on their Weekend, 2020 Oil Pastel and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Glasgow artist Kirsty Lackie was born in 1989, and a sense of her fleeting existence looms large in her work. She enjoys using poetry, theatre and film to parse upon the quotidian and conjugate a sense of performance often with surreal interactions. Her recent work depicts somewhat dream-like scenes shot through with a sense of otherness and humour. Her degree in psychology (2011) from the University of Glasgow went some way to helping her understand the mechanics of a mind, and through her degree in Communication Design from the Glasgow School of Art (2018) she's finding a mode of articulation and expression for these thoughts and observations. Her work often plays with the juxtaposition between our temporary existence and things like, the infrangibility of everyday objects, or the awkwardness in the minutiae of the everyday. But she isn't morose or downbeat about any of this, instead she likes to set it free with humour and a healthy dose the absurd. www.kirstylackie.com

Taylor O. Thomas Untitled, 2020 Oil and Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Taylor O. Thomas is an American painter who uses gestural painting as a means of making manifest human tendencies, ways of seeing, and the interconnection between the body and the mind. Her paintings have been exhibited in galleries and private collections across the United States and in Italy, Spain, Singapore, and China. In 2012, Thomas graduated magna cum laude from Davidson College with a BA in Studio Art. She was then awarded a Graduate Fellowship by the University of South Florida and earned her MFA in 2019. Thomas is the recipient of an inaugural Innovate Artist Grant, a Peripheral Vision Publication Fellowship, a two-time role as Publication Juror for Friend of the Artist, a Regional Artist Project Grant by the Arts and Science Council of Charlotte, NC, and residency scholarships to attend Vermont Studio Center (Johnson, Vermont) and Benaco Arte (Sirmione, Italy). Other residencies include MassArt's Art New England and Deli Grocery New York. Thomas currently lives and works in Tampa, Florida. Thomas is represented by Deli Grocery New York (Brooklyn, NY) and Emily Friedman Fine Art (Los Angeles, CA) . A painting may begin with a gesture I have borrowed from a dilapidated wall, cracking tile,scurrying commuter, or draping telephone wire. It continues based on the objects that jolt myattention within my studio walls. I mine for forms that approach "rightness" and "wrongness"simultaneously, gathering references to expand upon and manipulate. Gestural painting is mymeans of creating a tactile language, as I question what it means to live fully into the body.I visualize my environment with a collage mentality- jumping from shape-to-shape and texture-to-texture- cultivating a way of seeing that directs my intuitive way of making. This interactiveresearch that occurs outside of the studio serves as the preface for my work within it. Myphysical marks are embodiments of my being and moving through the world. Materialexperimentation is also a key factor in creative decision-making. Playing with paint's plasticityand ambiguous spaces provides for more interesting routes to each unexpected end. I teeter-totterbetween the compositional "bones" I establish for a painting and the spontaneous actions thatdisrupt those plans. Be it the imprint of an old tool, or the smudgy scrawls made by my faultybrush, I choose to embed such moments in the work. By embracing studio residue andresponding to past and present images at once, I invite new layers of meaning, chance, andauthorship into my paintings.While my practice remains rooted in my attempt to unify self-expression with ongoingdiscovery, the optical and emotive qualities of each surface stretch beyond my singularperspective. The images are altogether thick and flat, direct and obscure, sensitive and markedlydeliberate. Through them, I question: Where do our collective ideas of mind-body connectednessstand today? What is the value of preserving the physical in a digital age? And how mightgestural abstraction be utilized as a mode of contemporary communication?

Taylor O. Thomas Untitled, 2020 Oil and Pastel on Paper Sigend verso 15 x 10cm (5¾ x 3¾ in.) Taylor O. Thomas is an American painter who uses gestural painting as a means of making manifest human tendencies, ways of seeing, and the interconnection between the body and the mind. Her paintings have been exhibited in galleries and private collections across the United States and in Italy, Spain, Singapore, and China. In 2012, Thomas graduated magna cum laude from Davidson College with a BA in Studio Art. She was then awarded a Graduate Fellowship by the University of South Florida and earned her MFA in 2019. Thomas is the recipient of an inaugural Innovate Artist Grant, a Peripheral Vision Publication Fellowship, a two-time role as Publication Juror for Friend of the Artist, a Regional Artist Project Grant by the Arts and Science Council of Charlotte, NC, and residency scholarships to attend Vermont Studio Center (Johnson, Vermont) and Benaco Arte (Sirmione, Italy). Other residencies include MassArt's Art New England and Deli Grocery New York. Thomas currently lives and works in Tampa, Florida. Thomas is represented by Deli Grocery New York (Brooklyn, NY) and Emily Friedman Fine Art (Los Angeles, CA) . A painting may begin with a gesture I have borrowed from a dilapidated wall, cracking tile,scurrying commuter, or draping telephone wire. It continues based on the objects that jolt myattention within my studio walls. I mine for forms that approach "rightness" and "wrongness"simultaneously, gathering references to expand upon and manipulate. Gestural painting is mymeans of creating a tactile language, as I question what it means to live fully into the body.I visualize my environment with a collage mentality- jumping from shape-to-shape and texture-to-texture- cultivating a way of seeing that directs my intuitive way of making. This interactiveresearch that occurs outside of the studio serves as the preface for my work within it. Myphysical marks are embodiments of my being and moving through the world. Materialexperimentation is also a key factor in creative decision-making. Playing with paint's plasticityand ambiguous spaces provides for more interesting routes to each unexpected end. I teeter-totterbetween the compositional "bones" I establish for a painting and the spontaneous actions thatdisrupt those plans. Be it the imprint of an old tool, or the smudgy scrawls made by my faultybrush, I choose to embed such moments in the work. By embracing studio residue andresponding to past and present images at once, I invite new layers of meaning, chance, andauthorship into my paintings.While my practice remains rooted in my attempt to unify self-expression with ongoingdiscovery, the optical and emotive qualities of each surface stretch beyond my singularperspective. The images are altogether thick and flat, direct and obscure, sensitive and markedlydeliberate. Through them, I question: Where do our collective ideas of mind-body connectednessstand today? What is the value of preserving the physical in a digital age? And how mightgestural abstraction be utilized as a mode of contemporary communication?

Marion Archer The Late Great Berry in Fighting Mode, 2020 Charcoal Pencil and Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Marion Archer, born in Northumberland, 1946. She studied Fine Art at Leicester, Canterbury and Ravensbourne. From 1970-1975, she studied Thangka Painting in Northern India. Marion's work has been shown at numerous exhibitions in London including the Royal Academy Summer Shows, John Player Portrait Award Exhibition, National Gallery, Mall Galleries, South London Gallery. Her work is held by private collections in New Zealand, USA, Spain and the UK.    

Ryan Mosley Untitled, 2020 Ink and Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release. Mosley's "Southern Banjo," for example, features a minstrel playing a banjo underneath a tree. Isolated yet confident, Mosley's figure merges a Wild West appearance with stylistic elements culled from Henri Toulouse-Lautrec, Edgar Degas, Jean-Antoine Watteau, and Pierre Bonnard.   Ryan Mosley (b. Chesterfield, UK, 1980) trained at the University of Huddersfield and Royal College of Art, London; the artist lives and works in Sheffield, UK. Recent solo presentations include From the Verges, Galerie EIGEN + ART Leipzig/Berlin (2017); Anatomy and the Wall, Alison Jacques Gallery, London (2016); The Mirror Never Reflects, Eigen + Art, Berlin (2015); Susanne Vielmetter Projects, Los Angeles (2014); Thoughts of Man, Tierney Gardarin, New York (2013); Reversed Limbo, Eigen + Art, Berlin (2012), Alison Jacques Gallery, London (2011) and Painting Séance, Grand Arts, Kansas City (2010).   His work has featured in significant group shows including Walls Have Ears, Aston Hall Museum, Birmingham, UK, Malevolent Eldritch Shrieking, Attercliffe™, Sheffield, UK, Everything Flows, Millennium Gallery: Museums Sheffield, UK (2017); A New kitchen Sink, Josh Lilley Gallery, London, UK (2017); Ready for the Stage Act 1 (1900-2016), Arp Museum Bahnhof Rolandseck, Germany (2016); Painters' Painters, Saatchi Gallery, London (2016); One Day, Something Happens: Paintings of People, Hayward touring exhibition (2015); June: A Painting Show, Sadie Coles HQ, London (2015); The Islanders, Galerie Mikael Andersen, Copenhagen (2015); Zero Hours, S1 Artspace, Sheffield (2013); Nightfall, Modem Museum, Hungary (2012); London Twelve: Contemporary British Art, City Gallery, Prague (2012); Summer Exhibition, Royal Academy of Arts, London (2012); Merging Bridges, Museum of Modern Art, Baku (2012); and Newspeak: British Art Now, Saatchi Gallery, London (2010).   His work is included in Vitamin P3: New Perspectives in Painting published by Phaidon (2016); Picturing People published by Thames & Hudson (2015) and 100 Painters of Tomorrow published by Thames & Hudson (2014).   Mosley's work is part of the Arts Council Collection, UK; The Saatchi Collection, London and Falckenberg Collection, Hamburg.  

Ryan Mosley Untitled, 2020 Ink and Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release. Mosley's "Southern Banjo," for example, features a minstrel playing a banjo underneath a tree. Isolated yet confident, Mosley's figure merges a Wild West appearance with stylistic elements culled from Henri Toulouse-Lautrec, Edgar Degas, Jean-Antoine Watteau, and Pierre Bonnard.   Ryan Mosley (b. Chesterfield, UK, 1980) trained at the University of Huddersfield and Royal College of Art, London; the artist lives and works in Sheffield, UK. Recent solo presentations include From the Verges, Galerie EIGEN + ART Leipzig/Berlin (2017); Anatomy and the Wall, Alison Jacques Gallery, London (2016); The Mirror Never Reflects, Eigen + Art, Berlin (2015); Susanne Vielmetter Projects, Los Angeles (2014); Thoughts of Man, Tierney Gardarin, New York (2013); Reversed Limbo, Eigen + Art, Berlin (2012), Alison Jacques Gallery, London (2011) and Painting Séance, Grand Arts, Kansas City (2010).   His work has featured in significant group shows including Walls Have Ears, Aston Hall Museum, Birmingham, UK, Malevolent Eldritch Shrieking, Attercliffe™, Sheffield, UK, Everything Flows, Millennium Gallery: Museums Sheffield, UK (2017); A New kitchen Sink, Josh Lilley Gallery, London, UK (2017); Ready for the Stage Act 1 (1900-2016), Arp Museum Bahnhof Rolandseck, Germany (2016); Painters' Painters, Saatchi Gallery, London (2016); One Day, Something Happens: Paintings of People, Hayward touring exhibition (2015); June: A Painting Show, Sadie Coles HQ, London (2015); The Islanders, Galerie Mikael Andersen, Copenhagen (2015); Zero Hours, S1 Artspace, Sheffield (2013); Nightfall, Modem Museum, Hungary (2012); London Twelve: Contemporary British Art, City Gallery, Prague (2012); Summer Exhibition, Royal Academy of Arts, London (2012); Merging Bridges, Museum of Modern Art, Baku (2012); and Newspeak: British Art Now, Saatchi Gallery, London (2010).   His work is included in Vitamin P3: New Perspectives in Painting published by Phaidon (2016); Picturing People published by Thames & Hudson (2015) and 100 Painters of Tomorrow published by Thames & Hudson (2014).   Mosley's work is part of the Arts Council Collection, UK; The Saatchi Collection, London and Falckenberg Collection, Hamburg.

Ryan Mosley Untitled, 2020 Ink and Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release. Mosley's "Southern Banjo," for example, features a minstrel playing a banjo underneath a tree. Isolated yet confident, Mosley's figure merges a Wild West appearance with stylistic elements culled from Henri Toulouse-Lautrec, Edgar Degas, Jean-Antoine Watteau, and Pierre Bonnard.   Ryan Mosley (b. Chesterfield, UK, 1980) trained at the University of Huddersfield and Royal College of Art, London; the artist lives and works in Sheffield, UK. Recent solo presentations include From the Verges, Galerie EIGEN + ART Leipzig/Berlin (2017); Anatomy and the Wall, Alison Jacques Gallery, London (2016); The Mirror Never Reflects, Eigen + Art, Berlin (2015); Susanne Vielmetter Projects, Los Angeles (2014); Thoughts of Man, Tierney Gardarin, New York (2013); Reversed Limbo, Eigen + Art, Berlin (2012), Alison Jacques Gallery, London (2011) and Painting Séance, Grand Arts, Kansas City (2010).   His work has featured in significant group shows including Walls Have Ears, Aston Hall Museum, Birmingham, UK, Malevolent Eldritch Shrieking, Attercliffe™, Sheffield, UK, Everything Flows, Millennium Gallery: Museums Sheffield, UK (2017); A New kitchen Sink, Josh Lilley Gallery, London, UK (2017); Ready for the Stage Act 1 (1900-2016), Arp Museum Bahnhof Rolandseck, Germany (2016); Painters' Painters, Saatchi Gallery, London (2016); One Day, Something Happens: Paintings of People, Hayward touring exhibition (2015); June: A Painting Show, Sadie Coles HQ, London (2015); The Islanders, Galerie Mikael Andersen, Copenhagen (2015); Zero Hours, S1 Artspace, Sheffield (2013); Nightfall, Modem Museum, Hungary (2012); London Twelve: Contemporary British Art, City Gallery, Prague (2012); Summer Exhibition, Royal Academy of Arts, London (2012); Merging Bridges, Museum of Modern Art, Baku (2012); and Newspeak: British Art Now, Saatchi Gallery, London (2010).   His work is included in Vitamin P3: New Perspectives in Painting published by Phaidon (2016); Picturing People published by Thames & Hudson (2015) and 100 Painters of Tomorrow published by Thames & Hudson (2014).   Mosley's work is part of the Arts Council Collection, UK; The Saatchi Collection, London and Falckenberg Collection, Hamburg.

Ryan Mosley Untitled, 2020 Ink and Pastel on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release. Mosley's "Southern Banjo," for example, features a minstrel playing a banjo underneath a tree. Isolated yet confident, Mosley's figure merges a Wild West appearance with stylistic elements culled from Henri Toulouse-Lautrec, Edgar Degas, Jean-Antoine Watteau, and Pierre Bonnard.   Ryan Mosley (b. Chesterfield, UK, 1980) trained at the University of Huddersfield and Royal College of Art, London; the artist lives and works in Sheffield, UK. Recent solo presentations include From the Verges, Galerie EIGEN + ART Leipzig/Berlin (2017); Anatomy and the Wall, Alison Jacques Gallery, London (2016); The Mirror Never Reflects, Eigen + Art, Berlin (2015); Susanne Vielmetter Projects, Los Angeles (2014); Thoughts of Man, Tierney Gardarin, New York (2013); Reversed Limbo, Eigen + Art, Berlin (2012), Alison Jacques Gallery, London (2011) and Painting Séance, Grand Arts, Kansas City (2010).   His work has featured in significant group shows including Walls Have Ears, Aston Hall Museum, Birmingham, UK, Malevolent Eldritch Shrieking, Attercliffe™, Sheffield, UK, Everything Flows, Millennium Gallery: Museums Sheffield, UK (2017); A New kitchen Sink, Josh Lilley Gallery, London, UK (2017); Ready for the Stage Act 1 (1900-2016), Arp Museum Bahnhof Rolandseck, Germany (2016); Painters' Painters, Saatchi Gallery, London (2016); One Day, Something Happens: Paintings of People, Hayward touring exhibition (2015); June: A Painting Show, Sadie Coles HQ, London (2015); The Islanders, Galerie Mikael Andersen, Copenhagen (2015); Zero Hours, S1 Artspace, Sheffield (2013); Nightfall, Modem Museum, Hungary (2012); London Twelve: Contemporary British Art, City Gallery, Prague (2012); Summer Exhibition, Royal Academy of Arts, London (2012); Merging Bridges, Museum of Modern Art, Baku (2012); and Newspeak: British Art Now, Saatchi Gallery, London (2010).   His work is included in Vitamin P3: New Perspectives in Painting published by Phaidon (2016); Picturing People published by Thames & Hudson (2015) and 100 Painters of Tomorrow published by Thames & Hudson (2014).   Mosley's work is part of the Arts Council Collection, UK; The Saatchi Collection, London and Falckenberg Collection, Hamburg.

Jonni Cheatwood Hot Legzzz, 2020 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Jonni Cheatwood is a Brazilian-American visual artist working across many different disciplines including painting, photography, graphic design and textile art.   Cheatwood's work describes the broad visual ideas stemming from still life, abstraction and minimalism, but his approach is a wonderful amalgam of his artistic disciplines in which veritable scraps of canvas are hand-sewn together before his idiosyncratic mark-making is thereafter applied to the newly created surface. Denim, mesh, burlap sacks, t-shirts, blankets, t-shirts, screen-prints, and even his father's worn leather satchel have all made their way into his work at one time or another. The graffiti-like scribbles, scratches and primitive colours of Cheatwood's work is the controlled chaotic work of an erudite expressionist brought up on Saturday morning cartoons; suggesting deconstructed contour lines and bright, unforgiving primary colours often applied directly from the tube or oversize pastel. Beginning with direct marks, squiggles and doodles, Cheatwood reacts and builds up his compositions over time, working with the studio detritus that can build up as a result of working on the floor and from the physical nature of his process - allowing this to become part of his formation of the work. The many references housed in his work - whether intentional or unintentional - seem like a patchwork of Cheatwood's own autobiography - and the works come across like humorous albeit highly personalized recollections of his life at various times.   Jonni Cheatwood (b. 1986, Thousand Oaks, CA) lives and works in Los Angeles, California. He graduated from Arizona State University, Tempe, in 2011. Solo exhibitions include: ' Fresh Out of Fiddles', Makasiini Contemporary, Turku, Finland (2020); 'Tyger Tyger', Urban Spree, Berlin, Germany (2019); 'That's Dallas Baby, Artual Gallery, Beirut, Lebanon (2019); 'Dressed Up for the Letdown', Over the Influence, Hong Kong, (2018); 'She's Heavy on the Razzmatazz', MAKASIINI CONTEMPORARY, Turku, Finland (2018) and; 'Same Hero, New Boots', TW Fine Art, Brisbane, Australia (2018). Group exhibitions include: Fresh Out of Fiddles, MAKASIINI Contemporary, (2020), UNTITLED San Francisco, MAKASIINI Contemporary (2020); 'Seven Days Are Too Long', Mirus Gallery, Denver, Colorado (2019); 'The Atlantic Bridge', Galerie Kremers, Berlin, Germany (2019); 'Office Hours', New Museum, Los Angeles, California (2018); 'View From the Cheap Seats', Chimento Contemporary, Los Angeles, California (2018); 'The Urban Experience', Artual Gallery, Beirut, Lebanon (2018); 'FRESHAF', TW Fine Art, Brisbane Australia (2017); and 'Buy What You Love', Rema Hort Mann Foundation, New York NY (2017). Cheatwood first exhibited with BEERS London for the group exhibition '75 Works on Paper' (2017), he exhibited at Volta NY with BEERS in March 2018 and EXPO Chicago with BEERS in September 2019.  

Jonni Cheatwood Going to See the Queen, 2020 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Jonni Cheatwood is a Brazilian-American visual artist working across many different disciplines including painting, photography, graphic design and textile art.   Cheatwood's work describes the broad visual ideas stemming from still life, abstraction and minimalism, but his approach is a wonderful amalgam of his artistic disciplines in which veritable scraps of canvas are hand-sewn together before his idiosyncratic mark-making is thereafter applied to the newly created surface. Denim, mesh, burlap sacks, t-shirts, blankets, t-shirts, screen-prints, and even his father's worn leather satchel have all made their way into his work at one time or another. The graffiti-like scribbles, scratches and primitive colours of Cheatwood's work is the controlled chaotic work of an erudite expressionist brought up on Saturday morning cartoons; suggesting deconstructed contour lines and bright, unforgiving primary colours often applied directly from the tube or oversize pastel. Beginning with direct marks, squiggles and doodles, Cheatwood reacts and builds up his compositions over time, working with the studio detritus that can build up as a result of working on the floor and from the physical nature of his process - allowing this to become part of his formation of the work. The many references housed in his work - whether intentional or unintentional - seem like a patchwork of Cheatwood's own autobiography - and the works come across like humorous albeit highly personalized recollections of his life at various times.   Jonni Cheatwood (b. 1986, Thousand Oaks, CA) lives and works in Los Angeles, California. He graduated from Arizona State University, Tempe, in 2011. Solo exhibitions include: ' Fresh Out of Fiddles', Makasiini Contemporary, Turku, Finland (2020); 'Tyger Tyger', Urban Spree, Berlin, Germany (2019); 'That's Dallas Baby, Artual Gallery, Beirut, Lebanon (2019); 'Dressed Up for the Letdown', Over the Influence, Hong Kong, (2018); 'She's Heavy on the Razzmatazz', MAKASIINI CONTEMPORARY, Turku, Finland (2018) and; 'Same Hero, New Boots', TW Fine Art, Brisbane, Australia (2018). Group exhibitions include: Fresh Out of Fiddles, MAKASIINI Contemporary, (2020), UNTITLED San Francisco, MAKASIINI Contemporary (2020); 'Seven Days Are Too Long', Mirus Gallery, Denver, Colorado (2019); 'The Atlantic Bridge', Galerie Kremers, Berlin, Germany (2019); 'Office Hours', New Museum, Los Angeles, California (2018); 'View From the Cheap Seats', Chimento Contemporary, Los Angeles, California (2018); 'The Urban Experience', Artual Gallery, Beirut, Lebanon (2018); 'FRESHAF', TW Fine Art, Brisbane Australia (2017); and 'Buy What You Love', Rema Hort Mann Foundation, New York NY (2017). Cheatwood first exhibited with BEERS London for the group exhibition '75 Works on Paper' (2017), he exhibited at Volta NY with BEERS in March 2018 and EXPO Chicago with BEERS in September 2019.

Jonni Cheatwood Preston Still has Petit Feet, 2020 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Jonni Cheatwood is a Brazilian-American visual artist working across many different disciplines including painting, photography, graphic design and textile art.   Cheatwood's work describes the broad visual ideas stemming from still life, abstraction and minimalism, but his approach is a wonderful amalgam of his artistic disciplines in which veritable scraps of canvas are hand-sewn together before his idiosyncratic mark-making is thereafter applied to the newly created surface. Denim, mesh, burlap sacks, t-shirts, blankets, t-shirts, screen-prints, and even his father's worn leather satchel have all made their way into his work at one time or another. The graffiti-like scribbles, scratches and primitive colours of Cheatwood's work is the controlled chaotic work of an erudite expressionist brought up on Saturday morning cartoons; suggesting deconstructed contour lines and bright, unforgiving primary colours often applied directly from the tube or oversize pastel. Beginning with direct marks, squiggles and doodles, Cheatwood reacts and builds up his compositions over time, working with the studio detritus that can build up as a result of working on the floor and from the physical nature of his process - allowing this to become part of his formation of the work. The many references housed in his work - whether intentional or unintentional - seem like a patchwork of Cheatwood's own autobiography - and the works come across like humorous albeit highly personalized recollections of his life at various times.   Jonni Cheatwood (b. 1986, Thousand Oaks, CA) lives and works in Los Angeles, California. He graduated from Arizona State University, Tempe, in 2011. Solo exhibitions include: ' Fresh Out of Fiddles', Makasiini Contemporary, Turku, Finland (2020); 'Tyger Tyger', Urban Spree, Berlin, Germany (2019); 'That's Dallas Baby, Artual Gallery, Beirut, Lebanon (2019); 'Dressed Up for the Letdown', Over the Influence, Hong Kong, (2018); 'She's Heavy on the Razzmatazz', MAKASIINI CONTEMPORARY, Turku, Finland (2018) and; 'Same Hero, New Boots', TW Fine Art, Brisbane, Australia (2018). Group exhibitions include: Fresh Out of Fiddles, MAKASIINI Contemporary, (2020), UNTITLED San Francisco, MAKASIINI Contemporary (2020); 'Seven Days Are Too Long', Mirus Gallery, Denver, Colorado (2019); 'The Atlantic Bridge', Galerie Kremers, Berlin, Germany (2019); 'Office Hours', New Museum, Los Angeles, California (2018); 'View From the Cheap Seats', Chimento Contemporary, Los Angeles, California (2018); 'The Urban Experience', Artual Gallery, Beirut, Lebanon (2018); 'FRESHAF', TW Fine Art, Brisbane Australia (2017); and 'Buy What You Love', Rema Hort Mann Foundation, New York NY (2017). Cheatwood first exhibited with BEERS London for the group exhibition '75 Works on Paper' (2017), he exhibited at Volta NY with BEERS in March 2018 and EXPO Chicago with BEERS in September 2019.

Gordon Dalton Heartbreak Hill, 2020 Acyrlic and Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "My paintings are made up of multiple landscapes, viewpoints, memories. These are places I've lived, or imagined. There are about longing for somewhere, something or someone. A romantic notion ground into the messy business of painting."   Dalton has earned an international reputation for his resplendently coloured paintings. He holds his MA, Fine Art, University of Northumbria, and an honours BA, Fine Art, University of Wales, Cardiff. Select residencies include URRA, Buenos Aires, Argentina, 2016 and the Chapter Art Gallery, Cardiff, 2007. Select solo exhibitions: Trade Gallery, Nottingham; Bay Art, Cardiff; Last Gallery, Llangadog; Bank Gallery, Los Angeles; Keith Talent, London; Marksman Gallery, Reading; Castlefield Gallery, Manchester; Moot Gallery, Nottingham. Select group shows: Newlyn Art Gallery, Penzance; Contemporary British Painting Prize, Riverside Gallery, Richmond; Beep Wales Painting Prize, Swansea (touring); Del Infinito Art Gallery, Buenos Aires; City Limits, Oriel Canfas, Cardiff; National Eisteddfod of Wales, Abergavenny; Exeter Contemporary Open, 2015, Exeter Phoenix; Bankley Gallery & Studios, Manchester; Transition, London; Syson, Nottingham; Elysium Gallery, Swansea; Bank Art, Los Angeles; Galerie Skuc, Ljubljana, Slovenia; Cynthia Broan Gallery, New York; Moravian Gallery, Brno, Czech Republic; Contemporary Art Centre, Vilnius, Lithuania; ICA, London; MIMA, Middleborough; City Gallery, Leics, National Museum of Wales, Cardiff; North Gallery for Contemporary Art, Sunderland; Royal Academy of Art, 2019 London, BEEP Painting Prize 2020.  

John Illsley Lemon, 2020 Pastel on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) John Illsley is an English musician who rose to fame as the bass guitarist of the critically acclaimed band Dire Straits. With Dire Straits, John has been the recipient of multiple BRIT and Grammy Awards and a Heritage Award. As one of the founding band members, with Mark Knopfler, his brother David and drummer Pick Withers, John played a major role in the development of the Dire Straits' sound.   When Dire Straits finished touring in 1993 John became heavily involved in the Art world. Having carved a reputation for himself as a painter, John had solo exhibitions in London, New York, Sydney and across Europe. He also co-founded the children's charity Life Education in 1987 which recently was integrated into Coram, one of the oldest UK charities.  

John Illsley Satsuma, 2020 Pastel on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) John Illsley is an English musician who rose to fame as the bass guitarist of the critically acclaimed band Dire Straits. With Dire Straits, John has been the recipient of multiple BRIT and Grammy Awards and a Heritage Award. As one of the founding band members, with Mark Knopfler, his brother David and drummer Pick Withers, John played a major role in the development of the Dire Straits' sound.   When Dire Straits finished touring in 1993 John became heavily involved in the Art world. Having carved a reputation for himself as a painter, John had solo exhibitions in London, New York, Sydney and across Europe. He also co-founded the children's charity Life Education in 1987 which recently was integrated into Coram, one of the oldest UK charities.  

Sascha Brylla Suddenly, 2020 Gouache on Washi Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)   Sascha Brylla is originally from a small town in Upper Bavaria, Germany. She now lives and works in Berlin, where she moved more than 10 years ago, studying a master's degree at Kunsthochschule Berlin-Weißensee, which she graduated from in 2016.   In her childhood, Sascha Brylla got interested in art from an early stage; "During my childhood in Bavaria, the big question about art never crossed my mind. My father was a photographer and my mother owned a ceramics workshop in the basement. I was always surrounded by different art materials. Pens and brushes were readily available - it was only later that I started to realize the different skills involved, and my desire to study grew."   Brylla's works are reduced in colour. Grey and pastel shades dominate the picture series. They have a relief-like surface and are slightly dusty, or carry other traces of processing. The motifs are ornamental, form patterns, and speak a formal language reminiscent of drawings or etchings. They are figurative, but in the process of being created undergo a kind of metamorphosis towards abstraction. Even though she plays with depictions of nature in her imagery, she does not feel obliged to observe nature as such. Rather, Brylla is interested in metaphorical sceneries, and the possibility to raise social questions.