Catherine Chambers First hand, 2025 Acryic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Catherine Chambers is a figurative artist who documents poignant moments, often from her experiences of living abroad in Ethiopia and the Middle East. Catherine is inspired by environments and their inhabitants, capturing intimate moments of connectedness. However, as with all good portraiture, there is more than meets the eye to her work. These works ask the viewer to confront the complicated dynamics of love, care and identity. This is Catherine's second time working with Art on a Postcard. Her previous contributions zoomed in on feet from her larger paintings. This time, Catherine has created postcards looking at the hands in existing works of hers. Education 2009-2012 BA (Hons) Drawing and Applied Arts, University of the West of England, Bristol, UK Solo Exhibitions 2019 I Appreciate You, The Embassy of Ethiopia, London 2016 A Brother's Progress, Freespace Gallery, Kentish Town, London Red Lodge Chair, Red Lodge Museum, Park Row, Bristol Possession(s), The Tobacco Factory, Bristol Group Exhibitions 2024 Herbert Smith Freehills Award, National Portrait Gallery, London Women In Art Finalists, The Roundhouse, London RBA Rising Stars, Royal Over-Seas League, London Wells Contemporary Art, Wells Cathedral, Wells A Personal Treasure, The Nunnery Gallery, London 2023 Missed Letters, Making Space Gallery, London New Wave, Spitalfields Studios, London Awe and Wonder, Chaiya Art Awards, Oxo Gallery, London 2022 Football Art Prize, Millennium Gallery, Sheffield Galvanise, Spitalfields Studios, London Art on a Postcard, The Bomb Factory, London 2021 Summer Show, Royal Academy of Arts, London Sunny Art Prize, Sunny Art Centre, London 2020 Summer Exhibition, Green and Stone Gallery, London 2018 Summer Show, Royal Academy of Arts, London Awards 2024 3rd Prize for The Herbert Smith Freehills Prize at the National Portrait Gallery Royal Society of British Artists Rising Star Women in Art Prize finalist Gallery Representation Mall Galleries, London, UK Statement About AOAP Submitted Artwork Fly is a cropped detail from a larger painting currently being exhibited at the Mall Galleries annual Royal Society of British Artists exhibition. The painting continues a conversation Catherine introduced with her painting "Lying" which won third prize at the National Portrait Gallery in 2024. In this painting, the same sitter holds a bird securely; as it is, the bird cannot fly despite being born to do so. Catherine wants the audience to contemplate, if you have something (could be a relationship, land, artefacts...) but you have it by force or deceit, do you really have it at all? And is it still worth having? Class is a cropped detail from Catherine's larger painting "Between Classes". The girl chooses colours to fill the outlines of a princess. The postcard questions how the girl came to choose those specific colours and how they differ to the girls own image. The work explores ideas of care, influence and status; how they overlap, interact and differ. Fortune is a detail from Catherine's larger painting "Nafkot (Yeabsra)". A child holds a popular paper game, commonly known as a chatterbox or fortune teller. It was introduced to the girl by Catherine in an exchange of sharing games local to one and foreign to another. Games are a recurring theme in Catherine's work, highlighting how unlevel the playing field is in real life. First Hand is a detail from Catherine's larger painting "Holding Space". The hand is of a dear friend of the artist, and celebrates a friendship that challenges outside expectations. It is a prompt to think for oneself and to learn from trusted resources. 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.
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Kelly Jessiman Wish You Were Here, 2025 Stoneware Glazed Ceramic Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About St Leonards-on-Sea-based Kelly Jessiman builds her forms at the family dinner table, and each piece is fired and glazed in her garden shed. She takes a wide range of inspiration from contemporary paintings and ancient artefacts. Each stage is an organic process; the clay often takes on a life of its own, which leads to the final form, and from there, she decides how it will be glazed. Often glazed with hidden notes written on and scratched into the glaze, overlapped with drawings and good luck charms or superstitious markings warding off evil. Kelly enjoys the process of pottery and the unpredictable outcomes it presents. Her pieces are experimental, playing with the juxtaposition of neatly made traditional shapes against the organic imperfections inherent in the act of hand-building. Kelly's background is in fine arts, where she studied foundation art at Chelsea School of Art and went on to study BA Fine Art Sculpture at Camberwell School of Art. Exhibitions 2021 Babes in Arms group show, Big Yin Gallery, December 2022 Hot as Hell group show, Big Yin Gallery, June Burnt Orange group show, Big Yin Gallery, July A Trip Around the Sun group show, Big Yin Gallery, September Babes in Arms group show, De La Warr, September New Colour Now, Livingston, London, November 2023 Babes in Arms studio takeover, The Hastings Contemporary, March A Room of One's Own group show, Livingston, Bristol, May FOLDE group show, Coastal Currents, Hastings, September The Gallerist's Home, MAH Gallery, London, June Collection 04, Felt MKII, London, September The Bedroom and the Study, The House by MAH, London Design Festival, September In Time group show, Gallery 13, October Christmas Cracker, Georgia Stoneman Gallery, Castlecary, December 2024 Gate of Entrancement, Electro Studio Project Space, March Unapologetic Colour group show, Another Country, Marylebone, London, May Shaped, Felt, Straffordshire Street, London, July Gather in Gathering, Milieu Studios, October Served group show, Felt Host, London, December 2025 In Fleeting Moments group show, Secession Gallery, January Statement about AOAP Submitted Artwork The work submitted for Art on a Postcard is unusual for me as I don't usually work on small-scale flat surfaces. Here, I have decided to explore the idea of ceramic postcards and what postcards mean to me-sending thoughts of love, hope, and missing certain special people, added with my usual overlapping of words and images. 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.
Catherine Chambers Class, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Catherine Chambers is a figurative artist who documents poignant moments, often from her experiences of living abroad in Ethiopia and the Middle East. Catherine is inspired by environments and their inhabitants, capturing intimate moments of connectedness. However, as with all good portraiture, there is more than meets the eye to her work. These works ask the viewer to confront the complicated dynamics of love, care and identity. This is Catherine's second time working with Art on a Postcard. Her previous contributions zoomed in on feet from her larger paintings. This time, Catherine has created postcards looking at the hands in existing works of hers. Education 2009-2012 BA (Hons) Drawing and Applied Arts, University of the West of England, Bristol, UK Solo Exhibitions 2019 I Appreciate You, The Embassy of Ethiopia, London 2016 A Brother's Progress, Freespace Gallery, Kentish Town, London Red Lodge Chair, Red Lodge Museum, Park Row, Bristol Possession(s), The Tobacco Factory, Bristol Group Exhibitions 2024 Herbert Smith Freehills Award, National Portrait Gallery, London Women In Art Finalists, The Roundhouse, London RBA Rising Stars, Royal Over-Seas League, London Wells Contemporary Art, Wells Cathedral, Wells A Personal Treasure, The Nunnery Gallery, London 2023 Missed Letters, Making Space Gallery, London New Wave, Spitalfields Studios, London Awe and Wonder, Chaiya Art Awards, Oxo Gallery, London 2022 Football Art Prize, Millennium Gallery, Sheffield Galvanise, Spitalfields Studios, London Art on a Postcard, The Bomb Factory, London 2021 Summer Show, Royal Academy of Arts, London Sunny Art Prize, Sunny Art Centre, London 2020 Summer Exhibition, Green and Stone Gallery, London 2018 Summer Show, Royal Academy of Arts, London Awards 2024 3rd Prize for The Herbert Smith Freehills Prize at the National Portrait Gallery Royal Society of British Artists Rising Star Women in Art Prize finalist Gallery Representation Mall Galleries, London, UK Statement About AOAP Submitted Artwork Fly is a cropped detail from a larger painting currently being exhibited at the Mall Galleries annual Royal Society of British Artists exhibition. The painting continues a conversation Catherine introduced with her painting "Lying" which won third prize at the National Portrait Gallery in 2024. In this painting, the same sitter holds a bird securely; as it is, the bird cannot fly despite being born to do so. Catherine wants the audience to contemplate, if you have something (could be a relationship, land, artefacts...) but you have it by force or deceit, do you really have it at all? And is it still worth having? Class is a cropped detail from Catherine's larger painting "Between Classes". The girl chooses colours to fill the outlines of a princess. The postcard questions how the girl came to choose those specific colours and how they differ to the girls own image. The work explores ideas of care, influence and status; how they overlap, interact and differ. Fortune is a detail from Catherine's larger painting "Nafkot (Yeabsra)". A child holds a popular paper game, commonly known as a chatterbox or fortune teller. It was introduced to the girl by Catherine in an exchange of sharing games local to one and foreign to another. Games are a recurring theme in Catherine's work, highlighting how unlevel the playing field is in real life. First Hand is a detail from Catherine's larger painting "Holding Space". The hand is of a dear friend of the artist, and celebrates a friendship that challenges outside expectations. It is a prompt to think for oneself and to learn from trusted resources. 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.
Celia Mora Secret Hunting, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Celia Mora is a Spanish painter living and practicing painting in London. She completed her studies in Fine Arts at the Complutense University of Madrid (2013). She was awarded an Erasmus Scholarship to study at the University of Arts London (2017), establishing her residence in the UK. She finished her studies in 2018, receiving an award on graduation. Her works are held in private collections, including The Four Seasons Hotel, in Madrid. She was awarded the Elizabeth Greenshields Foundation grant to pursue her Master studies at Royal College of Arts in 2022. She has again received the support from the foundation with a second grant to carry on with her studies at Turps Art School 2023/2024. She has currently got Zsuzsi Roboz Scholarship by Morley College to support her practice. Also, a three-month studio residency at Soho Revue Studios in London. Education 2023 MA Painting, Royal College of Arts, London 2018 BA Fine Arts, Complutense University, Madrid 2013 BA Advertising and Public Relations, Complutense University, Madrid Group Exhibitions 2024 The Eve Principle, Norito Gallery, London Startled, Lychee one Gallery, London Southpark Gallery, London Soma, Duo show, Outhouse Gallery, London Walk while you have the light, Safe House, London Vessel, OHS Projects Jackson's Art Prize, Bankside Gallery, London Leavers show, Turps studio program, London Contemporary British Portrait Painters, The Department Store, London Boundaries, Outhouse Gallery, London Nausea, Playground 72, London Jackson's Art prize, Bankside Gallery, London Slip Slap Slop, Turps studio program, London A room of one's own, Irving Gallery, Oxford 2023 Road of excess, Safe house 2, London Crème Fraiche, ICA, London MA Graduate Show, RCA Battersea, London Figurativas Prize, European Museum of Modern Art Barcelona, Spain Miradas insumisas, Flippa Gallery, Barcelona, Spain Unladylike, D Contemporary, London Awards 2025 Soho Revue Studio Residency Program, London 2024/25 Morley College, Zsuzsi Roboz Scholarship 2024 Turps Studio program, London Elizabeth Greenshields Foundation Grant Statement about AOAP Submitted Artwork From a genuine interest in the depiction of the human figure, through my taken inspiration in the old masters, I redefine the visual codes that configure our interpretation and given unconscious understanding of the images. Taking the male body as a subject and my partner as a model, I place myself in the empowered position of the painter, redefining the idea of the "muse" from the first act of painting. I play with the depiction of the male body as an attempt to subtly challenge notions of beauty and masculinity, exploring its representation through the classical painting aesthetics of figuration and still life. Each work is an attempt to question the subjectivity of the body in relation with the stereotypes of the gender, by pushing the visual boundaries on the depiction of its shapes, cropping, submitting or objecting the body. Concepts of love and control, agency, and intimacy come across my practice creating and entangled web of images directly related to my lived experiences. By exploring the male figure, I get to experiment with all the decisions that depicting someone else's body implies, and to get a deeper understanding on my own power role in the process. In the work, I seek to analyse the ways in which we experience the other's body, playing with the nuances in between comfort and consent. From extreme body positions to the juxtaposition with other elements used as symbolic prompts, I have been producing images that deliberately challenge normative ideas of what masculinity might be, as well as purposely complicating and undermining them. In my most recent practice, I am interested on how male-gazed narratives have limited our perspective and understanding of the world. By visually prioritizing seemingly insignificant objects, I aim to give voice to the untold and break away from a singular worldview. The vases-objects that can be filled, carried, or destroyed- act as symbols to re-signify the male form just by placing them together. Reclaiming the classical painting language, I depict these elements to question the gaze and examine the given narratives that shape our visual perception of gender. These objects reformulate the compositional aspects of each image, distorting the human form and pushing toward abstraction when viewed from a close distance. Through this process, I aim to question conventional representation norms, satirizing gender stereotypes challenging their biased construction. 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.
Lily Kemp Blue Dream, 2025 Acrylic gouache on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About With an underlying interest in exploring narratives touching on the fluidity of gender and identities; Lily Kemp's paintings explore escapism, storytelling, the act of dressing up and playing out imagined roles. Drawing from a range of visual references and written sources, through the process of collage she interweaves figures and images from popular culture alongside found images of landscapes and her own personal photographs. Looking in part at the relationships between popular culture, gender norms and our sense of self. More specifically at our relationship with fashion, how the way we choose to present ourselves can be considered an extension of ourselves and a way of exploring our identities outside of socially constructed binary categorisations. The sense of scale in Lily's paintings is often distorted and exaggerated with an interchangeable indistinct relationship between her figures and the space surrounding them, her landscapes seeming to breathe a life of their own. Scenes are often hyper idealised and fantastical; her figures living within these imagined worlds and dream like realities which are both familiar, yet also border on the performative and theatrical. Education 2016 - 2019 BA Fine Art Painting, University of the Arts London, London 2015 - 2016 Foundation Diploma in Art and Design, University of the Arts London, London Solo and Duo Exhibitions 2024 Inner Voyage Out (duo show with Minyoung Kim), Over the Influence, Hong Kong 2023 Taking flight, Taymour Grahne Projects, London 2022 Cry me a river, Galeria Duarte Sequeira, Seoul Selected Group Exhibitions and Art Fairs 2024 International Women's Day Auction, Art on a Postcard, London New Now, Guts Gallery, London 2023 Duo presentation with Over the Influence at Kiaf Seoul 2022 Group presentation with Galeria Duarte Sequeira at Art Busan Intimacy, Taymour Grahne Projects, London What Now?, PM/AM gallery, London Assemble, V.O Curations, London 2021 Confluence of Tongues, Grove Collective, London Solo presentation with Galeria Duarte Sequeira at ARCO Madrid Bloomberg New Contemporaries 2020, South London Gallery, London Get a load of this, Daniel Raphael Gallery, London 2020 Bloomberg New Contemporaries 2020 Digital Platform That's How The Light Gets In, AucArt Virtual Gallery The Recent Graduates Exhibition, The Battersea Spring Affordable Art Fair, London Herstory - Women in Art, Maddox Gallery, London The Signature Art Prize, Bankside Hotel, London 2019 The Clyde & Co Art Award, St Botolph Building, London The Woon Foundation Painting & Sculpture Prize, Gallery North, Newcastle upon Tyne BA Degree Show, Wimbledon College of Arts, London Everyday Forms, Four Corners Gallery, London For Love or Money, Copeland Gallery, London 2017 Spilt Milk, Pop up venue, London 2016 Foundation Show, Camberwell College of Arts, London 2015 Young Art, Royal College of Art, London You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Kate Mary After Giverny, 2024 Acrylic and pastel on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Kate Mary (b.1992) is an artist living and working in Glasgow, Scotland. Her practice consists of largely two-dimensional drawings and paintings in oil pastel. Trained as an interior designer, Mary uses this creative lens to depict intimate renderings of domestic scenes and moments. Through enhancing motifs, playing with scale, celebrating colour, and intensifying light and shadow, her works become striking, atmospheric depictions of her memories. Education 2015 - 2019 Interior Design: BA Hons, Glasgow School of Art, Glasgow Solo Exhibitions 2024 Arrival, Salon 21, NYC, USA Group Exhibitions 2024 Original Works on Paper, For Arts Sake x Pitzhanger, London, UK There's No Place Like Home, Milieu Studios, St Ives, UK Summer Stories Exhibition, Artsnug, London, UK 50 x £50 - Auction Collective, London, UK 2023 Subconcious, Black White Gallery, London, UK SOTA Exhibition London Chapter, SOTA, London, UK Inaugural Salon Group Exhibition, Salon 21, NYC, USA Vivid Summer, Duet exhibition, Klamp Gallery, Seoul, South Korea Art on a Postcard, Hoxton Gallery and Dreweatts, London, UK 2022 Open Call Exhibition, Delphian Gallery, London, UK Kate Mary + Rie Kitagawa, Delphian Gallery, Tusson, France 2021 The Beat Goes On, Auction Collective, London, UK Gallery Representation Sobering Galerie, Paris, France Salon 21, NYC, USA For Arts Sake, London, England Statement about AOAP Submitted Artwork These works are a hopeful and ambiguous collection of observations from gardens in Givern and views of Nice; created to awaken the imagination and provide a sense of grounding, comfort, and growth. 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.
Celia Mora My Favourite Thing, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Celia Mora is a Spanish painter living and practicing painting in London. She completed her studies in Fine Arts at the Complutense University of Madrid (2013). She was awarded an Erasmus Scholarship to study at the University of Arts London (2017), establishing her residence in the UK. She finished her studies in 2018, receiving an award on graduation. Her works are held in private collections, including The Four Seasons Hotel, in Madrid. She was awarded the Elizabeth Greenshields Foundation grant to pursue her Master studies at Royal College of Arts in 2022. She has again received the support from the foundation with a second grant to carry on with her studies at Turps Art School 2023/2024. She has currently got Zsuzsi Roboz Scholarship by Morley College to support her practice. Also, a three-month studio residency at Soho Revue Studios in London. Education 2023 MA Painting, Royal College of Arts, London 2018 BA Fine Arts, Complutense University, Madrid 2013 BA Advertising and Public Relations, Complutense University, Madrid Group Exhibitions 2024 The Eve Principle, Norito Gallery, London Startled, Lychee one Gallery, London Southpark Gallery, London Soma, Duo show, Outhouse Gallery, London Walk while you have the light, Safe House, London Vessel, OHS Projects Jackson's Art Prize, Bankside Gallery, London Leavers show, Turps studio program, London Contemporary British Portrait Painters, The Department Store, London Boundaries, Outhouse Gallery, London Nausea, Playground 72, London Jackson's Art prize, Bankside Gallery, London Slip Slap Slop, Turps studio program, London A room of one's own, Irving Gallery, Oxford 2023 Road of excess, Safe house 2, London Crème Fraiche, ICA, London MA Graduate Show, RCA Battersea, London Figurativas Prize, European Museum of Modern Art Barcelona, Spain Miradas insumisas, Flippa Gallery, Barcelona, Spain Unladylike, D Contemporary, London Awards 2025 Soho Revue Studio Residency Program, London 2024/25 Morley College, Zsuzsi Roboz Scholarship 2024 Turps Studio program, London Elizabeth Greenshields Foundation Grant Statement about AOAP Submitted Artwork From a genuine interest in the depiction of the human figure, through my taken inspiration in the old masters, I redefine the visual codes that configure our interpretation and given unconscious understanding of the images. Taking the male body as a subject and my partner as a model, I place myself in the empowered position of the painter, redefining the idea of the "muse" from the first act of painting. I play with the depiction of the male body as an attempt to subtly challenge notions of beauty and masculinity, exploring its representation through the classical painting aesthetics of figuration and still life. Each work is an attempt to question the subjectivity of the body in relation with the stereotypes of the gender, by pushing the visual boundaries on the depiction of its shapes, cropping, submitting or objecting the body. Concepts of love and control, agency, and intimacy come across my practice creating and entangled web of images directly related to my lived experiences. By exploring the male figure, I get to experiment with all the decisions that depicting someone else's body implies, and to get a deeper understanding on my own power role in the process. In the work, I seek to analyse the ways in which we experience the other's body, playing with the nuances in between comfort and consent. From extreme body positions to the juxtaposition with other elements used as symbolic prompts, I have been producing images that deliberately challenge normative ideas of what masculinity might be, as well as purposely complicating and undermining them. In my most recent practice, I am interested on how male-gazed narratives have limited our perspective and understanding of the world. By visually prioritizing seemingly insignificant objects, I aim to give voice to the untold and break away from a singular worldview. The vases-objects that can be filled, carried, or destroyed- act as symbols to re-signify the male form just by placing them together. Reclaiming the classical painting language, I depict these elements to question the gaze and examine the given narratives that shape our visual perception of gender. These objects reformulate the compositional aspects of each image, distorting the human form and pushing toward abstraction when viewed from a close distance. Through this process, I aim to question conventional representation norms, satirizing gender stereotypes challenging their biased construction. 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.
Catherine Chambers Fortune, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Catherine Chambers is a figurative artist who documents poignant moments, often from her experiences of living abroad in Ethiopia and the Middle East. Catherine is inspired by environments and their inhabitants, capturing intimate moments of connectedness. However, as with all good portraiture, there is more than meets the eye to her work. These works ask the viewer to confront the complicated dynamics of love, care and identity. This is Catherine's second time working with Art on a Postcard. Her previous contributions zoomed in on feet from her larger paintings. This time, Catherine has created postcards looking at the hands in existing works of hers. Education 2009-2012 BA (Hons) Drawing and Applied Arts, University of the West of England, Bristol, UK Solo Exhibitions 2019 I Appreciate You, The Embassy of Ethiopia, London 2016 A Brother's Progress, Freespace Gallery, Kentish Town, London Red Lodge Chair, Red Lodge Museum, Park Row, Bristol Possession(s), The Tobacco Factory, Bristol Group Exhibitions 2024 Herbert Smith Freehills Award, National Portrait Gallery, London Women In Art Finalists, The Roundhouse, London RBA Rising Stars, Royal Over-Seas League, London Wells Contemporary Art, Wells Cathedral, Wells A Personal Treasure, The Nunnery Gallery, London 2023 Missed Letters, Making Space Gallery, London New Wave, Spitalfields Studios, London Awe and Wonder, Chaiya Art Awards, Oxo Gallery, London 2022 Football Art Prize, Millennium Gallery, Sheffield Galvanise, Spitalfields Studios, London Art on a Postcard, The Bomb Factory, London 2021 Summer Show, Royal Academy of Arts, London Sunny Art Prize, Sunny Art Centre, London 2020 Summer Exhibition, Green and Stone Gallery, London 2018 Summer Show, Royal Academy of Arts, London Awards 2024 3rd Prize for The Herbert Smith Freehills Prize at the National Portrait Gallery Royal Society of British Artists Rising Star Women in Art Prize finalist Gallery Representation Mall Galleries, London, UK Statement About AOAP Submitted Artwork Fly is a cropped detail from a larger painting currently being exhibited at the Mall Galleries annual Royal Society of British Artists exhibition. The painting continues a conversation Catherine introduced with her painting "Lying" which won third prize at the National Portrait Gallery in 2024. In this painting, the same sitter holds a bird securely; as it is, the bird cannot fly despite being born to do so. Catherine wants the audience to contemplate, if you have something (could be a relationship, land, artefacts...) but you have it by force or deceit, do you really have it at all? And is it still worth having? Class is a cropped detail from Catherine's larger painting "Between Classes". The girl chooses colours to fill the outlines of a princess. The postcard questions how the girl came to choose those specific colours and how they differ to the girls own image. The work explores ideas of care, influence and status; how they overlap, interact and differ. Fortune is a detail from Catherine's larger painting "Nafkot (Yeabsra)". A child holds a popular paper game, commonly known as a chatterbox or fortune teller. It was introduced to the girl by Catherine in an exchange of sharing games local to one and foreign to another. Games are a recurring theme in Catherine's work, highlighting how unlevel the playing field is in real life. First Hand is a detail from Catherine's larger painting "Holding Space". The hand is of a dear friend of the artist, and celebrates a friendship that challenges outside expectations. It is a prompt to think for oneself and to learn from trusted resources. 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.
Kate Mary Window View, Nice, 2024 Ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Kate Mary (b.1992) is an artist living and working in Glasgow, Scotland. Her practice consists of largely two-dimensional drawings and paintings in oil pastel. Trained as an interior designer, Mary uses this creative lens to depict intimate renderings of domestic scenes and moments. Through enhancing motifs, playing with scale, celebrating colour, and intensifying light and shadow, her works become striking, atmospheric depictions of her memories. Education 2015 - 2019 Interior Design: BA Hons, Glasgow School of Art, Glasgow Solo Exhibitions 2024 Arrival, Salon 21, NYC, USA Group Exhibitions 2024 Original Works on Paper, For Arts Sake x Pitzhanger, London, UK There's No Place Like Home, Milieu Studios, St Ives, UK Summer Stories Exhibition, Artsnug, London, UK 50 x £50 - Auction Collective, London, UK 2023 Subconcious, Black White Gallery, London, UK SOTA Exhibition London Chapter, SOTA, London, UK Inaugural Salon Group Exhibition, Salon 21, NYC, USA Vivid Summer, Duet exhibition, Klamp Gallery, Seoul, South Korea Art on a Postcard, Hoxton Gallery and Dreweatts, London, UK 2022 Open Call Exhibition, Delphian Gallery, London, UK Kate Mary + Rie Kitagawa, Delphian Gallery, Tusson, France 2021 The Beat Goes On, Auction Collective, London, UK Gallery Representation Sobering Galerie, Paris, France Salon 21, NYC, USA For Arts Sake, London, England Statement about AOAP Submitted Artwork These works are a hopeful and ambiguous collection of observations from gardens in Givern and views of Nice; created to awaken the imagination and provide a sense of grounding, comfort, and growth. 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.
Lily Kemp A quiet stillness, 2025 Acrylic gouache on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About With an underlying interest in exploring narratives touching on the fluidity of gender and identities; Lily Kemp's paintings explore escapism, storytelling, the act of dressing up and playing out imagined roles. Drawing from a range of visual references and written sources, through the process of collage she interweaves figures and images from popular culture alongside found images of landscapes and her own personal photographs. Looking in part at the relationships between popular culture, gender norms and our sense of self. More specifically at our relationship with fashion, how the way we choose to present ourselves can be considered an extension of ourselves and a way of exploring our identities outside of socially constructed binary categorisations. The sense of scale in Lily's paintings is often distorted and exaggerated with an interchangeable indistinct relationship between her figures and the space surrounding them, her landscapes seeming to breathe a life of their own. Scenes are often hyper idealised and fantastical; her figures living within these imagined worlds and dream like realities which are both familiar, yet also border on the performative and theatrical. Education 2016 - 2019 BA Fine Art Painting, University of the Arts London, London 2015 - 2016 Foundation Diploma in Art and Design, University of the Arts London, London Solo and Duo Exhibitions 2024 Inner Voyage Out (duo show with Minyoung Kim), Over the Influence, Hong Kong 2023 Taking flight, Taymour Grahne Projects, London 2022 Cry me a river, Galeria Duarte Sequeira, Seoul Selected Group Exhibitions and Art Fairs 2024 International Women's Day Auction, Art on a Postcard, London New Now, Guts Gallery, London 2023 Duo presentation with Over the Influence at Kiaf Seoul 2022 Group presentation with Galeria Duarte Sequeira at Art Busan Intimacy, Taymour Grahne Projects, London What Now?, PM/AM gallery, London Assemble, V.O Curations, London 2021 Confluence of Tongues, Grove Collective, London Solo presentation with Galeria Duarte Sequeira at ARCO Madrid Bloomberg New Contemporaries 2020, South London Gallery, London Get a load of this, Daniel Raphael Gallery, London 2020 Bloomberg New Contemporaries 2020 Digital Platform That's How The Light Gets In, AucArt Virtual Gallery The Recent Graduates Exhibition, The Battersea Spring Affordable Art Fair, London Herstory - Women in Art, Maddox Gallery, London The Signature Art Prize, Bankside Hotel, London 2019 The Clyde & Co Art Award, St Botolph Building, London The Woon Foundation Painting & Sculpture Prize, Gallery North, Newcastle upon Tyne BA Degree Show, Wimbledon College of Arts, London Everyday Forms, Four Corners Gallery, London For Love or Money, Copeland Gallery, London 2017 Spilt Milk, Pop up venue, London 2016 Foundation Show, Camberwell College of Arts, London 2015 Young Art, Royal College of Art, London You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Kelly Jessiman Holding On, 2025 Stoneware Glazed Ceramic Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About St Leonards-on-Sea-based Kelly Jessiman builds her forms at the family dinner table, and each piece is fired and glazed in her garden shed. She takes a wide range of inspiration from contemporary paintings and ancient artefacts. Each stage is an organic process; the clay often takes on a life of its own, which leads to the final form, and from there, she decides how it will be glazed. Often glazed with hidden notes written on and scratched into the glaze, overlapped with drawings and good luck charms or superstitious markings warding off evil. Kelly enjoys the process of pottery and the unpredictable outcomes it presents. Her pieces are experimental, playing with the juxtaposition of neatly made traditional shapes against the organic imperfections inherent in the act of hand-building. Kelly's background is in fine arts, where she studied foundation art at Chelsea School of Art and went on to study BA Fine Art Sculpture at Camberwell School of Art. Exhibitions 2021 Babes in Arms group show, Big Yin Gallery, December 2022 Hot as Hell group show, Big Yin Gallery, June Burnt Orange group show, Big Yin Gallery, July A Trip Around the Sun group show, Big Yin Gallery, September Babes in Arms group show, De La Warr, September New Colour Now, Livingston, London, November 2023 Babes in Arms studio takeover, The Hastings Contemporary, March A Room of One's Own group show, Livingston, Bristol, May FOLDE group show, Coastal Currents, Hastings, September The Gallerist's Home, MAH Gallery, London, June Collection 04, Felt MKII, London, September The Bedroom and the Study, The House by MAH, London Design Festival, September In Time group show, Gallery 13, October Christmas Cracker, Georgia Stoneman Gallery, Castlecary, December 2024 Gate of Entrancement, Electro Studio Project Space, March Unapologetic Colour group show, Another Country, Marylebone, London, May Shaped, Felt, Straffordshire Street, London, July Gather in Gathering, Milieu Studios, October Served group show, Felt Host, London, December 2025 In Fleeting Moments group show, Secession Gallery, January Statement about AOAP Submitted Artwork The work submitted for Art on a Postcard is unusual for me as I don't usually work on small-scale flat surfaces. Here, I have decided to explore the idea of ceramic postcards and what postcards mean to me-sending thoughts of love, hope, and missing certain special people, added with my usual overlapping of words and images. 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.
Kelly Jessiman Sunflowers and Coffee, 2025 Stoneware Glazed Ceramic Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About St Leonards-on-Sea-based Kelly Jessiman builds her forms at the family dinner table, and each piece is fired and glazed in her garden shed. She takes a wide range of inspiration from contemporary paintings and ancient artefacts. Each stage is an organic process; the clay often takes on a life of its own, which leads to the final form, and from there, she decides how it will be glazed. Often glazed with hidden notes written on and scratched into the glaze, overlapped with drawings and good luck charms or superstitious markings warding off evil. Kelly enjoys the process of pottery and the unpredictable outcomes it presents. Her pieces are experimental, playing with the juxtaposition of neatly made traditional shapes against the organic imperfections inherent in the act of hand-building. Kelly's background is in fine arts, where she studied foundation art at Chelsea School of Art and went on to study BA Fine Art Sculpture at Camberwell School of Art. Exhibitions 2021 Babes in Arms group show, Big Yin Gallery, December 2022 Hot as Hell group show, Big Yin Gallery, June Burnt Orange group show, Big Yin Gallery, July A Trip Around the Sun group show, Big Yin Gallery, September Babes in Arms group show, De La Warr, September New Colour Now, Livingston, London, November 2023 Babes in Arms studio takeover, The Hastings Contemporary, March A Room of One's Own group show, Livingston, Bristol, May FOLDE group show, Coastal Currents, Hastings, September The Gallerist's Home, MAH Gallery, London, June Collection 04, Felt MKII, London, September The Bedroom and the Study, The House by MAH, London Design Festival, September In Time group show, Gallery 13, October Christmas Cracker, Georgia Stoneman Gallery, Castlecary, December 2024 Gate of Entrancement, Electro Studio Project Space, March Unapologetic Colour group show, Another Country, Marylebone, London, May Shaped, Felt, Straffordshire Street, London, July Gather in Gathering, Milieu Studios, October Served group show, Felt Host, London, December 2025 In Fleeting Moments group show, Secession Gallery, January Statement about AOAP Submitted Artwork The work submitted for Art on a Postcard is unusual for me as I don't usually work on small-scale flat surfaces. Here, I have decided to explore the idea of ceramic postcards and what postcards mean to me-sending thoughts of love, hope, and missing certain special people, added with my usual overlapping of words and images. 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.
Catherine Chambers Fly, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Catherine Chambers is a figurative artist who documents poignant moments, often from her experiences of living abroad in Ethiopia and the Middle East. Catherine is inspired by environments and their inhabitants, capturing intimate moments of connectedness. However, as with all good portraiture, there is more than meets the eye to her work. These works ask the viewer to confront the complicated dynamics of love, care and identity. This is Catherine's second time working with Art on a Postcard. Her previous contributions zoomed in on feet from her larger paintings. This time, Catherine has created postcards looking at the hands in existing works of hers. Education 2009-2012 BA (Hons) Drawing and Applied Arts, University of the West of England, Bristol, UK Solo Exhibitions 2019 I Appreciate You, The Embassy of Ethiopia, London 2016 A Brother's Progress, Freespace Gallery, Kentish Town, London Red Lodge Chair, Red Lodge Museum, Park Row, Bristol Possession(s), The Tobacco Factory, Bristol Group Exhibitions 2024 Herbert Smith Freehills Award, National Portrait Gallery, London Women In Art Finalists, The Roundhouse, London RBA Rising Stars, Royal Over-Seas League, London Wells Contemporary Art, Wells Cathedral, Wells A Personal Treasure, The Nunnery Gallery, London 2023 Missed Letters, Making Space Gallery, London New Wave, Spitalfields Studios, London Awe and Wonder, Chaiya Art Awards, Oxo Gallery, London 2022 Football Art Prize, Millennium Gallery, Sheffield Galvanise, Spitalfields Studios, London Art on a Postcard, The Bomb Factory, London 2021 Summer Show, Royal Academy of Arts, London Sunny Art Prize, Sunny Art Centre, London 2020 Summer Exhibition, Green and Stone Gallery, London 2018 Summer Show, Royal Academy of Arts, London Awards 2024 3rd Prize for The Herbert Smith Freehills Prize at the National Portrait Gallery Royal Society of British Artists Rising Star Women in Art Prize finalist Gallery Representation Mall Galleries, London, UK Statement About AOAP Submitted Artwork Fly is a cropped detail from a larger painting currently being exhibited at the Mall Galleries annual Royal Society of British Artists exhibition. The painting continues a conversation Catherine introduced with her painting "Lying" which won third prize at the National Portrait Gallery in 2024. In this painting, the same sitter holds a bird securely; as it is, the bird cannot fly despite being born to do so. Catherine wants the audience to contemplate, if you have something (could be a relationship, land, artefacts...) but you have it by force or deceit, do you really have it at all? And is it still worth having? Class is a cropped detail from Catherine's larger painting "Between Classes". The girl chooses colours to fill the outlines of a princess. The postcard questions how the girl came to choose those specific colours and how they differ to the girls own image. The work explores ideas of care, influence and status; how they overlap, interact and differ. Fortune is a detail from Catherine's larger painting "Nafkot (Yeabsra)". A child holds a popular paper game, commonly known as a chatterbox or fortune teller. It was introduced to the girl by Catherine in an exchange of sharing games local to one and foreign to another. Games are a recurring theme in Catherine's work, highlighting how unlevel the playing field is in real life. First Hand is a detail from Catherine's larger painting "Holding Space". The hand is of a dear friend of the artist, and celebrates a friendship that challenges outside expectations. It is a prompt to think for oneself and to learn from trusted resources. 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.
Poppy Lennox Echoes of the Land - Study, 2025 Liquid rust, crystallised salt, and pure silk thread on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About By looking to both the structures within the cosmos and nature's intricate systems and patterns, contemporary British artist Poppy Lennox explores the human desire to seek pattern as a way of understanding the vastness and complexities of existence. Using materials such as wood, plaster, paint, earth, metal powders, wax, raw silk and thread, Poppy's dynamic works capture the delicate yet powerful systems that underpin life itself. The Transcendentalist belief in the divinity of nature and the importance of our connection to it informs much of Poppy's subject matter. 'Energy Lines', Poppy's most recent body of work reveals pattern that is reminiscent of both mycelium and cosmic networks. Tethered forms of thread go beyond the woven mark to connect the microcosm and macrocosm and reflect on the energetic and vibrational forces that surround every aspect of life. The process of layering and revealing plaster and paint with the incisive, repetitive, often geometric stitched marks of thread creates traces and memories-echoes of both our presence and that which has forever existed. Education 1999-2003 BA (Hons) Fine Art, Newcastle University 1998-1999 BTEC Diploma in Foundation Studies, Cheltenham & Gloucester College Group Exhibitions 2025 Today for You, Tomorrow for Me, London Art Fair, curated by Becca Pelly-Fry International Women's Day Auction, Art on a Postcard OPEN05, Park Royal Gallery The Art Studio Pop-Up, London You are the Circle, Excelsior Studios, London Design Festival Just Playing, Gorst Road Studios, London Design Festival OPEN24, Tarpey Gallery, Castle Donington Dark Materials Tell Stories, J/M Gallery, London The Spirit of Boudica, Norwich Cathedral 2023 Re-Block, pop-up as part of the 'LONDON re made' programme OPEN04, Excelsior Studios, London Design Festival Synergism, Gorst Road Studios, London Design Festival Art For Charity Collective Summer Exhibition International Women's Day Auction, Art on a Postcard, curated by Lee Sharrock International Women's Day Auction, Art For Charity Collective 2022 Arms Around the Child, charity art auction, Christie's Auction House Poppy Lennox + Dawn Beckles: Life Still', 99 Projects, London Home House, London Expressions of Abstraction, The Savoy, London Rebirth, 99 Projects, London, group exhibition curated by Lee Sharrock Supernature, Paxton + Glew Gallery, Brighton SHE/HER/HERS, Oakland Gallery, New Brighton Gallery Representation 99 Projects, London, UK Statement About AOAP Artwork Echoes of the Land Study is part of Poppy's ongoing 'Energy Lines' series, in which she explores the intricate systems and patterns of nature's landscapes, our deep connection to the land, and the unseen energy that moves through and between us. In this latest exploration, she layers crystallised salt and liquid rust-textures evocative of eroded landscapes, salt plains, or even an otherworldly terrain-blending the raw and the ethereal. Silk threads, hand-stitched to represent energy lines, weave through the space, symbolising connection, purity, femininity, and the transcendental. 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.
19th century inlaid rosewood-cased 8-air 'bells in sight' cylinder musical box, No. 18742, the 13-inch barrel and complete comb playing eight airs, mainly of Scottish theme, (listed on numbered card) beneath nine bells, the crank handle also numbered, the box with floral inlay and crossbanding, 58cm x 29cm x 25cm high
Beautifully made Chess Set. All made by hand. All pieces are hand carved shaving sticks and are painted by hand. Teams are of WW2 characters, the largest being approx 6 inches tall. There are two playing surfaces, both of which match and fit the hand made storage box which measures approx H:7 x W:19 x D:19 inches. (please note, Some of the carved chess players have some slight damage which we are told, that being made of shaving soap, are fairly easy to stick together again.) See multiple photographs.
A BOXED HALCYON DAYS ENAMEL 'THE ROYAL ALBERT HALL' MUSIC BOX, 'The English may not like music but they absolutely love the noise it makes' Sir Thomas Beecham 1967, the music playing is 'Rule Britannia', traditionally played at the Last Night of the Proms. The Royal Albert Hall was opened by Queen Victoria in 1871. Since 1941 it has been the home of the Promenade Concerts which were founded by Sir Henry Wood, Dia. 8 cm
A BOXED LIMITED EDITION HALCYON DAYS ENAMEL 'LUDWIG VAN BEETHOVEN 1770-1827' MUSIC BOX, to mark the bicentenary of the premieres of two of the composer's most celebrated works, Symphony No. 5 (Victory) and Symphony No 6 (Pastoral) Theatre an der Wien, Vienna, 22 December 1808, the music extract playing is from the 1st movement of Symphony No. 5 1808 - 2008, No. 57 of 100, Dia. 8 cm
DUTCH STYLE MARQUETRY FOLD-OVER GAMES TABLE, rectangular fold-over top with flowering urn, scroll and bird marquetry revealing chess table and playing card decoration, hidden cupboard with game tokens, marquetry pipe decoration, secret long drawer to back right side, gate-action leg, raised on tapering legs, platform square feet, 75 (h) x 75 (w) x 37cms (d)Comments: some losses to marquetry top, colour fading in places, structurally sound though with some splits, cracking and warping, viewing recommendedProvenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.
PAIR OF RECONSTITUTED STONE FIGURES OF PAN, seated on tree stumps playing pipes, 98cms (h)Comments: both with damaged arms, lacking pipesProvenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoPlease note that images of items taken at Plas Teg might not be representative of the current condition of the object. Please enquire. Note: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.
GEORGE II MAHOGANY CARD TABLE, with outset corners enclosing later needlework inset playing surface, sunken wells for counters & candlesticks, shell carved cabriole legs, claw & ball feet, 72 x 103cms (w-open)Comments: top slightly warpedProvenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.
* ALEXANDER MILLAR (SCOTTISH b. 1960), HAPPY DAYS oil on canvas, signedframedimage size 76cm x 60cm, overall size 95cm x 80cm Note: Ayrshire born Alexander Millar, one of the UK’s most loved and collectable artists, is a self-taught, contemporary impressionist artist, whose work depicts the small wonder of the everyday. He is one of the few living artists in the UK who have had museum exhibitions in Newcastle (The Great North: Hancock), Glasgow (Scotland Street Museum) and New York (The Fire Dept. Museum of New York). His work has also been displayed in public venues, such as shopping centres and metro carriages, as well as being used as scenic backdrops for theatrical productions. His atmospheric landscapes capture memories of life in the 50's and 60's and his impressionist brush strokes and tones create a romantic view of that era, often playing with the effect of light as it is reflected on a wet tiled roof, transporting the viewer back to the cityscapes of their own childhood. From an early age he has viewed his surroundings and the people he grew up with as if they were a carefully choreographed street ballet: old men on bikes coming home from a hard day’s graft, the gossiping women standing on the street corner or the working man staggering home after a payday night on the town.
A collection of American circular Rex compacts c1930s and later, including a large black and gilt example with relief mask head, 10cm diameter, red and gilt example, 10cm diameter, turquoise enamelled example, 9cm diameter, floral embroidered example with mirror verso 9cm diameter, musician playing to seated females with mirror verso 9cm diameter, smaller orange guilloche enamelled example with mirror verso, 7cm diameter and a square 1950s gilt and black enamelled floral decorated example, 7.5cm (7)These items are all in lovely condition for thier age, please see new photos.
A collection of circular American compacts, including two Marinello elephant decorated, one enamel rubbed, 5cm diameter, two Pompeian Bloom c1927 with flowers in urn, 4cm diameter, Hollywood with coloured bead mounted flower 4cm, two 1940sTattoo with dancing figures 3cm, Sesquicentennial International Exposition Philadelphia 1926, 5cm, figures playing chess, 6.5cm and a Tangee Rouge 3.5cm diameter with refill tool (11)
A quantity of French art nouveau silver plate or base metal rouge or loose powder compacts, circular examples including Roman Goddess c1909 4cm diameter, 2 x figural 4cm diameter, couple playing tennis signed Franier c1905 4.5cm diameter, Marianne with cracked ice verso 4cm diameter, religious gentleman 4cm diameter, oval example inscribed Bruges 5cm x 3.5cm and a square Anvers Cathedrale 4cm (8)
* Chinese Fan. A hand-painted fan, late 18th/early 19th century, folding paper fan, the leaf hand-painted with a scene of two Oriental ladies seated beneath trees, one playing a flute, flanked by blossoming branches, some splitting of folds and associated repairs on verso, lacquered painted and gilded wooden sticks, mother of pearl rivet, 27 cm (10.75 ins), together with:An embroidered fan in a lacquered box, late 19th/early 20th century, folding cream gauze fan, the leaf hand-embroidered in polychrome silk threads with an exotic bird, a butterfly, and floral stems, light stain to right-hand side, some short splits in upper edge of folds (and loss of narrow ribbon edging in places), filigree bone sticks, with cream silk tassels, 22 cm (8.75 ins), contained in the original lacquered wooden box, with blossom stems in gilt to hinged lid, and inside of lid hand-painted with a song bird and roses on a pale turquoise silk ground, cardboard insert for fan slightly broken at one end, plus 3 other Chinese hand-painted folding paper fans: the first depicting an eagle and song birds on one side, and insects, a snail, and a frog on the other, hand-painted ebonised wooden sticks; the second with pagodas on one side and Chinese characters in gilt on the other, bamboo sticks; the third depicting cranes, with pen & ink figures on wooden sticks, plus another lacquered fan box, with gilt decoration on the outside of the lid and hand-painted inside the lidQTY: (6)
* Playing Cards. A set of five Regency hexagonal quadrille baskets given to Jane Martha Hicks Beach, 1801, one large pool basket and five smaller players' baskets, of trelliswork composed of rolled paper filaments and wound with silk, 11.5 x 15.5 cm (4.5 x 6.25 ins) and 8.5 x 11 cm (3.5 x 4.5 ins), together with a contemporary note in sepia ink on pastepaper backed with card 'Aunt Pettat's work. Grandmother Lady Hicks christening present to me, Quadrille baskets', and a further note in early ink on a piece of wood veneer partially covered in pastepaper 'Jane Martha Hicks Beach b.[orn] & X[chris]tened 1801 (afterwards Mrs St. John) Aunt to M J Portal - died' QTY: (5)NOTE:An extremely rare set of baskets intended for use when playing the card game Quadrille, surviving in excellent condition. Quadrille, a card game for four which developed in France in the late 17th century, became particularly popular among the British nobility in the late 18th and early 19th centuries, especially amongst women. Each player starts with a set number of gaming counters in their basket, of a distinctive colour to differentiate each player, with the larger container used as the pool basket. The V&A has just a single pool basket (accession number W.14-1978) - a less surprising survival due to it being much more durably made of painted wood.Jane Martha Hicks Beach (1801-1882) was a pioneering photographer. She was born at Williamstrip Park, Coln St. Aldwyn, Gloucestershire, and baptised in the village church there. Williamstrip Park, an important country mansion, was built in the 17th century, but reworked by John Soane in 1791 for Jane's father, Michael Hicks, later Hicks Beach (1760-1830). The giver of these baskets was Jane's maternal grandmother, Lady Martha Hicks née Browne (1715-1802), who lived at Whitcombe Park, Gloucestershire, the ancestral home of her husband Sir Howe Hicks. Michael's older sister, Martha Hicks (1742-1826), married John Pettat, rector of Quenington, and therefore is the 'Aunt Pettat' referred to whose handiwork these trays are. Jane married Edward William St. John (1815-1886) on 24th February 1848. As a photographer, she was particularly noted for calotype views taken in Italy while travelling with her husband.
* Sampler. An early 19th century needlework by Emily White, 1825, neatly worked in cross stitch, satin stitch, and tent stitch, in black and coloured silks (mainly shades of green, blue, beige, yellow, and white), on a dark cream linen ground, with a symmetrical house flanked by large flower urns, each with two butterflies in flight above, lettered above 'Emily White Aged 11 the 8th of 12th Mo 1825', and below the house a shepherd playing a pipe and standing under a tree beside a seated shepherdess, with three white sheep and a black sheep, meandering floral border, a few tiny holes, mostly to border, 35 x 30 cm (13.75 x 11.75 ins), framed and glazed (42.5 x 37 cm) QTY: (1)NOTE:A rather unusual pictorial sampler, with its large formal house juxtaposed with the charming pastoral image below, perhaps indicating an adjoining parkland.
A captivating ceramic relief tile by Israeli artist Ruth Faktor (b. 1937), known for her modernist approach to ceramic art. This piece, "Two Musicians," features an abstract depiction of two stylized figures playing musical instruments, rendered with bold geometric forms and vibrant glazes. Faktor's work masterfully blends traditional themes with a contemporary aesthetic, making her ceramics highly sought after by collectors. The textured relief technique and striking color palette of earthy browns, deep blues, and warm oranges add depth and dimension to the composition. The piece is set in a dark wood frame, enhancing its mid-century modern appeal.Artist: Ruth Faktorowicz (b.1937)Issued: 20th centuryDimensions: 15.5"HCondition: Age related wear.
The Smiths: A typed letter, hand-signed by Morrissey in blue crayon, written to Mike Hinc of All Trade Booking, dated September 19th [1984], regarding plans for forthcoming live show bookings, reading 'Dear Mike, Thank you for sending the rider. You understand that I no longer have any physical need for gladioli or small greenary [sic] (passe, man), but instead, an insatiable biological need for a small tree. Please include this paltry request on Irish rider (indeed all future riders). The tree itself should be imminently swingable, at least four feet in length, minus thorns or anything likely to maime [sic] a delicate artistic hand.Please send me a detailed list of the finalised Irish dates. It had always been group policy never to return to any given venue, so this is why we frown at the Ulster Hall. I wish something could be done. Is it too late? We have no real passion to visit Londonderry. Can you let me know the finalised ticket prices for all Irish dates? Provenance: From the personal collection of the late Mike Hinc, former booking agent at Rough Trade for Morrissey, The Smiths and others. The lot forms part of an extensive archive of related items on this sale, consigned by the family of Mike Hinc.We feel that the February-March tour should be mammoth. The crew need details of venues as soon as possible. We plan to accommodate a huge screen onstage (this was roughly planned for the three upcoming gigs, but stage area was deemed too small). So although we'd like all venues (practically) to be stand up's, there must be stage space for a vast screen. Sergeant Featherstone can explain further.The main purpose of the Feb-March tour will be to promote the 2nd LP ['Meat is Murder']. If LP is not released by mid-February, we are in deep trouble. I want to avoid antics of Feb-March tour '84 where LP was released mid-tour.Instead of playing two (or more!) nights at a London venue, can we not play a London date early in the tour and London date at latter half, playing two separate venues? Also, for Manchester, can we wheedle in a concert hall date and a club date?Please think about these two points.RT [Rough Trade] release a compilation LP mid-November of radio sessions, but otherwise a record release before the end of this year is unlikely.As a matter of total trivia, although waves splash abound, The Smiths as a unit have never been so unified and determined. Plus, we still get heaps of fan mail (especially me). Love (I expect), Morrissey.' A second typed letter, (facsimile text and signature), dated May 21st 1985, reads: 'Dear Mike, The final Spanish date was the worst 24 hours of our career. As a direct result, please discard any notions of the Smith ever doing any European hikes. Enough is enough.We will never work with Stuart James again. Please produce a choice of three tour managers for America. We can quite easily conduct swift interviews in Manchester and finally brand the luckless candidate.We will never take a flight on a gig day; our ears are precious. We rely on them. Please apply this to the US jaunt.It was good to see you in Madrid, but clearly Scott left the country without altering his notions of US Tour Presidency. I rely on you fully to clean this issue up and get it out of the way.To re-tell the San Sebastian incident is to re-live it. Naturally, our Spanish promoters turned into our worst enemies. We were inches away from imprisonment. Everybody in the entourage deserted the group.We do not want a caterer for the US tour. If the promoters don't provide ample basic food, we're going home to our Mothers.I think that demanding there be no barriers and very modest 'heavies' at US gigs is a wholly reasonable request. The absolute purpose of this tour is to incite stage invasions.Please let me know the situation with James. Has a second 'major' group been added to Dublin? Please confirm with Scott that Jim Connelly is available for America. After all, we need at least one person to be on our side.Finally, our strongest thanks to Hilary for all her brainpower throughout the Spanish hotel siege. Too sincerely, Morrissey.'
Pathfinder Pawns. Pathfinder Roleplaying Tabletop Game. 5 box sets and box file with beast cards / tokens. All opened. Sets not checked for completeness. Includes Pathfinder Pawns NPC Codex Box. Pathfinder Pawns Bestiary Box. Pathfinder Pawns Bestiary Box 2. Pathfinder Pawns Bestiary Box 3. Pathfinder Pawns Bestiary Box 4. Box file of Pawn cards and Tokens. The Pathfinder Roleplaying Game is a fantasy role-playing game (RPG) that was published in 2009 by Paizo Publishing. The first edition extends and modifies the System Reference Document (SRD) based on the revised 3rd edition Dungeons & Dragons (D&D) published by Wizards of the Coast under the Open Game License (OGL)
H.P. Lovecraft Cthulhu Softback Roleplaying Books by Chaosium. Based on the work of HP Lovecraft the American Horror writer. Including Cthulhu Dark Ages Core Game Book. The Casting Call Of Cthulhu character book. The Great Old Ones. Cthulhu Invictus sourcebook. Cthulhu Invictus Companion. HP Lovecraft's Kingsport - The City In The Mists. HP Lovecraft's Dunwich - Return To The Forgotten Village (7 books) Call of Cthulhu is a horror fiction role-playing game based on H. P. Lovecraft's story of the same name and the associated Cthulhu Mythos. The game, often abbreviated as CoC, is published by Chaosium; it was first released in 1981 and is one of the world's best selling roleplay games
Dungeons & Dragons. Four hardback roleplaying game books and rule supplement books, to include: Dungeons & Dragons Dungeon Masters Guide, v3.5. The Plane Above: Secrets Of The Astral Sea. Forgotten Realms Players Guide. And Open Grave Secrets of the Undead (4). Dungeons & Dragons (commonly abbreviated as D&D or DnD) is a fantasy tabletop role-playing game (TTRPG) originally created and designed by Gary Gygax. The game was first published in 1974 by Tactical Studies Rules (TSR). It has been published by Wizards of the Coast, later a subsidiary of Hasbro, since 1997.
HILL HENRY: (1943-2012) American mobster whose life was immortalised in Martin Scorsese's 1990 gangster film Goodfellas in which Hill was portrayed by Ray Liotta. A King of Spades playing card issued by the Palace Station hotel and casino, signed by Hill in bold black ink with his name alone to the white border. Together with a typed quotation signed, Henry Hill, one page, oblong 4to, n.p., August 2009, in full, ´As far back as I can remember I´ve always wanted to be a gangster´, being Liotta´s opening line of dialogue in Goodfellas, the page also apparently incorporating a certificate of authenticity for a Las Vegas gambling chip (no longer present). Some light creasing to the page bearing the quotation, G to VG, 2
REEVE CHRISTOPHER: (1952-2004) American actor, remembered for playing the title character in the superhero film Superman (1978) and three sequels. A good signed 6.5 x 9.5 photograph (as issued) of the actor standing in a three-quarter length bare-chested pose, holding a towel in one hand, as Clifford Anderson from the American black comedy suspense film Deathtrap (1982). Signed by Reeve in bold blue ink with his name alone to the image. EX
BERLUSCONI SILVIO: (1936-2023) Italian politician and media tycoon who served as Prime Minister of Italy 1994-95, 2001-06 & 2008-11. A complete set of 52 playing cards (plus two Jolly Joker cards and one extra) issued for the 2006 Italian general election by the Forza Italia political party, founded by Berlusconi in 1994, the cards featuring various images and slogans (´Berlusconi Presidente´) in support of Berlusconi being re-elected as Prime Minister (he was narrowly defeated, although did not concede losing). The Ace of Diamonds card bears a colour head and shoulders image of Berlusconi with the caption La sinistra dice che tutto va male - Lasciamola Perdere (Translation: ´The Left says that everything is going wrong - Let's let it lose´) and is signed by the Prime Minister in blue ink with his name alone. Contained in the original cardboard box (some light age wear). Generally VG
PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A printed small 4to exhibition catalogue for Picasso at the Durand-Ruel Galleries in New York, 3rd - 29th May 1948, featuring various paintings created by Picasso between 1939 and 1945, ten of them portraits of women and five still lifes, each reproduced in monochrome to a single page opposite a description of the work. To the front cover Picasso has executed an attractive original pencil, black and blue crayon drawing, the image showing a flute player seated serenely on the ground in a full-length profile pose, facing right and with his knees bent, playing a long flute which he holds to his lips with both hands. Around the fluid, simplistic and stylised figure (in black crayon) Picasso has added (in pencil and blue crayon) a horizon and arabesques which serve to illuminate the composition. Signed (´Picasso´) by the artist in pencil, above the printed title of the catalogue, and dated 5th September 1950 in his hand. A wonderful and highly desirable original drawing signed by Picasso. Some very light, extremely minor age wear, VGThe theme of the flautist recurred many times in Picasso´s works during his career, and the present drawing is somewhat reminiscent of The Flute Player (1962) in which Picasso also depicts the musician seated on the ground, in a full-length pose and with his knees bent, holding his flute to his mouth with both hands.
KNOPFLER MARK: (1949- ) British Singer & Guitarist, leader of the rock band Dire Straits. Signed 8 x 10 colour photograph by Knopfler, the image showing the British guitarist standing and performing in a three-quarter length pose, playing his guitar. Signed by Knopfler in bold blue ink across the image. EX
BONAPARTE RAMOLINO LETIZIA: (1750-1836) Mother of Napoleon Bonaparte. Rare L.S. by Napoleon´s mother, signed twice, with three lines holograph sentence in her hand and in Italian at the conclusion, four pages, 4to, Paris, 1st February 1813, to Pauline Bonaparte, in French. Letizia Ramolino autograph sentence states `Addio cara figlia, ti abbraccio caramente e sonno la tua affetuosa madre´ (Translation: "Goodbye dear daughter, I embrace you dearly and I am your affectionate mother". At the end of a postscriptum Letizia signs a second time `Vostra Madre´. An interesting content letter showing how important was the family pivot role that Letizia was playing, and also proving how Napoleon Bonaparte was informed, was aware and was deciding about all family matters. Letizia Ramolino writes to her daughter Pauline, and reports about Napoleon Bonaparte and the news she has received, also referring to her son Joseph Bonaparte, and Empress Marie Louise, stating in part `Ma chère fille, Conformément à ce que vous m´aviez fait dire par Madame de Cavour, j´ai parlé hier à l´Empereur e votre projet de quitter Hyères, et d´aller passer le reste de l´hiver à Nice, et ai eu la satisfaction de voir qu´il n´y trouve aucun inconvénient. Je pense qu´il vous aura fait répondre dans ce sens, mais si ses occupations ne le lui avaient pas permis, vous pouvez mettre à exécution votre projet sur la présente.´ (Translation: "My dear daughter, In accordance with what you had sent me through Madame de Cavour, I spoke yesterday to the Emperor about your plan to leave Hyères and spend the rest of the winter in Nice, and had the satisfaction of seeing that he had no objection to it. I think that he will have sent you a reply in this sense, but if his occupations had not permitted him to do so, you can put your plan into execution from now on.") Further, Letizia Bonaparte refers to her own health and the Emperor´s one, as well as Joseph´s news received from Madrid, saying `Ma santé continue à être bonne. Il en est de même de l´Empereur et de tous les autres de la famille qui sont à Paris. J´ai reçu des lettres de Joseph des derniers jours de décembre de Madrid. A cette époque il se portait bien...´ (Translation: "My health continues to be good. Same happens with the Emperor´s one and with all the other members of the family who are in Paris. I received letters from Joseph in the last days of December from Madrid. At that time he was well...") To a postscriptum, Letizia Ramolino, having received Pauline´s letter at that moment she was concluding the letter, in some way scolds her daughter saying `... je vois avec peine que vous êtes affligée sans raison de ce que je vous ai mandé dans ma dernière. Il n´y a pas sûrement de quoi. Je peux vous assurer que l´Impératrice ne m´en a parlé que par manière de conversation et non autrement. De mon côté, je ne vous en ai écrit que par la curiosité de savoir si vraiment vous aviez fait ce que vous m´avez dit être dans l´intention de faire lorsque nous étions à Aix. Cessez donc de vous tourmenter de choses qui n´en valent pas la peine.´ (Translation: "...I see with pain that you are distressed without reason by what I told you in my last letter. There is certainly no reason. I can assure you that the Empress spoke to me about it only by way of conversation and not otherwise. For my part, I only wrote to you out of curiosity to know if you had really done what you told me you intended to do when we were in Aix. So stop tormenting yourself about things that are not worth it.") VG
MILLER ARTHUR: (1915-2005) American playwright, Pulitzer Prize winner for Drama, 1949. An unusual signed 10 x 8 photograph, the original vintage United Artists publicity portrait dating from 1960 and depicting Miller in a full-length pose during a break in the filming of The Misfits, the printed caption affixed to the verso explaining ´Playing as hard as he works, Arthur Miller risks heat exhaustion and sunstroke in temperatures that rose as high as 110 degrees.....to play "desert bocci", an improvised form of the Italian bowling game played with Coke bottles and a wheel from a camera dolly´. Signed by Miller in bold, dark blue fountain pen ink to a clear area of the image. A couple of very light, extremely minor light stains to the lower part of the image, otherwise VGArthur Miller wrote the screenplay for the American contemporary Western film The Misfits (1961) which was directed by John Huston and starred Clark Gable and Miller´s wife at the time, Marilyn Monroe. The movie would be both Gable and Monroe´s final completed film.
WINTER VINCENT: (1947-1998) Scottish child film actor, the joint recipient of an Academy Juvenile Award in 1954. A scarce signed 7 x 9.5 photograph, the original vintage publicity portrait issued by the J. Arthur Rank Organisation Ltd and showing (as stated in the printed caption lightly affixed to the verso) ´Laughing happily, Vincent Winter five years old Scots boy, sits on a rock amongst the heather and waits for shooting to begin on the new Pinewood production "The Kidnappers", in which he is playing the part of a bewildered, lovable young boy who is thrust into the bleak hard life led by settlers in Nova Scotia at the beginning of the century´. Signed by Winter in dark ink to a light area at the head of the image. Together with Jon Whiteley (1945-2020) Scottish child film actor, the joint recipient of an Academy Juvenile Award in 1954. A scarce signed 8 x 10 photograph of the young actor in a head and shoulders pose in costume as the orphan John Mohune from the swashbuckler film Moonfleet (1955) directed by Fritz Lang. Signed by Whiteley in dark fountain pen ink with his name alone to a clear area of the background. VG, 2Winter and Whiteley received their Juvenile Academy Awards in recognition of their performances as two young orphaned brothers in The Kidnappers (1953; released in the United States as The Young Kidnappers).
HETFIELD JAMES: (1963- ) American Musician. Hetfield is the lead Vocalist, Guitarist, co-founder, and primary songwriter of the heavy metal band Metallica. He is often regarded as one of the greatest heavy metal rhythm guitar players of all time. Signed 10 x 8 colour photograph by Hetfield, the image showing him standing and playing his guitar on scene, in a three-quarter length pose. Signed in bold black too a clear area of the image. VG to EX
![[FREE INDIA CENTRE]: A vintage unsigned original 9.5 x 7 press photograph, the gelatin silver print depicting A. C. N. Nambia](https://cdn.globalauctionplatform.com/45b0b23d-f22f-42d7-a7e3-b28a016ddfe5/27664f2a-7554-4e5e-8ff9-b28b010a3fc2/468x382.jpg)
[FREE INDIA CENTRE]: A vintage unsigned original 9.5 x 7 press photograph, the gelatin silver print depicting A. C. N. Nambiar addressing the audience at a ceremony held at the Hotel Kaiserhof in Berlin by the Free India Centre to mark the founding of the Provisional Indian National Government on 15th November 1943. Nambiar is flanked by various uniformed officers, including soldiers of the Indian Legion, one of whom holds the new flag of the Indian National Government. With several press agency credit stamps to the verso and the original printed caption in German. VGA. C. N. Nambiar (1896-1986) Indian Nationalist who spent much of his life serving the Indian Independence movement in Europe. In January 1942 he joined the Free India Centre as second in command to Subhas Chandra Bose. The organisation had been set up by Bose to promote Indian independence and to assist the enemies of the British Empire, namely Nazi Germany, the Empire of Japan and the other Axis powers.The foundation of the Provisional Government of Free India was celebrated at Hotel Kaiserhof in Berlin under the auspices of the Free India Centre in November 1943. There were about 300 guests including the representatives of German Foreign Office, the Wehrmacht and the Japanese and Italian Embassies. Günther Krappe was present along with twelve officers of the Indian Legion. After the playing of the Indian National Anthem, Habibur Rehman, who was in charge of technical arrangements, made a speech of welcome to the guests. Afterwards speeches were made by Wilhelm Keppler, Excellency Anfuso, General Hiroshi Oshima and A C N Nambiar, and messages of greetings of Joachim von Ribbentrop and Joseph Goebbels were read out.
REEVE CHRISTOPHER: (1952-2004) American Actor, remembered for playing the title character in the superhero film Superman (1978) and three sequels. A fine signed 7 x 5 photograph of Reeve, the image showing Reeve standing outdoors in a full length pose, in costume as the powerful superhero from Superman, with the Metropolis skyline in the background. Signed `Christopher Reeve´ in bold black ink with his name alone to a light area at the base of the image. VG
KARAS ANTON (1906-1985) Austrian zither player and composer, best known for his famous soundtrack to the British film noir The Third Man (1949). Vintage signed postcard photograph of Karas seated in a half-length pose playing his zither. Signed in blue fountain pen ink with his name alone to the base of the image. Also signed to the verso with a greeting in German, dated 1952. VG
CHAPLIN CHARLES: (1889-1977) English film comedian, Academy Award winner. A good vintage signed 8 x 10 photograph, the appealing image depicting Chaplin standing in a full-length pose in costume as the Little Tramp. Signed (´Good luck, Charlie Chaplin´) in bold fountain pen ink to a clear area at the base of the image and dated 1928 in his hand. Signed photographs of Chaplin showing him in his most famous screen persona are scarce and highly desirable. With one small pinhole to each of the four corners and a couple of light creases, about VGChaplin´s photograph was signed in the same year that he starred in The Circus, playing the Little Tramp. The silent romantic comedy film was also written, produced and directed by Chaplin and earned him an Honorary Academy Award at the first Oscar ceremonies (1927-28) held in May 1929.
BAKER CHET: (1929-1988) American jazz trumpeter and vocalist. Signed album record sleeve for Broken Wing issued by Inner City (IC 1120) and released in 1981, signed by Baker in blue ink to the front cover which features a colour image of the musician in a close-up portrait pose playing his trumpet. Dated 1986 in his hand beneath the signature. Record still present. Scarce. Some very light, minor age wear, VG
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