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A partially built large scale live steam model railway locomotive

A partially built large scale live steam model railway locomotive

A Tri-Ang precision scale model railway set together with accessories.

A silver pocket folding fruit knife, one mother-of-pearl grip scale inset with a shield-shaped escutcheon

A mid 20th century Chinese vase painted dignitaries and oriental motifs on a scale ground, 37cm tall

A Turkish Gurel tin plate bus with Vanguards Maroon Morris 1300 VA480012, a Lledo special edition 1955 VW camper and a scale model of a London bus with a Decade of Rock 'We will, we will rock you" Queen advert on side - all boxed or cased

A cased set of William III pocket coin scales, circa 1700, with graduated cup weights and troy scale for weighing silver, the fruitwood box incised W.L, width 13.5cm

Paul Furneaux Apple: Butterfly, 2021 Japanese Woodcut Print (Mokuhanga) Unique Signed on front and verso 15 x 10cm (5¾ x 3¾ in.) I have been making Mokuhanga (japanese woodcut prints) for more than 20 years. I am more drawn to work of a more abstracted nature however on this occasion I have used imagery. In part I have used some of the printing blocks from maybe 15 years ago. It has been fun for me to make images with this charity in mind. Education Ba Hons in Drawing Painting Edinburgh College of Art 1982-86 Post graduate with distinction ECA 1986-87 Masters in Mokuhanga (Japanese woodcut printing ) Tama Art University Tokyo 1996-2000 Exhibitions 1987 - Miller Homes Award: Young Scottish Artist of the Year (studio and support for one year), Cite International des Arts, Paris 2001 - Year of the Artist Residency, National Museum of Scotland, Edinburgh 2003 - First Artist-in-Residence, Helen Frankenthaler Printmaking Cottage Studio, Center for Contemporary Printmaking, Connecticut, USA 2006 - Elected Royal Scottish Academician 2012 - Mokuhanga Innovative Laboratory: International Artist-in-Residence Programme, Lake Kawaguchi, Japan. 2015 - National Open Art Exhibition, London, Orrin Trust Award Exhibitions 2018 - Between Moments, Open Eye Gallery, Edinburgh 2018 - Cabinet Exhibition, John Martin Gallery, London 2017 - Yellow and Blue, Pittenweem Art Festival (invited artist) 2016 - Borrowed Light, Open Eye Gallery, Edinburgh 2015 - Outside: Inside, William Road Gallery, John McAslan + Partners, London 2015 - Mokuhanga, Meffan Galleries and Museum, Forfar, Angus 2014 - Japanese Woodcut Prints, Printmaking Studio, Academy of Fine Arts, DKO, Gent 2014 - Inside: Outside, Open Eye Gallery, Edinburgh 2013 - Pause, House for an Art Lover, Glasgow 2012 - New Works (with Niamh Flanagan), Dublin Graphic Studio Gallery 2011 - Paul Furneaux: Mokuhanga, Edinburgh Printmakers Gallery 2019 - Breaking Boundaries: 9 International Mokuhanga artists, Walla Walla Foundry Gallery, USA 2019 - Art + Identity: An International View, Browngrotta Arts, Connecticut, USA 2019 - Mokuhanga: Cross Culture Europe + Japan, CfSHE Gallery, Tokyo Gallery Representation Royal Scottish Academy Edinburgh Open Eye Gallery Edinburgh Tatha Gallery, Fife John Martin Gallery London Browngrotta Gallery Connecticut USA About the postcard artwork I mostly work in an Abstract pared down language using my chosen medium of Mokuhanga (Japanese woodcut print) For this exhibition and in part because of the small scale I have decided to use imagery. They are all Japanese woodcut prints, printed with watercolour. I hope the imagery used can be seen as little icons: butterfly,buds, emerging head and small birch trees I have enjoyed making them .Simple as they appear they are all cut from wood with gouges and chisels and then printed by hand from watercolour brushed on the multiple blocks used to build up the layers. Each is a unique single print which I have carefully wrapped and pasted around the post cards.  

Paul Furneaux Buds, 2021 Japanese Woodcut Print (Mokuhanga) Unique Signed on front and verso 15 x 10cm (5¾ x 3¾ in.) I have been making Mokuhanga (japanese woodcut prints) for more than 20 years. I am more drawn to work of a more abstracted nature however on this occasion I have used imagery. In part I have used some of the printing blocks from maybe 15 years ago. It has been fun for me to make images with this charity in mind. Education Ba Hons in Drawing Painting Edinburgh College of Art 1982-86 Post graduate with distinction ECA 1986-87 Masters in Mokuhanga (Japanese woodcut printing ) Tama Art University Tokyo 1996-2000 Exhibitions 1987 - Miller Homes Award: Young Scottish Artist of the Year (studio and support for one year), Cite International des Arts, Paris 2001 - Year of the Artist Residency, National Museum of Scotland, Edinburgh 2003 - First Artist-in-Residence, Helen Frankenthaler Printmaking Cottage Studio, Center for Contemporary Printmaking, Connecticut, USA 2006 - Elected Royal Scottish Academician 2012 - Mokuhanga Innovative Laboratory: International Artist-in-Residence Programme, Lake Kawaguchi, Japan. 2015 - National Open Art Exhibition, London, Orrin Trust Award Exhibitions 2018 - Between Moments, Open Eye Gallery, Edinburgh 2018 - Cabinet Exhibition, John Martin Gallery, London 2017 - Yellow and Blue, Pittenweem Art Festival (invited artist) 2016 - Borrowed Light, Open Eye Gallery, Edinburgh 2015 - Outside: Inside, William Road Gallery, John McAslan + Partners, London 2015 - Mokuhanga, Meffan Galleries and Museum, Forfar, Angus 2014 - Japanese Woodcut Prints, Printmaking Studio, Academy of Fine Arts, DKO, Gent 2014 - Inside: Outside, Open Eye Gallery, Edinburgh 2013 - Pause, House for an Art Lover, Glasgow 2012 - New Works (with Niamh Flanagan), Dublin Graphic Studio Gallery 2011 - Paul Furneaux: Mokuhanga, Edinburgh Printmakers Gallery 2019 - Breaking Boundaries: 9 International Mokuhanga artists, Walla Walla Foundry Gallery, USA 2019 - Art + Identity: An International View, Browngrotta Arts, Connecticut, USA 2019 - Mokuhanga: Cross Culture Europe + Japan, CfSHE Gallery, Tokyo Gallery Representation Royal Scottish Academy Edinburgh Open Eye Gallery Edinburgh Tatha Gallery, Fife John Martin Gallery London Browngrotta Gallery Connecticut USA About the postcard artwork I mostly work in an Abstract pared down language using my chosen medium of Mokuhanga (Japanese woodcut print) For this exhibition and in part because of the small scale I have decided to use imagery. They are all Japanese woodcut prints, printed with watercolour. I hope the imagery used can be seen as little icons: butterfly,buds, emerging head and small birch trees I have enjoyed making them .Simple as they appear they are all cut from wood with gouges and chisels and then printed by hand from watercolour brushed on the multiple blocks used to build up the layers. Each is a unique single print which I have carefully wrapped and pasted around the post cards.  

Paul Furneaux Star Man, 2021 Japanese Woodcut Print (Mokuhanga) Unique + Signed on front and verso 15 x 10cm (5¾ x 3¾ in.) I have been making Mokuhanga (japanese woodcut prints) for more than 20 years. I am more drawn to work of a more abstracted nature however on this occasion I have used imagery. In part I have used some of the printing blocks from maybe 15 years ago. It has been fun for me to make images with this charity in mind. Education Ba Hons in Drawing Painting Edinburgh College of Art 1982-86 Post graduate with distinction ECA 1986-87 Masters in Mokuhanga (Japanese woodcut printing ) Tama Art University Tokyo 1996-2000 Exhibitions 1987 - Miller Homes Award: Young Scottish Artist of the Year (studio and support for one year), Cite International des Arts, Paris 2001 - Year of the Artist Residency, National Museum of Scotland, Edinburgh 2003 - First Artist-in-Residence, Helen Frankenthaler Printmaking Cottage Studio, Center for Contemporary Printmaking, Connecticut, USA 2006 - Elected Royal Scottish Academician 2012 - Mokuhanga Innovative Laboratory: International Artist-in-Residence Programme, Lake Kawaguchi, Japan. 2015 - National Open Art Exhibition, London, Orrin Trust Award Exhibitions 2018 - Between Moments, Open Eye Gallery, Edinburgh 2018 - Cabinet Exhibition, John Martin Gallery, London 2017 - Yellow and Blue, Pittenweem Art Festival (invited artist) 2016 - Borrowed Light, Open Eye Gallery, Edinburgh 2015 - Outside: Inside, William Road Gallery, John McAslan + Partners, London 2015 - Mokuhanga, Meffan Galleries and Museum, Forfar, Angus 2014 - Japanese Woodcut Prints, Printmaking Studio, Academy of Fine Arts, DKO, Gent 2014 - Inside: Outside, Open Eye Gallery, Edinburgh 2013 - Pause, House for an Art Lover, Glasgow 2012 - New Works (with Niamh Flanagan), Dublin Graphic Studio Gallery 2011 - Paul Furneaux: Mokuhanga, Edinburgh Printmakers Gallery 2019 - Breaking Boundaries: 9 International Mokuhanga artists, Walla Walla Foundry Gallery, USA 2019 - Art + Identity: An International View, Browngrotta Arts, Connecticut, USA 2019 - Mokuhanga: Cross Culture Europe + Japan, CfSHE Gallery, Tokyo Gallery Representation Royal Scottish Academy Edinburgh Open Eye Gallery Edinburgh Tatha Gallery, Fife John Martin Gallery London Browngrotta Gallery Connecticut USA About the postcard artwork I mostly work in an Abstract pared down language using my chosen medium of Mokuhanga (Japanese woodcut print) For this exhibition and in part because of the small scale I have decided to use imagery. They are all Japanese woodcut prints, printed with watercolour. I hope the imagery used can be seen as little icons: butterfly,buds, emerging head and small birch trees I have enjoyed making them .Simple as they appear they are all cut from wood with gouges and chisels and then printed by hand from watercolour brushed on the multiple blocks used to build up the layers. Each is a unique single print which I have carefully wrapped and pasted around the post cards.  

Paul Furneaux Birch Trees, 2021 Japanese Woodcut Print (Mokuhanga) Unique Signed on front and verso 10 x 15cm (3¾ x 5¾ in.) I have been making Mokuhanga (japanese woodcut prints) for more than 20 years. I am more drawn to work of a more abstracted nature however on this occasion I have used imagery. In part I have used some of the printing blocks from maybe 15 years ago. It has been fun for me to make images with this charity in mind. Education Ba Hons in Drawing Painting Edinburgh College of Art 1982-86 Post graduate with distinction ECA 1986-87 Masters in Mokuhanga (Japanese woodcut printing ) Tama Art University Tokyo 1996-2000 Exhibitions 1987 - Miller Homes Award: Young Scottish Artist of the Year (studio and support for one year), Cite International des Arts, Paris 2001 - Year of the Artist Residency, National Museum of Scotland, Edinburgh 2003 - First Artist-in-Residence, Helen Frankenthaler Printmaking Cottage Studio, Center for Contemporary Printmaking, Connecticut, USA 2006 - Elected Royal Scottish Academician 2012 - Mokuhanga Innovative Laboratory: International Artist-in-Residence Programme, Lake Kawaguchi, Japan. 2015 - National Open Art Exhibition, London, Orrin Trust Award Exhibitions 2018 - Between Moments, Open Eye Gallery, Edinburgh 2018 - Cabinet Exhibition, John Martin Gallery, London 2017 - Yellow and Blue, Pittenweem Art Festival (invited artist) 2016 - Borrowed Light, Open Eye Gallery, Edinburgh 2015 - Outside: Inside, William Road Gallery, John McAslan + Partners, London 2015 - Mokuhanga, Meffan Galleries and Museum, Forfar, Angus 2014 - Japanese Woodcut Prints, Printmaking Studio, Academy of Fine Arts, DKO, Gent 2014 - Inside: Outside, Open Eye Gallery, Edinburgh 2013 - Pause, House for an Art Lover, Glasgow 2012 - New Works (with Niamh Flanagan), Dublin Graphic Studio Gallery 2011 - Paul Furneaux: Mokuhanga, Edinburgh Printmakers Gallery 2019 - Breaking Boundaries: 9 International Mokuhanga artists, Walla Walla Foundry Gallery, USA 2019 - Art + Identity: An International View, Browngrotta Arts, Connecticut, USA 2019 - Mokuhanga: Cross Culture Europe + Japan, CfSHE Gallery, Tokyo Gallery Representation Royal Scottish Academy Edinburgh Open Eye Gallery Edinburgh Tatha Gallery, Fife John Martin Gallery London Browngrotta Gallery Connecticut USA About the postcard artwork I mostly work in an Abstract pared down language using my chosen medium of Mokuhanga (Japanese woodcut print) For this exhibition and in part because of the small scale I have decided to use imagery. They are all Japanese woodcut prints, printed with watercolour. I hope the imagery used can be seen as little icons: butterfly,buds, emerging head and small birch trees I have enjoyed making them .Simple as they appear they are all cut from wood with gouges and chisels and then printed by hand from watercolour brushed on the multiple blocks used to build up the layers. Each is a unique single print which I have carefully wrapped and pasted around the post cards.  

Holly Mills Gemini, 2021 Oil Pastel on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) London based artist Holly Mills (b. 1990) creates small scale, tactile paintings that manifest an off-kilter world of floods, storms, fuzzy heads and empty rooms filled with clouds of speech. These visceral works react to both lived experience and text whilst utilising various media including watercolour, collage, egg tempera, oil transfer and gesso. Repetitive motifs form part of an alt-language that evokes both the physical and emotional experience of place: the top of a head morphs into a hill, the sun is a tuft of grass/ a thought/ an exclamation. Exploration of materials is an important part of the process for Mills. Keeping an element of vulnerable uncertainty in the act of making allows for an openness that feels closer to truth. Holly graduated from at Camberwell College of Arts in 2012 and The Royal Drawing School (the Drawing Year) in 2018. Recent exhibitions include; The First Swing of the Bat, Gallery 46, London; Trinity Buoy Wharf Drawing Prize, Multiple Locations, UK; The Pictionary Individual, Real Pain Fine Arts, Los Angeles; The best of the Drawing Year, Christie's, London; Tickle Torture, BEERS, London. Upcoming group shows include Under Bat Hill (June), W139, Amsterdam; Amongst the Chaos (July),155a gallery, London.  

Holly Mills Lake (Pink), 2021 Acrylic, Soft Pastel, Egg Tempera on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) London based artist Holly Mills (b. 1990) creates small scale, tactile paintings that manifest an off-kilter world of floods, storms, fuzzy heads and empty rooms filled with clouds of speech. These visceral works react to both lived experience and text whilst utilising various media including watercolour, collage, egg tempera, oil transfer and gesso. Repetitive motifs form part of an alt-language that evokes both the physical and emotional experience of place: the top of a head morphs into a hill, the sun is a tuft of grass/ a thought/ an exclamation. Exploration of materials is an important part of the process for Mills. Keeping an element of vulnerable uncertainty in the act of making allows for an openness that feels closer to truth. Holly graduated from at Camberwell College of Arts in 2012 and The Royal Drawing School (the Drawing Year) in 2018. Recent exhibitions include; The First Swing of the Bat, Gallery 46, London; Trinity Buoy Wharf Drawing Prize, Multiple Locations, UK; The Pictionary Individual, Real Pain Fine Arts, Los Angeles; The best of the Drawing Year, Christie's, London; Tickle Torture, BEERS, London. Upcoming group shows include Under Bat Hill (June), W139, Amsterdam; Amongst the Chaos (July),155a gallery, London.  

Holly Mills Pink Sun, 2021 Egg Tempera on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) London based artist Holly Mills (b. 1990) creates small scale, tactile paintings that manifest an off-kilter world of floods, storms, fuzzy heads and empty rooms filled with clouds of speech. These visceral works react to both lived experience and text whilst utilising various media including watercolour, collage, egg tempera, oil transfer and gesso. Repetitive motifs form part of an alt-language that evokes both the physical and emotional experience of place: the top of a head morphs into a hill, the sun is a tuft of grass/ a thought/ an exclamation. Exploration of materials is an important part of the process for Mills. Keeping an element of vulnerable uncertainty in the act of making allows for an openness that feels closer to truth. Holly graduated from at Camberwell College of Arts in 2012 and The Royal Drawing School (the Drawing Year) in 2018. Recent exhibitions include; The First Swing of the Bat, Gallery 46, London; Trinity Buoy Wharf Drawing Prize, Multiple Locations, UK; The Pictionary Individual, Real Pain Fine Arts, Los Angeles; The best of the Drawing Year, Christie's, London; Tickle Torture, BEERS, London. Upcoming group shows include Under Bat Hill (June), W139, Amsterdam; Amongst the Chaos (July),155a gallery, London.  

Liberty Blake 98k Collage on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Born in England in 1968, Liberty grew up in an alternative, arts-centric environment that encouraged self-expression and creativity. She attended The Looking Glass School, a small experimental school that fostered arts and the environment. This formed the beginning of her love for art, outdoor adventure, and the natural world. 
 In 1997 she moved to Utah, with her partner and son, where she co-ran the 'Art Shack' at Sundance, teaching, exhibiting, and doing graphic design for the resort. It was during this time that she made her first wilderness-inspired abstract collages. 
 In 2007 she participated in the "337 Project" in Salt Lake City, Utah, where she created the first of many large-scale 'wall collages.' The most recent of these is the collaborative 'Work in Progress Mural Project,' a 60ft collaged mural, comprised of stencil portraits of women made by members of the community in workshops that she runs with her mother and fellow artist, Jann Haworth. 
 Liberty lives and works in Salt Lake City, Utah. Her abstract collages are a document of the wild natural places and neglected urban environments of the American West. She has shown extensively in Utah, in group and solo shows, and was previously represented by The Phillips Gallery and Modern West Gallery in Salt Lake City. Her work is housed in private collections across the United States, Europe, and Canada. Her current body of work explores the impact of wildfires, their increasing severity, and growing threat. Education Primarily self-taught Exhibitions 2021 Right Here Right Now, SUMA, UT 2017 Arrangements: A survey of Utah Collage, group show. On tour https://heritage.utah.gov/arts-and-museums/tep-arrangments 2017 The Phillips Gallery, show in the main gallery 2016 'Utah 2016 Mixed Media and Works on Paper' exhibit, SLC, UT 2016 'Don't Read This Too' Springville Museum of Art, UT 2016 'Demographics' Rio Gallery, SLC, UT 2016 "Plural and Partial: Tracing the Intergenerational Self": Jann Haworth, Annie Kennedy, Amy Jorgensen, Valerie Atkisson, Liberty Blake & Shawn Rossiter, Rio Gallery, SLC, UT A4: 2013 'Utah 2013 Mixed Media and Works on Paper' exhibit Liberty Blake and Shawn Rossiter ColLaborArt at the Utah Arts Festival, SLC, UT (works of collaboration with Shawn Rossiter) 2011 Liberty Blake: Collages, Stolen & Escaped Gallery, SLC, UT 2007 337 Project, Salt Lake City, UT 2006 Cigar Box Show, Kayo Gallery, SLC, UT 2001 Utah 2001: Works on Paper & Mixed Media, Kimball Art Center, Park City, Utah 1999 Group show, Mall Gallery, London, UK 2001 Phoenix Gallery, Park City, UT 1997-2002 The Art Shack, Sundance Resort 1992 National Portrait Gallery BP Portrait Show, London, UK 2017 'The Meadow After the Climb' purchased for the Utah State Fine Art Collection 2015 Salt Lake City Weekly, Best of Utah Arts, 'Best mixed media/sculpture exhibition' About the postcard artworks In 2019 I traveled with my youngest son from Utah to visit my family in London. He was 16 at the time and very excited to visit the streetwear stores in the West End. I always collect paper bags for collage and I amassed a good collection during this trip, thanks to my son! I used an END bag as a base for these collages, I love the printed white letters and wanted to incorporate them in small collages so they could feature prominently. I use mostly found and salvaged paper, scavenging is an important part of the process.  

Liberty Blake N.D, 2021 Collage on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Born in England in 1968, Liberty grew up in an alternative, arts-centric environment that encouraged self-expression and creativity. She attended The Looking Glass School, a small experimental school that fostered arts and the environment. This formed the beginning of her love for art, outdoor adventure, and the natural world. 
 In 1997 she moved to Utah, with her partner and son, where she co-ran the 'Art Shack' at Sundance, teaching, exhibiting, and doing graphic design for the resort. It was during this time that she made her first wilderness-inspired abstract collages. 
 In 2007 she participated in the "337 Project" in Salt Lake City, Utah, where she created the first of many large-scale 'wall collages.' The most recent of these is the collaborative 'Work in Progress Mural Project,' a 60ft collaged mural, comprised of stencil portraits of women made by members of the community in workshops that she runs with her mother and fellow artist, Jann Haworth. 
 Liberty lives and works in Salt Lake City, Utah. Her abstract collages are a document of the wild natural places and neglected urban environments of the American West. She has shown extensively in Utah, in group and solo shows, and was previously represented by The Phillips Gallery and Modern West Gallery in Salt Lake City. Her work is housed in private collections across the United States, Europe, and Canada. Her current body of work explores the impact of wildfires, their increasing severity, and growing threat. Education Primarily self-taught Exhibitions 2021 Right Here Right Now, SUMA, UT 2017 Arrangements: A survey of Utah Collage, group show. On tour https://heritage.utah.gov/arts-and-museums/tep-arrangments 2017 The Phillips Gallery, show in the main gallery 2016 'Utah 2016 Mixed Media and Works on Paper' exhibit, SLC, UT 2016 'Don't Read This Too' Springville Museum of Art, UT 2016 'Demographics' Rio Gallery, SLC, UT 2016 "Plural and Partial: Tracing the Intergenerational Self": Jann Haworth, Annie Kennedy, Amy Jorgensen, Valerie Atkisson, Liberty Blake & Shawn Rossiter, Rio Gallery, SLC, UT A4: 2013 'Utah 2013 Mixed Media and Works on Paper' exhibit Liberty Blake and Shawn Rossiter ColLaborArt at the Utah Arts Festival, SLC, UT (works of collaboration with Shawn Rossiter) 2011 Liberty Blake: Collages, Stolen & Escaped Gallery, SLC, UT 2007 337 Project, Salt Lake City, UT 2006 Cigar Box Show, Kayo Gallery, SLC, UT 2001 Utah 2001: Works on Paper & Mixed Media, Kimball Art Center, Park City, Utah 1999 Group show, Mall Gallery, London, UK 2001 Phoenix Gallery, Park City, UT 1997-2002 The Art Shack, Sundance Resort 1992 National Portrait Gallery BP Portrait Show, London, UK 2017 'The Meadow After the Climb' purchased for the Utah State Fine Art Collection 2015 Salt Lake City Weekly, Best of Utah Arts, 'Best mixed media/sculpture exhibition' About the postcard artworks In 2019 I traveled with my youngest son from Utah to visit my family in London. He was 16 at the time and very excited to visit the streetwear stores in the West End. I always collect paper bags for collage and I amassed a good collection during this trip, thanks to my son! I used an END bag as a base for these collages, I love the printed white letters and wanted to incorporate them in small collages so they could feature prominently. I use mostly found and salvaged paper, scavenging is an important part of the process.  

Liberty Blake E., 2021 Collage on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Born in England in 1968, Liberty grew up in an alternative, arts-centric environment that encouraged self-expression and creativity. She attended The Looking Glass School, a small experimental school that fostered arts and the environment. This formed the beginning of her love for art, outdoor adventure, and the natural world. 
 In 1997 she moved to Utah, with her partner and son, where she co-ran the 'Art Shack' at Sundance, teaching, exhibiting, and doing graphic design for the resort. It was during this time that she made her first wilderness-inspired abstract collages. 
 In 2007 she participated in the "337 Project" in Salt Lake City, Utah, where she created the first of many large-scale 'wall collages.' The most recent of these is the collaborative 'Work in Progress Mural Project,' a 60ft collaged mural, comprised of stencil portraits of women made by members of the community in workshops that she runs with her mother and fellow artist, Jann Haworth. 
 Liberty lives and works in Salt Lake City, Utah. Her abstract collages are a document of the wild natural places and neglected urban environments of the American West. She has shown extensively in Utah, in group and solo shows, and was previously represented by The Phillips Gallery and Modern West Gallery in Salt Lake City. Her work is housed in private collections across the United States, Europe, and Canada. Her current body of work explores the impact of wildfires, their increasing severity, and growing threat. Education Primarily self-taught Exhibitions 2021 Right Here Right Now, SUMA, UT 2017 Arrangements: A survey of Utah Collage, group show. On tour https://heritage.utah.gov/arts-and-museums/tep-arrangments 2017 The Phillips Gallery, show in the main gallery 2016 'Utah 2016 Mixed Media and Works on Paper' exhibit, SLC, UT 2016 'Don't Read This Too' Springville Museum of Art, UT 2016 'Demographics' Rio Gallery, SLC, UT 2016 "Plural and Partial: Tracing the Intergenerational Self": Jann Haworth, Annie Kennedy, Amy Jorgensen, Valerie Atkisson, Liberty Blake & Shawn Rossiter, Rio Gallery, SLC, UT A4: 2013 'Utah 2013 Mixed Media and Works on Paper' exhibit Liberty Blake and Shawn Rossiter ColLaborArt at the Utah Arts Festival, SLC, UT (works of collaboration with Shawn Rossiter) 2011 Liberty Blake: Collages, Stolen & Escaped Gallery, SLC, UT 2007 337 Project, Salt Lake City, UT 2006 Cigar Box Show, Kayo Gallery, SLC, UT 2001 Utah 2001: Works on Paper & Mixed Media, Kimball Art Center, Park City, Utah 1999 Group show, Mall Gallery, London, UK 2001 Phoenix Gallery, Park City, UT 1997-2002 The Art Shack, Sundance Resort 1992 National Portrait Gallery BP Portrait Show, London, UK 2017 'The Meadow After the Climb' purchased for the Utah State Fine Art Collection 2015 Salt Lake City Weekly, Best of Utah Arts, 'Best mixed media/sculpture exhibition' About the postcard artworks In 2019 I traveled with my youngest son from Utah to visit my family in London. He was 16 at the time and very excited to visit the streetwear stores in the West End. I always collect paper bags for collage and I amassed a good collection during this trip, thanks to my son! I used an END bag as a base for these collages, I love the printed white letters and wanted to incorporate them in small collages so they could feature prominently. I use mostly found and salvaged paper, scavenging is an important part of the process.  

Liberty Blake N.D Tape, 2021 Collage on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Born in England in 1968, Liberty grew up in an alternative, arts-centric environment that encouraged self-expression and creativity. She attended The Looking Glass School, a small experimental school that fostered arts and the environment. This formed the beginning of her love for art, outdoor adventure, and the natural world. 
 In 1997 she moved to Utah, with her partner and son, where she co-ran the 'Art Shack' at Sundance, teaching, exhibiting, and doing graphic design for the resort. It was during this time that she made her first wilderness-inspired abstract collages. 
 In 2007 she participated in the "337 Project" in Salt Lake City, Utah, where she created the first of many large-scale 'wall collages.' The most recent of these is the collaborative 'Work in Progress Mural Project,' a 60ft collaged mural, comprised of stencil portraits of women made by members of the community in workshops that she runs with her mother and fellow artist, Jann Haworth. 
 Liberty lives and works in Salt Lake City, Utah. Her abstract collages are a document of the wild natural places and neglected urban environments of the American West. She has shown extensively in Utah, in group and solo shows, and was previously represented by The Phillips Gallery and Modern West Gallery in Salt Lake City. Her work is housed in private collections across the United States, Europe, and Canada. Her current body of work explores the impact of wildfires, their increasing severity, and growing threat. Education Primarily self-taught Exhibitions 2021 Right Here Right Now, SUMA, UT 2017 Arrangements: A survey of Utah Collage, group show. On tour https://heritage.utah.gov/arts-and-museums/tep-arrangments 2017 The Phillips Gallery, show in the main gallery 2016 'Utah 2016 Mixed Media and Works on Paper' exhibit, SLC, UT 2016 'Don't Read This Too' Springville Museum of Art, UT 2016 'Demographics' Rio Gallery, SLC, UT 2016 "Plural and Partial: Tracing the Intergenerational Self": Jann Haworth, Annie Kennedy, Amy Jorgensen, Valerie Atkisson, Liberty Blake & Shawn Rossiter, Rio Gallery, SLC, UT A4: 2013 'Utah 2013 Mixed Media and Works on Paper' exhibit Liberty Blake and Shawn Rossiter ColLaborArt at the Utah Arts Festival, SLC, UT (works of collaboration with Shawn Rossiter) 2011 Liberty Blake: Collages, Stolen & Escaped Gallery, SLC, UT 2007 337 Project, Salt Lake City, UT 2006 Cigar Box Show, Kayo Gallery, SLC, UT 2001 Utah 2001: Works on Paper & Mixed Media, Kimball Art Center, Park City, Utah 1999 Group show, Mall Gallery, London, UK 2001 Phoenix Gallery, Park City, UT 1997-2002 The Art Shack, Sundance Resort 1992 National Portrait Gallery BP Portrait Show, London, UK 2017 'The Meadow After the Climb' purchased for the Utah State Fine Art Collection 2015 Salt Lake City Weekly, Best of Utah Arts, 'Best mixed media/sculpture exhibition' About the postcard artworks In 2019 I traveled with my youngest son from Utah to visit my family in London. He was 16 at the time and very excited to visit the streetwear stores in the West End. I always collect paper bags for collage and I amassed a good collection during this trip, thanks to my son! I used an END bag as a base for these collages, I love the printed white letters and wanted to incorporate them in small collages so they could feature prominently. I use mostly found and salvaged paper, scavenging is an important part of the process.  

Maïa Régis Fly Variation, 2021 Acrylic and Marker on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Artist statement: "I want to transform the canvases into living beings, into visceral surfaces. They have to be fed from chance, traces of work, dirt, cuts and seams. This year I used paper glued on canvas, coffee bags, old hessian postbags, ancient moth eaten French embroideries, and Sicilian embroidered white tablecloths. An unconventional and irregular canvas link to smells, noises, dialogues... It adds a cinematic feeling to it and the matter is for tactile sensations. What I'm looking for in my work is for it to be the most full of life possible. I need to work on a large scale, so that painting becomes a physical act. That's where I feel the more confident, the freer. I like to navigate in troubled waters, between the real and the imaginary. Ambiguity for me is the key to a lively work."   Education -Royal College of Art, London, MA Painting (2017-2019) -Chelsea College of Art and Design, London, BA Fine Arts (2014-2017) -Camberwell College of Art, Foundation diploma in Art and Design (2013) Awards and residencies -Elephant Lab, November residency, 2019 -Bloomberg New Contemporaries 2018 (selected by Benedict Drew, Katy Moran and Keith Piper) -Bloomberg New Contemporaries 2017 (selected by Caroline Achaintre, Elizabeth Price and George Shaw) -Griffin Art Prize 2017 (selected by Ansel Krut, Jenny Linden Urnes, Becca Pelly-Fry and Robert Shore) -FBA Futures 2018 Selected exhibitions -The First Swing of The Bat, Paint Talk exhibition, Gallery 46, London, UK (april 2021) -A Future Cast In Our Image, Grove Collective, London, UK (february 2021) -Inside/Outside, Janet Rady Fine Art, online exhibition, Arsty (february 2021) -International Gruppeudstilling, Curated by JB Fals, Grand Teatret, Copenhagen, Denmark (2020) -What Kind of Spirit Is This?, Sim Smith Gallery, London, UK (2019) -Cicatrices, VO Curations, 12th Floor, London, UK (2019) -Signori Prego Si Accomodino, Nuove / Contemporary Art Production, Palermo, Italy (2018) -Bloomberg New Contemporaries 2018, John Moore's University, Liverpool Biennial, UK -Bloomberg New Contemporaries 2018, South London Gallery, London, UK -Bloomberg New Contemporaries 2017, Baltic Center for Contemporary Art, Newcastle, UK -Bloomberg New Contemporaries 2017, Block 336, London, UK -Griffin Art Prize 2018, Griffin Gallery, London, UK -FBA Futures 2018, Main Gallery and Threadneedle Space, Mall Galleries, January, London, UK -More Life, Hockney Gallery, Royal College of Art, London, UK (2018)  

Maïa Régis Carne e Ventilatori, 2021 Acrylic and Marker on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Artist statement: "I want to transform the canvases into living beings, into visceral surfaces. They have to be fed from chance, traces of work, dirt, cuts and seams. This year I used paper glued on canvas, coffee bags, old hessian postbags, ancient moth eaten French embroideries, and Sicilian embroidered white tablecloths. An unconventional and irregular canvas link to smells, noises, dialogues... It adds a cinematic feeling to it and the matter is for tactile sensations. What I'm looking for in my work is for it to be the most full of life possible. I need to work on a large scale, so that painting becomes a physical act. That's where I feel the more confident, the freer. I like to navigate in troubled waters, between the real and the imaginary. Ambiguity for me is the key to a lively work."   Education -Royal College of Art, London, MA Painting (2017-2019) -Chelsea College of Art and Design, London, BA Fine Arts (2014-2017) -Camberwell College of Art, Foundation diploma in Art and Design (2013) Awards and residencies -Elephant Lab, November residency, 2019 -Bloomberg New Contemporaries 2018 (selected by Benedict Drew, Katy Moran and Keith Piper) -Bloomberg New Contemporaries 2017 (selected by Caroline Achaintre, Elizabeth Price and George Shaw) -Griffin Art Prize 2017 (selected by Ansel Krut, Jenny Linden Urnes, Becca Pelly-Fry and Robert Shore) -FBA Futures 2018 Selected exhibitions -The First Swing of The Bat, Paint Talk exhibition, Gallery 46, London, UK (april 2021) -A Future Cast In Our Image, Grove Collective, London, UK (february 2021) -Inside/Outside, Janet Rady Fine Art, online exhibition, Arsty (february 2021) -International Gruppeudstilling, Curated by JB Fals, Grand Teatret, Copenhagen, Denmark (2020) -What Kind of Spirit Is This?, Sim Smith Gallery, London, UK (2019) -Cicatrices, VO Curations, 12th Floor, London, UK (2019) -Signori Prego Si Accomodino, Nuove / Contemporary Art Production, Palermo, Italy (2018) -Bloomberg New Contemporaries 2018, John Moore's University, Liverpool Biennial, UK -Bloomberg New Contemporaries 2018, South London Gallery, London, UK -Bloomberg New Contemporaries 2017, Baltic Center for Contemporary Art, Newcastle, UK -Bloomberg New Contemporaries 2017, Block 336, London, UK -Griffin Art Prize 2018, Griffin Gallery, London, UK -FBA Futures 2018, Main Gallery and Threadneedle Space, Mall Galleries, January, London, UK -More Life, Hockney Gallery, Royal College of Art, London, UK (2018)  

Maïa Régis Carne e Sigari, 2021 Acrylic and Marker on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Artist statement: "I want to transform the canvases into living beings, into visceral surfaces. They have to be fed from chance, traces of work, dirt, cuts and seams. This year I used paper glued on canvas, coffee bags, old hessian postbags, ancient moth eaten French embroideries, and Sicilian embroidered white tablecloths. An unconventional and irregular canvas link to smells, noises, dialogues... It adds a cinematic feeling to it and the matter is for tactile sensations. What I'm looking for in my work is for it to be the most full of life possible. I need to work on a large scale, so that painting becomes a physical act. That's where I feel the more confident, the freer. I like to navigate in troubled waters, between the real and the imaginary. Ambiguity for me is the key to a lively work."   Education -Royal College of Art, London, MA Painting (2017-2019) -Chelsea College of Art and Design, London, BA Fine Arts (2014-2017) -Camberwell College of Art, Foundation diploma in Art and Design (2013) Awards and residencies -Elephant Lab, November residency, 2019 -Bloomberg New Contemporaries 2018 (selected by Benedict Drew, Katy Moran and Keith Piper) -Bloomberg New Contemporaries 2017 (selected by Caroline Achaintre, Elizabeth Price and George Shaw) -Griffin Art Prize 2017 (selected by Ansel Krut, Jenny Linden Urnes, Becca Pelly-Fry and Robert Shore) -FBA Futures 2018 Selected exhibitions -The First Swing of The Bat, Paint Talk exhibition, Gallery 46, London, UK (april 2021) -A Future Cast In Our Image, Grove Collective, London, UK (february 2021) -Inside/Outside, Janet Rady Fine Art, online exhibition, Arsty (february 2021) -International Gruppeudstilling, Curated by JB Fals, Grand Teatret, Copenhagen, Denmark (2020) -What Kind of Spirit Is This?, Sim Smith Gallery, London, UK (2019) -Cicatrices, VO Curations, 12th Floor, London, UK (2019) -Signori Prego Si Accomodino, Nuove / Contemporary Art Production, Palermo, Italy (2018) -Bloomberg New Contemporaries 2018, John Moore's University, Liverpool Biennial, UK -Bloomberg New Contemporaries 2018, South London Gallery, London, UK -Bloomberg New Contemporaries 2017, Baltic Center for Contemporary Art, Newcastle, UK -Bloomberg New Contemporaries 2017, Block 336, London, UK -Griffin Art Prize 2018, Griffin Gallery, London, UK -FBA Futures 2018, Main Gallery and Threadneedle Space, Mall Galleries, January, London, UK -More Life, Hockney Gallery, Royal College of Art, London, UK (2018)  

Matthew J. Pitts Little Kniffenberg, 2021 Acrylic and Gesso on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Matthew J Pitts studied Fine Art Painting at Norwich School of Art and Design and is a now based in St Leonards-on-sea, on the south coast of England. His work is in private collections in the UK, Europe, Switzerland, Australia, and the US. Pitts creates work with a warm and open character that explores the formal qualities of painting and pictorial space - composition, shape, line and colour. "Many things influence my paintings and there is no hierarchy: bad jokes, Tintoretto, a dripping tap - it's all fair game and welcomed in equally. The paintings exist as objects in their own right and there is no hidden message or agenda. They are a collection of humble materials that provide a record of endeavour at a particular moment in time. In many ways painting can seem a selfish pursuit, but like many others I have a desire to create and I am drawn to the physical process of painting. I create work in an attempt to better understand the parameters of painting and in turn, better understand the world around me and my place within it. I hope that there is generosity to be found in the images that I make and that viewing them and living with them can be a positive experience."   Education BA (hons) Fine Art Painting   Exhibitions   2019: Bauhaus, Kobi and Teal, Frome, UK 2019: Design Junction, London, UK 2019: Twice as Nice, PS Marabel, Manchester, UK 2012: Art and Domesticity, Home 2, Hastings, UK 2011: Smalls-Murray 'Screen Test', Norfolk and Norwich festival, UK 2010: Smalls-Murray 'Petty Tache' Coastal Currents Festival, Hastings,UK 2010: Back Door Barter, Back Door Gallery @ Norwich Fringe Festival, UK 2009: Solo Exhibition, Dragon Bar, Hastings, UK 2006: Solo Exhibition, Back Door Gallery, Norwich, UK Representation and collaboration: Wilson, Stephens & Jones, London, UK Dust & Soul, Madrid, Spain   About the postcard artworks I enjoyed making work on such an intimate scale. Through their inherent simplicity and economy of visual language I hope the paintings invoke a sense of play and mystery.  

Matthew J. Pitts Sebastian Says, 2021 Acrylic, Gesso and Graphite on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Matthew J Pitts studied Fine Art Painting at Norwich School of Art and Design and is a now based in St Leonards-on-sea, on the south coast of England. His work is in private collections in the UK, Europe, Switzerland, Australia, and the US. Pitts creates work with a warm and open character that explores the formal qualities of painting and pictorial space - composition, shape, line and colour. "Many things influence my paintings and there is no hierarchy: bad jokes, Tintoretto, a dripping tap - it's all fair game and welcomed in equally. The paintings exist as objects in their own right and there is no hidden message or agenda. They are a collection of humble materials that provide a record of endeavour at a particular moment in time. In many ways painting can seem a selfish pursuit, but like many others I have a desire to create and I am drawn to the physical process of painting. I create work in an attempt to better understand the parameters of painting and in turn, better understand the world around me and my place within it. I hope that there is generosity to be found in the images that I make and that viewing them and living with them can be a positive experience."   Education BA (hons) Fine Art Painting   Exhibitions   2019: Bauhaus, Kobi and Teal, Frome, UK 2019: Design Junction, London, UK 2019: Twice as Nice, PS Marabel, Manchester, UK 2012: Art and Domesticity, Home 2, Hastings, UK 2011: Smalls-Murray 'Screen Test', Norfolk and Norwich festival, UK 2010: Smalls-Murray 'Petty Tache' Coastal Currents Festival, Hastings,UK 2010: Back Door Barter, Back Door Gallery @ Norwich Fringe Festival, UK 2009: Solo Exhibition, Dragon Bar, Hastings, UK 2006: Solo Exhibition, Back Door Gallery, Norwich, UK Representation and collaboration: Wilson, Stephens & Jones, London, UK Dust & Soul, Madrid, Spain   About the postcard artworks I enjoyed making work on such an intimate scale. Through their inherent simplicity and economy of visual language I hope the paintings invoke a sense of play and mystery.  

Paul Hodgson Portrait of E, 2021 Pencil and Acrylic on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Paul Hodgson creates hybrid works that incorporate photography, digital print and paint, and that defy neat categorization. His work is indebted to the history of Western painting, and certain of his earlier works reference the colours, lighting, and figurative poses of iconic art historical works, but they are manipulated and restructured to bring to the fore a contemporary reading of the image. Subsequent works have seen Hodgson concentrate on historical epochs of expansion and transition, using the conventions of portraiture and figure painting to construct large-scale tableaux vivant - alongside intimate studio portraits - to explore moments of great change, but also of ambiguous merit. In recent works, he has chosen to use a relatively confined space in which to construct each scene. Working with a set of simple objects, his focus has been the placement and positioning of objects and figures in space (and in front of a camera) as a means to explore notions of gesture and intentionality within the process of image making. These works operate in an area between painting and photography, both in terms of the language that they employ and the process through which they have been made. Paul Hodgson was born in Shrewsbury in 1972 and lives and works in London.   1998 - 2000 M.A. Printmaking. Royal College of Art, London 1991 - 1995 B.A. (Hons) Fine Art. Newcastle University 1990 - 1991 Foundation Art and Design. Shrewsbury College of Art & Technology Selected Group Exhibitions 2020Summer Exhibition, Royal Academy of Arts, London 2016 Discerning Eye, the Mall Galleries, London. Invited by Michael Glover 2014 Beauty by Design: Fashioning the Renaissance, Scottish National Portrait Gallery 2013 Image Search: Photography from the Collection, Pérez Art Museum Miami 2011 Unbounded, Proje4L, Elgiz Museum of Contemporary Art, Istanbul Selected Solo Exhibitions 2010 Paul Hodgson: Art in the Entrance Hall, Cambridge University Library 2008 Rise + Fall, RISE Berlin, Berlin 2007Sovereign Rights, Marlborough Fine Art, London Awards 2010 Director's Visitor, Institute for Advanced Study, Princeton Over the past twenty years I have been represented by Marlborough Fine Art, London, Feigen Contemporary, New York, and Houldsworth, London. I am currently working with an independent dealer in London.   About the Postcards I often make works on paper as a way to reconsider motifs that have featured in larger painted and printed works, and to introduce new elements to my art practice. I like the immediacy and fluidity that working on paper can offer - the unexpected results that can occur when you use various media together, or the simplicity of limiting yourself to a few simple materials. These two portraits were made partly from observation and partly from photographs. They might appear as stages in a process - from concise and pared down, to layered and complex. They are indicative of the 'push and pull' that often happens when I'm making images in the studio.  

Paul Hodgson Portrait of E.2, 2021 Pencil, Acrylic and Ink on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Paul Hodgson creates hybrid works that incorporate photography, digital print and paint, and that defy neat categorization. His work is indebted to the history of Western painting, and certain of his earlier works reference the colours, lighting, and figurative poses of iconic art historical works, but they are manipulated and restructured to bring to the fore a contemporary reading of the image. Subsequent works have seen Hodgson concentrate on historical epochs of expansion and transition, using the conventions of portraiture and figure painting to construct large-scale tableaux vivant - alongside intimate studio portraits - to explore moments of great change, but also of ambiguous merit. In recent works, he has chosen to use a relatively confined space in which to construct each scene. Working with a set of simple objects, his focus has been the placement and positioning of objects and figures in space (and in front of a camera) as a means to explore notions of gesture and intentionality within the process of image making. These works operate in an area between painting and photography, both in terms of the language that they employ and the process through which they have been made. Paul Hodgson was born in Shrewsbury in 1972 and lives and works in London.   1998 - 2000 M.A. Printmaking. Royal College of Art, London 1991 - 1995 B.A. (Hons) Fine Art. Newcastle University 1990 - 1991 Foundation Art and Design. Shrewsbury College of Art & Technology Selected Group Exhibitions 2020Summer Exhibition, Royal Academy of Arts, London 2016 Discerning Eye, the Mall Galleries, London. Invited by Michael Glover 2014 Beauty by Design: Fashioning the Renaissance, Scottish National Portrait Gallery 2013 Image Search: Photography from the Collection, Pérez Art Museum Miami 2011 Unbounded, Proje4L, Elgiz Museum of Contemporary Art, Istanbul Selected Solo Exhibitions 2010 Paul Hodgson: Art in the Entrance Hall, Cambridge University Library 2008 Rise + Fall, RISE Berlin, Berlin 2007Sovereign Rights, Marlborough Fine Art, London Awards 2010 Director's Visitor, Institute for Advanced Study, Princeton Over the past twenty years I have been represented by Marlborough Fine Art, London, Feigen Contemporary, New York, and Houldsworth, London. I am currently working with an independent dealer in London.   About the Postcards I often make works on paper as a way to reconsider motifs that have featured in larger painted and printed works, and to introduce new elements to my art practice. I like the immediacy and fluidity that working on paper can offer - the unexpected results that can occur when you use various media together, or the simplicity of limiting yourself to a few simple materials. These two portraits were made partly from observation and partly from photographs. They might appear as stages in a process - from concise and pared down, to layered and complex. They are indicative of the 'push and pull' that often happens when I'm making images in the studio.    

Maggie Hasbrouck Volution, 2021 Digital Original on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Maggie Hasbrouck has been living and working as an artist in Atlanta for almost thirty years. In her latest body of work, Hasbrouck returns to dramatic depictions of flowers - often single blooms - at the apex of their transformational beauty. The vibrancy and sensuality of these images is heightened by the artist's incorporation of glass crystals into her technique. Hasbrouck melts these crystals over multiple layers of oil paint, dry pigment, and organic beeswax, resulting in a lustrous layer that enhances the mystery of the work. Education   BFA University of New Mexico, MFA University of Illinois   Exhibitions   Hasbrouck began receiving major national acclaim in the early 1990s when her work was collected by celebrities including Elton John, John Mellencamp, Faith Hill, Jon Bon Jovi, and Courtney Cox, as well as a broad cross-section of collectors across the globe. She remains one of the best-collected female artists in the American South and a growing force on the international stage.   Gallery Representation   The Bill Lowe Gallery, Atlanta GA   About the postcard artworks   Digital original Inspired by Hasbrouck's large scale Magnolia paintings.  

Maggie Hasbrouck Into the Bright White, 2021 Digital Original on Paper Signed on verso 10 x 15cm (3¾ x 5¾ in.) Maggie Hasbrouck has been living and working as an artist in Atlanta for almost thirty years. In her latest body of work, Hasbrouck returns to dramatic depictions of flowers - often single blooms - at the apex of their transformational beauty. The vibrancy and sensuality of these images is heightened by the artist's incorporation of glass crystals into her technique. Hasbrouck melts these crystals over multiple layers of oil paint, dry pigment, and organic beeswax, resulting in a lustrous layer that enhances the mystery of the work. Education   BFA University of New Mexico, MFA University of Illinois   Exhibitions   Hasbrouck began receiving major national acclaim in the early 1990s when her work was collected by celebrities including Elton John, John Mellencamp, Faith Hill, Jon Bon Jovi, and Courtney Cox, as well as a broad cross-section of collectors across the globe. She remains one of the best-collected female artists in the American South and a growing force on the international stage.   Gallery Representation   The Bill Lowe Gallery, Atlanta GA   About the postcard artworks   Digital original Inspired by Hasbrouck's large scale Magnolia paintings.  

Maggie Hasbrouck Winter Magnolia, 2021 Digital Original on Paper Signed on verso 10 x 15cm (3¾ x 5¾ in.) Maggie Hasbrouck has been living and working as an artist in Atlanta for almost thirty years. In her latest body of work, Hasbrouck returns to dramatic depictions of flowers - often single blooms - at the apex of their transformational beauty. The vibrancy and sensuality of these images is heightened by the artist's incorporation of glass crystals into her technique. Hasbrouck melts these crystals over multiple layers of oil paint, dry pigment, and organic beeswax, resulting in a lustrous layer that enhances the mystery of the work. Education   BFA University of New Mexico, MFA University of Illinois   Exhibitions   Hasbrouck began receiving major national acclaim in the early 1990s when her work was collected by celebrities including Elton John, John Mellencamp, Faith Hill, Jon Bon Jovi, and Courtney Cox, as well as a broad cross-section of collectors across the globe. She remains one of the best-collected female artists in the American South and a growing force on the international stage.   Gallery Representation   The Bill Lowe Gallery, Atlanta GA   About the postcard artworks   Digital original Inspired by Hasbrouck's large scale Magnolia paintings.  

Kristine Moran Overcoming Waves - Study, 2021 Oil on Arches Paper for Oil Signed on verso 10 x 15cm (3¾ x 5¾ in.) Born in Montreal, Kristine Moran earned a BFA from the Ontario College of Art and Design in 2004 and went on to earn an MFA from Hunter College, NYC in 2008. She has exhibited at Monica DeCardenas Gallery, Milan; Western Exhibitions, Chicago; Nicelle Beauchene Gallery in New York City; The Hole NYC; the Daniel Faria Gallery in Toronto and the Glenbow Museum in Calgary. Her work has been reviewed in Artforum, FlashArt, MOMUS and Artslant.com, as well as in NYArts Magazine, Canadian Art Magazine, Bordercrossings, Art Papers, Elle Magazine and Harper's. Moran's work is featured in Phaidon's painting anthology, Vitamin P2: New Perspectives in Painting. Her work is included in the collection of the Albright-Knox Art Gallery, the Glenbow Museum and the University of Toronto. 2008 MFA, Hunter College, Department of Art, New York City 2004 BFA, Ontario College of Art and Design   GROUP EXHIBITIONS 2020 CUBED, The Hole NYC, with artists Andreas Angelidakis, Ara Peterson, Clinton King, Irina Ojovan, Jean Nagai, Jonny Niesche, Kristine Moran, Lilah Rose, Luke Diiorio, Luke Murphy, Palma Blank, Rebecca Ward, Robert Moreland, Thomas Trum 2018 The Armory Show, NYC, with Daniel Faria Gallery Expo Chicago, with Daniel Faria Gallery Art Toronto, with Daniel Faria Gallery 2017 Nasty, Daniel Faria Gallery, Toronto 2016   Cuevas Tilleard, NYC, Scale A Wall, curated by TownHall Meeting Mercer College Gallery, NJ, Magic, curated by Tiffany Calvert Mulherin New York, Practice Makes Practice, NYC Left Field Gallery, CA, How High? curated by Ryan Travis Christian GP Presents, NYC, curated by Anna Ortt RESIDENCIES 2022 Interlude Artist Residency, Livingston New York 2015 Artist Residency, Detroit Michigan 2009-2010 LMCC Workspace Artist-in-Residence, NYC 2008-2009 Marie Walsh Sharpe Foundation Artist in Residence, NYC About the Postcards Through this latest painting series I continue to explore my obsession with swimming and all of its various meanings to me. My paintings contend with the sensations, rhythms and mental states experienced during long periods of time spent swimming across a body of water such as a lake or a river. Because a lack of movement can bring on death, swimming uniquely positions itself as a way to confront one's own mortality. A mental game is played to fight off fears of failure and the desire to survive is expressed at every stroke. The "Mad Cap Swimmers" are a group of women. They are the joining of forces that together are stronger than the sum of their parts. The water begins to rise and the swimmers are ready. They have been training for the challenge ahead. Their goal is an unknown place - an ambiguous landscape that is in view but just out of reach.  

Kristine Moran Diving In - Study, 2021 Oil on Arches Paper for Oil Signed on verso 10 x 15cm (3¾ x 5¾ in.) Born in Montreal, Kristine Moran earned a BFA from the Ontario College of Art and Design in 2004 and went on to earn an MFA from Hunter College, NYC in 2008. She has exhibited at Monica DeCardenas Gallery, Milan; Western Exhibitions, Chicago; Nicelle Beauchene Gallery in New York City; The Hole NYC; the Daniel Faria Gallery in Toronto and the Glenbow Museum in Calgary. Her work has been reviewed in Artforum, FlashArt, MOMUS and Artslant.com, as well as in NYArts Magazine, Canadian Art Magazine, Bordercrossings, Art Papers, Elle Magazine and Harper's. Moran's work is featured in Phaidon's painting anthology, Vitamin P2: New Perspectives in Painting. Her work is included in the collection of the Albright-Knox Art Gallery, the Glenbow Museum and the University of Toronto. 2008 MFA, Hunter College, Department of Art, New York City 2004 BFA, Ontario College of Art and Design   GROUP EXHIBITIONS 2020 CUBED, The Hole NYC, with artists Andreas Angelidakis, Ara Peterson, Clinton King, Irina Ojovan, Jean Nagai, Jonny Niesche, Kristine Moran, Lilah Rose, Luke Diiorio, Luke Murphy, Palma Blank, Rebecca Ward, Robert Moreland, Thomas Trum 2018 The Armory Show, NYC, with Daniel Faria Gallery Expo Chicago, with Daniel Faria Gallery Art Toronto, with Daniel Faria Gallery 2017 Nasty, Daniel Faria Gallery, Toronto 2016   Cuevas Tilleard, NYC, Scale A Wall, curated by TownHall Meeting Mercer College Gallery, NJ, Magic, curated by Tiffany Calvert Mulherin New York, Practice Makes Practice, NYC Left Field Gallery, CA, How High? curated by Ryan Travis Christian GP Presents, NYC, curated by Anna Ortt RESIDENCIES 2022 Interlude Artist Residency, Livingston New York 2015 Artist Residency, Detroit Michigan 2009-2010 LMCC Workspace Artist-in-Residence, NYC 2008-2009 Marie Walsh Sharpe Foundation Artist in Residence, NYC About the Postcards Through this latest painting series I continue to explore my obsession with swimming and all of its various meanings to me. My paintings contend with the sensations, rhythms and mental states experienced during long periods of time spent swimming across a body of water such as a lake or a river. Because a lack of movement can bring on death, swimming uniquely positions itself as a way to confront one's own mortality. A mental game is played to fight off fears of failure and the desire to survive is expressed at every stroke. The "Mad Cap Swimmers" are a group of women. They are the joining of forces that together are stronger than the sum of their parts. The water begins to rise and the swimmers are ready. They have been training for the challenge ahead. Their goal is an unknown place - an ambiguous landscape that is in view but just out of reach.  

William Wright Open Window (Paris), 2021 Acrylic on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) William Wright is a British painter and printmaker based in South East London. He studied at Leeds Metropolitan University and has exhibited widely throughout the UK and abroad. He has been shortlisted on two occasions for the B.P Portrait Award and was a finalist in the Jerwood Drawing Prize as well as the Trinity Buoy Wharf Drawing Prize. His work is held in numerous private collections. BA (Hons) Fine Art, Leeds Metropolitan University Recent Exhibitions Include: 2021 Herbal Remedies, Lyndsey Ingram Gallery, London; 2020 Urgemment, Patiement Galerie Ariane C-Y, Paris; 2019 Painting Painting, The Eagle Gallery, London; From the Studio, The Art Stable, Dorset (Solo); The Trinity Buoy Wharf Drawing Prize, The Salisbury Museum and Tour; Œuvres sur Papier, Galerie Ariane C-Y, Paris (Solo); 2018 Studio Pictures, Galerie Ariane C-Y, Paris (Solo), ParisOpen Window, Paris is part of my ongoing 'studio pictures' project. This explores the idea of the artist's studio as a private sanctuary and home to the mercurial act of making. The image began as a tiny sketch in a notebook drawn late at night around Montparnasse. I imagined these windows opening to reveal a painter's atelier. A simple yet magical interior witness to the private, creative process.   About the Postcards My practice frequently incorporates work made on this small scale. I enjoy the challenge of making a tiny image which has the intensity of a much larger work. The muted palette and quiet atmosphere are also typical of my approach.  

Mary Burtenshaw Windswept Skies, 2021 Acrylic on Paper Signed on verso 10 x 15cm (3¾ x 5¾ in.) I paint dramatic impressionist and abstract landscapes which are inspired by my love of the countryside and the many and varied places I have visited, creating the atmosphere and feeling of a place with the use of texture and light. My love of the countryside and how it varies in form at different times of the day depending on the light, and how the contours and colours change continuously is an inspiration to me. I see a landscape as evocative, a place that can provide memories but where we can all interpret something different even looking at the same scene. I try to depict the sense of space and mood in something so vast. My pastel landscapes are painted on watercolour paper which gives an intensity of colour and a strong texture but also a soft contour. The technique uses layers of pastel to recreate the form and depth. My acrylics are painted on paper, canvas or wood panel which all give their own different textures and I use various sizes of brushes to create a more abstract and spontaneous finish. Much like the pastels there are many layers involved especially when painting the more impressionist style. All my paintings convey an emotion that each landscape is unique and locked into an interpretive 'one moment in time'. Each one is intended to be viewed as if you are there and is something we can identify with, or perhaps as if we have all been there before. I studied Fine Art at Norwich School of Art graduating with a Fine Art B.A. (Hons). FRESH ARTFAIR Cheltenham, Gloucestershire LIME TREE GALLERY Long Melford, Suffolk FRESH ARTFAIR Ascot, Berkshire AFFORDABLE ARTFAIR Battersea, London SLATE GALLERY Leamington Spa, Warwickshire STOUR GALLERY Shipston on Stour, Warwickshire IONA HOUSE GALLERY Woodstock, Oxfordshire GALLERY AT ICE Windsor, Berkshire PARK GALLERY Cheltenham, Gloucestershire OPEN STUDIO (LEIGH GALLERY) Hampton, Middlesex SAINT HILL East Grinstead, West Sussex BISHOP'S PALACE Wells, Somerset GUILDFORD CATHEDRAL (Group Exhibtion) Guildford, Surrey     About the Postcards I am currently exhibiting at the Wren Gallery in Burford. I usually paint on large stretch canvas or on medium size board, paper or canvas sheets so painting on a smaller scale presented a real challenge as I was worried that the spontaneity and fluidity of movement required for blending and texture would be diminished. However, I was really pleased that the fluidity was still possible to achieve the colour, depth and tone and I could still be inspired by my love of the countryside to paint at this much smaller size.    

Mary Burtenshaw Summer Clouds, 2021 Acrylic on Paper Signed on verso 10 x 15cm (3¾ x 5¾ in.) I paint dramatic impressionist and abstract landscapes which are inspired by my love of the countryside and the many and varied places I have visited, creating the atmosphere and feeling of a place with the use of texture and light. My love of the countryside and how it varies in form at different times of the day depending on the light, and how the contours and colours change continuously is an inspiration to me. I see a landscape as evocative, a place that can provide memories but where we can all interpret something different even looking at the same scene. I try to depict the sense of space and mood in something so vast. My pastel landscapes are painted on watercolour paper which gives an intensity of colour and a strong texture but also a soft contour. The technique uses layers of pastel to recreate the form and depth. My acrylics are painted on paper, canvas or wood panel which all give their own different textures and I use various sizes of brushes to create a more abstract and spontaneous finish. Much like the pastels there are many layers involved especially when painting the more impressionist style. All my paintings convey an emotion that each landscape is unique and locked into an interpretive 'one moment in time'. Each one is intended to be viewed as if you are there and is something we can identify with, or perhaps as if we have all been there before. I studied Fine Art at Norwich School of Art graduating with a Fine Art B.A. (Hons). FRESH ARTFAIR Cheltenham, Gloucestershire LIME TREE GALLERY Long Melford, Suffolk FRESH ARTFAIR Ascot, Berkshire AFFORDABLE ARTFAIR Battersea, London SLATE GALLERY Leamington Spa, Warwickshire STOUR GALLERY Shipston on Stour, Warwickshire IONA HOUSE GALLERY Woodstock, Oxfordshire GALLERY AT ICE Windsor, Berkshire PARK GALLERY Cheltenham, Gloucestershire OPEN STUDIO (LEIGH GALLERY) Hampton, Middlesex SAINT HILL East Grinstead, West Sussex BISHOP'S PALACE Wells, Somerset GUILDFORD CATHEDRAL (Group Exhibtion) Guildford, Surrey     About the Postcards I am currently exhibiting at the Wren Gallery in Burford. I usually paint on large stretch canvas or on medium size board, paper or canvas sheets so painting on a smaller scale presented a real challenge as I was worried that the spontaneity and fluidity of movement required for blending and texture would be diminished. However, I was really pleased that the fluidity was still possible to achieve the colour, depth and tone and I could still be inspired by my love of the countryside to paint at this much smaller size.  

Mary Burtenshaw Morning Mist, 2021 Acrylic on Paper Signed on verso 10 x 15cm (3¾ x 5¾ in.) I paint dramatic impressionist and abstract landscapes which are inspired by my love of the countryside and the many and varied places I have visited, creating the atmosphere and feeling of a place with the use of texture and light. My love of the countryside and how it varies in form at different times of the day depending on the light, and how the contours and colours change continuously is an inspiration to me. I see a landscape as evocative, a place that can provide memories but where we can all interpret something different even looking at the same scene. I try to depict the sense of space and mood in something so vast. My pastel landscapes are painted on watercolour paper which gives an intensity of colour and a strong texture but also a soft contour. The technique uses layers of pastel to recreate the form and depth. My acrylics are painted on paper, canvas or wood panel which all give their own different textures and I use various sizes of brushes to create a more abstract and spontaneous finish. Much like the pastels there are many layers involved especially when painting the more impressionist style. All my paintings convey an emotion that each landscape is unique and locked into an interpretive 'one moment in time'. Each one is intended to be viewed as if you are there and is something we can identify with, or perhaps as if we have all been there before. I studied Fine Art at Norwich School of Art graduating with a Fine Art B.A. (Hons). FRESH ARTFAIR Cheltenham, Gloucestershire LIME TREE GALLERY Long Melford, Suffolk FRESH ARTFAIR Ascot, Berkshire AFFORDABLE ARTFAIR Battersea, London SLATE GALLERY Leamington Spa, Warwickshire STOUR GALLERY Shipston on Stour, Warwickshire IONA HOUSE GALLERY Woodstock, Oxfordshire GALLERY AT ICE Windsor, Berkshire PARK GALLERY Cheltenham, Gloucestershire OPEN STUDIO (LEIGH GALLERY) Hampton, Middlesex SAINT HILL East Grinstead, West Sussex BISHOP'S PALACE Wells, Somerset GUILDFORD CATHEDRAL (Group Exhibtion) Guildford, Surrey     About the Postcards I am currently exhibiting at the Wren Gallery in Burford. I usually paint on large stretch canvas or on medium size board, paper or canvas sheets so painting on a smaller scale presented a real challenge as I was worried that the spontaneity and fluidity of movement required for blending and texture would be diminished. However, I was really pleased that the fluidity was still possible to achieve the colour, depth and tone and I could still be inspired by my love of the countryside to paint at this much smaller size.  

Mary Burtenshaw Sunset Wave, 2021 Acrylic on Paper Signed on verso 10 x 15cm (3¾ x 5¾ in.) I paint dramatic impressionist and abstract landscapes which are inspired by my love of the countryside and the many and varied places I have visited, creating the atmosphere and feeling of a place with the use of texture and light. My love of the countryside and how it varies in form at different times of the day depending on the light, and how the contours and colours change continuously is an inspiration to me. I see a landscape as evocative, a place that can provide memories but where we can all interpret something different even looking at the same scene. I try to depict the sense of space and mood in something so vast. My pastel landscapes are painted on watercolour paper which gives an intensity of colour and a strong texture but also a soft contour. The technique uses layers of pastel to recreate the form and depth. My acrylics are painted on paper, canvas or wood panel which all give their own different textures and I use various sizes of brushes to create a more abstract and spontaneous finish. Much like the pastels there are many layers involved especially when painting the more impressionist style. All my paintings convey an emotion that each landscape is unique and locked into an interpretive 'one moment in time'. Each one is intended to be viewed as if you are there and is something we can identify with, or perhaps as if we have all been there before. I studied Fine Art at Norwich School of Art graduating with a Fine Art B.A. (Hons). FRESH ARTFAIR Cheltenham, Gloucestershire LIME TREE GALLERY Long Melford, Suffolk FRESH ARTFAIR Ascot, Berkshire AFFORDABLE ARTFAIR Battersea, London SLATE GALLERY Leamington Spa, Warwickshire STOUR GALLERY Shipston on Stour, Warwickshire IONA HOUSE GALLERY Woodstock, Oxfordshire GALLERY AT ICE Windsor, Berkshire PARK GALLERY Cheltenham, Gloucestershire OPEN STUDIO (LEIGH GALLERY) Hampton, Middlesex SAINT HILL East Grinstead, West Sussex BISHOP'S PALACE Wells, Somerset GUILDFORD CATHEDRAL (Group Exhibtion) Guildford, Surrey     About the Postcards I am currently exhibiting at the Wren Gallery in Burford. I usually paint on large stretch canvas or on medium size board, paper or canvas sheets so painting on a smaller scale presented a real challenge as I was worried that the spontaneity and fluidity of movement required for blending and texture would be diminished. However, I was really pleased that the fluidity was still possible to achieve the colour, depth and tone and I could still be inspired by my love of the countryside to paint at this much smaller size.  

Maisie Cowell I will love you despite everything, 2021 Acrylic and Biro on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Maisie Cowell is a London based Illustrator whose work explores anxiety, loneliness, dysfunctional relationships and absurdity. The majority of her work consists of Illustration works and large scale acrylic paintings, though she also writes comics, narrative and humour being an incredibly important part of her work. "It's a bit masochistic, I think sometimes my work is a bit of an exercise in poking fun at the things I don't really want to admit about myself"   Foundation Diploma in Art and Design at Kingston University in 2017, graduated from an Illustration BA at Brighton University in 2020. Exhibited at Brighton Illustration Fair (BIF) 2018 & 2019 Boing Node at Brighton Fishing Quarter Gallery 2019 Mitigating Circumstances (Online Graduate Show) 2020 Featured on It's Nice That's extended graduates list 2020.   About the Postcards I think this year has been very isolating, and I find a lot of catharsis through my work, so I wanted to explore the idea of loneliness, and kind of make fun of my own fears of being alone. I think humour is a really important tool in dealing with loneliness, and theres something about the melodrama of anxiety and despair that I think is rather wonderful and funny in itself.  

Maisie Cowell I am not sure where to go form here, 2021 Acrylic and Aquarelle Pencil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Maisie Cowell is a London based Illustrator whose work explores anxiety, loneliness, dysfunctional relationships and absurdity. The majority of her work consists of Illustration works and large scale acrylic paintings, though she also writes comics, narrative and humour being an incredibly important part of her work. "It's a bit masochistic, I think sometimes my work is a bit of an exercise in poking fun at the things I don't really want to admit about myself"   Foundation Diploma in Art and Design at Kingston University in 2017, graduated from an Illustration BA at Brighton University in 2020. Exhibited at Brighton Illustration Fair (BIF) 2018 & 2019 Boing Node at Brighton Fishing Quarter Gallery 2019 Mitigating Circumstances (Online Graduate Show) 2020 Featured on It's Nice That's extended graduates list 2020.   About the Postcards I think this year has been very isolating, and I find a lot of catharsis through my work, so I wanted to explore the idea of loneliness, and kind of make fun of my own fears of being alone. I think humour is a really important tool in dealing with loneliness, and theres something about the melodrama of anxiety and despair that I think is rather wonderful and funny in itself.  

Maisie Cowell Dancing, 2021 Acrylic and Aquarelle Pencil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Maisie Cowell is a London based Illustrator whose work explores anxiety, loneliness, dysfunctional relationships and absurdity. The majority of her work consists of Illustration works and large scale acrylic paintings, though she also writes comics, narrative and humour being an incredibly important part of her work. "It's a bit masochistic, I think sometimes my work is a bit of an exercise in poking fun at the things I don't really want to admit about myself"   Foundation Diploma in Art and Design at Kingston University in 2017, graduated from an Illustration BA at Brighton University in 2020. Exhibited at Brighton Illustration Fair (BIF) 2018 & 2019 Boing Node at Brighton Fishing Quarter Gallery 2019 Mitigating Circumstances (Online Graduate Show) 2020 Featured on It's Nice That's extended graduates list 2020.   About the Postcards I think this year has been very isolating, and I find a lot of catharsis through my work, so I wanted to explore the idea of loneliness, and kind of make fun of my own fears of being alone. I think humour is a really important tool in dealing with loneliness, and theres something about the melodrama of anxiety and despair that I think is rather wonderful and funny in itself.  

Maisie Cowell The Kiss, 2021 Acrylic and Aquarelle Pencil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Maisie Cowell is a London based Illustrator whose work explores anxiety, loneliness, dysfunctional relationships and absurdity. The majority of her work consists of Illustration works and large scale acrylic paintings, though she also writes comics, narrative and humour being an incredibly important part of her work. "It's a bit masochistic, I think sometimes my work is a bit of an exercise in poking fun at the things I don't really want to admit about myself"   Foundation Diploma in Art and Design at Kingston University in 2017, graduated from an Illustration BA at Brighton University in 2020. Exhibited at Brighton Illustration Fair (BIF) 2018 & 2019 Boing Node at Brighton Fishing Quarter Gallery 2019 Mitigating Circumstances (Online Graduate Show) 2020 Featured on It's Nice That's extended graduates list 2020.   About the Postcards I think this year has been very isolating, and I find a lot of catharsis through my work, so I wanted to explore the idea of loneliness, and kind of make fun of my own fears of being alone. I think humour is a really important tool in dealing with loneliness, and theres something about the melodrama of anxiety and despair that I think is rather wonderful and funny in itself.  

Anish Kapoor Untitled, 2021 Ink on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Anish Kapoor is one of the most influential sculptors of his generation. Perhaps most famous for public sculptures that are both adventures in form and feats of engineering, Kapoor manoeuvres between vastly different scales, across numerous series of work. Immense PVC skins, stretched or deflated; concave or convex mirrors whose reflections attract and swallow the viewer; recesses carved in stone and pigmented so as to disappear: these voids and protrusions summon up deep-felt metaphysical polarities of presence and absence, concealment and revelation. Forms turn themselves inside out, womb-like, and materials are not painted but impregnated with colour, as if to negate the idea of an outer surface, inviting the viewer to the inner reaches of the imagination. Kapoor's geometric forms from the early 1980s, for example, rise up from the floor and appear to be made of pure pigment, while the viscous, blood-red wax sculptures from the last ten years - kinetic and self-generating - ravage their own surfaces and explode the quiet of the gallery environment. There are resonances with mythologies of the ancient world - Indian, Egyptian, Greek and Roman - and with modern times. Anish Kapoor was born in Mumbai, India in 1954 and lives and works in London. He studied at Hornsey College of Art, London, UK (1973-77) followed by postgraduate studies at Chelsea School of Art, London, UK (1977-78). Recent solo exhibitions include Houghton Hall, Norfolk, UK (2020); Pinakothek der Moderne, Munich, Germany (2020); 'Surge' at Fundación Proa, Buenos Aires, Argentina (2019); Central Academy of Fine Arts Museum and Imperial Ancestral Temple, Beijing, China (2019); CorpArtes, Santiago, Chile (2019); Pitzhanger Manor and Gallery, London, UK (2019); Serralves Museum, Porto, Portugal (2018); 'Descension'' at Public Art Fund, Brooklyn Bridge Park Pier 1, New York, NY, USA (2017); Parque de la Memoria, Buenos Aires, Argentina (2017); MAST Foundation, Bologna, Italy (2017); Museo Universitario Arte Contemporáneo (MUAC), Mexico City, Mexico (2016); Couvent de la Tourette, Eveux, France (2015); Château de Versailles, Versailles, France (2015) and The Jewish Museum and Tolerance Center, Moscow, Russia (2015). He represented Britain at the 44th Venice Biennale in 1990 with Void Field (1989), for which he was awarded the Premio Duemila for Best Young Artist. Kapoor won the Turner Prize in 1991 and has honorary fellowships from the University of Wolverhampton, UK (1999), the Royal Institute of British Architecture, London, UK (2001) and an honorary doctorate from the University of Oxford, UK (2014). Anish Kapoor was awarded a CBE in 2003 and a Knighthood in 2013 for services to visual arts. Large scale public projects include Cloud Gate (2004) in Millennium Park, Chicago, USA and Orbit (2012) in the Queen Elizabeth Olympic Park, London, UK and Ark Nova (2013) the world's first inflatable concert hall in Japan.  

Josie Clouting Collecting Colours II, 2021 Acrylic on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Josie immerses herself in the landscape, from man made cultivated botanic gardens to wild stormy beaches and the rolling hills where she lives. Her paintings are intuitive, emotional responses to her natural environment, inspired by the vastness and wonder of the natural world. Josie's works are saturated with colour, vitality and energy, reflecting her response to light, atmosphere and topography. Painting and sketching en plein air is a vital part of her practice, enabling her to react to the landscape and play with loose, immediate brush marks. Experimenting with acrylics on a variety of surfaces and scales, with many large scale paintings as a result are part of the enjoyment of the creative process. Josie's physical movements creating large expansive works are an expression of the energy she feels within the landscape. Josie graduated with a degree in Fine Art from Norwich University of the Arts in 2012. Her studio is now based in Maidenhead, Berkshire, UK. Recent shows include the Royal Academy Summer Exhibition 2020, Holly Bush Emerging Woman Painter Prize 2020 and the Sunday Times Watercolour Competition 2019.   Exhibitions   2021 Art on a Postcard International Women's Day (March) 2020 Holly Bush Emerging Woman Painter Prize (Oct-Feb) 2020 Royal Academy Summer Exhibition (Oct-Jan) 2020 Wales Contemporary Waterfront Gallery (Nov-Dec) 2020 The Great Ground Hornbill Art Show (Oct-Nov) Online Auction 2020 Queer Frontiers, Online exhibition curated by Artiq (July) 2020 Biomes Emerald Frames, Chalfont St Peter (July) 2020 You don't have to be rich to be an art collector Norden Farm Arts Centre (March) 2019 Lost Land The Old Court Windsor (Dec - Jan) 2019 Macro Landscapes A Little Bird Told Me Gallery Wendover (Sep-Nov) 2019 Wales Contemporary Waterfront Gallery, Milford Haven, Wales (Oct) Mall Galleries, London (Nov) 2019 The People's Landscape Claydon House (Sep - Oct ) 2019 Sunday Times Watercolour Competition Mall Galleries London (Sep) 2019 Lost Land Emerald Frames Chalfont St Peter (June) 2019 Of Mice And Men Norden Farm Arts Centre (May)  

Ally McIntyre Early Blue, 2021 Mixed Media on Paper Signed on verso 10 x 15cm (3¾ x 5¾ in.) After graduating in Painting and Sculpture from University of Alberta in 2013, Ally McIntyre completed the MA Fine Art course at the prestigious Goldsmiths University of London, where she was awarded the Jealous Prize 2014/2015 and HIX Award 2015. Her solo exhibitions at Jealous 'Moondazed' in 2015, 'Dog Days' in 2016, 'Decaf Honey' in 2017 all of which proved sell-out successes with artworks placed in private collections around the world. Most recently, Ally was a finalist for the 20th anniversary Royal Bank of Canada (RBC) Painting Competition in Canada. Ally McIntyre's work rebels against the constraints the art canon has imposed on painting. She reinvents her subjects through large dimensions, bright colours and an unconventional pairing of mixed media and styles. Bold and assertive, her work stands up to the prevalent association of large-scale art with the male artist. Confident brush strokes envelop glimpses of realism and dissolve faces into playful combinations of dream-like colour, line and glitter. Ally's work is an amalgamation of various genres across history; faux-naive, realism, kitsch, expressionism, and cartoon. The subject and narrative of her work often has to do with the structure of hierarchy in culture, art, human-animal relations, and somehow circumventing or looking at it in a new way, that can place importance on a subject that may otherwise not be considered honourable or iconic. Her work is placed in many public and private collections including the Victoria & Albert Museum Permanent Print Collection, where her Jealous Prize winning screenprint 'Ferdinand' joins the growing archive of Jealous Prize winner's prints.  

Julie-Ann Simpson Flow, 2021 Gouache, Pencil and Pen on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Julie-Ann Simpson is a painter from Aberdeen, currently based in Glasgow. Since graduating from Gray's School of Art in 2014, she returned to the painting department in a teaching role and also worked at Grampian Hospitals Art Trust before relocating to Glasgow. She is a previous recipient of the Visual Arts and Craft Makers Awards, Hope Scott Trust Award and RSA Guthrie Award and Medal for painting both in 2014 and 2019. She is an elected professional member of Visual Arts Scotland. As a painter, Julie-Ann Simpson is interested in the porous boundaries between interior and exterior spaces, dreams and reality. The paintings sit in that transitional place, often beginning as representations, but eventually seem to slip into ambiguous afterimages. Simpson's latest body of work considers our interrelationship with the natural world bringing together ideas of imagination, ritual, memory, pleasure and language Education 2010 - 2014 - Gray's School of Art, Robert Gordon University. Aberdeen. BA (Hons) Painting Exhibitions 2021 - 'Green Fires', The Violet Hour. Selected group show. 'Tilted', Wilder Gallery with Purslane, London. Selected group show. 2020 - 'Original | Paper', Wilder Gallery, London. Selected group show. 'F L O W', Visual Arts Scotland Members' Exhibition. Selected group show. 'the tales we tell ourselves', Purslane. Selected group show. 'On The Strangest Sea', The Violet Hour. Selected group show. 'Works on Paper 2', Blue Shop Cottage, London. Selected group show. 'A Dream Is Not A Dream', Purslane. Selected group show. Borders Art Fair, Kelso. Invited artist. Studio Exhibition, Rogart Street Campus, Glasgow. Group show. '20 Artists', Roger Billcliffe Gallery, Glasgow. Selected group show. 2019 'Little Originals', Dock Street Studios, Dundee. Selected group show. 'RSA Annual Exhibition', The Royal Scottish Academy, Edinburgh. Selected group show. 'Where the Wild Thyme Grows', The Jam Factory, Oxford. Three-person show. Open Contemporary Young Artist Award, The Biscuit Factory, Newcastle. Selected group show. 'ALIGHT', Visual Arts Scotland, The Royal Scottish Academy, Edinburgh. Selected group show. 2018 'What The Water Tells/はしご湯', Takasagoyu Bathhouse, Kofu, Yamanashi, Japan. Group show. Painting Exhibition with Matt Forsythe, Petit a Petit General Store, Kofu, Yamanashi, Japan. Joint show. 'Current', Visual Arts Scotland, Tatha Gallery, Newport-on-Tay. Selected group show. Awards & Residences 2019 - RSA Guthrie Award and Medal, Open Contemporary Young Artist Award, shortlist. 2018 - Artist in Residence Yamanashi (AIR-Y), Kofu, Japan 2017 - Sketch 2017 Prize; shortlist 2016 - Visual Arts and Craft Makers Awards, Aberdeen City Council and Creative Scotland Hope Scott Trust Award Contemporary British Painting Prize; longlist Graduate in Residence, Painting Department, Gray's School of Art 2014 - RSA Guthrie Award and Medal, Aberdeen Asset Management Purchase Prize 2013 - Joseph Steele Cornwall Legacy Gallery Representation Represented online by New Blood Art where she forms part of their 'Masters' section. Works frequently with Purslane and also Art for Charity Collective. About the postcard artworks These works are more intimate in scale, both in the postcard format but also in the close-up, cropped perspective of the images themselves which I feel complements the subject matter well. They speak to a tenderness and resilience, nurtured like a plant, which resides inside all women.

Julie-Ann Simpson Release, 2021 Gouache, Oil Pastel, Pen and Pencil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Julie-Ann Simpson is a painter from Aberdeen, currently based in Glasgow. Since graduating from Gray's School of Art in 2014, she returned to the painting department in a teaching role and also worked at Grampian Hospitals Art Trust before relocating to Glasgow. She is a previous recipient of the Visual Arts and Craft Makers Awards, Hope Scott Trust Award and RSA Guthrie Award and Medal for painting both in 2014 and 2019. She is an elected professional member of Visual Arts Scotland. As a painter, Julie-Ann Simpson is interested in the porous boundaries between interior and exterior spaces, dreams and reality. The paintings sit in that transitional place, often beginning as representations, but eventually seem to slip into ambiguous afterimages. Simpson's latest body of work considers our interrelationship with the natural world bringing together ideas of imagination, ritual, memory, pleasure and language Education 2010 - 2014 - Gray's School of Art, Robert Gordon University. Aberdeen. BA (Hons) Painting Exhibitions 2021 - 'Green Fires', The Violet Hour. Selected group show. 'Tilted', Wilder Gallery with Purslane, London. Selected group show. 2020 - 'Original | Paper', Wilder Gallery, London. Selected group show. 'F L O W', Visual Arts Scotland Members' Exhibition. Selected group show. 'the tales we tell ourselves', Purslane. Selected group show. 'On The Strangest Sea', The Violet Hour. Selected group show. 'Works on Paper 2', Blue Shop Cottage, London. Selected group show. 'A Dream Is Not A Dream', Purslane. Selected group show. Borders Art Fair, Kelso. Invited artist. Studio Exhibition, Rogart Street Campus, Glasgow. Group show. '20 Artists', Roger Billcliffe Gallery, Glasgow. Selected group show. 2019 'Little Originals', Dock Street Studios, Dundee. Selected group show. 'RSA Annual Exhibition', The Royal Scottish Academy, Edinburgh. Selected group show. 'Where the Wild Thyme Grows', The Jam Factory, Oxford. Three-person show. Open Contemporary Young Artist Award, The Biscuit Factory, Newcastle. Selected group show. 'ALIGHT', Visual Arts Scotland, The Royal Scottish Academy, Edinburgh. Selected group show. 2018 'What The Water Tells/はしご湯', Takasagoyu Bathhouse, Kofu, Yamanashi, Japan. Group show. Painting Exhibition with Matt Forsythe, Petit a Petit General Store, Kofu, Yamanashi, Japan. Joint show. 'Current', Visual Arts Scotland, Tatha Gallery, Newport-on-Tay. Selected group show. Awards & Residences 2019 - RSA Guthrie Award and Medal, Open Contemporary Young Artist Award, shortlist. 2018 - Artist in Residence Yamanashi (AIR-Y), Kofu, Japan 2017 - Sketch 2017 Prize; shortlist 2016 - Visual Arts and Craft Makers Awards, Aberdeen City Council and Creative Scotland Hope Scott Trust Award Contemporary British Painting Prize; longlist Graduate in Residence, Painting Department, Gray's School of Art 2014 - RSA Guthrie Award and Medal, Aberdeen Asset Management Purchase Prize 2013 - Joseph Steele Cornwall Legacy Gallery Representation Represented online by New Blood Art where she forms part of their 'Masters' section. Works frequently with Purslane and also Art for Charity Collective. About the postcard artworks These works are more intimate in scale, both in the postcard format but also in the close-up, cropped perspective of the images themselves which I feel complements the subject matter well. They speak to a tenderness and resilience, nurtured like a plant, which resides inside all women.

Julie-Ann Simpson Snag, 2021 Pencil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Julie-Ann Simpson is a painter from Aberdeen, currently based in Glasgow. Since graduating from Gray's School of Art in 2014, she returned to the painting department in a teaching role and also worked at Grampian Hospitals Art Trust before relocating to Glasgow. She is a previous recipient of the Visual Arts and Craft Makers Awards, Hope Scott Trust Award and RSA Guthrie Award and Medal for painting both in 2014 and 2019. She is an elected professional member of Visual Arts Scotland. As a painter, Julie-Ann Simpson is interested in the porous boundaries between interior and exterior spaces, dreams and reality. The paintings sit in that transitional place, often beginning as representations, but eventually seem to slip into ambiguous afterimages. Simpson's latest body of work considers our interrelationship with the natural world bringing together ideas of imagination, ritual, memory, pleasure and language Education 2010 - 2014 - Gray's School of Art, Robert Gordon University. Aberdeen. BA (Hons) Painting Exhibitions 2021 - 'Green Fires', The Violet Hour. Selected group show. 'Tilted', Wilder Gallery with Purslane, London. Selected group show. 2020 - 'Original | Paper', Wilder Gallery, London. Selected group show. 'F L O W', Visual Arts Scotland Members' Exhibition. Selected group show. 'the tales we tell ourselves', Purslane. Selected group show. 'On The Strangest Sea', The Violet Hour. Selected group show. 'Works on Paper 2', Blue Shop Cottage, London. Selected group show. 'A Dream Is Not A Dream', Purslane. Selected group show. Borders Art Fair, Kelso. Invited artist. Studio Exhibition, Rogart Street Campus, Glasgow. Group show. '20 Artists', Roger Billcliffe Gallery, Glasgow. Selected group show. 2019 'Little Originals', Dock Street Studios, Dundee. Selected group show. 'RSA Annual Exhibition', The Royal Scottish Academy, Edinburgh. Selected group show. 'Where the Wild Thyme Grows', The Jam Factory, Oxford. Three-person show. Open Contemporary Young Artist Award, The Biscuit Factory, Newcastle. Selected group show. 'ALIGHT', Visual Arts Scotland, The Royal Scottish Academy, Edinburgh. Selected group show. 2018 'What The Water Tells/はしご湯', Takasagoyu Bathhouse, Kofu, Yamanashi, Japan. Group show. Painting Exhibition with Matt Forsythe, Petit a Petit General Store, Kofu, Yamanashi, Japan. Joint show. 'Current', Visual Arts Scotland, Tatha Gallery, Newport-on-Tay. Selected group show. Awards & Residences 2019 - RSA Guthrie Award and Medal, Open Contemporary Young Artist Award, shortlist. 2018 - Artist in Residence Yamanashi (AIR-Y), Kofu, Japan 2017 - Sketch 2017 Prize; shortlist 2016 - Visual Arts and Craft Makers Awards, Aberdeen City Council and Creative Scotland Hope Scott Trust Award Contemporary British Painting Prize; longlist Graduate in Residence, Painting Department, Gray's School of Art 2014 - RSA Guthrie Award and Medal, Aberdeen Asset Management Purchase Prize 2013 - Joseph Steele Cornwall Legacy Gallery Representation Represented online by New Blood Art where she forms part of their 'Masters' section. Works frequently with Purslane and also Art for Charity Collective. About the postcard artworks These works are more intimate in scale, both in the postcard format but also in the close-up, cropped perspective of the images themselves which I feel complements the subject matter well. They speak to a tenderness and resilience, nurtured like a plant, which resides inside all women.

Mancur iron and brass scale, German bilateral scale, egg scale and various spring balances etc

Set of brass balance scales and five weights on wooden base, set of quadrant scales with enamel register and a Salter letter balance scale No. 11

Fowlers Long Scale Calculator by Fowler of Manchester in original case of issue

James Bond Moonraker laser rifle prop replica made by Factory Entertainment 1:1 scale limited edition of 500 to celebrate 50 years of the James Bond film, created after exhaustive study of the original prop in the EON production archives made from polyresin with COA and prop story booklet with original packaging.

James Bond Goldeneye (1995) - Factory Entertainment Prop Replica Lens & Arming Keys accurately based on the hero props used in the Film. Limited Edition to 500 worldwide, 1:1 scale replicas on a display stand with a numbered plaque & Certificate. Numbered 10 of 500. Includes the same edge lit illumination feature as seen on screen. With original 007 branded packaging & booklet.

James Bond Carrera Go!!! Die Another Day 60007 boxed set and two Carrera Go!!! boxed modesl 1:43 scale (3).

James Bond - 40th Anniversary Bond Collection, and three 1:43 scale models for Die Another Day, and four Marks and Spencer models of Aston Martins, one 1/16 scale, all boxed (8).

James Bond Casino Royale (2006) - A Venice Building Miniature. The miniature section formed part of the 1:3 scale Venice miniature set used in the climactic scenes of the Film, which was constructed at Pinewood Studios in July 2006. Mounted on an acrylic display base with a corresponding plaque (8 x 6 x 5 inches overall). Provenance: With Certificate of authenticity.

Cheshire. Speed (John), The County Palatine of Chester with that most ancient Citie described, sold Bassett & Chiswell, [1676], hand-coloured engraved map, inset town plan of Chester, strapwork cartouche and mileage scale, English text on verso.40cm x 51.5cm (15.75in x 20.25in)Condition report: The map is in good, original condition. The paper has browned in some areas. The map is framed and glazed on both sides. The frame has some minor scuffs and knocks commensurate with age.

Francis Campbell, Oswestry 1768-1841 bracket clock, 8-day movement with repeater striking on a single bell, white painted dial, Roman numerals covered by domed dial glass in brass bezel, mahogany dome top case inlaid with ebony string, each side with brass fish scale fretwork panels all standing on four ball feet.width 26cm (10"), height 42cm (16")Condition report: Some minor cracking to the main case, a small section of wood missing from the door at rear (see photographs for more detailed information).

Collection of Corgi Boxed Diecast Models, comprising: Corgi Classics Lionel City Transit Company Street Car; James Bond 007 AstonMartin DB5; Cumbrian Set Commercials; Passage of Time Port Durban scale model; and four Comic Classics: The Hotspur, Adventure, Lion and Topper.

A Collection of Model Makers Kits and Spares. To include Modern Traction Kits, Tram scale plastic kits - Tower Trams Sunderland car no 100 tram, Edinburgh Standard tram, Blackpool Leyland Olympian Bus, Hadfields Model Tram, modelling accessories, railcoach body kit etc

THIRTY-SIX 1/43 SCALE DIECAST MODEL POLICE & OTHER EMERGENCY VEHICLES each mint or near mint (two missing wing mirrors), all but one unboxed, (box).

ASSORTED DIECAST MODEL FIRE SERVICE VEHICLES variable condition, most mint or near mint (some larger scale models lacking detail parts), all unboxed (approximately 44; two boxes).

FOURTEEN 1/72 SCALE ATLAS EDITIONS 'ULTIMATE TANK COLLECTION' MODELS each mint or near mint and boxed; together with a quantity of related product literature.