England & Wales. Cary (John), Cary's New Map of England and Wales with part of Scotland..., 1794, large scale engraved map with contemporary outline colouring, sectionalised and laid on linen, on nine sheets, each sheet with a miniature map to the verso, inset maps of the Scilly Isles and of England & Wales, compass rose and table of explanation, overall size if conjoined, 2245 x 1775 mm, edged in green silk, contained in a contemporary marbled card book box, worn and frayed, together with Cary's Reduction of his Large Map of England and Wales with part of Scotland..., 1796, engraved map with contemporary outline colouring, sectionalised and laid on linen, 755 x 620 mm, contained in a contemporary blue card slipcase with a printed label to the upper cover, slight staining to the slipcase, with another copy similar, but corrected to 1816, plus Darton (William, publisher). Brookes's Travelling Companion through England and Wales, 2nd edition, 1819, engraved map with contemporary outline colouring, sectionalised and laid on linen, decorative uncoloured allegorical cartouche, 570 x 485 mm, contained in a contemporary marbled card slipcase with a printed label to the upper cover, and Fores (S. W., publisher). Fores's Traveller's Companion through England and Wales, exhibiting the Turnpike and Cross Roads..., 1796, engraved map with contemporary outline colouring, sectionalised and laid on linen, 610 x 515 mm, contained in a contemporary marbled card slipcase with a printed label to the upper cover, slipcase worn and rubbed, with another four folding maps of England & Wales similar, including examples by or after Faden, Wallis and Wyld, various sizes and conditionQTY: (9)
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Folding Maps. A collection of eight maps, 19th century, including Ordnance Survey. Map of Kent, on a scale of 25 inches to the mile, circa 1890, 10 lithographic maps with contemporary outline colouring, sectionalised and laid on linen on ten sheets, each sheet approximately 685 x 1025 mm, each with green cloth endpapers, contained in two half morocco bookboxes, rubbed and worn at extremities, together with Kirkwood (Robert). Map of Scotland constructed and engraved from the best authorities by Robert Kirkwood..., William Blackwood, Edinburgh, Smith & Son, Brash & Reid, J. & A. Duncan and F. Orr, Glasgow, and W. Faden, London, 1816, engraved map with contemporary outline colouring, sectionalised and laid on linen, inset maps of The Orkney and the Shetland Islands, inset panels describing the navigable rivers, population density, canals and mountains, the route of Prince Charles as he fled after the battle of Culloden is highlighted in green, very slight staining, three publisher's labels to the verso of the map, one describing the route of Prince Charles after his defeat at the battle of Culloden, one showing a triangular table of distances between towns and cities and an explanatory key plan, 705 x 575 mm, contained in a contemporary marbled card slipcase with a decorative engraved title label to the upper cover with a later 19th-century ownership signature, worn at the extremities, with Cary (John). An untitled Map of Central England, 1832, large scale engraved map with contemporary outline colouring, sectionalised and laid on linen, covering parts of Warwickshire, Northamptonshire, Huntingdon, Hertfordshire, Oxfordshire and Gloucestershire, a few sheets partially detached from the linen, marbled endpapers, 1000 x 1880 mm, contained in a contemporary marbled card slipcase with a printed key map to the upper cover, slipcase worn and frayed at the extremities, plus Walker (J. & C.). Map of the Peninsula of India, comprising the whole of the Madras Presidency and portions of the adjacent territories of Bengal and Bombay, derived from the latest surveys and other information collected by Lt. Colonel F. H. Scott, Quarter Master General of the Madras Army, ..., 2nd Edition, Madras, 1863, engraved map with contemporary outline colouring, sectionalised and laid on linen on two sheets, northern sheets with some marginal ink staining, later ink stamped ownership signature to verso, each sheet approximately 660 x 1000 mm, marbled endpapers, and George Philip & Son. Philips' Main Road Map of Great Britain, circa 1920, colour printed folding map, laid on linen, inset map of Northern Scotland, very slight staining, 870 x 550 mm, publisher's decorative printed paper wrappers, with Laurie (Robert & Whittle, James). Laurie & Whittle's New Traveller's Companion exhibiting a complete and correct survey of all the direct and principal cross roads in England Wales and Scotland; as far north as Edinburgh and Glasgow...., 1806 [or later], double-page title, advertisement, index and table of explanation all present, lacking the general map of England & Wales, 24 (of 25) engraved road maps, all with original hand colouring, slight offsetting, heavily stained and dust-soiled throughout, trimmed at lower margin with some loss to the publishing details, marbled endpapers, contemporary 'envelope style' limp morocco, slight wear to extremities, oblong 8voQTY: (8)
Iceland. Blaeu (Willem Janszoon), Tabula Islandiae Auctore Georgio Carolo Flandro, Amsterdam, circa 1630, engraved map with contemporary outline colouring, large strapwork cartouche and mileage scale, some spotting and dust soiling, central fold partially split, 380 x 505 mm, French text on versoQTY: (1)
Iceland. Jansson (Jan), Tabula Islandiae Auctore Georgio Carolo Flandro, circa 1650, engraved map with contemporary hand-colouring, large decorative cartouche and mileage scale, compass rose and numerous rhumb lines, central fold partially split and repaired on verso, 380 x 500 mm, French text on versoQTY: (1)
Kent. Fourteen maps of Kent, 18th & 19th century, including Jansson (Jan). Cantium Vernacule Kent, Amsterdam, circa 1650, engraved map with contemporary outline colouring, some oxidization to old watercolour causing some cracking and splitting to the printed surface, 380 x 500 mm, mounted, framed and double glazed, Latin text on verso, together with Andrews (J. & Wren M.). A Plan of the City of Canterbury Surveyed, 1768, hand-coloured engraved city plan, old folds, several prepared closed tears, 485 x 600 mm, with Cary (John). A Map of Kent from the best authorities, John Stockdale, 1805, engraved map with contemporary outline colouring, old folds, some staining along one fold, 355 x 515 mm, with other regional, road and county maps of Kent, including examples by or after Parker, Sayer & Bennet and Mount & Page and three sheets from John Andrew's large scale map of Kent, various sizes and condition, plus London Ward Plans, originally published in Stow's Survey Of London: A Mapp of the Parish of St Giles..., Cheape Ward..., [and] A Mapp of Lime Street Ward, circa 1755, together three hand-coloured engraved maps, various sizes and condition, and two topographical views in Kent, a plan of London taken from Thornton's New and Complete History and Survey of London & Westminster, a theatre bill for Drury lane, a folding view of London and Westminster, and a 19th-century map of North AmericaQTY: (23)
Northern Europe. Stockdale (John), Map of the Seat of the War in the northern part of Europe, 25th July 1812, large scale engraved map with contemporary outline colouring, sectionalised and laid on linen, inset table of the 'Changes of the Geographical Divisions of Europe since 1779', slight overall toning and staining, slight marginal ink staining, 1420 x 1555 mm, contained in a contemporary card slipcase with printed label to the upper cover, label with near-contemporary ink annotations, additional later library label to the verso of the 'Gibraltar Garrison Library, H. E. General Sir Robert T. Wilson KT. Governor and Patron', some wear to the slipcaseQTY: (1)NOTE:The map was designed and published primarily to enable army officers to follow the route of Napoleon's march on Moscow. It is a scarce map, with only one copy recorded on Copac (University of Oxford), no doubt exacerbated by its original price of the not inconsiderable sum of three guineas.
Scandinavia. Rossi (Giacomo Giovanni), Scandinavia divisa nelli suoi Regni di Svezia, Danemarca, Norvegia, e paese de Lapponi..., Rome, circa 1678, decorative map engraved by Giorgi Widman with contemporary outline colouring, large martial cartouche and mileage scale, slight spotting, 420 x 555 mmQTY: (1)
Scotland. Armstrong (Andrew & Mostyn), Map of the Three Lothians..., 1773, large scale uncoloured engraved map on six conjoined sheets, large decorative cartouche, inset plans of Edinburgh and Haddington, compass rose, table of explanation and mileage scale, toned overall, some creasing and cracking affecting the printed image, frayed and torn with slight loss along the upper margin, lower margin with a 'scalloped' edge but with no loss, laid on to later thick paper, 880 x 1515 mm, together with Knox (James). Map of the Shire of Edinburgh or County of Midlothian..., 1812, engraved map with sparse contemporary outline colouring on four conjoined sheets, laid on later linen, inset map of Edinburgh and its environs, table of explanation, tables of distances and attitudes, toned and stained and toned overall, margins frayed and chipped with slight loss, 1265 x 1505 mm, with Forrest (William). Map of Haddingtonshire, 1799, large scale uncoloured engraved map on four conjoined sheets, decorative cartouche, calligraphic dedication, compass rose, mileage scale, and table of distances from Haddington, frayed, creased and cracked with some loss to the printed surface, heavily toned and stained, laid on later board, 1190 x 1430 mm, framed, plus Brown (John). An Historical and Genealogical Tree of the Royal Family of Scotland..., sold by W. Stewart, London & T. Brown, Edinburgh, March 6th 1792, uncoloured engraved 'family tree' printed on two conjoined sheets, laid on later linen, some creasing and repaired closed tears, some dust soiling, margins frayed with slight loss, 1070 x 745 mmQTY: (4)
Shropshire. Speed (John), Shropshyre Described, the Sittuation of Shrowesbury shewed with the Armes of those Earles and other memorable things observed, George Humble [1616], uncoloured engraved map, inset town plan of Shrewsbury, large strapwork cartouche, compass rose and mileage scale, margins and central fold skillfully repaired on verso, one small hole repaired on verso, 390 x 510 mm, Latin text on verso, together with Blaeu (Johannes). Comitatus Salopeiensis Anglice Shrop Shire, Amsterdam, circa 1648, engraved map with contemporary outline colouring, large strapwork cartouche and mileage scale, 385 x 500 mm, Dutch text on verso, with Saxton (Christopher & Hole G.). Salopiae comitatus quem Cornuii olim incoluerunt description, circa 1610, engraved map with sparse outline colouring, strapwork cartouche and mileage scale, 275 x 330 mm, plus Morden (Robert). Shropshire [1695 or later], uncoloured engraved map, 360 x 420 mm, with another copy similar, mounted, and Murray (T. L.). Shropshire, 1830, uncoloured engraved map, slight spotting and creasing, 465 x 360 mmQTY: (6)
A RARE REGENCY WHEEL BAROMETER WITH TIMEPIECEBy Francis Berquez, 17, Vere Street, Cavendish Square, London, circa 1820Ivory Declaration: 4UZ54CPCThe case with swan-neck pediment, fitted with hydrometer scale, above a lift-out bow-front thermometer, and with 5in white enamel dial (restored) signed, with blued steel ‘Breguet’ moon hands, the lower part with 10 1/2in. circular silvered barometer dial, each with brass cast bezel and convex glass, the base with level dial signed F. BERQUEZ, Watch & Clock Maker To His Royal Highness THE DUKE OF CAMBRIDGE No 17 Vere Street Cavendish Square LONDON, the timepiece movement with narrow rectangular plates, silk suspension with adjustment from the front, anchor escapement and gut fusée 107cm highThe barometer has been recently restored, the case repolished, the timepiece movement cleaned. The mercury-filled glass tube functions. Overall it presents very well.
A VICTORIAN BRASS OVAL-SHAPED STRUT TIMEPIECEAttributed to Thomas Cole, London, No 646, circa 1855, Retailed by C. F. HancockWith engraved oval silvered dial, monogrammed SA, finely-cut blued steel hands, the movement with large barrel and a separate platform for the balance and escapement, the base with thermometer scale and hinged foot, in associated M. F. Dent leather case18cm highSee John. B. Hawkins, Thomas Cole & Victorian Clockmaking, Sydney 1975, p. 177, item 4, for a very similar shaped timepiece with an engraved case by Cole.The clock is in unrestored condition. The gilding is worn. The movement ticks but is sluggish, so will require a service. Two of the squared screws holding the bezel are missing. Some wear to chapters on the dial. A scratch mark between the II & III. The hinged cover to adjust the balance is loose. The mercury thermometer with a silvered scale, thjere are no numerals on the scale.
HARDY'S LEATHER FISHING CASE WITH REELS AND NET LATE 19TH / EARLY 20TH CENTURY the leather case with brass hardware and stamped 'Hardy Brothers Ltd, Maker, Alnwick England', with seven mahogany and brass reels, a leather fly wallet, a brass gaff, a fishing priest, a Shots & Caps bobbin and a Salters brass tension scale, also with a brass mounted wood and bamboo y-shaped net, also stamped Hardy BrothersDimensions:Case 51cm long, 35cm high, 25cm deep
UNIVERSAL EQUINOCTIAL RING DIAL, DOLLOND, LONDON LATE 18TH / EARLY 19TH CENTURY 9-inch, in lacquered brass, signed under the degree scale 'Dolland, London', the pivoted inner chapter ring with hours I-XII-I-XII divided to 5 minutes, the outer equinoctial ring with degree scale 90-0-90° and declination scale to reverse, the pivoted bridge with sliding pinhole gnomon on calendrical and zodiac scales, the rim with sliding suspension loopDimensions:27cm high
THE DYERS' COMPANY USHAK CARPET WEST ANATOLIA, EARLY 20TH CENTURY the camel field with allover palmette and foliate vine lattice pattern, within blue borderDimensions:1007cm x 697cmNote: Provenance: The Worshipful Company of Dyers, Dyers Hall, LondonNote: The Company’s Gift Book records that this carpet was commissioned and presented in 1930 by Court Assistant Dr. Gerald Moody. The carpet remained in the Court Room from that time until its recent removal as part of the hall’s renovations, which commenced in 2018; the most significant works since the building of the hall in the 19th century.Henry VI granted the Guild of Dyers their first charter in 1471, confirming that the guild had the authority to control the quality of workmanship and hence the reputation of London dyers. Once the guild became incorporated by charter, it was legally possible for it to own land and their first hall was then acquired in 1482. Over the centuries the Dyers have had several halls, both on the riverside and at the current site. The present Dyers’ Hall, occupying a corner position at the junction of Dowgate Hill and College Street in the City of London, was designed and built by the aptly named architect Charles Dyer in 1839-41. The hall is listed Grade II* and is a Scheduled Ancient Monument.The Court Room, occupying the same space as the previous hall, faces out on to College Street. It is used for the monthly meetings of the Court of Assistants and several dinners each year. Some of the furniture and furnishings were transferred from the old to the new hall, but whether or not the carpet in the Court Room was new at the time the building was finished in 1841, it was no longer at its best by the time Dr Moody offered to replace it with a bespoke commission.Dr Gerald Tattersall Moody DSc. FCS. (1864-1943) was initially a chemist although later read for the bar and was called in 1910. He also took a keen interest in finance and applied his analytical mind to investing. He became chairman or director of a number of companies and had a high reputation in the City. Dr Moody joined the Livery in 1918 and became Prime Warden of the Dyers in 1935.When Dr. Moody commissioned this impressive carpet for the Court Room, the city of Ushak in the new Republic of Turkey had established a significant reputation for the production of large scale good quality carpets designed for European tastes and room sizes.Ushak (or Uşak) in Western Anatolia, and its surrounding region, has a long and illustrious history of carpet weaving. In the fifteenth century it produced carpets for the Ottoman court in Istanbul and from the sixteenth century on it was one of the largest producers of commercial carpets for Europe. With revitalised demand from the late 19th century onwards, the carpet weaving trade in Ushak boomed once more. Mary Beach Langton notes in her book How to Know Oriental Rugs, published in 1904, that: “at Oushak [sic], alone, it is estimated that from five to six thousand weavers and dyers are employed. And here the best rugs are made…They are usually of good wool, often of permanent dyes” (p177).An Ushak production would thus have been an obvious choice for a good quality carpet on a grand scale for the principle room of the Dyers’ Hall. The Company notes that to produce a carpet of this size required a specially built loom to be constructed at the time.Almost a century on, a new bespoke carpet was commissioned to mark the 550th anniversary of the Company Charter and it is now time for the Dyers’ Hall Ushak to find a new home.
Post 1953 Royal Horse Guards Blue dress tunic with anodised buttons . Gilt cord shoulder straps and aiguillette . Plated breast plate with brass edge studs . Darkened rear plate with brass edge studs and shoulder scale straps . Together with a patent leather pouch with buff leather shoulder strap .Connecting fitting absent.Some service wear.
Two Various Powder Flasksconsisting 3/4 scale, 4 1/2 inch, copper body with fluted shell design to both sides. Brass top with hidden spring. Top stamped "Patent". Adjustable nozzle. Together with a leather covered, steel body powder flask. White metal top marked "G & JW Hawksley". Adjustable nozzle. Top in need of repair. 2 items.
A Corgi Aviation Archive WW2 War in the Pacific P-51D Mustang - "Stinger VII", Major Robert W. Moore, 45th FS, 15th FG, Iwo Jima (South Field), June 1945 1:32 scale model aeroplane; together with a GMP Military Collection P-51D Mustang 44-14789/Missouri Armada 1:35 scale model aeroplane (limited edition of 1,000) (2) Condition Report:Available upon request
A GMP The Malco Gasser 1967 Malco Mustang Gasser with air plow 1:18 scale model (limited edition of 900), a Sun Star Platinum Collection 1958 Ford Fairlane "Around the World" 1:18 scale model (limited edition of 999) and a GMP Colossal Lift 1:18 scale model (3) Condition Report:Available upon request
A Road Signature Collection 1923 Ford T-Bucket 1:18 scale model, a Porkchop's Chop Shop Jailbreak! Porkchop 1933 Gasser hot-rod 1:18 scale model (limited edition of 960), TSM Model Team Tyrell Pit Crew 1:18 scale figurines and a Fast & Furious Dom's Ice Charger die-cast scale model (4) Condition Report:Available upon request
Assorted boxed scale model vehicles and parts, to include GMP 1:18 scale wheels and tyres, two die-cast 1:18 scale American gas pumps, an Ayrton Senna 1994 1:8 scale racing helmet, a Gilles Villeneuve 1980 1:6 scale racing helmet, Corgi Thunderbirds Classics Thunderbird 1 and 3 set, Lady Penelope's FAB 1, Corgi re-issue James Bond Aston Martin D.B.5, etc.; together with a large remote control monster truck Condition Report:Available upon request
RICHARD SERRA (San Francisco, California, 1939)."Level I", 2008.Etching, copy 14/38.Gemini G.E.L. Los Angeles, California, Publisher. With stamp on verso.Signed, dated and justified on verso.Provenance: Carreras Múgica Gallery, Bilbao. Private collection, Barcelona.Measurements: 97 x 161 cm; 110 x 174 cm (frame).Since 1994, when he began his work "The Matter of Time", a set of monumental steel structures exhibited at the Guggenheim Museum in Bilbao, abstraction has always been the leitmotiv of Richard Serra's work. Earlier, in the 1960s, he had already worked with the simplification of forms and abstract reduction by throwing molten lead against the wall of a studio or exhibition space (a clear example of process art). This "performance" was followed by major works such as the "Titled Arc", a gently curving 3.5 metre high steel wall installed in Federal Plaza in New York, a work that once again reflected the intense and profound character of the San Francisco artist. Despite his fame as a sculptor, Serra has always successfully championed other artistic disciplines: video, drawing or, as on this occasion, installation, have taken the sculptor to the top of the international scene, and he is even considered one of the most important artists on the American scene today. The etching now on offer is distinguished by the bichrome used, as it combines a large black surface, which creates a sensation of depth, with a white stripe that alludes to emptiness and existentialism.Richard Serra is considered one of the most distinguished and well-known artists in the United States. Born in San Francisco to a Spanish father (Mallorcan) and a Ukrainian mother, Serra studied literature at the University of California at San Francisco. He studied literature at the University of California at Berkeley and Santa Barbara (1957-1961). During his early years, he worked in a steel mill, an activity that influenced his artistic language. He then studied art at Yale University (1961-1964). Specialising in large-scale sculpture, his fame and the size of his works grew over the years. Gallery owners such as Leo Castelli and collectors such as Emily and Joseph Pulitzer became interested in an art that, due to its volume, leapt from the galleries to the street, an aspect that introduced him to Land Art alongside great artists such as Oppenheim and Javacheff. Throughout his career he has received many awards and grants, including France's prestigious Légion d'honneur, which he was awarded in 2015, the Order of Arts and Letters of Barcelona and the 2010 Prince of Asturias Award for the Arts. His work is currently in the permanent collections of institutions such as the Guggenheim Museum in Bilbao, the Museo Reina Sofía in Madrid, the MACBA in Barcelona, and the Museum of Modern Art (MoMA) in New York.
JOAN FONTCUBERTA (Barcelona, 1955)."Pin Zhuang", 2004.Comprises: a thermoformed container, an artist's book together with an original text written by Jorge Luis Marzo, a DVD, eight photographic prints and a sculpture entitled Tiger Zhuang II made up of 21 pieces belonging to the 1:32 scale model of the F-5E Tiger II fighter plane, which the user can build following the author's proposals.Copy 63/100.Publisher's page, hand signed and numbered.Measurements: 44 x 32 x 42 cm (box).Joan Fontcuberta is inspired by a real event that took place in April 2001, when an American aircraft, which was violating the airspace of the People's Republic of China, collided with a Chinese army fighter. The Chinese authorities seized the sophisticated US aircraft, which only after arduous negotiations was returned, albeit piece by piece. Pin Zhuang in Chinese means 'disassembly' or 'jigsaw'. The idea of undoing and redoing an object from its fragments takes us back to the childhood experience of Meccanoes and dismountable models. With this symbolic gesture, on the one hand, those technological devices that are paradigms of power and violence become harmless objects, a kind of poetic sculptures that pay tribute to the aesthetics of science fiction while critically alluding to the threatening "defence" programmes of the great war powers. On the other hand, the game of disobeying instructions turns these flying ready-mades not only into the object of an aesthetic experience of play and the combination of forms, but also into a pretext for confrontation between authority and subversion, between order and dissidence, between rule and daring.Artist, teacher, essayist, critic and art promoter specialising in photography, Joan Fontcuberta has developed a successful career, which has earned him awards such as the David Octavius Hill by the Fotografisches Akademie GDL in Germany (1988), the Chevalier de l'Ordre des Arts et des Lettres by the French Ministry of Culture (1994), and the National Photography Prize, awarded by the Spanish Ministry of Culture (1998). A graduate in Information Sciences, Fontcuberta teaches Audiovisual Communication Studies at Pompeu Fabra University in Barcelona and Harvard University in Cambridge (Massachusetts, USA). He also contributes to various publications specialising in image. In 1980 he co-founded the magazine "PhotoVIsion", where he was editor-in-chief. As a promoter of events related to the art of photography, he has organised the Jornades Catalanes de Fotografía, collaborated in the constitution of the Primavera Fotogràfica de Barcelona, and has curated important exhibitions in Madrid, New York, Barcelona, Marseilles, etc. His extensive photographic work is characterised by the use of computer tools in its treatment, and by its interactive presentation with the spectator. His language represents a critical vision of reality, photographic, historical or fictitious truths through photography and its context. Between 1985 and 2001, Fontcuberta's work has been exhibited in more than thirty museums and art galleries in Europe, North America and Japan, notably the MoMA in New York, the Folkwang Museum in Essen, the IVAM in Valencia, the Parco Gallery in Tokyo, the MNAC in Barcelona, the Redpath in Montreal, the Musée de l'Élysée in Lausanne, the Fine Arts Museum in Bilbao and many others. He is currently represented in numerous private collections and also in many public collections, including the Centre Georges Pompidou in Paris, the Metropolitan and MoMA in New York, the Art Institute of Chicago, the Museum für Kunst und Gewerbe in Hamburg, the IVAM in Valencia and the Museo de Bellas Artes in Buenos Aires.
William Kentridge (born 1955)Walking Man, 2000 signed and numbered 8/25 in pencillinocut257.8 x 88.7cm (101 1/2 x 34 15/16in).unframedprinted by Artist Proof Studio, published by David Krut, JohannesburgFootnotes:ProvenanceDavid Krut Fine Art, Johannesburg;Acquired from the above by the current owner in 2002.LiteratureJudith B. Hecker and William Kentridge, William Kentridge – Trace – Prints from the Museum of Modern Art (Verona: Trifolio SRL, 2010) p.25Milena Kalinovska and Eric Denker, William Kentridge, Oleg Kudryashov: Against the Grain (Washington, DC: The Kreeger Museum, Washington, 2009) p.15William Kentridge, William Kentridge: Prints, (Johannesburg: David Krut Publishing, 2006) p. 96Kate McCrickard, William Kentridge: WK, (London: Tate Publishing, 2012), p.38Lilian Tone, Kate McCrickard and William Kentridge, William Kentridge: Fortuna, (London: Thames and Hudson, 2013), p.270Walking Man is a fascinating work that explores the possibilities of scale, celebrates South Africa's long tradition of linocutting, and subtly combines the political and the poetical, calling to mind yet not explicitly, anti-apartheid marchers and uprooted communities. Working together with master printer Osiah Masekoameng at the Artist Proof Studio, Johannesburg, on the largest press in South Africa, William Kentridge challenged his technical expertise of the medium with this work, morphing not only a walking man into a tree, but the usually small-scale medium of linocut into a monumental presence of crisp lines, stark contrasts, and captivating patterns. If the latter recall the woodcut prints of Northern Renaissance and German Expressionism artists, the print's impact also lies in the poetical transformation of the man, reminiscent of a tale from Roman poet Ovid's Metamorphoses. The industrial landscape across which the figure strides could well be the outskirts of Johannesburg, where the artist was born and continues to live today. South Africa might even be the second character of this print, whose presence is suggested more than obvious, and certainly seems to inform the multiple readings of this important print, encapsulating 'themes of loss, transformation, personal and cultural memory, oppression and conflict'. Interestingly, William Kentridge says of the linocut medium:In South Africa, linocut is the primary form of printmaking, because linoleum is a very cheap material and the tools to make it are very easy ...And there's also a root to linocutting from the various missionaries who brought the technique to South Africa and a link to the German Expressionists whose style obviously comes back to African masks. And so there's a kind of circularity. It occurred to me that if etching and engraving have to do with the split in northern Europe between the Reformation and other ways of being, then linocutting corresponds to anti-colonialism, certainly in South Africa, to something that comes out of that struggle.Impressions of this print are in the collections of the Metropolitan Museum and the MoMA in New York; the Virginia Museum of Fine Arts, and the Art Gallery of New South Wales in Sydney. An impression of Walking Man was also included in the landmark exhibition Impressions from South Africa: 1965 to Now at MoMA in 2011.BibliographyImpressions from South Africa: 1965 to now (New York: Museum of Modern Art, 2011) https://www.moma.org/interactives/exhibitions/2011/impressions_from_south_africa/works/walking-man/ Judith B. Hecker and William Kentridge, William Kentridge – Trace – Prints from the Museum of Modern Art (Verona: Trifolio SRL, 2010)William Kentridge: Walking Man (Sydney: Art Gallery of New South Wales)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Peter Messer The Devil's Thoughts, 2022 Egg Tempera on Gesso Signed verso 15 x 10cm (5¾ x 3¾ in.) About Peter Messer's paintings are mostly on a domestic scale, resolutely figurative and, by implication, narrative. He paints in the historic medium of egg tempera which he prepares in the studio using egg yolk and raw pigment. The resulting paintings tend to be intense and meticulous, with a flat, arrested, deadpan quality. Often they contain wry or unsettling elements and, although the painter emphatically rejects the epithet 'quirky', it is still frequently applied. Many, though not all, draw on the fabric of Peter Messer's home town of Lewes, Sussex. Born in 1954, Peter Messer studied Fine Art at the University of Brighton and has paintings in collections in Belgium, France, Germany, Holland, Spain, Sweden and the US, as well as the UK. In 2007 he published "On the Way to Work. The Lewes Paintings of Peter Messer" and, in 2021 "A Thin Place In Lewes". Education Studied Fine Art at the University of Brighton Select Exhibitions/Awards His work has been often exhibited at the Royal Academy Summer Exhibition and the New English Art Club and he has been a finalist in the Hunting, Garrick Milne, Lyn Painter-Stainers and Singer and Friedlander Prize exhibitions. In 1998 he won the Sotheby's -sponsored Chichester Art Prize and in 2000 was commissioned to provide twelve paintings for the Sussex Book of Revelations, an Arts Council Millennium Project which toured Sussex libraries. In 2004 he completed a commission for the House of Lords. Gallery Representation The Star Brewery Gallery, Lewes Statement about AOAP Submitted Artwork A small tempera painting, the title derived from a poem by Samuel Taylor Coleridge Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Gethin Evans Rose Dawn Swimmers, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Born in Maesteg, South Wales. Figurative painter who lives and works in London. Studio is part of Space Studios complex in the East End. The paintings are often large scale compositions primarily dealing with light, colour, space and image and sourced from memories of figures and city spaces and travel experiences. Works are oil and acrylic on both paper and canvas. Education 1978 - 1980 - Slade School of Fine Art, HDFA 1975 - 1978 - Camberwell School of Arts and Crafts BA (Homs) Painting 1974 - 1975 - Byam Shaw School of Art Foundation Course Select Exhibitions/Awards 2022 - Royal Academy Summer Exhibition ASSEMBLE 20 - Tregony Gallery 2021 - ING Discerning Eye Exhibition Battersea Art Fair with Lucinda Dalton Gallery 2020 - Meeting Points - two person show with Sharon Beavan at the Royal Drawing School Shoreditch Gallery 2019 - Creekside Open Exhibition- APT Gallery 2018 - CASHE - group exhibition at Angus Hughes Gallery, London 2017 - Wall, Window, World - group exhibition at Tregony Gallery, Cornwall 2015 - ALIGNMENTS- group exhibition at espacio gallery, London 2013 - Zeitgeist Art Projects Open Exhibition- ASC Studios, London 2012 - COMPASS - group exhibition of five artists - Street Road Gallery, Pennsylvania, USA TERRITORIES - group exhibition at Galerie Windkracht , Den Helder, Holland 2007 - Celeste Art Prize Exhibition 2002 - Small is Beautiful- Flowers East Gallery 1994 - The Whitechapel Open 1989 - QUEST - group exhibition at New York Stufio School Gallery Representation Tregony Gallery, Cornwall Lucinda Dalton Gallery, London Oakham Contemporary (online) Statement about AOAP Submitted Artwork Two images of early morning swimmers. I wanted to capture a sense of light and colour specific to a particular space, time, and place. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Gethin Evans Golden Dawn Swimmer, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Born in Maesteg, South Wales. Figurative painter who lives and works in London. Studio is part of Space Studios complex in the East End. The paintings are often large scale compositions primarily dealing with light, colour, space and image and sourced from memories of figures and city spaces and travel experiences. Works are oil and acrylic on both paper and canvas. Education 1978 - 1980 - Slade School of Fine Art, HDFA 1975 - 1978 - Camberwell School of Arts and Crafts BA (Homs) Painting 1974 - 1975 - Byam Shaw School of Art Foundation Course Select Exhibitions/Awards 2022 - Royal Academy Summer Exhibition ASSEMBLE 20 - Tregony Gallery 2021 - ING Discerning Eye Exhibition Battersea Art Fair with Lucinda Dalton Gallery 2020 - Meeting Points - two person show with Sharon Beavan at the Royal Drawing School Shoreditch Gallery 2019 - Creekside Open Exhibition- APT Gallery 2018 - CASHE - group exhibition at Angus Hughes Gallery, London 2017 - Wall, Window, World - group exhibition at Tregony Gallery, Cornwall 2015 - ALIGNMENTS- group exhibition at espacio gallery, London 2013 - Zeitgeist Art Projects Open Exhibition- ASC Studios, London 2012 - COMPASS - group exhibition of five artists - Street Road Gallery, Pennsylvania, USA TERRITORIES - group exhibition at Galerie Windkracht , Den Helder, Holland 2007 - Celeste Art Prize Exhibition 2002 - Small is Beautiful- Flowers East Gallery 1994 - The Whitechapel Open 1989 - QUEST - group exhibition at New York Stufio School Gallery Representation Tregony Gallery, Cornwall Lucinda Dalton Gallery, London Oakham Contemporary (online) Statement about AOAP Submitted Artwork Two images of early morning swimmers. I wanted to capture a sense of light and colour specific to a particular space, time, and place. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Kirsty Harris Totem, 2022 Oil on Card Signed verso 15 x 10cm (5¾ x 3¾ in.) About Harris explores nuclear explosions as cultural, historical and iconic symbols in her practice. Referencing the scale, beauty and abhorrent nature of the atom bomb she delves into the periphery of the subject, the myths, characters and surrounding evidence. She works across a wide range of media from vast oil paintings, tapestries & projections to delicate paintings on glass and ceramics you could hold in your hand. She is fascinated by the beauty and awe of the disrupted landscape, the dust, the glow. The violent & repellent force of the explosion. Education BA/Hons Fine Art - Cass School of Art, London, 2001 Select Exhibitions/Awards SOLO EXHIBITIONS AND TWO MAN SHOWS 2023 THAT LETHAL CLOUD, Studio KIND, Devon, UK. 2019 A FOUL AND AWESOME DISPLAY, Vane Gallery, Newcastle Upon Tyne, UK. 2017 PARADICE LOST (sic), Plymouth Art Weekender, Plymouth School of Creative Arts. 2016 HOW I LEARNED TO STOP WORRYING (1945-2016), CFCCA, Manchester. SELECTED GROUP EXHIBITIONS 2023 TWO PLUS TWO MAKES FOUR, Auxiliary, Middlesbrough, UK. 2022 ROYAL ACADEMY SUMMER EXHIBITION 2022, London, UK. 2022 ONCE UPON AN INSTANT, University of Applied Sciences HTW, Berlin, Germany. 2022 HORIZON (LANDSCAPE AND BEYOND), Cello Factory, London, UK. 2021 ABSENT AUTHORS, APT Gallery, London, UK. 2020 CONTEMPORARY BRITISH PAINTING PRIZE, ASC Gallery, London, UK. 2019 LOVE& RAGE, Barbican Arts trust, London, UK. RESIDENCIES AND AWARDS 2022 Artist Residency at Karst Gallery & Studios, Plymouth, UK. 2019 Contemporary British Painting Prize - Shortlisted. Statement about AOAP Submitted Artwork I wanted to experiment using oil paints on prepared paper, in thin washes, almost like watercolours. The painting depicts a British atmospheric nuclear test, called Totem, which took place at Emu Field in South Australia in October 1953. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Jan Lee Johnson Parrot Tulip, 2022 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Born in Yorkshire. Worked at BBC london as scene painter from 1976-84. Worked as a Court Artist, drawing in trials from memory (the Rolex Watch murder particularly fascinating) M.A. painting Bath Spa University. Lecturer in painting and interior design at Plymouth college of art and Richmond college of Art. Regular iPad drawing instruction and workshops at Kew Botanic Gardens, V & A. Chelsea Arts Club yearbook 2020 Education BA HONS Fine Art Loughborough. MA painting Bath Spa University Select Exhibitions/Awards Discerning Eye 2020 /Orleans Gallery 'reimagine' 2020/ Royal Academy 2022/ Trinity Bouy Wharf Drawing Prize Longlisted. Statement about AOAP Submitted Artwork Given the small postcard size on which to paint I chose to paint tulips.The Parrot Tulips, have multi-coloured markings similar to the exotic bird and this phenomena inspired me to make two watercolours. I have often painted parrot tulips in other paintings, often on a larger scale. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Jan Lee Johnson Black Tulip Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Born in Yorkshire. Worked at BBC london as scene painter from 1976-84. Worked as a Court Artist, drawing in trials from memory (the Rolex Watch murder particularly fascinating) M.A. painting Bath Spa University. Lecturer in painting and interior design at Plymouth college of art and Richmond college of Art. Regular iPad drawing instruction and workshops at Kew Botanic Gardens, V & A. Chelsea Arts Club yearbook 2020 Education BA HONS Fine Art Loughborough. MA painting Bath Spa University Select Exhibitions/Awards Discerning Eye 2020 /Orleans Gallery 'reimagine' 2020/ Royal Academy 2022/ Trinity Bouy Wharf Drawing Prize Longlisted. Statement about AOAP Submitted Artwork Given the small postcard size on which to paint I chose to paint tulips.The Parrot Tulips, have multi-coloured markings similar to the exotic bird and this phenomena inspired me to make two watercolours. I have often painted parrot tulips in other paintings, often on a larger scale. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Boo Saville Untitled Study (Series) (1), 2022 Digital Print and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Boo Saville has - since 2014 - been producing large-scale abstracts, made up of flawlessly gradating shades. Saville, whose work investigates mortality and the nature of perception, applies up to forty layers of paint to achieve this extraordinary effect, erasing any suggestion of her own mark-making in spite of the emotional tenor of the works. The colour fields are inextricably linked to her black and white canvases, the subjects of the latter - sparingly painted so as to retain the appearance of the canvas weave - resulting from internet searches that occur to her whilst working on the abstracts. She notes: "The black and white paintings are purely about the surface of momentary thought and the colour fields are about the depth and vault of emotion and memory layered on top of each other. Her focus is also the texture and surface of drawing, harnessed through her intuitive use of simple biros and pens: fine details of flowers or bones and hair are coupled with layer upon layer of shaded lines to produce tones and depths that resonate these resounding details, and disorientating linear constructions, culminating in a true mastery of penmanship. Boo Saville was born in Norwich in 1980. She graduated from the Slade School of Fine Art, London, in 2004. Saville was a nominee for the Sovereign Painting Prize in both 2007 and 2011, and in 2008 she worked on a residency at the Cité Internationale des Arts, Paris. Saville's solo exhibitions include 'Laid Bare', Martin Summers Fine Art, London (2008), 'Idolum', Studio Giangaleazzo Visconti, Milan (2010) and 'Chimera', Davidson Contemporary, New York (2017). She has received four separate solo shows at TJ Boulting, London, including 'Polycephaly' (2014), and was included in the group exhibition 'Simulation/Skin' and 'True Colours' at Newport Street Gallery in London. Saville's work has been acquired by collections including the Museum of New and Old Art, Tazmania, Wadsworth Atheneum Museum of Art, Murderme, Soho House and Maramotti collection. She featured in Francesca Gavin's books 'Hell Bound: New Gothic Art' (2008) and '100 New Artists' (2011), and published an edition of etchings, 'Ghost', with Other Criteria in 2009. Her most recent edition of prints 'Contact, Merge,Void' were made in collaboration with Manifold Editions in London and are available here. She lives and works in Margate. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Boo Saville Untitled Study (Series) (2), 2022 Digital Print and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Boo Saville has - since 2014 - been producing large-scale abstracts, made up of flawlessly gradating shades. Saville, whose work investigates mortality and the nature of perception, applies up to forty layers of paint to achieve this extraordinary effect, erasing any suggestion of her own mark-making in spite of the emotional tenor of the works. The colour fields are inextricably linked to her black and white canvases, the subjects of the latter - sparingly painted so as to retain the appearance of the canvas weave - resulting from internet searches that occur to her whilst working on the abstracts. She notes: "The black and white paintings are purely about the surface of momentary thought and the colour fields are about the depth and vault of emotion and memory layered on top of each other. Her focus is also the texture and surface of drawing, harnessed through her intuitive use of simple biros and pens: fine details of flowers or bones and hair are coupled with layer upon layer of shaded lines to produce tones and depths that resonate these resounding details, and disorientating linear constructions, culminating in a true mastery of penmanship. Boo Saville was born in Norwich in 1980. She graduated from the Slade School of Fine Art, London, in 2004. Saville was a nominee for the Sovereign Painting Prize in both 2007 and 2011, and in 2008 she worked on a residency at the Cité Internationale des Arts, Paris. Saville's solo exhibitions include 'Laid Bare', Martin Summers Fine Art, London (2008), 'Idolum', Studio Giangaleazzo Visconti, Milan (2010) and 'Chimera', Davidson Contemporary, New York (2017). She has received four separate solo shows at TJ Boulting, London, including 'Polycephaly' (2014), and was included in the group exhibition 'Simulation/Skin' and 'True Colours' at Newport Street Gallery in London. Saville's work has been acquired by collections including the Museum of New and Old Art, Tazmania, Wadsworth Atheneum Museum of Art, Murderme, Soho House and Maramotti collection. She featured in Francesca Gavin's books 'Hell Bound: New Gothic Art' (2008) and '100 New Artists' (2011), and published an edition of etchings, 'Ghost', with Other Criteria in 2009. Her most recent edition of prints 'Contact, Merge,Void' were made in collaboration with Manifold Editions in London and are available here. She lives and works in Margate. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Boo Saville Untitled Study (Series) (3), 2022 Digital Print and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Boo Saville has - since 2014 - been producing large-scale abstracts, made up of flawlessly gradating shades. Saville, whose work investigates mortality and the nature of perception, applies up to forty layers of paint to achieve this extraordinary effect, erasing any suggestion of her own mark-making in spite of the emotional tenor of the works. The colour fields are inextricably linked to her black and white canvases, the subjects of the latter - sparingly painted so as to retain the appearance of the canvas weave - resulting from internet searches that occur to her whilst working on the abstracts. She notes: "The black and white paintings are purely about the surface of momentary thought and the colour fields are about the depth and vault of emotion and memory layered on top of each other. Her focus is also the texture and surface of drawing, harnessed through her intuitive use of simple biros and pens: fine details of flowers or bones and hair are coupled with layer upon layer of shaded lines to produce tones and depths that resonate these resounding details, and disorientating linear constructions, culminating in a true mastery of penmanship. Boo Saville was born in Norwich in 1980. She graduated from the Slade School of Fine Art, London, in 2004. Saville was a nominee for the Sovereign Painting Prize in both 2007 and 2011, and in 2008 she worked on a residency at the Cité Internationale des Arts, Paris. Saville's solo exhibitions include 'Laid Bare', Martin Summers Fine Art, London (2008), 'Idolum', Studio Giangaleazzo Visconti, Milan (2010) and 'Chimera', Davidson Contemporary, New York (2017). She has received four separate solo shows at TJ Boulting, London, including 'Polycephaly' (2014), and was included in the group exhibition 'Simulation/Skin' and 'True Colours' at Newport Street Gallery in London. Saville's work has been acquired by collections including the Museum of New and Old Art, Tazmania, Wadsworth Atheneum Museum of Art, Murderme, Soho House and Maramotti collection. She featured in Francesca Gavin's books 'Hell Bound: New Gothic Art' (2008) and '100 New Artists' (2011), and published an edition of etchings, 'Ghost', with Other Criteria in 2009. Her most recent edition of prints 'Contact, Merge,Void' were made in collaboration with Manifold Editions in London and are available here. She lives and works in Margate. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Nan Collantine Untitled (1), 2022 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Nan Collantine is an artist living and working in Greater Manchester. She works with assemblage and installation, although considers painting her primary medium. She is drawn to responding to place, using the language of painting to explore memory and hidden social and cultural politics that might shape perception, sentiment and feelings of belonging and exclusion. Education Nan Collantine completed a foundation in art in 1990 followed by 25 years working in the creative sector. Her self-taught art practice began as she and her family moved to Australia in 2016, on her return she joined the Islington Mill Art Academy, a year long peer-led art programme. From 2019-2020 Nan participated in the Turps Banana Painting correspondence course. Select Exhibitions/Awards Beep Painting Prize shortlist 2022 Castlefield Gallery Award recipient 2022 Solo exhibition at World of Glass St Helens 2021 Gallery Representation New Blood Art Statement about AOAP Submitted Artwork Painting onto pages of the Futon catalogue is a favourite past time of mine. It's a rest from my large scale paintings and using oil paint. These are made using pencil drawings and gouache paint, which I love for its powdery texture. I enjoy playing around with the shadows that the catalogue images cast under the paint, and I collage the pages too in order to create abstract interior landscapes, each postcard is like a flattened, cropped intersection of space. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Nan Collantine Untitled (2), 2022 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Nan Collantine is an artist living and working in Greater Manchester. She works with assemblage and installation, although considers painting her primary medium. She is drawn to responding to place, using the language of painting to explore memory and hidden social and cultural politics that might shape perception, sentiment and feelings of belonging and exclusion. Education Nan Collantine completed a foundation in art in 1990 followed by 25 years working in the creative sector. Her self-taught art practice began as she and her family moved to Australia in 2016, on her return she joined the Islington Mill Art Academy, a year long peer-led art programme. From 2019-2020 Nan participated in the Turps Banana Painting correspondence course. Select Exhibitions/Awards Beep Painting Prize shortlist 2022 Castlefield Gallery Award recipient 2022 Solo exhibition at World of Glass St Helens 2021 Gallery Representation New Blood Art Statement about AOAP Submitted Artwork Painting onto pages of the Futon catalogue is a favourite past time of mine. It's a rest from my large scale paintings and using oil paint. These are made using pencil drawings and gouache paint, which I love for its powdery texture. I enjoy playing around with the shadows that the catalogue images cast under the paint, and I collage the pages too in order to create abstract interior landscapes, each postcard is like a flattened, cropped intersection of space. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Nan Collantine Untitled (4), 2022 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Nan Collantine is an artist living and working in Greater Manchester. She works with assemblage and installation, although considers painting her primary medium. She is drawn to responding to place, using the language of painting to explore memory and hidden social and cultural politics that might shape perception, sentiment and feelings of belonging and exclusion. Education Nan Collantine completed a foundation in art in 1990 followed by 25 years working in the creative sector. Her self-taught art practice began as she and her family moved to Australia in 2016, on her return she joined the Islington Mill Art Academy, a year long peer-led art programme. From 2019-2020 Nan participated in the Turps Banana Painting correspondence course. Select Exhibitions/Awards Beep Painting Prize shortlist 2022 Castlefield Gallery Award recipient 2022 Solo exhibition at World of Glass St Helens 2021 Gallery Representation New Blood Art Statement about AOAP Submitted Artwork Painting onto pages of the Futon catalogue is a favourite past time of mine. It's a rest from my large scale paintings and using oil paint. These are made using pencil drawings and gouache paint, which I love for its powdery texture. I enjoy playing around with the shadows that the catalogue images cast under the paint, and I collage the pages too in order to create abstract interior landscapes, each postcard is like a flattened, cropped intersection of space. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Olivia Rose Durley Quietly, Patiently, 2022 Oil Paint on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Olivia's work handles the two realities of paint; it's illusionistic spatiality and it's material presence. Her practice appropriates a balance between the fixed nature of photography and the timelessness of painting; photographic details are blurred within painterly brushstrokes and structures. The aberration of the two components creates an enigmatic, placeless experience within nature that on one hand forms a sense of familiarity and on the other, an unidentifiable discomfort. Olivia scrutinises the evolving colours and tones amplified through cloud formations, using her painting technique to highlight the fleeting transience of time and a feeling of nostalgia. She views the landscape as a latent oil painting continuously emerging and coming into being, fascinated by that precious, short space of time in which the sky bursts into colour before it is then submerged into dusk - a distant memory. Education BA (Hons) Fine Art Painting, University of Brighton 2017 Select Exhibitions/Awards House & Garden magazine - The Art Edit, June 2018 The Other Art Fair London - March 2022 and June/July 2022 Gallery Representation Rise Art Statement about AOAP Submitted Artwork Although the scale of my work is usually a lot larger than the size of a postcard, the concept of painting onto a postcard corresponds significantly to the context of my paintings. I'm inspired by memories, snapshots in time or moments that were once there. By relaying these moments through paint I hope to evoke nostalgia or trigger thoughts in someone's mind using the basic principles of colour, light and form to create an abstracted landscape. Each postcard has painterly details of moments drawn from my subconscious from the past few months. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Philip Cole 4.16.a, 2022 Coloured Polyester Resins and Fibreglass Signed verso 10 x 15 x 1cm About I first encountered polystyrene resin whilst working under the guidance of Tanya Dean at Brighton College of Art and I fell in love with it as a material to use in painting and sculpture. In the last 15 years I have been investigating its properties and experimenting with its possibilities. My work has often been characterised by process and is informed by my ongoing interest in elemental shapes and forms and by the architecture of print media and packaging. I have been concerned with how to combine a limited number of elements; colour, form, tint and shade whilst being bounded by a set of rules of engagement. I have tended to work methodically with one colour area addressed at a time. Having a procedure to which I usually adhere has then freed me up to investigate other relationships. Thus, the works are constructed and derived from a particular approach and a technique, they have more to do with painting and sculpture than they do anything else. Instagram: @colecorner Education Sussex University BA Hons Select Exhibitions/Awards I am a painter, maker and teacher and have exhibited at: Phoenix Art Space, Brighton, Community Arts Centre, Brighton, ONCA Gallery, Brighton, RA Summer show London, Towner Gallery, Eastbourne, the Eyesees Gallery in Arles, France and at Project78 Gallery in St Leonards on Sea. I served for a number of years as a trustee for Project Art Works (PAW) Hastings. I have enjoyed working alongside other artists and have curated and co-curated a number of exhibitions including 'JDWC' at the Kino Teatr, St Leonards on Sea, 'Diastr', H_A_R_D_P_A_I_N_T_I_N_G and H_A_R_D_P_A_I_N_T_I_N_G_x2 at Phoenix Brighton. Statement about AOAP Submitted Artwork These works: 4.16.a - d are investigations into colour relationships. The colours chosen are intuitive and I have tended to work using one colour at a time, allowing subsequent decisions to be determined by previous. There is also a focus on the meeting point of each coloured rectangle and these edges range from hard to fuzzy. This is reflected in the titles. It was challenging but interesting to work at such a small scale and I will be able to take some of the lessons learned further into my ongoing practice. All 4 painting objects were completed in September 2022 Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Philip Cole 4. 16.b, 2022 Coloured Polyester Resins and Fibreglass Signed verso 10 x 15 x 1cm About I first encountered polystyrene resin whilst working under the guidance of Tanya Dean at Brighton College of Art and I fell in love with it as a material to use in painting and sculpture. In the last 15 years I have been investigating its properties and experimenting with its possibilities. My work has often been characterised by process and is informed by my ongoing interest in elemental shapes and forms and by the architecture of print media and packaging. I have been concerned with how to combine a limited number of elements; colour, form, tint and shade whilst being bounded by a set of rules of engagement. I have tended to work methodically with one colour area addressed at a time. Having a procedure to which I usually adhere has then freed me up to investigate other relationships. Thus, the works are constructed and derived from a particular approach and a technique, they have more to do with painting and sculpture than they do anything else. Instagram: @colecorner Education Sussex University BA Hons Select Exhibitions/Awards I am a painter, maker and teacher and have exhibited at: Phoenix Art Space, Brighton, Community Arts Centre, Brighton, ONCA Gallery, Brighton, RA Summer show London, Towner Gallery, Eastbourne, the Eyesees Gallery in Arles, France and at Project78 Gallery in St Leonards on Sea. I served for a number of years as a trustee for Project Art Works (PAW) Hastings. I have enjoyed working alongside other artists and have curated and co-curated a number of exhibitions including 'JDWC' at the Kino Teatr, St Leonards on Sea, 'Diastr', H_A_R_D_P_A_I_N_T_I_N_G and H_A_R_D_P_A_I_N_T_I_N_G_x2 at Phoenix Brighton. Statement about AOAP Submitted Artwork These works: 4.16.a - d are investigations into colour relationships. The colours chosen are intuitive and I have tended to work using one colour at a time, allowing subsequent decisions to be determined by previous. There is also a focus on the meeting point of each coloured rectangle and these edges range from hard to fuzzy. This is reflected in the titles. It was challenging but interesting to work at such a small scale and I will be able to take some of the lessons learned further into my ongoing practice. All 4 painting objects were completed in September 2022 Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Philip Cole 4.16.c, 2022 Coloured Polyester Resins and Fibreglass Signed verso 10 x 15 x 1cm About I first encountered polystyrene resin whilst working under the guidance of Tanya Dean at Brighton College of Art and I fell in love with it as a material to use in painting and sculpture. In the last 15 years I have been investigating its properties and experimenting with its possibilities. My work has often been characterised by process and is informed by my ongoing interest in elemental shapes and forms and by the architecture of print media and packaging. I have been concerned with how to combine a limited number of elements; colour, form, tint and shade whilst being bounded by a set of rules of engagement. I have tended to work methodically with one colour area addressed at a time. Having a procedure to which I usually adhere has then freed me up to investigate other relationships. Thus, the works are constructed and derived from a particular approach and a technique, they have more to do with painting and sculpture than they do anything else. Instagram: @colecorner Education Sussex University BA Hons Select Exhibitions/Awards I am a painter, maker and teacher and have exhibited at: Phoenix Art Space, Brighton, Community Arts Centre, Brighton, ONCA Gallery, Brighton, RA Summer show London, Towner Gallery, Eastbourne, the Eyesees Gallery in Arles, France and at Project78 Gallery in St Leonards on Sea. I served for a number of years as a trustee for Project Art Works (PAW) Hastings. I have enjoyed working alongside other artists and have curated and co-curated a number of exhibitions including 'JDWC' at the Kino Teatr, St Leonards on Sea, 'Diastr', H_A_R_D_P_A_I_N_T_I_N_G and H_A_R_D_P_A_I_N_T_I_N_G_x2 at Phoenix Brighton. Statement about AOAP Submitted Artwork These works: 4.16.a - d are investigations into colour relationships. The colours chosen are intuitive and I have tended to work using one colour at a time, allowing subsequent decisions to be determined by previous. There is also a focus on the meeting point of each coloured rectangle and these edges range from hard to fuzzy. This is reflected in the titles. It was challenging but interesting to work at such a small scale and I will be able to take some of the lessons learned further into my ongoing practice. All 4 painting objects were completed in September 2022 Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Philip Cole 4.16.d, 2022 Coloured Polyester Resins and Fibreglass Signed verso 10 x 15 x 1cm About I first encountered polystyrene resin whilst working under the guidance of Tanya Dean at Brighton College of Art and I fell in love with it as a material to use in painting and sculpture. In the last 15 years I have been investigating its properties and experimenting with its possibilities. My work has often been characterised by process and is informed by my ongoing interest in elemental shapes and forms and by the architecture of print media and packaging. I have been concerned with how to combine a limited number of elements; colour, form, tint and shade whilst being bounded by a set of rules of engagement. I have tended to work methodically with one colour area addressed at a time. Having a procedure to which I usually adhere has then freed me up to investigate other relationships. Thus, the works are constructed and derived from a particular approach and a technique, they have more to do with painting and sculpture than they do anything else. Instagram: @colecorner Education Sussex University BA Hons Select Exhibitions/Awards I am a painter, maker and teacher and have exhibited at: Phoenix Art Space, Brighton, Community Arts Centre, Brighton, ONCA Gallery, Brighton, RA Summer show London, Towner Gallery, Eastbourne, the Eyesees Gallery in Arles, France and at Project78 Gallery in St Leonards on Sea. I served for a number of years as a trustee for Project Art Works (PAW) Hastings. I have enjoyed working alongside other artists and have curated and co-curated a number of exhibitions including 'JDWC' at the Kino Teatr, St Leonards on Sea, 'Diastr', H_A_R_D_P_A_I_N_T_I_N_G and H_A_R_D_P_A_I_N_T_I_N_G_x2 at Phoenix Brighton. Statement about AOAP Submitted Artwork These works: 4.16.a - d are investigations into colour relationships. The colours chosen are intuitive and I have tended to work using one colour at a time, allowing subsequent decisions to be determined by previous. There is also a focus on the meeting point of each coloured rectangle and these edges range from hard to fuzzy. This is reflected in the titles. It was challenging but interesting to work at such a small scale and I will be able to take some of the lessons learned further into my ongoing practice. All 4 painting objects were completed in September 2022 Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Bidisha Mamata Lacquer I, 2022 Acrylic and Collage on Board Signed verso 15 x 10cm (5¾ x 3¾ in.) About By day: Journalist, presenter and broadcaster for TV, radio, film, newspapers, events... By night, I make films, stills and paintings. Education Oxford University, London School of Economics Select Exhibitions/Awards First showed at zero zero zero, Whitechapel Gallery, 1999; most recently shown as part of 100 NHS Rooms by Vital Arts, 2022 Statement about AOAP Submitted Artwork This was such a snappy design challenge - a completely absorbing jigsaw of carnivalesque colour and composition questions. I wanted to create a desirable object, a tile which sits in the hand with some weight and heft to it, loaded with painted shapes layered on top of each other to give the sense of something crafted and worked, that vibrates with energy. It couldn't just be a small version of what I'd usually make; it had to work completely within the given scale. I was also acutely aware that this is a special, indeed unique project: we are raising money, raising awareness, raising motivation, asking people to invest their attention not only to support creative artists but to fund research and treatment for Hepatitis C. There are so many reasons to worry - one glance at the headlines will tell you that - I wanted to bring pure joy and movement and energy. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Bidisha Mamata Lacquer II, 2022 Acrylic and Collage on Board Signed verso 15 x 10cm (5¾ x 3¾ in.) About By day: Journalist, presenter and broadcaster for TV, radio, film, newspapers, events... By night, I make films, stills and paintings. Education Oxford University, London School of Economics Select Exhibitions/Awards First showed at zero zero zero, Whitechapel Gallery, 1999; most recently shown as part of 100 NHS Rooms by Vital Arts, 2022 Statement about AOAP Submitted Artwork This was such a snappy design challenge - a completely absorbing jigsaw of carnivalesque colour and composition questions. I wanted to create a desirable object, a tile which sits in the hand with some weight and heft to it, loaded with painted shapes layered on top of each other to give the sense of something crafted and worked, that vibrates with energy. It couldn't just be a small version of what I'd usually make; it had to work completely within the given scale. I was also acutely aware that this is a special, indeed unique project: we are raising money, raising awareness, raising motivation, asking people to invest their attention not only to support creative artists but to fund research and treatment for Hepatitis C. There are so many reasons to worry - one glance at the headlines will tell you that - I wanted to bring pure joy and movement and energy. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Bidisha Mamata Lacquer III, 2022 Acrylic and Collage on Board Signed verso 15 x 10cm (5¾ x 3¾ in.) About By day: Journalist, presenter and broadcaster for TV, radio, film, newspapers, events... By night, I make films, stills and paintings. Education Oxford University, London School of Economics Select Exhibitions/Awards First showed at zero zero zero, Whitechapel Gallery, 1999; most recently shown as part of 100 NHS Rooms by Vital Arts, 2022 Statement about AOAP Submitted Artwork This was such a snappy design challenge - a completely absorbing jigsaw of carnivalesque colour and composition questions. I wanted to create a desirable object, a tile which sits in the hand with some weight and heft to it, loaded with painted shapes layered on top of each other to give the sense of something crafted and worked, that vibrates with energy. It couldn't just be a small version of what I'd usually make; it had to work completely within the given scale. I was also acutely aware that this is a special, indeed unique project: we are raising money, raising awareness, raising motivation, asking people to invest their attention not only to support creative artists but to fund research and treatment for Hepatitis C. There are so many reasons to worry - one glance at the headlines will tell you that - I wanted to bring pure joy and movement and energy. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Bidisha Mamata Lacquer IV, 2022 Acrylic and Collage on Board Signed verso 15 x 10cm (5¾ x 3¾ in.) About By day: Journalist, presenter and broadcaster for TV, radio, film, newspapers, events... By night, I make films, stills and paintings. Education Oxford University, London School of Economics Select Exhibitions/Awards First showed at zero zero zero, Whitechapel Gallery, 1999; most recently shown as part of 100 NHS Rooms by Vital Arts, 2022 Statement about AOAP Submitted Artwork This was such a snappy design challenge - a completely absorbing jigsaw of carnivalesque colour and composition questions. I wanted to create a desirable object, a tile which sits in the hand with some weight and heft to it, loaded with painted shapes layered on top of each other to give the sense of something crafted and worked, that vibrates with energy. It couldn't just be a small version of what I'd usually make; it had to work completely within the given scale. I was also acutely aware that this is a special, indeed unique project: we are raising money, raising awareness, raising motivation, asking people to invest their attention not only to support creative artists but to fund research and treatment for Hepatitis C. There are so many reasons to worry - one glance at the headlines will tell you that - I wanted to bring pure joy and movement and energy. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
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