Andrew Torr Dungeness I Oil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Contemporary painter working in London. Particularly landscape/cityscape. Education BA Fine Art Wimbledon School of Art Select Exhibitions/Awards One person shows at Bedford Gallery & Boundary Gallery Selected for the NEAC Mall Galleries Annual Gallery Representation Oliver Contemporary www.olivercontemporary.co.uk Statement about AOAP Submitted Artwork I love making work for Art On A Postcard because the format forces you to address scale and how scale affects decisions, practice and results. The size of work is normally determined by intention, materials, subject matter etc. When you're tied to work within 6" x 4" you have to modify every subsequent decision and process that you would normally rely on to make work and this challenge takes you out of your comfort zone. Recently, I've been working on a large scale series of paintings from Dungeness beach in Kent. Normally, these vast spaces require a large format. When this is not an option, how do you modify process and method to make it work? 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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Andrew Torr Dungeness II, 2022 Oil on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About Contemporary painter working in London. Particularly landscape/cityscape. Education BA Fine Art Wimbledon School of Art Select Exhibitions/Awards One person shows at Bedford Gallery & Boundary Gallery Selected for the NEAC Mall Galleries Annual Gallery Representation Oliver Contemporary www.olivercontemporary.co.uk Statement about AOAP Submitted Artwork I love making work for Art On A Postcard because the format forces you to address scale and how scale affects decisions, practice and results. The size of work is normally determined by intention, materials, subject matter etc. When you're tied to work within 6" x 4" you have to modify every subsequent decision and process that you would normally rely on to make work and this challenge takes you out of your comfort zone. Recently, I've been working on a large scale series of paintings from Dungeness beach in Kent. Normally, these vast spaces require a large format. When this is not an option, how do you modify process and method to make it work? 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
Andrew Torr Dungeness III, 2022 Oil on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About Contemporary painter working in London. Particularly landscape/cityscape. Education BA Fine Art Wimbledon School of Art Select Exhibitions/Awards One person shows at Bedford Gallery & Boundary Gallery Selected for the NEAC Mall Galleries Annual Gallery Representation Oliver Contemporary www.olivercontemporary.co.uk Statement about AOAP Submitted Artwork I love making work for Art On A Postcard because the format forces you to address scale and how scale affects decisions, practice and results. The size of work is normally determined by intention, materials, subject matter etc. When you're tied to work within 6" x 4" you have to modify every subsequent decision and process that you would normally rely on to make work and this challenge takes you out of your comfort zone. Recently, I've been working on a large scale series of paintings from Dungeness beach in Kent. Normally, these vast spaces require a large format. When this is not an option, how do you modify process and method to make it work? 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
Laila Tara H Thief! Thief! Thief In My Closet!, 2022 Natural Pigment, Watercolour, Velvet and Handmade Hemp Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Laila Tara H (b.1995, London) is an Iranian-British artist whose practice stems from the visual language of Indo-Persian miniature painting. Laila's Iranian heritage, and years spent moving through continents have inspired the language through which she articulates her own history + life. Utilising historical techniques, her works explore and experiment in scale and negative space. Symbolic forms and multiple, concurrent narratives punctuate the space. Detailed figures suspended amidst contemporary urban scenes, disjointed limbs amidst delicate foliage, are all arranged in stark, startling compositions that defy stylistic cannons and stretch boundaries. She often cuts and folds paper, puncturing and destabilising space to introduce new three-dimensional depth and shadow play. Her works, most often painted on hand-made natural hemp paper sourced from Sanganer, India, explore a range of emotions, and create a charged surface where the tension between form and formlessness; the object and its surrounding emptiness, plays out. The figures explore our sense of perspective and time, and are interlaced with deeply personal narratives. Laila mostly uses pigments that are either naturally derived, or prepared using traditional methods from found materials-these range from crushed red London bricks; walnut ink; madder red pigment; deep blue lapis lazuli from Badakhshan province of Afghanistan and India, sourced from Florence; ochres from Iran, collected from the island of Hormoz. Education 2017-2019 MA (distinction), The Prince's School of Traditional Arts, Miniature Painting Select Exhibitions/Awards Solo / Two-person: 2022 In Studio, Drake's London, New York, United States 2022 Twisted toes, tangled ears (with Anousha Payne), Public Gallery, London, United Kingdom 2022 duck duck goose, Purdy Hicks Gallery, London, United Kingdom 2021 Vexilloid, O Gallery, Tehran, Iran 2021 Am I?, V.O Curations, London, United Kingdom 2021 Sky-Circles (with Anusheh Zia Siddiqui), Indigo+Madder, London, United Kingdom Recent Selected Group: 2022 The body we are in, Confer-Karnac, London 2022 Future Fair, Cob Gallery, New York, United States 2022 Drawing Now Fair, Purdy Hicks Gallery, Paris France 2022 London Art Fair, Purdy Hicks Gallery, London 2022 ASSEMBLE, V.O Curations, London 2021 Slow Burn, Indigo+Madder, London 2021 Cruel Intentions, Arusha Gallery, London 2020 Casa Balandra Open Studios, Casa Balandra, Mallorca, Spain 2020 Nourishment Projects, V.O Curations, London 2020 So Good So Close, Numeroventi, Florence, Italy Statement about AOAP Submitted Artwork There's a moth in the cupboard. It's eaten through all the wool and all the silk. There's a moth in the cupboard and I can't get it out. Now that the moth turned velvet red, I sit by the fire and burn all that's left. ____ My painting practice for the last few years has stemmed primarily from Persian and Indian Miniature painting. My adoption of the tradition started as a means to leash myself to my lineal heritage, both by use of technique and medium but also by the active rejection of the western art power structure that has largely shunned non-western production as craft and inspiration. This is symptomatic of the larger geo-political power structure that physically dislocated and dismembered the majority (and most important) of the manuscripts. I say this while noting that tradition is an unstable term, especially when it's being used to cover half a continent and many centuries and is an evolving, thing. With the understanding that tradition is both unstable and unhinged now that it's existing entirely out of its original physical context - not entirely unlike my own biographical existence, I'm interested in the deconstruction of its aesthetic framework. To expand on the former, I am practicing the tradition outside of its original nation/state, outside of it's book-binding, outside of the generations of schools of men dedicated to it, outside of the occident/orient binary, and entirely outside of it's original purpose as a story-teller for political and religious means. Instead, I'm taking it on as a language with which to build a sort of Laila- dialect and weave my lived experiences. My compositions are maximal minimal - they require negative space to push movement and then the paint acts as an interjection. I enjoy taking this dense form of painting that began in manuscripts and reducing it down to its core - to take whole narratives and turn them to single sentences (with titles that are often poems.) 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
Mie Olise Untitled (1), 2022 Gouache on Paper Signed recto, further signed verso 15 x 10cm (5¾ x 3¾ in.) About Painter based in Copenhagen, working in large scale figurative painting, with a female approach. Education MFA Central St Martins, 2008 Select Exhibitions/Awards Jens Sondergaards Painting Prize, Denmark 2021; The Journal Gallery, NYC January 2022 Gallery Representation Hans Alf Gallery, Copenhagen Statement about AOAP Submitted Artwork Sisters doing it for themselves 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
Mie Olise Untitled (2), 2022 Gouache on Paper Signed recto, further signed verso 10 x 15cm (3¾ x 5¾ in.) About Painter based in Copenhagen, working in large scale figurative painting, with a female approach. Education MFA Central St Martins, 2008 Select Exhibitions/Awards Jens Sondergaards Painting Prize, Denmark 2021; The Journal Gallery, NYC January 2022 Gallery Representation Hans Alf Gallery, Copenhagen Statement about AOAP Submitted Artwork Sisters doing it for themselves 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
Mie Olise Untitled (3), 2022 Gouache on Paper Signed recto, further signed verso 15 x 10cm (5¾ x 3¾ in.) About Painter based in Copenhagen, working in large scale figurative painting, with a female approach. Education MFA Central St Martins, 2008 Select Exhibitions/Awards Jens Sondergaards Painting Prize, Denmark 2021; The Journal Gallery, NYC January 2022 Gallery Representation Hans Alf Gallery, Copenhagen Statement about AOAP Submitted Artwork Sisters doing it for themselves 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
Mie Olise Untitled (4), 2022 Gouache on Paper Signed recto, further signed verso 10 x 15cm (3¾ x 5¾ in.) About Painter based in Copenhagen, working in large scale figurative painting, with a female approach. Education MFA Central St Martins, 2008 Select Exhibitions/Awards Jens Sondergaards Painting Prize, Denmark 2021; The Journal Gallery, NYC January 2022 Gallery Representation Hans Alf Gallery, Copenhagen Statement about AOAP Submitted Artwork Sisters doing it for themselves 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
Kate Mieczkowska Bird Cage, 2022 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Kate is a British artist working between the UK and Middle East. Like most normal artist's she juggles family life, a small business retraining racehorses and her art with varying degrees of success but never gives up in her aim to create poignant strong works of art very much in the zeitgeist. On her travels she finds 'nuggets' of contemporary life which she weaves into paintings. In recent times, her megalomania has driven her to paint on a massive scale in oils. Possibly a midlife crisis! However the challenge of making this wonderfully small work was well received. Visit www.katemieczkoeska.com for more examples of her work both large and small. Education Winchester School of Art BA (first class Sculpture) and Chelsea College of Art (MA Fine Art) Select Exhibitions/Awards Royal Academy Summer Exhibition 2022 (Included in Timeout Magazine's top ten must see pieces in the show) Venice Biennale (Group project) 2019 Winner of The Ward Thomas prize for Fine Art in NOA 2016 Statement about AOAP Submitted Artwork I was hugely honoured to be invited to submit work for the auction. In keeping with my desire to create paintings that hold both historical and contemporary imagery whilst making an observation on contemporary culture, I chose to make a watercolour based on a visit I made to a museum of Polish Folk Culture. I saw the women and the fighting taxidermy animals occupying different enclosed spaces, trapped in their different worlds. The 'spectacle' of the fighting creatures beautifully displayed, unable to ever cease their fight, juxtaposed with the women casually watching in from their safe but slightly darker enclosure enjoying the display. In our current times with focus on borders and disputes in Eastern Europe, I felt 'Birdcage' offers an interesting dialogue in relation the media coverage of war and climate change, and our passive participation and ghoulish appreciation of the 'spectacles' offered to us. I intended it to follow on from the work 'Chicken and Chips on a Friday Night' that was shown in Alison Wilding's 'Climate' themed exhibition at the Royal Academy this summer in terms of its dark humour and narration of contemporary culture. 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
Joy Hillyer Edge I, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Joy Hillyer's paintings aim to convey a sense of place, of placement and exploration within the landscape. She is concerned with the ambiguity of the liminal: the juxtaposition of the real and the imagined; the interplay between essence and symbol, between light and darkness; the ephemeral and the enduring. Her work often uses her photographs as a starting point or as the 'outer shell' for her painting. These may be of the natural world or the urban landscape. Particular events or echoes of memory convey layers of meaning within a deceptively pared down landscape. Some paintings refer more overtly to the tradition of landscape painting with an echo of Romanticism and the Sublime; others are on a smaller scale and focus on a detail. Some images reference a political or ecological issue. They reveal a sharpness, a tension and energy that is unsentimental. Colour is as important as form. Hillyer's work inhabits the shifting boundary between landscape and abstraction. It rarely includes figures: instead the individual is invited into a solitary experience of what Peter Doig describes as 'between the actuality of the scene and something that is in your head'. Education 2012 - 2014 Advanced Painting Practice at Morley College, London Select Exhibitions/Awards 2022 Royal Academy Summer Exhibition 2022 'The (very) local landscape, Waterstones, Salisbury 2020 'Fresh Water'. Group show, Sarum College, Salisbury. cancelled (Pandemic) 2020 Wiltshire Creative Summer Show, Salisbury 2020 'Mountain Refuge'. Solo show, Sarum College, Salisbury, 2019 'Experiencing Landscape'. Solo show, Sarum College, The Close, Salisbury 2018 Espacio Gallery, London. Group Show 2018 'Moving on'. Solo show, Little Cloisters, Westminster Abbey 2018 'Borders'. Solo show, Winchester Cathedral 2018 'Liminal'. Solo show, Cheyneygates, Westminster Abbey 2017 Discerning Eye Exhibition, The Mall Galleries, London 2016 'Counterpoint'. Solo show, Cheyneygates, Westminster Abbey 2015 'When our eyes see further than our hands can reach'. Solo show, Cheyneygates, Westminster Abbey 2014 'Into the Deep'. Group Exhibition, Morley College 2013 Solo show, Hall Farm, Lincolnshire 2013 Rootstein Hopkins Drawing Exhibition, Morley Gallery Statement about AOAP Submitted Artwork Images of liminality originating high up in the Swiss Alps 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
Joy Hillyer Edge II, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Joy Hillyer's paintings aim to convey a sense of place, of placement and exploration within the landscape. She is concerned with the ambiguity of the liminal: the juxtaposition of the real and the imagined; the interplay between essence and symbol, between light and darkness; the ephemeral and the enduring. Her work often uses her photographs as a starting point or as the 'outer shell' for her painting. These may be of the natural world or the urban landscape. Particular events or echoes of memory convey layers of meaning within a deceptively pared down landscape. Some paintings refer more overtly to the tradition of landscape painting with an echo of Romanticism and the Sublime; others are on a smaller scale and focus on a detail. Some images reference a political or ecological issue. They reveal a sharpness, a tension and energy that is unsentimental. Colour is as important as form. Hillyer's work inhabits the shifting boundary between landscape and abstraction. It rarely includes figures: instead the individual is invited into a solitary experience of what Peter Doig describes as 'between the actuality of the scene and something that is in your head'. Education 2012 - 2014 Advanced Painting Practice at Morley College, London Select Exhibitions/Awards 2022 Royal Academy Summer Exhibition 2022 'The (very) local landscape, Waterstones, Salisbury 2020 'Fresh Water'. Group show, Sarum College, Salisbury. cancelled (Pandemic) 2020 Wiltshire Creative Summer Show, Salisbury 2020 'Mountain Refuge'. Solo show, Sarum College, Salisbury, 2019 'Experiencing Landscape'. Solo show, Sarum College, The Close, Salisbury 2018 Espacio Gallery, London. Group Show 2018 'Moving on'. Solo show, Little Cloisters, Westminster Abbey 2018 'Borders'. Solo show, Winchester Cathedral 2018 'Liminal'. Solo show, Cheyneygates, Westminster Abbey 2017 Discerning Eye Exhibition, The Mall Galleries, London 2016 'Counterpoint'. Solo show, Cheyneygates, Westminster Abbey 2015 'When our eyes see further than our hands can reach'. Solo show, Cheyneygates, Westminster Abbey 2014 'Into the Deep'. Group Exhibition, Morley College 2013 Solo show, Hall Farm, Lincolnshire 2013 Rootstein Hopkins Drawing Exhibition, Morley Gallery Statement about AOAP Submitted Artwork Images of liminality originating high up in the Swiss Alps 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
Ryan Mosley Big Cat, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Born in 1980, Chesterfield, UK Lives and works in London, UK. Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release. Select Exhibitions/Awards 2014 Susanne Vielmetter Los Angeles Projects, Los Angeles, CA Alison Jacques Gallery, London, UK 2013 Thoughts of Man, Tierney Gardarin, New York, NY 2012 Reversed Limbo, Eigen + Art, Berlin, Germany 2011 Alison Jacques Gallery, London, UK Solo Presentation with Alison Jacques Gallery, The Armory, New York 2010 Painting Séance, Grand Arts, Kansas City, MO Alison Jacques Gallery, London 2009 A Gathering, Regina Gallery, Moscow Project Room, Alison Jacques Gallery, London 2008 Census, Engholm Engelhorn, Vienna Art Basel Miami Beach, Engholm Engelhorn, Miami 2004 Eight Years Ago and Before, Bloc Space, Sheffield GROUP EXHIBITIONS 2013 Zero Hours, S1 Artspace, Sheffield, UK Re-opening, Eigen + Art, Berlin, Germany 2012 Nightfall, Modem Museum, Hungary London Twelve: Contemporary British Art, City Gallery, Prague, Czech Republic Summer Exhibition, Royal Academy of Arts, London, UK Merging Bridges, Museum of Modern Art, Baku, Azerbaijan 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
Ryan Mosley Smoke Rings, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Born in 1980, Chesterfield, UK Lives and works in London, UK. Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release. Select Exhibitions/Awards 2014 Susanne Vielmetter Los Angeles Projects, Los Angeles, CA Alison Jacques Gallery, London, UK 2013 Thoughts of Man, Tierney Gardarin, New York, NY 2012 Reversed Limbo, Eigen + Art, Berlin, Germany 2011 Alison Jacques Gallery, London, UK Solo Presentation with Alison Jacques Gallery, The Armory, New York 2010 Painting Séance, Grand Arts, Kansas City, MO Alison Jacques Gallery, London 2009 A Gathering, Regina Gallery, Moscow Project Room, Alison Jacques Gallery, London 2008 Census, Engholm Engelhorn, Vienna Art Basel Miami Beach, Engholm Engelhorn, Miami 2004 Eight Years Ago and Before, Bloc Space, Sheffield GROUP EXHIBITIONS 2013 Zero Hours, S1 Artspace, Sheffield, UK Re-opening, Eigen + Art, Berlin, Germany 2012 Nightfall, Modem Museum, Hungary London Twelve: Contemporary British Art, City Gallery, Prague, Czech Republic Summer Exhibition, Royal Academy of Arts, London, UK Merging Bridges, Museum of Modern Art, Baku, Azerbaijan 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
Ryan Mosley Deep Water, 2022 Acrylic on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About Born in 1980, Chesterfield, UK Lives and works in London, UK. Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release. Select Exhibitions/Awards 2014 Susanne Vielmetter Los Angeles Projects, Los Angeles, CA Alison Jacques Gallery, London, UK 2013 Thoughts of Man, Tierney Gardarin, New York, NY 2012 Reversed Limbo, Eigen + Art, Berlin, Germany 2011 Alison Jacques Gallery, London, UK Solo Presentation with Alison Jacques Gallery, The Armory, New York 2010 Painting Séance, Grand Arts, Kansas City, MO Alison Jacques Gallery, London 2009 A Gathering, Regina Gallery, Moscow Project Room, Alison Jacques Gallery, London 2008 Census, Engholm Engelhorn, Vienna Art Basel Miami Beach, Engholm Engelhorn, Miami 2004 Eight Years Ago and Before, Bloc Space, Sheffield GROUP EXHIBITIONS 2013 Zero Hours, S1 Artspace, Sheffield, UK Re-opening, Eigen + Art, Berlin, Germany 2012 Nightfall, Modem Museum, Hungary London Twelve: Contemporary British Art, City Gallery, Prague, Czech Republic Summer Exhibition, Royal Academy of Arts, London, UK Merging Bridges, Museum of Modern Art, Baku, Azerbaijan 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
Ryan Mosley Open Water, 2022 Acrylic on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About Born in 1980, Chesterfield, UK Lives and works in London, UK. Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release. Select Exhibitions/Awards 2014 Susanne Vielmetter Los Angeles Projects, Los Angeles, CA Alison Jacques Gallery, London, UK 2013 Thoughts of Man, Tierney Gardarin, New York, NY 2012 Reversed Limbo, Eigen + Art, Berlin, Germany 2011 Alison Jacques Gallery, London, UK Solo Presentation with Alison Jacques Gallery, The Armory, New York 2010 Painting Séance, Grand Arts, Kansas City, MO Alison Jacques Gallery, London 2009 A Gathering, Regina Gallery, Moscow Project Room, Alison Jacques Gallery, London 2008 Census, Engholm Engelhorn, Vienna Art Basel Miami Beach, Engholm Engelhorn, Miami 2004 Eight Years Ago and Before, Bloc Space, Sheffield GROUP EXHIBITIONS 2013 Zero Hours, S1 Artspace, Sheffield, UK Re-opening, Eigen + Art, Berlin, Germany 2012 Nightfall, Modem Museum, Hungary London Twelve: Contemporary British Art, City Gallery, Prague, Czech Republic Summer Exhibition, Royal Academy of Arts, London, UK Merging Bridges, Museum of Modern Art, Baku, Azerbaijan 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
Katherine Benson Family Portrait, 2022 Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Katherine Benson graduated from The University of Edinburgh in 2021 with an MA in Fine Art. She now splits her time between painting at her home in Hertfordshire and working in London. She is represented by ArtPistol Gallery in Glasgow, BirdsNest Gallery in Edinburgh and New Blood Art online. Education The University of Edinburgh Select Exhibitions/Awards Best of Scottish Art Schools Graduate Show 2021 at ArtPistol Gallery Aberdeen Art Fair 2022 with BirdsNest Gallery Featured on Grayson Perry's Art Club Featured in 'Artists Responding To' Magazine Gallery Representation ArtPistol Gallery, BirdsNest Gallery and NewBloodArt Online Statement about AOAP Submitted Artwork My practice focuses on the representation of the female form and the relationship between women and the domestic sphere. My small-scale compositions offer a glimpse into everyday moments of domestic life and aims to highlight the emotionality of daily simple tasks. Within these settings, I provide a safe space for my female figures, in which they can exist without a hypercritical gaze - and are often accompanied by a feline friend. In this way, my work can be read overall as a love letter to women - the women I have grown up with, the women artists I have admired, and the female relationships that have been so important to me. 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.
Katherine Benson Sleeping Girl, 2022 Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Katherine Benson graduated from The University of Edinburgh in 2021 with an MA in Fine Art. She now splits her time between painting at her home in Hertfordshire and working in London. She is represented by ArtPistol Gallery in Glasgow, BirdsNest Gallery in Edinburgh and New Blood Art online. Education The University of Edinburgh Select Exhibitions/Awards Best of Scottish Art Schools Graduate Show 2021 at ArtPistol Gallery Aberdeen Art Fair 2022 with BirdsNest Gallery Featured on Grayson Perry's Art Club Featured in 'Artists Responding To' Magazine Gallery Representation ArtPistol Gallery, BirdsNest Gallery and NewBloodArt Online Statement about AOAP Submitted Artwork My practice focuses on the representation of the female form and the relationship between women and the domestic sphere. My small-scale compositions offer a glimpse into everyday moments of domestic life and aims to highlight the emotionality of daily simple tasks. Within these settings, I provide a safe space for my female figures, in which they can exist without a hypercritical gaze - and are often accompanied by a feline friend. In this way, my work can be read overall as a love letter to women - the women I have grown up with, the women artists I have admired, and the female relationships that have been so important to me. 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.
Katherine Benson Itch, 2022 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Katherine Benson graduated from The University of Edinburgh in 2021 with an MA in Fine Art. She now splits her time between painting at her home in Hertfordshire and working in London. She is represented by ArtPistol Gallery in Glasgow, BirdsNest Gallery in Edinburgh and New Blood Art online. Education The University of Edinburgh Select Exhibitions/Awards Best of Scottish Art Schools Graduate Show 2021 at ArtPistol Gallery Aberdeen Art Fair 2022 with BirdsNest Gallery Featured on Grayson Perry's Art Club Featured in 'Artists Responding To' Magazine Gallery Representation ArtPistol Gallery, BirdsNest Gallery and NewBloodArt Online Statement about AOAP Submitted Artwork My practice focuses on the representation of the female form and the relationship between women and the domestic sphere. My small-scale compositions offer a glimpse into everyday moments of domestic life and aims to highlight the emotionality of daily simple tasks. Within these settings, I provide a safe space for my female figures, in which they can exist without a hypercritical gaze - and are often accompanied by a feline friend. In this way, my work can be read overall as a love letter to women - the women I have grown up with, the women artists I have admired, and the female relationships that have been so important to me. 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.
Katherine Benson A Big Fat Cat Called Jessie, 2022 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Katherine Benson graduated from The University of Edinburgh in 2021 with an MA in Fine Art. She now splits her time between painting at her home in Hertfordshire and working in London. She is represented by ArtPistol Gallery in Glasgow, BirdsNest Gallery in Edinburgh and New Blood Art online. Education The University of Edinburgh Select Exhibitions/Awards Best of Scottish Art Schools Graduate Show 2021 at ArtPistol Gallery Aberdeen Art Fair 2022 with BirdsNest Gallery Featured on Grayson Perry's Art Club Featured in 'Artists Responding To' Magazine Gallery Representation ArtPistol Gallery, BirdsNest Gallery and NewBloodArt Online Statement about AOAP Submitted Artwork My practice focuses on the representation of the female form and the relationship between women and the domestic sphere. My small-scale compositions offer a glimpse into everyday moments of domestic life and aims to highlight the emotionality of daily simple tasks. Within these settings, I provide a safe space for my female figures, in which they can exist without a hypercritical gaze - and are often accompanied by a feline friend. In this way, my work can be read overall as a love letter to women - the women I have grown up with, the women artists I have admired, and the female relationships that have been so important to me. 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.
Kerry Louise Bennett Three Lemons, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Working from her home studio in Sheffield, Kerry Louise Bennett (b.1972) makes brightly coloured works loaded with texture and pattern. Her previous lives working in set design, upholstery, photography and as a writer, all feed into the semi-abstract interior and still life compositions she paints. Although she is largely a process led artist, an element of storytelling always emerges in her characterful paintings. Kerry's work is held in private collections in the UK, USA & Europe. Education University of Liverpool - Communications Studies (BA) Hallam University - Photography (CertEd) Shadwell College - Art Foundation Select Exhibitions/Awards New Platform Art professional development cohort 2022 Janet Rady Fine Art - Canivals of Clouds (Group show) March 2022 Hightgate Contemporary Art - Winter - Spring (Group show) Feb 2022 Cupola Contemporary Art - Scion (Group show) Jan 2022 Spring Cheltenham - Small Works (Group show) Dec 2021 The Dovecot Gallery - Portrayal (group show) Sept 2021 Gallery Representation Wychwood Art Statement about AOAP Submitted Artwork I was thrilled to be invited to contribute to this worthy cause and decided to showcase the colour pink in all my pieces - for me it is the most uplifting and impactful colour and even at this scale makes a lively statement. I chose to create two simplified tablescapes, one of my favourite compositional themes, and a pair of cups - one for tea, one for coffee - to indulge my love of pattern. 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.
Kerry Louise Bennett Teacups, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Working from her home studio in Sheffield, Kerry Louise Bennett (b.1972) makes brightly coloured works loaded with texture and pattern. Her previous lives working in set design, upholstery, photography and as a writer, all feed into the semi-abstract interior and still life compositions she paints. Although she is largely a process led artist, an element of storytelling always emerges in her characterful paintings. Kerry's work is held in private collections in the UK, USA & Europe. Education University of Liverpool - Communications Studies (BA) Hallam University - Photography (CertEd) Shadwell College - Art Foundation Select Exhibitions/Awards New Platform Art professional development cohort 2022 Janet Rady Fine Art - Canivals of Clouds (Group show) March 2022 Hightgate Contemporary Art - Winter - Spring (Group show) Feb 2022 Cupola Contemporary Art - Scion (Group show) Jan 2022 Spring Cheltenham - Small Works (Group show) Dec 2021 The Dovecot Gallery - Portrayal (group show) Sept 2021 Gallery Representation Wychwood Art Statement about AOAP Submitted Artwork I was thrilled to be invited to contribute to this worthy cause and decided to showcase the colour pink in all my pieces - for me it is the most uplifting and impactful colour and even at this scale makes a lively statement. I chose to create two simplified tablescapes, one of my favourite compositional themes, and a pair of cups - one for tea, one for coffee - to indulge my love of pattern. 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.
Kerry Louise Bennett Espresso Can, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Working from her home studio in Sheffield, Kerry Louise Bennett (b.1972) makes brightly coloured works loaded with texture and pattern. Her previous lives working in set design, upholstery, photography and as a writer, all feed into the semi-abstract interior and still life compositions she paints. Although she is largely a process led artist, an element of storytelling always emerges in her characterful paintings. Kerry's work is held in private collections in the UK, USA & Europe. Education University of Liverpool - Communications Studies (BA) Hallam University - Photography (CertEd) Shadwell College - Art Foundation Select Exhibitions/Awards New Platform Art professional development cohort 2022 Janet Rady Fine Art - Canivals of Clouds (Group show) March 2022 Hightgate Contemporary Art - Winter - Spring (Group show) Feb 2022 Cupola Contemporary Art - Scion (Group show) Jan 2022 Spring Cheltenham - Small Works (Group show) Dec 2021 The Dovecot Gallery - Portrayal (group show) Sept 2021 Gallery Representation Wychwood Art Statement about AOAP Submitted Artwork I was thrilled to be invited to contribute to this worthy cause and decided to showcase the colour pink in all my pieces - for me it is the most uplifting and impactful colour and even at this scale makes a lively statement. I chose to create two simplified tablescapes, one of my favourite compositional themes, and a pair of cups - one for tea, one for coffee - to indulge my love of pattern. 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.
Kerry Louise Bennett Oranges?, 2022 Acrylic on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About Working from her home studio in Sheffield, Kerry Louise Bennett (b.1972) makes brightly coloured works loaded with texture and pattern. Her previous lives working in set design, upholstery, photography and as a writer, all feed into the semi-abstract interior and still life compositions she paints. Although she is largely a process led artist, an element of storytelling always emerges in her characterful paintings. Kerry's work is held in private collections in the UK, USA & Europe. Education University of Liverpool - Communications Studies (BA) Hallam University - Photography (CertEd) Shadwell College - Art Foundation Select Exhibitions/Awards New Platform Art professional development cohort 2022 Janet Rady Fine Art - Canivals of Clouds (Group show) March 2022 Hightgate Contemporary Art - Winter - Spring (Group show) Feb 2022 Cupola Contemporary Art - Scion (Group show) Jan 2022 Spring Cheltenham - Small Works (Group show) Dec 2021 The Dovecot Gallery - Portrayal (group show) Sept 2021 Gallery Representation Wychwood Art Statement about AOAP Submitted Artwork I was thrilled to be invited to contribute to this worthy cause and decided to showcase the colour pink in all my pieces - for me it is the most uplifting and impactful colour and even at this scale makes a lively statement. I chose to create two simplified tablescapes, one of my favourite compositional themes, and a pair of cups - one for tea, one for coffee - to indulge my love of pattern. 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.
Omega. A stainless steel manual wind chronograph wristwatchModel: Seamaster ChronostopReference: 145.007Date: Circa 1967Movement: 17-jewel Cal.865 manual wind, No.25868574Dial: Black, applied polished baton hour markers with luminous dot tips, outer racing minute divisions and raised tachymeter scale, white pointed baton hands with luminous inserts, orange centre chronograph handCase: Brushed and polished tonneau form, screw down back, winding crown at 4, chronograph button at 2Strap/Bracelet: Associated black leather with red stitching Buckle/Clasp: Steel buckleSigned: Case, dial & movementSize: 40mm Accompaniments: Black Omega leather strap (AF), signed folding claspFor further information on this lot please visit Bonhams.com
Panerai. A stainless steel automatic chronograph wristwatchModel: Luminor Rattrapante 1950, No.422/600Reference: PAM00213Date: Purchased 15th June 2007Movement: 31-jewel automatic, No.00260Dial: Black, luminous baton hour markers, Arabic numeral 6 and 12, white outer minute track, outer tachymetre scale, subsidiary dials at 3 and 9 for seconds and 30 minute recording, black pointed baton hands with luminous inserts, centre chronograph handCase: Brushed and polished cushion form, screw down exhibition back, crown with locking protection flanked by twin buttons, further crown at 8, No.OP6641, BB1165823Strap/Bracelet: Black Panerai rubberBuckle/Clasp: Signed double folding claspSigned: Case, dial & movementSize: 43mm Accompaniments: Panerai box, outer card, COSC certificate, Guarantee, instruction booklet, strap removal tool, spare rubber strap For further information on this lot please visit Bonhams.com
Panerai. A Limited Edition stainless steel manual wind calendar chronograph wristwatchModel: Radiomir, No.2/230Reference: PAM00163Date: Purchased February 2004Movement: 18-jewel Valjoux Cal.234 manual wind, column wheel chronographDial: Black, applied luminous filled baton hour markers, white outer 1/5th second divisions, outer tachymetre scale, silvered subsidiary dials at 3 and 9 for seconds and 45 minute recording, date aperture between 4 and 5, polished pointed baton hands with luminous inserts, centre chronograph handCase: Polished cushion form, screw down exhibition back, wire lugs, crown flanked by twin buttons, No.OP6596, BB1106975Strap/Bracelet: Burgundy Panerai crocodile leatherBuckle/Clasp: Signed double folding claspSigned: Case, dial & movement Size: 44mm Accompaniments: Guarantee, Limited Edition CertificateThis lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Alfred Russell & Co, Liverpool & London. An 18K gold key wind full hunter chronograph pocket watchDate: Chester Hallmark for 1882Movement: Gilt 3/4 plate English lever, cut and compensated bi-metallic balance No.77279Dial: White, black Roman numerals, black outer minute track and 0-300 scale, gilt spade hands, blued steel centre seconds, No.77279Case: Polished hinged, chronograph button in the band at 4, No.513Signed: Movement, case stamped TRSize: 53mm Accompaniments: KeyFor further information on this lot please visit Bonhams.com
Zenith. An 18K gold manual wind chronograph bracelet watchDate: Circa 1950Movement: Jewelled Cal.156 manual wind, column wheel chronographDial: Silvered, applied gilt bullet hour markers, black outer 1/5th second divisions with Arabic numeral 5 minute markers, blue outer tachymetre scale, subsidiary dials at 3 and 9 for seconds and 45 minute recording, gilt lance hands, centre chronograph hand Case: Polished tonneau form, snap on back, crown flanked by twin chronograph buttons, No.583295Strap/Bracelet: Associated mesh linkBuckle/Clasp: 18K gold folding claspSigned: Case, dial & movementSize: 37mmFor further information on this lot please visit Bonhams.com
Omega. A stainless steel manual wind chronograph wristwatch with pulsations scaleModel: SpeedmasterReference: ST 105.003-65Date: Circa 1966Movement: 17-jewel rose gilt Cal.321 manual wind, column wheel chronograph, No.24004736Dial: Black, luminous baton hour markers, white outer 1/5th second divisions, subsidiary dials at 3, 6 and 9 for seconds, 30 minute and 12 hour recording, white pointed baton hands with luminous inserts, centre chronograph handCase: Brushed and polished tonneau form, screw down back, pulsations scale to bezel, inner cap, signed crown flanked by twin pushersStrap/Bracelet: Black Omega alligator leatherBuckle/Clasp: Signed steel buckleSigned: Case, dial & movementSize: 39mmFootnotes:The current lot features a rare pulsometer bezel which was an option for this reference at the time of manufacture. The reference was produced between 1966 and 1969.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
EASTERN EUROPE -- "MORAVIÆ NOVA et post omnes priores accur. delineatio. Auctore I.A. Comenio". (Amst.), N.J. Vischer, 1633. Cold. engr. map of Moravia w. 4 inset perspective views on top of the map of Polna, Olmuts, Brin and Znaim, scale indicator and 3 cartouches. 455 x 555 mm. (Several small splits in margins, 2 larger running into image on central fold, but without loss of image).
EASTERN EUROPE -- "CARTE NOUVELLE DES ROYAUMES DE GALIZIE et Lodomerie avec le District de Bukowine". Augsburg, T.C. Lotter, n.d. (c. 1760). Sparsely cold. engr. map w. scale indicator and compass rose. 490 x 605 mm. (Margins short). NOTE:Map showing the Kingdom of Galicia and Lodomeria, which was a crown land of the Habsburg Monarchy, acquired during the first partition of Poland and extending southeast to Bukowina, which is shown here shortly before the beginning of the Turkish occupation in 1769.
FRANCE -- "PROVINCIA/PROVENCE Auctore Petro Joanne Bompario". Amst., W.J. & J. Blaeu, n.d. (=1631). Cold. engr. map w. 3 coats of arms, scale indicator, 2 compass roses and title cartouche. 390 x 545 mm. (Small defect to vertical fold, fold skilfully reinforced on v°). NOTE:Latin text on v°. V.d. Krogt II, 4700:2.
SPAIN -- "VALENTIÆ REGNI, olim Contestanorum Si Ptolemaeo, Edentanorum Si Plinio Credimus Typus". (Antwerp, Ortelius, n.d. (between 1584 and 1592)). Engr. map in cont. colouring and gold heightened. 390 x 540 mm. (Laid down on cardboard, hence v° could not be inspected). First, rather scarce state (of 2). V.d. Broecke, Ort29. -- Added: "REGNI VALENTIÆ TYPUS". (Amst., Mercator/Hondius, 1634). Engr. map in cont. colouring, w. large title cartouche, scale indicator, sailing ship and sea monster. 355 x 480 mm. (Lower blank margin a bit frayed). Dutch text on v°. V.d. Krogt I, 6155:1.1 -- And 2 o. (4).
ORNITHOLOGY -- GERSMANN, K.-H. & O. GRIMM. Raptor and human - falconry and bird symbolism throughout the millennia on a global scale. (Kiel/Hamburg, 2018). 4 vols. Prof. illustrated. 4°. Obrds. In or. slipcases. As new. -- Added: L. BROWN & D. AMADON. Eagles, Hawks and Falcons of the World. (Feltham, 1968). 2 vols. Ocl. In or. slipcase. -- (6).
FREDERIKSOORD -- DE STAR, een tijdschrift, uitgegeven van wege de Permanente Kommissie der Maatschappij van Weldadigheid. 1e dl., 1e stuk. Amst., J. van der Hey, 1819. (8), 549 pp. W. 2. handcold. costume plates, 1 fold. handcold. map of India & 4 fold. tables. Cont. hcf. NOTE:Rare first part of the first volume of this monthly magazine, published by the 'Permanente Commissie van de Maatschappij van Weldadigheid', mainly by the founder (Johannes van den Bosch) and the secretary (Willem Anthonie Ockerse), to inform the donors what the 'Maatschappij' spend their money on. At the beginning of the 19th century, a large-scale social experiment took place in the United Netherlands, with as purpose: to end poverty. Since 1818, the 'Maatschappij van Weldadigheid' buys up large, uncultivated tracts of land. Seven Colonies of 'Weldadigheid' were established there in seven years. The publication of the magazine ends in 1826 after the death of Ockerse. In 2007 'De Star' is revived by the former director Jan Mensink a.o.
An interesting small scale dolls’ house tinplate sofa, similar to Evans & Cartwright with embossed detail, scrolling arms and recent velvet upholstery -4in. (10cm.) wide (some solder repairs and no paint); a yellow painted wooden sofa and chair with blue and white check upholstery and Dresden paper trim (sofa missing back legs)
A quantity of dolls’ house furniture, a Waltershausen type upright piano -3 3/4in. (9.5cm.) high (lid detached); a Schnegass floor mirror (missing top decoration); a marble topped washstand, a white painted towel rail, an oak book case with books, two tables and a bed; some small scale painted tinplate furniture (worn); and a few other items
Erzgebirge painted wooden Noah and animals. three Noah’s and family with early carved heads (two missing feet and an arm, the other missing hat and hand with hole is side of head); two turned Noah family members; fifteen various scale animals including large grey horse -4 1/2in. (11cm.) long, rabbit, dog and birds (four birds missing)
A 1.5" scale live steam Allchin Traction Engine for restoration. An interesing project, built to the popular design. It is an older model, now somewhat showing its age, with some wear, signs of significant past use and parts missing. Paintwork to a good standard, however signs suggest potentially requires a rebuild of some elements. Single cylinder, copper boiler, pressure gauge, water sight glass, water pump, lubricator, working brakes, etc. QGC for age, motion turns freely. Sold untested, without a boiler certificate etc. and therefore for display only. £1000-1500
A 2" scale live steam Clayton undertype Steam Wagon built to a good standard to the popular design. It is an older model, with some wear. Single vertical cylinder, copper boiler, pressure gauge, water sight glass, hand pump, axel pump, lubricator, working brakes, etc. QGC for age, motion turns freely. Sold untested, without a boiler certificate etc. and therefore for display only. £700-1000
A quantity of small scale (1:115 / 1:120 / 1:280 etc) die-cast Aircraft. Including Messerschmitt Me-262, F4U Corsair, F-117 Stealth, Casa C101, Harrier II, F-4 Phantom II, Mig-15, Spitfire Mk II, F-86F Sabre, Ilyushin 1L-11 'Shurmovik', F14 Tomcat, Dassault Rafale, REpublic F84, P38 Lightning, Northrop B-2, P-51 Mustang, Tornado, Mig-29, P-47 Thunderbolt, Mirage 2000, F9F Panther, Super Entendard, Messerschmitt Me-109. Plus a few Ertl etc 'personality' tug boats and a few other items. VGC. (c75). £80-100
A quantity of Various Makes. Including Joal 1:50 scale Volvo PTT Post Bus. Corgi: Morris J Van, Southdown. 70th Anniversary of the Blackpool Balloon Tram 2-vehicle set. Leyland Atlantean Open Top Bus. Plaxton Paramount Coach, Shearings. Midland Fox Bus. Bedford OB Coach, Southdown. Scammell Highwayman Crane, Southdown. OOC: Leyland PD3 Queen Mary Open Top Bus, Provincial. AEC Bus. Leyland PD3 Queen Mary Bus, Southdown. Double Deck Bus, KMB. EFE: Bristol Lodekka, Southdown BH&D. AEC Mk V Fuel Tanker, Southdown. Asianbus Guy Arab Mk 1V. 3x Atlas Great British Buses Plus a number of other items. All boxed, minor/some wear. Contents VGC-Mint. c30 £80-100
A quantity of various makes. Including; 60+ Oxford Diecast commerical vehicles and buses. Matchbox Models of Yesteryear vehicles. 4x Days Gone Pioneers of Aviation aircraft. Matchbox Dinky vehicles. 12x Vanguards including; Bedford S Type tanker, Commer box van, Commer Flatbed, etc. A Dinky Toys Police Land Rover (277). 3x Atlas aircraft; Avro Lancaster, B-17F and B29 Super Fortress. Plus other vehicles by Corgi, etc. Together with 2x large scale radio controlled Daleks. The major parts of a Sindy wardrobe. A Sindy doll and garden furniture set, etc. Plus a few other items. GC-VGC, most items boxed. Viewing recommended. £60-80
Small quantity of various makes. A Britains Farmyard No.4711. Comprising a plastic moulded farmyard base, with detachable buildings including barn, cow shed, pigsty, gates fences, trees, farm animals etc. Plus a few larger scale animals including cows, giraffe, horses, elephant, tiger and a llama etc. Pus a Magirus Deutz Iveco livestock transporter. Also, in Lot a boxed Victory Industries Vosper RAF Crash Tender. Plus a boxed SYMA S032G Radio Controlled helicopter. A Matchbox Super Kings Bridge Layer set (K44), boxed. Plus, a used Matchbox Carry Case containing 48 various used Matchbox and Corgi examples. QGC-VGC Matchbox and carry case mostly with age wear. £70-100
A quantity of various makes. Corgi 1:50 scale AEC Routemaster Bus, London Transport. Solido AEC RT bus, London Transport. 3x Atlas Classic Sports Cars, Jaguar E Type, Jaguar Roadster and a BMW 507. An Atlas Alan Mann Mk1 Ford Escort British Touring Car. Onyx Lotus Mugen 107c, Pedro Lamy. An Oxford Ford Anglia 105 Ice Cream Van. Vanguard Trotter's Reliant Regal Van, 2x Brumm Jaguar D Type, Cararama Willy's Jeep. Re-Issue Dinky Toys Triumph TR2 Sports Car with magazine. All boxed. Plus, 2x restored Dinky Toys, Foden FG chain lorry and a British Railways Horse Box. A repainted Corgi Ecurie Ecosse transporter. Plus, other loose items including a Vanguards Triumph Herlad, Ford Anglia van, National Benzole, and Austin A30. Matchbox Dinky Mini Cooper, etc. QGC-VGC some chipping, age wear and restoration. £70-90
6 1:50 scale Corgi commercial vehicles. Scania 164 tractor unit with a 3 axle curtainside trailer, A. Campbell Carstairs. 2x DAF 95XF tractor unit and 3 axle curtainside trailer- Jack Richards and Downton. ERF tractor unit with a flatbed trailer and sheeted load, William Nicol. Volvo FH tractor unit with a flatbed trailer with log load, R. Monkhouse Ltd. Plus a Seddon Atkinson tractor unit with a low sided trailer with crane component load, Brian Harris. GC-VGC but a few items including mirrors and wheels are perhaps damaged/missing, some vehicles nicely adapted/adjusted. £70-90
6 1:50 scale Corgi Commercial Vehicles. DAF 95 XF Tractor Unit with Flat Bed Trailer and sheeted load. In E.A.Gill livery. Volvo FH 12 Tractor Unit with Curtainside Trailer. In Benton Bros livery. DAF 95 XF Tractor Unit with Curtainside Trailer. In Benton Bros livery. Scania 144L Tractor Unit with Flatbed Semi Trailer and sheeted load. In Derek Marston livery. Scania 113M Tractor Unit with Curtinside Semi Trailer. In Gallacher Bros livery. Scania 144L Tractor Unit with Tanker Semi Trailer. In D.Steven livery. GC-VGC but a few itms including , mirrors and spot lights may be damaged/missing. Some vehicles nicely adapted/adjusted. £70-90
6 1:50 scale Corgi Commercial Vehicles. MAN TRactor Unit with Flat Bed Semi Trailer and sheeted load. In livery of Gallacher Bros. Scania 144L Tractor Unit with Open Semi Trailer and Tilt. In P&C Hamilton livery. DAF95XF Tractor Unit and Curtainside Semi Trailer. In Robert Laidlaw livery. Scania 113M Tactor Unit and Open Semi Trailer with Tilt. In Astran livery. Volvo FH12 Tractor Unit with Curtinside Semi Trailer. In The Malcolm Group livery. Scania 144L Tractor Unit with Reefer Box Trailer. In Norfolk Line livery. GC-VGC but a few items including mirrors may be damaged/missing. Some vehicles nicely adapted/adjusted. £70-90
6 1:50 scale Corgi Commercial Vehicles. DAF XF Tractor Unit with Reefer Curtainside Semi Trailer. In David Murray livery. Scania 164L Tractor Unit with Flatbed Trailer and sheeted load . In T.G.McWilliam livery. MAN Tractor unit with Curtainside Semi Trailer. Scania 124L Tractor Unit with Curtainside Trailer. Both in Pollock Scotrans livery. Foden Tractor Unit with Tanker Semi Trailer. Renault Tractor Unit with Flatbed Semi Trailer and reefer trailer load. Both in Pollock livery. GC-VGC but a few items including mirrors may be damaged/missing. Some vehicles nicely adapted/adjusted. £70-90
6 1:50 scale Corgi Commercial Vehicles. MAN Tractor Unit with an Open Trailer and Tilt. In Ken Thomas livery with 'Hankook' logo to trailer. Scania R500 Tractor Unit with Curtainside Trailer. In Sealane livery. Scania 144L Tractor Unit with a reefer box semi trailer. In A.J.Anderson livery. An ERF Tractor Unit with Curtainside Semi Trailer. In Torridge Trasport livery. Scania 114L Tractor Unit with Curtainside Semi Trailer. In Reg Jefferies livery. Scania R500 Tractor Unit with a Curtainside Semi Trailer. In Garn Haulage livery. GC-VGC but a few items including mirrors may be damaged/missing. Some vehicles nicely adapted/adjusted. £70-90
6 1:50 scale white metal commercial vehicles. Foden DG 4 axle rigid high-capacity open truck in BRS grey and red livery. A Maudsley 4 axle high-capacity Luton style van, in BRS green livery. A Foden FG 4 axle tanker in British Sugar Corporation blue livery. A Bristol 4 axle open wagon with sides, with steel pressing load, in Richard Thomas & Baldwin Ltd dark green and red livery. A Bristol 4 axle flatbed wagon with cable drum etc load, in red BRS livery. Plus, a Scammell 4 axle open wagon with sides and sheeted load, in BRS green livery. GC but a few items including mirrors and wheels are perhaps damaged/missing £70-90
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