Holy Land. Hondius (Jodocus & Mercator Gerard). Terra Sancta quae in Sacris Terra Promissionis ol: Palestina, Amsterdam [1619], engraved map with early hand-colouring, large strapwork cartouche and mileage scale, central fold strengthened in the margins on the recto, 360 x 500 mm, French text on versoQTY: (1)NOTE:Eran Laor. Maps of the Holy Land, number 494. The map is based on Ortelius's earlier map of 1584 and includes the prominent vignette of Jonah being thrown to the whale, which dominates the Mediterranean Sea.
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Holy Land. Ortelius (Abraham), Palestinae sive Totius Terrae Promissionis nova Descriptio Auctore Tilemanno Stella Sigenens [1580 - 89], hand-coloured engraved map, large strapwork cartouche and mileage scale, very slight staining and dust soiling, central fold strengthened on the recto in the lower margin, 345 x 465 mm, German text on versoQTY: (1)NOTE:Marcel van den Broecke. Ortelius Atlas Maps, number 171. E. Laor. Maps of the Holy Land, number 540 B.
A Boker Scout folding knife, with 3 1/2" blade with orange scale handles. Overall length 21.5 cm with original box. This bladed product is not for sale to people under the age of 18. By bidding on this item you are declaring that you are 18 years of age or over. Please note that if you require P&P for this lot, this can only be done using an age verified method.
Puma White Hunter knife with 6" blade and hardwood scale handles, the blade marked White Hunter 6377, Serial No. 62273 stamped to guard, with leather sheath. This bladed product is not for sale to people under the age of 18. By bidding on this item you are declaring that you are 18 years of age or over. Please note that if you require P&P for this lot, this can only be done using an age verified method.
CHARLES RENNIE MACKINTOSH (1868-1928) 'SCALE DRAWING OF PROPOSED MEMORIAL STONE TO LT. COL. OSWALD ARTHUR GERALD FITZGERALD CMG', 1916 pencil and wash on squared paper, showing the front and side elevation of the memorial stone, later framed Dimensions:sheet size 27.5cm x 23.1cm (frame 46.5cm x 41.2cm) Provenance:Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933 and by descent to his son, James Meldrum Given to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984 Note: Literature: www.mackintosh-architecture.gla.ac.uk Note: Lt Col. Oswald Arthur Gerald Fitzgerald (1875–1916) was personal military secretary to Lord Kitchener (1850–1916). Both men died in the sinking of HMS Hampshire off Marwick Head, Orkney, on 5 June 1916. Fitzgerald's body was not buried at Lyness on the island of Hoy, with others recovered from the sea, but was taken instead to Ocklynge Cemetery, Eastbourne, Sussex, where his father was buried. The design shows an upright stone slab 7 feet (2.13 m) high and just over 3 feet (0.91 m) wide at the base, framed at the top and sides by mouldings of a stepped profile. The angular mouldings have similarities with some of the stone carving at Scotland Street School and with later decorative work by Mackintosh, especially the hall fireplace at 78 Derngate, Northampton. The classical victor's laurel wreath and the military badges above and below the inscription speak the familiar language of soldiers' memorials. It is not known how Mackintosh came to make the design, or who commissioned it. Fitzgerald had served for some years with Kitchener in India, and it may have been through Mackintosh's association with Patrick Geddes's Indian town planning work in 1915–16 that the job came his way. The monument ultimately erected over Fitzgerald's grave is very much simpler and in no sense a realisation of Mackintosh's design, although it contains faint echoes of the original drawing offered here and suggests that whoever carved it may have had access to Mackintosh's design. This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.
SIR ARTHUR WILLIAM BLOMFIELD (1829-1899) SIR ARTHUR WILLIAM BLOMFIELD’S REMEMBRANCE CABINET, CIRCA 1860 painted and gilded oak, patinated metal fittingsDimensions:85cm wide, 226.5cm high, 36cm deepProvenance:Provenance - Mr & Mrs A. W. Blomfield Private collection, Luxembourg Northern France early 2010’s Oscar Graf 2017 John Gilbert Getty (1968-2020) with Paul ShutlerNote:The exterior of this cabinet is decorated with a choir of angels on the front. Above the door is the Latin motto:‘Non vox sed votum, non musica chordula sed cor, Non clamans sed amans, cantat in aure Dei’.Translated as:‘Not the voice, but the desire, not the musical instrument, but the heart, not the crier, but the lover, singeth in the ear of God’.Or‘It is the duty of a devout mind to pray to God, not with the voice or the sound of the voice but with the devotion of the mind and with the faith of the heart’.The interior right-hand panel:Gules two swords in saltire argent hilts and pommels or (for the See of London) Per fess indented argent and azure a bend gules (for Blomfield) - ensigned with a Cross and a CrozierFor the Bishop of London and Blomfield’s late father Charles James Blomfield (1786-1857).The interior left-hand panel:Argent on a bend azure between two unicorn’s heads couped three lozenges of the field (for Smith) Crest. A demitiger rampant azure holding a broken sword properMotto- Vigilando et orando (By watching and praying).For Blomfield’s late wife Caroline Harriet Smith (1840-1882)Note: Until the re-attribution of this cabinet, domestic furniture designed by Blomfield numbered just one: a cupboard, first published by his friend Charles Locke Eastlake in Hints on Household Taste (p.XV, fourth edition 1878), of which a handful of examples exist.Blomfield was not the only Gothic architect to make elaborate large-scale pieces for their home or office early on in their career. Richard Norman Shaw famously commissioned a cabinet that now resides in the collections of the Victoria & Albert Museum straight after he left the employ of George Edmund Street, and of course, the architect William Burges furnished his entire office and house with such cabinets. The interior, later decorated following his wife’s death in 1882, is intended as a private memorial for his late father, the Bishop of London, Charles James Blomfield (1786-1857) and a memorial from a devoted husband to his late wife Caroline Harriet Smith (1840-1882).
AUGUSTUS WELBY NORTHMORE PUGIN (1812-1852) OR EDWARD WELBY PUGIN (1834-1875) NEEDLEWORK RUG, CIRCA 1860 wool, with later linen backing, with later cotton binding to each end, the panel a section of a larger carpetDimensions:223cm x 147.5cmProvenance:Provenance: St. Leonards - Mayfield Chapel, Mayfield, Sussex, England.Note: Note: The remains of a medieval palace belonging to the Archbishops of Canterbury was converted into a school, Mayfield School of the Holy Child, by Edward Welby Pugin in 1863-6. This section of a needlework rug originally ran the entire length of the Chapel. Due to the sheer scale of the work, the rug was constructed in small, panelled sections and later stitched together to form the carpet. Hand-stitched by the sisters of Mayfield Chapel, the carpet was produced for Mother Cornelia Connelly, founder of the Society of the Holy Child Jesus. As in other projects, E.W. Pugin continued to use the decorative designs of his father of which this may be one.
§ GERALD LAING (1936-2011) THE MESSENGER, 1991 bronze, edition of 10, raised on a Corian plinthDimensions:Figure 140m high, including plinth, 221cm highNote: Literature: Gerald Laing: Catalogue Raisonne, geraldlaing.orgNote: The artist's note on this sculpture reads "The Messenger is a sketch for the uppermost figure on the Axis Mundi group [cat. number 550]. The pose is based on that of Mercury by the Renaissance sculptor Giambologna, who in turn based his famous image on others, now lost, from Greek antiquity. This pose has been used by many artists through the ages, particularly in sculpture, and appears most recently on the cap badge of the Royal Corps of Signals. My figure is, unusually for this pose, female, and in the full-scale version, winged, as befits a Wise Virgin in her Apotheosis."
A collection of large scale maps / hydrography of varying continents. To include multiple copies published at the Admiralty surveys; English Channel to the Straight of Gibraltar (1971), Marseille to Agay Road (Crown Copyright 1959), Straight of Gibraltar to the River Gambia (1960), Mediterranean Sea - Eastern Sheet x 2 (Crown copyright reserved), Gibraltar (published at the Admiralty 1953), Haisborough to Orford Ness (Crown Copyright 1962), Lannion to Erquy including Guernsey / Sark & the Casquets (Crown Copyright 1968), Dover Strait (published at the Admiralty 1942), Approaches to La Harvre (Crown Copyright 1967), The Downs (SE Coast / Ramsgate Harbour (published at the Admiralty 1951), Alderney & the Casquets (Crown Copyright 1964), Mediterranean and The Black Seas - (published at the Admiralty 1921), Eastern Approaches to the Solent / NAB Tower to Spithead (published at the Admiralty 1935), Guernsey / Herm & Sark (Crown Copyright 1961), Beachey Head to Dungeness - (published at the Admiralty 1953), Western Approach to the British Islands (Consol Lattice Chart / (published at the Admiralty 1951 - AF), Gibraltar to Adra (published at the Admiralty 1895), Newhaven to Calais (published at the Admiralty 1955), C.DE Flamanville to Is St Marcouf (Crown Copyright 1960), Rade De Chambourg (Crown Copyright 1962) & Anvil Point to Beachy Head (Crown Copyright 1966) and many other examples.
A Second War M.B.E. group of twelve awarded to Major (Quartermaster) R. T. Guscott, Middlesex Regiment, who was awarded the Meritorious Service Medal during the Great War, and was taken Prisoner of War following the fall of Hong Kong, 25 December 1941 The Most Excellent Order of the British Empire, M.B.E. (Military) Member’s 2nd type breast badge, silver; 1914 Star, with later slide clasp (L.11350 C.Q.M. Sjt. R. T. Guscott. Midd’x. R.); British War and Victory Medals, with M.I.D. oak leaves (L-11350 W.O. Cl.2. R. T. Guscott. Midd’x. R.); 1939-45 Star; Pacific Star; Defence and War Medals 1939-45; Jubilee 1935; Coronation 1937; Army L.S. & G.C., G.V.R., 2nd issue with fixed suspension (6188477 W.O. Cl.1. R. T. Guscott. Midd’x. R.); Meritorious Service Medal, G.V.R., 2nd issue with fixed suspension (L 11350 Q.M .Sjt. R. T. Guscott. Midd’x. R.) mounted as worn, the pre-Second War awards all replacement issues (although not marked as such), the originals having presumably been lost at the fall of Hong Kong, good very fine and better (12) £1,000-£1,400 --- Provenance: Wallis and Wallis, June 1964; Jack Webb Collection, Dix Noonan Webb, August 2020. M.B.E. London Gazette 1 January 1942. M.S.M. London Gazette 12 December 1919. Robert Thomas ‘Bob’ Guscott ‘was born on 10 November 1888 and enlisted into the Middlesex Regiment on his 18th birthday in 1906. He served with the 2nd Battalion at home until 1913 and then went to Malta when the Battalion started out on its overseas tour. This was cut short when war broke out in 1914, and the Battalion joined the B.E.F. in France in November of that year. By that time he had risen to the rank of Colour-Sergeant. He remained continuously on active service with he 2nd Battalion until Armistice Day 1918. For his services he was Mentioned in Despatches in January 1917 [London Gazette 14 January 1917] and was awarded the Meritorious Service Medal in 1919. Guscott rejoined the 2nd Battalion after the war and, in August 1919, he went to Egypt when the Battalion continued its overseas tour, which had been interrupted in 1914. He was posted for a tour of duty at the Depot in 1921, and in 1923 he became Regimental Sergeant Major at the Royal Military School of Music, Kneller Hall. There he remained until 1930. On 22 January 1930 Guscott was appointed to a commission as Lieutenant (Quartermaster) and in March of that year he was posted to the 2nd Battalion, then stationed at Madras. He returned to this country with the Battalion on completion of its overseas tour in the Sudan in December 1931 and remained with it until, in 1935, he was posted to the Depot. In October 1937 Guscott was posted to the 1st Battalion in Hong Kong and as soon as war was imminent in 1939 he began the hard task of equipping the unit to War Scale. The results were so efficient that he was recommended for, and awarded the M.B.E. Publication was made on 1 January 1942, and that same month he was promoted to the rank of Major (Quartermaster). He did not learn of the award until after the end of the War, for after the capture of the Colony by the Japanese in December 1941, he was reported missing. Nine months later news filtered through that he was prisoner of war. He was repatriated on 21 November 1945, and retired on 29 December 1946, going to live at Bexhill-on-Sea, Sussex. He died on 8 February 1964.’ (The recipient’s obituary, published in The Die Hards, refers). Sold with copied research.
The Superb Korean War ‘Battle of the Imjin River Hill 314’ M.M. group of seven awarded to Sergeant S. Robinson, 4 Platoon, “B” Company, 1st Battalion, Gloucestershire Regiment (‘The Glorious Glosters’), who, although seriously wounded, personally kept his four Bren Machine-Guns in action in an exposed forward position for over three hours, decimating multiple Chinese ‘Human Wave’ attacks until he collapsed over his own Bren due to loss of blood. Originally recommended for a D.C.M., his award was downgraded as the War Office authorised just two D.C.M.s and six M.M.s to the Glosters’ other ranks, despite their heroic stand which blunted and ruined Mao’s Spring Offensive Military Medal, E.II.R., 1st issue (1444977 A/Sjt. S. Robinson, Glosters); 1939-45 Star; France and Germany Star; Defence and War Medals 1939-45; Korea 1950-53, 1st issue (1444977 Cpl. S. Robinson, Glosters); U.N. Korea 1950-54, unnamed as issued; together with the recipient’s United States of America Presidential Unit Citation riband bar, nearly extremely fine (7) £20,000-£30,000 --- M.M. London Gazette 8 December 1953. The original recommendation, for the award of a Distinguished Conduct Medal, was written by his C.O., Lieutenant Colonel J. P. Carne, V.C., D.S.O. and states: ‘Choksong, River Imjin, South Korea 22-25 April 1951 - Rifle Platoon Sergeant. During the night of 23-24 April, particularly during the early morning of the 24th April, repeated attacks were made by heavy Chinese forces against Sergeant Robinson’s platoon position. At first light, he was manning a light machine-gun in an exposed forward position. Despite heavy mortar and machine-gun fire, he maintained this gun in action personally for over three hours though wounded seriously in the arm and later, the leg. At the end of this time, through loss of blood, he collapsed over the weapon and only then was drawn to the rear. Due to his courage and selfless devotion to duty, this important post withstood the repeated assaults of the enemy until the order was given to withdraw to a new position. Sergeant Robinson’s conduct was indeed an inspiration to all those about him.’ Stanley Robinson was born in Chatham, Kent on 20 July 1920, joined the regular army and saw service in North West Europe during the Second World War. As a regular reservist, he was mobilised at Colchester in August 1950 for service in Korea with the Gloucestershire Regiment as a Corporal in “B” Company. The 1st Battalion of the Glosters sailed aboard the Empire Windrush, arrived in Pusan harbour on 10 November 1950, made its way to the front line north of Pyongyang, but was soon swept up in the retreat of the UN forces in the face of vast numbers of Chinese People’s Liberation Army (PLA) soldiers pushing down from the north. In February 1951 the U.N. forces went onto the offensive, recapturing Seoul and pushing up to and beyond the 38th Parallel, which had been the border between the North and the South. Robinson was promoted in the field from Corporal to be Platoon Sergeant of Lieutenant Geoffrey Costello’s No. 4 Platoon, “B” Company. The Glosters were deployed on the U.N. front line along the Imjin River when the Chinese Spring Offensive opened on the evening of 22 April 1951. The Glosters’ position covered a classic invasion route from the north, as Seoul was just thirty miles away to the south. Furthermore, it formed a pivot in the Allied line, which abruptly changed direction from west-east by suddenly running due north. The 29th Independent British Brigade had been allocated twelve miles of west-east-north front, comprising steep hills intersected by deep valleys. It was impossible to man a continuous defensive line, so Brigadier Brodie decided to deploy each of his infantry battalions on separate areas of key high ground, relying on his artillery and tanks to cover the wide gaps between them, including the dominating 675m-high feature called Kamak San. Ominously, there was a very wide gap between the Glosters to the west of the Brigade area and the other three battalions who were safeguarding the main north-south highway (Route 11) to the east. Like his Brigadier, Lieutenant Colonel Carne, commanding 1st Glosters, appreciated that in order to hold vital ground he could not concentrate his infantry companies. Defence stores such as wire and anti-personnel mines were in short supply and the Glosters’ company positions were not as secure as he wanted them to be. Carne’s main objective was to cover the approaches to the defile and track running south through the hills which offered the fastest way to reach flatter country around Seoul. Ideally Carne wanted to occupy Kamak San, but his manpower was insufficient to do so. He placed “A” Company on Castle Hill, which covered the main crossing point along the Imjin River about 2,000 yards to the north, and “B” Company on its right flank to cover the two-mile gap between the Glosters and the next British battalion. The other companies were in depth or reserve positions. The entire Chinese 63rd Army (about 27,000 fighters) was tasked to wipe out one British Infantry Brigade. During the morning of Sunday April 22, warnings were received of large-scale enemy movement north of the river, and 1 Glosters prepared for battle. Extra ammunition was bought up and distributed to the companies and both “A” and “B” Companies sent out fighting patrols closer to the river. Artillery and mortar targets were registered and recorded. All companies were placed at 50% stand-to. The First Night and Day of the Battle After dark on April 22, swarms of Chinese troops crossed the Imjin, taking massive casualties from artillery and small-arms fire aided by mortar flares. Undaunted by their losses, they pressed on, infiltrating along the gaps between the various British positions. The Gloster fighting patrols were withdrawn at midnight as their ammunition was expended. During the night of 22/23 April 1951, “B” Company inflicted crushing casualties on Chinese units which attempted to overrun their slit tranches, suffering no losses themselves. However, “A” Company was outnumbered by at least six to one, and after bitter fighting the Chinese established themselves in a captured allied bunker on the top of Castle Hill. Soon after dawn on 23 April the “A” Company Commander and many of his officers were killed and the survivors were in imminent danger of being overrun. Colonel Carne was forced to pull back to his depth positions. At 0830 “A” Company - now reduced to only one officer and 53 men - joined him on Gloster Hill, while “B” Company fell back 1,500 yards to destroy the Chinese troops on top of Hill 314 and occupy it. But to their right they could see hundreds of Chinese moving around their flank towards Kamak San. Unfortunately, no air support was available. The redeployed companies - “B” on Hill 314 and the rest of the battalion on Gloster Hill - could still deny the enemy use of the vital track from the village of Solma-Ri through the hills, and the British artillery and mortars were decimating the Chinese throughout the day, but Carne was well aware that both flanks of his battalion had been turned and unless he was provided with air strikes and tank support his sole options were to surrender or to fight on until his ammunition, water and food ran out. No relief or reinforcement could occur without other U.N. units fighting their way forward. By 10.30 on 23 April, “B” Company had taken the summit of Hill 314 and were preparing their defences. During that day the Chinese 188th and 189th Divisions got ready for a fresh att...
Collection of diecast and other model vehicles to include: Matchbox Models of Yesteryear passenger coach and horses, Hornby Railways OO Gauge Loco-Scotrail Greyfriars Bobby, another Hornby OO scale X Caledonian LMS Loco, Corgi Original Omnibus, Leyland A1 Service Bus and another horse and carriage. (B.P. 21% + VAT)
DEMEDIUK, NATALIA (Ukrainian b.1982), 'Night over the city', impressionistic view of city with Van Gogh Starry Night style sky, oil on canvas, 80 x 60 cms, signed with monogram bottom right (1)Further information on artist:Natalia Demediuk, was born in Rivne (Ukraine) on May 3, 1982. She graduated from the Rivne Children's Art School named after A. Martynenko. Since 2017, she is a member of the group of amateur artists "Artist" under the leadership of Anatoliy Ivanenko (member of the NSHU), a member of the art group "Kolo ART". Nataliya Demediuk, artist, writer, journalist, TV and radio presenter, teacher, general director of the Media Center "Tretya Stolitsia", co-organizer and participant of cultural events, public figure. Awarded numerous literary and journalistic prizes. The author of three poetry collections - "Sketches of everyday life", "Seven kRokiv", "Azimuth" (the collection has a painting section with reproductions of paintings by Natalia Demediuk). Many poems were set to music and became songs. Natalia Demediuk's paintings were included in the prize fund of the Rivne accent literary award. Sculptor-animator of a series of plasticine animations as part of the project for special children "Little Croissant in the Big World". Co-organizer and participant of the charity art opening "Just the sky. Artists in support of the Armed Forces." Participant of local, all-Ukrainian and international charity auctions, in particular, the Polish-Ukrainian auction "Holidays without Dad" (the painting "Once upon a time, the Cossack Mamai….."), "Charity Coffee" and others. Natalia Demediuk's paintings are in private collections in Ukraine and abroad. EXHIBITIONS: 2017 - "Two springs of one year", Ukraine, Rivne, Rivne Regional Library for Youth. Exhibition of graphic paintings by Elena Sergeeva and oil painting by Natalia Demediuk. The exhibition combined two creative personalities in their amazing vision of the modern world. 2018 - "Not Holy Pots...", Ukraine, Rivne, exhibition of paintings by students of Anatoly Ivanenko, Rivne, European painting gallery "Euro-Art". Despite the variety of directions and creative individuality, the artists are united by high professionalism and bright artistic expressiveness. 2019 - "Legatto", Ukraine, Rivne, exhibition of paintings by students of Anatoly Ivanenko, Rivne, European painting gallery "Euro-Art". In the exposition - a common female view of the modern world, full of hope, warmth, good and bright thoughts. 2021 - "Artistic exercises", the presentation of the exhibition of the works of students of the "Artist" group took place within the framework of the large-scale project "Euro-Art" for the talented". 2021 - debut personal painting exhibition "INTERMEZZO. In love with life", Ukraine, Rivne, Euro-Art gallery as part of the Euro-Art project for the talented. 2022 - "Art-klubma", Ukraine, Rivne regional organization of the National Union of Artists of Ukraine, painting exhibition, the best works of the "Artist" group are presented.
PTUKHA, DARYNA (Ukrainian, b.1992), "Nu", study of nude female, pencil, paper, 30 х 42 cms Further information: Daryna Ptukha, is 30 years old, born in Chernihiv region, lived in Kyiv since 2009. Since childhood, she was a creative person. "I play the piano, paint, and make ceramics. I like to visit other painting techniques, but oil remains my favorite." On March 15, 2022, she was forced to leave Ukraine for Germany due to the full-scale invasion of the Russian Federation. In Germany, she studies the language, volunteers and continues to paint daily. CONDITION: Daryna Ptukha is 30 years old, born in Chernihiv region, lived in Kyiv since 2009.Since childhood, she was a creative person.I play the piano, paint, and make ceramics.I like to visit other painting techniques, but oil remains my favorite.On March 15, 2022, she was forced to leave Ukraine for Germany due to the full-scale invasion of the Russian Federation.In Germany, she studies the language, volunteers and continues to paint daily.
DEMYANIUK, NATALIA "Ukrainian Sky", a scene of soldiers seated outside a tent in the dusk with an angel forming in the clouds, monogrammed lower left, oil on canvas, Framed 72 x 87 cms, Image size 59 x 74 cmsFurther information:Natalia Demediuk, was born in Rivne (Ukraine) on May 3, 1982. She graduated from the Rivne Children's Art School named after A. Martynenko. Since 2017, she is a member of the group of amateur artists "Artist" under the leadership of Anatoliy Ivanenko (member of the NSHU), a member of the art group "Kolo ART". Nataliya Demediuk, artist, writer, journalist, TV and radio presenter, teacher, general director of the Media Center "Tretya Stolitsia", co-organizer and participant of cultural events, public figure. Awarded numerous literary and journalistic prizes. The author of three poetry collections - "Sketches of everyday life", "Seven kRokiv", "Azimuth" (the collection has a painting section with reproductions of paintings by Natalia Demediuk). Many poems were set to music and became songs. Natalia Demediuk's paintings were included in the prize fund of the Rivne accent literary award. Sculptor-animator of a series of plasticine animations as part of the project for special children "Little Croissant in the Big World". Co-organizer and participant of the charity art opening "Just the sky. Artists in support of the Armed Forces." Participant of local, all-Ukrainian and international charity auctions, in particular, the Polish-Ukrainian auction "Holidays without Dad" (the painting "Once upon a time, the Cossack Mamai….."), "Charity Coffee" and others. Natalia Demediuk's paintings are in private collections in Ukraine and abroad. EXHIBITIONS: 2017 - "Two springs of one year", Ukraine, Rivne, Rivne Regional Library for Youth. Exhibition of graphic paintings by Elena Sergeeva and oil painting by Natalia Demediuk. The exhibition combined two creative personalities in their amazing vision of the modern world. 2018 - "Not Holy Pots...", Ukraine, Rivne, exhibition of paintings by students of Anatoly Ivanenko, Rivne, European painting gallery "Euro-Art". Despite the variety of directions and creative individuality, the artists are united by high professionalism and bright artistic expressiveness. 2019 - "Legatto", Ukraine, Rivne, exhibition of paintings by students of Anatoly Ivanenko, Rivne, European painting gallery "Euro-Art". In the exposition - a common female view of the modern world, full of hope, warmth, good and bright thoughts. 2021 - "Artistic exercises", the presentation of the exhibition of the works of students of the "Artist" group took place within the framework of the large-scale project "Euro-Art" for the talented". 2021 - debut personal painting exhibition "INTERMEZZO. In love with life", Ukraine, Rivne, Euro-Art gallery as part of the Euro-Art project for the talented. 2022 - "Art-klubma", Ukraine, Rivne regional organization of the National Union of Artists of Ukraine, painting exhibition, the best works of the "Artist" group are presented.

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