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A framed oil on board together with a framed and glazed watercolour and a pencil sketch, female portraits, unsigned. 34x39cm (largest)

A Framed Annotated Artist's Sketch Depicting Middle Eastern City Square with Minarets, 58x49cm

Michael Andrews, a charcoal sketch on paper, bridge over a railway line, signed with initials M.A., 5.75ins x 4.75ins, unframed. Provenance - Acquired in the early 1980's from the estate of the Swiss Art Professor Gottfried Matter (1891 - 1967)

James C. Amos, 19th Century pencil sketch, Rouen City Square, signed, 7.5ins x 5.5ins, framed

Sepia ink sketch, study of a classical statue, unsigned, 8.75ins x 6.5ins, oak framed

J.W., portrait of a girl, pencil sketch on paper, dated 1845, 41 x 30cms, unframed

FRAMED LOUIS WAIN INK SKETCH - HEIGHT 59.5, WIDTH 45.5CM & DEPTH 1.5CM

Spielmann (M. H.) & Layard (G. S.), Kate Greenaway, Edition De Luxe numbered 423/500, with original pencil drawing by Kate Greenaway, signed twice by John Greenaway to pencil sketch and limitation page, illustrated end papers, presentation inscription and owner's bookplate, many bound-in coloured and black and white plates and photographs (a couple loose), black and white illustrations throughout the text, gilt-tooled stamped vellum binding, London, Adam & Charles Black, 1905

A folio of 19th century and later watercolours and drawings including landscape studies, a sketch of figures attributed to Thomas Tudor and caricatures

PAINTINGS AND PRINTS, to include a watercolour study of Wild Flowers and a Bee by Elizabeth Davies, a watercolour of Laon Cathedral attributed to C Godwin, unsigned pencil sketch of a Monk, eight framed Phil May illustrations, five Dickens characters by Kyd, C F Tunnicliffe Canada Geese print, Topographical prints, F Gordon Crosby motoring prints, etc (24)

JAMES MARSHALL HESELDIN (1887-1969), two Cornish coastal village watercolours, signed bottom left, together with a pencil sketch of a Cornish village signed W. Smith and a G.F. Nicholls print 'Banks of the Fal', largest Heseldin approximately 28cm x 21cm

JAMES MARSHALL HESELDIN (1887-1969) watercolours and pencil sketches depicting Cornish scenes, some bearing signatures, some with studio stamp from The Studio Sale of 1998, seven watercolours, two sketches and sketch pad with rough ideas for paintings - most pages missing

RICHARD TUFF (BRITISH 1965) 'LOOE TRAWLERS' a pen and ink sketch of boats in Looe harbour, signed lower left, mounted, framed and glazed, approximate size 20cm x 29cm (Condition:- good condition)

STEVEN SMITH (BRITISH 1974), 'PIANO SKETCH I', a seated portrait of a female figure at a piano, signed bottom right, mixed media on paper, approximate sizes: image 54cm x 38cm, frame 91cm x 74cm (condition: small chips to frame) (ARR)

Continental school - Head and shoulders portrait of a young man, reverse painting on glass, 40 x 30cm; together with a watercolour portrait sketch (2)

G. Moore - Pair; Rural landscapes, oil on card, each signed and dated 1901 lower right, 25 x 35cm; together with an unsigned street scene oil sketch on board (3)

E Temple - A French Gentleman at his Breakfast Table - oil on board, signed lower right, framed, 23 by 28cms (9 by 11ins). (with oil sketch to verso)

20th century Modern British - Racehorses with Jockeys Up - oil sketch on canvas, unframed, 35 by 45cms (13.75 by 17.75ins).

M C Walker, Henry Alexander Ince (1810-1891) pencil and watercolour sketch, signed lower right, framed & glazed, 20 by 16cms (8 by 6.25ins).

SYDNEY JONES (1881-1966) British, St Ives Bridge Cambridgeshire, pencil sketch, signed and dated 1950, framed and glazed. 25.5 x 15 cm.

The Holy Bible containing the Old and New Testaments. 1816. Engraved title page and plates. Large folio. Full suede leather binding; Complete Works of Charles Dickens. Oxford India Paper Edition. Seventeen uniformly bound volumes illustrated by Cruikshank, Phiz etc; Sisson Rev. J.L.: Historic SketchClick here to view further images, condition reports, sale times & delivery costs for this lot.

Our Conservative and Unionist Statesmen. Ndc1900; Miles W.J.: Modern Practical Farriery; Rhind William: A History of The Vegetable Kingdom. 1855. Rebound in blue cloth; and Wallace H. Frank: A Stuart Sketch Book 1542-1746 (4)Click here to view further images, condition reports, sale times & delivery costs for this lot.

Lionel Dalhousie Robertson Edwards R.I.C.A. (1878-1966) Ilust 8; 'A coolness is begotten (?)' Pen, ink over pencil Signed with initials and inscribed- reverse with ink return stamp for 'The Tatler and Bystander' 2151 18 x 24cm (7 x 9¼ in.) Unframed; together with a large maple framed damaged print of 'Extraordinary trotting match against time' after J F Herring"; a framed antique coloured engraving, depicting King George III after Charles Rosenberg, a maple framed steel engraving of a church and a framed faded watercolour sketch of a Victorian dog cart with blue uniformed driver (5) Provenance: Property of a private family collection. ' Condition Report: Edwards- paper discoloured- margin burn Herring- frame and print bad condition Rosenberg- stained and faded Steel- foxed and stained Dog cart- very faded   Condition Report Disclaimer

VICTORIAN SKETCH BOOK - " Souvenirs of Brittany, 1850 " original watercolours and pen and wash sketches:, cont. calf backed boards, oblong 8vo, (1850). With - a scrap album of the same period and a small road map.(3)SHOULD READ 2 NOT 3 - lacking the small road map

ARDIZZONE, Edward : ( 1900-1979 ) ... Pen & ink sketch, ' Framley Parsonage,' signed 'Diz', 1959 dated on verso, f & g. * Provenance : Chris Beetles label on verso.

ARDIZZONE, Edward : ( 1900-1979 ) ... Pen & ink sketch, ' The Colonel and His Son Pay a Morning Call,' Inscribed by the artist uderneath the mount, 1954. *Provenance Chris Beetles label on verso. Sold with an untitled print.

HELLE, Andre - Droles de Betes : 20 pochoir prints, org. pictorial card covers showing signs of wear, creasing to rear cover, A. Tolmer, Paris, 1911. * Two contemporary presentation inscriptions in French to the half title, both to Fanny Roscaol, Christmas 1911. The first inscription is from Pierre Muller, the second seemingly from Helle which also has a small sketch of a donkey. THE AUTHOR'S FIRST BOOK.

RUTTER, John - Delineations of the North Western Division of the County of Somerset, and of its Antediluvian Bone Caverns, with a Geological Sketch of the District : collates complete with folding hand coloured map, plates, etc, tall 8vo, half red morocco, 1829.

SHAW, Stebbing - A Tour to the West Country, in 1788 : half calf rubbed, 8vo, Robson & Clarke, 1789. With - Warner, Richard, A Walk Through some of the Western Counties of England, eng. frontispiece, sketch maps in text, half calf rubbed, ownership stamp on title-page, 8vo, Bath, 1800.(2)

R Gibb, (19th Century British school), pencil sketch of trees by a stream, housed in a gilt and glazed frame, the pencil 15cm x 24cm; Botanical print housed in a gilt and glazed frame, circular needlework panel housed in a gilt and glazed frame, black and white print of Charlie Chaplin housed in a glazed clip frame (3); Three black and white prints, to include Lincoln Cathedral, Regulus leaving Carthage and a continental street scene, all housed in gilt frames (3)

A pair of reproduction prints; Some Scalps from Newmarket; Chasing at Sandown Park, each 27 x 39cm, together with a pastel portrait of a girl 29 x 22cm; a pencil sketch of a lady,28 x 20cm (unframed); a pair of pencil sketches of north African scenes, 13 x 17cm; a watercolour and gouache sketch of seagulls at Bournemouth, 13 x 21cm; a pencil sketch of a lady, 34.5 x 26cm, a pen and ink of a street scene, four various prints and a photograph of a lady taken at Baron Studios (14)

Ruby Chambers (British. late 19th/early 20th Century), Self Portrait, signed and dated 'Ruby Chambers, July 97' (lower right), pencil, 22 x 22cm, together with a pencil sketch of two dog faces by another hand, 9.5 x 18cm, a pencil sketch of Conway Castle, 10.5 x 18cm, and two further pencil sketches of cottages, 11.5 x 26cm, and 10 x 18cm (5)

Ayobola Kekere-Ekun Hide but Never Seek (Sketch), 2021 Pen on Watercolour Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Ayobola Kekere-Ekun (b. 1993) is a contemporary visual artist. She was born in Lagos, Nigeria. Her B.A. and M.A. in Visual arts were received from the Department of Creative Arts, University of Lagos; where she majored in Graphic Design. She is currently pursuing a PhD in Art and Design at the University of Johannesburg, South Africa. Ayobola is also a Lecturer at the Department of Creative Arts, University of Lagos.   Ayobola's work often explores subjects connected to gender, mythology, power and the human condition in a multi-layered way; creating work through a labour-intensive process. Her work is heavily informed by personal experiences and observations. She is particularly interested in exploring the subtle interplay of time, space, gender, power and social structures in contemporary society.   Ayobola works predominantly with a technique known as quilling, in which strips of paper are individually shaped to create forms. She tends to quill with a variety of materials that respond well to the technique; including ribbon and strips of canvas. She constantly experiments with new ways of exploring materials and their capabilities. Ayobola views the intricacy of her work as a visual metaphor of the complexity of the subject matter she engages with.   Education   2014 - B.A. Visual Arts from the University of Lagos 2017- M.A. Visual Arts from the University of Lagos 2021 - PhD Art and Design (in view) from the University of JohannesburgExhibitions   Exhibitions/Awards   December 2020, Untitled Art Fair - Miami October 2020, High Stakes (solo) - Guns and Rain, Johannesburg January 2020, Young Contemporaries Alumni - National Museum, Lagos October 2019, Making Matter: Materiality and Technology in Nigerian Art - Yemisi Shyllon Museum of Art, Lagos July 2019, Suffrage - Guns and Rain, Johannesburg May 2019, Imagine the Opposite - No End Contemporary, Johannesburg April 2019, Resilient Lines (solo) - Rele Gallery, Lagos October 2018, Cu-ulture and Tradition: Same Experience, Different Local - Koppel Project Hive, London May 2017, Idanimo - Terrakulture Gallery, Lagos May 2017, In Honour of Professor Bolanle Awe - Museum of the Institute of Africa Studies University of Ibadan, Ibadan February 2017, Her Story - Rele Gallery, Lagos November 2016, Dysmorphia & Other Thoughts - Ake Arts and Book Festival, Abeokuta January 2016, Young Contemporaries - Rele Gallery, Lagos     Awards 2018 - The Future Awards 2018 Prize for Creativity 2018 - The Dean Collection 20 St(art)ups Grants 2016 - Rele Art Foundation "Young Contemporaries" Grant 2014 - University of Lagos, Convocation Prize 2012 - United States Consulate General 'Women's History Month' Art ContestGuns and Rain, South Africa   About the postcard artworks   The core of my artistic practice rests on three foundational pillars. The first is an attraction to lines. I have always had a genuine fascination with lines. I think it's interesting how the primary component of all complex forms can be ambiguously loaded with meaning. A line can connect and separate, enclose and exclude, direct and misdirect, all at the same time. To a large extent, my work is a three-dimensional manifestation of lines. I amplify their complexity by enabling them to catch pockets of light and cast subtle shadows. This becomes an avenue to tease out smaller stories within wider narratives visually. The second pillar is the seeming neutrality of paper. I view paper as a conceptual Trojan horse. It's a basic, unassuming material that exists in the backgrounds of our lives; bland, reliable, and ordinary. By making paper the visual centrepiece of my art, I encourage my audience to reconsider the material's value and potential. This re-examination also underscores a running theme in my practice, which is that things are rarely what they appear to be.   The use of fabrics in Yorùbá, Nigerian society is my third pillar. Across my practice, I use fabrics as a reference to the practice of Aṣọ ẹbi in Nigerian society. Aṣọ ẹbi, which translates to "family cloth" refers to the selection of a fabric that serves as a "uniform" worn by families and friends alike during communal ceremonies such as weddings, birthdays and funerals. It is intended to be a show of love, support and camaraderie. The practice has, however, been corrupted in contemporary times, becoming a common source of disputes when prices are excessively inflated to turn a profit and community members are unable or unwilling to acquire the fabric. My use of fabrics references how the positive can quickly mutate to take on negative connotations. It is also a visual representation of societal pressure and expectations.   I enjoy exploring themes related to gender, memory, mythology and identity. My work involves placing strips of paper on their edges to create forms. It is a rather labour-intensive process as each strip must be manually measured, manipulated and secured. I approach paper as a means of painting without pigments. The visual complexity of my art becomes a visual metaphor for the difficulty of the themes I tackle. My art is often visually playful and engaging, characterised by intricacy and bright colours. I think of the visual accessibility of my work as a "trap" of sorts. It lures an audience into engaging before revealing the darker subject matter the work deals with; a constant reminder of the fallacy of face value." Condition Report:   Condition Report Disclaimer

Ayobola Kekere-Ekun The Crown XIII (Sketch), 2021 Pen on Watercolour Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Ayobola Kekere-Ekun (b. 1993) is a contemporary visual artist. She was born in Lagos, Nigeria. Her B.A. and M.A. in Visual arts were received from the Department of Creative Arts, University of Lagos; where she majored in Graphic Design. She is currently pursuing a PhD in Art and Design at the University of Johannesburg, South Africa. Ayobola is also a Lecturer at the Department of Creative Arts, University of Lagos.   Ayobola's work often explores subjects connected to gender, mythology, power and the human condition in a multi-layered way; creating work through a labour-intensive process. Her work is heavily informed by personal experiences and observations. She is particularly interested in exploring the subtle interplay of time, space, gender, power and social structures in contemporary society.   Ayobola works predominantly with a technique known as quilling, in which strips of paper are individually shaped to create forms. She tends to quill with a variety of materials that respond well to the technique; including ribbon and strips of canvas. She constantly experiments with new ways of exploring materials and their capabilities. Ayobola views the intricacy of her work as a visual metaphor of the complexity of the subject matter she engages with.   Education   2014 - B.A. Visual Arts from the University of Lagos 2017- M.A. Visual Arts from the University of Lagos 2021 - PhD Art and Design (in view) from the University of JohannesburgExhibitions   Exhibitions/Awards   December 2020, Untitled Art Fair - Miami October 2020, High Stakes (solo) - Guns and Rain, Johannesburg January 2020, Young Contemporaries Alumni - National Museum, Lagos October 2019, Making Matter: Materiality and Technology in Nigerian Art - Yemisi Shyllon Museum of Art, Lagos July 2019, Suffrage - Guns and Rain, Johannesburg May 2019, Imagine the Opposite - No End Contemporary, Johannesburg April 2019, Resilient Lines (solo) - Rele Gallery, Lagos October 2018, Cu-ulture and Tradition: Same Experience, Different Local - Koppel Project Hive, London May 2017, Idanimo - Terrakulture Gallery, Lagos May 2017, In Honour of Professor Bolanle Awe - Museum of the Institute of Africa Studies University of Ibadan, Ibadan February 2017, Her Story - Rele Gallery, Lagos November 2016, Dysmorphia & Other Thoughts - Ake Arts and Book Festival, Abeokuta January 2016, Young Contemporaries - Rele Gallery, Lagos     Awards 2018 - The Future Awards 2018 Prize for Creativity 2018 - The Dean Collection 20 St(art)ups Grants 2016 - Rele Art Foundation "Young Contemporaries" Grant 2014 - University of Lagos, Convocation Prize 2012 - United States Consulate General 'Women's History Month' Art ContestGuns and Rain, South Africa   About the postcard artworks   The core of my artistic practice rests on three foundational pillars. The first is an attraction to lines. I have always had a genuine fascination with lines. I think it's interesting how the primary component of all complex forms can be ambiguously loaded with meaning. A line can connect and separate, enclose and exclude, direct and misdirect, all at the same time. To a large extent, my work is a three-dimensional manifestation of lines. I amplify their complexity by enabling them to catch pockets of light and cast subtle shadows. This becomes an avenue to tease out smaller stories within wider narratives visually. The second pillar is the seeming neutrality of paper. I view paper as a conceptual Trojan horse. It's a basic, unassuming material that exists in the backgrounds of our lives; bland, reliable, and ordinary. By making paper the visual centrepiece of my art, I encourage my audience to reconsider the material's value and potential. This re-examination also underscores a running theme in my practice, which is that things are rarely what they appear to be.

Flan Flanagan The Magic Dog Levitates Egg, 2021 Pen on Cartridge Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Flan Flanagan is a painter and artist living and working between London and Cornwall, UK. Her work reflects both the everyday and atavistic from her domestic life, imbued with wit, humour and subtle eroticism, and underlined with a dark-edged commentary on life and death.   Education   Flan trained as a sculptor and bronze founder, working as an artist's assistant for 10 years.   Exhibitions   Various group shows including, most recently, the Royal Academy Summer Exhibition, London 2020. Solo show, ""Black Blue, Lemon Red" at The Groucho Club, London January 2020.   About the postcard artwork   Both artworks are studies taken from Flan Flanagan's new series of large oil paintings that conjure with the magical, circus-like qualities of her young whippet. One is a pen drawing, the other a pastel sketch."  

Flan Flanagan Wings of Desire, 2021 Oil Pastel on Watercolour Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Flan Flanagan is a painter and artist living and working between London and Cornwall, UK. Her work reflects both the everyday and atavistic from her domestic life, imbued with wit, humour and subtle eroticism, and underlined with a dark-edged commentary on life and death.   Education   Flan trained as a sculptor and bronze founder, working as an artist's assistant for 10 years.   Exhibitions   Various group shows including, most recently, the Royal Academy Summer Exhibition, London 2020. Solo show, ""Black Blue, Lemon Red" at The Groucho Club, London January 2020.   About the postcard artwork   Both artworks are studies taken from Flan Flanagan's new series of large oil paintings that conjure with the magical, circus-like qualities of her young whippet. One is a pen drawing, the other a pastel sketch."

Chitra P Merchant Tree: Presence/Absence, 2021 Watercolour and Pyrograph on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Chitra Parvathy Merchant grew up in India and currently works as an artist in Bristol, U.K. After completing a B.A Degree in Psychology, she left India to work for a year in an artist's studio in West Africa.   Education   She came to England in the early nineties and completed a B.A (Hons) Degree in Illustration from U.W.E Bristol ('98) where she was first introduced to printmaking. In 2001 she based herself at Spike Print Studio where she works.   Exhibitions/Awards   2005: PGCE, UWE, Bristol, U.K 1999: Post Extn Studies in Illustration, UWE, Bristol, U.K 1998: BA Hons Illustration, UWE, Bristol, U.K 1995: Foundation Studies in Art and Design, Leeds, U.K 1993: BA Psychology, Bangalore, India2021: Upcoming show at Candida Stevens Fine Art, Sussex 2020: Royal Academy Summer / WInter Show , London 2019: Solo show at Hidden Gallery, Bristol 2018: Summer Exhibition, Royal Academy, London 2018: Art Rooms Fair 2017: 'Good Nature', Candida Stevens Fine Art, Chichester, UK 2017: Brighton Print Fair, UK 2017: SKETCH 2017, Rabley Drawing Centre, Marlborough, UK 2017: 'Drawn', RWA Bristol 2016: NEO: Print Prize 2016 2016: 'ICON', Candida Stevens Fine Art 2016: 'The Story in Art', Candida Stevens Fine Art 2016: Small Print International, Leicester Print Studio 2015: 'Pressing Identities' West Yorkshire Print Studio 2015: 'In The Studio' Videoed by the Royal Academy of Arts 2015: 'Encre 39 / 93' Atelier aux Lilas, Paris 2014: Royal Academy Art, Painter / Printmakers show 2014: AAF Battersea, London 2014: 'Multiplied', Christies, London 2014: Royal Academy Summer Exhibition, London 2013: AAF Battersea, London 2013: 'Multiplied', Christies, London 2013: Royal Academy Summer Exhibition, London 2012: Winter Show, Rostra, Bath 2012: AAF, Battersea, London 2012: 'BITE' Artists Making Prints, Mall Galleries, London 2012: Bristol Affordable Art Fair 2012: May Open Studios, Spike Island, Bristol 2012: London Original Print Fair, Royal Academy, London 2012: Group Show; Victoria Art Gallery and Museum, Bath 2011: Affordable Art Fair , Battersea, London 2011: 'BITE' Artists Making Prints, Mall Galleries, London 2011: Small Print Big Impression, U.K 2011: Affordable Art Fair, Bristol, U.K 2011: May Open at SPS 2010: Group Show at the Create Centre , Bristol 2010: Invited Artist at SNAP Gallery Bristol 2010: R.A Summer Exhibition 2009: IMPACT '09 2009: RWA Open Print, Bristol, U.K 2009: Solo show at BIYC Bristol, U.K 2009: May Open at Spike Print Studio, Bristol, U.K 2009: IMPRESS, GPC, Stroud, U.K 2008: S, M,L,XL, Spike Print Studio, U.K 2008: Group Show at RUH, Bath, U.K 2007: BABE, Arnolfini, Bristol, U.K 2007: Spike Print, Spyglass, Bristol 2006: Spike Print, Paintworks, Bristol 2005: Solo show at Bristol Old Vic 2004: May Open, Spike Print , U.K 2003: Christmas Show at Spike Print Studio, U.K 2002: May Open, Spike Print , U.K 2002: Christmas Show at Spike Print Studio, U.K 2000: Group Show at Centre Space Gallery, Bristol, U.K 1998: Degree Show at Angel Islington art Gallery, London   Gallery Representation   Candida Stevens Fine Art, Chichester, Sussex   About the postcard artworks   Growing up in India, and having lived in the West, I am interested in the identities ascribed to and taken on by women. 'Eve' is a cheeky take on a popular creation myth (we all know the one!) And 'Free' is an attempt to look at 'The Feminine' , not as gender but as a quality in this largely patriarchal world we live in.  

Chitra P Merchant Free! Feeding Crows, 2021 Ink Pen and Pyrograph on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Chitra Parvathy Merchant grew up in India and currently works as an artist in Bristol, U.K. After completing a B.A Degree in Psychology, she left India to work for a year in an artist's studio in West Africa.   Education   She came to England in the early nineties and completed a B.A (Hons) Degree in Illustration from U.W.E Bristol ('98) where she was first introduced to printmaking. In 2001 she based herself at Spike Print Studio where she works.   Exhibitions/Awards   2005: PGCE, UWE, Bristol, U.K 1999: Post Extn Studies in Illustration, UWE, Bristol, U.K 1998: BA Hons Illustration, UWE, Bristol, U.K 1995: Foundation Studies in Art and Design, Leeds, U.K 1993: BA Psychology, Bangalore, India2021: Upcoming show at Candida Stevens Fine Art, Sussex 2020: Royal Academy Summer / WInter Show , London 2019: Solo show at Hidden Gallery, Bristol 2018: Summer Exhibition, Royal Academy, London 2018: Art Rooms Fair 2017: 'Good Nature', Candida Stevens Fine Art, Chichester, UK 2017: Brighton Print Fair, UK 2017: SKETCH 2017, Rabley Drawing Centre, Marlborough, UK 2017: 'Drawn', RWA Bristol 2016: NEO: Print Prize 2016 2016: 'ICON', Candida Stevens Fine Art 2016: 'The Story in Art', Candida Stevens Fine Art 2016: Small Print International, Leicester Print Studio 2015: 'Pressing Identities' West Yorkshire Print Studio 2015: 'In The Studio' Videoed by the Royal Academy of Arts 2015: 'Encre 39 / 93' Atelier aux Lilas, Paris 2014: Royal Academy Art, Painter / Printmakers show 2014: AAF Battersea, London 2014: 'Multiplied', Christies, London 2014: Royal Academy Summer Exhibition, London 2013: AAF Battersea, London 2013: 'Multiplied', Christies, London 2013: Royal Academy Summer Exhibition, London 2012: Winter Show, Rostra, Bath 2012: AAF, Battersea, London 2012: 'BITE' Artists Making Prints, Mall Galleries, London 2012: Bristol Affordable Art Fair 2012: May Open Studios, Spike Island, Bristol 2012: London Original Print Fair, Royal Academy, London 2012: Group Show; Victoria Art Gallery and Museum, Bath 2011: Affordable Art Fair , Battersea, London 2011: 'BITE' Artists Making Prints, Mall Galleries, London 2011: Small Print Big Impression, U.K 2011: Affordable Art Fair, Bristol, U.K 2011: May Open at SPS 2010: Group Show at the Create Centre , Bristol 2010: Invited Artist at SNAP Gallery Bristol 2010: R.A Summer Exhibition 2009: IMPACT '09 2009: RWA Open Print, Bristol, U.K 2009: Solo show at BIYC Bristol, U.K 2009: May Open at Spike Print Studio, Bristol, U.K 2009: IMPRESS, GPC, Stroud, U.K 2008: S, M,L,XL, Spike Print Studio, U.K 2008: Group Show at RUH, Bath, U.K 2007: BABE, Arnolfini, Bristol, U.K 2007: Spike Print, Spyglass, Bristol 2006: Spike Print, Paintworks, Bristol 2005: Solo show at Bristol Old Vic 2004: May Open, Spike Print , U.K 2003: Christmas Show at Spike Print Studio, U.K 2002: May Open, Spike Print , U.K 2002: Christmas Show at Spike Print Studio, U.K 2000: Group Show at Centre Space Gallery, Bristol, U.K 1998: Degree Show at Angel Islington art Gallery, London   Gallery Representation   Candida Stevens Fine Art, Chichester, Sussex   About the postcard artworks   Growing up in India, and having lived in the West, I am interested in the identities ascribed to and taken on by women. 'Eve' is a cheeky take on a popular creation myth (we all know the one!) And 'Free' is an attempt to look at 'The Feminine' , not as gender but as a quality in this largely patriarchal world we live in.  

Chitra P Merchant Eve, 2021 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Chitra Parvathy Merchant grew up in India and currently works as an artist in Bristol, U.K. After completing a B.A Degree in Psychology, she left India to work for a year in an artist's studio in West Africa.   Education   She came to England in the early nineties and completed a B.A (Hons) Degree in Illustration from U.W.E Bristol ('98) where she was first introduced to printmaking. In 2001 she based herself at Spike Print Studio where she works.   Exhibitions/Awards   2005: PGCE, UWE, Bristol, U.K 1999: Post Extn Studies in Illustration, UWE, Bristol, U.K 1998: BA Hons Illustration, UWE, Bristol, U.K 1995: Foundation Studies in Art and Design, Leeds, U.K 1993: BA Psychology, Bangalore, India2021: Upcoming show at Candida Stevens Fine Art, Sussex 2020: Royal Academy Summer / WInter Show , London 2019: Solo show at Hidden Gallery, Bristol 2018: Summer Exhibition, Royal Academy, London 2018: Art Rooms Fair 2017: 'Good Nature', Candida Stevens Fine Art, Chichester, UK 2017: Brighton Print Fair, UK 2017: SKETCH 2017, Rabley Drawing Centre, Marlborough, UK 2017: 'Drawn', RWA Bristol 2016: NEO: Print Prize 2016 2016: 'ICON', Candida Stevens Fine Art 2016: 'The Story in Art', Candida Stevens Fine Art 2016: Small Print International, Leicester Print Studio 2015: 'Pressing Identities' West Yorkshire Print Studio 2015: 'In The Studio' Videoed by the Royal Academy of Arts 2015: 'Encre 39 / 93' Atelier aux Lilas, Paris 2014: Royal Academy Art, Painter / Printmakers show 2014: AAF Battersea, London 2014: 'Multiplied', Christies, London 2014: Royal Academy Summer Exhibition, London 2013: AAF Battersea, London 2013: 'Multiplied', Christies, London 2013: Royal Academy Summer Exhibition, London 2012: Winter Show, Rostra, Bath 2012: AAF, Battersea, London 2012: 'BITE' Artists Making Prints, Mall Galleries, London 2012: Bristol Affordable Art Fair 2012: May Open Studios, Spike Island, Bristol 2012: London Original Print Fair, Royal Academy, London 2012: Group Show; Victoria Art Gallery and Museum, Bath 2011: Affordable Art Fair , Battersea, London 2011: 'BITE' Artists Making Prints, Mall Galleries, London 2011: Small Print Big Impression, U.K 2011: Affordable Art Fair, Bristol, U.K 2011: May Open at SPS 2010: Group Show at the Create Centre , Bristol 2010: Invited Artist at SNAP Gallery Bristol 2010: R.A Summer Exhibition 2009: IMPACT '09 2009: RWA Open Print, Bristol, U.K 2009: Solo show at BIYC Bristol, U.K 2009: May Open at Spike Print Studio, Bristol, U.K 2009: IMPRESS, GPC, Stroud, U.K 2008: S, M,L,XL, Spike Print Studio, U.K 2008: Group Show at RUH, Bath, U.K 2007: BABE, Arnolfini, Bristol, U.K 2007: Spike Print, Spyglass, Bristol 2006: Spike Print, Paintworks, Bristol 2005: Solo show at Bristol Old Vic 2004: May Open, Spike Print , U.K 2003: Christmas Show at Spike Print Studio, U.K 2002: May Open, Spike Print , U.K 2002: Christmas Show at Spike Print Studio, U.K 2000: Group Show at Centre Space Gallery, Bristol, U.K 1998: Degree Show at Angel Islington art Gallery, London   Gallery Representation   Candida Stevens Fine Art, Chichester, Sussex   About the postcard artworks   Growing up in India, and having lived in the West, I am interested in the identities ascribed to and taken on by women. 'Eve' is a cheeky take on a popular creation myth (we all know the one!) And 'Free' is an attempt to look at 'The Feminine' , not as gender but as a quality in this largely patriarchal world we live in.  

Larissa Lockshin Landscape Sketch, 2021 Pastel on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) "Larissa Lockshin is a Canadian-born artist based in Queens, New York. Seeking to challenge the existing associations, categorizations, definitions, and language surrounding art, Larissa Lockshin emphasizes objecthood over image content. Employing printer ink, acrylic, oil sticks, enamel, and chalk, Lockshin creates objects that reach out to the viewer and exist in the liminal space between painting and sculpture. A frustration with the emphasis on performance and conceptual art in her formal education first drove Lockshin to abstraction, and her subsequent work challenges the image's drained value in an oversaturated, digital world. The question of how art can maintain its value as a physical object when most artworks are viewed online impelled Lockshin to create artworks that defy the confines of digital reproduction, countering notions of what painting is through loosely impressionistic, largely unrecognizable forms. Exhibitions Her recent solo and two-person exhibitions include: "Iced Rowanberries", The Newsstand Project, Los Angeles, CA (2020), "Cadmio Limon", curated by Cristina Anglada, Galeria Pelaires, Majorca, Spain (2020), NADA "This is Fair", Melanie Flood Projects (2020), ARCO Lisboa, Galeria Pelaires (2020), ""Mal"" curated by Underground Flower & The Sunroom, Richmond, VA (2020). ""Elephant Heart"" (Solo), Y2K Group, Tribeca, NYC (2019), ""Fashion Club"" (Solo), Thumbelina's, NYC (2019), ""Scarecrow Show"", curated by Abby Lloyd, Dennis Witkin & Hadley Vogel, Watermill, NY (2019), ""Metal Meadow"", Camp Eternal Hell Chamber, NY (2019), Odette, Melanie Flood Projects, Portland, OR (2019), Bad Dream House, American Institute of Thoughts and Feelings, Tucson, AZ (2018); Far Side of the Valley, Albert Baronian, Brussels (2015); Bone Dry, 3434, New York (2016); Close But Not Cigar, Johannes Vogt Gallery, New York (2015).   Recent group exhibitions include: Scarecrow Show, The Green Thumb, Watermill, NY (2019); Metal Meadow, Camp Eternal Hell Chamber, Cobleskill, NY (2019); Exit Soul, Liberal Arts Roxbury, Roxbury, NY (2018); Moondog, East Hampton Shed, New York.   Gallery Representation She is represented by Galerie Baronian/Xippas in Brussels."

A collection of three pictures including a sketch of a dog, Mickey, New Zealand, watercolour and bird sketch

MONOGRAMMIST 'FCH' um 1876 Landschaftsstudie Öl auf Karton. 29 x 51 cm (R. 34,5 x 65 cm). Monogrammiert in Ligatur und datiert unten links 'FCH 2/8 (18)76'. Rest. Rahmen. MONOGRAMIST 'FCH' about 1876 Landscape sketch Oil on cardboard. 29 x 51 cm (F. 34.5 x 65 cm). Monogramed in ligature and dated lower left 'FCH 2/8 (18)76'. Rest. Frame.

BERNARDO ZENALE (WERKSTATT) Um 1460 Treviglio - 1526 Mailand THRONENDE MADONNA MIT KIND (NON FINITO) Öl und Tempera auf Pappelholz. 93 x 50 cm. Part. min. besch., altrest., min. Altretuschen. Beigefügtes Gutachten von Bernd Mengel vom 17. Juli 2018, dort als Werkstattarbeit Zenales eingeordnet. Mengel schreibt: 'Stilistisch und maltechnisch ist die Tafel in die Zeit um 1490/1500 zu datieren und weist neben ihrer strengen Formgebung der thronenden Maria eine skizzenhafte Malerei auf, die den Eindruck des Unfertigen hinterlässt. Verstärkt wird dieser Eindruck durch die scheinbar unvollendete Gestaltung des weißlichen Mantels in Verbindung mit der ornamnetalen, formelhaften Verwendung der Tapisserie im Hintergrund Mariens ... Zu vermuten ist, dass die Tafel das zentrale Stück aus einer Komposition (eines Triptchon), bestehend aus mindestens drei Stücken und mit Heiligen oder Stiftern rechts und links, war.' Vgl. hierzu Zenales 'Thronende Maria mit Heiligen' (Spencer Museum, Kansas, USA). Bernardo Zenale, der Schüler von Vincenzo Foppa war, arbeitete eng mit dem ebenfalls aus Treviglio stammenden Bernardino Butinone zusammen. Provenienz: Rheinische Privatsammlung, dort seit mehr als 100 Jahren in Familienbesitz der Malerfamilie Sohn Rethel. BERNARDO ZENALE (WORKSHOP) About 1460 Treviglio - 1526 Milan ENTHRONED MADONNA WITH CHILD (NON FINITO) Oil and tempera on poplar wood. 93 x 50 cm. Part. min. damaged, old restored, min. old retouchings. Attached expert opinion by Bernd Mengel dated 17 July 2018, classified there as Zenale's workshop work. Mengel writes: 'Stylistically and in terms of painting technique the panel can be dated to the period around 1490/1500 and, in addition to its austere design of the enthroned Mary, exhibits a sketch-like painting that leaves the impression of being unfinished. This impression is reinforced by the seemingly unfinished design of the whitish mantle in conjunction with the ornamental, formulaic use of the tapestry in Mary's background ... It can be assumed that the panel was the central piece from a composition (of a triptchon) consisting of at least three pieces and with saints or donors on the right and left.' See Zenale's 'Enthroned Mary with Saints' (Spencer Museum, Kansas, USA). Bernardo Zenale, who was a pupil of Vincenzo Foppa, worked closely with Bernardino Butinone, also from Treviglio. Provenance: Rhenish Private Collection, there more than 100 years in the family of the painter Sohn Rethel.

THEO CHAMPION 1887 Düsseldorf - 1952 Zell an der Mosel Der Rhein bei Düsseldorf (Studie) Öl auf Leinwand (maroufl.). SM 18,5 x 32,5 cm (R. 27 x 41,5 cm). Signiert unten rechts 'Champion'. Min. verschmutzt, min. rest. Rahmen, verso verschlossen (ungeöffnet). THEO CHAMPION 1887 Duesseldorf - 1952 Zell an der Mosel The river Rhine at Duesseldorf (sketch) Oil on canvas (maroufl.). Visible size 18.5 x 32.5 cm (F. 27 x 41.5 cm). Signed lower right 'Champion'. Min. soiled, min. rest. Frame, verso sealed (unopened).

DEUTSCH 2. H. 19. Jh. Landschaftsstudie Öl auf Platte. SM 13 x 19 cm (R. 17 x 23,5 cm). Min. besch., rest. Hinter Glas gerahmt (ungeöffnet). GERMAN 2nd h. 19th C. Landscape sketch Oil on panel. Visible size 13 x 19 cm (F. 17 x 23.5 cm). Min. damaged, rest. Framed behind glass (unopened).

ITALIENISCH um 1900 Ponte Veccio Öl auf Holz. 35 x 49,5 cm (R. 47 x 62 cm). Schwer leserlich signiert unten rechts. Verso: Ölskizze. Min. verschmutzt, ber. Rahmen. ITALIAN about 1900 Ponte Veccio Oil on wooden panel. 35 x 49.5 cm (F. 47 x 62 cm). Indistinctly signed lower right. Verso: Oil sketch. Min. soiled, abraded. Frame.

ADOLF DE HAER 1892 Düsseldorf - 1945 Osnabrück Blumenstillleben Öl und Farbkreide auf Leinwand. 80 x 65 cm (R. 97 x 84 cm). Signiert unten links 'A. de Haer'. Verso: Farbskizze - tropische Landschaft. Min. ber. Rahmen. Provenienz: Rheinische Privatsammlung. ADOLF DE HAER 1892 Duesseldorf - 1945 Osnabrück Flower still life Oil and chalk on canvas. 80 x 65 cm (F. 97 x 84 cm). Signed lower left 'A. de Haer'. Verso: Coloured sketch - tropical landscape. Min. abraded. Frame. Provenance: Rhenish private collection.

EARLY 19TH CENTURY ENGLISH SCHOOL Figural study sketch, sepia pen and inks, 21 x 14.5cm; with a further work verso

WILLIAM WALKER (1878-1961) 'View from the Scottish Borders at Lennel', sketch for a picture, signed with initials, pen, ink and watercolour, 10.5 x 16cm, With Aitken Dott ;and one further signed and dated 1931, 11 x 17.5cm (2)

19TH CENTURY ENGLISH SCHOOL River landscape with castle, pen and ink sketch, 10 x 17cm; and one further by the same hand, 11.5 x 16.5cm (2)

ATTRIBUTED TO JAMES HOLLAND (1799/1800-1870) A Continental church, pencil sketch, 21.5 x 13cm; and one further by the same hand, 13 x 21.5cm, both mounted but unframed (2)

CLARKSON STANFIELD (1793-1867) The Doge's Palace venice, watercolour, 6.5 x 9cm; four further to include, The Bridge of Sighs, 10.5 x 7cm; Leaning Tower, Bologna, 10 x 6.2cm; Abbey Ruins, 9 x 6.5cm; Italian street scene with arcaded building, 9 x 6.5cm; a self portrait pen and ink sketch, signed in pencil and dated 1840, 7.5 x 6cm, and a Tyne & Wear Museums 1979 Clarkson Stanfield exhibition catalogue (7) Prov. Purchased from Exhibitions at the Noel Gregory Gallery, Farnham Common c. 1979/1980

Edmonds (Harfield H.) & Lee (Norman N.)Brook and River Trouting, A Manual of modern North Country methods, Bradford: published by the authors, [1916], first edition, plates as called for, card with inscription and sketch of salmon from Edmonds mounted on verso of front free endpaper, original cloth (some gathers protruding, dusty top edge);with three other books containing presentation letters or note from Edmonds and five later fishing books with presentation inscriptions from their authors (9) 

HRH Prince Albert Victor, Duke of Clarence and Avondale (1864-1892), first born son of Edward VII and grandson of Queen Victoria, monochrome half-length photograph, with signature and dated '1887,' together with a 19th century printed page fragment of a Parliament Draft Bill, containing a pen and ink sketch by Albert Prince of Wales, matted together with a reproduced sepia photograph of the seated prince, together with a a framed envelope fragment addressed to Right Honourable Sir Robert Peel from 'Albert.' Prince Albert Victor, affectionately known as Eddy, was considered a suspect in the Jack the Ripper serial killings, he had been engaged to Mary of Teck but died of influenza. Mary later married his younger brother George V. (3 items)

Jill Watkins, pastel sketch of nude lady, 67cm x 46cm, framed and glazed.

Jill Watkins, pastel sketch of nude lady, 67cm x 47cm, framed and glazed.

Jill Watkins, pastel sketch of lady, 67cm x 47cm, framed and glazed.

Marius WOULFART (1905-1991) oil sketch on paper of ballet dancers, signed, unframed,The oil measures 50 x 60 cm

Marius WOULFART (1905-1991) oil on paper, sketch of ballet dancers, signed, unframed,The oil measures 50 x 60 cm

BRITISH SCHOOL, 20TH C - PORTRAIT OF A LADY, BUST LENGTH IN GREEN DRESS AND BROWN COAT, PASTEL, 33.5 X 24.5CM AND AN OIL SKETCH FOR A PORTRAIT BY ANOTHER HAND, ON BOARD (2) Condition reportBoth in good condition