Mandy Payne Finca II Liquid Graphite and Spray Paint on Somerset Newsprint Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Painter/printmaker based in Sheffield whose work focuses on urban landscape, with a particular interest in gentrification, social housing and Brutalist architecture. For her paintings she usually paints on concrete and employs spray paint, referencing the sites she is depicting. Art is a second career, she originally trained as a dentist and spent 25 years working in the Community and Hospital NHS dental services before a career change 10 years ago to work as a full-time artist. Education BDS (Manchester University) MDent Sci (Leeds University) BA Fine Art (Nottingham University) 2 year Fellowship in Stone Lithography at Leicester Print Workshop Select Exhibitions/Awards John Moores Painting Prize 2014 (Prize winner), and exhibited 2016 and 2020 New Light Arts Prize 2015 (First Prize Winer), and exhibited 2017 and 2020 John Ruskin Prize 2014 (Runner up) Work included in: Royal Academy Summer Exhibition 2014, 2015 ,2016, 2017, 2018, 2019 Contemporary British Painting Prize 2016 Threadneedle Prize. Mall Galleries, London 2013 Lynn Painter Stainers Prize, Mall Galleries, London 2019 Figurative Art Now, Mall Galleries, London, 2020 Wells Art Contemporary 2020 Elizabeth Greenshield Foundation Award 2017 Arts Council of England Award, 2015 and 2019 Gallery Representation Saul Hay Gallery, Manchester and Tarpey Gallery Castle Donnington, Ffin y Parc Gallery, Conwy Statement about AOAP Submitted Artwork 4 cards submitted- all made during lockdown when a lot of the materials I usually work with were in short supply, which forced me to experiment with things I had to hand in my studio. Finca 1 and 2 were made whilst experimenting, trying to create concrete like textures with liquid graphite. Exeter Court is a social housing estate in South Kilburn which is about to be demolished, and the Southbank is one of my favourite Brutalist buildings. Both were studies for larger paintings that I subsequently made.
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English school, 19th century."Horses and ruins".Oil on canvas.Measurements: 77 x 117 cm.; 89 x 128 cm. (frame).The orientalist taste and the landscapes with classical ruins were two pictorial genres that were in vogue during the second half of the 19th century. Both themes coincide in this composition, in which a certain dreamlike quality is given by the reinvention of a landscape sublimated by the vestiges of stone. Fragments of peristyles, formed by slender Doric columns, form the frame of a leafy landscape presided over by two elegant figures in Ottoman costume. They carry noble horses, one white, the other mahogany-coloured, whose satin skin and turned anatomy are silhouetted against a dawning vault.
The Throckenholt Cross - An early Medieval gold cross pendant, 11th-12th century, the Latin cross composed of arms of triple tiered ropetwist wires with trefoil terminals and beaded detail, with four further bead highlights at the point of intersection, to a broad reeded suspensory loop; applied to the centre is a slightly later Medieval (13th century) vacant lozenge-shaped setting, pendant length 31mm. £6,000-£8,000 --- This cross was found by a detectorist in Sutton St. Edmund, Lincolnshire in 2019. The parish of Sutton St. Edmund includes the hamlet of Throckenholt, where a hermitage and chapel were granted to Thorney Abbey, by Nigel, Bishop of Ely (1133-69). It is probable that there had been a hermitage here for some time, as the Red Book of Thorney states that Throckenholt had been used as a hermitage since 1107. The hermitage is mentioned again in 1189-97 and 1348. In 1293-1305, Abbot Odo of Thorney ordered that two or three monks should reside there as had previously been the case. The chapel stood where Throckenholt farmhouse now stands, fragments of stone, bones and other relics having been found on the site at various times. It survived until at least 1540 when it is shown on a map of Wisbech Hundred (the original is in Wisbech Museum). This cross is of a form associated with Medieval Greek Othodoxy in the Eastern Baltic region. A very similar pendant is illustrated in Austin and Alcocks (ed.), From the Baltic to the Black Sea: Studies in Medieval Archaeology, p 175, figure 10.6, row 5, no. 1. In the accompanying text on Medieval Britain it notes: “Accompanying the spread of Christianity, the archaeological material reveals small Orthodox (11th-14th centuries) and Catholic (12th-14th centuries) crosses, which were at first introduced from abroad.” The illustrated example was discovered in Denmark. In the medieval period Denmark formed part of the Hanseatic League, a commercial and defensive confederation of merchant guilds and market towns in central and northern Europe, growing from a few north German towns in the late 12th century, to encompass nearly 200 settlements across seven modern-day countries at its height between the 13th and 15th centuries. Originally a loose association of traders and towns advancing their mutual commercial interests, these arrangements gradually coalesced into the Hanseatic League, a cohesive political organization by the end of the 13th century, whose traders enjoyed duty-free treatment, protection, and diplomatic privileges in affiliated communities and their trade routes. During the peak of its power, the Hanseatic League had a virtual monopoly over maritime trade in the North and Baltic seas. King’s Lynn, on the North Sea coast, just 20 miles from Sutton St. Edmund, provided a significant enclave and trading partner for the Hanseatic League, housing a representative merchant and a League warehouse, and this may provide a possible explanation for the link between these two very similar crosses. This cross is recorded on the Portable Antiquities Scheme database, Ref: NMS-06E591, and has subsequently been disclaimed as Treasure (2019-T379).
A Medieval gold ring set with a possible toadstone, 14th-16th century, the circular bezel set with a round stone with white cabochon centre within a grey border, the stone collet set, the underside of the bezel with incised flowerhead detail, between trifurcating scrolled shoulders, ring size K. £1,500-£2,000 --- This ring was discovered in Stinsford in West Dorset. The ring is recorded on the Portable Antiquities Scheme database, Ref: SOM-D01838, and has subsequently been disclaimed as Treasure. Lapidaries (i.e. texts that describes the physical properties and virtues of precious and semi-precious stones) were very popular in the Middle Ages when belief that gems held various powers was widely held. Included within these lapidaries, were a few non-mineral items and these included crampodine, or ‘toadstone’. The ‘toadstone’ is round and brownish, and is in fact the palate tooth of a fossilised shark known as Lepidotus. Literary references to toadstones appear from the 12th century when it was believed that the toad, whose breath was venomous, had within its head a stone which was an antidote to poison. The story relates that the toad should be placed on a red cloth and this would cause him to belch forth the stone from its head - the stone should be quickly whipped away before the toad could attempt to reclaim it. Charles Oman of the British Museum, referring to toadstones mounted in rings explained: “Extant examples do not date before the middle of the fourteenth century, but belief in their efficacy survived well into the seventeenth century, though descriptions of techniques for testing doubtful specimens suggest the gradual growth of scepticism. The toadstone was the best known of the substances which were credited with curative or protective powers. It is frequently difficult to identify both the material or the supposed efficacy of some rings which are obviously magical.” Literature: Oman, C., British Rings 800-1914, (B.T. Batsford Ltd, London, 1974)
A late Victorian gold garnet, pearl and gem set fringe necklace, composed of a graduating fringe of scrollwork drops, alternately set with heart-shaped almandine garnets between oval mixed-cut aquamarines, all collet mounted, beneath pearl and pink stone highlights, to a belcher-link back chain and slim barrel clasp, the tongue stamped ‘15ct’, length 40.8cm. £1,600-£2,000
A silver and blue stone ‘molecule’ ring and earrings suite by YEN, the ring set with a faceted blue stone within silver ‘molecule’ setting, to a multi-wired silver band, the earrings to post fittings, with maker’s mark ‘YD’ and London hallmarks for 2016, earrings approximately 15mm diameter, ring size U½. £100-£200
A small collection of jewellery, to include a pair of single stone diamond ear studs, a double row cultured pearl bracelet with a ruby and diamond clasp, a diamond and cultured pearl bar brooch, stamped ‘750’, and a pair of 9ct gold cufflinks with engine-turned decoration, bracelet length 19cm. (4) £600-£800
A small collection of antique jewellery, to include a 15ct gold seed pearl and diamond memorial ring, a diamond single stone ring with pierced shoulders, a cannetille work ring, a gold mounted turquoise and seed pearl bangle, together with a pair of matching rings, and further items, the bangle and one ring with French assay mark, ring sizes K - T, bangle inner diameter 5.6cm. (8) £500-£700
Georg Jensen: a silver bangle designed by Vivianna Torun Bülow-Hübe, the top set large oval polished cabochon lapis lazuli, in silver frame, opening to one side, stamped "Torun Georg Jensen 925 Denmark No 203". In good condition, the silver with minor surface wear and the stone with a couple of minor abrasions. Small size 5.3cm width.
STERLING, 925 & OTHER MODERN JEWELLERY GROUP - a rainbow type pendant necklace in National Health Service box, silver muff chain with amber type silver mounted pendant drop, 74cms overall L, other semi-precious stone set jewellery including four CZ set sterling silver rings, cased simulated pearls and pendants, ETC
MODERN JEWELLERY BOX & QUALITY CONTENTS - to include an oval amber type pendant silver mounted drop on a silver belcher link necklace, 34cms overall L, large silver mounted facet cut green stone pendant, 4.5 x 2.5cms, two paste set trellis type bracelets in silver and white metal, 9 and 12cm lengths, three silver paste set dress rings, sizes P, mid P-Q and mid Q-R, a pair of 9ct gold earrings set with pale blue stones and tiny white sapphires, a pair of 14ct gold Mexican CZ set earrings and a similar pair in base metal, circular copper and enamel brooch stamped 'Handarbeid Balestrand Norge', 5.25cms diameter, circular silver and tortoiseshell lidded trinket box London 1918, Maker's mark C&A within an oval, 6cms diameter and a Victorian silver vesta case, Birmingham 1892, Maker's mark P.BS having leaf chased decoration to the front with monogrammed central cartouche and semi-curved back, 5.25 x 3.75cms, ETC
9CT GOLD JEWELLERY, 5 ITEMS - a 64cms L belcher link necklace with gold plated clasp, crossover ring set with twelve tiny diamonds (central stone missing), size Q, open twist ring, size P, oval paste set solitaire, size mid Q-R and an inline paste set ring, size L, 14grms gross not including the necklace clasp
Early 20th century diamond three-stone ring with old-cut brilliants, '18ct plat', size O.CONDITION REPORT: Approximately .25ct and .3ct (3.3mm and 4mm). Diamonds are secure, but one claw will need re-tipping. There are various inclusions and a cleavage nick (not chipped). The shank is in good condition. Hallmark is just visible.
Art Deco diamond and emerald three-stone white gold ring, the rectangular emerald approximately 4mm x 3.5mm, c. 1930, size N.CONDITION REPORT: One diamond is chipped on the edge next to the shank. Both diamonds have minor inclusions, colour G/H. The emerald has a nice colour but is very scratched and has a corner chip.
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