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A vintage cast brass sundial with yacht pattern nomen and Tempus Fugit to rim

Three-piece stone sundial, on contemporary geometric design square pedestalDimensions: Height: 100cm  Length/Width: 40cm  Depth/Diameter: 40cm

Composite stone sundial, on Ionic fluted column and stepped circular and square footed baseDimensions: Height: 85cm  Length/Width: 23cm  Depth/Diameter: 23cm

Concrete birdbath and sundial 

Ornamental concrete sundial, the square top raised on an ornate column with a classical figural frieze, 88cm high.

An Edwardian silver trinket box, Birmingham 1905, to/w a ring-tree, Birmingham 1907 and a novelty bridge trumps-marker as a miniature sundial, London 1901 (3)

A 19th century mahogany and brass jewellery box. The mahogany box with sectional later appointed interior. The top with later central brass sundial and with later brass hairy paw feet to the corners. Measures approx 44cm x 28cm.

Five Royal Doulton Mystic / Time Bunnykins DB168 Wizard, DB197 Mystic, DB213 Sundial (Bunnykins of the year 2000), DB218 Fortune Teller, DB229 Sands of Time (Bunnykins of the year 2001)

An imposing Arts and Crafts copper sundial, late 19th century, the blue / green slip glazed stoneware pedestal of square tapered form decorated with stylised apple trees. H110cm.

A tile plaque depicting a sundial, framed.

Günther Uecker 1930 Wendorf - lebt und arbeitet in Düsseldorf Feld. 2011. Nägel und weiße Farbe, auf Leinwand auf Holz. Verso signiert, datiert, betitelt und mit Richtungspfeil sowie mit Widmung. 40,5 x 30 x 10 cm (15,9 x 11,8 x 3,9 in). • Gebündelte Energie auf kleinem Format. • Dichte, kraftvolle Nagelung. • Von bestechender optischer Wirkung, die die charakteristische Nageltechnik des Künstlers auszeichnet. Dieses Werk ist im Uecker Archiv unter der Nummer GU.11.009 registriert und wird vorgemerkt für die Aufnahme in das entstehende Uecker-Werkverzeichnis. PROVENIENZ: Privatsammlung (seit 2011, direkt vom Künstler). 'Mein Körper spielte für die Proportionen meiner Arbeit von Anfang an eine Rolle. Die Abstände der Nägel zum Beispiel, die ich ja als Lichtartikulationsmittel benutze, hatten ihren Ursprung in den Verhältnissen meiner Hände.' Günther Uecker 1977, zit. nach: Ausst.-Kat. Günther Uecker. Eine Retrospektive, München 1993, o. S. 'Feld' von 2011 ist ein Paradebeispiel für die archetypischen Nagelreliefs von Günther Uecker. Als einer der Hauptakteure der 1958 gegründeten Gruppe ZERO strebte Uecker gemeinsam mit seinen Künstlerkollegen Otto Piene und Heinz Mack danach, das künstlerische Schaffen auf die ursprünglichsten und elementarsten Facetten der visuellen Wahrnehmung zu reduzieren: Licht, Schatten und Bewegung. Um 1957 begann er industriell gefertigte Massenprodukte in sein Werk zu integrieren. Nägel stellten sich als das perfekte Mittel heraus, diese Grundideen zum Ausdruck zu bringen und bis heute sind sie sein bevorzugtes Medium. Der Nagel ist 'das ideale Objekt […], um Licht und Schatten zu modellieren - um Zeit sichtbar zu machen. Er ragt als taktiler Fühler aus der flachen Oberfläche heraus, ähnlich wie eine Sonnenuhr' (Günther Uecker zitiert in: Alexander Tolnay, Hrsg., Günther Uecker Zwanzig Kapitel, Ostfildern-Ruit 2006, S. 72). In schrägen Winkeln und verschiedenen Tiefen hämmert Uecker in schwerer körperlicher Anstrengung die Nägel in einer fast rituellen Wiederholung ein und schafft so eine fesselnde Dualität von organischer Form und linearer Struktur. Die Ordnung der Nägel folgt einem instinkthaften Schwung, so dass die Nägel miteinander in Interaktion treten. In dieser Arbeit von ansprechendem Format gelingt ihm das auf eine besonders subtile und dennoch expressive Art und Weise. Eine dichte Landschaft aus zahllosen positionierten und leicht schräg gestellten Nägeln wird in ein dramatisches Hell-Dunkel verwandelt, das sich durch die weiß bemalten Nagelköpfe noch intensiviert. Es entsteht so eine komplexe Wirkung die sowohl vom Standpunkt des Betrachters aus als auch von der Richtung und Intensität der umgebenden Lichtquelle abhängt. Uecker fordert uns als Sehende auf, um das Werk herumzugehen, es zu erleben, denn aus jedem Blickwinkel lassen sich neue Mischungen aus Mustern, Bewegungen und Schatten entdecken. Uecker schafft hier einen sowohl Zeit als auch Raum überwindenden Effekt, der sich weigert, nachzulassen. Unsere Nagellandschaft 'Feld' ist so als ein wunderschönes Beispiel für Günther Ueckers perfektionierte monumentale Leichtigkeit anzusehen. [AW] Aufrufzeit: 08.12.2023 - ca. 13.58 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONGünther Uecker 1930 Wendorf - lebt und arbeitet in Düsseldorf Feld. 2011. Nails and white paint, on canvas, on panel. Signed, dated, titled and with a direction arrow and a dedication on the reverse. 40.5 x 30 x 10 cm (15.9 x 11.8 x 3.9 in). • Concentrated energy in a small format. • Dense and powerful nailwork. • With a captivating optical quality that is characteristic of the artist's nail technique. The work is registered in the Uecker Archive with the number GU.11.009 and has been earmarked for inclusion into the forthcoming Uecker catalogue raisonné. PROVENANCE: Private collection (since 2011, directly from the artist). 'My body played a role in the proportions of my work from the very beginning. The distances between the nails, for example, which I use as a means of articulating light, had their origin in the proportions of my hands.' Günther Uecker 1977, quoted from: Ex. cat. Günther Uecker. Eine Retrospektive, Munich 1993, no page 'Feld' from 2011 is a prime example of Günther Uecker's archetypal nail reliefs. As one of the main protagonists of the ZERO group, founded in 1958, Uecker, together with fellow artists Otto Piene and Heinz Mack, strove to reduce artistic creation to the most original and elementary facets of visual perception: Light, shadow and movement. Around 1957, he began to integrate industrially manufactured mass products into his work. Nails turned out to be the perfect means of expression for these basic ideas, and they would remain his preferred medium to this day. The nail is 'the ideal object [..] to model light and shadow - to visualize it. It protrudes from the flat surface as a tactile sensor, like a sundial' (Günther Uecker, quoted from: Alexander Tolnay, ed., Günther Uecker Zwanzig Kapitel, Ostfildern-Ruit 2006, p. 72). At oblique angles and with different depths, Uecker hammers the nails with great physical strain in an almost ritualistic repetition, creating a captivating duality of organic form and linear structure. The order of the nails follows an instinctive momentum, so that the nails interact with one another. In this work with an appealing format, he achieves this in a particularly subtle yet expressive way. A dense landscape of countless nails is transformed into a dramatic chiaroscuro intensified by the white-painted nail heads. The result is a complex effect that changes with the viewer's perspective and the light incidence. Uecker invites us to walk around the work, to experience it, because new patterns, movements and shadows can be discovered from every angle. In the present work Uecker creates an effect that transcends both time and space and refuses to wane. Our nail landscape 'Feld' can thus be seen as a wonderful example of Günther Uecker's perfect monumental lightness. [AW] Called up: December 8, 2023 - ca. 13.58 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

A reconstituted stone sundial, with copper register on a fluted and acanthus leaf moulded pedestal. H80cm

GUNTHER UECKER (N. 1930)Sans titre (Überflutung) 1963 signé, daté 63 et inscrit Überflutung au revers clous et toile peints montés sur panneau signed, dated 63 and inscribed Überflutung on the reverse nails and oil on canvas mounted on panel50 x 50 x 6.5 cm.19 11/16 x 19 11/16 x 2 9/16 in.Footnotes:Cette œuvre est enregistrée sous le n°GU.63.108 auprès des Archives Uecker et sera incluse dans le Catalogue Raisonné actuellement en préparation. Provenance Galerie Ramon Lindner, EssenAcquis auprès de celle-ci par le propriétaire actuel en 1985Figure séminale de son Œuvre, le clou, comme une particule élémentaire, infuse dans les créations de Günther Uecker une sensation de mouvement à l'espace, à la lumière et au temps. Ses peintures sculpturales, au martelage répété, ne sont pas sans évoquer l'Elevage de poussières de Marcel Duchamp et Man Ray, créé en 1920, où un élément discret se meut, par sa dissolution, en un monde spectral. En une grâce constellaire, ses œuvres d'ombres choisies se parent car chaque clou, comme un cadran solaire immobile et silencieux, revêt un morceau du temps.C'est en 1951 que l'artiste découvre l'art abstrait en visitant Berlin Ouest. Dix ans plus tard, il rejoint le groupe ZERO auprès d'Heinz Mack et Otto Piene qui en écrit le manifeste dans Der Neue Idealismus : « ZERO est silence, ZERO est commencement, ZERO est rond, ZERO tourne... » en sont les mots les plus prégnants. Avec son beau-frère Yves Klein, il a en partage le goût du monochrome et la primauté de l'esprit sur la main. Couleur virginale et absolue, de blanc ses œuvres sont nappées, en un vibrant hommage à Malevitch. « Le blanc peut être perçu comme une prière, l'articulation d'une expérience spirituelle » évoque le peintre, qui fut toujours épris de philosophies orientales. En convoquant le « degré zéro de l'art », Günther Uecker peu à peu nous emmène vers une perception extrasensorielle où l'espace secret du tableau, à notre méditation, se révèle. Le Déluge de clous, du nom de sa performance réalisée à la Franfurter Galerie en 1963, augure de ses plus belles créations, où chaque mouvement des « bancs » de pointes n'est pas sans évoquer celui de la mer. Si notre regard amoureusement se perd devant l'onctuosité d'une vague endormie, convient-il de rappeler qu'il n'y aurait l'écume sans une myriade de molécules (H2O) ?Sept ans plus tard, l'artiste sera choisi pour représenter l'Allemagne à la biennale de Venise, aux côtés de Thomas Lenk, Heinz Mack et Georg Karl Pfahler, tandis qu'il participe, dès 1964, à la prestigieuse documenta III de Kassel (d'autres suivront). Ce n'est qu'en 2016 que ses œuvres seront accrochées pour la première fois à la Punta della Dogana de François Pinault car ses tableaux, rares sur le marché, sont convoités par les plus grands collectionneurs.Restées dans la même collection privée depuis 1985, ces œuvres, au dynamisme altier et à l'élégance sensible, dévoilent un tourbillon de clous dont les distances et orientations relatives sur un substrat plantés révèlent des formes organiques qui procèdent de la beauté d'un nuage. Car si chaque pointe a sa propre existence, c'est de leur amoncellement qu'émane une présence d'une infinie poésie. Choisi avec l'humilité douloureuse du souvenir - Günther Uecker, seul garçon de sa famille, barricadait les fenêtres de la maison familiale avec des planches et des clous lors de la Seconde Guerre mondiale-, ce modeste objet, sous sa main grave, se transforma en une écriture symbolique. D'un atome, Günther Uecker en fit un monde, empreint de pudeur et de silence où devant l'évidente beauté de chacune de ses œuvres, les mots s'éteignent.A seminal figure of his work, the nail, is an elementary particle that infuses Günther Uecker's creations with a sense of movement in space, light and time. His repeatedly pummeled sculptural paintings are reminiscent of Marcel Duchamp and Man Ray's Elevage de poussières, created in 1920, in which a discrete element set in motion dissolves into a spectral world. Akin to a graceful constellation, of selected shadows his works are adorned as each nail, still and silent as a sundial, dons a sliver of time.It was in 1951 that the artist discovered abstract art while visiting West Berlin. Ten years later, he joined ZERO with Heinz Mack and Otto Piene who wrote the manifesto in Der Neue Idealismus: 'ZERO is silence, ZERO is beginning, ZERO is round, ZERO spins...' are the most striking words. With his brother-in-law Yves Klein, he shared a taste for the monochrome and the primacy of the mind over the hand. Virginal and absolute, his works are coated in white, in a vibrant tribute to Malevitch. 'White can be perceived as a prayer, the words of spiritual experience,' says the painter, who has always been fascinated by Eastern philosophies. By summoning the 'zero degree of art', Günther Uecker gradually takes us towards an extrasensory perception where the secret space of the painting is revealed to our meditation. The Déluge de clous, named after his performance at the Franfurter Galerie in 1963, heralds his most beautiful creations, in which every movement of the 'shoal' of nails brings the sea to mind. If our gaze lovingly ponders before the unctuousness of a sleeping wave, one might remember that there would be no foam without a myriad of molecules (H2O) ?Seven years later, the artist was chosen to represent Germany at the Venice Biennale, alongside Thomas Lenk, Heinz Mack and Georg Karl Pfahler, while in 1964 he took part in the prestigious documenta III in Kassel (others followed). It was not until 2016 that his works were exhibited for the first time at François Pinault's Punta della Dogana, as Günther Uecker's works, quite rare on the market, are coveted by the greatest collectors.In the same private collection since 1985, these oeuvres, with their dignified dynamism and sensitive elegance, reveal a swirl of nails whose relative distances and orientations planted on a substrate, reveal organic forms which reflect the beauty of a cloud. Indeed each nail has its own existence, however from their accumulation emanates an infinitely poetic presence. Chosen with the painful humility of memories — only boy of the family, the artiste used boards and nails to barricade the windows of their home during the Second World War—, such a humble object under his serious hand became a symbolic writing. Günther Uecker transformed an atom into a world of modesty and silence, where, embracing the obvious beauty of each of his works, words subside.This lot is subject to the following lot symbols: AR WAR Goods subject to Artists Resale Right Additional Premium.W Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com

SILVER SHEPHERDS PILLAR SUNDIAL PENDANT A continental, travelling sundial pendant 4.5cm long, with foreign quality mark, on a 56cm long, silver curb link chain. Weight 18.7 grams

3 metal cased naval compasses. A small brass cased compass with folding sundial screw top lid (approx. 5cm diameter); a large folding sundial compass with glass screw top lid (approx. 7cm diameter); and a marine compass with Robert Frost The Road Not Taken inscribed inside lid (approx. 6cm diameter).

Colin Middleton RHA RUA MBE (1910-1983) Opus 1 no. 49 (Group IV The Oracle, 1942) Oil on canvas, 75.5 x 50cm (29¾ x 19½") Signed and dated October 1942; Signed, inscribed with title and dated 11 October 1942 verso Provenance: The McClelland Collection and on loan to IMMA from 1999-2004; Sale, these rooms, Dublin 31 May 2006, lot no. 69; Private Collection; Sale, these rooms, Dublin 6 December 2010, lot no. 121. Exhibited: Irish Museum of Modern Art, Dublin, 'Northern Artists from the McClelland Collection', January/February 2005; Droichead Arts Centre, 'Northern Artists from the McClelland Collection' Literature: 'The Hunter Gatherer- The Collection of George and Maura McClelland at The Irish Museum of Modern Art', full page illustrations p. 69 On occasions the impact of Colin Middleton's realist painting can be dulled by excess, but 'The Oracle' presents us with a starkness and coherence of the central figure and the landscape that is striking. This landscape is dominated by a near-monochromatic group of clouds that float against a cold grey-blue sky, peaceful yet unnatural and slightly disturbing.The strange prehistoric creature confronting the viewer has human attributes sprinkled across its unwieldy body in simply indicated form, recognisably female in a manner we know from Picasso. The form to the left is more ambiguous, a sundial that could be a companion of some sort and which has suggestions of masculinity. Throughout Middleton's work, the female figure is almost invariably the stronger and more dominant element of a composition and here it traps us on the edge of land, barring our way. He often depicts the female archetype as a part of the natural order that sits outside time and change, holding the key to understanding, and this painting could suggest an interpretation along these lines, although the title alone is sufficient warning of the problems of trying to solve such mysteries.Dickon Hall.

AFTER DENDY SADLER; two black and white etchings, one depicting an elderly couple resting in a garden, the other an elderly couple chatting by a sundial, signed in pencil lower left, each 40 x 53cm, both framed and glazed (2).Condition Report: - Frames 56 x 69cm.

18th century North European amber and tortoiseshell model of a half-timbered, two storey farmhouse, with tiled roof, mother-of-pearl sundial placed beneath the chimney stack and steps leading to the front door, mounted upon a grit-covered rectangular base, H10cm x W10cm

A lead and composite stone sundial, with pierced gnomon and Roman numerals to the dial, dated 1796, set on a stone plinth, raised on a lead figure of a child and dog, 36 x 85cm high.

Pedestal sundial, pair circular garden pedestals and weathered bird bath, sundial 121cm tall (4).

A Reproduction Combination Compass and Sundial in Circular Brass Case with Glazed Screw Off Lid Inscribed Made for Royal Navy London 1941, 6.5cms Diameter

A Small Brass Circular Pocket Combination Compass and Sundial as Made by Stanley in 1846, Inner Lid Having Instructions as to Use, 4.5cms Diameter

An assortment of collectables, to include squirrel doorstop, dragon figure, glass fish, desk calendar, Saver of Paris photo frame, serpentine sundial and small wooden cauldron. Chip to the back of the cauldron.

A large collection of Royal Doulton Bunnykins to include Summer Lapland DB298, Winter Lapland, DB 297, Sundial Bunnykins DB 213, signed and dated, Pilgrim DB 212, Romeo DB 284, Uncle Sam DB 50, Billy & Buntie Sleighride DB 4 etc. Ankhesenamun DB 295, signed, Tutankhamun DB 296. All boxed in very good condition. 3 with certificates (23)

Amber Boardman Wobbly Tubes, 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Amber Boardman is an American-born, Sydney-based artist who explores the influence of the internet on crowds and social norms. Boardman combines her background in painting and animation to create narrative works that draw from the visual language of cartoons, influenced in part by her work as an animator for Cartoon Network's [adult swim]. Amber Boardman's 20-year history of exhibiting her work internationally includes shows in arts institutions in New York, London, Rome, Amsterdam, Miami, Atlanta, Sydney, Melbourne and Brisbane. Notable exhibitions include BAM's Next Wave Festival in New York, Postmasters Gallery in Rome, and the Archibald and Geelong Prizes in Australia. Over the last two decades, she has been committed to fostering the creative talent of artists. Boardman holds a PhD in Fine Art and has been an invited speaker at universities, art galleries and museums since 2011. She has lectured in art and animation at leading universities in the US and Australia. Boardman has founded shared studio/exhibition spaces in both Brooklyn NY and Sydney Australia and continues to facilitate the exchange of ideas between artists internationally with her Virtual Studio Visit events. Her works are held in private and public collections including Artbank and The City of Sydney in Australia, and the High Museum of Art, The Museum of Contemporary Art of Georgia, the University of Kentucky Art Museum in America. Her work has appeared in publications including Artforum, Hyperallergic, Juxtapoz, Artist Profile, Art Collector, and ArtMaze Magazine. Her work is represented by Chalk Horse in Sydney, Sophie Gannon Gallery in Melbourne, and Sandler Hudson Gallery in Atlanta. Education 2018 PhD, University of New South Wales, Sydney 2009 MFA, School of Visual Arts, New York 2003 BFA, Georgia State University, Atlanta Select Exhibitions/Awards SOLO AND TWO PERSON EXHIBITIONS 2023 Dude, Chalk Horse, Sydney 2022 Real Estate Religion, Sophie Gannon Gallery, Melbourne 2021 Decision Fatigue, Chalk Horse, Sydney 2020 Amber Boardman, 333 Projects / Clayton Utz, Sydney Bodywork, Fremantle Arts Centre, Perth (with Kaylene Whiskey and Tarryn Gill) 2019 Crowd Scenes, Chalk Horse, Sydney 2018 @jadefad: a social media feed in paint, Kudos Gallery, Sydney We Are, Postmasters Gallery, Rome (with Jenny Morgan and Monica Cook) 2017 Regrowth, Sandler Hudson Gallery, Atlanta 2016 Titlist, Chalk Horse, Sydney Sitcom Studies, Ivy Brown Gallery, New York Methods For Making Eye Contact, First Draft, Sydney (with Teelah George) 2015 Expansion, Edwina Corlette Gallery, Brisbane Permission, Chalk Horse Gallery, Sydney 2011 FAV (Flute and Video), Flux Projects, multiple locations, Atlanta STILL, Marcia Wood Gallery, Atlanta 2010 A Sampling, Millsaps College, Jackson, MS 2004 Painting, Drawing, and Animation, Barbara Archer Gallery, Atlanta   SELECTED GROUP EXHIBITIONS 2022 Fair Play, Manly Art Gallery and Museum, Sydney 2020 Here I Am: Art by Great Women, amBUSH Gallery, Canberra This is America, UK Art Museum, Lexington, KY Out of Touch, Subliminal Projects, Los Angeles 2019 Paddington Art Prize, Sydney McGivern Prize, Melbourne Willoughby Visual Arts Biennial, Sydney Bayside Acquisitive Art Prize, Melbourne 2018 Beyond Reason, QUT Art Museum, Brisbane Personal Best, Verge Gallery, Sydney Archibald Prize, Art Gallery of New South Wales, Sydney Up In Arms, University of Kentucky Art Museum, Lexington, KY Geelong Contemporary Art Prize, Geelong Gallery, Geelong Australia 2016 Julie Spoke Softly Under Her Long Skinny Nose, Field Projects, New York 13.04.16, Home@735, Sydney 2015 Porque No, Gaffa, Sydney Art Month Sydney, Creative Live Work Space, Sydney 2014 Ingenious Inhabitants, William Street Windows, Sydney Summer Studio Salon, Marcia Wood Gallery, Atlanta Steal This Bike, Mint, Atlanta 2013 The Wagner Experience, Koblenz, Duisburg, Arnhem, Utrecht, Amsterdam, Rotterdam 2012 FLUX 2012, Public Art Festival, Atlanta 2011 Paint it Black, The Shirey, Brooklyn Everyday Charms, O Cinema, Miami New Media from the Permanent Collection, The Museum of Contemporary Art of Georgia, Atlanta Animation Block Party, BAM, Brooklyn 2010 BAM Next Wave Festival, curated by Dan Cameron, Brooklyn Academy of Music, Brooklyn Portrait Concert with Masanori Oishi, Tokyo On the Outside, with AURA Contemporary Ensemble, San Jacinto College, Houston Concert with Sonic Generator, Georgia Tech University, Atlanta The Body Machine, High Museum of Art, Atlanta Losing Yourself in the 21st Century, Maryland Art Place, Baltimore 2009 Losing Yourself in the 21st Century, Georgia State University, Atlanta A New Currency, curated by Dan Cameron, 55 Delancey St, New York Cardsharper, curated by Lauren Ross, Visual Arts Gallery, New York About Time, Visual Arts Gallery, New York Summer Guest House, Marcia Wood Gallery, Atlanta My Eyes, Ad Naseam Lyceum, New York 2008 This Just In, Marcia Wood Gallery, Atlanta Click/Shift/Enter, Marcia Wood Gallery, Atlanta Atlanta Biennial, curated by Stuart Horodner, Atlanta Contemporary Art Center, Atlanta 2004 Going Up, Sundial, Curated by Fifth Class, Atlanta 2003 Atlanta Film Festival, Rialto, Atlanta 2002 all small video night: Short Short Shorts, Eyedrum, Atlanta Fresh, Curated by Fifth Class, Atlanta Continue reading   Statement about AOAP Submitted Artwork Sculptures in paint.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Amber Boardman Blobs With Tubes Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Amber Boardman is an American-born, Sydney-based artist who explores the influence of the internet on crowds and social norms. Boardman combines her background in painting and animation to create narrative works that draw from the visual language of cartoons, influenced in part by her work as an animator for Cartoon Network's [adult swim]. Amber Boardman's 20-year history of exhibiting her work internationally includes shows in arts institutions in New York, London, Rome, Amsterdam, Miami, Atlanta, Sydney, Melbourne and Brisbane. Notable exhibitions include BAM's Next Wave Festival in New York, Postmasters Gallery in Rome, and the Archibald and Geelong Prizes in Australia. Over the last two decades, she has been committed to fostering the creative talent of artists. Boardman holds a PhD in Fine Art and has been an invited speaker at universities, art galleries and museums since 2011. She has lectured in art and animation at leading universities in the US and Australia. Boardman has founded shared studio/exhibition spaces in both Brooklyn NY and Sydney Australia and continues to facilitate the exchange of ideas between artists internationally with her Virtual Studio Visit events. Her works are held in private and public collections including Artbank and The City of Sydney in Australia, and the High Museum of Art, The Museum of Contemporary Art of Georgia, the University of Kentucky Art Museum in America. Her work has appeared in publications including Artforum, Hyperallergic, Juxtapoz, Artist Profile, Art Collector, and ArtMaze Magazine. Her work is represented by Chalk Horse in Sydney, Sophie Gannon Gallery in Melbourne, and Sandler Hudson Gallery in Atlanta. Education 2018 PhD, University of New South Wales, Sydney 2009 MFA, School of Visual Arts, New York 2003 BFA, Georgia State University, Atlanta Select Exhibitions/Awards SOLO AND TWO PERSON EXHIBITIONS 2023 Dude, Chalk Horse, Sydney 2022 Real Estate Religion, Sophie Gannon Gallery, Melbourne 2021 Decision Fatigue, Chalk Horse, Sydney 2020 Amber Boardman, 333 Projects / Clayton Utz, Sydney Bodywork, Fremantle Arts Centre, Perth (with Kaylene Whiskey and Tarryn Gill) 2019 Crowd Scenes, Chalk Horse, Sydney 2018 @jadefad: a social media feed in paint, Kudos Gallery, Sydney We Are, Postmasters Gallery, Rome (with Jenny Morgan and Monica Cook) 2017 Regrowth, Sandler Hudson Gallery, Atlanta 2016 Titlist, Chalk Horse, Sydney Sitcom Studies, Ivy Brown Gallery, New York Methods For Making Eye Contact, First Draft, Sydney (with Teelah George) 2015 Expansion, Edwina Corlette Gallery, Brisbane Permission, Chalk Horse Gallery, Sydney 2011 FAV (Flute and Video), Flux Projects, multiple locations, Atlanta STILL, Marcia Wood Gallery, Atlanta 2010 A Sampling, Millsaps College, Jackson, MS 2004 Painting, Drawing, and Animation, Barbara Archer Gallery, Atlanta   SELECTED GROUP EXHIBITIONS 2022 Fair Play, Manly Art Gallery and Museum, Sydney 2020 Here I Am: Art by Great Women, amBUSH Gallery, Canberra This is America, UK Art Museum, Lexington, KY Out of Touch, Subliminal Projects, Los Angeles 2019 Paddington Art Prize, Sydney McGivern Prize, Melbourne Willoughby Visual Arts Biennial, Sydney Bayside Acquisitive Art Prize, Melbourne 2018 Beyond Reason, QUT Art Museum, Brisbane Personal Best, Verge Gallery, Sydney Archibald Prize, Art Gallery of New South Wales, Sydney Up In Arms, University of Kentucky Art Museum, Lexington, KY Geelong Contemporary Art Prize, Geelong Gallery, Geelong Australia 2016 Julie Spoke Softly Under Her Long Skinny Nose, Field Projects, New York 13.04.16, Home@735, Sydney 2015 Porque No, Gaffa, Sydney Art Month Sydney, Creative Live Work Space, Sydney 2014 Ingenious Inhabitants, William Street Windows, Sydney Summer Studio Salon, Marcia Wood Gallery, Atlanta Steal This Bike, Mint, Atlanta 2013 The Wagner Experience, Koblenz, Duisburg, Arnhem, Utrecht, Amsterdam, Rotterdam 2012 FLUX 2012, Public Art Festival, Atlanta 2011 Paint it Black, The Shirey, Brooklyn Everyday Charms, O Cinema, Miami New Media from the Permanent Collection, The Museum of Contemporary Art of Georgia, Atlanta Animation Block Party, BAM, Brooklyn 2010 BAM Next Wave Festival, curated by Dan Cameron, Brooklyn Academy of Music, Brooklyn Portrait Concert with Masanori Oishi, Tokyo On the Outside, with AURA Contemporary Ensemble, San Jacinto College, Houston Concert with Sonic Generator, Georgia Tech University, Atlanta The Body Machine, High Museum of Art, Atlanta Losing Yourself in the 21st Century, Maryland Art Place, Baltimore 2009 Losing Yourself in the 21st Century, Georgia State University, Atlanta A New Currency, curated by Dan Cameron, 55 Delancey St, New York Cardsharper, curated by Lauren Ross, Visual Arts Gallery, New York About Time, Visual Arts Gallery, New York Summer Guest House, Marcia Wood Gallery, Atlanta My Eyes, Ad Naseam Lyceum, New York 2008 This Just In, Marcia Wood Gallery, Atlanta Click/Shift/Enter, Marcia Wood Gallery, Atlanta Atlanta Biennial, curated by Stuart Horodner, Atlanta Contemporary Art Center, Atlanta 2004 Going Up, Sundial, Curated by Fifth Class, Atlanta 2003 Atlanta Film Festival, Rialto, Atlanta 2002 all small video night: Short Short Shorts, Eyedrum, Atlanta Fresh, Curated by Fifth Class, Atlanta Continue reading   Statement about AOAP Submitted Artwork Sculptures in paint.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Andrew Martin; A Large Indoor Chrome Armillary Sundial, base signed, approximately 66 cm in height (missing marker).

Concrete birdbath and sundial 

Cornish serpentine and brass miniature sundial, height 10cm (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).

A Pelham Puppet, a pair of ornamental ducks, metal lock box and metal sundial

Mixed Lot: Brass sundial, hole punches, vintage magazines and other items

A resin sundial. Past Times. 21cm

An antique two part sundial with incised gnomon, set on a pedestal base set in concrete

A brass sundial on a reconstituted stone column. Height 82cm together with a tall terracotta chimney pot.

A bronze circular sundial with gnomon and compass rose decoration. Diameter 15cm, together with a musket ball recovered from the wreck of the Invincible, in box with certificate, a copper stake, two Manilla bangles and an iron small spear or arrow head.

Antique inscribed sandstone sundial pediment with arabic numeral indices. 29cm x 31cm

Antique inscribed slate sundial plate with roman numeral indices. 26cm

A horn handle riding crop; a brass stirrup pump; a brass sundial; a Bell & Howell cine camera

A Safavid Mecca-centred World Map Persia, 17th Century the circular brass base plate with centrally-pivoted rotating brass diametrical rule fixed with removable pin, a glazed circular recess for compass to lower part, the base plate finely engraved and chased with an elliptical grid overlaid with inscriptions in thuluth naming the geographical locations on the grid, vertical and horizontal axis denoting longitude and latitude, the elliptical grid surrounded by four cartouches filled with fine inscriptions in thuluth on stippled grounds with scrolling tendrils, the border with a series of further inscription-filled cartouches denoting the bearings, applied hinged sundial to upper edge, hinged latitude arc to left hand side, two applied splayed brass feet to upper side of reverse, the hexadecagonal wood box with hinged lid, silver hinges and clasp, entirely clad in rayskin, the interior with green velvet lining, further fitted museum archive box inscribed with inventory number 44.2014 22.5 cm. diam.; the box 25.5 cm. diam.  For further information on this lot please visit Bonhams.com

A pair of brass fire dogs; two brass fire implements; a reproduction sundial; various other items of metalware; a pair of lanterns; & two pictures.

Collection of items includes wooden horse, mounted brass cannon, sundial, Heredities figure, hand painted plate signed Charlotte Addey and a near empty jewellery case with 1977 coin

A pair of nautical style copper lanterns, one labelled port and one starboard,height 25cm, together with a brass model of an antique style diver's helmet and a reproduction brass cased portable sundial (4)

A Victorian pocket sundial and conversion scale, dia,. 5.5cm

A brass sundial plate. 19 cm diameter.

A miniature serpentine sundial. 12 cm high.

3 metal cased naval compasses. A small brass cased compass with folding sundial screw top lid (approx. 5cm diameter); a large folding sundial compass with glass screw top lid (approx. 7cm diameter); and a marine compass with Robert Frost The Road Not Taken inscribed inside lid (approx. 6cm diameter).

This classic grouping includes Town Crier No 572 of 2500, Sands of Time, Sundial signed by Michael Doulton, and Juliet Bunnykins signed by Michael Doulton. Royal Doulton backstamp. Largest piece measures 2.5"L x 2.75"W x 5"H. Manufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.

A bronzed metal cased combination sundial compass. The screw lid being engraved with 'The Mary Rose London 1511 - 1545'. Measures 70mm diameter. 

Cast concrete campana urn, on plinth, 110cm, and a concrete sundial.Qty: 2

METAL SUNDIAL

A reconstituted stone garden sundial, the column with acanthus leaf type decoration, the top with a cast brass sundial, height 57cm.

A Derbyshire gritstone sundial. Condition: the carved sections separate into three, for ease of transport with a later metal sundial plaque (loose)

Two Victorian lead garden putto figures, one as a sundial, the other a birdbath, in need of restoration, larger height 69cm

A brass sundial and treen pot

Brass cased Sundial and Compass

A selection of Cornish serpentine ornaments including desk calendars, miniature sundial, paperweights etc.

Ashington Group Couple sheltering in a doorway with a sundialoil on canvas59 x 75cmFramed, but not glazed. Canvas tension is a little slack and would benefit from tightening. There is some minor deformation to the canvas, with stretcher bar marks visible along the top and bottom edges. Likewise, there are some slight deformations and bumps to the canvas throughout, most notable to the lower right corner. There are some scattered losses and abrasions - the most noticeable of which is located to the figure's arm in the centre of the composition, there is a further loss along the top right-hand edge and some abrasion of the paint along the lower right-hand edge. The work would benefit from a light clean as there is some ingrained dirt across the surface and one or two flecks of white paint. Purchased from auction by a private collector and attributed based on stylistic grounds.

A Reproduction Cased Brass Sundial Compass, as Was Made by Dollond of London, Case 10cm Square

A Circular Brass and Copper Combination Sundial Compass, Screw off Lid Inscribed 'Made for the Royal Navy London 1941', 7cm Diameter

A Reproduction Circular Brass Combination Sundial and Compass, as Made by Stanley of London, 5cm Diameter