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AFTER AVRIL PATON, WINDOWS IN THE WEST COLOURED PRINT,mounted, framed and under glass, 52.5cm x 60cm overall, along with a Continental school painting of sailboats and a watercolour of a musician and dancing child, signed F.Baines (3)

Alex Stewart (b. 1954) - A watercolour on paper painting entitled 'The Philosopher's Egg'. Signed and dated '94 to the lower right with paper label to the verso. Framed and glazed. Painting measures approx; 330mm x 230mm. Frame measures approx; 47cm x 37cm. Born in Halifax, West Yorkshire in the north of England, he has lived and worked in London for 35 years. Since 1993 he has travelled back and forth to Sri Lanka many times. A self taught painter, he loves painting, drawings, music, books, food, some films, some sculpture, not much performance art and all sorts of other things. Influenced by people who are honest and genuine in the world. Encouraged by those who go for their dreams.​

Robert Driessen - Art Forger - Banksy - An ink and watercolour on paper drawing / painting of Banksy's 'Bomb Hugger' graffiti street art. Signed in pen to the lower edge 'Made By R. J. C. Driessen In The Style Of Banksy'. Unframed with slight staining to the paper. Artwork measures approx; 560mm x 380mm. Robert Driessen was born in Arnhem in the Netherlands. Like many artists he struggled to sell his own work, but found he could easily copy any other artists style. Over the last 20 years he became one of the most successful art forgers in the world. He has fooled museums, galleries and every major auction house. He came to specialise in the work of Alberto Giacometti. Robert emigrated to Thailand where he opened a small restaurant and moved away from the world of art. He has recently taken up the brush and sculptors tools once again, producing original reproductions, all of which are signed by Robert Driessen.

Robert Driessen - Art Forger - Banksy - An ink, watercolour and acrylic on paper drawing / painting of Banksy's 'Kissing Coppers' graffiti street art. Signed in pen to the lower edge 'Made By R. J. C. Driessen In The Style Of Banksy'. Unframed with slight staining / colour run to the paper. Artwork measures approx; 560mm x 380mm. Robert Driessen was born in Arnhem in the Netherlands. Like many artists he struggled to sell his own work, but found he could easily copy any other artists style. Over the last 20 years he became one of the most successful art forgers in the world. He has fooled museums, galleries and every major auction house. He came to specialise in the work of Alberto Giacometti. Robert emigrated to Thailand where he opened a small restaurant and moved away from the world of art. He has recently taken up the brush and sculptors tools once again, producing original reproductions, all of which are signed by Robert Driessen.

Drago P. Chening - A mid 20th Century 1970's watercolour on paper painting depicting the outback in Australia with the dark night sky above. Signed and dated '72 and titled 'Australia'. Framed and glazed. Painting measures approx; 480mm x 630mm. Frame measures approx; 63cm x 78cm. 

H. Tavner (XX) Watercolour painting of fishermen repairing their nets, possibly Cornwall signed and dated 1961. Frame size approximately 22 x 17 ¾ inches (Glazed). Plus an oil on canvas impressionist painting depicting fishermen and their wives tending their catch on the harbour signed W. Sharples circa 1970's.  COLLECT ONLY.

Ray Chapman (20th Century) local Mablethorpe artist. Watercolour painting of a Spitfire 11A in flight. P7666 was a Spitfire 11A made at Castle Bromwich shadow factory. It was paid for by members of the Observer Corps and became the personal aircraft of Squadron leader Don Finlay a pre war Olympic hurdler who was C.O. of 41 Squadron based at Hornchurch in 1940. Frame size approx 25 x 21 inches (Glazed)  COLLECT ONLY.

Jacques-Antione Arlaud (1668-1743) - Swiss, portrait miniature of a young lady, seated wearing period costume and fashionable lace bonnet, a quill pen and document on a desk by her side, signed, watercolour on ivory, 4.5" x 4.25"-** The artist was born in Geneva in 1668, his father being a watchmaker. He began his artistic career painting small ornamental miniatures for the jeweller at Dijon, he also attempted some portraits which proved sufficiently successful to encourage him to move to Paris at the age of approx. twenty. He had the patronage of The Duke of Orleans who later became is pupil and accommodated the artist in his apartment at The Palace of St. Cloud. he also visited England with a letter of recommendation to the Princess of Wales afterwards Queen Caroline who's portrait he had the honour of painting. He returned to Paris, but settled in Geneva by 1729. Works by him are in Library and Museum of Geneva and his own portrait is in the Uffizi, Florence 

Captain Richard Brydges Beechey , RHA (1808-1895)    "Sybil Head, Near the Blaskets and Dingle, West of Ireland 1884,"  O.O.C., 76cms x 115cms (30" x 45"). (1) One of Beechey's finest marine paintings, Sybil Head depicts three currachs braving rough seas beneath jagged rocks at the north west tip of the Dingle Peninsula. To the left, a sailing vessel, perhaps a naval brig, bears down on the currachs, while to the right a hooker approaches from Ferriter's Cove. Cormorants take flight and seagulls land on the rough seas. A floating tree trunk lies in the path of the brig; Beechey used details such as these to introduce a sense of danger to his paintings. To the right, a mountain, one of the 'Three Sisters', is silhouetted against the stormy sky. The subject of this painting, and the Dingle peninsula itself, had become well-known to a wider audience in the 1840?s through the work of both the Ordnance Survey and the Geological Survey of Ireland. In June 1856, the geologist George Victor du Noyer surveyed the peninsula, incorporating watercolour views of Sybil Head in his maps. He also painted two dramatic views on Inishtooskert, an island near Inish Tearaght, of sharply angled cliffs on the northern side of the island. (these watercolour map are in the collection of the Geological Survey of Ireland).   Born in London in 1808, the son of artists Sir William Beechey RA and miniaturist Anne Jessop (Lady Beechey), Richard Brydges Beechey was a naval officer who also became one of Ireland?s most accomplished marine painters. Aged thirteen he enrolled as a cadet at the Royal Naval College in Portsmouth, where art formed part of his training. Joining HMS Blossom in 1825, he served as a midshipman under his older brother, hydrographer Captain Frederick William Beechey, for three years in the Pacific. During this time, Richard Brydges painted watercolour views of Mexico and California. Landing on Pitcairn Island, he sketched a portrait of John Adams, last surviving mutineer from HMS Bounty. They then sailed north, into Arctic waters, as far as the Bering Straits, but failed in their objective of meeting up with Franklin?s second expedition, which was making its way north-west around Canada. Although it is generally stated that Beechey transferred to the Survey of Ireland in 1835, the chart of Lough Derg is titled ?Surveyed by Commander James Wolfe, Assisted by Lieutenant R. B. Beechey 1830?. This marked the beginning of years of surveying the coast and rivers of Ireland. As well as surveying, Beechey painted consistently, exhibiting both at the Royal Academy and the Royal Hibernian Academy. Seven years later, the survey of Lough Ree was complete, and their attention turned to the more hazardous West of Ireland coastline. Prompted by dangers they had encountered in navigating the coast of Cork and Kerry, Wolfe?s report, published in 1846 ?On the want of Lights, Buoys and Beacons on the Coast of Ireland? led to the building of new lighthouses on Sybil Head and at other locations. Although Beechey painted this view of Sybil Head decades later, he would likely have used notes and sketches made during his survey of the Kerry coast in the early 1840?s.   After retiring from the Navy in 1864, with the rank of Admiral, Beechey settled for a time at Monkstown, Co. Dublin and four years later was elected HRHA. In 1874, he was living at 110 Pembroke Road, and in that year painted Eagle Island, off Erris Head, West of Ireland, a work exhibited a decade later at the Royal Hibernian Academy. By 1885, he was living at Plymouth, where he continued painting. There are works by Beechey in collections both in Ireland and abroad. His Mail Boat ?Connaught? is in the National Gallery of Ireland, while a view of the Blasket Islands is in the Royal St. George Yacht Club, along with a panoramic view of Kingstown Harbour. Fastnet Rock, and Lights, off Cape Clear, shown at the RHA in 1877, is now in the collection of the Royal Ocean Racing Club, while HMS Erebus passing through the chain of bergs (1842) is in the Maritime Museum in Greenwich. Provenance: The Joe McGrath Collection, Cabinteely House, Dublin. Dr. Peter Murray, 2022

Sir Frederick William Burton, RHA, (1816-1900)   "Portrait of a Woman and Child, probably Caroline Susan Gore-Booth and her son Henry  1840," Watercolour on paper  61cms x 46.5cms (24" x 18 1/4") Signed with monogram FWB and dated 1840 Framed within a Classical arch, this portrait depicts young woman and a child enjoying a tender moment together. Her hair coiffed into fashionable ringlets, the woman wears a velvet dress, with a cameo brooch fastened to the neckline. Leaning against the woman, and dressed in a mock-Elizabethan clothing, the child also sits in an attitude of happy contentment. The subjects of Frederick William Burton's portraits and genre scenes are generally shown absorbed in their own thoughts, unconscious of the wider world around them. The architectural settings in his paintings, often incorporating columns, staircases and grand windows, convey a sense of privilege. Embellished with foliate ornamentation carved into the stone, the arch in this painting is also home to ivy tendrils, that climb up the stone and hang from the top. The symbolism of this plant would not have been lost on people seeing this portrait when it was first exhibited. In the legend of Tristan and Iseult, popular in Victorian times, ivy binds lovers tightly together. The idea of nature providing a commentary on life, promoted by John Ruskin, was coming into vogue at the time this portrait was painted.   Born in Clifden House, on the shores of Inchiquin Lake near Corofin, Co. Clare, in 1816, Frederick William Burton was the son of a gentleman and amateur painter named Samuel Frederick Burton and his wife Hannah Mallet. When Frederick William was ten, the family moved to Dublin, partly in order that he could attend the Drawing Schools of the Dublin Society. Here he was taught by Henry Brocas and Robert West, and became friendly with George Petrie, who introduced him to the study of antiquarian remains in the Irish countryside. After the Drawing Schools, Burton began exhibiting at the Royal Hibernian Academy, showing Abraham on his Journey to Sacrifice Isaac in 1832 when he was just sixteen years old. At the age of twenty-one, he was elected an Associate of the RHA and became a full member two years later. Over the years, Burton painted many portraits of physicians, botanists, mathematicians and clergymen, and of Anglo-Irish families of the West of Ireland. In 1843 he showed at the RHA a portrait of the Galway physician, Sir Henry Marsh, along with portraits of the children of the Rev. William Guinness, of Ardcotton, Co. Sligo. In 1843 also, he showed a portrait of Henry Irwin, Archdeacon of Emly and two years later submitted a portrait of the family of Henry Irwin's grandson, Sir Robert Gore-Booth, of Lissadell House in Co. Sligo. Robert Gore-Booth is remembered both for his evictions and for his attempts to assist his tenants to emigrate to America.   The Gore-Booth family portrait by Burton (preserved at Lissadell House) depicting a woman reading to two young girls, is a tour-de-force in the representation of satin, velvet, lace and other textiles. In 1827, Gore-Booth had married Caroline, second daughter of Robert King, 1st Viscount Lorton, but she died a year later. After two years as widower, he remarried, this time to Caroline Susan, second daughter of Thomas Goold. Caroline Susan had one son, Henry, who succeeded his father as 5th Baronet. Based on the resemblance of sitters in the larger Gore-Booth family portrait, it is likely that the present watercolour is a portrait of Caroline Susan and her son Henry. The portrait has an added poignancy in that it was painted the same year as The Blind Girl at the Holy Well, and just a year before Burton?s masterpiece The Aran Fisherman?s Drowned Child, which depicts the harrowing scene of an island family mourning their lost child. Although he painted mainly members of the landed classes, Burton's privately-held political views are revealed in his friendships within Ireland's literary and academic world; George Petrie, Lord Dunraven, Eugene O?Curry and Sir Samuel Ferguson were all members of an intellectual elite that sought to develop a cohesive sense of Irish national identity. Between 1838 and 1841, Burton made several trips to the Aran Islands with George Petrie. In 1874 he was appointed Director of National Gallery of London, a position he held for twenty years, during which time he did not paint. He died at Kensington in 1900. His most famous work, Helehil and Hildebrand, or the meeting on the Turret Stairs, is now in the National Gallery of Ireland. Exhibited : The Beit Wing National Gallery at Frederic William Burton: For the Love of Art Exhibition, October 2017-January 2018. Dr. Peter Murray, 2022

Paul Henry RHA (1876-1958)  Connemara Landscape with Cottages and Mountains  c. 1923-4  watercolour on paper.  signed l.r. ‘Paul Henry’ Bears label  ‘The Victor Waddington Galleries  28 South Anne Street, Dublin. No. 3391 – 1’ A quintessential West of Ireland landscape by Henry, this watercolour depicts a group of traditional thatched cottages beside a country road. Behind the cottages can be seen an area of hilly bogland, with blue mountains in  the distance, rising towards a cloud-filled sky. A cluster of white boulders marks the field in front of the cottages on the right. This watercolour was evidently a preparatory sketch for a more finished studio version, documented by S. B. Kennedy and listed in his catalogue raisonné (Cat. 602). The finished version was in its turn translated into an advertisement poster for the London Midland & Scottish Railway. Published in 1925, the caption on the poster read ‘Connemara by Paul Henry “Ireland This Year” ’. By the early 1930’s, along with another image by Henry, it was among the top-selling posters issued by the LMS Railway. Although the present sketch is not listed in Kennedy’s catalogue, it is nonetheless accepted by this writer as an autograph work by Henry, painted probably ‘en plein air’ as the artist travelled in Connemara around 1923-4. It is in its original frame and bears a Victor Waddington label on the back. Born and raised in Belfast, the son of a Baptist minister, Paul Henry showed aptitude for art from an early age and so was apprenticed to a designer of damask. However, a relative provided funds for him to study on the Continent, and in 1898 Henry travelled to Paris, enrolling at the Académie Julian. He also attended the studio run by James MacNeill Whistler, an American artist whose paintings, with their carefully controlled tonal values, were hugely influential at the time. Henry was also inspired by the work of poster designer Alphonese Mucha, who taught at Whistler’s academy. After moving to London in 1900, Henry produced illustrations for magazines, but turned increasingly to painting. Encouraged by Hugh Lane and John Millington Synge, he began to think about returning to Ireland, and in 1910 he and his wife Grace travelled to Achill Island. Although intending to stay just a few weeks, they ended up spending ten years on Achill. Initially, Henry delighted in depicting the local people as they farming and fished, but after he was employed in 1917-18 to administer payments of the Congested District Board, he began to focus increasingly on landscape. He and Grace moved to Dublin in 1919 and the following year they helped found the Society of Dublin Painters. In 1922 the French government purchased Henry’s painting West of Ireland village. By 1930, through his instantly recognisable views of life and landscape in the West of Ireland, Henry had come to be regarded as embodying in his art many of the ideals of the newly-independent Irish Free State, with exhibitions of his paintings being held in New York, Toronto, Dublin and London. Ref: Kennedy, S.B. Paul Henry: with a Catalogue of the Paintings, Drawings and Illustrations, New Haven and London: Yale University Press, 2007 Dr. Peter Murray, 2022

Samuel Owen (1768-1857) Fisherfolk on the Beach, signed 'Owen' lower right, watercolour, measurements 13.5 x 21.5 cm, frame 32.5 x 40 cmProvenance: private Shropshire collection, sold in these rooms 2019, private Pemberton CollectionCondition report: The painting is a watercolour, framed under glazing, not examined external to the frame. The sheet appears in good condition, no obvious evidence for rips, losses or creasing. The paint condition appears stable, some minor fading but otherwise in good condition. General wear and tear to the frame.

Eric Arnold Roberts Ennion (199-1981) Three Goldeneye Ducks and a Pochard, signed lower left, watercolour, measurements 23 x 32 cm, frame 43 x 52 cmProvenance: collection of The Shropshire Ornithological SocietyCondition report: The painting is a watercolour, framed under glazing- not examined external to the frame. The sheet appears in good condition, there are no obvious signs for losses, tears, creasing signs of damage. The paint surface appears stable and there is no obvious evidence for deterioration or paint loss. The frame has some general wear and tear and there is a small water stain to the lower right.

* Francis Wheatley, RA (British, 1747-1801) Adelaide and Fonroseoil on canvas, oval86 x 67.5cmProvenance:P & D Colnaghi & Co Ltd;D C Paterson Esq. by 1970;Alexander Hume Esq.,His Sale, Sotheby's, London, 21st November 1979, lot 52,The Asbjorn Lunde Foundation, Inc.Exhibited:Aldeburgh Festival of Music and the Arts, and Leeds, City Art Gallery, Francis Wheatley RA, 1747-1801: Paintings, drawings and engravings, 15th-25th June, and 8th July-8th August 1965, no. 10 Literature:Mary Webster, Francis Wheatley, 1970, p. 133, no. 48Footnote: This painting most likely illustrates a scene from Jean-François Marmontel's romantic play The Shepherdess of the Alps. The play, first published in 1766 as part of Marmontel's Moral Tales, became the rage in both England and France and inspired many paintings and prints. The story is the tragic tale of Adelaide and her lover, the Count D'Orestan, two young French aristocrats, who, despite their families' objections, run away together. Their happiness is short-lived as the Count dies suddenly. A grief-stricken Adelaide digs her lover's grave with her bare hands, renounces the world and her family, and becomes a shepherdess. She at last finds happiness after she reveals her true identity to a French nobleman, Fonrose.A watercolour of the present composition with slight differences, signed and dated 1786 by Wheatley, is in the British Museum (inv. no. 1866,1013.545) (see Webster, p.62, fig.72). All proceeds from the sale of this and another eleven paintings (lots 57-68) will benefit the activities of the Asbjorn Lunde Foundation, Inc., which continues its founder’s support of research, publishing, presentation, and practice in museums and music. Throughout his long life, Mr. Lunde supported more than forty museums in his native New York, across the United States and in Europe with loans, gifts, and funding. Mr. Lunde was a proud New Yorker with roots in Norway. He was keenly interested in nineteenth-century Scandinavian and Swiss landscape painting, Old master painting and Asian decorative arts.Condition report: Framed 108 x 90cmThe painting is executed in oil on a canvas support which has been lined. The canvas tension is good and the picture is in plane. The edges of the lining canvas are degraded and tears are starting to form. The thin paint layers have suffered from wear and abrasion, notable in the background of the picture. Old damages have been repaired and retouched. There is overpaint covering areas of wear as well as reinforcing elements of the composition including the sitter’s faces. The varnish is clear, even and semi-glossy.

TWO MARINE PAINTINGS; ONE UNFRAMED OIL PAINTING ON CANVAS OF BEACHED BOATS TOGETHER WITH A WATERCOLOUR OF KEYHAVEN MARSHES & THE ISLE OF WIGHT, INDISTINCTLY SIGNED (2)

English school (early 19th century),A portrait miniature depicting a young lady, dressed in the Empire style, painting the view from a balcony,Watercolour on ivory,9.5cm x 13.5cm,Gilt framed and glazed (frame at fault)

MARY FEDDEN R.A. [1915-2012]. Eggs, 1984. watercolour on paper; signed. 15 x 21 cm - frame size - 21 x 27 cm. the artist; private collection, London. [very good condition - unexamined out of frame - frame a bit scruffy in places, but just needs a little re-painting]. Buyers premium 20% + vat payable.

After Brian Pollard, 'The Maritime Inn', a coloured print, another of tug 'A227 Careful', C Benitez 'Street scene in Majorca 1952', signed watercolour, 47.5 x 33cm, Schuster 'Parisian street scene', signed oil on canvas, 39.5 x 49.5cm and one other oil painting, (5).

Everett Galloway (Irish Exh. 1918-1920). Cattle grazing. Watercolour heightened with white. 23.5cm x 33.5cm. Signed. Proceeds of sale of this painting will be donated to Eden Valley Hospice.

Alistair Brewis (1937-2014). A woodland glade. Watercolour. 39cm x 49.5cm. Signed. Proceeds of sale of this painting will be donated to Eden Valley Hospice.

Ernest Glaister (British 1903-1973). Rural landscape. Watercolour. 35.5cm x 51cm. Signed. Proceeds of sale of this painting will be donated to Eden Valley Hospice

Ernest Glaister (British 1903-1973). Riverscape. Watercolour. 27.5cm x 40.5cm. Signed. Proceeds of sale of this painting will be donated to Eden Valley Hospice.

Robert Forrester (Cumbrian 1913-1988). Loch Ken, Galloway. Watercolour. 39cm x 56cm. Signed. Inscribed with title and dated (19)66. Proceeds of sale of this painting will be donated to Eden Valley Hospice.

Robert Forrester (Cumbrian 1913-1988). Rose Castle - Riverscape. Watercolour. 19.5cm x 28cm. Signed. Inscribed with title and dated (19)66. Proceeds of sale of this painting will be donated to Eden Valley Hospice.

Robert Forrester (Cumbrian 1913-1988). Spring at Penton. Watercolour. 14cm x 19cm. Signed. Inscribed with title on label verso. Proceeds of sale of this painting will be donated to Eden Valley Hospice.

R. Slater landscape watercolour painting on paper, inscribed verso Stone Wall & Trees, signed lower right, 38cm x 56cm

Chinese Art A painting of a landscape signed Li Keran China, 20th century Watercolour on paper . . Cm 58,00 x 112,00.

Chinese Art A small painting depicting houses in the woods China, early 20th century Watercolour on paper . . Cm 15,50 x 25,00.

A fine quality watercolour entitled He Loves Me He Loves Me Not. Signed and by Charles E Wilson (1853-194) signed lower right This large watercolour depicting a young girl in a rustic cottage interior. The artist had many Exhibits at both the Royal Academy and Royal Institute of Painting. An Excellent example of the artist work. 63x82cm very nice presentation.

PAINTING AND PRINTS, comprising Michael Rondot British contemporary) 'Top Cover' a signed limited edition aviation print of F/A 18C Hornets, approximate print size 42cm x 59cm, Victorian watercolour of wild flowers signed and dated Arthur Walker 1890, two John Smith coastal landscape prints of Bawdsey and Malden, a Margaret Collyer print of a sleeping boy and his dog and a print of a fishing boat at sea

* CLAIRE HARKESS RSW (SCOTTISH b. 1970), POLAR BEAR watercolour on paper, signed, dated 1998 label verso image size 26cm x 18cm, overall size 44cm x 34cm Mounted, framed and under glass. Label verso: Gallery 41, Edinburgh Note 1: In 1998, Claire worked as Artist in Residence with The Royal Zoological Society of Scotland. While at Edinburgh Zoo she was filmed as part of the BBC "Ex-S" series and a fascinating documentary about her work was broadcast in November of that year. This work is a portrait of a specific animal at Edinburgh Zoo and it's likely that many Edinburgh residents and visitors to the Zoo will recognise this animal. Note 2: Claire Harkess was born in Ayr, Scotland, graduating from Glasgow School of Art in the early 1990s. In recent years her painting has taken her to fragile lands to study and interpret life on the edge. Antarctica, Outback Australia and St Kilda are all places where, in such extreme environments, survival is difficult and the balance of life is delicate. Harkess has also worked on the Galápagos Islands, made famous by Charles Darwin’s ‘The Origin of the Species’. This isolated volcanic outpost remained relatively untouched by man, evolving to become one of the World’s unique ecosystems. The balance present in nature is clearly communicated through Claire's paintings. Painting in watercolour or gouache offers a unique directness; the essential qualities of light and energy present in the natural world are the very essence of the medium itself. The delicacy of her palette and oriental economy of her mark-making creates a subtle tension representing a world that is ‘holding still’, giving a sense of freedom, spirit, time and place. Claire's work is exhibited at The Scottish Gallery, where her most recent highly successful solo show was in July 2020, and at other prestigious galleries around the UK.

Georg HECK (1897 - 1982). Farbkomposition '74.Circa 34 cm x 49 cm. Gemälde. Aquarell auf Papier. Links unten signiert und datiert.Georg HECK (1897 - 1982). Colour composition '74.Circa 34 cm x 49 cm. Painting. Watercolour on paper. Signed and dated lower left.

Julio VISCONTI (1922). ''Campos de Salamaneo''.Circa 46,5 cm x 63 cm. Gemälde. Aquarell auf Papier. Rechts unten signiert. Rückseitig mit Zuschreibung und Titel.Julio VISCONTI (1922). ''Campos de Salamaneo''.Circa 46,5 cm x 63 cm. Painting. Watercolour on paper. Signed lower right. With an attribution and title on the reverse.

{} John Roddam Spencer Stanhope (1829-1908)"Autumn"Watercolour heightened with white, 39cm by 53.5cm Exhibited: Institute of Painters in Watercolours, date unknown, no.2Victoria Art Gallery, Bath and City of Manchester Autumn Exhibition 1911Provenance: Messrs Christie, Mason & Woods, London Saturday, December 17th, 1904, "Watercolour Drawings formed by Wickham Flower Esq", lot 25Thos. Agnew & Sons, LondonThe Stone Gallery, Newcastle upon TyneCondition report: General surface dirt and minor bits of debris trapped under surface glass. Maintains good colour depth, although likely slightly tempered by time staining/oxidization to painting most evident in areas of the sky. Also, considerable foxing is evident within the sky, but not exclusively. Slight cockling to the paper. Top right-hand corner, possibly backboard showing exposing an area of text (see images). Minor areas pigment?/bloom likley trapped to the underside of glass most noticeable within the central passage of trees. This may have settled onto/progressed into the sheet itself. Possibly positioned in a property with some environmental moisture in general with resulting considerations as described. Not examined out of the frame. For further information please contact the department.

A small watercolour painting of roosters.

§ Louis Duffy (1908-1998) - The Sources of Energy, watercolour with traces of pencil stencilling, signed and dated '53 lower right, 37.5 x 58cmNote: this work is a concept design for a large mural painting commissioned by the Electricity Board, subsequently housed in the Science Museum

Fiona Hughes, watercolour 'Love-In-A-Mist', 43cm x 60cm, framed and glazed. With handwritten note from the artist giving details about the kittens in the painting (rescued feral kittens, Oliver and Pearl).

A group of framed and glazed pictures to include Charles Owns, a landscape watercolour with cottages, signed, 25.4cm x 34cm along with Teresa Pemberton - Boat of Geraniums still life painting, mixed medium unsigned, named and titled to verso with artists label, 23.5cm x 23.5cm, glazed frame

Philemona Williamson Doll With Hands Up Gouache and Watercolour Pencil on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About I am a narrative painter, living in Montclair, NJ. My work focuses on the time between childhood and adulthood and the tumult that is often involved. The coming to terms with gender, race, and identity are at the heart of the figures in my paintings. I see the figures as representations for the emotions we all go through at all stages of life, adolescence being the first and most intense time we experience it. I am also interested in public art, I have a subway station project MTA Arts in Transit Program Livonia Avenue Station in NYC, a fused glass mosaic " The Seasons" and a mosaic in Glen Oaks School in Queens, NY. I have taught for many years, Bard, Cooper Union, RISD, School of Visual Arts and Parsons and presently I am at Hunter College and Pratt Institute. I was on the Advisory Board of the Getty Museum Center for Education. Education MA New York University -NYC 1979 BA Bennington College - Bennington, Vermont 1973 New York Studio School of Painting, Drawing and Sculpture -Summer 71/72 High School of Music and Art NYC 1969   Select Exhibitions/Awards June Kelly Gallery April 2022 NYC solo show Jenkins Johnson Gallery September -November San Francisco, CA solo show Montclair Art Museum Retrospective Montclair, NJ 2017 Joan Mitchell Foundation -Grant in Painting Joan Mitchell Foundation Artist in Residency Grant, New Orleans, LA Pollock Krasner - Grant New York Foundation for the Arts - Grant NEA Grant Gallery Representation June Kelly Gallery- New York, NY Jenkins Johnson Gallery - San Francisco, CA Statement about AOAP Submitted Artwork The paintings on the postcards are objects from my collection of dolls and toys. I use them in my large narrative paintings with figures. I also do small works on paper of just my dolls and patterned papers, with a narrative determined by the interaction of the objects.

Philemona Williamson Piper Had A Doll Gouache and Watercolour Pencil on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I am a narrative painter, living in Montclair, NJ. My work focuses on the time between childhood and adulthood and the tumult that is often involved. The coming to terms with gender, race, and identity are at the heart of the figures in my paintings. I see the figures as representations for the emotions we all go through at all stages of life, adolescence being the first and most intense time we experience it. I am also interested in public art, I have a subway station project MTA Arts in Transit Program Livonia Avenue Station in NYC, a fused glass mosaic " The Seasons" and a mosaic in Glen Oaks School in Queens, NY. I have taught for many years, Bard, Cooper Union, RISD, School of Visual Arts and Parsons and presently I am at Hunter College and Pratt Institute. I was on the Advisory Board of the Getty Museum Center for Education. Education MA New York University -NYC 1979 BA Bennington College - Bennington, Vermont 1973 New York Studio School of Painting, Drawing and Sculpture -Summer 71/72 High School of Music and Art NYC 1969   Select Exhibitions/Awards June Kelly Gallery April 2022 NYC solo show Jenkins Johnson Gallery September -November San Francisco, CA solo show Montclair Art Museum Retrospective Montclair, NJ 2017 Joan Mitchell Foundation -Grant in Painting Joan Mitchell Foundation Artist in Residency Grant, New Orleans, LA Pollock Krasner - Grant New York Foundation for the Arts - Grant NEA Grant Gallery Representation June Kelly Gallery- New York, NY Jenkins Johnson Gallery - San Francisco, CA Statement about AOAP Submitted Artwork The paintings on the postcards are objects from my collection of dolls and toys. I use them in my large narrative paintings with figures. I also do small works on paper of just my dolls and patterned papers, with a narrative determined by the interaction of the objects.

Josette Urso OooLaLa 1 Watercolour on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Teetering between urban and natural subjects I make exploratory paintings and drawings working directly and urgently in response to my immediate environment. My approach involves "moment-to-moment" extrapolation governed by intuitive leaps of scale, color and wayward geometry. Contrasts and cross-fertilizations unfold and are cumulative, non-linear, free flowing and interpretive. Space becomes an ambiguous and malleable substance and I delight in its manipulation as I meander acrobatically in a kind of gymnasium of convoluted mark making and image collision. All along the way, I engage the known as well as the unknown in unforeseen ways. For me, drawing and painting parallel the act of seeing and are the most direct links to private time with the physical world. Despite the urgency of my process, as I work, time still slows down. My work becomes a record of this exploration and a reflection of my inherent energy and reason for living.   Education MFA/ Painting, University of South Florida, Tampa, FL   Select Exhibitions/Awards Recipient of awards including an Adolph & Esther Gottlieb Foundation grant, two Pollock-Krasner Foundation grants, a Mid-Atlantic NEA, the Basil H. Alkazzi Award and a Ruth and Harold Chenven Foundation Award. Residencies include Ucross (2014 and 1995); Yaddo; Stock 20, Taiwan; AIEP American Artist's Abroad, Cambodia; Ballinglen Arts Foundation, Ireland; Camargo Foundation, France; Millay and the VCCA. Her work has been shown widely in the United States and abroad in galleries, public institutions, and museums including the New York Public Library, the Drawing Center, the Bronx Museum of the Arts, Markel Fine Arts and Kenise Barnes Fine Art.   Gallery Representation Markel Fine Arts, New York, NY Kenise Barnes Fine Art, Kent, CT   Statement about AOAP Submitted Artwork In my studio, the outside literally comes in through large windows that look across Brooklyn's lower lying factory buildings toward the tall grandness of Manhattan. This view merges with a studio interior filled with playful arrangements from my nature and hand-made object collections: rocks, plants, pinecones, metal and velvet flocked figurines as well as chenille and wire constructions that I often hang in the windows, bringing attention to the spaces between the inside and the outside. In these small works on paper, from my "OooLaLa" series, as in all of my paintings, I engage in the moment with deep curiosity and awe of my surroundings.

Josette Urso OooLaLa 2 Watercolour on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Teetering between urban and natural subjects I make exploratory paintings and drawings working directly and urgently in response to my immediate environment. My approach involves "moment-to-moment" extrapolation governed by intuitive leaps of scale, color and wayward geometry. Contrasts and cross-fertilizations unfold and are cumulative, non-linear, free flowing and interpretive. Space becomes an ambiguous and malleable substance and I delight in its manipulation as I meander acrobatically in a kind of gymnasium of convoluted mark making and image collision. All along the way, I engage the known as well as the unknown in unforeseen ways. For me, drawing and painting parallel the act of seeing and are the most direct links to private time with the physical world. Despite the urgency of my process, as I work, time still slows down. My work becomes a record of this exploration and a reflection of my inherent energy and reason for living.   Education MFA/ Painting, University of South Florida, Tampa, FL   Select Exhibitions/Awards Recipient of awards including an Adolph & Esther Gottlieb Foundation grant, two Pollock-Krasner Foundation grants, a Mid-Atlantic NEA, the Basil H. Alkazzi Award and a Ruth and Harold Chenven Foundation Award. Residencies include Ucross (2014 and 1995); Yaddo; Stock 20, Taiwan; AIEP American Artist's Abroad, Cambodia; Ballinglen Arts Foundation, Ireland; Camargo Foundation, France; Millay and the VCCA. Her work has been shown widely in the United States and abroad in galleries, public institutions, and museums including the New York Public Library, the Drawing Center, the Bronx Museum of the Arts, Markel Fine Arts and Kenise Barnes Fine Art.   Gallery Representation Markel Fine Arts, New York, NY Kenise Barnes Fine Art, Kent, CT   Statement about AOAP Submitted Artwork In my studio, the outside literally comes in through large windows that look across Brooklyn's lower lying factory buildings toward the tall grandness of Manhattan. This view merges with a studio interior filled with playful arrangements from my nature and hand-made object collections: rocks, plants, pinecones, metal and velvet flocked figurines as well as chenille and wire constructions that I often hang in the windows, bringing attention to the spaces between the inside and the outside. In these small works on paper, from my "OooLaLa" series, as in all of my paintings, I engage in the moment with deep curiosity and awe of my surroundings.

Josette Urso OooLaLa 3 Watercolour on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Teetering between urban and natural subjects I make exploratory paintings and drawings working directly and urgently in response to my immediate environment. My approach involves "moment-to-moment" extrapolation governed by intuitive leaps of scale, color and wayward geometry. Contrasts and cross-fertilizations unfold and are cumulative, non-linear, free flowing and interpretive. Space becomes an ambiguous and malleable substance and I delight in its manipulation as I meander acrobatically in a kind of gymnasium of convoluted mark making and image collision. All along the way, I engage the known as well as the unknown in unforeseen ways. For me, drawing and painting parallel the act of seeing and are the most direct links to private time with the physical world. Despite the urgency of my process, as I work, time still slows down. My work becomes a record of this exploration and a reflection of my inherent energy and reason for living.   Education MFA/ Painting, University of South Florida, Tampa, FL   Select Exhibitions/Awards Recipient of awards including an Adolph & Esther Gottlieb Foundation grant, two Pollock-Krasner Foundation grants, a Mid-Atlantic NEA, the Basil H. Alkazzi Award and a Ruth and Harold Chenven Foundation Award. Residencies include Ucross (2014 and 1995); Yaddo; Stock 20, Taiwan; AIEP American Artist's Abroad, Cambodia; Ballinglen Arts Foundation, Ireland; Camargo Foundation, France; Millay and the VCCA. Her work has been shown widely in the United States and abroad in galleries, public institutions, and museums including the New York Public Library, the Drawing Center, the Bronx Museum of the Arts, Markel Fine Arts and Kenise Barnes Fine Art.   Gallery Representation Markel Fine Arts, New York, NY Kenise Barnes Fine Art, Kent, CT   Statement about AOAP Submitted Artwork In my studio, the outside literally comes in through large windows that look across Brooklyn's lower lying factory buildings toward the tall grandness of Manhattan. This view merges with a studio interior filled with playful arrangements from my nature and hand-made object collections: rocks, plants, pinecones, metal and velvet flocked figurines as well as chenille and wire constructions that I often hang in the windows, bringing attention to the spaces between the inside and the outside. In these small works on paper, from my "OooLaLa" series, as in all of my paintings, I engage in the moment with deep curiosity and awe of my surroundings.

Alice Neave Siblings II Watercolour on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Themes deriving from the natural world, grief, and fertility have dominated Neave's work in recent years. Like most artists, Neave is very affected by her environment and these ruminations on grief, especially, have led to a preoccupation with place and limbo; a depiction of an environment that one recognises but cannot name. Neave sees painting as a language to get to the crux of the matter, communicating common human emotion & sentiments, whilst simultaneously managing to subvert the obvious. Alice Neave was born & educated in the UK, completing a BA in Fine Art from the university of Leeds in 2010. Since then, she has exhibited consistently including a solo show at Public Gallery in London in 2018. Having spent a lot of time living & painting in the Poitou Charente region of France, she now works from her studio in South East London on the Thames and completed the Turps Banana correspondence course in 2021.   Education Turps Correspondence Course, 20/21 BA Fine Art, University of Leeds, 2010 Foundation Diploma, Arts Institute at Bournemouth, 2007   Select Exhibitions/Awards Long listed for the Jacksons Painting prize 2020 Neave works with many galleries and curators on a show-by-show basis.   Statement about AOAP Submitted Artwork These pieces were all made with the idea of space and place in mind. Juxtaposing themes consisting of cocooning, open space and contiguity run throughout all 4 works.

Alice Neave The Birds Pastel and Watercolour on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Themes deriving from the natural world, grief, and fertility have dominated Neave's work in recent years. Like most artists, Neave is very affected by her environment and these ruminations on grief, especially, have led to a preoccupation with place and limbo; a depiction of an environment that one recognises but cannot name. Neave sees painting as a language to get to the crux of the matter, communicating common human emotion & sentiments, whilst simultaneously managing to subvert the obvious. Alice Neave was born & educated in the UK, completing a BA in Fine Art from the university of Leeds in 2010. Since then, she has exhibited consistently including a solo show at Public Gallery in London in 2018. Having spent a lot of time living & painting in the Poitou Charente region of France, she now works from her studio in South East London on the Thames and completed the Turps Banana correspondence course in 2021.   Education Turps Correspondence Course, 20/21 BA Fine Art, University of Leeds, 2010 Foundation Diploma, Arts Institute at Bournemouth, 2007   Select Exhibitions/Awards Long listed for the Jacksons Painting prize 2020 Neave works with many galleries and curators on a show-by-show basis.   Statement about AOAP Submitted Artwork These pieces were all made with the idea of space and place in mind. Juxtaposing themes consisting of cocooning, open space and contiguity run throughout all 4 works.

Lucy MJ Ball Showroom Pen, Ink, Watercolour and Crayon on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lucy was born in 1956 and has lived in the UK since then. She studied at Swansea College of Art on the foundation course and at Canterbury College of Art on the Fine Art course, specialising in painting. Later on, as a mature student, she studied History of Art at Birkbeck College, University of London. Before moving to Devon from Oxfordshire in 1997, Lucy was principally a painter, once in Devon her practice as an artist went on hold for many years and for very many reasons. Returning to her practice she found herself producing very different work. Having done very little printmaking previously, she became captivated by the medium and in particular etching and aquatint. She exploits the darkness of the technique which perfectly suits much of her imagery which is often of dark subject matter peppered with a similarly dark humour. Subject matter is mostly to do with the human condition, relationships of people, of people and place and of people and animals. Lucy's subject matter is also informed by literature and myth. She also sees it as a cathartic process. The alchemical violence of the etching process perfectly suits this subject matter. She enjoys the unpredictability of printmaking and the surprises it creates. The process of etching provides her with a feeling of alchemically creating magic. It is a process requiring both creativity and a patient, often slow but considered adherence to technical considerations. Considerations which can of course, be bent and manipulated. Lucy suggests that monotype printmaking satisfies a need for intuitive and often unlikely outcomes, this medium along with drawing feeds and adds to her library of images and scenarios.   Select Exhibitions/Awards 2021 Selected for Woolwich Contemporary Print Fair November 2021 Selected for RA Summer exhibition September '21-January '22 2021 Limekiln Gallery, Cornwall Summer Exhibition 2020/21 Journey: A Mayflower 400 Project. A Transatlantic Touring Exhibition. Tamar Valley Printmakers UK and Printmakers of Cape Cod USA - Torre Abbey and Plymouth exhibitions 2020/21 RWA 168 Annual Open Exhibition 2020 Fresh off the Press, Limekiln Gallery, Calstock, Cornwall 2019 Red Dot Art Mini Print Exhibition 2019 Fresh off the Press, Limekiln Gallery, Calstock, Cornwall (group) 2019 RWA 167 Annual Open Exhibition 2018 RWA 166 Annual Open Exhibition 2018 Red Dot Art Mini Print Exhibition 2018: RBSA Print Prize Open exhibition (third prize winner) 2018: International Mini Print - Seacourt (group) 2018: Fresh off the Press, Limekiln Gallery, Calstock, Cornwall (group) 2017: Endelienta, open exhibition, Cornwall (group) 1991: HallRichards Gallery, London (solo) 1990: Cole and Cole Solicitors, Oxford (group) 1988: RWA, Bristol (136th annual open) 1988: Oxford Billboard project 1988: Red in Tooth and Claw, Westgate Exhibition Room, Oxford (group) 1987/8: Cahill and Grebler Gallery, London. Christmas show (group) 1986: Women on Men, Cahill and Grebler Gallery, London (group) 1980's: Open studio shows during the decade.

Lucy MJ Ball Train Window - Rain Pen, Ink, Watercolour and Crayon on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lucy was born in 1956 and has lived in the UK since then. She studied at Swansea College of Art on the foundation course and at Canterbury College of Art on the Fine Art course, specialising in painting. Later on, as a mature student, she studied History of Art at Birkbeck College, University of London. Before moving to Devon from Oxfordshire in 1997, Lucy was principally a painter, once in Devon her practice as an artist went on hold for many years and for very many reasons. Returning to her practice she found herself producing very different work. Having done very little printmaking previously, she became captivated by the medium and in particular etching and aquatint. She exploits the darkness of the technique which perfectly suits much of her imagery which is often of dark subject matter peppered with a similarly dark humour. Subject matter is mostly to do with the human condition, relationships of people, of people and place and of people and animals. Lucy's subject matter is also informed by literature and myth. She also sees it as a cathartic process. The alchemical violence of the etching process perfectly suits this subject matter. She enjoys the unpredictability of printmaking and the surprises it creates. The process of etching provides her with a feeling of alchemically creating magic. It is a process requiring both creativity and a patient, often slow but considered adherence to technical considerations. Considerations which can of course, be bent and manipulated. Lucy suggests that monotype printmaking satisfies a need for intuitive and often unlikely outcomes, this medium along with drawing feeds and adds to her library of images and scenarios.   Select Exhibitions/Awards 2021 Selected for Woolwich Contemporary Print Fair November 2021 Selected for RA Summer exhibition September '21-January '22 2021 Limekiln Gallery, Cornwall Summer Exhibition 2020/21 Journey: A Mayflower 400 Project. A Transatlantic Touring Exhibition. Tamar Valley Printmakers UK and Printmakers of Cape Cod USA - Torre Abbey and Plymouth exhibitions 2020/21 RWA 168 Annual Open Exhibition 2020 Fresh off the Press, Limekiln Gallery, Calstock, Cornwall 2019 Red Dot Art Mini Print Exhibition 2019 Fresh off the Press, Limekiln Gallery, Calstock, Cornwall (group) 2019 RWA 167 Annual Open Exhibition 2018 RWA 166 Annual Open Exhibition 2018 Red Dot Art Mini Print Exhibition 2018: RBSA Print Prize Open exhibition (third prize winner) 2018: International Mini Print - Seacourt (group) 2018: Fresh off the Press, Limekiln Gallery, Calstock, Cornwall (group) 2017: Endelienta, open exhibition, Cornwall (group) 1991: HallRichards Gallery, London (solo) 1990: Cole and Cole Solicitors, Oxford (group) 1988: RWA, Bristol (136th annual open) 1988: Oxford Billboard project 1988: Red in Tooth and Claw, Westgate Exhibition Room, Oxford (group) 1987/8: Cahill and Grebler Gallery, London. Christmas show (group) 1986: Women on Men, Cahill and Grebler Gallery, London (group) 1980's: Open studio shows during the decade.

Charlotte Posner When In Dreamland Watercolour on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Contemporary British female artist, Charlotte Posner, is a new breed of artistic talent, driven by a passionate need to create a 360 approach to artistic expression. Charlotte's hand painted artworks are translated into products across a range of categories; each item in the collections is a little piece of Posner art. The range include fashion, homeware, candles, stationery, and accessories.   Education Charlotte graduated from Chelsea School of Art and Design. Her style and popularity exploded onto the public scene in 2014 when she received her first Royal Academy placement as part of the Royal Academy Summer Exhibition and was profiled on BBC TV Culture Show. A Social media frenzy then erupted when she first introduced her 'Pop Dolls' series to the public in 2015. Coca-Cola, Walls, Kellogg's, Nails INC and Disney all complimented the works and one piece later became the creative for the Magnum UK social media platforms.   Select Exhibitions/Awards Charlotte has had the honour of collaborating with some of the world's leading luxury brands and retailers, while developing her own collections of gifts to sit alongside her art. Her work has also exhibited in internationally and been showcased in various important art institutions. She was shortlisted for the Royal Academy of Arts Summer Exhibition in 2021.   Statement about AOAP Submitted Artwork My artworks were designed and painted at the same time. The magical midsummer night fairytale scene was inspired by somewhere I'd love to be, warm hot sunny, watching the world drift by, that smell of night hot summer air. The painting 'Be guided by an angel' was inspired by a trip I have just made to the Vatican in Rome. I looked at the backgrounds of the murals in the Sistine Chapel and relayed the same scenic backdrop making my own composition up. This painting is how I believe in when creating, we are all guided by a higher force when in your true flow. For the last one I painted a still life of the tuna tin which I used as the palette whilst painting the other two paintings. I like how the fantasy and reality link and meet using the same colour palette but such different subjects. The two little paintings take me to a different place, but the tuna can brings you back to the fact that they were all painted in my studio.

Julie Collins Two Blackbirds Watercolour on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Julie Collins is a painter of people and the landscape. She has received numerous awards for her work, including the ING Discerning Eye, London, Royal Watercolour Society, London and has twice received the prestigious Award of 1st prize for Watercolour at the Royal West of England Academy, Bristol. During 2021 Julie was elected a Member of the Society of Women Artists, a member of the SWA Council and a RWA Network Member. Her latest book, "Colour Demystified" was published by Search Press in August 2021 & her next, "The Colour Mixing Companion" is published April 2023. Select Exhibitions/Awards 2019 The Watercolour Award, 1st Prize, Royal West of England Academy 167 Annual Exhibition 2016 The Watercolour Award, 1st Prize, Royal West of England Academy 164 Annual Exhibition 2011 The Royal Watercolour Society Award, RWS Open, London 2008 ING Discerning Eye, London, Regional Award for best work from London & the South East 2008 RWS 21 Open, London, 1st Prize St Cuthberts Award 2006 RWS 21 Open, London, Daler Rowney Award 2000 RHS Silver medal, Painting on vellum   Gallery Representation Wykeham Gallery, Stockbridge, Hants Moncrieff Bray Gallery, Petworth, West Sussex Coastal Gallery, Lymington, Hants Carina Haslam Art, Chenies Manor, Bucks Studio 42 Gallery, Port St Mary, Isle of Man

Julie Collins Edie and The Moon Watercolour and Acrylic on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Julie Collins is a painter of people and the landscape. She has received numerous awards for her work, including the ING Discerning Eye, London, Royal Watercolour Society, London and has twice received the prestigious Award of 1st prize for Watercolour at the Royal West of England Academy, Bristol. During 2021 Julie was elected a Member of the Society of Women Artists, a member of the SWA Council and a RWA Network Member. Her latest book, "Colour Demystified" was published by Search Press in August 2021 & her next, "The Colour Mixing Companion" is published April 2023. Select Exhibitions/Awards 2019 The Watercolour Award, 1st Prize, Royal West of England Academy 167 Annual Exhibition 2016 The Watercolour Award, 1st Prize, Royal West of England Academy 164 Annual Exhibition 2011 The Royal Watercolour Society Award, RWS Open, London 2008 ING Discerning Eye, London, Regional Award for best work from London & the South East 2008 RWS 21 Open, London, 1st Prize St Cuthberts Award 2006 RWS 21 Open, London, Daler Rowney Award 2000 RHS Silver medal, Painting on vellum   Gallery Representation Wykeham Gallery, Stockbridge, Hants Moncrieff Bray Gallery, Petworth, West Sussex Coastal Gallery, Lymington, Hants Carina Haslam Art, Chenies Manor, Bucks Studio 42 Gallery, Port St Mary, Isle of Man

Julie Collins Treading on Water Watercolour and Acrylic on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Julie Collins is a painter of people and the landscape. She has received numerous awards for her work, including the ING Discerning Eye, London, Royal Watercolour Society, London and has twice received the prestigious Award of 1st prize for Watercolour at the Royal West of England Academy, Bristol. During 2021 Julie was elected a Member of the Society of Women Artists, a member of the SWA Council and a RWA Network Member. Her latest book, "Colour Demystified" was published by Search Press in August 2021 & her next, "The Colour Mixing Companion" is published April 2023. Select Exhibitions/Awards 2019 The Watercolour Award, 1st Prize, Royal West of England Academy 167 Annual Exhibition 2016 The Watercolour Award, 1st Prize, Royal West of England Academy 164 Annual Exhibition 2011 The Royal Watercolour Society Award, RWS Open, London 2008 ING Discerning Eye, London, Regional Award for best work from London & the South East 2008 RWS 21 Open, London, 1st Prize St Cuthberts Award 2006 RWS 21 Open, London, Daler Rowney Award 2000 RHS Silver medal, Painting on vellum   Gallery Representation Wykeham Gallery, Stockbridge, Hants Moncrieff Bray Gallery, Petworth, West Sussex Coastal Gallery, Lymington, Hants Carina Haslam Art, Chenies Manor, Bucks Studio 42 Gallery, Port St Mary, Isle of Man

Laura Andrew Bullfinch (Female) Pencil and Watercolour on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About British Artist living and working in Lincolnshire, UK. Laura specialises in wildlife and the wonders of nature. She finds her inspiration in the English countryside and explores the rivers and canals on a narrowboat.   Education Laura studied in London and attained a BA Hons Natural History Illustration.   Select Exhibitions/Awards Laura has had artworks accepted for five years in 'The Natural Eye' exhibition, the annual show of the Society of Wildlife Artists. One of her paintings was a finalist in the David Shepherd Wildlife Artist of the Year show. Both exhibitions were held at The Mall Galleries in London.   Gallery Representation Currently available for gallery representation.   Statement about AOAP Submitted Artwork There is so much beauty around us in the natural world so I decided to depict a little piece of it on these postcards. One painting features a favourite bird of mine a bullfinch, and the second, a goldfinch nest, which I discovered in my garden.

Charlotte Verity Light in January Watercolour on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Charlotte Verity is an artist who has honed a lucid and highly specific visual process to attain truth in her work. Fastidious observation is at the heart of her practice. In contrast to the fleeting nature of her subjects, the paintings develop slowly and have a suggestion of deep space and the wider world. Whilst she has undertaken residencies and projects elsewhere, most notably a year-long residency at the Garden Museum, her garden in south east London has been and remains the focus of her work. For decades, she has immersed herself in it either by painting and drawing out of doors or by bringing elements of it into her studio to observe. With this practical restraint she has cultivated a deep knowledge and intimate respect for the forms that she depicts, and in this way, the paintings track the seasons and the passing of time. They become meditations on broader themes. Since graduating from the Slade she has exhibited regularly nationally and internationally since 1980, most recently with a two-part solo exhibition at Karsten Schubert London. A monograph 'Charlotte Verity', and 'Echoing Green: The Printed Year', are both published by Ridinghouse.

Rafaela de Ascanio A Club Blossomed Watercolour on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Rafaela de Ascanio is a Spanish artist living in London, and working across ceramic, painting and poetry. De Ascanio will present an installation of new work with accompanying performance at Berntson Bhattacharjee gallery this February 2022. Past exhibitions include a solo show at Liliya Art Gallery in 2021, and duo shows with Bowes Parris Gallery in 2020, Aindrea Contemporary in 2019 and at Lamb Gallery in 2018, and recent group shows with Tristan Hoare, Cob Gallery and Lychee One.   Education Fine Art at Central Saint Martin's, Art History BA and MA at the Courtauld Institute of Art, and Painting at the Turps Banana Painting School.   Select Exhibitions/Awards The Young Masters 2021 Emerging Artist Award   Statement about AOAP Submitted Artwork These watercolour sketches were made while researching the images of Norse goddess' Freyja and Frigg, flying on broomsticks and animals, found in Schleswig Cathedral. Dated around the twelfth century, they are the first images of witches riding through the sky and there is much speculation as to why these pagan idols appear in a catholic church.

Rafaela de Ascanio Frigg Watercolour on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Rafaela de Ascanio is a Spanish artist living in London, and working across ceramic, painting and poetry. De Ascanio will present an installation of new work with accompanying performance at Berntson Bhattacharjee gallery this February 2022. Past exhibitions include a solo show at Liliya Art Gallery in 2021, and duo shows with Bowes Parris Gallery in 2020, Aindrea Contemporary in 2019 and at Lamb Gallery in 2018, and recent group shows with Tristan Hoare, Cob Gallery and Lychee One.   Education Fine Art at Central Saint Martin's, Art History BA and MA at the Courtauld Institute of Art, and Painting at the Turps Banana Painting School.   Select Exhibitions/Awards The Young Masters 2021 Emerging Artist Award   Statement about AOAP Submitted Artwork These watercolour sketches were made while researching the images of Norse goddess' Freyja and Frigg, flying on broomsticks and animals, found in Schleswig Cathedral. Dated around the twelfth century, they are the first images of witches riding through the sky and there is much speculation as to why these pagan idols appear in a catholic church.

Rafaela de Ascanio Freyja Watercolour on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Rafaela de Ascanio is a Spanish artist living in London, and working across ceramic, painting and poetry. De Ascanio will present an installation of new work with accompanying performance at Berntson Bhattacharjee gallery this February 2022. Past exhibitions include a solo show at Liliya Art Gallery in 2021, and duo shows with Bowes Parris Gallery in 2020, Aindrea Contemporary in 2019 and at Lamb Gallery in 2018, and recent group shows with Tristan Hoare, Cob Gallery and Lychee One.   Education Fine Art at Central Saint Martin's, Art History BA and MA at the Courtauld Institute of Art, and Painting at the Turps Banana Painting School.   Select Exhibitions/Awards The Young Masters 2021 Emerging Artist Award   Statement about AOAP Submitted Artwork These watercolour sketches were made while researching the images of Norse goddess' Freyja and Frigg, flying on broomsticks and animals, found in Schleswig Cathedral. Dated around the twelfth century, they are the first images of witches riding through the sky and there is much speculation as to why these pagan idols appear in a catholic church.

Alice Watkins The Heroine Watercolour and Oil on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Alice Watkins (b.1996, Leicester) is a painter living and working in London. Inspired by found imagery, personal history and contemporary vernacular. Watkins' latest compositions are often dreamlike and expressive and they adopt a haptic and responsive relationship with paint.   Education 2016 - 2019 BFA Painting - City & Guilds of London Art School   Select Exhibitions/Awards   Selected Exhibitions 2022 Anonymous Was A Woman Clint Roenisch, Toronto. Presented by Mothflower 2022 Snow Collection VOL I, Snow. Berlin 2021 A Generous Space, Hastings Contemporary 2021 The Beat Goes On - Sophie Brietmeyer, London 2021 50 x £50, Soho Revue Gallery, London. Presented by The Auction Collective 2021 A Tiny Bit of Fire, The Fitzrovia Gallery, London. Presented by Warbling Awards 2021 The Artist Surfaces Award 2021 The Eaton Fund Award 2017 Lynn Painter-Stainers Prize Scholarship Statement about AOAP Submitted Artwork The postcard sized painting titled 'The Heroine' was inspired by the 1975 Stanley Kubrick film 'Barry Lyndon' and compositionally references a still image of Lady Lyndon.

Mandy Hudson Light Shop Watercolour, Gouache and Coloured Pencil on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I am a painter who lives and works in Kent & London. My work is mainly still life. I'm interested in the space between abstraction and figuration, drawing subject matter from accidental arrangements of objects I come across. These can be boxes in a corner shop, furniture left in the street or a plant in a distant window. My work has been predominantly urban in character but recently having moved to along the Thames estuary I have also found inspiration in the natural world, marsh plants growing on the shore and detritus washed up from the river. It is the singular and peculiar qualities of things which hold my interest.   Education 1986 - 1989 BA (Hons) Degree, Maidstone College of Art, Kent Institute 1985 - 1986 Foundation Course in Art & Design, Cambridge College of Arts & Technology   Select Exhibitions/Awards 2021 Flowers of Romance III, White Conduit Projects, London 2021 Turner Contemporary Open, Margate 2020 Every Day, Terrace Gallery at the William the Fourth, London 2019 Trinity Buoy Wharf Drawing Prize exhibition, London and touring 2019 Re-Assemble, Collyer Bristow Gallery, London 2017 Simmering, White Conduit Projects, London 2019 Solitudes and Seasons, Art at ARB, University of Cambridge 2016 Marmite Painting Prize, 336 Gallery, London & Highlanes Gallery, Ireland 2016 Things, Solo show, Dalston Cafe Project, London 2014 The Distance Between, Zeitgeist Art Projects, London 2013 MK Calling, Milton Keynes Gallery 2012 New Foragers, Collyer Bristow Gallery, London 2011 Souvenirs, Fieldgate at Angus-Hughes Gallery, London 2011 Creekside Open, Selected by Phyllida Barlow, APT Gallery, London 2007 Art Futures, Contemporary Art Society, Bloomberg Space, London   Gallery Representation I am not represented by a gallery but exhibit most frequently with White Conduit Projects, London   Statement about AOAP Submitted Artwork I made four individual paintings for Art on a Postcard. Each is a still life using photographs I have taken as a starting point. Shelves of books in a charity shop, lights in a dark display window, daisies in a tangle of leaves and a random rail of clothes in a factory outlet. These show the range of subject matter that I am currently working on.

Evie O'Connor Yellowtail Jalapeno Watercolour and Oil on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Evie O'Connor (b. 1993) Glossop, Derbyshire currently lives and works in London. In 2020 she was awarded a place on the prestigious year long residency at Sarabande: The Lee Alexander McQueen Foundation in East London. She received her Masters in Painting from Glasgow School of Art in 2018, during which she was also an artist-in-residence at Dumfries House. Education 2018 - Glasgow School of Art, MA Fine Art Practice 2015 - London College of Fashion, BA (Hons) Fashion Textiles 2012 - Manchester School of Art, Art & Design Foundation Diploma   Select Exhibitions/Awards 2021 (Solo) Hyperreality, Galeria Pelaires, Mallorca 2021 En-ger-land, OOF Gallery, London 2021 Served, Sarabande: The Lee Alexander McQueen Foundation 2021 (Solo) What Will Become of Us?, Taymour Grahne Projects, London 2020 The 29th Bather, ltd los angeles, Los Angeles 2020 Manchester Open Exhibition, HOME, Manchester 2019 Topian Gardens, Gallery Vacancy, Condo Shanghai   Gallery Representation Taymour Grahne Projects   Statement about AOAP Submitted Artwork Using review sites and the infinite images of social media to construct new scenes of escapism, my work plays with both our conscious and submerged desires to live in an Eden of beauty and satiated-desires. The seduction of wealth's talismans all pad out our fantasy of a palm-filled Western mirage. The pool, a common symbol in my paintings, represents the small few who can afford to float freely in this atmosphere; seemingly without effort. Nobu (specifically the Malibu location) to me, perfectly encapsulates all the themes my work explores from relevancy (according to social media), access, status and cultural capital.

Evie O'Connor Nobu Cocktail Watercolour and Oil on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Evie O'Connor (b. 1993) Glossop, Derbyshire currently lives and works in London. In 2020 she was awarded a place on the prestigious year long residency at Sarabande: The Lee Alexander McQueen Foundation in East London. She received her Masters in Painting from Glasgow School of Art in 2018, during which she was also an artist-in-residence at Dumfries House. Education 2018 - Glasgow School of Art, MA Fine Art Practice 2015 - London College of Fashion, BA (Hons) Fashion Textiles 2012 - Manchester School of Art, Art & Design Foundation Diploma   Select Exhibitions/Awards 2021 (Solo) Hyperreality, Galeria Pelaires, Mallorca 2021 En-ger-land, OOF Gallery, London 2021 Served, Sarabande: The Lee Alexander McQueen Foundation 2021 (Solo) What Will Become of Us?, Taymour Grahne Projects, London 2020 The 29th Bather, ltd los angeles, Los Angeles 2020 Manchester Open Exhibition, HOME, Manchester 2019 Topian Gardens, Gallery Vacancy, Condo Shanghai   Gallery Representation Taymour Grahne Projects   Statement about AOAP Submitted Artwork Using review sites and the infinite images of social media to construct new scenes of escapism, my work plays with both our conscious and submerged desires to live in an Eden of beauty and satiated-desires. The seduction of wealth's talismans all pad out our fantasy of a palm-filled Western mirage. The pool, a common symbol in my paintings, represents the small few who can afford to float freely in this atmosphere; seemingly without effort. Nobu (specifically the Malibu location) to me, perfectly encapsulates all the themes my work explores from relevancy (according to social media), access, status and cultural capital.