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Click here to subscribeApproximately three hundred Pop / Rock / Soul / Post Punk / Synth Pop 7" singles, mostly 1970's-1990's to include Sigue Sigue Sputnik, James Brown, Blancmange, Heaven 17, Passions, Human League, Aztec Camera, Toyah, Captain Sensible, Bomb The Bass, Swingout Sister, Whispers, Three Degrees, MFSB, Modern Romance, Wax, Thompson Twins, Rod Stewart, Brass Construction, Judge Dread, Racy, Roxy Music, Drifters, Lindsey De Paul, Hot Chocolate, etc
Approximately one hundred 12" singles, 1980s Funk / Dance / Rock / Pop including Bomb the Bass, Cameo, UB40, Rick Astley, Dead or Alive, Bronski Beat, Dazz Band, Miami Sound Machine, Debarge, Cool Notes, Sharon Redd, Vesta, Evelyn Thomas, Yazoo, ABC, Hamilton Bohannon, Curtis Hairston, LL Cool J, Kool & the Gang, Wham!, Shakatak, Jellybean, UB40, Grandmaster Flash etc
WWI Piece of Shrapnel with Inscription 'Splinter From Bomb Dropped on Potters Bar by German Airship SLII 39 1916', unverified; - WWII Junkers 88 manufacturer plate other plate and perspex later made into display stand, from crash site JU 88 near RAF Scampton, Lincs 11/12 May 1941.with newspaper article refering to death of four man crew plus an extra 'passenger'.
David Bomberg, British 1890-1957 - Farm Field, Talgwyn, Red Wharf Bay, 1944; oil on canvas, signed and dated lower right 'Bomberg 44' and bears inscription with title on the reverse of the stretcher, 58.5 x 76 cm (ARR) Provenance: with Boundary Gallery, London (by repute); private collection, London, purchased in 1983 Note: the owner of the work was a close friend and client of Agi Katz, founder and director of Boundary Gallery, who specialised in the work of David Bomberg and other Jewish and émigré artists in Britain; Rosebery's were responsible for selling her Estate in 2022. The work is listed in an inventory made by Agi Katz of the owner's collection. Made towards the end of the Second World War, Bomberg visited Angelsea with his family in 1944, making a number of works of Talgwyn Farm as a respite from the more urban works he had been making. Richard Cork has described these as showing his 'impulsive emtional reaction to the landscape'. This followed an important commission for the War Artists Advisory Committee in 1942 to paint an underground bomb store at RAF Fauld in Tutbury, creating a small body of works that were highly abstracted and almost geometric in form. Bomberg would make more trips across the UK in 1946, making a series of similarly expansive landscapes of Cornwall, Devon and Scotland. These landscapes present a renewed engagement with nature itself and a large number of these are now in public collections including 'Evening, Cornwall, 1947' (Herbert Art Gallery & Museum, Coventry), 'Bideford, Devon, 1946' (Royal Albert Memorial Museum & Art Gallery, Exeter) and a related Welsh landscape, 'Talgwyn Farm, Red Wharf Bay, Anglesea, 1944' (The Art Gallery of Western Australia, Perth). David Bomberg was a member of the Whitechapel Boys. He studied at the Slade School of Art under Henry Tonks, and alongside artists such as Stanley Spencer, Ben Nicholson, and Paul Nash. He was awarded the Slade Prize for drawing in 1913, after which he travelled to France, meeting contemporaries such as Pablo Picasso and Amedeo Modigliani. In 1914 he co-curated an exhibition with Jacob Epstein, in which his works were shown alongside those of Modigliano, Kisling, and other prominent Jewish artists living in France. His first solo exhibition was held at the Chenil Gallery in 1914, where visitors included Augustus John, Marinetti, Duchamp and Brancusi. Bombergs work has been the subject of a number of solo exhibitions, including at the Israel Museum in 1983, at the Tate in 1988, and at the Whitechapel Gallery in 1979 when under the directorship of Nicholas Serota. His works are currently held at MoMA in New York, the Art Institute in Chicago, the Tate in London and National Galleries of Scotland, Edinburgh.
WWII Prisoner of War Wartime Log, flight log books and related ephemera, belonging to Ralph Caie Stewart, bomber Pilot/Officer, shot down 20-21st June 1944.The Wartime Log recording capture on 27th June 1944, held at Dulag Luft 29th June - 14th July, Stalag Luft III 15th July - 6th February 1945, Stalag VII 13th April 1945 and liberated 29th April 1945 by the American 3rd Army. Contains pages of illustrations and sketches including a hand drawn plan of the escape tunnel used for 'The Great Escape', the Sagan Crest, "The view from my window 17th July 1944", records of other prisoners in Block 104 Room 2 including Canadian Flying Office Reynolds, Pilot Craigie, Typhoon 'Ace' fighter pilot Haddock, US Bombardier Rocco Ravaschieri from B-24 Liberator and others, map of Stewart's journey through Germany and Belgium, a poem by Haddock, "The life of a Kriegie", a view of the camp, drawings of bombers and other planes, a drawing and information of the theatre built at Stalag Luft III along with details and photographs of the productions performed there.Two pilots log books, one recording flight training during 1943, the other detailing training exercised and mission over Wesseling June 22nd 1944.Other ephemera including Stalag Luft III theatre Orchestral Concert programme for 29th Oct-1st Nov 1944, personal telegrams, correspondence after Stewart's capture, personal letters and photographs. Condition report:P/O Ralph Caie Stewart was British (Scottish), Number 1561524. Entry for June 22nd 1944 whows Lancaster III number KMZ ND 138, unsure of which Air/Bomb group he was attached to.
Dinky Toys Boxed Military Pair, to include 604 Land Rover Bomb Disposal Unit with Surveillance Robot, green body and canopy, fluorescent side panels, black Speedwheels, blue solid roof light, with grey Surveillance Robot, and 680 Ferret Armoured Car, green body, black speedwheels. Conditions generally appear to be Good Plus, within Fair to Good boxes. See photo.
MARVEL FIRST ISSUE LOT (13 in Lot) - Includes BOOKS OF DOOM #1 + CAPTAIN BRITAIN #1 (NO FREE GIFT) + CARNAGE: MIND BOMB #1 + CONTEST OF CHAMPIONS #1 + INHUMANS #1 + THE MARVEL FUMETTI BOOK #1 + MARVEL SUPER HEROES SECRET WARS #1 + THE NEW MUTANTS #1 + PETER THE LITTLE PEST #1 + THE PUNISHER VOL.2 #1 + SILVER SURFER #1 + SUPER VILLAIN CLASSICS: GALACTUS THE ORIGIN #1 (NEWSSTAND) + WAR IS HELL #1 - Includes the first appearance of Captain Britain, the first Carnage solo-titled issue, the origin of Galactus + the Silver Surfer one-shot created by Stan Lee & John Byrne
WWII 1940 Air Ministry course setting bomb sight Mk IXA. Makers E.R. Watts & Sons, serial number 8179/40. Used by RAF Royal Navy and RCAF, Aircraft such as short Stirling, Bristol Beaufort, Avro Lancaster. Complete except for the compass turning knob and one piece of tap knob (see photo)POA https://www.bradleys.ltd/quotation-request-form
Approximately 40 mostly magazine issue model aircraft, by Atlas Editions, DeAgostini AMER.com etc. 2x Dornier Do335A-1Pfeil. Lockheed P-38 Lightning, MesserschmittBf110 E-1. Grumman Avenger. Aichi B7A2 Ryusekai torpedo bomber. Ilyushin IL-2M3 Sturmovik. Blackburn Skua MKII RNFAA. Boulton Paul Defiant NF MK.II. De Havilland Mosquito FB MKVI. Vought F4U Corsair. 2004 Northrop Grumman B-2A Spirit. Martin B-26B, Douglas C-54 Skymaster, Dornier Do 24T, Short Stirling MKIII. Plus an un-packeted Indiana Jones WW2 German Flying Wing. Japanese Kawanishi Flying Boat H8K2. Atlas Editions - Pair - Junkers Ju 87G and a Yakovlev Yak-3. Pair - Kawasaki KI.61 Hien and a De Havilland Mosquito FB VI. Pair - Grumman F6F Hellcat and a Nakajima BN5 "Kate". Pair - Republic P-47D Thunderbolt and a Kawanishi NIK2 Shinden-Kai. Pair - V-I Flying Bomb and a Gloster Meteor. Pair - Supermarine Spitfire MK IXe and a Dornier Do 355 Pfeil. Plus another pair - Fairey Swordfish and a Arado Ar 196. Plus a few other examples. Most still in their boxes/packs. Contents VGC-Mint. £70-100
Banksy (British 1974-), 'Bomb Hugger', 2003, screenprint in colours on wove paper, numbered from an edition of 600 in pencil, published by Pictures On Walls; sheet: 70 x 50cmARR sheet: 70 x 50cm Provenance: This work is accompanied by a Pest Control Certificate of Authenticity. In very good condition No knocks or tears to the sheet There is some light horizontal waving to the sheet, visible in raking light Extremely minor imperfections to extreme left hand corners of the sheet and very soft crease to lower left corner, visible upon very close inspection Potential light markings to border of sheet and verso, likely due to the nature of material This work has been stored flat and has not been framed.Provenance: This work is accompanied by a Pest Control Certificate of Authenticity.
Banksy (British 1974-), 'Bomb Middle England', 2002, screenprint in colours on wove paper, signed and dated in black ink, numbered 03/500 in pencil, published by Pictures On Walls; sheet: 35 x 98cm (framed)ARRProvenance: This work is accompanied by a Pest Control Certificate Of Authenticity. sheet: 35 x 98cm (framed) Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity. In very good condition No visible knocks, tears or creases to the sheet Very minor irregularity to the lower right hand green section, visible upon close inspection There are some extremely minor 'speckles' to the upper left hand section of background and one to lower left border, these are potentially from time of production and only visible upon very close inspection This work has been framed in a black frame with a black mount This work has not been examined outside of the frame. Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity.
King & Country - Fields of Battle Series, comprising: Set FoB 006 - Marching Bren Gunner, Set FoB 023 - British Sergeant Major, Set FoB 069 - Bomb Disposal "Tilly" & Set FoB 076 - Tommy on Guard. Possible minor display wear otherwise generally Mint overall, contained in near Mint set boxes. [4]
Peter Midgley (British 1921-1991), 'Bomb Site Playground', signed and with Young Contemporaries Gallery label verso, with additional signature to stretcher canvas. Oils on canvas. 77x63cm approx. Original frame. Provenance: originally from the Estate of John Guest of Penguin Books. (B.P. 21% + VAT) Rather grubby but appearing to be in good original condition.
ROBERT ADAMS (BRITISH 1917-1984) SLIM BRONZE NO. 3, 1973 (LARGE VERSION OPUS 347) stamped with signature, dated and numbered 2/6 (to base), also stamped A 72 2/6 (to bronze), bronze 89.5cm high (35 ¼in high) (excluding base); 92cm high (36 ½in high) (including base), 62cm wide (24 3/8in wide) Exhibited: Gimpel Fils, London, Robert Adams, 29 May - 22 June 1974, no.14 (another cast)Gimpel & Weitzenhoffer Gallery, New York, Robert Adams, 17 September - 5 October 1974, no.14 (another cast)Camden Arts Centre, London, Hampstead Artists 1946-86, 1986 (another cast)Literature: Alastair Grieve, The Sculpture of Robert Adams, The Henry Moore Foundation in association with Lund Humphries, 1992, no.614, illustrated pp.125 & 233 (another cast) The three works by Robert Adams presented from Hugo Burge’s collection in this sale are a perfect snapshot of three decades of the artist’s output. They encapsulate his interest in screen-like forms that play with the notion of ‘flatness’ within the overall three-dimensional context of sculpture.Adams was part of a ‘golden generation’ of British sculptors who came to prominence in the early 1950s, achieving almost immediate international acclaim and recognition, not least for their ability to capture the uncanny and uneasy mix of optimism and despair that followed World War Two, the liberation of the concentration camps and the dropping of the atomic bomb. Adams was part of the group selected by Herbert Read to exhibit in the British Pavilion at the 1952 Venice Biennale – when he coined the phrase ‘the geometry of fear’ to capture a particular quality of these young sculptors’ work, with their spiky and attenuated forms that spoke to the existential crisis of the post-war period. However, as Alastair Grieve noted in the Preface to his catalogue raisonné of the artist’s work, Adams’ sculpture ‘differs markedly from that of…his contemporaries…as it is purely visual, totally unliterary, constructed from abstract forms and spaces…Abstract art opened the way for a truly expressive use of materials, unhindered by the restraints of representation.’ (Alastair Grieve, The Sculpture of Robert Adams, The Henry Moore Foundation in association with Lund Humphries, 1992, p.9) A work such as Screen Form has in fact more in common with an even younger generation of British sculptors such as Anthony Caro (who had begun to make his first cut and welded works in 1960), as well as the American minimalists such as Robert Morris, Donald Judd and Richard Serra – although in Adams’ rough handling of the material, the worn and jagged edges of the plates, he holds something of the memory of the post-war world of twisted metal and bombsites. Also amongst his peers – Lynn Chadwick, Eduardo Paolozzi and William Turnbull amongst others – Adams remains relatively undervalued and unheralded – something that no doubt drew Hugo Burge, always a champion of the good but overlooked, to Adams’ work. This could be due simply to the fact that all of Adams’ early works were unique, made of forged and welded steel (he didn’t start making editions until the late 1960s) and so his work couldn’t proliferate on the back of this early critical success. And partly because – like his contemporary Kenneth Armitage, to similar result – Adams refused to be pinned down in the visual language of his 1950s success, but innovated restlessly, not least in becoming ever more abstract. Slim Form, for example, brims with 1960s optimism, of Harold Wilson’s pledge to harness the ‘white heat of technology’, its smooth, polished surface making it the perfect embodiment of both the atomic age and the age of Concorde. In contrast to his sculpture of the previous decade, there are no jagged edges to arrest the eye, to turn you back on yourself. Instead, Adams’ sculpture flows with the space surrounding it and so returns somewhat to the conceptual world occupied by Henry Moore – the artist against whom Read presented the ‘geometry of fear’ artists as a counterpoint. Yet for Moore, this fluidity always stands aligned to the shapes of the landscape, whereas Adams’ art is committed to the urban – although in Cryptic Form we can perhaps see a later career shift back to something more allusive and metaphorical. In this, he shares something in common with his contemporary Turnbull, another artist much admired by Hugo Burge. As the forces of post-Modernism swirled around in the 1980s, these two veteran sculptors embarked on making, to use Turnbull’s expression, universal totems ‘beyond time’.
ROBERT ADAMS (BRITISH 1917-1984) CRYPTIC FORM No. 1, 1980 (OPUS 394) stamped, dated and numbered ADAMS 1980 1/6 (on the underside), cast in an edition of six, bronze 31cm high, 17cm wide (12 ¼in high, 6 ¾in wide) Literature: Alastair Grieve, The Sculpture of Robert Adams, The Henry Moore Foundation in association with Lund Humphries, 1992, no.662, illustrated p.239 (another cast)The three works by Robert Adams presented from Hugo Burge’s collection in this sale are a perfect snapshot of three decades of the artist’s output. They encapsulate his interest in screen-like forms that play with the notion of ‘flatness’ within the overall three-dimensional context of sculpture.Adams was part of a ‘golden generation’ of British sculptors who came to prominence in the early 1950s, achieving almost immediate international acclaim and recognition, not least for their ability to capture the uncanny and uneasy mix of optimism and despair that followed World War Two, the liberation of the concentration camps and the dropping of the atomic bomb. Adams was part of the group selected by Herbert Read to exhibit in the British Pavilion at the 1952 Venice Biennale – when he coined the phrase ‘the geometry of fear’ to capture a particular quality of these young sculptors’ work, with their spiky and attenuated forms that spoke to the existential crisis of the post-war period. However, as Alastair Grieve noted in the Preface to his catalogue raisonné of the artist’s work, Adams’ sculpture ‘differs markedly from that of…his contemporaries…as it is purely visual, totally unliterary, constructed from abstract forms and spaces…Abstract art opened the way for a truly expressive use of materials, unhindered by the restraints of representation.’ (Alastair Grieve, The Sculpture of Robert Adams, The Henry Moore Foundation in association with Lund Humphries, 1992, p.9) A work such as Screen Form has in fact more in common with an even younger generation of British sculptors such as Anthony Caro (who had begun to make his first cut and welded works in 1960), as well as the American minimalists such as Robert Morris, Donald Judd and Richard Serra – although in Adams’ rough handling of the material, the worn and jagged edges of the plates, he holds something of the memory of the post-war world of twisted metal and bombsites. Also amongst his peers – Lynn Chadwick, Eduardo Paolozzi and William Turnbull amongst others – Adams remains relatively undervalued and unheralded – something that no doubt drew Hugo Burge, always a champion of the good but overlooked, to Adams’ work. This could be due simply to the fact that all of Adams’ early works were unique, made of forged and welded steel (he didn’t start making editions until the late 1960s) and so his work couldn’t proliferate on the back of this early critical success. And partly because – like his contemporary Kenneth Armitage, to similar result – Adams refused to be pinned down in the visual language of his 1950s success, but innovated restlessly, not least in becoming ever more abstract. Slim Form, for example, brims with 1960s optimism, of Harold Wilson’s pledge to harness the ‘white heat of technology’, its smooth, polished surface making it the perfect embodiment of both the atomic age and the age of Concorde. In contrast to his sculpture of the previous decade, there are no jagged edges to arrest the eye, to turn you back on yourself. Instead, Adams’ sculpture flows with the space surrounding it and so returns somewhat to the conceptual world occupied by Henry Moore – the artist against whom Read presented the ‘geometry of fear’ artists as a counterpoint. Yet for Moore, this fluidity always stands aligned to the shapes of the landscape, whereas Adams’ art is committed to the urban – although in Cryptic Form we can perhaps see a later career shift back to something more allusive and metaphorical. In this, he shares something in common with his contemporary Turnbull, another artist much admired by Hugo Burge. As the forces of post-Modernism swirled around in the 1980s, these two veteran sculptors embarked on making, to use Turnbull’s expression, universal totems ‘beyond time’.
WW2 British & German Relics from 1940 & 1941: Tail fin from a German Incendiary Bomb dropped on Liverpool in 1940: German Bomb Fragments from RAF WAttisham 1941: British AA Shell fuze found on the roof of the British Museum 1941: Empty INERT FFE Very Pistol Cartridge from RAF Swanton Morley 1941: Fragment of AA shell found in the garden of the British Museum 1941. (5)
Ten ?? 1/72 scale model aircraft kits - Heller Humbrol 80310 Lockheed L749 Constellation; Hasegawa JS-053:150 Heinkel He51A-1; Revell H-113 Junkers JU 88; Revell H649 Boeing PT-13D Kaydet/Navy N2S-5; Revell H647 PZL P-11c; Airfix A93148 Gloster Meteor III and V.1 Flying (Doodle Bug) Bomb; Airfix 02036-5 Hawker Siddeley Harrier; Airfix 03011 Series 3 BAC Jaguar GR1; Novo 78102 Mustang-Fighter; Novo 78075 Hunter-Ground Attack Fighter. (All boxed, unused and complete.)
Catherine Chambers First hand, 2025 Acryic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Catherine Chambers is a figurative artist who documents poignant moments, often from her experiences of living abroad in Ethiopia and the Middle East. Catherine is inspired by environments and their inhabitants, capturing intimate moments of connectedness. However, as with all good portraiture, there is more than meets the eye to her work. These works ask the viewer to confront the complicated dynamics of love, care and identity. This is Catherine's second time working with Art on a Postcard. Her previous contributions zoomed in on feet from her larger paintings. This time, Catherine has created postcards looking at the hands in existing works of hers. Education 2009-2012 BA (Hons) Drawing and Applied Arts, University of the West of England, Bristol, UK Solo Exhibitions 2019 I Appreciate You, The Embassy of Ethiopia, London 2016 A Brother's Progress, Freespace Gallery, Kentish Town, London Red Lodge Chair, Red Lodge Museum, Park Row, Bristol Possession(s), The Tobacco Factory, Bristol Group Exhibitions 2024 Herbert Smith Freehills Award, National Portrait Gallery, London Women In Art Finalists, The Roundhouse, London RBA Rising Stars, Royal Over-Seas League, London Wells Contemporary Art, Wells Cathedral, Wells A Personal Treasure, The Nunnery Gallery, London 2023 Missed Letters, Making Space Gallery, London New Wave, Spitalfields Studios, London Awe and Wonder, Chaiya Art Awards, Oxo Gallery, London 2022 Football Art Prize, Millennium Gallery, Sheffield Galvanise, Spitalfields Studios, London Art on a Postcard, The Bomb Factory, London 2021 Summer Show, Royal Academy of Arts, London Sunny Art Prize, Sunny Art Centre, London 2020 Summer Exhibition, Green and Stone Gallery, London 2018 Summer Show, Royal Academy of Arts, London Awards 2024 3rd Prize for The Herbert Smith Freehills Prize at the National Portrait Gallery Royal Society of British Artists Rising Star Women in Art Prize finalist Gallery Representation Mall Galleries, London, UK Statement About AOAP Submitted Artwork Fly is a cropped detail from a larger painting currently being exhibited at the Mall Galleries annual Royal Society of British Artists exhibition. The painting continues a conversation Catherine introduced with her painting "Lying" which won third prize at the National Portrait Gallery in 2024. In this painting, the same sitter holds a bird securely; as it is, the bird cannot fly despite being born to do so. Catherine wants the audience to contemplate, if you have something (could be a relationship, land, artefacts...) but you have it by force or deceit, do you really have it at all? And is it still worth having? Class is a cropped detail from Catherine's larger painting "Between Classes". The girl chooses colours to fill the outlines of a princess. The postcard questions how the girl came to choose those specific colours and how they differ to the girls own image. The work explores ideas of care, influence and status; how they overlap, interact and differ. Fortune is a detail from Catherine's larger painting "Nafkot (Yeabsra)". A child holds a popular paper game, commonly known as a chatterbox or fortune teller. It was introduced to the girl by Catherine in an exchange of sharing games local to one and foreign to another. Games are a recurring theme in Catherine's work, highlighting how unlevel the playing field is in real life. First Hand is a detail from Catherine's larger painting "Holding Space". The hand is of a dear friend of the artist, and celebrates a friendship that challenges outside expectations. It is a prompt to think for oneself and to learn from trusted resources. 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.
Catherine Chambers Class, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Catherine Chambers is a figurative artist who documents poignant moments, often from her experiences of living abroad in Ethiopia and the Middle East. Catherine is inspired by environments and their inhabitants, capturing intimate moments of connectedness. However, as with all good portraiture, there is more than meets the eye to her work. These works ask the viewer to confront the complicated dynamics of love, care and identity. This is Catherine's second time working with Art on a Postcard. Her previous contributions zoomed in on feet from her larger paintings. This time, Catherine has created postcards looking at the hands in existing works of hers. Education 2009-2012 BA (Hons) Drawing and Applied Arts, University of the West of England, Bristol, UK Solo Exhibitions 2019 I Appreciate You, The Embassy of Ethiopia, London 2016 A Brother's Progress, Freespace Gallery, Kentish Town, London Red Lodge Chair, Red Lodge Museum, Park Row, Bristol Possession(s), The Tobacco Factory, Bristol Group Exhibitions 2024 Herbert Smith Freehills Award, National Portrait Gallery, London Women In Art Finalists, The Roundhouse, London RBA Rising Stars, Royal Over-Seas League, London Wells Contemporary Art, Wells Cathedral, Wells A Personal Treasure, The Nunnery Gallery, London 2023 Missed Letters, Making Space Gallery, London New Wave, Spitalfields Studios, London Awe and Wonder, Chaiya Art Awards, Oxo Gallery, London 2022 Football Art Prize, Millennium Gallery, Sheffield Galvanise, Spitalfields Studios, London Art on a Postcard, The Bomb Factory, London 2021 Summer Show, Royal Academy of Arts, London Sunny Art Prize, Sunny Art Centre, London 2020 Summer Exhibition, Green and Stone Gallery, London 2018 Summer Show, Royal Academy of Arts, London Awards 2024 3rd Prize for The Herbert Smith Freehills Prize at the National Portrait Gallery Royal Society of British Artists Rising Star Women in Art Prize finalist Gallery Representation Mall Galleries, London, UK Statement About AOAP Submitted Artwork Fly is a cropped detail from a larger painting currently being exhibited at the Mall Galleries annual Royal Society of British Artists exhibition. The painting continues a conversation Catherine introduced with her painting "Lying" which won third prize at the National Portrait Gallery in 2024. In this painting, the same sitter holds a bird securely; as it is, the bird cannot fly despite being born to do so. Catherine wants the audience to contemplate, if you have something (could be a relationship, land, artefacts...) but you have it by force or deceit, do you really have it at all? And is it still worth having? Class is a cropped detail from Catherine's larger painting "Between Classes". The girl chooses colours to fill the outlines of a princess. The postcard questions how the girl came to choose those specific colours and how they differ to the girls own image. The work explores ideas of care, influence and status; how they overlap, interact and differ. Fortune is a detail from Catherine's larger painting "Nafkot (Yeabsra)". A child holds a popular paper game, commonly known as a chatterbox or fortune teller. It was introduced to the girl by Catherine in an exchange of sharing games local to one and foreign to another. Games are a recurring theme in Catherine's work, highlighting how unlevel the playing field is in real life. First Hand is a detail from Catherine's larger painting "Holding Space". The hand is of a dear friend of the artist, and celebrates a friendship that challenges outside expectations. It is a prompt to think for oneself and to learn from trusted resources. 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.
Tanaka Mazivanhanga Remnants II, 2024 Remnants II Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Tanaka Mazivanhanga is a contemporary artist whose work delves into themes of memory, identity, and the preservation of histories. Specialising in printmaking, installations, and object-making, she values the physicality of working with her hands and engaging directly with materials. This hands-on approach enables her to layer textures, build marks, and create tactile images. Education 2017-2019 MA: Visual Arts - Printmaking, Camberwell College of Arts, London, United Kingdom. 2010-2014 BA: Architecture, Kingston School of Art, London, United Kingdom. Solo Exhibitions 2025 TBC, ArtWorks Project Space, London, United Kingdom TBC, ASC Gallery, London, United Kingdom Group Exhibitions 2025 LOOP 2025, Bankside Gallery, London, United Kingdom Terra Incognita, Thames-Side Studios Gallery, London, United Kingdom Art on A Postcard International Women's Day Auction 2025, The Bomb Factory Art Foundation, London, United Kingdom 2024 Woolwich Contemporary Print Fair, Woolwich Works, London, United Kingdom Don't Be a Square!, AKKA Projects, Venice, Italy East London Printmakers - Festival of Print, Art Pavilion, London, United Kingdom The Women in Art Prize, The Roundhouse, London, United Kingdom 2023 Also Known As Africa, Art and Design Fair, Paris, France Woolwich Contemporary Print Fair, Woolwich Works, London, United Kingdom The Trinity Buoy Wharf Drawing Prize 2023, Trinity Buoy Wharf, London, United Kingdom LOOP 2023, Bankside Gallery, London, United Kingdom Bainbridge Open 2023, ASC Gallery, London, United Kingdom RA Summer Exhibition, Royal Academy of Arts, London, United Kingdom NAE Open 2023, New Art Exchange, Nottingham, United Kingdom Art on a Postcard International Women's Day Auction 2023, Fitzrovia Gallery, London HERE & WHERE, Curious Kudu Gallery, London, United Kingdom 2022 Woolwich Contemporary Print Fair, Woolwich Works, London, United Kingdom StART x Martin Miller's Gin Emerging Art Prize, Saatchi Gallery, London, United Kingdom Althea McNish, Colour Is Mine, William Morris Gallery, London, United Kingdom African Identities Chapter III, AKKA Project, Venice, Italy Fragile Bites, No Format Gallery, London, United Kingdom 2021 Withheld, Safehouse, London, United Kingdom East London Printmakers - Festival of Print, Art Pavilion, London, United Kingdom artHARARE, Contemporary Online Fair Woolwich Contemporary Print Fair, Woolwich Works, London, United Kingdom Un I Veiled, Brocket Gallery, London, United Kingdom Mayfair Art Weekend, London, United Kingdom 2020 My Love Is Your Love, Every Woman Biennial, London, United Kingdom Woolwich Contemporary Print Fair, Online Edition 2019 Clifford Chance Postgraduate Printmaking A Survey Exhibition, London, United Kingdom Woolwich Contemporary Print Fair, Woolwich Works, London, United Kingdom MA Visual Arts Summer Show, Camberwell College of Arts, London, United Kingdom Celebrating Women's History Month, Brentwood Road Gallery, London, United Kingdom Awards 2024 Solo Exhibition and Cash Prize, Barbican Arts Group Trust The Printing First Prize - The Printed Editions Award, The Women In Art Prize 2023 ASC Award - Solo Exhibition, ASC Gallery 2022 Cash Prize, StART x Martin Miller's Gin Emerging Art Prize Studio Award, HausPrint Studio 2019 Studio Award, East London Printmakers Studio Award, Bainbridge Print Studios Statement about AOAP Submitted Artwork Untitled III Landscape Series explores the often-overlooked marks and surfaces of the urban landscape. Texture plays a vital role in this work, brought to life through the painterly qualities of the Mokulito process, which evokes the essence of diverse landscapes. Remnants reflects remnants left by enslaved women during the Atlantic slave trade on the Gold Coast, capturing and honouring their presence. Deeply etching the metal plate was essential to convey the depth and weight of their stories. 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.
Tanaka Mazivanhanga (Untitled III) Landscape Series (Detail II), 2025 Mokulito and watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Tanaka Mazivanhanga is a contemporary artist whose work delves into themes of memory, identity, and the preservation of histories. Specialising in printmaking, installations, and object-making, she values the physicality of working with her hands and engaging directly with materials. This hands-on approach enables her to layer textures, build marks, and create tactile images. Education 2017-2019 MA: Visual Arts - Printmaking, Camberwell College of Arts, London, United Kingdom. 2010-2014 BA: Architecture, Kingston School of Art, London, United Kingdom. Solo Exhibitions 2025 TBC, ArtWorks Project Space, London, United Kingdom TBC, ASC Gallery, London, United Kingdom Group Exhibitions 2025 LOOP 2025, Bankside Gallery, London, United Kingdom Terra Incognita, Thames-Side Studios Gallery, London, United Kingdom Art on A Postcard International Women's Day Auction 2025, The Bomb Factory Art Foundation, London, United Kingdom 2024 Woolwich Contemporary Print Fair, Woolwich Works, London, United Kingdom Don't Be a Square!, AKKA Projects, Venice, Italy East London Printmakers - Festival of Print, Art Pavilion, London, United Kingdom The Women in Art Prize, The Roundhouse, London, United Kingdom 2023 Also Known As Africa, Art and Design Fair, Paris, France Woolwich Contemporary Print Fair, Woolwich Works, London, United Kingdom The Trinity Buoy Wharf Drawing Prize 2023, Trinity Buoy Wharf, London, United Kingdom LOOP 2023, Bankside Gallery, London, United Kingdom Bainbridge Open 2023, ASC Gallery, London, United Kingdom RA Summer Exhibition, Royal Academy of Arts, London, United Kingdom NAE Open 2023, New Art Exchange, Nottingham, United Kingdom Art on a Postcard International Women's Day Auction 2023, Fitzrovia Gallery, London HERE & WHERE, Curious Kudu Gallery, London, United Kingdom 2022 Woolwich Contemporary Print Fair, Woolwich Works, London, United Kingdom StART x Martin Miller's Gin Emerging Art Prize, Saatchi Gallery, London, United Kingdom Althea McNish, Colour Is Mine, William Morris Gallery, London, United Kingdom African Identities Chapter III, AKKA Project, Venice, Italy Fragile Bites, No Format Gallery, London, United Kingdom 2021 Withheld, Safehouse, London, United Kingdom East London Printmakers - Festival of Print, Art Pavilion, London, United Kingdom artHARARE, Contemporary Online Fair Woolwich Contemporary Print Fair, Woolwich Works, London, United Kingdom Un I Veiled, Brocket Gallery, London, United Kingdom Mayfair Art Weekend, London, United Kingdom 2020 My Love Is Your Love, Every Woman Biennial, London, United Kingdom Woolwich Contemporary Print Fair, Online Edition 2019 Clifford Chance Postgraduate Printmaking A Survey Exhibition, London, United Kingdom Woolwich Contemporary Print Fair, Woolwich Works, London, United Kingdom MA Visual Arts Summer Show, Camberwell College of Arts, London, United Kingdom Celebrating Women's History Month, Brentwood Road Gallery, London, United Kingdom Awards 2024 Solo Exhibition and Cash Prize, Barbican Arts Group Trust The Printing First Prize - The Printed Editions Award, The Women In Art Prize 2023 ASC Award - Solo Exhibition, ASC Gallery 2022 Cash Prize, StART x Martin Miller's Gin Emerging Art Prize Studio Award, HausPrint Studio 2019 Studio Award, East London Printmakers Studio Award, Bainbridge Print Studios Statement about AOAP Submitted Artwork Untitled III Landscape Series explores the often-overlooked marks and surfaces of the urban landscape. Texture plays a vital role in this work, brought to life through the painterly qualities of the Mokulito process, which evokes the essence of diverse landscapes. Remnants reflects remnants left by enslaved women during the Atlantic slave trade on the Gold Coast, capturing and honouring their presence. Deeply etching the metal plate was essential to convey the depth and weight of their stories. 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.
Pia Pack Jumbled, 20025 Acrylic, wax pastel, and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Pia Pack's work examines ideas surrounding motherhood and domestic life through an exploration of social interactions around the kitchen table; 'Table Talks'. Pia combines familiar patterns and shapes with repetition and overlapping to create looseness and tension. Through these contradictions, she expresses a universal statement about the challenges and satisfactions of human relationships. Her work speaks to engagement with family life, social expectations and daily patterns. Pia says of the works 'There is no shying away from the beauty and oddities of family life in these paintings.' Pia lives and works in Bristol and is represented by Gertrude. Pia studied painting at Wimbledon School of Art, Central St Martins and Bath School of Art and has been included in many group shows in London and in the U.S. In 2019, Alex Eagle invited Pia to take over their Soho studio with an exhibit entitled Table Talk. Whilst living in Los Angeles, Pia established the podcast 'What Artists Listen To' aimed at bringing artist's studio practises to life and building a community amongst creatives in the city and further afield. This communal sentiment has been continued recently with an initiative in London entitled 'The Binder of Women', organised by Pack to unite a group of 11 women artists to create a portfolio of works together. Solo shows 2024 Table Talk - TEALS, Somerset 2019 Table Talk - Alex Eagle, London, UK Group shows 2025 Tenterhooks presented by Binder of Women - Gillian Jason Gallery, London Art on a Postcard - International Womens Day, Bomb Factory, London 2024 Binder of Women, 4th Edition - Woolwich Contemporary Print Fair, London Colour Takes Shape - Eponine, London Art on a Postcard - International Womens Day, Bomb Factory, London Mothers of Invention - The Mount Without, Bristol Arts Emergency - Art for Charity Collective 2023 Presence - That Art Gallery, Bristol It's My House with CURA - Home House, London 2022 Binder of Women, 3rd Edition - The Arts Club, London Gertrude PRESENTS - The Truman Brewery, London Art for Charity Collective - Unit 1, London It's My House with CURA - Porch Gallery, Ojai 2020 Oblomovrooms - Bertoli Mauti, London LA: Night & Day with CURA - The Lodge LA 2019 Sexy X-Mas - The Lodge, LA A Store Show - Odd Ark, LA Dinner's Ready - Gallery Bang Bang, Nashville, TX 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.
Maayan Sophia Weisstub Fertility, 2024 Digital collage on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Maayan Sophia Weisstub is a multidisciplinary artist based in the United Kingdom. A graduate of the Royal College of Art, Maayan's work has been exhibited in renowned museums and galleries internationally, including Christie's, Omer Tiroche Gallery, Saatchi Gallery, Museum of the Home in London, and Pavlov's Dog Gallery in Berlin. Maayan has been recognized as a shortlisted finalist for the Robert Walters Group UK New Artist of the Year Award and the John Ruskin Art Prize. Her work has garnered attention in prominent publications such as WhiteHot Magazine, Kaltblut Magazine, Hyperallergic Magazine, White Paper By Magazine, and many more. Education 2019-2021 Royal College of Art, MA Information Experience Design Solo Exhibitions 2024 Mama Salon, London, United Kingdom 2022 Poum Gallery, Lyon, France 2021 Mnḗmē, Omer Tiroche Gallery, London, United Kingdom 2019 Alliance House, Jerusalem, Israel Group Exhibitions 2024 Bath Society of Artists Annual Exhibition, Victoria Gallery, Bath, UK Art Bellow, Regent's Park Tube Station, London, United Kingdom Summer Exhibition, Green & Stone Gallery, London, United Kingdom Essential Structures, Gerald Moore Gallery, London, United Kingdom John Ruskin Art Prize, Trinity Buoy Wharf, London, United Kingdom Art on Postcard, The Bomb Factory, London, United Kingdom 2023 Women in Art Prize, Roundhouse, London, United Kingdom Tom of Finland Festival, The Standard, London, United Kingdom The Self-Portrait Prize Online Exhibition, Artsy No Future, No Cry, Galeria Alfaia, Loule, Portugal No Future, No Cry, Centro Cultural De Lagos, Lagos, Portugal Fetish, Mama, London, United Kingdom 2022 Marianne Brandt Award, Industrial Museum, Chemnitz, Germany Tom of Finland Festival, Second Home, London, United Kingdom Art on Postcard x Go with Yamo, Koppel X, London, United Kingdom Next at Christie's, London, United Kingdom Brixton Art Prize, The Department Store, London, United Kingdom Sleep, Museum of the Home, London, United Kingdom Beit Kandinof Gallery, Jaffa, Israel 2021 Robert Walters Group UK New Artist of the Year Award, Online Gallery, London, United Kingdom Robert Walters Group UK New Artist of the Year Award, Saatchi Gallery, London, United Kingdom Beep Beep, Menier Gallery, London, United Kingdom Beyond the Frame, Horse Hospital, London, United Kingdom Awards 2024 Shortlisted, John Ruskin Art Prize 2023 Finalist, Women in Art Prize 2022 Nominated, Marianne Brandt Award Shortlisted, Zealous Amplify Shortlisted, Brixton Art Prize Outset Contemporary Art Fund 2021 Global Talent Visa UK Shortlisted, Robert Walters Group UK New Artist of the Year Award Public Collections Tom of Finland Collection (Los Angeles, United States of America) Statement about AOAP Submitted Artwork The feminine embodies the essence of creation, transformation, and the intricate dance of existence, with the potential of the mother as its core. It carries the profound ability to give life, shape new worlds, and nurture them with care and resilience. The egg, an ancient symbol of fertility, represents the embryonic potential from which life emerges, while its connection to the breast signifies not only life-giving sustenance but also the enduring strength of the maternal force in nurturing and protection. Together, these symbols reflect the sacred cycle of birth, growth, sustenance, and renewal. 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.
Catherine Chambers Fortune, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Catherine Chambers is a figurative artist who documents poignant moments, often from her experiences of living abroad in Ethiopia and the Middle East. Catherine is inspired by environments and their inhabitants, capturing intimate moments of connectedness. However, as with all good portraiture, there is more than meets the eye to her work. These works ask the viewer to confront the complicated dynamics of love, care and identity. This is Catherine's second time working with Art on a Postcard. Her previous contributions zoomed in on feet from her larger paintings. This time, Catherine has created postcards looking at the hands in existing works of hers. Education 2009-2012 BA (Hons) Drawing and Applied Arts, University of the West of England, Bristol, UK Solo Exhibitions 2019 I Appreciate You, The Embassy of Ethiopia, London 2016 A Brother's Progress, Freespace Gallery, Kentish Town, London Red Lodge Chair, Red Lodge Museum, Park Row, Bristol Possession(s), The Tobacco Factory, Bristol Group Exhibitions 2024 Herbert Smith Freehills Award, National Portrait Gallery, London Women In Art Finalists, The Roundhouse, London RBA Rising Stars, Royal Over-Seas League, London Wells Contemporary Art, Wells Cathedral, Wells A Personal Treasure, The Nunnery Gallery, London 2023 Missed Letters, Making Space Gallery, London New Wave, Spitalfields Studios, London Awe and Wonder, Chaiya Art Awards, Oxo Gallery, London 2022 Football Art Prize, Millennium Gallery, Sheffield Galvanise, Spitalfields Studios, London Art on a Postcard, The Bomb Factory, London 2021 Summer Show, Royal Academy of Arts, London Sunny Art Prize, Sunny Art Centre, London 2020 Summer Exhibition, Green and Stone Gallery, London 2018 Summer Show, Royal Academy of Arts, London Awards 2024 3rd Prize for The Herbert Smith Freehills Prize at the National Portrait Gallery Royal Society of British Artists Rising Star Women in Art Prize finalist Gallery Representation Mall Galleries, London, UK Statement About AOAP Submitted Artwork Fly is a cropped detail from a larger painting currently being exhibited at the Mall Galleries annual Royal Society of British Artists exhibition. The painting continues a conversation Catherine introduced with her painting "Lying" which won third prize at the National Portrait Gallery in 2024. In this painting, the same sitter holds a bird securely; as it is, the bird cannot fly despite being born to do so. Catherine wants the audience to contemplate, if you have something (could be a relationship, land, artefacts...) but you have it by force or deceit, do you really have it at all? And is it still worth having? Class is a cropped detail from Catherine's larger painting "Between Classes". The girl chooses colours to fill the outlines of a princess. The postcard questions how the girl came to choose those specific colours and how they differ to the girls own image. The work explores ideas of care, influence and status; how they overlap, interact and differ. Fortune is a detail from Catherine's larger painting "Nafkot (Yeabsra)". A child holds a popular paper game, commonly known as a chatterbox or fortune teller. It was introduced to the girl by Catherine in an exchange of sharing games local to one and foreign to another. Games are a recurring theme in Catherine's work, highlighting how unlevel the playing field is in real life. First Hand is a detail from Catherine's larger painting "Holding Space". The hand is of a dear friend of the artist, and celebrates a friendship that challenges outside expectations. It is a prompt to think for oneself and to learn from trusted resources. 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.
Pia Pack Interlude, 2025 Acrylic, wax pastel, and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Pia Pack's work examines ideas surrounding motherhood and domestic life through an exploration of social interactions around the kitchen table; 'Table Talks'. Pia combines familiar patterns and shapes with repetition and overlapping to create looseness and tension. Through these contradictions, she expresses a universal statement about the challenges and satisfactions of human relationships. Her work speaks to engagement with family life, social expectations and daily patterns. Pia says of the works 'There is no shying away from the beauty and oddities of family life in these paintings.' Pia lives and works in Bristol and is represented by Gertrude. Pia studied painting at Wimbledon School of Art, Central St Martins and Bath School of Art and has been included in many group shows in London and in the U.S. In 2019, Alex Eagle invited Pia to take over their Soho studio with an exhibit entitled Table Talk. Whilst living in Los Angeles, Pia established the podcast 'What Artists Listen To' aimed at bringing artist's studio practises to life and building a community amongst creatives in the city and further afield. This communal sentiment has been continued recently with an initiative in London entitled 'The Binder of Women', organised by Pack to unite a group of 11 women artists to create a portfolio of works together. Solo shows 2024 Table Talk - TEALS, Somerset 2019 Table Talk - Alex Eagle, London, UK Group shows 2025 Tenterhooks presented by Binder of Women - Gillian Jason Gallery, London Art on a Postcard - International Womens Day, Bomb Factory, London 2024 Binder of Women, 4th Edition - Woolwich Contemporary Print Fair, London Colour Takes Shape - Eponine, London Art on a Postcard - International Womens Day, Bomb Factory, London Mothers of Invention - The Mount Without, Bristol Arts Emergency - Art for Charity Collective 2023 Presence - That Art Gallery, Bristol It's My House with CURA - Home House, London 2022 Binder of Women, 3rd Edition - The Arts Club, London Gertrude PRESENTS - The Truman Brewery, London Art for Charity Collective - Unit 1, London It's My House with CURA - Porch Gallery, Ojai 2020 Oblomovrooms - Bertoli Mauti, London LA: Night & Day with CURA - The Lodge LA 2019 Sexy X-Mas - The Lodge, LA A Store Show - Odd Ark, LA Dinner's Ready - Gallery Bang Bang, Nashville, TX 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.
Catherine Chambers Fly, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Catherine Chambers is a figurative artist who documents poignant moments, often from her experiences of living abroad in Ethiopia and the Middle East. Catherine is inspired by environments and their inhabitants, capturing intimate moments of connectedness. However, as with all good portraiture, there is more than meets the eye to her work. These works ask the viewer to confront the complicated dynamics of love, care and identity. This is Catherine's second time working with Art on a Postcard. Her previous contributions zoomed in on feet from her larger paintings. This time, Catherine has created postcards looking at the hands in existing works of hers. Education 2009-2012 BA (Hons) Drawing and Applied Arts, University of the West of England, Bristol, UK Solo Exhibitions 2019 I Appreciate You, The Embassy of Ethiopia, London 2016 A Brother's Progress, Freespace Gallery, Kentish Town, London Red Lodge Chair, Red Lodge Museum, Park Row, Bristol Possession(s), The Tobacco Factory, Bristol Group Exhibitions 2024 Herbert Smith Freehills Award, National Portrait Gallery, London Women In Art Finalists, The Roundhouse, London RBA Rising Stars, Royal Over-Seas League, London Wells Contemporary Art, Wells Cathedral, Wells A Personal Treasure, The Nunnery Gallery, London 2023 Missed Letters, Making Space Gallery, London New Wave, Spitalfields Studios, London Awe and Wonder, Chaiya Art Awards, Oxo Gallery, London 2022 Football Art Prize, Millennium Gallery, Sheffield Galvanise, Spitalfields Studios, London Art on a Postcard, The Bomb Factory, London 2021 Summer Show, Royal Academy of Arts, London Sunny Art Prize, Sunny Art Centre, London 2020 Summer Exhibition, Green and Stone Gallery, London 2018 Summer Show, Royal Academy of Arts, London Awards 2024 3rd Prize for The Herbert Smith Freehills Prize at the National Portrait Gallery Royal Society of British Artists Rising Star Women in Art Prize finalist Gallery Representation Mall Galleries, London, UK Statement About AOAP Submitted Artwork Fly is a cropped detail from a larger painting currently being exhibited at the Mall Galleries annual Royal Society of British Artists exhibition. The painting continues a conversation Catherine introduced with her painting "Lying" which won third prize at the National Portrait Gallery in 2024. In this painting, the same sitter holds a bird securely; as it is, the bird cannot fly despite being born to do so. Catherine wants the audience to contemplate, if you have something (could be a relationship, land, artefacts...) but you have it by force or deceit, do you really have it at all? And is it still worth having? Class is a cropped detail from Catherine's larger painting "Between Classes". The girl chooses colours to fill the outlines of a princess. The postcard questions how the girl came to choose those specific colours and how they differ to the girls own image. The work explores ideas of care, influence and status; how they overlap, interact and differ. Fortune is a detail from Catherine's larger painting "Nafkot (Yeabsra)". A child holds a popular paper game, commonly known as a chatterbox or fortune teller. It was introduced to the girl by Catherine in an exchange of sharing games local to one and foreign to another. Games are a recurring theme in Catherine's work, highlighting how unlevel the playing field is in real life. First Hand is a detail from Catherine's larger painting "Holding Space". The hand is of a dear friend of the artist, and celebrates a friendship that challenges outside expectations. It is a prompt to think for oneself and to learn from trusted resources. 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.
Bex Massey Queen, 2025 Watercolour and acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bex Massey's work examines the role of painting and the language of display in the face of popular culture. She amalgamates simulacra and allegory to investigate notions of 'worth' via motifs and tones extracted from her childhood. Massey's previous works and exhibitions have engaged the codes and history of queer culture, along with markers of selfhood and Northern identity. Recent works have become visually softer, more sedate and uncomfortable as the unease and 'value' in this series is created via the relationships between the minimal conflations. The image pairings within these paintings encourage allusion to female bodies, building an underlying sexual tension imbued by the artist into quotidian objects. Compositionally the couplet mirror each other and their visceral epicentres form a visual echo. This is further extended by an implied auditory element as the scenes contain the potential of noise, whether it is the moment a cat yawns or fizzy drink explodes - force in one image is released in its partner. These climactically coupled, female laden, tension imbued depictions are a nod to societies persistently binary notions of gender and therein the habitual reminder that outside the male gaze, Female + Female = Incorrect. Masseys recent fertility journey with her partner has brought this into sharp focus, and this process is alluded to in the titles of canvas which are named after the sperm donors they have considered. This additional layer encourages the work to be viewed via a reproductive lens. Education 2012-2013: MA Fine Art. Merit. Chelsea School of Art, London. 2004-2007: Ba Hons Fine Art. 2:1. The School or Art, Architecture and Design, London. 2025: Just Desserts, Seventeen, London, UK Solo Exhibitions 2024 My deuce, My double, GERTRUDE x Seventeen, London, UK 2022 The truth is out there, Roman Road, London, UK 2020 We didn't start the fire, VOLT Eastbourne, UK 2018 ÀhhÁÀhhÁ, SLUGTOWN, Newcastle upon Tyne, UK 2017 ÀhhÁ, Arebyte LASER, London, UK Group Exhibitions 2024 Strange Days: Surrealist Gaze, Cross Lane Projects, Cumbria, UK Landscape of the Gods, Vestry street, London, UK 2023 Landscape of the Gods, Cross Lane Projects, Cumbria, UK Catastrophic, Unit G, London, UK 2022 Elephant, Art Gazette, London, UK QUEER ART(ists) NOW, Space Station Sixty Five, London, UK Art on a Postcard summer Auction, The Bomb Factory, London, UK Instagram Live, 19 Karen, Queensland, Australia Northern Deviants, Unit G, London, UK Kunst the clown and friends, Gallery 46, London, UK Hyper Contemporary, Hasbrook Galleries, Milwaukee, USA 2021 Play and the post peak, The Factory, London Still Journey, The Columbia, London. The Big Show, Good Mother Gallery, San Francisco. Everywoman, Superchief Gallery, New York. 2020 Pop Now, Gallery 46, London. Body Politic, Susan Boutwell Gallery, Munich. She Performs, The Glass Tank, Oxford. Viewing Room, Harlesden High St, London. Awards 2024 Shortlisted 'Macfarlanes Art Prize'. Shortlisted 'Clyde & Co Art Prize'. 2022 Shortlisted 'BEEP Painting Prize'. 2021 Winner 'Repaint History Prize for Womxn Artists'. 2016 Shortlisted 'Blooom Award, by Warsteiner'. 2016 Shortlisted 'Taking Shape Prize'. 2014 Shortlisted 'Young Masters Art Prize' 2014 Shortlisted 'The Signature Art Prize Gallery Representation Seventeen (London, UK) Statement about AOAP Submitted Artwork 'Queen' is a hopeful bid for equality in light of International Women's Day, as Queen Conch shells are seen as lucky. They are a motif that I return to regularly in my work as they are also evocative of the female form. 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.
Tanaka Mazivanhanga (Untitled III) Landscape Series (Detail I), 2025 Mokulito on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Tanaka Mazivanhanga is a contemporary artist whose work delves into themes of memory, identity, and the preservation of histories. Specialising in printmaking, installations, and object-making, she values the physicality of working with her hands and engaging directly with materials. This hands-on approach enables her to layer textures, build marks, and create tactile images. Education 2017-2019 MA: Visual Arts - Printmaking, Camberwell College of Arts, London, United Kingdom. 2010-2014 BA: Architecture, Kingston School of Art, London, United Kingdom. Solo Exhibitions 2025 TBC, ArtWorks Project Space, London, United Kingdom TBC, ASC Gallery, London, United Kingdom Group Exhibitions 2025 LOOP 2025, Bankside Gallery, London, United Kingdom Terra Incognita, Thames-Side Studios Gallery, London, United Kingdom Art on A Postcard International Women's Day Auction 2025, The Bomb Factory Art Foundation, London, United Kingdom 2024 Woolwich Contemporary Print Fair, Woolwich Works, London, United Kingdom Don't Be a Square!, AKKA Projects, Venice, Italy East London Printmakers - Festival of Print, Art Pavilion, London, United Kingdom The Women in Art Prize, The Roundhouse, London, United Kingdom 2023 Also Known As Africa, Art and Design Fair, Paris, France Woolwich Contemporary Print Fair, Woolwich Works, London, United Kingdom The Trinity Buoy Wharf Drawing Prize 2023, Trinity Buoy Wharf, London, United Kingdom LOOP 2023, Bankside Gallery, London, United Kingdom Bainbridge Open 2023, ASC Gallery, London, United Kingdom RA Summer Exhibition, Royal Academy of Arts, London, United Kingdom NAE Open 2023, New Art Exchange, Nottingham, United Kingdom Art on a Postcard International Women's Day Auction 2023, Fitzrovia Gallery, London HERE & WHERE, Curious Kudu Gallery, London, United Kingdom 2022 Woolwich Contemporary Print Fair, Woolwich Works, London, United Kingdom StART x Martin Miller's Gin Emerging Art Prize, Saatchi Gallery, London, United Kingdom Althea McNish, Colour Is Mine, William Morris Gallery, London, United Kingdom African Identities Chapter III, AKKA Project, Venice, Italy Fragile Bites, No Format Gallery, London, United Kingdom 2021 Withheld, Safehouse, London, United Kingdom East London Printmakers - Festival of Print, Art Pavilion, London, United Kingdom artHARARE, Contemporary Online Fair Woolwich Contemporary Print Fair, Woolwich Works, London, United Kingdom Un I Veiled, Brocket Gallery, London, United Kingdom Mayfair Art Weekend, London, United Kingdom 2020 My Love Is Your Love, Every Woman Biennial, London, United Kingdom Woolwich Contemporary Print Fair, Online Edition 2019 Clifford Chance Postgraduate Printmaking A Survey Exhibition, London, United Kingdom Woolwich Contemporary Print Fair, Woolwich Works, London, United Kingdom MA Visual Arts Summer Show, Camberwell College of Arts, London, United Kingdom Celebrating Women's History Month, Brentwood Road Gallery, London, United Kingdom Awards 2024 Solo Exhibition and Cash Prize, Barbican Arts Group Trust The Printing First Prize - The Printed Editions Award, The Women In Art Prize 2023 ASC Award - Solo Exhibition, ASC Gallery 2022 Cash Prize, StART x Martin Miller's Gin Emerging Art Prize Studio Award, HausPrint Studio 2019 Studio Award, East London Printmakers Studio Award, Bainbridge Print Studios Statement about AOAP Submitted Artwork Untitled III Landscape Series explores the often-overlooked marks and surfaces of the urban landscape. Texture plays a vital role in this work, brought to life through the painterly qualities of the Mokulito process, which evokes the essence of diverse landscapes. Remnants reflects remnants left by enslaved women during the Atlantic slave trade on the Gold Coast, capturing and honouring their presence. Deeply etching the metal plate was essential to convey the depth and weight of their stories. 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.
A piece of WWII shrapnel and accompanying printed ephemera. The shrapnel was found in Wallace Road in Bath, by St Saviours Church Larkhill in April 1992, probably from the bomb in Larkhall Square. Together with a pamphlet 'The Bombardment of Bath April 1942', a copy of the Bath Weekly from 10th April 1941, and two other books.
Revell a boxed 1:72 scale group of military aircraft model kits, to include; H-204 - Focke-Wulf Fw 200 'Condor', H-202 Avro Lancaster 'Dam Buster' (with secret bomb) as well as others. Conditions appear Good to Excellent (though unchecked for completeness) within generally Good to Good Plus boxes. See photo.
Airfix & Heller, a boxed group of plastic military kits which includes earlier issues to include Airfix H1819:198 Jupiter "C" (50 Years Of Revell Special Edition), Revell H-202 Avro Lancaster "Dam Buster" With Secret Bomb, (Part Painted/Assembled), Heller L320 Super Broussard and similar. Although unchecked for completeness or pre painted/pre assembled, conditions appear Fair to Good in generally Fair to Good boxes with scuffing, crushing, tearing, old price stickers, tape repair etc. Hard to find kits. See photos.
HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) ⊕ HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)PORTRAIT OF SIDONIE, THE ARTIST'S WIFEsigned with initials and dated 42 lower rightpencil on paper22 x 13.5cm; 8 1/2 x 5 1/4in36 x 26cm; 14 x 10 1/4in (framed)HANS FEIBUSCH (LOTS 9-32)Introduction To stand before an empty wall as in a trance… to let shapes cloudily emerge, to draw scenes and figures, to let light and dark rush out of the surface, to make them move outward or recede into the depths, this was bliss. (Hans Feibusch) IntroductionFeibusch fought for the Kaiser in the First World War, survived the Russian Front, and studied with Carl Hofer in Berlin and with Emil Othon Friesz and André Lhote in Paris. Come the 1930s he had a dealer in Berlin, had exhibited widely, and been awarded the German Grand State Prize for painting by the Prussian Academy of Arts. But Hitler’s rise to power threatened it all. In a meeting of the Frankfurter Künstlerbund which he attended in 1933, a new member appeared in Nazi uniform, jumped on a table and pointing at the Jews with his riding crop said: ‘You’ll never show again’. It was the moment Feibusch determined to emigrate. Arriving in London Feibusch had his first one-man exhibition at the Lefevre Gallery, and was soon a member of the London Group. Further exhibitions with Lefevre followed; then in 1938 he completed his first large scale mural: Footwashing in the Methodist Chapel, Colliers Wood. It was a commission that would result in the artist becoming the leading muralist in Britain. Working both for the Church of England and local municipalities, over the next thirty-five years he decorated some forty plus churches, civic buildings and private houses across England and Wales. His work contributed hugely to the re-generation of public buildings after the War and the debate on art in public places. But it also took him away from the Mayfair-centric contemporary art world and its critics, and thus to a large extent out of the public eye and the commercial art world. After his last exhibition at the Lefevre Gallery in 1951 he would not have another gallery show until the late 1970s. Instead Feibusch devoted himself to large scale mural projects, designing the decorations for the tearoom at the Victoria & Albert Museum in 1946, and championed by George Bell, Bishop of Chichester, embarked on a series of commissions to decorate bomb-damaged churches that were being restored and re-built. These included painting The Resurrection and Scenes from the Life of St Peter at St Peter's Church, Pickford Lane, Bexley Heath and Angels with Infants for the baptistry of Christ Church and St Stephen’s, Battersea. Feibusch also wrote Mural Painting a treatise on the history, theory and technique of the art in 1946, and contributed the foreward to the catalogue of the first exhibition of the Society of Mural Painters held in 1950.A consummate draughtsman, whether sketching his surroundings, or studying the model before him, he captures each scene with a fine eye for detail. And as a colourist, he responded to the light of his surroundings with a breathtaking freshness and immediacy. But above all it is the manner in which he places the human form at the heart of his work with such ease and fluidity that leaves an abiding impression on the viewer and makes his work so compelling today.Held under glass, not examined out of frame. Despite watermark along lower edge of mount, appears in good original condition.
GEORGE MAYER-MARTON (HUNGARIAN 1897-1960) ⊕ GEORGE MAYER-MARTON (HUNGARIAN 1897-1960) EVENING OVER THE FUNFAIR watercolour on paper 39.5 x 57.5cm; 15 1/2 x 22 3/4in unframed Painted in 1951. GEORGE MAYER-MARTON (LOTS 1-8) Introduction HIS APPEARANCE, ACCENT AND MANNER SPOKE OF A LOST AND TO US LARGELY UNKNOWN MITTELEUROPA. Always meticulously dressed in a suit and wearing a hat and polished shoes, he would arrive in the college with his leather briefcase and don his professional white coat. In Their Safe Haven', Hungarian artists in Britain from the 1930s, compiled and edited by Robert Waterhouse, the bleak story of George Mayer-Marton's dispossession is graphically pieced together from the artist's diaries and first hand accounts. Born in Györ, North Hungary, the artist's formative years had largely been spent in Austria and Germany. During the First World War he had served on the front line in the Austrian army, and - leading up to the Anschluss - he lived in Vienna, happily married and, as vice-president of the Hagenbund, he was a leading voice among contemporary artists. But with Hitler's annexation of the country at the end of September 1938 with Grete his wife he fled Vienna for London. Mayer-Marton's diaries evoke with withering honesty the reception he received and his despairing sense of dislocation: 'For the moment, London spells turmoil, noise, rows of double decker buses and a language one doesn't understand... We observe the English art of 'splendid isolation', their culture of bureaucratic niceties, good manners and cold souls; their complete consideration for others out of consideration for their own piece and quiet.' (Waterhouse, p. 74). Eventually the couple set up home and a studio in St John's Wood, only for the premises to be hit by an incendiary bomb in 1940 during the Blitz. In the ensuing fire Mayer-Marton lost the vast majority of the work he had brought with him. At the end of the War he learnt of the murder of his and Grete's parents together with his brother in the Holocaust. Unsurprisingly these horrors took a mental toll: all too much for Grete, she suffered a nervous breakdown and died in a psychiatric hospital in Epsom in 1952. Yet, despite such a succession of tragedies, Mayer-Marton remained resolutely determined. He strove to replace the works lost in the London bombing, not simply with copies but because he felt challenged by the very different light and landscape of the British countryside, his lightness of touch and deftness of colour are abundantly apparent in the present selection of works. He was also appointed a senior lecturer at Liverpool College of Art, a post in which he flourished. His Liverpool students recalled Mayer-Marton's innovative approach to teaching. He introduced weekly 'Socratic method' seminars, challenging students with rhetorical questions ranging from 'Kant's moral imperative to Schopenhauer's aesthetic theory, the scientific ideas of Einstein, concepts of the primitive in art, abstraction, expressionism, the medieval guilds and so on... these seminars were a decade before the history and theory of art were incorporated into art school curricula in the 1960s' (Waterhouse, pp. 212-213). In Liverpool he also introduced new technical know-how, in particular fresco painting and the re-introduction of Byzantine-style mosaic practices. These he deployed in a series of large scale ecclesiastical commissions in the north-west, including the large Crucifixion mural at the former church of the Holy Rosary, Oldham (1955), Pentecost now in Liverpool Metropolitan Cathedral, and the Crowning of St Clare at St Clare's Church, Blackley. Small dogear upper left corner. There is slight wear to edges of paper. Otherwise this work is in good original condition.
WHEELER JOHN A.: (1911-2008) American theoretical physicist, best known for popularising the term 'black hole'. During World War II Wheeler worked with the Manhattan Project's Metallurgical Laboratory in Chicago where he helped design nuclear reactors and later, in the early 1950s, helped to design and build the hydrogen bomb. A.N.S., John A Wheeler, to the verso of a colour picture postcard depicting a panoramic view of Filacciano (north of Rome, Italy) Austin, Texas, 24th July 1979. Wheeler wrtites, in full, ´We will first understand how simple the universe [is] when we recognise how strange it is´. Addressed in the hand of the Italian collector Roland Sensini. A postal cancellation slightly affects a few words of text, but not the signature. VG
MUNNINGS ALFRED: (1878-1959) English painter, a member of the Newlyn School from 1912-14, and regarded as one of the finest painters of horses. A good collection of A.Ls.S. (5; one a brief illustrated message on a postcard), a T.L.S., five original pencil drawings, and a few pieces of printed ephemera. The autograph and typed letters signed Alfred Munnings, A. J. Munnings, and with his initials AJ, twelve pages (total), 4to and smaller, various places (Dedham, Essex & Withypool, Somerset), early to mid-1940s, to various correspondents including the portrait painter Maurice Codner. Munnings states, in part, ´I am not sure about the Tissot, as I told that secretary to remove the pictures if the raids started & they should have done so. How awful, that lovely [painting?] which nobody really cared for & which as Lutyens said was ruined by the overlighting of the chandeliers. What a hateful lot of buggers used that room.....& what a disagreable rascañ that Drysdale was wo stood in the way of everything. Damn him, what a pity he wasn´t in the drawing room when the bomb fell. My place in Chelsea has had it - windows out & all glass in frames broken......Winston in chair first dinner. Next Thursday Lord Gort in chair & they all give Winston a snuff box´ (to Maurice Codner, 30th September 1940, accompanied by the original envelope), ´I can´t tell you how glad I was to see that good notice of your work in The Times on Friday. You couldn´t want better and who ever the present (sic; President) is he is a more sane fellow than the last & I find him very good. Far better than the other old blighter - well - I was glad I read it out to Violet who never cares much about critics, & she was delighted. I´ve always seen you gradually gaining & burrowing in. You´re as undefeatable as the Hun. And to think you´re doing this in spite of the bombs & with only one eye......I´ve just written a line to Oswald Birley, poor fellow......I´m losing the will to work´ (to Maurice Codner, 4th November 1941, in pencil), ´What a pity that you could not remain at such a stage of brilliance for the rest of your natural life - or unnatural life, or whatever your present existence may be - Can´t you buy up a quantity of that same sherry & consume at intervals & go on flying through the air like a blazing comet?......Hunting all over England should be stopped. That´s my opinion. People who go wouldn´t if the hounds didn´t. Absolute not. Have you had time to go & see the exhibition of under 20 guinea pictures yet at Trafalgar Square? If not, go & let me know......You & I should go & stay at Bradley Farm up in the woods & hills near here for a month & live on cream & stuff & work.....trees galore & stone buildings & the rest & when it rained we´d do masterpieces indoors - big sitting rooms......write again my lad of wax - any f - g lately?´ (to Maurice Codner, n.d. [c. September 1942], in pencil), ´One day I´ll be round there. On Exmoor now, Army took my house at Dedham´ (to A. R. Blundell, 22nd March 1944), ´The man who did that plate of an old poplar tree is [a] great artist. If you can do such a thing as that although it is uncared for by the crowd is someone to be reckoned with. If only you could [do] an oil like that & as well!! It is superb. I saw it in Emmons´ house at Flatford Mill & looked & looked [at] it again having seen it in the R.A. It is equal to anything of its kind I know´ (to Blundell, 3rd January 1946; actually 1947), the postcard featuring an ink drawing by Munnings of a skier lying face down in the snow, with a mountain, trees and sun in the background, wishing the recipient a Happy Easter and hand addressed by Munnings to Mr. and Mrs. John Napper, April 1956. Together with five original pencil sketches by Munnings, one signed in full, three with initials, and one unsigned, the largest measuring approximately 20.5 x 16.5 cm, the majority depicting horses and one of a cow feeding her calves. All are matted and framed. Also including a small collection of ephemera etc. including printed illustrated 8vo booklets advertising new signed artist´s proofs of the works Going to the Meet, The Whip and A Little Piece of England, a catalogue for a Loan Collection of Pictures by Alfred Munnings exhibited at the Art Galleries of the Norwich Castle Museum, August - September 1928, etc. One letter with some tears and staining (only FR), generally G to about VG, Sml Qty.
TELLER EDWARD: (1908-2003) Hungarian-American theoretical physicist, known as 'the father of the hydrogen bomb', and an early member of the Manhattan Project. Signed 5 x 7 photograph of Teller in a head and shoulders pose holding his spectacles. Signed in black ink with his name alone to the lower white border. Together with a bold black ink signature (´Edward Teller´) on a plain white oblong 12mo card. VG to EX, 2
ENOLA GAY: Signed 10 x 8 photograph by three crew members of the Enola Gay individually, comprising Paul Tibbets (1915-2007) American Brigadier General in the United States Air Force, pilot of the Enola Gay, the first aircraft to drop an atomic bomb, Hiroshima, 6th August 1945, Thomas Ferebee (1918-2000) American Colonel in the United States Air Force, bombardier of the Enola Gay and Theodore J. Van Kirk (1921-2014) American Major in the United States Army Air Forces, navigator of the Enola Gay. The image depicts the three men standing together in three-quarter length poses, each wearing their uniforms, and with the Enola Gay in the immediate background. Signed by each in bold blue inks to the image. Together with an A.L.S. by Van Kirk with his initials TJV, one page, 8vo, n.p., n.d., to Mr. Keyser, snding the photograph and explaining ´The signatures of Tibbets and Ferebee are authentic´, and in a postscript also remarking ´Photo taken early 1944. Probably at Roswell, N.M.´. EX, 2
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