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Click here to subscribeFootball - Collection of football match tickets and ephemera from the 1960s onwards featuring many Southampton related, 2 x Charity Shield 1979 tickets, Charity Shield 1980, Southampton v Chelsea 26th Dec 1978, FAC Semi Final Saints v Everton at Highbury 14th April 1984, League Cup semi final 2nd leg 1979 Saints v Leeds, 1986 FAC SF Saints v Liverpool played at Spurs, 1988 League Cup Final Luton Town v Arsenal 24th April 1988 etc
A COLLECTION OF SIX CUSHIONS VARIOUS DATES AND SIZES Mostly incorporating 18th and 19th century tapestry and needlework panels the largest example 50 x 42cm the smallest example 36 x 34cm Provenance: Purchased from Paul Jones, King's Road, Chelsea Condition Report: Current main image online is correct; With marks, losses and fabric wear per age, handling, use, and cleaning. Have seen everyday household use- smallest with badly frayed back, tasselling quite frayed throughout, older sections of tapestry with old stitch repairs- all with some surface dirt from regular use. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
A CARVED AND WHITE PAINTED 'CHELSEA' GARDEN SEAT BY CHATSWORTH CARPENTERS, CONTEMPORARY With 'CHATSWORTH' label to the back 125cm high, 159cm wide, 62cm deep overall Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Weathering and some colour variance, some shrinkage and paint loss around joints and with moss/green weathering to recesses Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection Condition Report Disclaimer
Chinese School (Qing dynasty), a large ancestor group portrait, depicting twenty-six seated figures in front of a screen and an altar table, oil on cotton canvas,187 x 142cmProvenance: A private collection, Cadogan Gardens, Chelsea, London SW3.Condition ReportOverall good condition with only light traces of wear and age.
A pair of Regency mahogany corner chairs, early 19th century, each with a single sloping arm and ring-turned supports terminating in brass caps and castors, upholstered in pale linen fabric, one with hooks and one with loops beneath to allow them to be joined together,90cm wide66cm deep87cm high (2)Provenance: A private collection, Cadogan Gardens, Chelsea, London SW3.Condition ReportLight wear marks to the upholstery with sun damage and fading to the back. General knocks, old losses, and wear to the supports. Tarnish and discolouration to brass. Evidence of historic woodworm damage beneath which does not appear active. Lacking strengthening rails but joints are sound and solid in general. Overall, they appear in reasonably good structural and cosmetic condition.
A Regency simulated rosewood sofa, c.1815, with a plain back and outswept arms, raised on turned tapering supports, with all-over painted and parcel-gilt neoclassical decoration, 194cm wide 89cm deep 85cm highProvenance: A private collection, Cadogan Gardens, Chelsea, London SW3.Condition ReportMarked upholstery with sun damage. General scratches and scuffs, rubbing, knocks, and wear. The frame with some distress to the painted decoration. Joints are sound and solid. Evidence of woodworm damage beneath which does not appear active. Some minor strengthening beneath. Castors lacking. Overall, it appears in fair order.
A George I-style red and gilt japanned pier mirror, 20th century, with an arched scrolling crest above a shaped rectangular plate, with all-over chinoiserie decoration, 97cm wide 183cm highProvenance: A private collection, Cadogan Gardens, Chelsea, London SW3.Condition ReportChips, knocks, and losses to the decoration, particularly to the left-hand side which is a little unstable. Old splits and repairs throughout with some retouching. General surface wear and light mottling to the plate. Overall, the joints are sound and solid.
A very large lacquered and giltwood figure of the standing Buddha, late 19th/early 20th century, Mandalay period (1853-1948), Burmese (Myanmar), clad in thickly folded brocaded hems inset with multicoloured glass 'beads', the slender figure standing on a flat disc of the moon held within a lotus blossom, raised on a modern black plinth,72cm wide40cm deep201cm high excluding base234cm high including baseProvenance: A private collection, Cadogan Gardens, Chelsea, London SW3.For a similar example, see Bonhams, 'Asian Art', 5 November 2018, lot 245.Condition ReportOverall the Buddha is in good condition and structurally sound, but with some cosmetic wear and repairs. Breakage and repair to figure's left index finger. Splits to left hand, right sleeve, left shoulder, front right foot. Losses to glass insets. Break and repair to the robe's corner. Light wear and age to the lacquer and gilt. The chin with noticeable wear to gilding. Scuffs and light scratches to gilding throughout.
An imitation leopard-skin and ebonised wooden ottoman, of recent manufacture, Italian, by TPM Tappezzeria, the hinged rectangular top with studded detail, raised on tapering square supports, 130cm wide 65cm deep 48cm highProvenance: A private collection, Cadogan Gardens, Chelsea, London SW3.Condition ReportLight wear to the upholstery, with one or two small scuffs. One interior hinge is damaged and not functioning but does not affect the overall functionality. Light knocks and tiny chips to supports. Some minor dirt and marks. Joints are solid. Overall, it appears in relatively good structural and cosmetic condition and is ready for use.
A baroque gilt-metal and ebonised wooden pier mirror, late 19th century, Dutch, the arched top above a rectangular bevelled plate within glass borders, with all-over scrolling foliate rococo decoration and ripple moulding, 107cm wide 170cm high Provenance: A private collection, Cadogan Gardens, Chelsea, London SW3. Condition Report General tarnished discolouration and small knocks to metal with one or two slightly misshapen areas. General light wear and moulding to the glass. Joints are overall solid and the piece appears in very good structural and cosmetic condition and is ready to hang.
A black and gilt lacquer folding screen, Qing dynasty (1644-1911), Chinese, consisting of six panels, each decorated with figures, pagodas, animals, rockwork and foliate scrolls, each panel 52cm wide 274cm highProvenance: A private collection, Cadogan Gardens, Chelsea, London SW3.Condition ReportCracks, small chips, and losses to the lacquer throughout with some evidence of touching up and cosmetic repair. Hinges appear later. Some of the lacquer is a little unstable, particularly to edges and ends of panels, but overall it appears stable, solid, and in fairly good order.
A pair of Regency simulated rosewood and parcel-gilt side chairs, early 19th century, each with a spiral-fluted and gilt-metal-mounted splat, above a cane seat and sabre supports, each with a loose cushion, 50cm wide 60cm deep 84cm high (4)Provenance: A private collection, Cadogan Gardens, Chelsea, London SW3.Condition ReportGeneral surface wear, rubbing, scratches, knocks, and losses to painted and gilt decoration. General knocks and wear to frames commensurate with age and use, with small amounts of cosmetic repair and strengthening. One with loose joints. Both cane seats appear tight, sound, and weight-bearing. General knocks and wear to supports commensurate with age and use. Other than the one with the looseness, which would benefit from strengthening, they appear in reasonable order.
A pair of Regency ebonised wooden side chairs, c.1810, each with a pierced splat, caned seat and outsplayed faceted supports, with floral-painted and parcel-gilt decoration, 52cm wide 57cm deep 86cm high (2)Provenance: A private collection, Cadogan Gardens, Chelsea, London SW3.Condition ReportGeneral knocks, surface splits, and scratches commensurate with use. Some areas of rubbing, loss, and wear to decoration. Caned seats are a tiny bit loose in places but generally sound. Joints are solid. Overall in fair structural and cosmetic condition.
The Archive of Lady Mary Pamela Madeline Sibell Strickland / Lyon (1895-1991), née CharterisTo include nine various leatherbound diaries in manuscript spanning 1916-1927; including some typewritten transcripts thereof (Volumes 1-4)Two ring binder files containing letters of response to the wedding of Ariel Susan Clare (adopted daughter of Mary Lyon) to Christopher Elliott in 1964, predominantly from the gentry of Gloucestershire and including from the author Michael Innes and Anne Fleming (wife of Ian Fleming)Two prisoner of war diaries by Lieutenant Algernon (Tom) Walter Strickland of the Royal Gloucestershire Hussars Yeomanry, dating from 1916-18, written while he was held prisoner in Turkey, measuring 13cm x 8.5cm each with cloth boards, with an accompanying manuscript book by his wife, Mary Strickland, summarising letters received from her husband while imprisoned, with a folded map of Gallipoli, alongside two files of manuscript letters from Algernon (known in the family as Tom or Tommy) to Mary spanning 1917-1938 including those from camps in Egypt, Switzerland and Gallipoli (Turkey).A folder of various letters to Mary Pamela Lyon, some dealing with the publication of Cynthia Asquith's diaries (Mary's sister), including from Sir Rupert Hart-Davis (1907-1999) and an envelope of press cuttings and reviews of Elizabeth Longford’s biography of Wilfred Scawen Blunt, letters from Elizabeth Longford and Roger FulfordTwo small notebooks with manuscript entries in pencil, one entitled 'Bird Notes' (spanning 1955-1965) and Birds seen in South Africa Orange Free State Dec 1937- March 1938A folder of Letters entitled 'Letters from Sara from 1929 up to 1950' (daughter of Mary Lyon) including juvenile correspondenceA folder of documents relating to World War I & II with related memorabilia including a typed manuscript ‘Torpedoed’ by Martin Charteris (1913-1999), a favourite courtier of Queen Elizabeth II and her longest serving Private Secretary, several ephemera publications by the British Legion, 1950-54, an auction catalogue Bruton, Knowles & Co. ‘The Gloucestershire Treasure Sale’ 1944 for the Red Cross, including a pencil drawing ‘Paternity’ by H.G. Wells, Mary Strickland and Mrs Belloc Lowndes, drawn at Stanway as part of a parlour game. Several WWII armbands for the British Red Cross, WVS Rest Centre and WLA (Women’s Land Army), several badges including a Royal British Legion Poppy brooch, ARP Women’s Voluntary Services, Women’s Land Army and Civil Defence CorpsA folder entitled ‘Soldier’s Letters 1917-1918’, mostly addressed ‘Dear Nurse’ to Mary StricklandA folder of newspaper cuttings Jan 1977 to ..., a further folder of press cuttings of reviews of Cynthia Asquith’s diaries, 1968 and other booksA marbled paper notebook entitled ‘Last Will and Testament of Mary Constance Wemyss’ dated March 9th 1929A manuscript poem by Herbert Asquith ‘Youth in the Skies’ with his accopmpanying letter, dated 1940An envelope of letters and ephemera relating to J. M. Barrie including two copies each of Stanway Mysteries programmes for ‘The Wheel’ and ‘Where was Simon’ by Barrie, nine signed manuscripts letters by J. M. Barrie, all to ‘Lady Mary Strickland’ at various addresses, 1923-1936Folders of LettersFolder entitled ‘Cynthia Asquith to her sister Mary’ but containing various letters including one manuscript letter from Augustus John, September 19, 1936 to Lady Mary regarding his works in Chelsea portraits and advance for his portrait of Mary and another letter from Augustus John regarding the same; a typewritten autograph letter to Lady Mary from Anthony Powell, 1977Folder of Letters to Mary Lyon on occasion of Cynthia Asquith’s death, amongst others by Osbert Sitwell, ‘Bibs’ Plymouth, Denis Mackail, Lord Tavistock, etc.Five folders of letters from Mary Strickland/Charteris to her mother (1899-1937)A folder of letters entitled ‘Bibs’ Plymouth (1910s-1920s)A folder of letters from Denis Mackail 1920s-1960sFive letters from Wilfred Scawen Blunt to Mary Constance Wyndham Countess Wemyss (1862-1937) [with whom she allegedly had an affair] including one poem dedicated to herAn extensive collection of letters dating circa 1899-1978 to Mary Strickland from various correspondents including from Wilfrid Scawen Blunt, Sir Walter Raleigh, George Vernon, Cynthia Asquith, various members of the Asquith, Wemyss and Charteris family, Denis Mackail, Augustus John, H. G. Wells, Violet Bonham Carter, Henry Yorke, Hugo Charteris, Osbert Sitwell, L. P. Jacks, Joan Webster-Young, Sybell Fulford , Roger Fulford, Anne Fleming and others Lady Mary was the adopted daughter of Percy Scawen Wyndham. Her mother was Mary Constance Charteris Wyndham and her biological father Wilfrid Scawen Blunt. Wyndham and her siblings and their spouses were members of The Souls, an elite English social group. She and her two sisters were the subjects of John Singer Sargent's 1899 painting The Wyndham Sisters.Mary was first married to Algernon (Tom) Strickland, who died in 1938, her second husband was Major John (Jack) Lyon, whom she married in 1943. Her older sister was the author and society hostess Lady Cynthia Asquith, married to Herbert Asquith, younger son of the Liberal Prime Minister Herbert Henry Asquith, who was Prime Minister at the outbreak of the First World War. Mary lost both her brothers during the war in quick succession, Yvo Alan Charteris in October 1915 and Hugo Francis Charteris (Lord Elcho) in April 1916. She resided both at Stanway House (her family home) and Apperley Court (family home of the Strickland's).Her fascinating diaries span the early years of a young Mary Strickland, documenting the outbreak of the First World War and its aftermath, nursing duties, attending seances with her mother, escapades to London and household and society gossip. Through her sister Lady Cynthia Asquith, the English writer and socialite, she was well connected with the literary elite and through her brother-in-law's family, she gained intriguing insights into the political machinations at the time. The diaries intersperse major international events with the comparative monotony of daily life in a country house and seemingly endless letter writing. An avid correspondent, the diary also documents, alongside original letters, the death in service of her brother Yvo in Gallipoli. The diaries describe varied events, from an altercation with her maid at Harrods, lunch at 10 Downing Street, bombs dropped in London, dinner with H.G. Wells, descriptions of her nursing duties during WWI at Winchcombe Hospital, her husband's imprisonment in Turkey and country house visits interspersed by reports and commentary on the events and battles of the First World War.Alongside the diaries, the archive includes extensive correspondence and documents spanning most of the 20th century with letters from literary figures such as H.G. Wells, J. M. Barrie, Denis Mackail and Osbert Sitwell alongside the family correspondence.Lady Mary Charteris pictured in the Tatler at the time of her engagement to Lieutenant Algernon W. Strickland of the Royal Gloucestershire Hussars.
Programmes of Arsenal and Chelsea interest, to include: Arsenal v Middlesex Grand Cricket Match in aid of Denis Compton's Benefit, 12th August 1949; England v Italy at Highbury, 14th November 1934, some squad headshot photos cut out and removed; Arsenal v Dynamo F.C., 21st November 1945; Arsenal v Newcastle United, 15th April 1950 and six from 1950-1953; Chelsea v Sunderland, 7th September 1949; Chelsea v Newcastle United, 29th April 1950; Chelsea v Newcastle, 28th January 1950; and two others
Nameplate CROSBY HALL ex Great Western Railway Collet 4-6-0 Hall Class Locomotive built at Swindon in 1931 as Lot no 268 and numbered 4992. Allocated to St Philips Marsh, Laira, Newton Abbot, Exeter, Taunton, St Philips Marsh, Severn Tunnel Junction and 82E Bristol Barrow Road from where it was withdrawn in April 1965 and scrapped. In nice original condition, rear stamped LIN 4992 Lot 268 indicating this is the left hand plate. Crosby Hall was in Chelsea London.
Catherine Hyland The Future of Farming IV, 2025 Archival Pigment Inkjet Signed on Verso with COA 10 x 15cm (3¾ x 5¾ in.) About Catherine Hyland is an artist based in London. She graduated from Chelsea College of Art and Design with a First class BA (Hons) Degree in Fine Art and completed her Masters at the Royal College of Art. Her photography centres around people and their connection to the land they inhabit. Primarily landscape based, her work is rooted in notions of fabricated memory, grids, enclosures and national identity. Her large format images depict humanity's attempts - some more effective than others - to tame its environment. An observation that has led to both artistic and commercial outreach, with residences at venues such as Focal Point gallery in Southend for the RADICAL ESSEX programme and has exhibited work at Month of Photography Los Angeles, Renaissance Photography Prize, National Portrait Gallery, Royal Photographic Society, LES MAGASINS GÉNÉRAUX, Somerset House, Design Museum in London, ICA & MAC in Birmingham. Hyland's ongoing projects highlight humanity's attempts to tame and transform nature, both past and present. 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.
Svetlana Kornilova The Look, 2024 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Svetlana Kornilova, a professional artist, explores themes of childhood, the complexities of modern life, and the fleeting nature of existence, creating works that resonate on a profound emotional level. As the winner of the Art Competition commemorating the 70th anniversary of the Friends of Dulwich Picture Gallery in 2024, her painting, 'Make Your Choice,' is on display at the Dulwich Picture Gallery until January 2025. An internationally recognized artist, Svetlana has exhibited in prominent galleries worldwide, including Gagliardi Gallery (UK), Metropolitan Pavilion (USA), and Mall Galleries (UK). A member of the Society of Women Artists, she is also a prize-winner in prestigious competitions such as the London Art Biennale and Society of Women Artists. Her works are held in private collections across Europe, the Americas, and beyond. Education 2015 Professional Development Course, St. Petersburg State Academic Institute of Painting, Sculpture and Architecture, St. Petersburg, Russia 2014 Moscow State University of Art and Industry. Stroganov (Department of Monumental and Decorative Painting), Moscow, Russia 2013 Summer School Program for Drawing and Painting, St. Petersburg State Academic Institute of Painting, Sculpture and Architecture, Moscow, Russia 1992-1996 Art School, Dmitrov, Moscow Region, Russia Solo Exhibitions 2024 Never-ending Fairy Tale, Dulwich Social Hall, London, UK 2022 The Secret Garden, Curator Elina Gritchina, House-Museum of Marina Tsvetaeva, Moscow, Russia 2019 The Tale of the Main Thing, Community and Sports Center at Rosinka Residences, Moscow Region, Russia 2016 The Wide-Open Window, Memorial Estate "Dmitrovsky Kremlin," Moscow Region, Dmitov, Russia Cities by the Sea, Cultural Center of Liudviko Rezos, Juodkrante, Lithuania Group Exhibitions 2024 Dulwich Picture Gallery, permanent exposition as a winner of the Friends of Dulwich Picture Gallery competition, London, UK Visual Arts Scotland 'Now and Then,' Dalkeith Palace, Edinburgh, UK SWA Annual Exhibition, Mall Galleries, London, UK 2023 English Riviera Winter Open, Artizan Gallery, Torquay, UK Royal Institute of Oil Painters Annual Exhibition, Mall Galleries, London, UK SWA Annual Exhibition, Mall Galleries, London, UK 2022 London Biennale: Masterpiece, Gagliardi Gallery, London, UK Royal Society of Women Artists Annual Exhibition, Mall Galleries, London, UK 2021 London Art Biennale, 5th Edition, Chelsea Old Town Hall, London, UK 2019 Affordable Art Fair NYC, Metropolitan Pavilion, NYC, USA Awards 2024 Winner, 70th anniversary of the Friends of Dulwich Picture Gallery Winners Artists of the Season, 3rd Place, Art from Heart UK, Spring 2024 2023 Selected by Arts to Hearts project for the book "100 Emerging Artworks: Women's Edition 2023" 2021 London Art Biennale 2021, 2 notifications in "Others Award" category Gallery Representation Lysenko Gallery, London, UK Art Gallery "U Jaksy," Miechow, Poland Statement about AOAP Submitted Artwork The postcards submitted for the project are a part of my Fairy-tale series. It invites viewers into an enchanting imaginary world-a blend of whimsical narratives for children and thought-provoking stories for grown-ups. 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.
Kelly Jessiman I Miss You, 2025 Stoneware Glazed Ceramic Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About St Leonards-on-Sea-based Kelly Jessiman builds her forms at the family dinner table, and each piece is fired and glazed in her garden shed. She takes a wide range of inspiration from contemporary paintings and ancient artefacts. Each stage is an organic process; the clay often takes on a life of its own, which leads to the final form, and from there, she decides how it will be glazed. Often glazed with hidden notes written on and scratched into the glaze, overlapped with drawings and good luck charms or superstitious markings warding off evil. Kelly enjoys the process of pottery and the unpredictable outcomes it presents. Her pieces are experimental, playing with the juxtaposition of neatly made traditional shapes against the organic imperfections inherent in the act of hand-building. Kelly's background is in fine arts, where she studied foundation art at Chelsea School of Art and went on to study BA Fine Art Sculpture at Camberwell School of Art. Exhibitions 2021 Babes in Arms group show, Big Yin Gallery, December 2022 Hot as Hell group show, Big Yin Gallery, June Burnt Orange group show, Big Yin Gallery, July A Trip Around the Sun group show, Big Yin Gallery, September Babes in Arms group show, De La Warr, September New Colour Now, Livingston, London, November 2023 Babes in Arms studio takeover, The Hastings Contemporary, March A Room of One's Own group show, Livingston, Bristol, May FOLDE group show, Coastal Currents, Hastings, September The Gallerist's Home, MAH Gallery, London, June Collection 04, Felt MKII, London, September The Bedroom and the Study, The House by MAH, London Design Festival, September In Time group show, Gallery 13, October Christmas Cracker, Georgia Stoneman Gallery, Castlecary, December 2024 Gate of Entrancement, Electro Studio Project Space, March Unapologetic Colour group show, Another Country, Marylebone, London, May Shaped, Felt, Straffordshire Street, London, July Gather in Gathering, Milieu Studios, October Served group show, Felt Host, London, December 2025 In Fleeting Moments group show, Secession Gallery, January Statement about AOAP Submitted Artwork The work submitted for Art on a Postcard is unusual for me as I don't usually work on small-scale flat surfaces. Here, I have decided to explore the idea of ceramic postcards and what postcards mean to me-sending thoughts of love, hope, and missing certain special people, added with my usual overlapping of words and images. 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 Hyland The Future of Farming II, 2025 Archival Pigment Inkjet Signed on Verso with COA 10 x 15cm (3¾ x 5¾ in.) About Catherine Hyland is an artist based in London. She graduated from Chelsea College of Art and Design with a First class BA (Hons) Degree in Fine Art and completed her Masters at the Royal College of Art. Her photography centres around people and their connection to the land they inhabit. Primarily landscape based, her work is rooted in notions of fabricated memory, grids, enclosures and national identity. Her large format images depict humanity's attempts - some more effective than others - to tame its environment. An observation that has led to both artistic and commercial outreach, with residences at venues such as Focal Point gallery in Southend for the RADICAL ESSEX programme and has exhibited work at Month of Photography Los Angeles, Renaissance Photography Prize, National Portrait Gallery, Royal Photographic Society, LES MAGASINS GÉNÉRAUX, Somerset House, Design Museum in London, ICA & MAC in Birmingham. Hyland's ongoing projects highlight humanity's attempts to tame and transform nature, both past and present. 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.
Kelly Jessiman Wish You Were Here, 2025 Stoneware Glazed Ceramic Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About St Leonards-on-Sea-based Kelly Jessiman builds her forms at the family dinner table, and each piece is fired and glazed in her garden shed. She takes a wide range of inspiration from contemporary paintings and ancient artefacts. Each stage is an organic process; the clay often takes on a life of its own, which leads to the final form, and from there, she decides how it will be glazed. Often glazed with hidden notes written on and scratched into the glaze, overlapped with drawings and good luck charms or superstitious markings warding off evil. Kelly enjoys the process of pottery and the unpredictable outcomes it presents. Her pieces are experimental, playing with the juxtaposition of neatly made traditional shapes against the organic imperfections inherent in the act of hand-building. Kelly's background is in fine arts, where she studied foundation art at Chelsea School of Art and went on to study BA Fine Art Sculpture at Camberwell School of Art. Exhibitions 2021 Babes in Arms group show, Big Yin Gallery, December 2022 Hot as Hell group show, Big Yin Gallery, June Burnt Orange group show, Big Yin Gallery, July A Trip Around the Sun group show, Big Yin Gallery, September Babes in Arms group show, De La Warr, September New Colour Now, Livingston, London, November 2023 Babes in Arms studio takeover, The Hastings Contemporary, March A Room of One's Own group show, Livingston, Bristol, May FOLDE group show, Coastal Currents, Hastings, September The Gallerist's Home, MAH Gallery, London, June Collection 04, Felt MKII, London, September The Bedroom and the Study, The House by MAH, London Design Festival, September In Time group show, Gallery 13, October Christmas Cracker, Georgia Stoneman Gallery, Castlecary, December 2024 Gate of Entrancement, Electro Studio Project Space, March Unapologetic Colour group show, Another Country, Marylebone, London, May Shaped, Felt, Straffordshire Street, London, July Gather in Gathering, Milieu Studios, October Served group show, Felt Host, London, December 2025 In Fleeting Moments group show, Secession Gallery, January Statement about AOAP Submitted Artwork The work submitted for Art on a Postcard is unusual for me as I don't usually work on small-scale flat surfaces. Here, I have decided to explore the idea of ceramic postcards and what postcards mean to me-sending thoughts of love, hope, and missing certain special people, added with my usual overlapping of words and images. 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 Hyland The Future of Farming I, 2025 Archival Pigment Inkjet Signed on Verso with Digital COA 10 x 15cm (3¾ x 5¾ in.) About Catherine Hyland is an artist based in London. She graduated from Chelsea College of Art and Design with a First class BA (Hons) Degree in Fine Art and completed her Masters at the Royal College of Art. Her photography centres around people and their connection to the land they inhabit. Primarily landscape based, her work is rooted in notions of fabricated memory, grids, enclosures and national identity. Her large format images depict humanity's attempts - some more effective than others - to tame its environment. An observation that has led to both artistic and commercial outreach, with residences at venues such as Focal Point gallery in Southend for the RADICAL ESSEX programme and has exhibited work at Month of Photography Los Angeles, Renaissance Photography Prize, National Portrait Gallery, Royal Photographic Society, LES MAGASINS GÉNÉRAUX, Somerset House, Design Museum in London, ICA & MAC in Birmingham. Hyland's ongoing projects highlight humanity's attempts to tame and transform nature, both past and present. 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.
Stella Kapezanou Thorny and Nutrient Sketch , 2024 Acrylic and watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Stella Kapezanou is a Greek visual artist known for her vibrant, ironic, and complex paintings that explore themes of identity, capitalism, consumerism, and societal expectations. Born in Athens, she studied at the Athens School of Fine Arts and completed her MA at Chelsea College of Arts in London. Her works often feature psychologically charged portraits and intimate social settings, blending elements of humor, mythology, and art history. Stella employs the tableau vivant technique, carefully orchestrating and photographing scenes before transferring them to canvas, often enriched with symbolic and surreal elements. Her large-scale works are characterized by their bold, warm palettes, intricate compositions, and exploration of femininity, power, and vulnerability. She is also a Fulbright Fellow and has exhibited internationally, including solo shows in Greece, the UK, Cyprus, and the U.S. Her work has been part of significant collections worldwide and is known for its caustic humor, playful critique of modern life, and empowering depictions of the female form. Alongside her paintings, she creates ceramic sculptures that echo the themes of her visual narratives. Education 2016-2017 MA Fine Arts, Chelsea College of Arts, London, UK 2011-2015 MFA, Athens School of Fine Arts, Athens, GR Solo Exhibitions 2024 Naughty Miniatures, Apodec project space, Thessaloniki, GR Corn Maidens (duo exhibition), The Opening Gallery, NY, USA 2022 Let Them Stare, The Edit Gallery, Limassol, CY 2021 Theodoros & Laskarina exclusive, Fougaro, Nafplio, GR 2020 Baby One More Time, Evripides Gallery, Athens, GR 2019 Just a Few Drops of Pink Coppertone, Fougaro, Nafplio, GR Single's Party, The Edit Gallery, Limassol, CY 2018 Brit Pond, Evripides Gallery, Athens, GR From Heavens with Love, The Palm Tree Gallery, London, UK Group Exhibitions 2024 The Art of Now, The Edit Gallery, Nicosia, CY Unapologetic WomXn, Palazzo Bembo, Venice, IT 2023 Sunburn, Studio West Gallery, London, UK Stigma, Dromokaitio Psychiatric Hospital, Athens, GR Now Women, Fougaro, Nafplio, GR 2022 Contemporary Now, The Edit Gallery, Nicosia, CY 2021 Art on Boards | The Skate Project, Zoumboulakis Galleries, Athens, GR Lusus Naturae, BcmA Gallery, Berlin, DE Reclaiming, The Edit Gallery, Limassol, CY 2020 iAR project 2020, Akaretler Gallery, Istanbul, TR 2019 Love is a Dog from Hell, Frissiras Museum, Athens, GR Three Pillars, Chelsea Gallery, London, UK 2018 ArtLab Munich, Galerie Benjamin Eck, Munich, DE Awards 2024 Creator of the Visual Identity for the 65th Thessaloniki International Film Festival (TIFF'65) Santa Fe Art Institute's International Thematic Residency on Sovereignty, New Mexico, USA Fulbright Artist Fellowship Award for participation in the SFAI program, USA 2023 CARV Residency, Argaka, CY 2020 Istanbul Artist Residency (iAR), Istanbul, TR 2019 AucArt LAB Residency, London, UK 2018 ACS Studio Prize 2018 Finalist, London, UK Cass Art Prize, London, UK Gallery Representation Skoufa Gallery, Athens, Greece The Edit Gallery, Limassol, Cyprus Statement about AOAP Submitted Artwork This drawing by Stella Kapezanou, is part of her Thorny and Nutrient series. The work depicts prickly pear cactuses with fruits resembling female breasts, serving as an homage to contemporary women-protected by sharp spines yet embodying tenderness and vitality. 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.
Alexandra Helm The Story waiting for its next Breath, 2025 Acrylic paint and gouache on khadi paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Alexandra Helm has a diverse practice that places observational work amongst memories, emotional imprints and dreams. She gives form to an interior world, the starting point often being an emotion or state of mind. The viewer is invited to find themselves and their worlds within the work. Education 2023-2025 Turps Art School, Correspondence Course 2011-2012 BA in Fine Art at Central Saint Martins (Year 1) 2008-2010 Foundation Diploma in Art and Design (Distinction) Chelsea College of Art and Design Solo Exhibitions 2023 Extended Reality, Aldeburgh Beach Lookout, Aldeburgh, Suffolk Group Exhibitions 2025 If Heavan Falls, The Lido Stores, Margate, England Split, The Dispensary, Wrexham, Wales 2024 Platforms Project, The Tobacco Factory, Athens, Greece Summer Contemporary, Snape Maltings, Suffolk, England 2023 Royal Academy Summer Exhibition, London, England Linden Hall Winter Show, Deal, England Woolwich Contemporary Print Fair, London, England Public Collections Bower Ashton Library, Bristol, England Statement about AOAP Submitted Artwork These paintings started with colours and gestures on Khadi paper. Each developed through the connection between the materials and the forms as they revealed themselves. Unknown spaces are created in each of Seventh Heaven, The Boy the Fish and the Squid, The Story waiting for its next Breath. Mystery and dialogue that isn't explained is explored and can be felt within each. 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.
Alexandra Helm The Boy, the Fish, and the Squid, 2025 Acrylic paint and gouache on khadi paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Alexandra Helm has a diverse practice that places observational work amongst memories, emotional imprints and dreams. She gives form to an interior world, the starting point often being an emotion or state of mind. The viewer is invited to find themselves and their worlds within the work. Education 2023-2025 Turps Art School, Correspondence Course 2011-2012 BA in Fine Art at Central Saint Martins (Year 1) 2008-2010 Foundation Diploma in Art and Design (Distinction) Chelsea College of Art and Design Solo Exhibitions 2023 Extended Reality, Aldeburgh Beach Lookout, Aldeburgh, Suffolk Group Exhibitions 2025 If Heavan Falls, The Lido Stores, Margate, England Split, The Dispensary, Wrexham, Wales 2024 Platforms Project, The Tobacco Factory, Athens, Greece Summer Contemporary, Snape Maltings, Suffolk, England 2023 Royal Academy Summer Exhibition, London, England Linden Hall Winter Show, Deal, England Woolwich Contemporary Print Fair, London, England Public Collections Bower Ashton Library, Bristol, England Statement about AOAP Submitted Artwork These paintings started with colours and gestures on Khadi paper. Each developed through the connection between the materials and the forms as they revealed themselves. Unknown spaces are created in each of Seventh Heaven, The Boy the Fish and the Squid, The Story waiting for its next Breath. Mystery and dialogue that isn't explained is explored and can be felt within each. 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.
Phoebe Boddy Cowgirl, 2025 Oil pastel on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Phoebe Boddy is a London-based emerging artist. Her abstract, figurative, expressionist paintings focus on the mundane, weaving exhilarating compositions that celebrate the everyday. Whether it is a painting of a fruit stand from the market or a bathtub scene, Boddy amplifies the beauty in everyday life through her energised brushstrokes, infused with bold outlines and vibrant colours while often adding a sprinkle of humour through witty text written on the canvas. Education 2017 Fine Arts BA (Hons), Loughborough University 2014 UAL Level 3 Diploma Art & Design Foundation Studies Solo Exhibitions 2024 Reverse Cowgirl, Nomad Salon, London, UK Group Exhibitions 2024 A Living Room, Interrupted Art, The Fitzrovia Gallery, London, UK Art on a Postcard, International Women's Day Auction, London, UK 2023 Delphian Open Call 2023, Unit 1 Gallery Workshop, London, UK Papier, Delphian Gallery, France Art Collector's Home, The Nomad Salon, London, UK The Silo Collective, Group Show, Hampshire, UK Beyond Beck Road, Beck Road Open Studios, London, UK Women to Watch, Reem Gallery, London, UK May Collection, Amelia Maxwell, Online Show Kensington & Chelsea Art Week, London, UK 2022 The Auction Collective, 50 X £50, Online The Other Art Fair, The Truman Brewery, London, UK [RE]Configured, Mall Galleries, London, UK Fancy a Bite?, Studio West Gallery, Notting Hill, UK Kensington & Chelsea Art Week, London, UK Pie in the Sky, PALETTE, Protein Studios, London, UK Hive Open Studios, The Koppel Project, London, UK Aubaine Restaurant, London, UK Collection Two, Katherine Richards Art Gallery, Hove, UK Awards 2021 Figurative Art Prize, Mall Galleries Kate Bryan Prize Nominee 2020 Directors Pick, SAATCHI ART Statement about AOAP Submitted Artwork My current work delves into representations of women for the female gaze. 'Cowgirl' & 'Just Have Another Beer Then' features paintings of badass female figures empowered by embodying the traditional cowboy persona, exuding the tough, masculine energy long associated with Western Cowboy culture. 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.
Eva Merendes Port na' Bo, 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Eva Merendes is a Greek, London-based contemporary artist and art educator whose work spans painting, drawing, and installations. She works in a variety of mediums with a sweet spot for watercolours and their expressive qualities. Eva creates works on paper and wood panels, drawing inspiration from the humour and absurdity of everyday life. Her practice includes series of works exploring observations, landscapes, and a deep connection to nature, reflecting on the interplay between human experiences and the natural world. Influenced by existentialist and stoic philosophies, Eva's art employs symbolic elements to examine resilience, authenticity, and the paradoxes of existence, inviting viewers to embrace life's complexities with curiosity and humour. Education 2022-2024 MFA in Fine Art, City & Guilds of London Art School, London, UK 2016-2018 MA in Art Psychotherapy, University of Roehampton, London, UK 2009-2015 BSc in Psychology, Aristotle University of Thessaloniki, Thessaloniki, Greece Group Exhibitions 2024 Southwark Park Galleries | Annual Open 2024, London, UK Candid Arts Trust Graduate Show, London, UK MA Show at City & Guilds of London Art School, London, UK Royal Scottish Academy 198th Annual Exhibition, London, UK Chelsea Art Society 75th Annual Summer Show at Chelsea Old Town Hall The Entranced Essence at RuptureXibit Gallery, London, UK Interim Show at City & Guilds of London Art School, London, UK Invisible Visible: A celebration of LGBTQ+ bodies & Identities at Hartslane Gallery, London, UK 2023 Interim Show at City & Guilds of London Art School, London, UK 2022 London Design Festival, London, UK The Royal Exchange X The Crossover Project, London, UK Erotic Art London X Oxo Tower, London, UK Royal Institute of Painters in Watercolours X Mall Galleries, London, UK 2021 'Home Takeover' Campaign for Bleur Art, across UK 2020 'Insert Feeling Here' for Bleur Art, London, UK Forces at Art Number 23, London, UK Awards 2024 The Tony Carter Award, City & Guilds of London Art School Gallery Representation Bleur Gallery, London, UK Statement about AOAP Submitted Artwork Golden Hour, Where to Next, Port Na Bo, and Mourne Mountains are reflections on my travels along the Northern Irish coastlines and frosty, sunlit landscapes. These works explore my connection to nature, capturing the fleeting beauty of changing environments and the sense of wonder and smallness they evoke in me. Using watercolours, I created translucent layers and fluid marks to reflect the delicate interplay of light and atmosphere. These pieces serve as both observations and metaphors, inviting reflection on the resilience and poetry of the natural world. 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.
Christabel Forbes Gardening Afternoon, 2025 Mixed media on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Christabel Forbes is a colourist artist who draws from her reality and memory to discover otherworldly, imaginative places. Drawing directly from life is crucial to her practice, which is then explored through printmaking and painting. She uses various materials, including oil pastels, watercolours, paint pens, and inks, to bring her artworks to life in a playful manner. Education 2022-24 City and Guilds of London Art School, MA Fine Art 2014-15 Royal Drawing School, The Drawing Year (MA level) 2013 Warsaw Academy of Fine Arts, Erasmus 2011-14 Falmouth University, (BA) Hon Fine Art Solo Exhibitions 2024 Time & Place, Caversham Picture Framer, Caversham, UK 2022 La Couleur du Voyage, Millenn'Art, Paris, France 2021 London's Green Spaces, Online 2020 Noirmoutier, Online 2019 Provence and Beyond, Blue Shop Cottage, Camberwell, London, UK Group Exhibitions 2024 Chelsea Art Society, Group Show, London artEast, Suffolk, UK City and Guilds of Art School MA Final Show, London, UK Summer Group Show, The Violet Hour, Online Chelsea Art Society 75th Annual Exhibition, London, UK artEast, Suffolk, UK 2023 Royal Drawing School Summer Show, 21 June at Ralph Lauren Mayfair, London, UK Chelsea Art Society, London, UK artEast, Suffolk, UK Nohohouse, Barcelona, Spain Awards 2018 Wedlake Bell Award for a Young Artist at the Chelsea Art Society Gallery Representation RiseArt, UK artEast, Suffolk, UK Caversham Picture Framers, Berkshire, UK Statement about AOAP Submitted Artwork This artwork uses drawings from my sketchbook to revisit a comforting garden scene. It shows a person gardening, using vivid colours and expressive brush marks. 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.
Eva Merendes Where to next?, 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Eva Merendes is a Greek, London-based contemporary artist and art educator whose work spans painting, drawing, and installations. She works in a variety of mediums with a sweet spot for watercolours and their expressive qualities. Eva creates works on paper and wood panels, drawing inspiration from the humour and absurdity of everyday life. Her practice includes series of works exploring observations, landscapes, and a deep connection to nature, reflecting on the interplay between human experiences and the natural world. Influenced by existentialist and stoic philosophies, Eva's art employs symbolic elements to examine resilience, authenticity, and the paradoxes of existence, inviting viewers to embrace life's complexities with curiosity and humour. Education 2022-2024 MFA in Fine Art, City & Guilds of London Art School, London, UK 2016-2018 MA in Art Psychotherapy, University of Roehampton, London, UK 2009-2015 BSc in Psychology, Aristotle University of Thessaloniki, Thessaloniki, Greece Group Exhibitions 2024 Southwark Park Galleries | Annual Open 2024, London, UK Candid Arts Trust Graduate Show, London, UK MA Show at City & Guilds of London Art School, London, UK Royal Scottish Academy 198th Annual Exhibition, London, UK Chelsea Art Society 75th Annual Summer Show at Chelsea Old Town Hall The Entranced Essence at RuptureXibit Gallery, London, UK Interim Show at City & Guilds of London Art School, London, UK Invisible Visible: A celebration of LGBTQ+ bodies & Identities at Hartslane Gallery, London, UK 2023 Interim Show at City & Guilds of London Art School, London, UK 2022 London Design Festival, London, UK The Royal Exchange X The Crossover Project, London, UK Erotic Art London X Oxo Tower, London, UK Royal Institute of Painters in Watercolours X Mall Galleries, London, UK 2021 'Home Takeover' Campaign for Bleur Art, across UK 2020 'Insert Feeling Here' for Bleur Art, London, UK Forces at Art Number 23, London, UK Awards 2024 The Tony Carter Award, City & Guilds of London Art School Gallery Representation Bleur Gallery, London, UK Statement about AOAP Submitted Artwork Golden Hour, Where to Next, Port Na Bo, and Mourne Mountains are reflections on my travels along the Northern Irish coastlines and frosty, sunlit landscapes. These works explore my connection to nature, capturing the fleeting beauty of changing environments and the sense of wonder and smallness they evoke in me. Using watercolours, I created translucent layers and fluid marks to reflect the delicate interplay of light and atmosphere. These pieces serve as both observations and metaphors, inviting reflection on the resilience and poetry of the natural world. 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.
Alexandra Helm Seventh Heaven, 2025 Acrylic paint and gouache on khadi paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Alexandra Helm has a diverse practice that places observational work amongst memories, emotional imprints and dreams. She gives form to an interior world, the starting point often being an emotion or state of mind. The viewer is invited to find themselves and their worlds within the work. Education 2023-2025 Turps Art School, Correspondence Course 2011-2012 BA in Fine Art at Central Saint Martins (Year 1) 2008-2010 Foundation Diploma in Art and Design (Distinction) Chelsea College of Art and Design Solo Exhibitions 2023 Extended Reality, Aldeburgh Beach Lookout, Aldeburgh, Suffolk Group Exhibitions 2025 If Heavan Falls, The Lido Stores, Margate, England Split, The Dispensary, Wrexham, Wales 2024 Platforms Project, The Tobacco Factory, Athens, Greece Summer Contemporary, Snape Maltings, Suffolk, England 2023 Royal Academy Summer Exhibition, London, England Linden Hall Winter Show, Deal, England Woolwich Contemporary Print Fair, London, England Public Collections Bower Ashton Library, Bristol, England Statement about AOAP Submitted Artwork These paintings started with colours and gestures on Khadi paper. Each developed through the connection between the materials and the forms as they revealed themselves. Unknown spaces are created in each of Seventh Heaven, The Boy the Fish and the Squid, The Story waiting for its next Breath. Mystery and dialogue that isn't explained is explored and can be felt within each. 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.
Nazanin Moradi Cycle of Strength I, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Nazanin Moradi is a London-based artist with a Master's degree in Fine Art from Chelsea College of Art, UAL (2016). Her dynamic career spans continents, with exhibitions in the UK, EU, USA. As a classically trained painter who also specializes in digital art, body painting and performance art, Moradi explores the profound interplay between the body and its environment. Her work delves into the complex relationship between movement and space, enriched by cultural history, mythology, and memory. Through the abstraction of form and the use of fluid, expressive techniques, she captures the vulnerability and transformation of the human body. Her compositions evoke a sense of dreamlike motion, where figures blend with their surroundings, highlighting the tension between identity and physicality. This fusion creates immersive, emotionally charged works that challenge perceptions of the body in space. Education 2016 MA Fine Art, Chelsea College of Art, London, UK Solo Exhibitions 2024 28 Clarendon Road, Watford, UK 2019 King St Studios, Lancaster, UK 2013 SOAS University, London, UK Group Exhibitions 2024 Black & Global Majority Art Fair, CasildArt Contemporary Gallery, London, UK Senses, Performance, HDN Mayfair, London, UK Londoners, Capital Art Gallery, London, UK Dawn Unveiled, Performance, Folklore Hoxton, London, UK Olympiada, 6 Charlton Place, London, UK 2023 WomenEmpowerment, Performance, Gustave, London, UK Art for Relief, charity auction organised by Sothebys in Turkish ambassador's residency, London, UK 2022 Crossing, V.O Curations, London, UK Concept, CICA Museum, Gyeonggi, South Korea The Body Language, Venice, Italy 2021 Circle, 44 Great Russell st, London, UK Dialogues of Distance, One Paved Court Gallery, London, UK 2020 MKCalling2020, MK Gallery, Milton Keynes, UK Restless Elements, Re:Centre, London, UK 2019 Flourish Award, West Yorkshire Print Workshop (WYPW), Bristol, Mirfield, Preston, UK Peace in the Middle East, Asia Movie Festival, Lahore, Pakistan Statement About AOAP Submitted Artwork My work explores the body in perpetual motion, using circle and rotation as central themes. Through gestural brushstrokes and muted tones, I depict figures that hover between abstraction and figuration, their forms dissolving and reforming in an endless cycle. The circular motion in each piece suggests fluidity, capturing the body as a vessel of transformation. The figures, caught in mid-turn, exist in a space where time loops rather than progresses. The rotation of their movements echoes both the physical rhythm of dance and the internal shifts of emotion. Each brushstroke mirrors this energy, creating a dreamlike atmosphere where the boundaries of self and space blur. By using the motif of the circle, at times resembling a hula hoop, an orbit, or a rippling current, I explore the tension between control and release, presence and absence. The repetition of movement suggests both liberation and entrapment, inviting viewers to consider the cyclical nature of experience. In this way, my paintings are not just about figures in motion but about the sensation of transformation itself. 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.
Phoebe Boddy Just have another beer then, 2025 Oil pastel on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Phoebe Boddy is a London-based emerging artist. Her abstract, figurative, expressionist paintings focus on the mundane, weaving exhilarating compositions that celebrate the everyday. Whether it is a painting of a fruit stand from the market or a bathtub scene, Boddy amplifies the beauty in everyday life through her energised brushstrokes, infused with bold outlines and vibrant colours while often adding a sprinkle of humour through witty text written on the canvas. Education 2017 Fine Arts BA (Hons), Loughborough University 2014 UAL Level 3 Diploma Art & Design Foundation Studies Solo Exhibitions 2024 Reverse Cowgirl, Nomad Salon, London, UK Group Exhibitions 2024 A Living Room, Interrupted Art, The Fitzrovia Gallery, London, UK Art on a Postcard, International Women's Day Auction, London, UK 2023 Delphian Open Call 2023, Unit 1 Gallery Workshop, London, UK Papier, Delphian Gallery, France Art Collector's Home, The Nomad Salon, London, UK The Silo Collective, Group Show, Hampshire, UK Beyond Beck Road, Beck Road Open Studios, London, UK Women to Watch, Reem Gallery, London, UK May Collection, Amelia Maxwell, Online Show Kensington & Chelsea Art Week, London, UK 2022 The Auction Collective, 50 X £50, Online The Other Art Fair, The Truman Brewery, London, UK [RE]Configured, Mall Galleries, London, UK Fancy a Bite?, Studio West Gallery, Notting Hill, UK Kensington & Chelsea Art Week, London, UK Pie in the Sky, PALETTE, Protein Studios, London, UK Hive Open Studios, The Koppel Project, London, UK Aubaine Restaurant, London, UK Collection Two, Katherine Richards Art Gallery, Hove, UK Awards 2021 Figurative Art Prize, Mall Galleries Kate Bryan Prize Nominee 2020 Directors Pick, SAATCHI ART Statement about AOAP Submitted Artwork My current work delves into representations of women for the female gaze. 'Cowgirl' & 'Just Have Another Beer Then' features paintings of badass female figures empowered by embodying the traditional cowboy persona, exuding the tough, masculine energy long associated with Western Cowboy culture. 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.
Kelly Jessiman Holding On, 2025 Stoneware Glazed Ceramic Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About St Leonards-on-Sea-based Kelly Jessiman builds her forms at the family dinner table, and each piece is fired and glazed in her garden shed. She takes a wide range of inspiration from contemporary paintings and ancient artefacts. Each stage is an organic process; the clay often takes on a life of its own, which leads to the final form, and from there, she decides how it will be glazed. Often glazed with hidden notes written on and scratched into the glaze, overlapped with drawings and good luck charms or superstitious markings warding off evil. Kelly enjoys the process of pottery and the unpredictable outcomes it presents. Her pieces are experimental, playing with the juxtaposition of neatly made traditional shapes against the organic imperfections inherent in the act of hand-building. Kelly's background is in fine arts, where she studied foundation art at Chelsea School of Art and went on to study BA Fine Art Sculpture at Camberwell School of Art. Exhibitions 2021 Babes in Arms group show, Big Yin Gallery, December 2022 Hot as Hell group show, Big Yin Gallery, June Burnt Orange group show, Big Yin Gallery, July A Trip Around the Sun group show, Big Yin Gallery, September Babes in Arms group show, De La Warr, September New Colour Now, Livingston, London, November 2023 Babes in Arms studio takeover, The Hastings Contemporary, March A Room of One's Own group show, Livingston, Bristol, May FOLDE group show, Coastal Currents, Hastings, September The Gallerist's Home, MAH Gallery, London, June Collection 04, Felt MKII, London, September The Bedroom and the Study, The House by MAH, London Design Festival, September In Time group show, Gallery 13, October Christmas Cracker, Georgia Stoneman Gallery, Castlecary, December 2024 Gate of Entrancement, Electro Studio Project Space, March Unapologetic Colour group show, Another Country, Marylebone, London, May Shaped, Felt, Straffordshire Street, London, July Gather in Gathering, Milieu Studios, October Served group show, Felt Host, London, December 2025 In Fleeting Moments group show, Secession Gallery, January Statement about AOAP Submitted Artwork The work submitted for Art on a Postcard is unusual for me as I don't usually work on small-scale flat surfaces. Here, I have decided to explore the idea of ceramic postcards and what postcards mean to me-sending thoughts of love, hope, and missing certain special people, added with my usual overlapping of words and images. 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.
Kelly Jessiman Sunflowers and Coffee, 2025 Stoneware Glazed Ceramic Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About St Leonards-on-Sea-based Kelly Jessiman builds her forms at the family dinner table, and each piece is fired and glazed in her garden shed. She takes a wide range of inspiration from contemporary paintings and ancient artefacts. Each stage is an organic process; the clay often takes on a life of its own, which leads to the final form, and from there, she decides how it will be glazed. Often glazed with hidden notes written on and scratched into the glaze, overlapped with drawings and good luck charms or superstitious markings warding off evil. Kelly enjoys the process of pottery and the unpredictable outcomes it presents. Her pieces are experimental, playing with the juxtaposition of neatly made traditional shapes against the organic imperfections inherent in the act of hand-building. Kelly's background is in fine arts, where she studied foundation art at Chelsea School of Art and went on to study BA Fine Art Sculpture at Camberwell School of Art. Exhibitions 2021 Babes in Arms group show, Big Yin Gallery, December 2022 Hot as Hell group show, Big Yin Gallery, June Burnt Orange group show, Big Yin Gallery, July A Trip Around the Sun group show, Big Yin Gallery, September Babes in Arms group show, De La Warr, September New Colour Now, Livingston, London, November 2023 Babes in Arms studio takeover, The Hastings Contemporary, March A Room of One's Own group show, Livingston, Bristol, May FOLDE group show, Coastal Currents, Hastings, September The Gallerist's Home, MAH Gallery, London, June Collection 04, Felt MKII, London, September The Bedroom and the Study, The House by MAH, London Design Festival, September In Time group show, Gallery 13, October Christmas Cracker, Georgia Stoneman Gallery, Castlecary, December 2024 Gate of Entrancement, Electro Studio Project Space, March Unapologetic Colour group show, Another Country, Marylebone, London, May Shaped, Felt, Straffordshire Street, London, July Gather in Gathering, Milieu Studios, October Served group show, Felt Host, London, December 2025 In Fleeting Moments group show, Secession Gallery, January Statement about AOAP Submitted Artwork The work submitted for Art on a Postcard is unusual for me as I don't usually work on small-scale flat surfaces. Here, I have decided to explore the idea of ceramic postcards and what postcards mean to me-sending thoughts of love, hope, and missing certain special people, added with my usual overlapping of words and images. 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.
Hannah Knox Summer Shirt, 2025 Gouache on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Hannah Knox was born in London, in 1978 where she lives and works. She completed her MA in painting at the Royal College of Art in 2007, she has lectured in painting at a number of Colleges and Universities including; Chelsea School of Art, Oxford Brookes University and UCA Canterbury. Recent solo exhibitions include "SHOP" at Frans Kasl Projects, the Netherlands 2023, 'Software' at Four You Gallery, Dubai, 2022, nd 'Over All' at Badr el Jundi Gallery, in Madrid, Spain, 2022. Knox is represented by Badr el Jundi Gallery, Spain and was recently in a group exhibition there, "One size Fits All" 2022. She currently has a painting on view in the Royal Academy Summer Exhibition, London, 2023 and has a forthcoming group exhibition in Hashimoto Contemporary, New York as well as a solo exhibition in LA at Simchowitz Gallery in Spring 2024. Recent exhibitions include; 'A Mark Extended' at Wasserman Projects, Detroit 2021, 'Greetings From Miami' at Hashimoto Contemporary, New York 2020, 'Common Property', at the Jerwood Space, London, UK, 2016. And 'Art Britannia', Madonna Building, Miami, USA 2013. Previous solo exhibitions include, 'Tempur', CSM Project Space, London, UK, 2015; 'BUFF', Ceri Hand Gallery, London, UK, 2013; 'Stoffbilder', Take Courage, London, 2012. Knox has been interviewed in various publications such as, Huffington post, Studio International, Hyperallergic, The American Scholar and Elle, Spain. She has paintings in many private collections internationally, including the Fidelity Art Collection and the Government Art Collection. 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.
Hannah Knox Red Cardigan, 2025 Gouache on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Hannah Knox was born in London, in 1978 where she lives and works. She completed her MA in painting at the Royal College of Art in 2007, she has lectured in painting at a number of Colleges and Universities including; Chelsea School of Art, Oxford Brookes University and UCA Canterbury. Recent solo exhibitions include "SHOP" at Frans Kasl Projects, the Netherlands 2023, 'Software' at Four You Gallery, Dubai, 2022, nd 'Over All' at Badr el Jundi Gallery, in Madrid, Spain, 2022. Knox is represented by Badr el Jundi Gallery, Spain and was recently in a group exhibition there, "One size Fits All" 2022. She currently has a painting on view in the Royal Academy Summer Exhibition, London, 2023 and has a forthcoming group exhibition in Hashimoto Contemporary, New York as well as a solo exhibition in LA at Simchowitz Gallery in Spring 2024. Recent exhibitions include; 'A Mark Extended' at Wasserman Projects, Detroit 2021, 'Greetings From Miami' at Hashimoto Contemporary, New York 2020, 'Common Property', at the Jerwood Space, London, UK, 2016. And 'Art Britannia', Madonna Building, Miami, USA 2013. Previous solo exhibitions include, 'Tempur', CSM Project Space, London, UK, 2015; 'BUFF', Ceri Hand Gallery, London, UK, 2013; 'Stoffbilder', Take Courage, London, 2012. Knox has been interviewed in various publications such as, Huffington post, Studio International, Hyperallergic, The American Scholar and Elle, Spain. She has paintings in many private collections internationally, including the Fidelity Art Collection and the Government Art Collection. 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.
Svetlana Kornilova Good Tidings, 2024 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Svetlana Kornilova, a professional artist, explores themes of childhood, the complexities of modern life, and the fleeting nature of existence, creating works that resonate on a profound emotional level. As the winner of the Art Competition commemorating the 70th anniversary of the Friends of Dulwich Picture Gallery in 2024, her painting, 'Make Your Choice,' is on display at the Dulwich Picture Gallery until January 2025. An internationally recognized artist, Svetlana has exhibited in prominent galleries worldwide, including Gagliardi Gallery (UK), Metropolitan Pavilion (USA), and Mall Galleries (UK). A member of the Society of Women Artists, she is also a prize-winner in prestigious competitions such as the London Art Biennale and Society of Women Artists. Her works are held in private collections across Europe, the Americas, and beyond. Education 2015 Professional Development Course, St. Petersburg State Academic Institute of Painting, Sculpture and Architecture, St. Petersburg, Russia 2014 Moscow State University of Art and Industry. Stroganov (Department of Monumental and Decorative Painting), Moscow, Russia 2013 Summer School Program for Drawing and Painting, St. Petersburg State Academic Institute of Painting, Sculpture and Architecture, Moscow, Russia 1992-1996 Art School, Dmitrov, Moscow Region, Russia Solo Exhibitions 2024 Never-ending Fairy Tale, Dulwich Social Hall, London, UK 2022 The Secret Garden, Curator Elina Gritchina, House-Museum of Marina Tsvetaeva, Moscow, Russia 2019 The Tale of the Main Thing, Community and Sports Center at Rosinka Residences, Moscow Region, Russia 2016 The Wide-Open Window, Memorial Estate "Dmitrovsky Kremlin," Moscow Region, Dmitov, Russia Cities by the Sea, Cultural Center of Liudviko Rezos, Juodkrante, Lithuania Group Exhibitions 2024 Dulwich Picture Gallery, permanent exposition as a winner of the Friends of Dulwich Picture Gallery competition, London, UK Visual Arts Scotland 'Now and Then,' Dalkeith Palace, Edinburgh, UK SWA Annual Exhibition, Mall Galleries, London, UK 2023 English Riviera Winter Open, Artizan Gallery, Torquay, UK Royal Institute of Oil Painters Annual Exhibition, Mall Galleries, London, UK SWA Annual Exhibition, Mall Galleries, London, UK 2022 London Biennale: Masterpiece, Gagliardi Gallery, London, UK Royal Society of Women Artists Annual Exhibition, Mall Galleries, London, UK 2021 London Art Biennale, 5th Edition, Chelsea Old Town Hall, London, UK 2019 Affordable Art Fair NYC, Metropolitan Pavilion, NYC, USA Awards 2024 Winner, 70th anniversary of the Friends of Dulwich Picture Gallery Winners Artists of the Season, 3rd Place, Art from Heart UK, Spring 2024 2023 Selected by Arts to Hearts project for the book "100 Emerging Artworks: Women's Edition 2023" 2021 London Art Biennale 2021, 2 notifications in "Others Award" category Gallery Representation Lysenko Gallery, London, UK Art Gallery "U Jaksy," Miechow, Poland Statement about AOAP Submitted Artwork The postcards submitted for the project are a part of my Fairy-tale series. It invites viewers into an enchanting imaginary world-a blend of whimsical narratives for children and thought-provoking stories for grown-ups. 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 Hyland The Future of Farming III, 2025 Archival Pigment Inkjet Signed on Verso with COA 10 x 15cm (3¾ x 5¾ in.) About Catherine Hyland is an artist based in London. She graduated from Chelsea College of Art and Design with a First class BA (Hons) Degree in Fine Art and completed her Masters at the Royal College of Art. Her photography centres around people and their connection to the land they inhabit. Primarily landscape based, her work is rooted in notions of fabricated memory, grids, enclosures and national identity. Her large format images depict humanity's attempts - some more effective than others - to tame its environment. An observation that has led to both artistic and commercial outreach, with residences at venues such as Focal Point gallery in Southend for the RADICAL ESSEX programme and has exhibited work at Month of Photography Los Angeles, Renaissance Photography Prize, National Portrait Gallery, Royal Photographic Society, LES MAGASINS GÉNÉRAUX, Somerset House, Design Museum in London, ICA & MAC in Birmingham. Hyland's ongoing projects highlight humanity's attempts to tame and transform nature, both past and present. 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.
* PATRICK CAULFIELD CBE RA (BRITISH 1936 - 2005), WE WANTED TO BLEED THE SILENCE screenprint on paper, from the 1973 edition of 200, published by Petersberg Press and Waddington mounted, framed and under glass image size 40cm x 35cm, overall size 58cm x 52cm Label verso: Open Eye Gallery, Edinburgh. Note: British painter and printmaker, born in London, where he studied at Chelsea School of Art, 1956–9, and the *Royal College of Art, 1959–63. In 1963 he began teaching at Chelsea School of Art and in 1965 he had his first one-man exhibition at the Robert Fraser Gallery, London. His work has been linked with *Pop art, although when introducing his work in 1964 he invoked, not the currently fashionable mass media theorists, but the Catholic poet and mystic Gerard Manley Hopkins. However, his work shared with artists such as Peter *Blake and David *Hockney a sense that the imagery was ‘in quotation marks’, so undermining the division between abstract and figurative art. The flat colour and black outlines of his painting (in his early work the impersonal surface was achieved by the use of gloss paint on board) were sometimes compared to Roy *Lichtenstein, although the American painter's work was unknown to him when Caulfield first established his style.The principal sources of his work lay in *Cubism. He looked to *Léger and especially *Gris, to whom he paid tribute in an early imaginary portrait and more subtly in Santa Margherita Ligure (1964). In this work he draws on the way in which Gris combined interior and exterior within the same plane. Discussing his painting in the 1964 *New Generation catalogue, David Thompson argued that Caulfield was interested in ‘devalued’ motifs, the way in which a painting by Delacroix or a device from Cubism or early abstraction could become ‘vulgarized’. When these early pictures are seen in the light of Caulfield's painting over the subsequent 40 years this seems to be putting things in reverse. What Caulfield was actually doing was using a highly accessible and apparently simple pictorial language, not out of irony, but to achieve effects of the utmost refinement. Although on the surface his style changed comparatively little, the uses to which he put it were extraordinarily varied. Some commentators have detected in his later work a strong sense of melancholy and mortality communicated through the pristine surfaces. He took up *screenprinting in 1964 and the following year won a prize for graphics at the Paris *Biennale. Subsequently print was an important part of his output. He also made designs for the Royal Ballet. An exhibition was devoted to his work at the Tate Gallery, London, in 1981 and another at the Hayward Gallery in 1999, but he never achieved the international reputation many of his admirers believed that he deserved.
* KIRSTY WITHER (SCOTTISH b. 1968), CORNER OF THE PARLOUR oil on canvas, signed, titled and dated 1999 label versoframed image size 54cm x 54cm, overall size 72cm x 72cm Label verso: The Gatehouse Gallery, Glasgow.Note: Kirsty Wither is a fine artist who studied in Scotland and from her studio now in Brighton paints brightly coloured and textured still lifes, figures and landscapes. Kirsty Wither was born in 1968 and studied at Gray’s School of Art in Aberdeen from 1986 to 1990. Her paintings are as much about the surface quality as the subject matter, as she applies vibrant layers of oil paint to achieve the desired outcome. Since 1989 she has been selected to appear in group exhibitions throughout the UK and from 1995 has had regular solo exhibitions in Glasgow, Edinburgh and London. She was elected Artist Member of the Chelsea Arts Club in 2004 and has many works in private and public collections worldwide. Her galleries include Portland Gallery (London), Open Eye Gallery (Edinburgh), Duncan Miller Fine Art (London), Capital Club (Dubai) and Mansfield Park Gallery (Glasgow).
Autographs: Stage, Screen, Music, and Dance, including Sean Connery, Roger Moore, Clint Eastwood, Dusty Springfield, Mary Quant, Marianne Faithful, Lulu, Eric Morecambe, Ernie Wise, Barbara Windsor, Ninette de Valois, and others, 1960s-1970s. Autograph album, faux brown leather covers, ownership name to first page, containing approx.. 95+ signatures, many of which are dedicated to ‘Ceril’, and further captioned by her in ink, 5 x 8.5cm, signatures include:Jeremy Etheridge, Marguerite Vacani (signed on a small card loosely inserted), Roger Moore, with an additional ink sketch of the Saint stick-man logo (signed on a single-page), Ernie Wise with Dave Clark (Dave Clark Five) on reverse, Eric Morecambe (signed on a single-page), Jimmy Tarbuck, Janette Scott, John Rostill (The Shadows), five members of The Searchers including, John McNally, Tony Jackson, Mike Pender, Chris Curtis, and one other, Clint Eastwood, Dick Van Dyke, Richard Attenborough (signed on a single-page), Oliver Reed signed on a piece of paper taped in, Gracie Fields, David Kossoff, Britt Eckland, Kenny Ball, Harry Secombe, Susan Maugham, Cliff Richard (whilst he was filming Summer Holiday in 1962), Richard O’Sullivan, Ninette de Valois, Susan Hampshire, Eric Sykes, Una Stubbs, Dilys Laye, Joan Regan, Frankie Howard, Brian Rix, Bernard Bresslaw, Max Bygraves with Barbara Windsor on reverse, Freddie and The Dreamers, including, Freddie Garrity, Roy Crewdson, Bernie Dwyer, Derek Quinn, Peter Birrell, Beryl Grey, Donald Houston, Sean Connery (signed on a single-page), Des O’Connor, Alfred Marks, Dusty Springfield, Bruce Wells (The Shadows), Patrick Cargill, Vince Hill, Arthur Askey, David Jacobs, Frank Ifield, Hayley Mills, Melvyn Hazel, Charles Hawtrey, Nicholas Parsons, signed on a magazine page pasted down with Joan Sims on reverse, Leo Franklyn, Norman Vaughan, David Frost, Sid James, Peggy Mount, Warren Mitchell, Hermione Gingold (both sellotaped over signatures), Danny La Rue, Dick Emery, Mary Quant, Jimmy Edwards, Topol signed on a magazine page taped in, Marianne Faithfull signed on a piece of paper tipped in, and Marty Feldman signed on a sheet of paper loosely inserted. Provenance:The Collection of Ceril Campbell, celebrity stylist, TV Presenter, motivational speaker, life coach, author, and independent celebrant. Signed in person for Ceril Campbell who grew up in Chelsea, London and on Saturdays, whilst still at school, worked on the Kings Road in boutiques, Mr Freedom, and later Jean Machine, whilst studying fashion design. As a result, Ceril hung out with ‘the Chelsea crowd’, who at that time included Mick Jagger's brother Chris, Jane Birkin's brother and Marianne Faithfull, Patti Boyd, and others. Ceril’s father worked in the film industry and would often take her to the studios where many of these signatures were signed.
λ EDWARD SEAGO (BRITISH 1910-1974) THE THAMES AT WESTMINSTER Oil on board Signed (lower left) titled (verso) 35 x 51cm (13¾ x 20 in.)Provenance: Marlborough Fine Art Ltd., London Sale, Sotheby's, London, 2 November 1983, lot 121 Portland Gallery, London Exhibited: London, Portland Gallery, Edward Seago, Diamond Jubilee Exhibition, June-July 2012, no. 12 After the turmoil of the Second World War, Seago returned to his native East Anglia where he settled in the village of Ludham. The 1950s and 60s saw him attain celebrity status in London, such were the popularity of his paintings, with regular sell-out shows at Colnaghi Galleries. He was one of small number of artists who were officially invited to paint the coronation of Queen Elizabeth II in 1953. He sailed up the Thames in Capricorn, one of his boats and moored at Cadogan Pier, near Chelsea Embankment, where he stayed for over three weeks. He subsequently moored there regularly with special dispensation from the Port of London Authority on his visits to London.Seago painted many views of London throughout his career but his depictions of the river are some of his most accomplished, showing to best effect his mastery of light and reflection. The soft impressionistic tones perfectly capturing the muted light of the city at sunrise, exuding a sense of calm by the water before the hustle and bustle of the day begins. Condition Report: Light surface dirt throughout, with some very small splashes of varnish splattered across the surface, very minor. A small cluster of pin hole size losses to the lower right quadrant, hardly noticeable. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
WALTER GREAVES (BRITISH 1846-1930) THE OLD THAMES COFFEE HOUSE ON THE CORNER OF LAWRENCE STREET AND CHEYNE WALK, CHELSEA Pencil and ink Signed and dated 60 (lower right) 22.5 x 33cm (8¾ x 12 in.)Provenance: P & D Colnaghi, London Condition Report: Unexamined out of glazed frame. Some light scattered foxing throughout the sheet. Some discolouration to the sheet throughout most notable to the extreme edges. The lower two corners have small damages and are not sharp right angles. Very light staining to the extreme edges. Condition Report Disclaimer
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