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Contemporary art glass vase, signed Clearly James to base, together with Caithness glass vases and other decorative ceramics including Beswick and glassware.

Eisch, Erwin Seltenes Glasobjekt "Telefon" (Frauenau 1927-2022 Zwiesel) Aus farblosem Glas geformtes Scheibentelefon, auf der Scheibe mattgeschnittenes Portrait sowie darunter die Nummer "90217", umlaufend der Spruch "ich höre dein Lachen und trag es nach Hause - my dear - ich höre dein Lachen". Unterseitig Sign. und Dat. "E. Eisch 97". Farbloses und kobaltblaues Glas, teils schwarz bemalt, Goldauflage. Ca. 15 x 20 x 21 cm. - Who's Who in Contemporary Glass Art, 1993, S. 130.

Eisch, Erwin Vasenobjekt "Moon Struck" (Frauenau 1927-2022 Zwiesel) Tropfenförmig; schauseitig figürliche Darstellung im Tiefschnitt mit Vergoldung. Farbloses Glas, schwarzviolett unterfangen, stark irisierend. Seitlich Sign. und Dat. "E. Eisch 91". H. 24 cm. - Who's Who in Contemporary Glass Art, 1993, S. 130.

Zwei Flakons 2. H. 20. Jh. Farbloses Glas, eines teils mattweiß überfangen und strukturiert. Eines ohne Stopfen und am Boden bez. "Boda Artist col. B. Vallien 48012" (für Bertil Vallien, Sollentuna/Schweden 1938 geb.), das andere unterseitig sign. und dat. "eka 84". H. 9,5 u. 14 cm. - Lit. Who's Who in Contemporary Glass Art, 1993, S. 576.Galerie Waldrich München / Privatsammlung Christiane Waldrich, Studioglas

Eisch, Erwin Vasenobjekt "Orpheus" (Frauenau 1927-2022 Zwiesel) Hohe und schlanke Form auf Trompetenfuß; schauseitig figürliche Darstellung im Tiefschnitt mit Vergoldung. Farbloses Glas, schwarzviolett unterfangen, stark irisierend. Rücks. Sign. und Dat. "E. Eisch 90". H. 51 cm. - Who's Who in Contemporary Glass Art, 1993, S. 130.

Eisch, Erwin Glasobjekt "Goldener Schuh" (Frauenau 1927-2022 Zwiesel) Aus farblosem Glas geformter Schuh, die Oberfläche mit Goldauflage. An der Seite Sign. "Eisch", Dat. "99-08-18" sowie Num. "21/200". Ca. 14 x 26 x 10 cm. - Who's Who in Contemporary Glass Art, 1993, S. 130.

ARR AFTER JOHN BRUNSDEN (1933-2014) *ARR'Llansannan', etching and aquatint, No 124/150, signed and titled, bears 'Christie's Contemporary Art' label verso.37 x 43cm.

ANDY WARHOLCampbell's Soup Can on Shopping Bag 1966Farbserigraphie auf Papiertragetasche. Nicht signiert. Unbekannte Auflagenhöhe. Hrsg. Institute of Contemporary Art, Boston Massachusetts. Bildgröße ca. 42 x 24 cm (Tragetasche mit Griffen ca. 61 x 43 cm). Feldman/Schellmann 4a.(Alters- und Knitterspuren, Siebdruck mit Reibspur, Kanten stärker gebräunt.)

ANDY WARHOLCampbell's Soup Can on Shopping Bag 1966Farbserigraphie auf Papiertragetasche. Nicht signiert. Unbekannte Auflagenhöhe. Hrsg. Institute of Contemporary Art, Boston Massachusetts. Bildgröße ca. 42 x 24 cm (Tragetasche mit Griffen ca. 61 x 43 cm). Feldman/Schellmann 4a.(Alters- und Knitterspuren, Siebdruck in der unteren Textzeile mit Fehlstellen, Kanten stärker gebräunt.)

ANDY WARHOLCampbell's Soup Can on Shopping Bag 1966Farbserigraphie auf Papiertragetasche. Nicht signiert. Unbekannte Auflagenhöhe. Hrsg. Institute of Contemporary Art, Boston Massachusetts. Bildgröße ca. 42 x 24 cm (Tragetasche mit Griffen ca. 61 x 43 cm). Feldman/Schellmann 4a.(Alters- und Knitterspuren, Siebdruck in der unteren Textzeile etwas überdruckt, Kanten stärker gebräunt.)

A BEAUVAIS AMUSEMENTS CHAMPÊTRES TAPESTRY AFTER JEAN BAPTISTE OUDRY FRENCH, CIRCA 1780 Woven with Oudry's design 'La Main Chaude' ("Hot Cockles"), figures in a wooded landscape beside a stream and stone folly, an open landscape with chateau visible in the distance, a shepherdess and her flock on the opposite bank, within a scrolling bold acanthus frame border approximately 300cm high, 397cm wide The design for this tapestry panel belonged to a series of "amusements champêtres" devised by Oudry (1686-1755) with one stage of his composition preserved in a drawing in the Stockholm National Museum (No. 2890 / I863). The scene features a game of "hot cockles" where a blindfolded person bent over with his head in the lap of a woman. The other players slapped him on the hand that is tucked behind his back, and he had to guess who it is. When the person guesses correctly who slapped him, that person takes his place. The game is depicted in a contemporary painting (1767-1773) by Fragonard (National Gallery of Art, Washington, 1946.7.6). A version of this tapestry is held in the Harvard Art Museum (1953.114). Condition Report: With wear, marks, repairs and sun fading as per age, handling, use, and cleaning. The whole with a slightly brown tint but retaining some of the more fragile lighter colour tones. Numerous areas of stitch repairs- but with some fragility resulting in some open areas with backing visible. Backing fairly modern. May benefit from remedial conservation prior to installation in domestic setting. 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 PAIR OF GEORGE III CARVED GILTWOOD DAY BEDS THE DESIGN ATTRIBUTED TO JAMES WYATT, CIRCA 1800 The frames with reeded and paterae to both sides, upholstered in yellow woven damask fabric 86cm high, 226cm wide, 76cm deep Provenance: Supplied to William, 3rd Viscount Courtenay, later 9th Earl of Devon (1768-1835) for Powderham Castle, Devon and thence by descent Sotheby's, Powderham Castle & Seaton Delaval Hall, 29th September 2009, Lot 47 Private Collection, Wolterton Hall, NorfolkSotheby's, Arts of Europe, London, 12th May 2015, lot 114; 'Inventory 1880, probably the `two lounging sofas with gilt legs and scroll tops', recorded in the Music Room. Illustrated 'Powderham Castle III', Mark Girouard, Country Life, July 18th 1963, Vol. CXXXIV, p. 142 in the Second Library. William, 3rd Viscount Courtenay, came into his inheritance and the family seat, Powderham castle, in 1788. As a young man he quickly set about transforming the castle, aided by the architect James Wyatt, the sculptor Richard Westmacott and the furniture makers Elward, Marsh and Tatham. An 1803 inventory of Powderham reveals a patron in the vanguard of taste ordering new neo-classical furniture, painted in white and gold and a variety of works of art. Lord Courtenay's most audacious addition was his great Music Room designed and furnished by James Wyatt containing '4 elegant sofas & cushions, striped satin covers & burnished gold frames'. Courtenay's elegant taste can be gauged from the items that survive from his commissions including these day beds. The pair of day beds were covered by Lady Venetia Devon, mother of the 18th Earl of Devon, who discovered the finely worked early 19th century silk panels at Powderham castle. Girouard in his Country Life article, op. cit. p. 142, writes that these may have been part of a commission by Marsh and Tatham and references these sofas with their 'contemporary white satin covers embroidered by some of the 13 Courtenay sisters' as a part of that group.

Outsider Art/Art Brut A large collection of volumes to include: Feilacher (Johann) Walla!, Museum Gugging, Salzburg: Residenz Verlag, 2012, folio, cased set of four books; Cardinal (Roger) Visions from the left Coast: California Self-Taught Artists, Santa Barbara Contemporary Arts Forum, 1995, folio, card covers; together with further volumes and ephemera on outsider art and self-taught artists (qty) The Library of Roger Cardinal Roger Cardinal (1940-2019)Roger Cardinal was one of Britain’s most distinguished art historians, best known for defining what is generally known as Outsider Art - that is, art by people with no formal training. He began his career as a lecturer at the French department of the University of Manitoba, Canada, subsequently moving to Warwick University and finally to the University of Kent at Canterbury, where he taught for fifty years and held a professorship.Roger Cardinal was not only a leading authority on Outsider Art, but also on Surrealism. He was a prolific writer and a master of literary style. His eloquent, percipient writings include several books on a wide range of subjects such as Outsider Art (1972), German Romantics in Context (1975) Figures of Reality (1981), Expressionism (1984), The Landscape Vision of Paul Nash (1989), The Cultures of Collecting (1994), and Kurt Schwitters (2011). He also acted as a curator and was a regular contributor to art-historical publications.Cardinal’s interest in art lay in its margins - the neurodiverse, psychotic, uneducated, autistic, self-taught and ‘other’. His fascination with artists such as the violently psychotic Adolf Wölfli lay in their creativity rather than in the sensationalism of their lives. Certainly, it did not lie in the resale value of their work. That outsider art should have its own multimillion-dollar annual fair in New York and specialist departments at Christie’s auctioneers ran quite contrary to Cardinal’s thinking.Much of Roger Cardinal’s library has recently been donated to the Tate Gallery including the handwritten diaries that he kept his whole life. Cardinal often used books as working tools, heavily annotating in the margins - as with many volumes in the current sale. The library offered reflects Cardinal’s varied interests and fluent command of French and German. Alongside a large collection of art reference works in his specialist subjects, we also find collections of books on fairy tales and science fiction.

Adams (Cuthbert Harry) The Head of Christ by Leonardo da Vinci, from the "Ministry of Art" by J.G., calligraphic manuscript on vellum, part of title and 5 gold initials, watercolour of Christ, framed and glazed, monogrammed C.H.A. and dated 1932, 30cm x 25cm framed size with a contemporary handwritten card with Ruskin Gallery letterhead, from John Gibbins (founder of the Ruskin Gallery in Birmingham) to A.M. Patrick

Charlie Hooker (b.1953), Sky Drum (1996), cyanotype and silver leaf, 100cm x 80cm, purchased from The Contemporary Art Society Market, framed and glazed

CONTEMPORARY SILVER CASED EASEL CLOCK, ALONG WITH AN ART NOUVEAU STYLE EASEL MIRROR the clock with Sheffield marks, along with a gilt metal Art Nouveau style easel mirror in the manner of WMFthe clock 9cm longQty: 2Clock is untested. Not ticking sound. Each in overall fair condition. Age related ware and surface scratches. Tarnishing to clock. Additional images now available.

Y AN ART DECO CORAL, ONYX AND DIAMOND BRACELET CIRCA 1930 Composed of alternating coral and onyx anchor links, between square cut diamond connectors, to a barrel shaped clasp set with a coral rondelle between tiered single cut diamond and black enamel lines, two links signed London, clasp stamped Ld Plat, in an associated contemporary Cartier red leather box Size/dimensions: 19.0cm long Gross weight: 25.5 gramsPlease be aware that this lot contains material which may be subject to import/export restrictions, due to CITES or Fish & Wildlife regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. Condition Report: The bracelet has some signs of wear commensurate with age and use, the enamel on the barrel clasp has some chips and has been re-enamelled at some point, the clasp is in good working order, the diamonds are all present and correct, bright and lively, commercial white, clarity mostly VS, assessed in setting, a chip to one side of a coral link, and a natural surface to another link Condition Report Disclaimer

Elisabeth Frink (1930-1993)The Shearwater, from Seabirds (Wiseman 90)Lithograph printed in colours, 1974, signed in pencil, numbered from the edition of 150, printed by Curwen Studio, published by Christie's Contemporary Art, London, with the publisher's blindstamp, on T.H. Saunders mould-made paper, the full sheet printed to the edges, sheet 650 x 474mm (25 5/8 x 18 5/8in)

Three prints including: one advertising a David Hockney exhibition, another advertising railway in Liverpool and the other advertising a contemporary art exhibition at the Lautrec Museum in Toulouse, all framed and glazed, 80 cm H x 53 cm WLocation:If there is no condition report, please request.

ARR Maximillian R. Desoutter (Contemporary) Lemon Head, printed signature lower left, print on canvas, numbered to verso 139/195 with silver wax seal, printed and published by Mark Simon Fine Art Essex, 97cm x 72.5cm

WILLIAM MORRIS (BRITISH 1834–1896) 'VINE AND ACANTHUS' EMBROIDERED PANEL, CIRCA 1890 coloured silks reserved on an unbleached linen ground, and lined with original printed cotton ‘Bird’ fabric by Morris & Co., later mounted and framed 169.2cm x 233cm (66 ½in x 99 ¾in) (frame size 181cm x 246cm (71 ¼in x 96 ¾in)) John and Joan Collins, Portobello Road, LondonAdrian J. Tilbrook and Dan Klein, LondonJohn Scott Collection Exhibited: The Fine Art Society, London Architect-Designers from Pugin to Voysey; The John Scott Collection , 3rd-25th June 2015, no. 84Literature: Morris & Company: Arras Tapestries, Wall-Papers, Fabrics, Furniture, Upholstery and Decoration, catalogue, circa 1910-12, p.24, where an identical design illustrated (half)Morris B. J. Victorian Embroidery: An Authoritative Guide, New York 1962, p.109Parry L. (ed.) William Morris, London 1996, p. 384The original design and cartoon for the tapestry are in the V&A; collection, accession numbers E.45-1940 and E.2472-1932Morris’ fascination with textiles was lifelong. This design is likely to have been partially inspired by the 16th century French and Flemish verdure tapestries he admired at Queen Elizabeth’s Hunting Lodge in Epping Forest as a child. In 1854 he visited France and was exposed to medieval ecclesiastical designs as well as observing weaving techniques in the Parisian Gobelins Works. As was characteristic of Morris, he personally sought to understand the physical making process, reportedly picking apart pieces to ‘puzzle out the tricks of the loom’.Despite his early enthusiasm for the medium, it was not until 1877 that Morris made his first official foray into tapestry weaving with ‘Acanthus and Vine’. This venture was once more prompted by his desire to understand Arras tapestry, studying it through making. Morris accordingly set up a haute-lisse, or horizontal loom, in his Kelmscott Manor bedroom, and spent 516 hours from May-September of 1879 completing it. This was not a seamless process, Morris himself renaming the piece ‘Cabbage and Vine’ following a distortion of the Acanthus leaves during production! The finished piece remains in the collection at Kelmscott, later being transposed to embroidery form.In the decades preceding the making of ‘Acanthus and Vine’, the status of embroidery as an artform was much diminished. The craft required a minimal and shrinking skill level, comprising repetitive stitch types and designs copied from kits. The founding of the Royal School of Art Needlework in 1872 aimed to improve the reputation of secular embroidery, with William Morris as one of the principle supporting designers. Morris’ opinions towards textiles foreshadowed principles of the Arts & Crafts Society, not established for another thirty years. He supported a return to traditional techniques, reacting against the stagnant designs and garish colour palettes of contemporary pieces. In the years prior to the making of ‘Acanthus and Vine’, not only did he become sole manager and proprietor of Morris & Co., but his work was influenced firstly by the opening of the South Kensington Museum (later the V&A;) and secondly his association with dyer Thomas Wardle. The former saw him inspired by sources as various as Indian textiles and traditional crewelwork, whilst the latter enabled him to work closely with a practitioner experienced in natural vegetable dyes. In ‘Acanthus and Vine’ sweeping arches of foliage envelope thoughtfully placed pairs of birds and plump bunches of grapes, all showcasing Morris’ love of gardening and his ornithological fascination. The colours are naturalistic, and the stitches lie flat to the fabric, allowing the subject to shine, rather than the materials themselves. For Morris, design elements had to serve a purpose within the pattern, birds needing to relate to the foliage rather than being a dominating feature. Thus, this embroidery retains the realism Morris prized, and his sentiment that ornamental art should primarily remind us of ‘the outward face of the earth’.

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’.

Feliks Topolski (1907-1989) 'Fountain Court', screenprint, numbered 96/125, dated 1989, signed lower right, 62cm x 41cmProvenance: With Christie's Contemporary Art (CCA) certificate of authenticity attached to the back of the frame, which also bears a Halcyon Gallery label. Overall wear, scratches and some blemishes to the wooden frame. Some dirt and marks to the top of the glass which would clean off. The print itself appears ok.

A pair of contemporary Art Deco style table lamps (only one lightshade)

A contemporary Pop Art style reverse acrylic painting on plexiglass by Clay Sinclair titled 'Impulsive Purchase' 2007, signed to the lower right. H.100 W.100cm

A striking print by acclaimed artist Edwina Sandys, showcasing her iconic black-and-white style, featuring bold abstract lines and symmetrical design. Signed and dated '15 by the artist in pencil. Measuring 25"L x 31"H, this framed piece captivates with its modern aesthetic and thought-provoking composition. A perfect addition for collectors of contemporary and graphic art.Artist: Edwina Sandys, British (b.1938)Dimensions: See DescriptionCondition: Age related wear.

DAVID REMFRY RA (BRITISH B.1942) ⊕ CARNIVAL TRIOsigned and dated David Remfry 1989 lower right; annotated Diane's B...upper leftgouache and watercolour on paper59 x 69.5cm; 23 1/4 x 27 1/2in82 x 95.5cm; 32 1/4 x 37 1/2in (framed)Property from a London Collection Provenance Mercury Gallery, LondonAcquired by the present owner in the late 1990sBorn in Worthing on the Sussex coast, Remfry is best known for his large-scale figurative watercolours such as the present work, his New York landscapes, and portraits of residents and friends made while living in Hotel Chelsea in Manhattan from 1995-2016. Remfry studied at the Hull College of Art 1959-1964 and held his first solo exhibition in London in 1973. His first show in the USA was at the Ankrum Gallery in Los Angeles, California in 1980. In 2002 he had a solo exhibition at MoMA PS1 Contemporary Center, Queens on Long Island. In the UK his work has been shown at the Fitzwilliam Museum, Cambridge; the Ferens Art Gallery, Hull; the National Portrait Gallery and the Victoria and Albert Museum, London. Other projects include designs for the launch of Stella McCartney’s fashion house, watercolours for Fortnum & Mason in London, and a portrait of Sir John Gielgud for the National Portrait Gallery. Remfry was elected to the Royal Watercolour Society in 1987. He was awarded an MBE in 2001 for his commitment to British Art in America. In 2008 he was elected a Member of the Royal Academy. This work is in a mount and hinged across top edge. It is also in an unglazed framed. Examined under UV, no signs of restoration.

CONTEMPORARY ART DECO DESIGN JUTE AND BAMBOO SILK CARPET. 305cm x 254cm.

An Art Deco two-light candelabrum in the form of a female nude, signed J. Tupton and a contemporary figure of a dancer.

A JAPANESE 20THC LIGHT BLUE GLASS BUD VASE BY KUNIAKI KUROKI. Japanese contemporary light blue art glass Korin ‘Milky Way’ single flower bud vase by Kuniaki Kuroki (b 1945) with gold/silver inlay. Signed by the artist on the base. 11cm x 8cm x 6cm. Good condition.

A striking studio art ceramic cylinder vase, featuring an expressive hand-painted abstract design with dynamic brushstrokes in shades of burgundy, blue, yellow, and green. The cylindrical form showcases a contemporary aesthetic with vibrant, free-flowing detailing. The base is signed "K T" in a bold turquoise script.Issued: 21st centuryDimensions: 9"HCondition: Age related wear.

Sarah Hills (Spanner in the works) Madame de Pompadour, 2025 Oil on paper (varnished) Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Sarah Hills' work references the notion that the places we have lived and experienced in the past exist within us and can impact how we perceive the elusive nature and progress of time. From the archives of memory certain cherished objects, quotidian motifs and borrowed and appropriated images are reimagined to create charged psychological spaces that suggest unexpected narratives and reflect a disorientating search for meaning. At times deeply personal, the work also seeks to find a universal language and meaning through metaphor and humour. The imagery of voids and empty spaces, suggests transitional moments and inevitably leads to thoughts of one's own departure.   Education 2023 MA Fine Art City and Guilds of London 2019 Heatherleys Portrait Diploma 1984 BA Fine Art WSCAD   Group Exhibitions 2025 Found|land Morley Gallery 2024 Residency, Pouch Cove Newfoundland Art Gemini London Lighthouse gallery '108' Art Hub Studios Pollen Circle Kindred 2023 Adjacent Colours D-Contemporary, Grafton St MA final show C&G Small Worlds, The Graduate Gallery 2022 Meet Me Halfway. The Art Pavilion, Mile End Fissured Realms. D-Contemporary, Grafton St 2021 Royal Institute of Oil Painters, Mall Galleries 2020 Royal Institute of Oil Painters, Mall Galleries   Awards 2021 John Walton Portrait Prize 2020 Heatherleys Portrait Prize   Statement about AOAP Submitted Artwork These pieces represent the physical manifestations of a mood or feeling. A stillness emanates; one that comes with looking at very little for some time. Yet they are alive because every painting is a portrait, carrying the message 'I am here'. The paintings are peppered with clues that fail to provide the whole story immediately. Instead, they hold our attention by prompting further study, compelling us to ask: where have we found ourselves? Who do they belong to? When were they last used? Why have they been left like this?   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.

Ellen Starr Lyon Front Door Stripes, 2024 Gouache on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ellen Starr Lyon, b. 1974 in Columbus, Indiana. Lyon is a figurative painter focusing on modern portraiture that revolves around feminism, motherhood, and coming of age. Her naturalist painting style incorporates a colourful palette and multiple thin, luminous layers capturing her models in natural light. Lyon uses her own photography to catch unguarded moments that are translated into oil paintings showing glimpses of emotion on the faces of those around her. Lyon champions vulnerability as strength while showing it as our common language. Her Red Glove Series depicts her teenage daughter wearing bright red rubber gloves and a defiant expression to talk about the next generation's fight for reproductive rights. She has work in the permanent collection of the Evansville Museum, UC Irvine, and Indiana University. Lyon has been invited to the Pouch Cove Artist Residency in July of 2024. Education BFA Painting, Indiana University Bloomington Solo Exhibitions 2023 Flora and Fauna, online exhibition through 33 Contemporary Gallery, Chicago, IL Familiar Faces, Evansville Museum of Arts, History, and Science, Evansville, IN 2022 Five Year Study, I Fell Gallery, Bloomington, IN2019 Crowd Source, Krempp Gallery, Jasper, IN 2018 Sphere of Influence, Untitled Light Gallery, Bloomington, IN Group Exhibitions 2024 Being Human, The Painting Center, New York, NY 16th Annual Juried Exhibition, Prince Street Gallery, New York, NY 100th Hoosier Salon, Indiana State Museum, Indianapolis, IN FiKVA, MiniARTures Exhibition, WG Gallery, Dordrecht, The Netherlands Reflections of Us, Sergio Gomez juror, Visionary Art Collective, Warnes Contemporary, Brooklyn, NY CONVERGE, 9th Annual Benefit Exhibition, Bridgette Mayer Gallery, Philadelphia, PA Winter Juried Exhibition, Blue Mountain Gallery, New York, NY AWA Annual Online Exhibition 92nd Annual Juried Exhibition, Indiana Artists, Indianapolis Museum of Art at Newfields 2023 CONTEXT, Miami Art Fair, Miami, FL SELF, juried exhibition, Manifest Gallery, Cincinnati, OH Femme Rage, group exhibition and zine, Bloomington, IN Me, Myself, and I, HCAA, Noblesville, IN Sutphin Invitational, Harrison Art Center, Indianapolis, IN Indiana Artists Member Show, Fort Wayne Museum of Art, Fort Wayne, IN Allied Artists of America, 110th Juried Show Hoosier Salon 99th Annual Juried Exhibition, Indiana State Museum, Indianapolis, IN 91st Annual Juried Exhibition, Indiana Artists Club, Indianapolis Museum of Art at Newfields Ohio, Kentucky, Indiana, Regional Juried Exhibition, Manifest Gallery, Cincinnati, OH A Natural Selection, Five Woman Show, Rainbow Bakery, Bloomington Gallery Walk, Bloomington, IN Illuminate: Emerging Bloomington Artists, Grant Recipients, Waldron Arts Center, Bloomington, IN Awards 2024 AWA, Annual Online Exhibition, First Prize for Associate Level 92nd Annual Juried Exhibition, Merit Award, Indiana Artists, Indianapolis Museum of Art at Newfields Public Collections Indiana University, Bloomington, IN, US University of California, Irvine, CA, US Evansville of Art, Evansville, IN, US Igleheart Foundation, Evansville, IN, US Statement about AOAP Submitted Artwork Each portrait is a moment caught in time; the model arranging her hair, my daughter asleep, a friend's daughter caught in bright light, and a self-portrait of myself in the red light of a dance club.   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.

Jen Orpin The Gate, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About The visual representations of landscapes in my paintings and the framed view from the car make up and form the basis of visceral memories and nostalgia, liminal spaces that occupy the landscape between the places and people that mean the most to us. The importance of these external landscapes is often mirrored by the internal dialogue of the driver and passenger with the confinements of the car at times offering an intimate confessional space. The mundanity of these every day actions often belies the truth of deep routed emotions that come with these well-travelled routes and connections to these familiar places. In these paintings I aim to portray this feeling, emotionalism is a key element in the success of each one and as a viewer you are forced to look down the road as its sole traveler and undertake each journey as your own.   Education 1993-1996 BA Hons in Fine Art, Manchester Metropolitan University, UK   1992-1993 Art Foundation, West Surrey College of Art and Design, UK   Solo Exhibitions 2024 We Left Nothing Behind, Union Gallery, London, UK A Navigation Of Memory, Jari Lager Gallery, Seoul, South Korea Art Busan, solo presentation, Jari Lager Gallery, South Korea 2023 The Journey Continues, Saul Hay Gallery, Manchester, UK 2022 Thirteen Bridges, London Modern, Waltham Forest Town Hall, London, UK 2021 The Manchester Modernist Society, Silent Cursors Punctuated Journeys, Manchester, UK   Group Exhibitions 2025 London Art Fair, Saul Hay Gallery, UK A Bell Is A Cup Until It Is Struck, BLOC Projects, Sheffield, UK Journeys, Taylor-Jones & Son, Deal, UK Rolling Action...Paint!, Jari Lager Gallery, Vestfossen, Norway 2024 Here is My Favourite Place, Jari Lager Gallery, Seoul, UK London Art Fair. Encounters Space, Saul Hay gallery, London, UK New Light Art Prize, Bankside Gallery, London, UK New Light Art Prize, Rheged Arts Centre, Penrith, UK A Small Space On Tour, TAT Art Space, Bali Royal Academy Summer Show, London, UK Terrace Open, Patchworks, London, UK Friends Of Dorothy, Refuge. Manchester, UK New Light Art Prize, The Biscuit Factory, Newcastle, UK Connections. MAFA, Stockport War Memorial art Gallery, UK New Light Art Prize, The Mercer Art Gallery, Harrogate, UK Rogue Women 3, curator, Rogue Studios, Manchester, UK The Pearls & The Oyster, The Birley Studios, Preston, UK Manchester Contemporary. Rogue Women stand, Manchester, UK 2023 Rogue Women II. Co-Curated, Rogue Artists' Studios, Manchester, UK Coalescence, Contemporary Six Gallery, Manchester, UK Royal Academy Summer Exhibition. London, UK MAFA Summer Exhibition, Dean Clough, Halifax, UK A Generous Space 3, Huddersfield Art Gallery, UK New Light Art Prize. Williamson Art Gallery, Birkenhead, UK Sight Ingested, part performance. Tokyo My Brutal Life, Moore Street substation, Sheffield, UK Sight Seeing, School of Fine Art, Athens The Bury Open, Bury Museum and Art Gallery, UK ING Discerning Eye, Mall Galleries, London, UK The London Group Open, Copeland Gallery, London, UK Manchester Contemporary. Rogue Women, Curator, UK A Small Space, Square Feet Space, London, UK Daegu Art fair, Jari Lager Gallery, South Korea In Case You Missed It, The Modernist, Manchester, UK Gallery Representation Saul Hay Gallery, Manchester, UK Jari Lager Gallery, London/South Korea Public Collections Manchester Art Gallery, UK New Art Gallery Walsall, UK   Statement about AOAP Submitted Artwork My night driving paintings capture the interplay of artificial and natural light, evoking a sense of solitude, romanticism, mystery, and the fleeting nature of night time journeys. These paintings emphasise contrasts, car headlights pick out the shadowy details and subtle shapes. The soft glow of distant lights offers a visual narrative of transition, introspection, and the quiet beauty of the darkened world outside the car. Through this lens, night driving becomes both a literal and metaphorical journey, often exploring themes of isolation, motion, and the search for meaning in the vastness of the night.   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 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.

Eleanor Ekserdjian They Will Not Take My Island III, 2024 Oil and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Eleanor Ekserdjian is a painter and film artist. Ekserdjian's practice involves projecting the moving image onto paper or canvas and drawing from and over it, her physical and emotional responses being made visible through rapid mark-making. These paintings and drawings become lyrical landscapes which explore her evolving emotional response to the film. Her most recent film and painting series was made during a six-week artist residency in Armenia, and explores cultural memory through landscape. Pepe Karmel, author of 'Abstract Art: A Global History', defined her work as 'Poetic, elegant and mysterious - a kinetic, subjective transcription of the world into calligraphy.' Education 2021 Drawing Intensive, Royal Drawing School, London, UK 2014-2019 MA Fine Art, The University of Edinburgh, Edinburgh, UK Solo Exhibitions 2025 Interwoven, Messums London, London, UK 2023 Light Pictures, Seen Fifteen Gallery, London, UK Group Exhibitions 2024 Crosscurrents Armenia | London, Redfern Gallery, London, UK 2023 International Diaspora Exhibition, Armenian Centre for Contemporary Experimental Art, Yerevan, Armenia 2022 Imagined Landscapes, Yerevan Im Ser Foundation, Yerevan, Armenia Emergence, AMP Gallery, London, UK 2021 Light & Line, Gallery 286, London, UK Royal Drawing School Selection, Hoxton 253, London, UK Summer Exhibition, The Gallery at Green & Stone, London, UK 2020 Spectral Pathways, Hidden Door Arts Festival, Edinburgh, UK Awards 2024 Hauser & Wirth Residency, Braemar, UK Sokyo Gallery Residency, Kyoto, Japan 2022 Yerevan Im Ser Foundation Residency, Yerevan, Armenia Statement about AOAP Submitted Artwork This series of works came out of my experience of growing up in Britain with a curiosity about Armenia and about my family who left Constantinople in the early 20th century. In 2022, I travelled to Armenia for the first time as a part of an artists' residency programme - the paintings I made there represented the first sight of a place I had always imagined but had never seen. 'They Will Not Take My Island III' is a response to the power of the Armenian Landscape and its glowing colour. The title refers to Arshile Gorky's drawing 'They Will Take My Island' and this work echoes his response to the loss of his homeland of Van. 'Red Nocturne' and 'New Green' were made on my return and combine the landscapes of both the UK and Armenia. I am interested in the idea of simultaneous landscape. 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.

Nadia Ferrante Sorority Series n2 (study), 2024 Oil on paper COA Included 10 x 15cm (3¾ x 5¾ in.) About Nadia Ferrante is a contemporary figurative artist, born and raised in Italy. She tries to explore the various facets of the human soul and behaviours in modern society. Fascinated by the human figure and its shape in space, by facial expressions and its representations. She works mainly with dry pastels, oil colours, charcoal, graphite and sanguine.   Education My artistic education is almost exclusively self-taught. I attended a two-year private drawing and composition course with two teachers from the Academy of Fine Arts in Rome during my adolescence.   Group Exhibitions 2025 BFF Modern portraits, Palm Beach Design and Showroom, Lake Worth, Florida 2024 Feminism, Artsy with 33 contemporary Gallery and 33PA, Online Eros, Artsy with 33 contemporary Gallery and 33PA, Online Micro, Artsy with 33PA and 33 contemporary Gallery, Online The British Art Prize, OXO gallery, London, England Love, Artsy with 33PA and 33 contemporary Gallery, Online 2023 Retro, Artsy with 33 contemporary Gallery, Online Mujer 2023, Artsy with 33 contemporary Gallery, Online Self as self, Artsy with 33 contemporary Gallery, Online Al and me, Artsy with 33 contemporary Gallery and 33PA, Online NOAPS, Online Contemporary miniature nudes, Artsy with 33 contemporary Gallery and 33PA, Online   Awards Grand prize People and figures, International Artist Magazine, first place. Finalist at the British Art Prize 2024   Statement about AOAP Submitted Artwork 1: Sorority, Study In this work I wanted to resume the narrative of female freedom from the impositions of patriarchy, already addressed in my work SORORITY, represented by the red ribbon that tightly encircles the wrist of the female hand depicted in the work.   2: Loneliness In this work I wanted to represent, with the three-color technique, in earth tones, the loneliness of the human being in this modern society, a theme very dear to me and which I often address. The faceless woman from behind is all of us women. I have developed the technique over time and it is particularly dear to me.   3: Study of a female head (neck) In this work I wanted to represent what fascinates me the most, the shape of the human body in space and all the compositions it can assume, particularly the female one. The charcoal technique is simple, atavistic, but powerful at the same time, because with a single color you can realize every nuance of reality.   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.

Mandy Racine Plumage 2, 2024 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Painting takes me to another place, my own special world inspired by the old masters and Baroque & Rococo imagery. I'm inspired by the composition, colour & flow of the works and love to put my own contemporary twist on it, painting in a very gestural, energetic way, which I would best describe as abstract figurative. I work mainly with acrylic, partly because of the speed & energy with which I paint and particularly enjoy trying to incorporate a real sense of movement - the figures, fabrics, landscape & gestures. Education 1985-1988 BA (Hons) Degree Fine Art, West Surrey College of Art & Design, Farnham, Surrey 1984-1985 Foundation Course in Art & Design, East Surrey College of Art, Reigate, Surrey. Passed with Merit Group Exhibitions 2024 25th Anniversary Exhibition, Laura Rathe Fine Art Gallery, Houston, Texas USA Two Person Show, Laura Rathe Fine Art Gallery, Houston, Texas USA 'Papertrails', Laura Rathe Fine Art Gallery, Houston, Texas USA 2023 'Grande Fete', Laura Rathe Fine Art Gallery, Houston, Texas USA 2022 Portraits installed in luxury suites at Fouquet's New York Hotel, USA Works shown at Little Art Boutique, Palma, Mallorca Gallery Representation Laura Rathe Fine Art, Houston, Texas, USA Joanne Artman Gallery, Laguna Beach, California, USA L&G Projects, La Jolla, near San Diego, California, USA Statement about AOAP Submitted Artwork I've painted some works in acrylic inspired by the Baroque/Rococo era. I hope to convey a sense of movement & a bit of frivolity. 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.

Emma Gibson Seance, 2025 Acrylic, mirror paint, and HB pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Emma Gibson (b.1980, UK) is a British artist exploring the uncertain state of reality, often adding to it. Having studied at Open School East and University of the Arts London, she currently lives and works in the Highlands of Scotland and runs Deluxe Miscellanea somewhere between the gallery and the gift shop Education 2017 Associate Artist, Open School East Masters program, Margate 2007 BA Honours Art and Illustration, 1st Degree, University of the Arts, London 2004 Foundation in Art and Design, Distinction, University of the Arts, London 2000 GNVQ Advanced Art and Design, Pembrokeshire College, Wales Solo Exhibitions 2022 Scarborough Geology Museums and Art Gallery Trust - solo exhibition- Quicksand, triptych of sculptures and accompanying installation, film, learning experience and workshops 2020 The Art Block commissioned by Selfridges and curated by Helen Pheby, Yorkshire Sculpture Park - Quicksand, triptych of sculptures 2019 Margate NOW x Turner Prize 2019 - Point Break (at disused water tower) installation 2018 DreamLand x Studio TAC billboard art commission, Margate Museum - Save Yourselves, billboard 2016 Whitstable Biennale satellite x Hantverk & Found Gallery - The Code, installation 2016 Resort Gallery and Project Space - Shadows joint show with Conrad Armstrong, installation and composition 2015 Crate Gallery - Shelling Out, installation Group Exhibitions 2021 The Turner Contemporary Open - group exhibition - Quicksand micro-grain tryptic of prints 2019 A Cut from Sharp Grass - Well Projects - Point Break (dual sited in gallery) installation 2018 Chiara Williams Contemporary Art @ Nayland Rock Hotel - At The Violet Hour, group show 2017 Pettman's Depository/Open School East - The Well, group show 2017 Turner Contemporary- Spelunking/ The Handling Collection, live performance Awards Creative Scotland grant for individuals 2023 A-N Artists Bursary Award 2022 Arts Council National Lottery Project Grant 2019 KCC arts investment award 2019 Arts Council National Lottery Project Grant - R&D 2018 A-N Artists Bursary Award 2019 Public Collections Scarborough Museum and Galleries collection, UK Statement about AOAP Submitted Artwork In Scottish folklore, a will-o'-the-wisp is an atmospheric ghost light often shaped as a ball, seen by travellers at night, especially over bogs, swamps or marshes and to this day is unexplained. Once in unbelievable abundance-the Old German word 'herring' means 'multitude'-herring attracted thousands of boats from all over Europe to the Scottish waters, Silver-coloured, as slick and bright as mercury, the fish has poetically been nicknamed 'silver darlings'. The decrease of the natural food source magnified its legendary dimension through folklore, songs and tales. 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.

Sal Jones I Smiled Back Anyway, 2025 Oil on primed paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Drawing inspiration from sources such as film, media, and popular culture, Sal's oil paintings, weighted with psychological tension, defy the usual portrait genre and gender stereotypes. The subjects are mostly women, often fictional or notorious, with a social or cultural relevance. The painted surface draws attention to the process of painting and to the artist's choices in transforming the photographic source image. Sal has a BA Hons in Fine Art and a PGCE in Art & Design, she lives and works in Hackney, London. She has over 20 years of experience working in the education sector teaching and undertaking art residencies; she is a freelance Artist, Museum educator and exam board Assessment Associate and has exhibited widely in London and the UK, in selected and solo shows. Sal has been shortlisted for Wells Art Contemporary (WAC 2023), Wales Contemporary Art Prize (2022); long-listed for the BEEP Biennial (2024), the Women's United Art Prize (2021), and the Jackson's Open Art Prize (2016), winning the interim oil painting prize. Sal has also had work selected for the Royal Cambrian Academy open and the Wales Contemporary open. She was an invited artist for the ING Discerning Eye exhibition (2020) as well as being selected for the Discerning Eye, annual open exhibition at the Mall galleries in 2014. She has had work selected for the Society of Women artists annual open exhibition (2023, 2020 and 2015) and has shown with the Bath Society of Artists, Royal Birmingham Society of Artists, Visual Arts Scotland, and Feren's gallery Hull in their annual open exhibitions. She was one of 21 visual women artists invited to produce new work for 'Dear Christine', an arts council-funded touring exhibition in tribute to Christine Keeler (the exhibition toured during 2019 - 2020 to Newcastle, Swansea, and London). Education 1989 - 1990 Postgraduate Certificate of Education in Art & Design, Middlesex Polytechnic 1983 - 1986 BA(hons) degree in Fine Art, Sunderland Polytechnic Solo Exhibitions 2021 No Time Like The Present, Hampstead Garden Gallery, London 2018 Something that Feels Like the Truth, Unit G gallery, London 2017 Appearances, Solo show, Nude Tin Can gallery, Herts 2014 Moving Scenes, solo show, Gallery at Hackney Picturehouse, London Group Exhibitions 2024 Linden Hall Winter Open, Linden Hall, Deal BEEP Painting Biennial, Elysium Swansea Now & Then, Visual Arts Scotland, Dalkeith Palace, Edinburgh 2023 Scandal '63 Revisited, De Montfort University Gallery, Leicester Wells Art Contemporary, Wells Cathedral Somerset Society of Women Artists 162nd Annual Exhibition, Mall Galleries, London The Look of a Woman, The Stash Gallery, London 2022 Fenella Fielding: Actress, Gallery 286, London Wales Contemporary, Waterfront Gallery, Pembrokeshire and Gallery@Oxo London British Painting III, Bermondsey Project Space, London Royal Cambrian Academy Open Exhibition, Conwy, Wales 2021 Bath Society of Artists 116th Open Exhibition, Victoria Art Gallery, Bath The Marks We Make, The Curator's Salon 2020 ING Discerning Eye, Annual Open Exhibition, Invited Artist Society of Women Artists, 159th Annual Open Exhibition Healthcare Heroes, Google Arts and Culture Dear Christine, Touring Exhibition, Arthouse 1, London 2019 Dear Christine, Touring Exhibition, Vane Gallery, Newcastle & Elysium, Swansea Bath Society of Artists, Open Exhibition, Victoria Art Gallery, Bath Awards 2024 Longlisted BEEP Painting Biennial 2023 Shortlisted Wells Contemporary Art 2022 Shortlisted Wales Contemporary Prize 2021 Longlisted Women United Art Prize 2016 Longlisted for the Jackson's Open Art Prize, Winner Interim Oil Painting Prize Public Collections De Montfort University, Leicester The Fenella Fielding Foundation, London Space Park, Leicester Statement about AOAP Submitted Artwork I am particularly drawn to a gesture captured rather than conventional poses, those unguarded moments; something we can relate to as viewers. These two works depict fictional subjects, in moments of quiet introspection, suggesting darker undercurrents. 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.

Jen Orpin The Sign, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About The visual representations of landscapes in my paintings and the framed view from the car make up and form the basis of visceral memories and nostalgia, liminal spaces that occupy the landscape between the places and people that mean the most to us. The importance of these external landscapes is often mirrored by the internal dialogue of the driver and passenger with the confinements of the car at times offering an intimate confessional space. The mundanity of these every day actions often belies the truth of deep routed emotions that come with these well-travelled routes and connections to these familiar places. In these paintings I aim to portray this feeling, emotionalism is a key element in the success of each one and as a viewer you are forced to look down the road as its sole traveler and undertake each journey as your own.   Education 1993-1996 BA Hons in Fine Art, Manchester Metropolitan University, UK   1992-1993 Art Foundation, West Surrey College of Art and Design, UK   Solo Exhibitions 2024 We Left Nothing Behind, Union Gallery, London, UK A Navigation Of Memory, Jari Lager Gallery, Seoul, South Korea Art Busan, solo presentation, Jari Lager Gallery, South Korea 2023 The Journey Continues, Saul Hay Gallery, Manchester, UK 2022 Thirteen Bridges, London Modern, Waltham Forest Town Hall, London, UK 2021 The Manchester Modernist Society, Silent Cursors Punctuated Journeys, Manchester, UK   Group Exhibitions 2025 London Art Fair, Saul Hay Gallery, UK A Bell Is A Cup Until It Is Struck, BLOC Projects, Sheffield, UK Journeys, Taylor-Jones & Son, Deal, UK Rolling Action...Paint!, Jari Lager Gallery, Vestfossen, Norway 2024 Here is My Favourite Place, Jari Lager Gallery, Seoul, UK London Art Fair. Encounters Space, Saul Hay gallery, London, UK New Light Art Prize, Bankside Gallery, London, UK New Light Art Prize, Rheged Arts Centre, Penrith, UK A Small Space On Tour, TAT Art Space, Bali Royal Academy Summer Show, London, UK Terrace Open, Patchworks, London, UK Friends Of Dorothy, Refuge. Manchester, UK New Light Art Prize, The Biscuit Factory, Newcastle, UK Connections. MAFA, Stockport War Memorial art Gallery, UK New Light Art Prize, The Mercer Art Gallery, Harrogate, UK Rogue Women 3, curator, Rogue Studios, Manchester, UK The Pearls & The Oyster, The Birley Studios, Preston, UK Manchester Contemporary. Rogue Women stand, Manchester, UK 2023 Rogue Women II. Co-Curated, Rogue Artists' Studios, Manchester, UK Coalescence, Contemporary Six Gallery, Manchester, UK Royal Academy Summer Exhibition. London, UK MAFA Summer Exhibition, Dean Clough, Halifax, UK A Generous Space 3, Huddersfield Art Gallery, UK New Light Art Prize. Williamson Art Gallery, Birkenhead, UK Sight Ingested, part performance. Tokyo My Brutal Life, Moore Street substation, Sheffield, UK Sight Seeing, School of Fine Art, Athens The Bury Open, Bury Museum and Art Gallery, UK ING Discerning Eye, Mall Galleries, London, UK The London Group Open, Copeland Gallery, London, UK Manchester Contemporary. Rogue Women, Curator, UK A Small Space, Square Feet Space, London, UK Daegu Art fair, Jari Lager Gallery, South Korea In Case You Missed It, The Modernist, Manchester, UK Gallery Representation Saul Hay Gallery, Manchester, UK Jari Lager Gallery, London/South Korea Public Collections Manchester Art Gallery, UK New Art Gallery Walsall, UK   Statement about AOAP Submitted Artwork My night driving paintings capture the interplay of artificial and natural light, evoking a sense of solitude, romanticism, mystery, and the fleeting nature of night time journeys. These paintings emphasise contrasts, car headlights pick out the shadowy details and subtle shapes. The soft glow of distant lights offers a visual narrative of transition, introspection, and the quiet beauty of the darkened world outside the car. Through this lens, night driving becomes both a literal and metaphorical journey, often exploring themes of isolation, motion, and the search for meaning in the vastness of the night.   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.

Jo Chate Warrior 2, 2025 Tempera gouache on inkjet print Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Jo Chate is a contemporary artist who transforms moments and phenomena from everyday life to create complex, enigmatic paintings. Her way of working is exploratory; embracing dualities which result in connections and complexities that are not easily definable. The paintings ultimately become the site of transformation, refracting and colliding experiences with future recollections. Alongside working on paintings, Jo Chate is experimental with collage, photography and painting on prints. Working this way has become part of her process to defamiliarise the familiar, to absorb and change until the final image evolves incorporating elements of the original. Education 2002-2004 MA in Fine Art Painting, Royal College of Art, London, UK 1999-2002 BA Fine Art, 1st class, Kingston University, Kingston, UK 1998-1999 Foundation Diploma, City & Guilds, London, UK Solo Exhibitions 2024 OUTLIERS, Q&C Gallery, Cambridge UK 2017 NOTES FROM THE WHITE BOOK, The Perfume Factory, London, UK 2012 ANGELIS DEFENSA, Vicoli Poli, Spoleto, Italy Group Exhibitions 2025 DISTURB THE LOGIC, TondoCosmic, London UK 2024 LIGHT IT UP: WINTER MENAGERIE, TondoCosmic, London, UK MICROSTORIA, Polarraum, Hamburg, Germany GOTH IN A LANDSCAPE, Museum Galleries, Aberystwyth School of Art, Wales, UK UNDONE, TondoCosmic, London, UK YOU ARE THE CIRCLE, Excelsior, London, UK THIS YEAR'S MODEL 2024 PART II, Studio 1.1, London, UK RADICAL RESIDENCY VIII 2024 EXHIBITION, Unit 1 Gallery, London, UK 2023 OPEN04, Excelsior, London, UK CUSTARD SPLITS, SET London, UK THIS YEAR'S MODEL 2023 PART III, Studio 1.1, London, UK SIDE STEP, SET London, UK 2022 WOMXN - FAIR ART FAIR CURATED II Unit 1 Gallery, London, UK Public Collections The Royal College of Art, London, UK Statement about AOAP Submitted Artwork Three mixed media works from the mannequin series; two are paint on digital prints of mannequins originally seen in shop windows. In 'Warrior 2' she becomes a she warrior in a post-apocalyptic world, flanked by her skeleton partner and child. In the second card, the mannequins emerge from the darkness, human but not human, part AI. The third postcard 'Line up' - three headless mannequins in a row, one blue. These works challenge traditional depictions of the female form from the perspective of a female artist. 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.

Jackie Berridge Dwelling II, 2025 Oil on primed paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Zsofia Schweger (b. 1989, Szeged) is a Hungarian artist based in London. Zsofia had lived in the US for 5 years and studied at Wellesley College in the Boston area, before she moved to London in 2013. She then attended the Slade School of Fine Art, graduating with an MA in 2015. Zsofia's work in painting is informed by her experience of moving countries: she is interested in human relationships to spaces in general and the notions of home and belonging in particular. In her paintings of domestic and public interiors, Zsofia uses reductive paint application, flat panels of colour and a muted palette in order to express a sense of both alienation and comfort. Zsofia was selected for Bloomberg New Contemporaries 2016 and Forbes 30 Under 30 Europe 2017. She has been supported by several generous prizes, including the Jealous Prize, Griffin Art Prize, the Alice C. Cole Award, and the 'One To Watch' Award. Since her first solo exhibition at Griffin Gallery in London in 2016, she has had solo shows at Edel Assanti (London), Sapar Contemporary (New York), Lundgren Gallery (Palma), Inda Gallery (Budapest) and Rutger Brandt Gallery (Amsterdam). Her first institutional solo exhibition was held in 2022 at Romer Floris Muzeum in Gyor, Hungary. Zsofia's work is represented by Sapar Contemporary (New York) and Inda Gallery (Hungary). 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.

Kate Matsevych In Between Moments, 2024 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Kate is a contemporary artist whose work explores the beauty, strength, and individuality of women. Working primarily in acrylics on canvas, she uses bold colours, striking colour blocks, and dynamic compositions to create vibrant, emotive portraits. Inspired by her upbringing surrounded by strong female influences, Kate's art captures the complexity and essence of womanhood in a modern, expressive style. Education 1996 - 2004 School of Art, Uzhhorod, Ukraine 2007 - 2013 Uzhhorod National University Masters of Business Economics, Uzhhorod, Ukraine Solo Exhibitions 2024 Self-Discovery and Rebirth, Amber Galleries, Henley on Thames, UK End Of Residency Exhibition at the Bankside Hotel, Degree Art, London, UK Group Exhibitions 2024 Manchester Art Fair, Dalloz Contemporary, Manchester, UK Affordable Art Fair, Degree Art, London, UK The Hidden and The Revealed, Art Lounge, London, UK Edinburgh Art Fair, Dalloz Contemporary, Edinburgh, UK Affordable Art Fair, Degree Art, London, UK The Art Of Belonging, Bankside Hotel, Degree Art, London, UK 2023 Affordable Art Fair, Art*, London, UK Fresh Art Fair, Dalloz Contemporary, Ascot, UK Obsession, Art Exhibition, London, UK No Limits, Bingham Riverhouse, Degree Art, London, UK Gallery Representation Amber Galleries (Henley on Thames, Stratford upon Avon, UK) Dalloz Contemporary (London, UK) Degree Art (London, UK) Gone Rogue (London, UK) Art Lounge (London, UK) Statement about AOAP Submitted Artwork The pieces I have submitted for International Women's Day celebrate the beauty, complexity, and individuality of women. Each portrait uses vibrant, contrasting colours and bold shapes to explore the multifaceted nature of womanhood-strength, vulnerability, creativity, and resilience. Through this series, I aim to encourage viewers to reflect on the roles women play in shaping our world and to celebrate their contributions, both big and small. For me, art is a way to amplify these voices and create a space for honouring women everywhere. 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.

Louise Dougherty Woods between the worlds, 2024 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Louise Dougherty is a contemporary landscape artist living and working in Norfolk, England. Discovering a deeper connection absorbs her artistic practice. She walks and records her surroundings to explore the metaphor between landscapes and life experiences. Recording the conflicting differences between being absorbed with the delicacy and power of the female experience contrasted or linked to the rhythms of the skies and landscape. Her work continually investigates how she connects to the landscape, whether through memory, physicality, or spirituality. Education 2001-2002 Post Graduate Certificate in Education (PGCE), Cambridge University, England 1998-2001 BA (Hons) Fine Art Painting, Winchester School of Art, Winchester, England 1997-1998 Art Foundation, Winchester School of Art, Winchester, England Solo Exhibitions 2024 Quiet Moments, Suffolk Wildlife Trust, Lowestoft, England 2023 Restore, No 36 The Art Workshop Gallery, Gorleston on Sea, England 2015 Quietly Discovered, Anteros Arts Foundation, Norwich, England Group Exhibitions 2025 Wales Contemporary, The Waterfront Gallery, Milford Haven, Wales Wales Contemporary, The Garrison Chapel, London, England 2024 Women in Art Prize Final, The Roundhouse, London, England Mixed Autumn Exhibition, Geedon Gallery, Fingringhoe, England Creative Odyssey, Mandells Gallery, Norwich, England Summer Open, The Bank Gallery, Eye, England Unconsumed, The Shoe Factory, Norwich, England Threads, Gallery 42, Eastbourne, England 2023 Society of Women Artists, Mall Galleries, London, England 2022 Summer by the Sea, No 36 The Art Workshop, Gorleston, England Flora and Fauna, The Yare Gallery, Great Yarmouth, England Between River and Reed, The Assembly House, Norwich, England Between River and Reed, Water Mills and Marshes, Skippings Gallery, Great Yarmouth, England 2021 Norfolk Open Studio Preview Exhibition, The Forum, Norwich, England Summer by the Sea, No 36 The Art Workshop, Gorleston, England Summer Exhibition, The Yare Gallery, Great Yarmouth, England Country and Coast, No 36 The Art Workshop, Gorleston, England Statement about AOAP Submitted Artwork Wood Between the Worlds is a discovered landscape after heavy rain. Reflection, new light, growth, and quiet calm. The haunting quality of the woodland immediately evoked CS Lewis's The Magician's Nephew and the wood between our world and others. I wanted to explore the ideas of possibility, new beginnings, and hope. I used watercolour to capture the light and the subtlety of the textures. 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.

Sarah Hills (Spanner in the works) The Orange Curtain, 2025 Oil on paper (varnished) Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Sarah Hills' work references the notion that the places we have lived and experienced in the past exist within us and can impact how we perceive the elusive nature and progress of time. From the archives of memory certain cherished objects, quotidian motifs and borrowed and appropriated images are reimagined to create charged psychological spaces that suggest unexpected narratives and reflect a disorientating search for meaning. At times deeply personal, the work also seeks to find a universal language and meaning through metaphor and humour. The imagery of voids and empty spaces, suggests transitional moments and inevitably leads to thoughts of one's own departure.   Education 2023 MA Fine Art City and Guilds of London 2019 Heatherleys Portrait Diploma 1984 BA Fine Art WSCAD   Group Exhibitions 2025 Found|land Morley Gallery 2024 Residency, Pouch Cove Newfoundland Art Gemini London Lighthouse gallery '108' Art Hub Studios Pollen Circle Kindred 2023 Adjacent Colours D-Contemporary, Grafton St MA final show C&G Small Worlds, The Graduate Gallery 2022 Meet Me Halfway. The Art Pavilion, Mile End Fissured Realms. D-Contemporary, Grafton St 2021 Royal Institute of Oil Painters, Mall Galleries 2020 Royal Institute of Oil Painters, Mall Galleries   Awards 2021 John Walton Portrait Prize 2020 Heatherleys Portrait Prize   Statement about AOAP Submitted Artwork These pieces represent the physical manifestations of a mood or feeling. A stillness emanates; one that comes with looking at very little for some time. Yet they are alive because every painting is a portrait, carrying the message 'I am here'. The paintings are peppered with clues that fail to provide the whole story immediately. Instead, they hold our attention by prompting further study, compelling us to ask: where have we found ourselves? Who do they belong to? When were they last used? Why have they been left like this?   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.

Julie Collins Anchor Lost at Sea, 2024 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Julie is a contemporary artist who works primarily in waterbased media, including acrylic, watercolour & ink. Her work is based on memories and stories of the landscape of south coast and the New Forest UK where she lives. Education 1980-1984 BA Hons Fine Art, University of Reading Solo Exhibitions 2024 Aldeburgh Gallery, Suffolk 2021 Wykeham Gallery, Stockbridge, Hants 2017 Isle Gallery, Isle of Man Group Exhibitions 2024-2025 Hayden Art Gallery, Marlow, Bucks 2014-2024 (inclusive) Royal Institute of Painters in Water Colours, Mall Galleries, London 2018-2025 (inclusive) Society of Women Artists, Mall Galleries, London 2015-2025 (inclusive) Coastal Gallery, Lymington, Hants 2014-2025 (inclusive) Wykeham Gallery, Hants 2012-2019 (inclusive) Royal West of England Academy of Art, Bristol 2019, 2012, 2011, 2008 ING Discerning Eye, Mall Galleries, London 2019 Atkinson Gallery, Somerset Southampton City Art Gallery, Southampton Fine Foundation, Durlston, Dorset 2017 ING Discerning Eye Prizewinners Exhibition, Temple Church, London Winchester School of Art, Winchester, Hants Awards 2019 Award 1st Prize Watercolour, Royal West of England Academy of Art, Bristol 2016 Award 1st Prize Watercolour, Royal West of England Academy of Art, Bristol Gallery Representation Wykeham Gallery, Stockbridge, Hants Palais des Vaches, Rothchilds Gallery, Southampton, Hants Coastal Gallery, Lymington, Hants Hayden Art Gallery, Marlow, Bucks Statement about AOAP Submitted Artwork All four watercolour paintings are personal stories about connections between people and feeling at one with the landscape. 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.

Elizabeth Power Blue Study 1 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bursting with colour and energy, Elizabeth Power's paintings exude a warmth and vibrancy. Based in St Leonards on Sea, UK, Power's work has a vivid colour palette with a unique style that incorporates themes such as memory, escapism and identity. Her work reflects on personal and collective experiences, inviting viewers to engage with the narratives embedded within her pieces and to escape to the calm and dynamic worlds she creates. Drawing inspiration from colourists such as Matisse, Hockney, Hilma af Klint, Milton Avery and Tal R, Power's loose and free abstraction takes this to the next level. Power has been featured by the likes of British Vogue, The Royal Academy of Arts, Soho House, House & Garden Magazine, RyeZine, Home House, Heals, The London Design Festival, Livingstone St Ives, John Lewis, Munthe, Artsy, Delphian Gallery, Art For Charity Collective, Art On A Postcard, The Auction Collective, A Space For Art, Offshoot Arts, Cura Art, Print Club London, Big Yin Gallery, 99 Projects London, The Old Bank Vault, Well Hung Gallery and Hancock gallery. In addition to her artistic endeavours, Power has been involved in teaching and mentoring emerging artists, furthering her impact on the art community. Her contributions extend to art education, where she encourages creativity and exploration in her students. She delivers workshops and lectures to a wide range of students at The De La Warr Pavilion, The University of Brighton, Hereford College Of Arts, Earlscliffe College and The Hastings Contemporary. In 2024, Power has exhibited with Soho House, They Made This Gallery, Arts For Charity Collective, Rogue Gallery, Delphian Gallery, Bus Stop Gallery and Offshoot Arts. In 2023, Power has a solo exhibition entitled 'Coastal Calm' at 99 Projects. She exhibited in 'Papier' by Delphian Gallery. Additionally, she is in the group exhibition 'It's My House!' in collaboration with Cura Art, Offshoot Arts, A Space For Art. She curated and performed live painting at a Babes In Arms exhibition at the Hastings Contemporary, and also was in group exhibition 'Woman of Mass Destruction' at Stella More Gallery. She also will be exhibiting with Art For Charity Collective in Thyme. In 2022 Power released her first art publication entitled 'lockdown' published by Unit33 Hastings. She had work selected to join the Soho House permanent collection. She collaborated with fashion brand Munthe on a collection featured by the likes of Vogue. She exhibited with Art on a Postcard, Art for Charity Collective, The Affordable Art Fair, Big Yin Gallery, 99 Projects and Well Hung Gallery. She also curated an exhibition with her collective Babes In Arms at the De La Warr in September, and ran workshops there during the summer. In 2021 she exhibited in a duo show with Cathy Tabbakh 'Fatal Shadow and Narcissus' at Delphian Gallery, 'Making a Splash' curated by Janet Rady, 'Domesticity and the Feminine' Open Call Winners Exhibition, was the winner of the Unit33 open call, along with exhibiting with the Art For Charity Collective, Heals, Print Club London, McCully & Crane and The Old Bank Vault. In 2020 she exhibited with Heals as part of the London Design Festival, was a winner of the Contemporary Art Collectors open call, and exhibited in a group exhibition at Hancock Gallery entitled 'Between Distance and Desire', among artists such as Billy Childish and Mark Demsteader. She also exhibited in the online exhibitions Curated for Covid and Anti-Freeze. Elizabeth exhibited in the Royal Academy of Arts Summer Exhibition 2018, with her work being selected by the RA for use on sell out posters and gift cards which were re printed by the RA shop in 2021. She exhibited at various London art fairs and group exhibitions throughout 2019 and was selected by Delphian Gallery to be featured in their highly acclaimed 2019 open call exhibition and was also the winner of the Flat Space Art Gallery open call 2019. Power has works currently available via They Made This, Art For Charity Collective, Delphian Gallery, Royal Academy of Arts, 99 Projects, A Space For Art/ Offshoot Arts, Print Club London, The Old Bank Vault, Hancock Gallery. Power co-founded the Babes In Arms Collective with fellow artist Annie Mackin, which champions artist mother's in the Hastings and St Leonard's area. Power co-hosted The Artfully Podcast (rated in GQ's top 50 podcasts for 2021), which covers news stories, gossip, and revisiting art history you thought you knew, or always wished you did. 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.

Zsofia Schweger Postcard from Home, 2025 Colour pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Zsofia Schweger (b. 1989, Szeged) is a Hungarian artist based in London. Zsofia had lived in the US for 5 years and studied at Wellesley College in the Boston area, before she moved to London in 2013. She then attended the Slade School of Fine Art, graduating with an MA in 2015. Zsofia's work in painting is informed by her experience of moving countries: she is interested in human relationships to spaces in general and the notions of home and belonging in particular. In her paintings of domestic and public interiors, Zsofia uses reductive paint application, flat panels of colour and a muted palette in order to express a sense of both alienation and comfort. Zsofia was selected for Bloomberg New Contemporaries 2016 and Forbes 30 Under 30 Europe 2017. She has been supported by several generous prizes, including the Jealous Prize, Griffin Art Prize, the Alice C. Cole Award, and the 'One To Watch' Award. Since her first solo exhibition at Griffin Gallery in London in 2016, she has had solo shows at Edel Assanti (London), Sapar Contemporary (New York), Lundgren Gallery (Palma), Inda Gallery (Budapest) and Rutger Brandt Gallery (Amsterdam). Her first institutional solo exhibition was held in 2022 at Romer Floris Muzeum in Gyor, Hungary. Zsofia's work is represented by Sapar Contemporary (New York) and Inda Gallery (Hungary). 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.

Olivia Rose Durley Stems of Solace (Mini), 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Olivia is a contemporary British artist specialising in oil painting using a soft, blurring technique to illustrate fleeting everyday moments and the transition of time. Her ethereal works often involve floral themes depicting growth and change within nature, balancing a photographic discourse within painterly brushstrokes. Education 2014-2017 BA (Hons) in Fine Art Painting, University of Brighton, Brighton, United Kingdom Group Exhibitions 2024 The Bliss of Solitude, Front Four Gallery, Vermont, USA The Other Art Fair, Truman Brewery, London, United Kingdom Down The Garden Path, UCH Street Gallery, London, United Kingdom The Other Art Fair, Truman Brewery, London, United Kingdom 2023 In Search of Peace and Love Amongst the Flowers, Gallery@OXO, London, United Kingdom The Other Art Fair, Truman Brewery, London, United Kingdom Roy's Art Fair, Bargehouse, London, United Kingdom Art on a Postcard Summer Auction, Hoxton Gallery, London, United Kingdom The Other Art Fair, Truman Brewery, London, United Kingdom 2022 November Art Drop, Style Your Spaces, Edinburgh, United Kingdom The Other Art Fair, West Handyside Canopy, London, United Kingdom The Other Art Fair, Truman Brewery, London, United Kingdom Gallery Representation Select Gallery, Notting Hill, London, United Kingdom Public Collections MYO New Street Square, London, United Kingdom Statement about AOAP Submitted Artwork These three postcards are original oil paintings that are miniature versions of some of my favourite floral pieces. Daffodils feature heavily in my works because they bring me so much joy as we transition out of the coldest, darkest months. This particular flower is significant to my practice as it highlights the transience of the seasons, being such a recognisable flower that can take many forms as I manipulate its movement around the canvas. 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.

Xin Chen Little by Little my Nights got Better 01, 2024 Oil pastel and varnish on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Xin Chen is a Nottingham-based Chinese visual artist whose work spans ceramics, drawing, and collage. Her practice is marked by a playful engagement with physical and visual materials. Xin's intuitive process results in spontaneous pieces that explore the balance and mystery of the universe. Her practice investigates the relationships between nature and humankind, the subconscious and the cosmic, revealing unexpected discoveries and connections related to her childhood memories. Education 2023-2025 MFA in Fine Art, Nottingham Trent University, Nottingham, UK Solo Exhibitions 2019 108 Pattern Project, Shuxia Gallery, Chengdu, China Group Exhibitions 2024 The Last Horror Show, BACKLIT Gallery, Nottingham, UK BACKLIT Gallery Members Show, Nottingham, UK Frames Exhibition, Nottingham Contemporary, UK 2022 The Year of Tiger Exhibition, Shanghai Library, Shanghai, China Awards 2023 Merit Award, Hii Illustration International Competition 2022 Merit Award, Hii Illustration International Competition Statement about AOAP Submitted Artwork Little by Little, My Nights Got Better 1,2 depicts wild elephants wandering in the urban environment, exploring the relationship between nature and humankind. I used childlike and innocent combinations of colours and forms to convey a sense of playfulness and naivety. The compositions reflect my fascination with the juxtaposition of the organic and the constructed, raising questions about coexistence and harmony. What does it mean for wild animals to enter human spaces? Are we getting better? 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.

Abby Hope Skinner The Fortune Teller, 2025 Oil on aluminium panel Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Abby Hope Skinner is a contemporary figurative artist and portrait painter working primarily in oils. Her practice delves into themes of folklore, the otherworldly, and archetypal characters, often referencing classic illustrations and traditional storytelling motifs. By blending historical inspirations with a modern sensibility, her work invites viewers into narratives that feel both timeless and deeply personal. Education 2013-2016 BA in Illustration, Arts University Bournemouth, England 2012-2013 Foundation Degree, Arts University Bournemouth, England" Group Exhibitions 2021 The Royal Society of Portrait Painters, Mall Galleries, London, England 2014 Christmas Group Show, The Darren Baker Gallery, London, England 2012 En Plo Gallery Group Show, Paphos, Cyprus Awards 2023 Shortlisted, Herbert Smith Freehills Portrait Award 2021 Shortlisted, exhibited and 'Highly Commended' by the De Laszlo Foundation, Royal Society of Portrait Painters 2018 Shortlisted, BP Portrait Award 2015 Shortlisted, BP Portrait Award 2014 Shortlisted, Royal Society of Portrait Painters Shortlisted for Sky Arts Portrait Artist of The Year, chosen by Lord Melvyn Bragg 2013 Best in Show, Summer Show, Arts University Bournemouth Statement about AOAP Submitted Artwork Abby's contribution to Art on a Postcard celebrates themes of strength and transformation. Created for International Women's Day, the painting portrays a powerful young woman as a modern fortune teller holding the Death card and a pendulum - symbols of change and renewal that honour women's resilience and evolving narratives. Designed to resemble a tarot card, the artwork incorporates gold framing and intricate accents, with Roman numeral "X" referencing the Wheel of Fortune card, symbolising life's cycles and turning points. 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.

Eleanor Ekserdjian Red Nocturne, 2024 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Eleanor Ekserdjian is a painter and film artist. Ekserdjian's practice involves projecting the moving image onto paper or canvas and drawing from and over it, her physical and emotional responses being made visible through rapid mark-making. These paintings and drawings become lyrical landscapes which explore her evolving emotional response to the film. Her most recent film and painting series was made during a six-week artist residency in Armenia, and explores cultural memory through landscape. Pepe Karmel, author of 'Abstract Art: A Global History', defined her work as 'Poetic, elegant and mysterious - a kinetic, subjective transcription of the world into calligraphy.' Education 2021 Drawing Intensive, Royal Drawing School, London, UK 2014-2019 MA Fine Art, The University of Edinburgh, Edinburgh, UK Solo Exhibitions 2025 Interwoven, Messums London, London, UK 2023 Light Pictures, Seen Fifteen Gallery, London, UK Group Exhibitions 2024 Crosscurrents Armenia | London, Redfern Gallery, London, UK 2023 International Diaspora Exhibition, Armenian Centre for Contemporary Experimental Art, Yerevan, Armenia 2022 Imagined Landscapes, Yerevan Im Ser Foundation, Yerevan, Armenia Emergence, AMP Gallery, London, UK 2021 Light & Line, Gallery 286, London, UK Royal Drawing School Selection, Hoxton 253, London, UK Summer Exhibition, The Gallery at Green & Stone, London, UK 2020 Spectral Pathways, Hidden Door Arts Festival, Edinburgh, UK Awards 2024 Hauser & Wirth Residency, Braemar, UK Sokyo Gallery Residency, Kyoto, Japan 2022 Yerevan Im Ser Foundation Residency, Yerevan, Armenia Statement about AOAP Submitted Artwork This series of works came out of my experience of growing up in Britain with a curiosity about Armenia and about my family who left Constantinople in the early 20th century. In 2022, I travelled to Armenia for the first time as a part of an artists' residency programme - the paintings I made there represented the first sight of a place I had always imagined but had never seen. 'They Will Not Take My Island III' is a response to the power of the Armenian Landscape and its glowing colour. The title refers to Arshile Gorky's drawing 'They Will Take My Island' and this work echoes his response to the loss of his homeland of Van. 'Red Nocturne' and 'New Green' were made on my return and combine the landscapes of both the UK and Armenia. I am interested in the idea of simultaneous landscape. 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.

Mandy Racine Equestrian, 2024 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Painting takes me to another place, my own special world inspired by the old masters and Baroque & Rococo imagery. I'm inspired by the composition, colour & flow of the works and love to put my own contemporary twist on it, painting in a very gestural, energetic way, which I would best describe as abstract figurative. I work mainly with acrylic, partly because of the speed & energy with which I paint and particularly enjoy trying to incorporate a real sense of movement - the figures, fabrics, landscape & gestures. Education 1985-1988 BA (Hons) Degree Fine Art, West Surrey College of Art & Design, Farnham, Surrey 1984-1985 Foundation Course in Art & Design, East Surrey College of Art, Reigate, Surrey. Passed with Merit Group Exhibitions 2024 25th Anniversary Exhibition, Laura Rathe Fine Art Gallery, Houston, Texas USA Two Person Show, Laura Rathe Fine Art Gallery, Houston, Texas USA 'Papertrails', Laura Rathe Fine Art Gallery, Houston, Texas USA 2023 'Grande Fete', Laura Rathe Fine Art Gallery, Houston, Texas USA 2022 Portraits installed in luxury suites at Fouquet's New York Hotel, USA Works shown at Little Art Boutique, Palma, Mallorca Gallery Representation Laura Rathe Fine Art, Houston, Texas, USA Joanne Artman Gallery, Laguna Beach, California, USA L&G Projects, La Jolla, near San Diego, California, USA Statement about AOAP Submitted Artwork I've painted some works in acrylic inspired by the Baroque/Rococo era. I hope to convey a sense of movement & a bit of frivolity. 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.

Fleur Yearsley To Hold the World in a Lava Lamp, 2024 Soft pastel, graphite, and ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Fleur Yearsley is a visual artist based in Manchester, UK. Her work explores themes of memory, humour, gender, and unfolding narratives, often drawing on pop culture to create a relatable connection with the viewer. Offering a fresh, immersive perspective, Yearsley reclaims the tradition of 'the gaze', which has historically objectified women in the Western canon of art, shifting the power dynamic. She engages viewers, inviting them into her approachable paintings to reflect on how they perceive the subjects and their own role in the act of looking. Her process is characterised by immediacy and openness, balanced with playful refinement and a colourful sensibility. Through a diverse range of gestural actions, hard edges, and flat colours, she infuses her work with energy and a sense of vibration. Yearsley's paintings resonate like a generational anthem, addressing concepts of high and low brow culture, everyday life, urban environments and social norms. Education 2015-2017 MFA in Fine Art, Slade School of Fine Art, UCL, London, UK 2010-2013 BA (Hons) Fine Art, Manchester School of Art, MMU, Manchester, UK Solo Exhibitions 2023 Breathing is Free, The Edge Gallery, UK 2022 ONE MORE TUNE, The Manchester Contemporary, UK Coming Up, Ruslan Faraev Institute of Art, UK 2021 When The Lights Go Up (Curated by Julia Lucero), Sapling Gallery, UK Group Exhibitions 2025 A Day In The Life, School Gallery, UK 2024 Input/Output, Paradise Works, UK Shifting Sands, Saan1, UK Manchester Open, HOME, UK 2023 In The Membrane, Paradise Works, UK OPEN, Bury Art Museum & Sculpture Centre, UK NSFW, Smolensky Gallery, UK Unity, Smolensky Gallery, UK 2022 Things Fall Apart, Paradise Works, UK Bankley Open, Bankley Gallery, UK 2021 SLAP-BANG, Warrington Contemporary Arts Festival (Curated by Short Supply), Castlefield Gallery's New Art Space, UK Anything Goes, Aatma, UK 2020 John Moores Painting Prize, Walker Art Gallery, UK 2019 GIFC & Velvet Ropes, House of Vans, UK Bow Open Show, Nunnery Gallery, UK Isolation Association, Art In The Docks, UK 2018 Desires, GNYP Gallery, Germany Original London Print Fair, Royal Academy of Arts, UK 2017 Paper Cuts, Tripp Gallery, UK BUFF, Slade Summer Residency, UK Slade Graduate Degree Show, Slade School of Fine Art, UK 2015 The Windshow Drawing, Camden People's Theatre, UK 2014 OBSESSION: Love, Ritual, Collection, Embassy Tea Gallery, UK 2013 We Are All Explorers, Manchester School of Art, UK 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) Public Collections V&A Museum Collection (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.

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.

Ghislaine Howard Cordelia with Bryn, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ghislaine Howard is widely recognised as a painter of powerful and expressive means, whose art charts and interprets shared human experience. Named as a Woman of the Year 2008 for her contribution to art and society, she has published and exhibited widely and has work in many public and private collections, including the Royal Collection. Exhibitions of her work have taken place at numerous prestigious venues including Manchester Art Gallery, Canterbury Cathedral, Imperial War Museum North and the British Museum. Education 1972-1976 BA in Fine Art, University of Newcastle upon Tyne. Solo Exhibitions 2025 Taking Care, Bolton, Bolton Museum and Art Gallery, Bolton, England 2024 The Fragile Thread, Contemporary Six, Manchester, England Empathy, Headquarters of UK Med, Elliot House, Manchester, England Seven Acts, St Stephen's House, Oxford, England 2023 The 365 Series, Keele University Chapel, Keele England The Human Touch, Bolton Hospice, Bolton, England Group Exhibitions 2024 Acts of Creation, The Arnolfini, Bristol, England Death of the Liferoom, The Whitworth, Manchester, England Drawing the Unspeakable, Towner Museum, Eastbourne, England 2023 Rogue Women, Rogue Studios, Manchester, England Modern British, Contemporary Six, Manchester, England Awards 2008 Named as a 'Woman of the Year' by The Women of the Year Foundation Gallery Representation Contemporary Six, Manchester, England Trent Art, Stoke on Trent, England Callaghan Fine Paintings, Shrewsbury, England Collect Art, Lymm, England Public Collections The Whitworth Art Gallery, Manchester, England Manchester Art Gallery, Manchester, England The Royal Collection, London, England The Methodist Art Collection, Oxford, England Salford Art Gallery, Salford. England Statement about AOAP Submitted Artwork 'Cordelia with Bryn' is an intimate painting of my daughter with her first child. The motif of parent and child is one that recurs throughout my whole career as a painter - from making paintings based on my own experience of pregnancy and motherhood to creating a body of work in 1993 'A Shared Experience', that charted the whole experience of hospital birth and was described as 'groundbreaking, the first of its kind'. It's been a privilege to revisit this aspect of my work with my own children and grandchildren. Brothers: A painting that developed from a quick sketch made in a chapel in Padua. I was touched by the sight of a young man who had difficulty walking, being helped through the chapel by another. I am drawn to such moments of human interaction: such simple everyday acts of kindness are a central theme of my work. 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.