Spencer (Charles, 3rdEarl of Sunderland) Bibliotheca Sunderlandiana: Sale Catalogue of the Sunderland or Blenheim Library, 10 parts in 2 vol., 1 of 150 large paper copies, lists of prices and purchasers at part ends, vol. 1 with c.100 plain ff. bound-in with ms pagination and bearing contemporary press clippings and similar (sale bidding forms, an A.L.s from Simpson, catalogue receipts from P & S, and Quaritch circular extracts, all laid down), very occasional spots or minor instances of foxing, nineteenth century green half morocco, gilt, spines and some corners dis-coloured, some scuffs to extremities, original printed wrappers bound-in (lower depicting print of Victorian auction house interior), some edges unopened, 8vo, [De Ricci, 38-40], Puttick and Simpson, 1881-83.*** The magnificent library of the 3rd Earl of Sunderland (1674-1722) contained roughly 20,000 books, including many incunabula (several on vellum), Bibles, and early Continental literature. Put up for sale by the Duke of Marlborough in 1881 and offered at a total of £20,000 - Baron James de Rothschild, Lord Crawford and Bernard Quaritch were all interested, but negotiations came to naught - the subsequent five auctions, containing 13,858 lots, realised £56,581 6s. (c.£33,000 paid by Quaritch). Provenance: Anthony Hobson (1921-2014), book auctioneer, book historian (particularly bindings) and bibliophile (armorial bookplates).Captain Francis-Capper Brooke (1810-1886), Italo- and bibliophile, part of a circle of Anglo-Florentine book collectors and scholars, including Lord Vernon, Isabella Macleod and Seymour Kirkup. The Sunderland sale was notable for ‘the numerous and rare Editions of the Early Italian Writers, and Makers and Consolidators of the Italian Language' (Quaritch circular, laid-down in this copy). Brooke had his copies of the sale catalogues, prices and purchasers lists bound together, along with newspaper clippings reporting on the sales (his signature found on A.L.s from Simpson bound-in to this copy).
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A scarce early 20th century flashlight walking stick, featuring a bulb lit pommel, with a hollow amber bakelite cover. The whole pommel section unscrews to reveal a hollow compartment for a battery, and the bakelite cover is secured by means of a bayonet fitting, which when removed it reveals the small bulb inside. The hardwood shaft and pommel section are bridged by a gilt brass collar. Other than it being an item perhaps used for safety at night, it’s exact purpose is unknown. A similar battery powered flashlight stick with an amber bakelite cover was famously used by the Titanic sinking survivor, Ella White in 1912, when she used as a glowing beacon to guide rescuers to her lifeboat, and to safety (sold at Guernsey’s Auction House, New York for $62,500). Although of simple form and construction, the item was probably cutting edge technology at the time. Circa 1920’s in date. Approximately 91.5cm in length. Condition: generally good. The Bakelite pommel remains intact and free from damage. The small bulb inside also remains intact, with the filament still being unbroken. A little splintering to the wooden shaft, plus some contact marks. The ferrule tip is missing from the end, but this should be replaceable. The bulb has not been tested.
Louis le Brocquy HRHA (1916-2012) Cavanagh (1974) Aubusson wool tapestry, 382 x 386cm (150½ x 152'') Signed and dated (19)'74 UniqueProduced by Tabard Freres & Soeurs, France No:2031 (label verso)Provenance: Privately commissioned from the artist for Setanta House, DublinTapestry art was having somewhat of a renaissance in the twentieth century, becoming a medium, which was increasingly attractive to progressive modernist artists. French artist Jean Lucrat had pioneered this approach in tapestry design some years earlier, developing a technique, which prioritised the material as the guiding principle for the design rather than an attempt to make the tapestry conform to the characteristics of the painted image. Le Brocquy was drawn to Lucrat's example, whereby he could create very detailed and colour coded templates that the weavers would follow with exact precision. He rejected the painted cartoon in favour of a full-scale linear design. This allowed him to directly indicate each transition of colour and tone in the woven fabric.He had already collaborated on numerous occasions with the workshop of Tabard Frères et Soeurs in the Aubusson region. In 1973 he resumed working on a new series based on the themes and imagery of The Táin. This resulted in the Cúchulainn tapestries, which emerged in various iterations over the following decades. The Milles Tetes (Thousand Heads) series is a distinctive example of both Le Brocquy's sustained interest in representing the human head and the visual effect of inverting colour and tone. This work is a unique piece, commissioned for a private client, which draws on the similar design tropes of the series.The stylized heads arranged in rows, suggestive of some massing force, are distinctive, drawn with their own features and characteristics. Yet through their repeated presence across the woven surface, they blend into one another to create 'a mass of human presence' (Dorothy Walker, Louis Le Brocquy, Dublin, 1981, p.51). The dark austerity of the Tain's illustrations are replaced here by vibrant colours. The shift in tone from bold primary colours in the centre to paler hues creates a dramatic effect.In this work, Le Brocquy was able to explore the interdependence of form, colour and narrative content on a monumental scale. It is an extremely expressive work in which he has layered the colours, to exemplify the full spectrum. The background shifts from black to varying degrees of grey and white, which is then layered with primary colour tones. These move across the tapestry from paler hues in arrangement of blue, green, yellow and red. The longer you observe it, the more visually receptive it becomes. As Le Brocquy remarked on this effect on the human eye, "Further to the emotional character of single and interrelated colour, lies the magic of colour inversion. Staring fixedly at a colour or colours, the saturated eye - shifting to a white surface - precisely inverts those colours both in hue and tonally. A retinal 'memory' emerges inverted, an entirely new perception as contrary as night from day". (Le Brocquy, 'Artist 's Note', exhibition catalogue Louis le Brocquy, Seven Tapestries 1948-1955Dublin: Dawson Gallery; Belfast: Ulster Museum 1967)Niamh Corcoran
George Morrison (Grand Portage Anishinaabe, 1919-2000). Acrylic on canvas-laid board painting titled "On the Beach (Red Rock Variation: Lake Superior Landscape)," part of the horizon series, 1985. Signed, titled, and dated along the verso. Housed in an original frame custom built by Morrison.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 6 1/2 in x width: 16 in. Framed; height: 8 in x width: 18 in x depth: 1 1/2 in.Condition: The colors are bold and bright and the surface appears stable. There are no major visible losses or signs of restoration. Housed within a wooden frame, not under glass or plexiglass. Light wear to the frame. Not inspected out of frame.
George Morrison (Grand Portage Anishinaabe, 1919-2000). Color lithograph on Japan paper titled "Surrealist Landscape," 1990-1996. Printed and published by Akasha Studio, Minneapolis. Pencil signed and dated along the lower right; titled along the lower left; numbered 10/43 along the lower center.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 19 3/4 in x width: 16 in. Framed; height: 28 in x width: 24 in x depth: 1 in.Condition: The colors are bold and bright. The sheet is slightly toned. There are no major visible tears, losses, or signs of restoration. Extremely light soiling and areas of foxing along the margins. There is a slight undulation to the sheet. Housed under a mat. Framed under plexiglass; light wear to the frame. Not inspected out of frame.
George Morrison (Grand Portage Anishinaabe, 1919-2000). Ink and color pencil on paper drawing titled "Enigma, Water's Edge, Surrealist Landscape," 1986-1993. The original drawing, executed in Batchawana Bay, Ontario, on March 4, 1986 did not include color. It is part of the artist's "Automatic" series. The color was added later on November 16, 1993. This information, along with the title, is provided on labels affixed to the verso.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 4 in x width: 7 in. Framed; height: 11 in x width: 14 in x depth: 1 in.Condition: The colors are bold and bright. There are no visible tears, losses, or signs of restoration. Housed under a mat. Framed under glass; light wear to the frame. Not inspected out of frame.
George Morrison (Grand Portage Anishinaabe, 1919-2000). Lithograph on paper depicting an intricately drawn landscape of undulating lines which meet at a horizon in the upper quarter of the sheet, 1976. Printed by Steven M. Andersen. Pencil signed and dated along the lower right; editioned Artists Proof 10/10 along the lower left.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 24 in x width: 23 1/4 in. Framed; height: 30 in x width: 29 1/4 in x depth: 1 in.Condition: There are no visible tears, losses, or restorations. Light undulation to the sheet. Housed under a non-acidic mat. Framed under glass; light wear to the frame. Not inspected out of frame.
A late 19th century crescent and serpent brooch, given by Captain Henry Peel Ritchie VC, the crescent set throughout with old brilliant-cut diamonds, the applied serpent set with circular-cut demantoid garnets and with an old brilliant-cut diamond eye, the tongue modelled as blister pearl, mounted in silver and gold, fitted cased by S. Lanyon, Portsmouth, total diamond weight approximately 1.85 carats, length 6cm. £3,000-£4,000 --- Provenance: Formerly the Property of Captain Henry Peel Ritchie VC. This brooch was a gift from Henry Peel Ritchie to his wife Christiana, purchased from S. Lanyon Jewellers, 4 Ordnance Row, the Hard, Portsmouth. Ritchie ‘s naval career started at aged 14, and he quickly rose through the navy due to his keen intelligence and impressive strength. At aged 20 he was promoted to lieutenant and served the next 15 years as a junior staff officer at Sheerness Gunnery School. Whilst stationed at Sheerness, Ritchie met Christiana ‘Chrissie’ Jardine, only daughter of a wine merchant. The couple married in Edinburgh on 31 March 1902. HMS Goliath, the pre-dreadnought battleship, was transferred to the Portsmouth Division of the New Home fleet on 15 March 1907. Based at Portsmouth, she underwent a machinery overhaul there from August 1907 - February 1908. Upon completion of her refit, HMS Goliath was commissioned on 4 February 1908 for Mediterranean Fleet service. Whilst stationed on shore, Ritchie may well have purchased this brooch for his wife in Portsmouth, the brooch being retailed by the well known Portsmouth naval jewellers, S. Lanyon. Ritchie’s shore service ended in March 1911, when he was posted as senior Lieutenant on HMS Goliath. Promoted to Commander later that year, he managed the ship’s gunnery exercises and procedures whilst Goliath was part of the Channel Fleet stationed in British waters. Commander Ritchie’s war service was to prove exceptional. He was awarded the first Royal Navy Senior Services Victoria Cross of the Great War for his gallant command of H.M.S. Goliath’s steam pinnace at Dar-es-Salaam, the capital of Germany’s East African empire (now part of Tanzania) on 28 November 1914. 
 The Citation in the London Gazette, 10 April 1915 read: ‘Commander Henry Peel Ritchie, Royal Navy, for the conspicuous act of bravery specified below: For most conspicuous bravery on the 28th November 1914 when in command of the searching and demolition operations at Dar es Salaam East Africa Though severely wounded several times his fortitude and resolution enabled him to continue to do his duty inspiring all by his example until at his eighth wound he became unconscious. The interval between his first and last severe wound was between twenty and twenty five minutes’. Commander Ritchie was presented his Victoria Cross by King George V at Buckingham Palace in April 1915. Ritchie retired in 1917, deemed unfit for further service as a legacy of the wounds he had received, returning to his home city of Edinburgh. He was promoted Captain on the Retired List in January 1924. He lived at Craig Royston House in Edinburgh until his death on 9 December 1958, aged 83. Noonans Mayfair were privileged to sell Captain Ritchie’s VC and medal group, part of the Collection of the Late Jason Pilalas, lot 140, on 23 July 2024 for £240,000. Caption of photographs: Captain Henry Peel Ritchie and his wife Christiana, circa 1918, (Images reproduced by kind permission of the vendor). Condition Report Strengthening plate and solder evident to reverse of snake head section where it joins crescent - has been repaired / reattached. Construction suggests crescent brooch adapted to accommodate addition of serpent sections. Blister pearl with crack, evident in photo - solder also evident around pin attaching pearl to mouth. Diamonds bright and lively - variety of colour and clarity grades, demantoids generally well matched. Gross weight 12.3gm.
Pair of good quality country manor house satin finish curtains in a Hydrangea pattern of green and orange on a cream background, fully thermal lined and backed with pleated tops, 10 steel S hooks to each curtain, and with weighted corners. Total length approximately 2.43m, width at pleated tops 1.1m, width at bottom 2.6m.
Pair of good quality country manor house satin finish curtains in a floral pattern of Fucshia and Hydrangea of green, red and blue on a cream background, fully thermal lined and backed with pleated and roped tops, 7 steel S hooks to each curtain, and with weighted corners. Total length approximately 2.47m, width at pleated tops 85cm, width at bottom 1.8m.
Pair of good quality country manor house satin finish curtains in a floral pattern of Fucshia and Hydrangea of green, red and blue on a cream background, fully thermal lined and backed with pleated and roped tops, 9 steel S hooks to each curtain, and with weighted corners. Total length approximately 2.54m, width at pleated tops 87cm, width at bottom 1.8m.
Y A REGENCY ROSEWOOD METAMORPHIC LIBRARY TABLE AND MUSIC OR READING STAND ATTRIBUTED TO GILLOWS, CIRCA 1815 The hinged and strut top with an inset hinged book rest, the height adjustable As a table 74cm high, 68.5cm wide, 46cm deep; as a slope top stand at maximum height 128cm high This writing-table relates to a pattern illustrated in Gillows General Sketch Book, 1810, p. 51. A related brass inlaid rosewood reading table by Gillows, was supplied to William Powlett, 2nd Baron Bolton (1782-1850) for Hackwood, and sold by the Estate of the 2nd Viscount Camrose, Hackwood Park, Hampshire, Christie's house Sale, 20th-22nd April 1998, Lot 20 (£21,850 inc. BP). Another almost identical table sold Christie's, London, Important English Furniture, 2nd May 2002, Lot 151 (£13,145 inc. BP). Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use.The ormolu mounts stamped under a coronet 'B S & P PATENT'.Observations include: the top has a slight upward bow; the old 'varnish' type finish is removed to two places on the top; the hinged book rest does not quite hinge flush (only apparent on close inspection) and there is a crack to the top to one side; some replaced crossbanded veneers; the casters and cappings with wear and some staining; metal braces to the underside of the legs.A high quality piece of metamorphic furniture with stamped casters.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition - they are a vital part of this report. Condition Report Disclaimer
Britain in the Blitz Bombed-out House complete building & contents The bombed-out house & contents at the end of the Britain in the Blitz exhibit comprising 3 bay windows, 2 arch-topped door frames with glazing to the tops of the frames, 3 inner windows & 3 panelled pine doors, cast iron tiled fireplace with pine surround, 13 tread wooden staircase with 81cm wide treads plus a small area of pine floorboarding. The contents comprise an oak hallstand, drop-leaf table, 2 upholstered 1930's chairs, a fire extinguisher, turned wood standard lamp, a Czechoslovakian ceramic wall posy basket, leather pouffe, iron mangle, dressing table, wicker chair plus a further cast iron fireplace upstairs.Buyer to dismantle (please see "Buyers Notes").
Britain in the Blitz Contents of the Front Room of House The contents of the front room of the house in Britain in the Blitz (excluding the wax model of Enoch Powell, the Morrison Air Raid Table & the stove). Comprising a set of 4 Beswick flying Mallard ducks,1930's setee & chair, display cabinet with contents of china, circular oak side table & contents of games, Blackout & ARP books, coloured plastic fruit bowl & Avon Ware trefoil dish, brass fire tools, copper kettle, mantle clock, postcards & ornaments on mantlepiece, oak cupboard & items on top, brass wall plate & bin, ARP first aid case, rug, Kensington Ware teaset, Wilkinson fruit shaped jam pot, wood breadboard, glass lampshade & an oak cased wall barometer, a Pye valve radio, etc..
Registration No: GGF 409 Frame No: 1155 MOT: ExemptRare Sunbeam 'high cam' restored to a good standardJust a handful known to have survived on the Sunbeam RegisterMatchless-style forks and brake with check springs, Burman gearbox, and high-level exhaust pipeRunning well and used sparingly by the current ownerV5C on file with a host of paperwork and a 1939 spares bookAll correct numbersAMC bought the Sunbeam business in 1937 as a well-established motorcycle manufacturer. Production moved from Wolverhampton to Plumstead. There was so much stock available that it was enough to sustain production in London for more than a year. At the end of 1938 a new line of OHV machines was launched, ranging from a 250cc to a 600cc. The new engine design was of the high camshaft type with the cylinder barrel sunk deep into the large crankcase. It has a large timing cover with a wonderful “Sunbeam” script which contains the chain that drives the magdyno and is tensioned by a Weller tensioner. The brakes were improved, notably to an 8" drum with improved stopping. The models were offered in standard guise and in Sports (S) and Competition (T) form. The B25S had Sports mudguards, upswept exhaust pipe, and a specially tuned engine with a high-compression piston and polished cylinder head and ports. The C24S was the last pre-war Sunbeam design. This wartime 1940 Sunbeam C24S was purchased by the vendor's father-in-law way back in the early 1970s. Due to commitments, the Sunbeam was left untouched until it was left to the son-in-law, as he was seen as a worthy candidate for the restoration of the C24S and saving it from the scrap man in 1999. The current vendor finally set about the restoration of this very rare model at the start of 2000, with only a handful known to the Sunbeam Register. Completely stripped down to the frame, components were thoroughly checked, cleaned and replaced where necessary. The restoration took several years and attention to the correctness was paramount for this machine, which included a trip to Scotland from the vendor's house of some 500 plus miles. Since the restoration of the Sunbeam, until recently, the vendor had taken it to many shows and events. The restoration has held up, it presents very well and is a good example of the model. It comes complete with a V5C, old photos of when it was found and restored, handbook and parts books, copies from Bruce Main Smith and many old tax discs dating back to 1947. For more information, please contact: Mike Davis mike.davis@handh.co.uk 07718 584217
Registration No: 707 BMJ Frame No: 1497445 MOT: ExemptReported to be in 'running order'Restored some 3 years agoV5C on filePlease Note: MOT until March 2026Demands for a Norton twin with increased performance had been growing following the introduction of Triumph’s Thunderbird and Tiger 110 models not to mention BSA’s A10 series machines, which had left Norton at a disadvantage. The newcomer utilised the 88's cycle parts to house a revised engine with a swept volume of 596cc (resulting from dimensions of 62 x 82mm). Regarded by many as being one of the finest motorcycles of its decade, the 99 was endowed with the best handling in its class, although it did not have the outright performance of the Triumph. This 1961 Norton is reported to be in 'running order' following a restoration for the previous owner some 3 years ago however it will still require the usual recommissioning checks prior to retuning to the road. The machine may be submitted for an MOT test by the vendor, prior to the sale. It is being offered with a V5C Registration Document and a small collection of Norton books and manuals. In good condition throughout and an excellent opportunity for Domi' 99 ownership. For more information, please contact: Stewart Parker info@handh.co.uk 07836 346875
1960's charm bracelet, wide curb link with a heart padlock clasp, in 9 ct hallmarked London 1966, with twelve charms attached, including a bell, two dogs, well, 'Good Luck' spinner charm, bottle, house, horse, St. Christopher, tankard and an anchor, all stamped or hallmarked 9 ct, length 18cmCondition Report: Gross weight 21.8gGood condition, no visible damage or repair, house charm opens and closes securely
Adam Birtwistle, British b.1959 - David Hockney, 2002; gouache and pencil on paper, signed with initials lower right 'AB', titled and dated lower left 'Hockney 2002', 76 x 56.5 cm (ARR) Note:The Glyndebourne in Lewes commissioned Birtwistle to paint a portrait of Hockney in the same year of this work, along with portraits of Sir Peter Hall, Anja Silja, Sir George and Lady Christie and Peter Sellars for the opera house’s permanent collection.
A FINE AND RARE GEORGE III ONE-DAY MARINE CHRONOMETER WITH TRANSITIONAL PART FIRED-ENAMEL DIALJOHN ROGER ARNOLD, LONDON, NO. 215 CIRCA 1804The circular four columnar pillar single chain fusee movement with Harrison's maintaining power, jewelled pivots for the escape wheel, Arnold spring detent escapement with detent set within a tapered slot cut in the backplate and secured via a screwed foot, Arnold Z-type bimetallic balance with compensating nuts mounted on extensions to each rim segment and paired brass timing screws to circumference, helical balance spring and faceted diamond endstone, the backplate with spring set-up ratchet applied to the curved mainspring pivot plate, blued backcock and pillar securing screws, and signed John R. Arnold. London, N. 215, Inv'et Fecit in a curve to the outer edge, the 3.625 inch circular silvered brass Roman numeral dial signed Arnold, London No. 215 over inset slightly convex circular white enamel subsidiary seconds dial inscribed 215 to the centre and with Arabic five minutes beyond the outer minute track, with blued steel hands and secured by a convex-glazed screw-down bezel into a brass bowl with winding hole to underside, mounted via gimbals into a later purpose-made mahogany three tier box with a winding key, the exterior with square brass escutcheon plate and flush hinged brass carrying handles to sides; together with the original mainspring (now removed and replaced due to weakness) scratch engraved Robert Clark Nov 1 to inside edge.18cm (7ins) high, 17cm (6.75ins) wide, 17cm (6.75ins) deep. Provenance:The property of a private collector. John Roger Arnold is recorded in Betts, Jonathan MARINE CHRONMETERS AT GREENWICH... as born in Greenwich in February 1769 and apprenticed to his father in 1783. In 1792 he was sent to Paris to work with A.L. Breguet who was known to/friendly with John Arnold senior. John Roger took-on the majority of the workings of the business at 102 Cornhill, London, from around 1796 and succeeded his father on his death in 1799; by the following year the workshops had been transferred to new premises at Dalston, east London. In 1805 John Roger Arnold presented the Board of Longitude with his Explanation of Time Keepers constructed by Mr Arnold, to qualify for the £3,000 longitude award which corresponded to an equal amount allocated to Thomas Earnshaw at that time. The business was moved to John Roger Arnold's house at Chigwell in 1816. The following year he was appointed Master of the Clockmakers' Company, and in 1821 he was credited with the invention of the 'U' shaped compensated chronometer balance. In 1830 Arnold took Edward John Dent into partnership (after the unfortunate demise of his adopted son and likely successor); the partnership lasted ten years before being dissolved leaving Arnold to work alone until his death in 1843. The business was subsequently acquired by Charles Frodsham. The present chronometer was produced soon after the death of John Arnold in 1799 by his son John Roger Arnold. The dial is particularly notable in that it has a white enamel insert for the subsidiary seconds, and Arabic five-minute annotations to the outer track. It is known that John Arnold senior had a strong preference for enamel dials, a practice which was continued by John Roger, but by around chronometer number 220 he had adopted silvered dials. However, it would seem that just prior to this, John Roger Arnold produced a very small number with hybrid dials which were silvered but inset with an enamel subsidiary seconds disc. The present lot would appear to be one of only two known surviving examples of this type, with the other being number 217 which is now housed in the collection of the British Museum (number 1958, 1006. 1937). The Arabic five minutes beyond the minute track is also a feature that was also phased-out around the time of the introduction silvered brass for the dials.Of additional interest is the engraved inscription to the mainspring of the present lot Robert Clark Nov 1, which mirrors that of the mainspring of number 217 - which is inscribed Robert Clark May 12 1804. This would suggest that the mainspring for the current lot was made in October/November 1803 by the specialist spring maker of that name who is known to have worked 1774-1815. From this it would be reasonable to date the present chronometer to early 1804.The last chronometer to be made with the timepiece housed in a brass drum without gimbals (contained in typical Arnold-type octagonal wooden casing) is number 217. From this it would be reasonable to suggest that present instrument was also housed in a similar manner, but as then was subsequently upgraded to brass bowl and gimbals (of a type used by Morris Tobias) in the 1830's. When the present lot was discovered by the vendor the box was missing, hence the present box was commissioned using solid timber salvaged from a contemporary table leaf and executed to match the date and style of the present bowl and gimbals. The present lot is a very rare survivor of documentary importance as it was made at a transitional period in John Roger Arnold's work. When he was evolving his dials from white enamel (with Arabic five minutes to outer track) to fully silvered; and the case from brass drum without gimbals (in a faceted wooden surround) to gimballed brass bowl suspended within a square box. Not only this, but it was also made during the height of the Napoleonic Wars and the build-up to the Battle of Trafalgar. At time when the Arnold workshop would have been busy producing chronometers for the Royal Navy so one can only imagine what this timepiece has witnessed.
Antique dolls house upholstered-likely German- sofa and chair and bisque head lady doll and others, inc a later fish set, an antique tiny bible complete and furniture to include a table and various effects. ( quantity) the sofa lacks a foot and all items used with age wear -please see all photographs
A collection of LPs various dates and genres to include Touch - S/T (no poster), Leigh Stephens - And A Cast Of Thousands, Lindsey Buckingham - Go Insane & Law And Order, Carolyn Hester - S/T, Wall Of Voodoo - Call Of The West, Delta 5 - See The Whirl, Stan Ridgeway - The Big Heat, Jimmy Nail - Take It Or Leave It, Romeo Void - Instincts, Girls At Our Best! - Pleasure (no bag), Sparks - Kimono My House, Pink Floyd - Atom Heart Mother, The Rutles - S/T, Matthew's Southern Comfort - Second Spring (with insert), Yoko Ono/Plastic Ono Band - Fly (with poster), Feeling The Space, Crosby, Stills, Nash & Young - 4 Way Street, Steeleye Span - All Around My Hat, Neil Young - Harvest, Jo Jo Gunne - S/T, Spyro Gyra - Catching The Sun, The James Gang - Yer' Album etc., together with three 12" singles to include Public Image Ltd - Home. New Order - True Faith and The Records - Rock And Roll Love Letter and a 10" album Christmas At The Patti. (30 LP's, 3 12" and 1 10" (34)
Second World War interest:- Churchill, Winston. 1946 Secret Session Speeches, delivered by the Right Hon. Winston S. Churchill to the House of Commons 1940-1943, the Seventh and Final Volume of Mr. Churchill's War Speeches. First edition, first impression in worn dust wrapper, with damp staining and significant edgewear. Along with 1965 The Order of Service for the Funeral of The Right Honourable Sir Winston Leonard Spencer-Churchill. Orig. stapled paper wraps, some minor edgewear, otherwise smart. A good collection. Largest 8vo.
Sir William Charles Ross, zugeschrieben und andere Miniaturisten1794 London - 1860 ebendaSieben sog. Oeils dAmoureux (Augen-Miniaturen) von Mitgliedern der Familie der Herzöge von OrléansSechs der Miniaturen in Goldmedaillons in Anhängerform gefasst. Vier der Medaillons als Anhänger an einem Armband (Bracelet) montiert. Die Darstellung des Auges von Antoine d'Orléans rücks. bezeichnet "Painted by Sir W. C. Ross 1855". Gelbgold 750 und Silber, getestet. Das lose Medaillon (Marie-Amélie) GG 585 (gestestet). Aquarell und Deckfarben auf Elfenbein. D. der Miniaturen je ca. 2 cm, die Miniatur im Ledertui (Antoine d'Orléans) 2,2 cm. Die Medaillons D. 2,2 - 2,5 cm cm.Die Darstellungen des Armbands: Louise d'Orléans, Königin der Belgier (1812 Palermo - 1850 Ostende). Nach F. X. Winterhalter. Aquarell und Deckfarben auf Elfenbein. D. 1,8 cm. Das Goldmedaillon beidseitig mit floralem Dekor, auf der Vorderseite ein runder Lapislazuli-Cabochon. Louis-Philippe d'Orléans (1773 Paris - 1850 Claremont House, Esher, Surrey, von 1830-1848 König der Franzosen). Nach F. X. Winterhalter. Aquarell und Deckfarben auf Elfenbein. D. 2 cm. Das Goldmedaillon beidseitig mit floralem Dekor. Auf der Vorderseite das Monogramm des Dargestellten und Datierung 1845. Im Deckel Haarlocke Louis-Philippes. König Leopold I. der Belgier (1790 Schloss Ehrenburg, Coburg - 1865 Schloss Laken, Laken). Nach F. X. Winterhalter. Aquarell und Deckfarben auf Elfenbein. D. 1,9 cm. Das Goldmedaillon beidseitig mit floralem Dekor. Herzog August von Sachsen-Coburg-Kóhary (1818 Wien - 1881 Schloss Ebenthal, Niederösterreich). Nach F. X. Winterhalter. Aquarell und Deckfarben auf Elfenbein. D. 1,8 cm. Das Goldmedaillon beidseitig mit floralem Dekor. Lose sind vorhanden: Maria Amalia (Marie-Amélie) von Bourbon-Sizilien, duchesse d'Orléans (1782 Neapel - 1866 Claremont House, Esher, Surrey, von 1830-1848 Königin der Franzosen). Nach F. X. Winterhalter. Aquarell und Deckfarben auf Elfenbein. D. 2 cm. Das Goldmedaillon beidseitig mit floralem Dekor. Auf der Vorderseite das Monogramm der Dargestellten und Datierung 1855. Louise d'Orléans, Königin der Belgier (1812 Palermo - 1850 Ostende). Nach F. X. Winterhalter. Aquarell und Deckfarben auf Elfenbein. D. 1,8 cm. Das Goldmedaillon beidseitig mit floralem Dekor. Miniatur etwas fleckig. Das Medaillon etwas abgegriffen. Antoine d'Orléans, duc de Montpensier (1824 Neuilly-sur-Seine - 1890 San Lucár de Barrameda). Nach F. de Madrazo. Rücks. bezeichnet "Painted by Sir W. C. Ross 1855". Aquarell und Deckfarben auf Elfenbein. D. 2,2 cm. Hinter Glas moniert. Mit schwarzem Leder bezogenes Etui. Jene als einzige Miniatur lose in einem Lederetui befindliche Miniatur mit dem Bildnis des Antoine d'Orléans verweist durch die Angabe des ausführenden Künstlers auf eine große Leidenschaft von Queen Victoria: Sie liebte Miniaturen sehr, besaß eine umfangreiche Sammlung und erfreute regelmäßig ihre über ganz Europa verstreute Verwandtschaft mit Miniaturgeschenken. William Charles Ross wurde 1837 von der Königin zum Hofminiaturmaler ernannt. Marie-Amélie d'Orléans teilte diese Leidenschaft. Sie ließ alle Arten von Porträts in Schmuckstücke einsetzen. So ließ sie sich z. B. offenbar von Mellerio, dem angesehensten Pariser Hersteller solches "Memorabilienschmuckes", vier goldene Armbänder fertigen, jedes verziert mit sechs Miniaturporträts ihrer Enkelkinder. Zwischen 1830 und 1845 sollte die damalige Königin der Franzosen bei Mellerio rund 40 solcher "bracelets-portrait" in Auftrag gegeben haben. Ein Schwerpunkt lag bei den "Medaillons à loeil". Auch ihre Tochter Louise, Königin der Belgier, schätzte die Augen-Miniaturen sehr. Diese Art von Erinnerungsschmuck wurde vor allem unter den Prinzessinnen und Fürstinnen des Zeitalters der Romantik ausgetauscht. Galt das Auge doch als "Fenster zur Seele", in Frankreich wiederum als "la voix de lâme", die "Stimme der Seele" bezeichnet. In kleinem Format konnte man der Erinnerung an die liebsten Seelen der Verwandtschaft nachhängen. Und diese war schließlich weit verstreut, man sah sich selten und noch seltener im kleinsten Kreis!Im vergangenen Jahr konnte sich das Musée Condé, Schloss Chantilly, über ein besonderes Geschenk freuen: Ein Armband aus dem Besitz von Louise d'Orléans mit acht Medaillons als Anhängern fand Eingang in die Sammlungen. In den Medaillons: Augen-Miniaturen von Mitgliedern des Hauses Orleáns! Die Medaillons stammen vom gleichen Hersteller wie die vorliegenden, jene mit den Augen von Marie-Amélie und Louis-Philippe sind auf den Deckeln übereinstimmend dekoriert, mit demselben Monogramm und den den gleichen Datierungen versehen. Das Medaillon mit dem Auge des belgischen Königs Leopold I. ist in ein Medaillon eingesetzt, das auf seinem Deckel einen Türkis aufweist, jenes seiner Gemahlin Louise an vorliegendem Bracelet hingegen einen ebenso gefassten Lapsilazuli-Cabochon. Es ist sehr wahrscheinlich, dass das vorliegende Armband und die losen Augen-Miniaturen über Clémentine d'Orléans (1817 Neuilly-sur-Seine - 1907 Wien), verheiratet mit Herzog August von Sachsen-Coburg-Kóhary, in der Familie des Nachlassenden weitergegeben wurden. Auch Clémentine war eine Tochter der miniaturenbegeisterten Marie-Amélie, es findet sich außerdem das linke Auge ihres Gatten in Miniaturform unter den Medaillons. Warum sollte nicht auch Clémentine mit einem der entsprechenden Armbänder beschenkt worden sein? Vgl. De Vos, Julien / Deldicque Mathieu, Louise d'Orléans, première reine des Belges - un destin romantique. Ausst.-Kat. Musée Condé (Schloss Chantilly) u. a., 19. Oktober 2024 - 16. Februar 2025. Paris 2024, S. 152 f., Kat.-Nr. 60: das erwähnte Armband mit Augenminiaturen aus dem Besitz von Louise d'Orléans. EU-Vermarktungsgenehmigung vorliegend. Für den Export in Länder außerhalb des EU-Binnenmarktes ist eine CITES Genehmigung erforderlich. Wir weisen Sie darauf hin, dass diese Genehmigung im Regelfall nicht erteilt wird. Provenienz: Clémentine, geb. Prinzessin von Orléans (1817-1907), an Sohn Zar Ferdinand I. von Bulgarien (1861-1948). Nachlass von Dr. Alexander Eugen Herzog von Württemberg (1933-2024).
Faija (wohl Guglielmo Faija, 1803 Palermo - nach 1861) nach 1857Briefbeschwerer (presse-papier) mit Bildnis von Maria Amalie (Marie-Amélie) d'Orléans, Prinzessin von Bourbon-Sizilien(1782 Neapel - 1866 Claremont House, Esher, Surrey, 1830-1848 Königin der Franzosen). R. s. signiert "Faija cop.". Aquarell und Deckfarben auf Elfenbein. Im Hochoval BA 7 x 5,7 cm. Briefbeschwerer (weißer Marmor mit Messinghenkel): 9,5 x 14 x 5 cm cm. Messingrahmen (8 x 6,5 cm) mit Bezeichnung "souvenir de ta vielle mère qui laime tant".Dabei: Mit grünem Leder bezogenes Originaletui. Gebrauchsspuren.Kopie nach dem Porträt von Ary Scheffer (1857) im Musée Condé, Schloss Chantilly (Inv.-Nr. PE 447). Prinzessin Maria Amalia (Marie-Amélie), Tochter Königs Ferdinand I. beider Sizilien und seiner Gemahlin Maria Karolina, Erzherzogin von Österreich, heiratete im Jahre 1809 Louis Philippe d'Orléans (1773 Paris - 1850 Claremont House, Esher, Surrey), von 1830-1848 König der Franzosen. Der Briefbeschwerer war ein Geschenk an ihre Tochter Prinzessin Clémentine d'Orléans (1817-1897), seit 1843 mit Herzog August von Sachsen-Coburg-Koháry verheiratet. Die Miniatur konnte bei der Bearbeitung nicht ausgerahmt werden.EU-Vermarktungsgenehmigung vorliegend. Für den Export in Länder außerhalb des EU-Binnenmarktes ist eine CITES Genehmigung erforderlich. Wir weisen Sie darauf hin, dass diese Genehmigung im Regelfall nicht erteilt wird. Provenienz: Marie-Amelie, geb. Prinzessin von Bourbon-Parma (1782-1866), an Clémentine, geb. Prinzessin von Orléans (1817-1907), an Sohn Zar Ferdinand I von Bulgarien (1861-1948). Nachlass von Dr. Alexander Eugen Herzog von Württemberg (1933-2024).
François Meuret1800 Nantes - 1887 Beaumont-le-Roger / EureLouis-Philippe-Albert d'Orléans, comte de Paris(1838 Paris - 1894 Stowe, Buckinghamshire). Halbfigur mit geschultertem Säbel nach rechts, den Kopf nach links gewandt. Wolkenfond. L. s. signiert "Meuret daprès Hall [?]". Aquarell und Deckfarben auf Elfenbein. 9 x 7,4 cm cm. Mit Papier hinterklebt. Verg. Messingrahmen (15,2 x 11 cm), rücks. Stempel "A. Giroux & C". Min. besch. Mit braunem Leder bezogenes Etui mit weinrotem Samtfutter.Louis-Philippe-Albert war der älteste Sohn von Ferdinand-Philippe d'Orléans, duc de Chartres (1810-1842) und Herzogin Helene zu Mecklenburg-Schwerin (1814-1858).1864 heiratete er seine Cousine Maria Isabella d'Orléans-Montpensier (1848 Sevilla - 1919 Villamanrique de la Condesa b. Sevilla). Der Ehe entstammten acht Kinder. Der Enkel des damaligen Königs der Franzosen, Louis-Philippe I., wurde erst als Dreijähriger getauft. Bekanntestes bildliches Dokument dieser Taufe ist das Porträt von Franz Xaver Winterhalter (1842), das den kleinen Grafen von Paris in seiner Taufkleidung darstellt, im Hintergrund die Kathedrale Notre Dame in Paris (Musée du Louvre, Paris). Dort fand die Taufe am 2. Mai 1841 statt. Anlässlich der Taufe schenkte die Stadt Paris dem Täufling einen Degen, der von François Désiré Froment-Meurice hergestellt worden war (Musée Carnavalet, Paris, Inv.-Nr. OM3242; 1922 von Philippe, duc d'Orléans, dem Sohn Louis-Philippe-Alberts, dem Museum gestiftet). Die vorliegende Miniatur zeigt Louis-Philippe-Albert mit einem geschulterten Säbel - wohl in Anspielung auf den Degen des Comte de Paris. Eine Entstehung des (offenbar nicht erhaltenen) Vorbildes ist in die Zeit um 1841, dem Jahr der Taufe, vielleicht auch kurz vorher zu datieren. Sollte die schwer zu entziffernde Bezeichnung "Hall" bei der Signatur Meurets richtig aufgelöst sein, könnte die Vorlage von Adélaïde Victorine Hall (1752-1844) gestammt haben. Diese war die Tochter des zu seiner Zeit höchst geschätzten Miniaturmalers Peter Adolf Hall (1739-1793). Sie lebte in Paris, seit 1796 war sie mit Colonel Bl. Fr. Le Lièvre de la Grange, marquis de Fourilles verheiratet. 1842, ein gutes Jahr nach seiner Taufe, verlor Louis-Philippe seinen Vater bei einem Unfall mit der Kutsche. Nach dem Sturz der Julimonarchie wurde seine Familie 1848 gewaltsam aus Frankreich vertrieben und ging ins Exil nach England. 1850 starb der ehemalige König Louis Philippe von Frankreich, Louis-Philippe-Albert wurde dadurch zum Anwärter auf die französische Krone. Er sollte den Thron jedoch nie besteigen. Nachdem Kaiser Napoleon III. (Charles-Louis-Napoléon Bonaparte, 1848-1852 französischer Staatspräsident, 1852-1870 als Napoleon III. Kaiser der Franzosen) im Jahre 1870 gestürzt worden war, kehrte Louis-Philippe nach Frankreich zurück, 1886 wurde er erneut des Landes verwiesen. 1894 starb er auf dem Landsitz Stowe House in Twickenham.Die Miniatur konnte zur Bearbeitung nicht vollständig ausgerahmt werden. EU-Vermarktungsgenehmigung vorliegend. Für den Export in Länder außerhalb des EU-Binnenmarktes ist eine CITES Genehmigung erforderlich. Wir weisen Sie darauf hin, dass diese Genehmigung im Regelfall nicht erteilt wird. Provenienz: Clémentine, geb. Prinzessin von Orléans (1817-1907), an Sohn Zar Ferdinand I. von Bulgarien (1861-1948). Nachlass von Dr. Alexander Eugen Herzog von Württemberg (1933-2024).
Maxime David1798 Châlons-sur-Marne - 1870 ParisPrinzessin Viktoria von Sachsen-Coburg-Koháry, Herzogin von Nemours(1822 Wien - 1857 Claremont House, Esher / Surrey). L. s. signiert. Aquarell und Deckfarben auf Elfenbein. 3,7 x 2,8 cm (im Hochoval) cm. Auf dünnen Karton aufgezogen. Rahmen GG mind. 750 (3,9 x 3 cm) besch.Prinzessin Viktoria von Sachsen-Coburg-Koháry heiratete 1840 Louis d'Orléans, duc de Nemours (1814 Palais Royal, Paris - 1896 Versailles). Die Miniatur sollte Bestandteil eines Armbandes (Bracelet) gewesen sein. In der Collection Royale in Brüssel befindet sich ein aufwendig gearbeiteter, mit Türkisen besetzter Armreif, in welchen eine sehr vergleichbar gefasste Porträtminiatur von Louise d'Orléans, der Schwägerin der Dargestellten, eingesetzt ist (Inv.-Nr. SF.2015.2227). Vgl. zu diesem: De Vos, Julien / Deldicque, Mathieu, "Louise d'Orléans, première reine des Belges. Un destin romantique". Ausst.-Kat. Musée Condé, Schloss Chantillly, 19. Oktober 2024 - 16. Februar 2025, u. a. Paris 2024, S. 149, Kat.-Nr. 58 (mit Abb.).EU-Vermarktungsgenehmigung vorliegend. Für den Export in Länder außerhalb des EU-Binnenmarktes ist eine CITES Genehmigung erforderlich. Wir weisen Sie darauf hin, dass diese Genehmigung im Regelfall nicht erteilt wird. Provenienz: Clémentine, geb. Prinzessin von Orléans (1817-1907), an Sohn Zar Ferdinand I. von Bulgarien (1861-1948). Nachlass von Dr. Alexander Eugen Herzog von Württemberg (1933-2024).
A DOCUMENTED AND PROVENANCED LATE ELIZABETHAN / JAMES I LEAD BRONZE MORTAR, NOTTINGHAM FOUNDRY, INITIALLED R M, CIRCA 1600–1620. Rare and unusual mortar from the Oldfield Foundry (c1540 – 1741) cast by Henry Oldfield II. The design of the mortar is from the late sixteenth century, cast with an everted lip above a double moulded body, 15cm diameter 11cm high Note - Very interestingly much earlier 14th Century moulds have been used on the body, cast with a floriate cross, the Royal heads of King Edward III and Queen Phillipa, along with ‘Rufford’ Lombardic script letters ‘R M’ thought to originally be for the Nottingham bellfounder Richard Mellour that worked in Nottingham 1488 – 1500. These medieval stamps were acquired by the Oldfields on purchase of the foundry in the 1540’s and continued to be selectively used thereafter. Provenance - Illustrated and discussed, Michael Finlay, ‘English Decorated Mortars and Their Makers’ Fig 171, p 94. Phillips house sale, Hall, Barnstaple, North Devon, 1996. *CR No remarks.
AN EXCEPTIONAL LARGE ELIZABETHAN OAK SETTLE, WITH REMARAKBLE DOUBLE SERPENT CRESTING IN WALNUT, ENGLISH, WEST COUNTRY, CIRCA 1590-1600. The unique and remarkable settle with Walnut cresting carved with scrolling and interlaced twin serpents, above a cross rail of grape and vine interlace that seamlessly merges into the uprights, the back featuring a row of 35 multi timber spindles in bog oak, ash, elm and oak, over five plain panels divided by wrigglework carved uprights, the twin down-swept arms of very large scale all carved and incised over bold ring turned uprights, the twin plank , butterfly hinged lifting seat revealing a full width boxed compartment over seven smaller square panels divided by further guilloche interlace and circular bulls-eye motifs., 182cm wide 143cm high 63cm deep Provenance - Purchased from H. W. Keil Ltd, Tudor House, Broadway, Worcestershire, in the mid to late 1960’s. *CR stunning example.
A RARE WILLIAM AND MARY OAK HOOK AND SPIKE JOINED LONGCASE CLOCK CASE, WITHOUT MOVEMENT, ENGLISH, CIRCA 1685-1690. The lifting high gabled hood with bold cornice and bolection mouldings, glazed to three sides without a door. Above a joined and panelled case with twin panelled and moulded door descending almost full length to a small square panelled plinth, with similar full height framed and panelled ends having bolection mouldings and matching lower panels, retaining the original elm back board and iron hook/spike. All made from high quality quartered oak throughout, with excellent natural colour and surface patination., 203cm high 36.5cm wide 35.5cm deep Note - Certain longcase clocks of the later 17th century were made to house either a Hook and Spike movement or a Lantern Clock, they did not have an opening door in the hood, it had to be lifted vertically to access the movement, as in this clock. The case’s design can be traced to the earliest of Longcase clocks by Ahasuerus Fromanteel of Norwich and London, after 1656. By the 18th century the majority of clock cases were not of mortice and tenon joined, pegged construction. Provenance - Albert Gautier Collection, Newton Old Hall, Tibshelf, Derbyshire. Purchased by Herbert and Norma Beedham, early to mid 1970’s. Albert Gautier was an early furniture and clock collector from the 1960’s into the 1970’s. *CR No remarks.
Manner of Walter Sickert (1860-1942) A Washing Line, oil on canvas board, 35.5 x 44 cm, frame 39.5 x 48 cmtranscription of label verso 'This picture was given to us as a wedding present, in 1944, by an elderly lady who had been housekeeper to James Lanham, a known patron and friend of many artists working in St Ives. It was given to her, in the 1930's, on her retirement after many years service to Mr and Mrs Lanham, who were known to me personally. As a youngster I spent many happy hours in their house - The Retreat, St. an Pol, St. Ives'. Condition:The painting is framed without glazing, the frame has not been removed. There is a slight bow to the middle of the board, but no obvious other issues or deterioration. The paint condition appears stable and well preserved, has surface dirt and accretions present. There is general wear and tear to the frame. The work is not signed Please see additional photographs available in the catalogue
Toys and Juvenalia - a two-storey doll's house, as a Victorian/Edwardian corner shop, containing shop fittings, furniture and accessories, 60cm high; a doll's house type diorama, of a Victorian kitchen, 32.5cm high; a Knowles porcelain doll, Little Sherlock, boxed; a Regency porcelain doll, Georgina, boxed (4)
Catherine Hyland The Future of Farming IV, 2025 Archival Pigment Inkjet Signed on Verso with COA 10 x 15cm (3¾ x 5¾ in.) About Catherine Hyland is an artist based in London. She graduated from Chelsea College of Art and Design with a First class BA (Hons) Degree in Fine Art and completed her Masters at the Royal College of Art. Her photography centres around people and their connection to the land they inhabit. Primarily landscape based, her work is rooted in notions of fabricated memory, grids, enclosures and national identity. Her large format images depict humanity's attempts - some more effective than others - to tame its environment. An observation that has led to both artistic and commercial outreach, with residences at venues such as Focal Point gallery in Southend for the RADICAL ESSEX programme and has exhibited work at Month of Photography Los Angeles, Renaissance Photography Prize, National Portrait Gallery, Royal Photographic Society, LES MAGASINS GÉNÉRAUX, Somerset House, Design Museum in London, ICA & MAC in Birmingham. Hyland's ongoing projects highlight humanity's attempts to tame and transform nature, both past and present. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Kelly Jessiman I Miss You, 2025 Stoneware Glazed Ceramic Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About St Leonards-on-Sea-based Kelly Jessiman builds her forms at the family dinner table, and each piece is fired and glazed in her garden shed. She takes a wide range of inspiration from contemporary paintings and ancient artefacts. Each stage is an organic process; the clay often takes on a life of its own, which leads to the final form, and from there, she decides how it will be glazed. Often glazed with hidden notes written on and scratched into the glaze, overlapped with drawings and good luck charms or superstitious markings warding off evil. Kelly enjoys the process of pottery and the unpredictable outcomes it presents. Her pieces are experimental, playing with the juxtaposition of neatly made traditional shapes against the organic imperfections inherent in the act of hand-building. Kelly's background is in fine arts, where she studied foundation art at Chelsea School of Art and went on to study BA Fine Art Sculpture at Camberwell School of Art. Exhibitions 2021 Babes in Arms group show, Big Yin Gallery, December 2022 Hot as Hell group show, Big Yin Gallery, June Burnt Orange group show, Big Yin Gallery, July A Trip Around the Sun group show, Big Yin Gallery, September Babes in Arms group show, De La Warr, September New Colour Now, Livingston, London, November 2023 Babes in Arms studio takeover, The Hastings Contemporary, March A Room of One's Own group show, Livingston, Bristol, May FOLDE group show, Coastal Currents, Hastings, September The Gallerist's Home, MAH Gallery, London, June Collection 04, Felt MKII, London, September The Bedroom and the Study, The House by MAH, London Design Festival, September In Time group show, Gallery 13, October Christmas Cracker, Georgia Stoneman Gallery, Castlecary, December 2024 Gate of Entrancement, Electro Studio Project Space, March Unapologetic Colour group show, Another Country, Marylebone, London, May Shaped, Felt, Straffordshire Street, London, July Gather in Gathering, Milieu Studios, October Served group show, Felt Host, London, December 2025 In Fleeting Moments group show, Secession Gallery, January Statement about AOAP Submitted Artwork The work submitted for Art on a Postcard is unusual for me as I don't usually work on small-scale flat surfaces. Here, I have decided to explore the idea of ceramic postcards and what postcards mean to me-sending thoughts of love, hope, and missing certain special people, added with my usual overlapping of words and images. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Catherine Hyland The Future of Farming II, 2025 Archival Pigment Inkjet Signed on Verso with COA 10 x 15cm (3¾ x 5¾ in.) About Catherine Hyland is an artist based in London. She graduated from Chelsea College of Art and Design with a First class BA (Hons) Degree in Fine Art and completed her Masters at the Royal College of Art. Her photography centres around people and their connection to the land they inhabit. Primarily landscape based, her work is rooted in notions of fabricated memory, grids, enclosures and national identity. Her large format images depict humanity's attempts - some more effective than others - to tame its environment. An observation that has led to both artistic and commercial outreach, with residences at venues such as Focal Point gallery in Southend for the RADICAL ESSEX programme and has exhibited work at Month of Photography Los Angeles, Renaissance Photography Prize, National Portrait Gallery, Royal Photographic Society, LES MAGASINS GÉNÉRAUX, Somerset House, Design Museum in London, ICA & MAC in Birmingham. Hyland's ongoing projects highlight humanity's attempts to tame and transform nature, both past and present. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Kelly Jessiman Wish You Were Here, 2025 Stoneware Glazed Ceramic Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About St Leonards-on-Sea-based Kelly Jessiman builds her forms at the family dinner table, and each piece is fired and glazed in her garden shed. She takes a wide range of inspiration from contemporary paintings and ancient artefacts. Each stage is an organic process; the clay often takes on a life of its own, which leads to the final form, and from there, she decides how it will be glazed. Often glazed with hidden notes written on and scratched into the glaze, overlapped with drawings and good luck charms or superstitious markings warding off evil. Kelly enjoys the process of pottery and the unpredictable outcomes it presents. Her pieces are experimental, playing with the juxtaposition of neatly made traditional shapes against the organic imperfections inherent in the act of hand-building. Kelly's background is in fine arts, where she studied foundation art at Chelsea School of Art and went on to study BA Fine Art Sculpture at Camberwell School of Art. Exhibitions 2021 Babes in Arms group show, Big Yin Gallery, December 2022 Hot as Hell group show, Big Yin Gallery, June Burnt Orange group show, Big Yin Gallery, July A Trip Around the Sun group show, Big Yin Gallery, September Babes in Arms group show, De La Warr, September New Colour Now, Livingston, London, November 2023 Babes in Arms studio takeover, The Hastings Contemporary, March A Room of One's Own group show, Livingston, Bristol, May FOLDE group show, Coastal Currents, Hastings, September The Gallerist's Home, MAH Gallery, London, June Collection 04, Felt MKII, London, September The Bedroom and the Study, The House by MAH, London Design Festival, September In Time group show, Gallery 13, October Christmas Cracker, Georgia Stoneman Gallery, Castlecary, December 2024 Gate of Entrancement, Electro Studio Project Space, March Unapologetic Colour group show, Another Country, Marylebone, London, May Shaped, Felt, Straffordshire Street, London, July Gather in Gathering, Milieu Studios, October Served group show, Felt Host, London, December 2025 In Fleeting Moments group show, Secession Gallery, January Statement about AOAP Submitted Artwork The work submitted for Art on a Postcard is unusual for me as I don't usually work on small-scale flat surfaces. Here, I have decided to explore the idea of ceramic postcards and what postcards mean to me-sending thoughts of love, hope, and missing certain special people, added with my usual overlapping of words and images. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
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.
Bianca Maria Raffaella Courcheval it Night, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bianca Raffaella (b 1992, London) Working from memory and sensory cues rather than direct observation, Bianca Raffaella is a British artist and activist currently based in Margate. As a partially sighted artist, her ephemeral floral and figurative paintings draw viewers into her world by capturing fleeting moments suspended in persistent vision, where her sight is in constant motion, and images appear only briefly as faint shadows or flickers of light. Raffaella's ongoing series of textural flower paintings evoke the artist's experience of beauty in braille, which was how she first learned to read and write. Raffaella relies on touch in her painting process. Never losing contact with the canvas, she blends delicate hues of blue, beige, and dusty pink until they become an ethereal impression, cloudy details made with fingertips, brushstrokes or scrapes of a palette knife. Graduating with a First-Class Honours degree in 2016, Bianca Raffaella was the first registered blind student to graduate from Kingston University with a degree in the Visual Arts. Since completing her 2023/4 residency at the Tracey Emin Artist Residency (TEAR), Raffaella now works from TKE Studios, where she uses gestural fragments and impasto techniques to capture motion and visual shifts on the canvas. In 2021, Raffaella's work was selected for the Royal Academy of Arts' Summer Exhibition, coordinated by Yinka Shonibare, followed by her solo exhibition, Hushed Impressions, at Orleans House Gallery in 2023. She was also awarded the NatWest Entrepreneurship Funding Prize in 2019 for her bespoke sensory fashion label. An advocate for accessibility in the arts, Raffaella has shared her insights as a speaker at the Goethe Institut's Beyond Seeing project and as a panellist at Tate Modern's Please Touch the Art talk. Most recently, she was selected by Dame Tracey Emin for Flowers Gallery's 2024 Artist of the Day series, presenting a one-day solo exhibition as part of the programme's 25th edition. Education 2013-16 BA, Kingston University London [The first registered blind student to graduate from Kingston University with a First-class degree in the visual arts.] Solo Exhibitions 2025 Faint Memories, Flowers Gallery, Cork Street, London, UK 2024 Artist of the Day, Flowers Gallery, Cork Street, London, UK 2023 Hushed Impressions, Orleans House Gallery, London, UK Group Exhibitions 2024 TEARS: The Final Show, TKE Studios, Margate, UK Small is Beautiful: 42nd Edition, Flowers Gallery, Cork Street, London, UK Artist of the Day: Group Show, Flowers Gallery, Cork Street, London, UK 2023 TEARS, TKE Studios, Margate, UK 2022 Layers of Vision, Bush House, London, UK 2021 Summer Exhibition, Royal Academy of Arts, London, UK Breaking Ground, Orleans House Gallery, London, UK Awards 2024 Artist of the Day, Flowers Gallery, Cork Street, London, UK Three To Watch, Hotly tipped female talent of the British art scene, Harper's Bazaar Magazine UK 2023 Tracey Emin Artist Residency (TEAR) 2023-24, TKE Studios, Margate, UK 2022 Artist-in-residence 2022-23, Orleans House Gallery, London, UK Commissioned by King's College London in collaboration with Shape Arts and AccessArt Gallery Representation Flowers Gallery (London New York Hong Kong) Public Collections Tracey Emin Foundation (Margate, UK) Statement about AOAP Submitted Artwork Four impressions from recent memories of Courchevel, in the Tarentaise Valley, France. 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.
Noemi Conan Hello-Goodbye Acrylic medium, pigment, and oil marker on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Noemi Conan, born in Warsaw, Poland in 1987. Painter. Lives and works in London. Exploring the narrative potential of visual art through surreal, confrontational and/or humorous images of female friends, family and feline companions in forest landscapes of firs and ferns. Weaving slavic folklore with themes from communist and capitalist propaganda into stories based on personal experience of a young woman in off centre 90's Eastern Europe. Having gone through a miraculous journey through space and time, after working miriads of menial migrant jobs, Noemi Conan has finally decided that she's grown up to be a painter. Despite the warnings of her grandmother, despite the deluge of her mother's tears. She was not a good cleaner, not an attentive housekeeper. The famous Polish work ethic has not been ignited by any of the jobs that her friends in London worked their way up through. A passion for storytelling and the need for visual aids to explain a curriculum vitae that either confused or outraged her collegues has finally resulted in a glowing path to the Parnassus of a 'career'. Using plastic colours on canvas, on paper, on glass, on wood, the point of all these ridiculous adventures of the past has been found. Taking on the name of one of her REAL dads, the ones who actually taught her life in a small town in Western Poland all those years ago where even all the cats were female cats, Conan decided to take no prisoners. Following her other dad, the sad Norwegian man with a moustache, she gone over-the-top about her emotional landscapes. The last dad taught her that it's sometimes worth looking way back to go forward and applaud that progression on the faces of your opponents. Thank goodness for Arnold and Edvard and Igor. Conan's work has been exhibited in the UK and internationally. Her work is in the collections of Soho House London, Glasgow School of Art and the Urban Nation Museum in Berlin. She has been selected as one of Bloomberg New Contemporaries in 2021, has been featured in the John Moores Painting Prize in 2020, the Royal Academy Summer Exhibition in 2021 and the Royal Scottish Academy Annual Exhibition. She graduated with a BA (Hons) in Painting and Printmaking from the Glasgow School of Art followed by the Royal Drawing School Drawing Year (2021-2022). Currently at the Turps Studio Programme (2022-2024) and The Fores Project February-March 2023 residency. From september 2024 she will start an MFA in Painting at the Slade in London. Represented by Christine Park Gallery in Shanghai and Traits Libres Gallery in Paris. 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.
Ann Dowker The Walk, 2024 Gouache and watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Painter, draughtsman, printmaker and teacher, born in Sheffield, Yorkshire. After studying at Bath Academy of Art, Corsham, she taught in East End of London, attending evening classes in life drawing at St Martin's School of Art. In 1978 she began etching one day a week at Camden Institute, in 1981 taking part-time course in lithography at Central School of Art. She taught part-time at adult education classes and at Byam Shaw School of Art. Dowker was a prolific artist, interested in the human figure, who viewed her work "as a form of research, a process of discovery, invention and constant optimism". Showed in group exhibitions at House Gallery, 1981, and Moira Kelly Gallery, 1982, and was included in the Norwich School of Art Gallery 1986-7 touring show A Reputation Amongst Artists. 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.
Noemi Conan The Ambassador, 2024 Smooth gel ink ball point pen and Ferrero Roche wrapper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Noemi Conan, born in Warsaw, Poland in 1987. Painter. Lives and works in London. Exploring the narrative potential of visual art through surreal, confrontational and/or humorous images of female friends, family and feline companions in forest landscapes of firs and ferns. Weaving slavic folklore with themes from communist and capitalist propaganda into stories based on personal experience of a young woman in off centre 90's Eastern Europe. Having gone through a miraculous journey through space and time, after working miriads of menial migrant jobs, Noemi Conan has finally decided that she's grown up to be a painter. Despite the warnings of her grandmother, despite the deluge of her mother's tears. She was not a good cleaner, not an attentive housekeeper. The famous Polish work ethic has not been ignited by any of the jobs that her friends in London worked their way up through. A passion for storytelling and the need for visual aids to explain a curriculum vitae that either confused or outraged her collegues has finally resulted in a glowing path to the Parnassus of a 'career'. Using plastic colours on canvas, on paper, on glass, on wood, the point of all these ridiculous adventures of the past has been found. Taking on the name of one of her REAL dads, the ones who actually taught her life in a small town in Western Poland all those years ago where even all the cats were female cats, Conan decided to take no prisoners. Following her other dad, the sad Norwegian man with a moustache, she gone over-the-top about her emotional landscapes. The last dad taught her that it's sometimes worth looking way back to go forward and applaud that progression on the faces of your opponents. Thank goodness for Arnold and Edvard and Igor. Conan's work has been exhibited in the UK and internationally. Her work is in the collections of Soho House London, Glasgow School of Art and the Urban Nation Museum in Berlin. She has been selected as one of Bloomberg New Contemporaries in 2021, has been featured in the John Moores Painting Prize in 2020, the Royal Academy Summer Exhibition in 2021 and the Royal Scottish Academy Annual Exhibition. She graduated with a BA (Hons) in Painting and Printmaking from the Glasgow School of Art followed by the Royal Drawing School Drawing Year (2021-2022). Currently at the Turps Studio Programme (2022-2024) and The Fores Project February-March 2023 residency. From september 2024 she will start an MFA in Painting at the Slade in London. Represented by Christine Park Gallery in Shanghai and Traits Libres Gallery in Paris. 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.
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.
Ella Warner Flirty Lady, 2024 Oil on canvas Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ella Warner is a young contemporary artist whose work navigates the body in relation to fictional realms and otherness. She works primarily but not exclusively in oil paint, where forms, revealing and disguising themselves through paint's liquidity, is a key exploration. Education 2022-2025 BA in Fine Art, Goldsmiths University of London, United Kingdom 2021-2022 Foundation Diploma, Kingston School of Art, United Kingdom Solo Exhibitions 2024 From Under Your Thumbs, Mount House Gallery, Wiltshire, United Kingdom Group Exhibitions 2024 Shapes and Things Open Call, Projection Room Soho, London, United Kingdom 2023 Tart Gallery Open Call, Park Royal Design District, London, United Kingdom Statement about AOAP Submitted Artwork Both these works Flirty Lady and Lickin' Lips explore ideas of disjointed forms, speaking on otherness and mythological hybrids, where the nude is relevant but misplaced. I'm interested in exploring ideas of hybridity through the personal, where paint aids this middle ground, blending the revealed and disguised or the recognizable and non-recognizable together. 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 2, 2025 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.
Angelina May Davis Untitled, 2025 Gouache and pencil crayon on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Angelina May Davis is a contemporary painter and member of Contemporary British Painting. Her paintings are fabrications, plundering imagery from childhood TV and art history. She is interested in what shapes us, using the transformative act of painting to reflect on history and culture as well as her own sense of belonging. She has been restoring the English Elm as depicted in remembered films, archival footage and English landscape painting as a metaphor for loss and longing, recalling a nostalgic and insincere past. Her paintings are claustrophobic worlds in which there is ambiguity, artifice, and the possibility of things just out of view. Education 2020-2022 Turps Correspondence Course 1996-1998 MA in Fine Art University of Central England 1985-1988 BA Fine Art Coventry Polytechnic Solo Exhibitions 2024 Model Village, United Reformed Church, Long Buckby 2022 PAL, Division of Labour, Salford, Manchester Coming up for Air, Oxmarket Gallery Chichester 1993 Living on the Ceiling, MAC, Birmingham 1992 Behind Closed Doors, City Gallery, Leicester Lanchester Gallery, Coventry Polytechnic Group Exhibitions 2024 Stop the Chaos, Turn the Page, Paradise Works, Manchester Librarian Services, Manchester Contemporary, Manchester Cassart Finalists Exhibition, Copeland Gallery, London Scrit, Terrace Gallery London Jackson's Shortlist Exhibition, Bankside, London Assembly, Contemporary British Painting, Rye 2023 Leaf and Tree, Division of Labour, Salford, Manchester Plein Air A site for resistance and remedial action, Pitt Studio, UOW 'X', Contemporary British Painting, Newcastle Contemporary, Newcastle Unnatural Women, Curated Rowena Easton, WIA Fair, Mall Galleries, London New Worlds with Daisy Collingridge, DOL and TJ Boulting Art Brussels 2022 Catalyst, Turps Banana Painters, Oriel Canfas, Cardiff Fare Share Fare, Whitworth Gallery Manchester P U L P, Pitt Studio, The Art House Worcester 2021 Bloomberg New Contemporaries, Firstsite Colchester Bloomberg New Contemporaries, South London Gallery Without Borders Touring Exhibition, Elysium Gallery, Swansea Ikon for Artists, Ikon Gallery Birmingham 2020 BEEP, Elysium Gallery, Swansea Hinterland 3, Birmingham Artspace, Medicine Gallery, Birmingham 2017 Elsewhere, Lanchester Gallery, Coventry University 2017 Hinterland 2, Rugby Gallery 2016 Elsewhere, Rugby School Bourne, Stryx Gallery, Birmingham 2015 Hinterland, Birmingham Art Space, Telsen Centre, Birmingham Coventry Drawing Prize, Rugby School Drawing Parallels, Eagle Works, Wolverhampton 1991 Secret Life of Objects, Ikon Gallery, Birmingham Awards Bloomberg New Contemporaries 2021 Outstanding Water Colour Award, Jackson's Art Prize, 2020 Gallery Representation Division of Labour, Manchester, UK Public Collections Government Art Collection, London and Manchester UK Manchester Art Gallery, Manchester, UK Isaac Newton Collection, Cambridge University. Statement about AOAP Submitted Artwork Tattered ribbons hang from a bright upright tree, a TV set is on in the corner, and fragments of landscape are contained, framed and slide out of view in what is probably an artist's studio. Painting allows me to think about ideas simultaneously and constructed landscapes provide the settings for me to ruminate about history, pop culture, and my own sense of belonging. 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.
Ashley January Backyard Respite (United States) Study, 2024 Oil, acrylic, and gesso on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ashley January creates contemporary paintings informed by her maternal experience. Exploring themes of preeclampsia, premature birth, and birth trauma, her newest body of work continues to address the Black maternal mortality and morbidity crisis in America. Ashley became the first recipient of the Women's Caucus for Art, 2022 Emerging Artist Award, and has recently debuted her newest series, Environments of a Heavy Joy, at EXPO Chicago 2024 and 1-54 Contemporary African Art Fair in London in October with Cynthia Corbett Gallery. She was selected as a finalist for the 2022 Artadia Chicago Award and in January 2023, Ashley had the second installment of her solo exhibition, Human | Mother | Black, at Western Illinois University. Most recently, her works were featured in the New York group show, Fruits of Labor: Reframing Motherhood and Artmaking at Apex Art. She was invited to participate in the Unit London (Voices) online group exhibition Naissance/Re-Naissance. Additionally, Tufts University School of Medicine's Center for Black Maternal Health and Reproductive Justice, acquired paintings from her series. Her works have been exhibited in numerous venues including, The Young Masters Autumn Exhibition in London, UK; the South Side Community Art Center, Chicago, IL; Mana Contemporary, Chicago, IL; SoLA Contemporary, Los Angeles, CA; the Museum of Science and Industry, Chicago, IL; Viridian Artists Inc, New York, NY; Laguna Art Museum, Laguna Beach, CA; Pacific Art Foundation, Newport Beach, CA; and the Irvine Fine Arts Center, Irvine, CA. Recently, she was featured in the January 2023 issue of Luxe Interiors + Design Chicago magazine. Her paintings have also been featured in the television series, Kings of Napa, on OWN. In 2018, she was selected as a first-place award winner at the Woman Made Gallery's Midwest Open in Chicago. In 2017, Ashley won the Beverly Bank Best of Show Award at the Beverly Arts Center's juried competition. Ashley earned her MFA in Painting from the Laguna College of Art and Design, Laguna Beach, CA in 2017 and her BS in Communication with an Advertising concentration and Minor in Studio Art from Bradley University, Peoria, IL in 2009. She lives in Chicago with her family while working from home and her studio at Mana Contemporary. Education 2015 - 2017 MFA, Laguna College of Art and Design, Laguna Beach, CA, USA 2005 - 2009 B.S. in Communication, Minor in Studio Art, Bradley University, Peoria, IL, USA 2013 - 2015 Vitruvian Fine Art Studio, Chicago, IL, USA 2008 Instituto Lorenzo de'Medici (LdM), Florence, Italy Solo Exhibitions 2023 Human | Mother | Black, Western Illinois University, Macomb, IL, USA 2022 Human | Mother | Black, The Beverly Arts Center, Chicago, IL, USA Group Exhibitions 2025 Sacred Motherhood, Woman Made Gallery, Chicago, IL, USA 2024 1-54 Contemporary African Art Fair, Cynthia Corbett Gallery, London, United Kingdom Heads Exhibition, Art Division Gallery, Los Angeles, CA, USA EXPO Chicago, Cynthia Corbett Gallery, Chicago, IL, USA Mama Needs a Raise!, Old Stone House, Brooklyn, NY, USA Neighbors, South Shore Arts, Munster, Indiana, USA 2023 Fruits of Labor: Reframing Motherhood and Artmaking, Apex Art, New York, NY, USA Voices - Naissance / Re-Naissance, Unit London, Online Platform, Cynthia Corbett Gallery, London Art Fair, London, United Kingdom The Young Masters Autumn Exhibition - Part 2, London, United Kingdom 2022 Embodied and Endangered, Alliance Contemporary, Chicago, IL, USA In Good Company, Mana Contemporary, Chicago, IL, USA 2021 The Balm: Art for Black Women's Wellness, South Side Community Arts Center, Chicago, IL, USA Pushing Through, Dominique Gallery, Artsy Beauty In the Mundane, Art Mums United, Online Awards 2022 Women's Caucus for Art, Emerging Artist Award 2022 Finalist, Artadia 2022 Chicago Award Gallery Representation Cynthia Corbett Gallery, London, United Kingdom Public Collections Tufts University School of Medicine's Center for Black Maternal Health and Reproductive Justice, Boston, MA, USA 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.
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