Eleanor Daly Straight to my head, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Eleanor Daly is a figurative oil painter who uses her energetic painting process and confident command of colour to tell stories. Her practice is rooted in a love for the act of painting, and an understanding of the role of the painter as a vessel. Daly's work is an autobiographical exploration of lesbian dynamics, fan studies and how painting can be used as a means of self-understanding. Using representational images and appropriation of painting's history, her work is honest, not shying away from humour nor pain. Education 2019-2021 BA in Fine Art, Goldsmiths, University of London, London, UK 2017-2018 Art and Design Foundation Diploma, Oxford Brookes University, Oxford, UK Solo Exhibitions 2022 Two Polythene Bags, Parlour Gallery, London, UK Group Exhibitions 2024 Pool Boy At The Vampire Mansion, Sundhöll Seyðisfjörður, Seyðisfjörður, Iceland Try-Pty-Kon, Skaftfell & Herdubíó, Seyðisfjörður, Iceland Fan Art? Yeah I'm A Fan Of Art!, 52 Cyprus Street, London, UK Loosing, Looping, Forgetting, List í Ljósi Light Festival, Seyðisfjörður, Iceland 2023 Ingram Prize 2023, Cromwell Place, London, UK Own Personal Jesus, 52 Cyprus Street, London, UK Universal Love, New House Art Space & Gallery, Guildford, UK Toughness and Tenderness, Bermondsey Project Space, London, UK Mollies, Parlour Gallery, London, UK 2022 Start x MMG Emerging Artist Prize, Saatchi Gallery, London, UK South East London Archive at The Livesey Exchange, London, UK The Signature Art Prize, The Bankside Hotel, London, UK Youth Platform X GALA, GALA Festival Peckham Rye Park, London, UK In Our Bodies, Transfund4london at Curtain Road, London, UK Two Doors, Tart Gallery x The House of Saint Barnabas, London, UK Awards 2023 The Ingram Prize, Finalist 2022 Start x MMG Emerging Artist Prize, Shortlist Signature Art Prize, Shortlist 2021 Freelands Painting Prize, Winner Public Collections South East London Archive, London, UK Statement about AOAP Submitted Artwork Straight To My Head and Under Her Tongue (both oil on paper) are born out of their small scale, depicting intimate images of consumption and excess. I wanted the viewer to be aware that they are an onlooker, catching a candid moment of pleasure, literally leaning in to the space of the painting. I used rich colours and thick, energetic application of paint that fills the paper to create this tempting feeling of excess. 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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Sadie Tierney Selene (Golden), 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Sadie Tierney studied at the Royal College of Art, London and Newcastle University. Education MA Fine Art Printmaking, RCA BA(Hons) Fine Art, Newcastle University Solo Exhibitions 2021 The Mountains are Calling, Rabley Gallery 2019 Round Tower, Portsmouth 2017 From Here to There, Eton College The Night, The Light, and the Half Light, Rabley Gallery Group Exhibitions 2024 Artist Fundraiser for MSF, 14 Wharf Road London Summer Exhibition and Open Studios, Binnel Studios Woolwich Contemporary Print Fair, Open Call and Rabley Gallery Messums Emerging Landscape Painting Today, Online 2023 RWA 170 Annual Open Exhibition Summer Exhibition and Open Studios, Binnel Studios Woolwich Contemporary Print Fair Royal Academy Summer Exhibition Summer Exhibition, Rabley Gallery, Wiltshire 2022 RA Summer Exhibition London Original Print Fair Woolwich Contemporary Print Fair, Boodle Hatfield Prizewinner, Solo Presentation RWA Bristol Annual Open Exhibition IFPDA Print Fair, New York Public Collections Portsmouth Museum & Art Gallery National Museum, Gdańsk The Bronx Museum of the Arts Otter Collection Swindon Museum and Art Gallery The Royal West of England Academy Clifford Chance The Royal Navy Eton College RCA Cunard Pallant House Awards 2020, 2006, 2005 Arts Council England 2020 AN Bursary, Boodle Hatfield Prize 2019 Printfest Printmaker of the Year Statement About AOAP Submitted Artwork Working in a tradition of an English landscape painter and printmaker, Tierney's work explores objects and places where form is linked to emotion and metaphor. The expressive images have a contemporary edge marked by energetic use of colour and line. They spring from sketches and drawings made en plein air and are developed using painting and printmaking back at her studio on the south coast of the Isle of Wight where the moon reflected in the English Channel provides inspiration. In ancient Greek mythology and religion, Selene is the goddess and personification of the Moon. She was reputed to drive her horse drawn chariot across the night sky, as her brother Helios the day. The moon's long association with female power, and links with the female cycle led these artworks to be selected specially for International Women's Day. 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.
Jayne-Anita Smith Sanctum, 2025 Acrylic and oil on gessoed paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Jayne Anita Smith's contemporary art practice delves into the sacred feminine and the rediscovery of our connection to nature. Through paintings, drawings and prints in her latest series, she explores ways to reshape our understanding of identity and place, looking towards a more holistic approach to the environment amid the looming threat of climate change. Education 2005 - 2009 BA Hons Fine Art, University College Falmouth, Cornwall Solo Exhibitions 2022 A fragile state, BAGT, London 2017 Fool's Paradise. Coates and Scarry, Gallery 8, London 2016 Small works, Newlyn Picture Room, Newlyn Art Gallery, Cornwall Group Exhibitions 2023 Tao Hua Tan residency group exhibition, Hefei Kurami Art Gallery, Hefei, China Windows and thresholds, Bell House, London, UK 2022 Re-Call, Award winners show, Air Gallery, Manchester, UK Saul Hay Gallery, Manchester, UK Cambrian Open, Conwy, Wales 2021 Air Gallery open, Saul Hay Award winner, Manchester, UK Frontier Art Open, 3rd Runner up, Sheffield, UK Overexposed, The visionary Projects, Online Tangled up in blue, Purslane art gallery, Online 2020 Hedges and houses and mothers and children, I Like your work, curated with Dazed and Confucius, Online exhibition Summers Shadow, A Way Art Gallery, Online exhibition We could apply our lipstick, C&C Gallery, London, UK Wells Contemporary art open, Somerset, UK Harley Open, Harley gallery, Nottingham, UK 2019 RA Summer exhibition, London, UK Morph, Mash Gallery, Los Angeles, USA 2018 Beep painting prize, Swansea. Wales Art Gemini Prize, London, UK Awards 2022 Artworks Solo Show Award, Barbican Arts Group Trust Saul Hay Award, Air Gallery You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Catherine Hyland The Future of Farming I, 2025 Archival Pigment Inkjet Signed on Verso with Digital COA 10 x 15cm (3¾ x 5¾ in.) About Catherine Hyland is an artist based in London. She graduated from Chelsea College of Art and Design with a First class BA (Hons) Degree in Fine Art and completed her Masters at the Royal College of Art. Her photography centres around people and their connection to the land they inhabit. Primarily landscape based, her work is rooted in notions of fabricated memory, grids, enclosures and national identity. Her large format images depict humanity's attempts - some more effective than others - to tame its environment. An observation that has led to both artistic and commercial outreach, with residences at venues such as Focal Point gallery in Southend for the RADICAL ESSEX programme and has exhibited work at Month of Photography Los Angeles, Renaissance Photography Prize, National Portrait Gallery, Royal Photographic Society, LES MAGASINS GÉNÉRAUX, Somerset House, Design Museum in London, ICA & MAC in Birmingham. Hyland's ongoing projects highlight humanity's attempts to tame and transform nature, both past and present. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Ashley January Seekers 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.
Noemi Conan Underneath a purple cloud, 2025 Acrylic medium and biro 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.
Maureen Grayson Sandy Heath, Hampstead 2, 2024 Mixed media on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Maureen Grayson is a London-based artist specialising in mixed media abstraction. Her work delves into the captivating interplay between natural phenomena and the ever-evolving landscape. Inspired by the dynamic shifts in light, temperature, and season, she is continually mesmerised by the volatile effects these elements have on our surroundings. Utilising a variety of substrates including wood panels, canvas, and paper, she embraces the versatility of mixed media to bring her vision to life. A fascination for the ancient trees and ponds on Hampstead Heath has been the inspiration for a series of tactile works incorporating thread, collage, and fibres. Solo Exhibitions 2020 The Space Beyond, OmniDe Gallery, Hampstead, London, UK 2023 Open Studio/Artist Spotlight Month, OmniDe Gallery, Hampstead, London, UK Group Exhibitions 2023/2024 Rotating Group Show 2023/24, OmniDe, Hampstead, London, UK 2024 International Women's Day Group Show, CasildART, 32 Connaught Street, Connaught Village, London W2 2AF Natura Exhibition, Art from Heart, Daku Coffee House Gallery, Kensington, London, UK Hampstead Art Fair Open/Picture the Heath, Hampstead, London, UK SMart Network Charity 24th Anniversary Group Show, Cyphermunk House, City of London Women In Art Prize Finalist's Exhibition, The Roundhouse, Camden, London, UK Zebra One Gallery, Perrin's Court, Hampstead, London, UK The ING Discerning Eye, Mall Galleries, London, UK Awards 2024 Winner of Picture the Heath, Hampstead Art Fair, London, UK HSoA Abstract Painting Award, Women In Art Prize, Camden, London, UK Statement about AOAP Submitted Artwork Two mixed media abstract landscapes inspired by The Sandy Heath, Hampstead Woods. In each work, I have used layers of collage and strands of thread/fibres to suggest the textures of the ancient gnarled trees reflecting into the wetland areas. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Pia Pack Jumbled, 20025 Acrylic, wax pastel, and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Pia Pack's work examines ideas surrounding motherhood and domestic life through an exploration of social interactions around the kitchen table; 'Table Talks'. Pia combines familiar patterns and shapes with repetition and overlapping to create looseness and tension. Through these contradictions, she expresses a universal statement about the challenges and satisfactions of human relationships. Her work speaks to engagement with family life, social expectations and daily patterns. Pia says of the works 'There is no shying away from the beauty and oddities of family life in these paintings.' Pia lives and works in Bristol and is represented by Gertrude. Pia studied painting at Wimbledon School of Art, Central St Martins and Bath School of Art and has been included in many group shows in London and in the U.S. In 2019, Alex Eagle invited Pia to take over their Soho studio with an exhibit entitled Table Talk. Whilst living in Los Angeles, Pia established the podcast 'What Artists Listen To' aimed at bringing artist's studio practises to life and building a community amongst creatives in the city and further afield. This communal sentiment has been continued recently with an initiative in London entitled 'The Binder of Women', organised by Pack to unite a group of 11 women artists to create a portfolio of works together. Solo shows 2024 Table Talk - TEALS, Somerset 2019 Table Talk - Alex Eagle, London, UK Group shows 2025 Tenterhooks presented by Binder of Women - Gillian Jason Gallery, London Art on a Postcard - International Womens Day, Bomb Factory, London 2024 Binder of Women, 4th Edition - Woolwich Contemporary Print Fair, London Colour Takes Shape - Eponine, London Art on a Postcard - International Womens Day, Bomb Factory, London Mothers of Invention - The Mount Without, Bristol Arts Emergency - Art for Charity Collective 2023 Presence - That Art Gallery, Bristol It's My House with CURA - Home House, London 2022 Binder of Women, 3rd Edition - The Arts Club, London Gertrude PRESENTS - The Truman Brewery, London Art for Charity Collective - Unit 1, London It's My House with CURA - Porch Gallery, Ojai 2020 Oblomovrooms - Bertoli Mauti, London LA: Night & Day with CURA - The Lodge LA 2019 Sexy X-Mas - The Lodge, LA A Store Show - Odd Ark, LA Dinner's Ready - Gallery Bang Bang, Nashville, TX You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Maayan Sophia Weisstub Fertility, 2024 Digital collage on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Maayan Sophia Weisstub is a multidisciplinary artist based in the United Kingdom. A graduate of the Royal College of Art, Maayan's work has been exhibited in renowned museums and galleries internationally, including Christie's, Omer Tiroche Gallery, Saatchi Gallery, Museum of the Home in London, and Pavlov's Dog Gallery in Berlin. Maayan has been recognized as a shortlisted finalist for the Robert Walters Group UK New Artist of the Year Award and the John Ruskin Art Prize. Her work has garnered attention in prominent publications such as WhiteHot Magazine, Kaltblut Magazine, Hyperallergic Magazine, White Paper By Magazine, and many more. Education 2019-2021 Royal College of Art, MA Information Experience Design Solo Exhibitions 2024 Mama Salon, London, United Kingdom 2022 Poum Gallery, Lyon, France 2021 Mnḗmē, Omer Tiroche Gallery, London, United Kingdom 2019 Alliance House, Jerusalem, Israel Group Exhibitions 2024 Bath Society of Artists Annual Exhibition, Victoria Gallery, Bath, UK Art Bellow, Regent's Park Tube Station, London, United Kingdom Summer Exhibition, Green & Stone Gallery, London, United Kingdom Essential Structures, Gerald Moore Gallery, London, United Kingdom John Ruskin Art Prize, Trinity Buoy Wharf, London, United Kingdom Art on Postcard, The Bomb Factory, London, United Kingdom 2023 Women in Art Prize, Roundhouse, London, United Kingdom Tom of Finland Festival, The Standard, London, United Kingdom The Self-Portrait Prize Online Exhibition, Artsy No Future, No Cry, Galeria Alfaia, Loule, Portugal No Future, No Cry, Centro Cultural De Lagos, Lagos, Portugal Fetish, Mama, London, United Kingdom 2022 Marianne Brandt Award, Industrial Museum, Chemnitz, Germany Tom of Finland Festival, Second Home, London, United Kingdom Art on Postcard x Go with Yamo, Koppel X, London, United Kingdom Next at Christie's, London, United Kingdom Brixton Art Prize, The Department Store, London, United Kingdom Sleep, Museum of the Home, London, United Kingdom Beit Kandinof Gallery, Jaffa, Israel 2021 Robert Walters Group UK New Artist of the Year Award, Online Gallery, London, United Kingdom Robert Walters Group UK New Artist of the Year Award, Saatchi Gallery, London, United Kingdom Beep Beep, Menier Gallery, London, United Kingdom Beyond the Frame, Horse Hospital, London, United Kingdom Awards 2024 Shortlisted, John Ruskin Art Prize 2023 Finalist, Women in Art Prize 2022 Nominated, Marianne Brandt Award Shortlisted, Zealous Amplify Shortlisted, Brixton Art Prize Outset Contemporary Art Fund 2021 Global Talent Visa UK Shortlisted, Robert Walters Group UK New Artist of the Year Award Public Collections Tom of Finland Collection (Los Angeles, United States of America) Statement about AOAP Submitted Artwork The feminine embodies the essence of creation, transformation, and the intricate dance of existence, with the potential of the mother as its core. It carries the profound ability to give life, shape new worlds, and nurture them with care and resilience. The egg, an ancient symbol of fertility, represents the embryonic potential from which life emerges, while its connection to the breast signifies not only life-giving sustenance but also the enduring strength of the maternal force in nurturing and protection. Together, these symbols reflect the sacred cycle of birth, growth, sustenance, and renewal. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Ashley January Bodily Autonomy 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.
Laura Pannack Untitled, 2025 Photographic print on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Laura Pannack is a London-based, award-winning photographer. Renowned for her recognizable portraiture and social documentary artwork, she often seeks to explore the complex relationship between subject and photographer. Her work heavily focuses on the youth. She was educated at the University of Brighton, Central Saint Martins College of Art and LCP. Pannack's work has been extensively exhibited throughout the UK and abroad, including at The National Portrait Gallery, Somerset House, the Royal Festival Hall and the Houses of Parliament. Her artwork has received much acclaim and won numerous awards, among which are the John Kobal Award, Vic Odden prize, World Photo Press Awards and the HSBC Prix de la Photographie prize. She is represented by Francesca Maffeo Gallery. 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.
Anne Desmet RA Dawn Flight, 2024 Digital print on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Anne Desmet RA was born in Liverpool. She has BFA and MA degrees in Fine Art from Oxford University and a Postgraduate Diploma in Printmaking from Central School of Art, London. In 2018 she was elected Honorary Fellow of Worcester College, Oxford University, for 'distinction in the world of art'. She exhibits wood engravings, linocuts, lithographs and mixed-media printed collages widely, has won over 40 national and international awards (including a Rome Scholarship in Printmaking; Pollock-Krasner Foundation Award, USA; three Elizabeth Greenshields Foundation Awards, Montreal, Canada; and the London Original Print Fair Prize at the RA Summer Exhibition) and has works in major public and private collections worldwide. The Ashmolean Museum, Oxford, the Whitworth Art Gallery, Manchester, and the V&A all have substantial holdings of her work. Over 50 solo shows include two major museum retrospectives at the Ashmolean (1998) and Whitworth (2008) respectively: each toured UK museums for two years. She had an earlier retrospective at Moscow's Ex Libris Museum, Russia (1995); and different solo exhibitions of recent works at the Holburne Museum, Bath (2017); Gainsborough's House Museum, Suffolk (2018); Pallant House Gallery, Chichester (2022-23); and Guildhall Art Gallery, London (2024-25). Desmet is author of seven published books on printmaking and drawing (published variously by Bloomsbury, the RA and Ashmolean Publications) and was editor of Printmaking Today magazine from 1998-2013. Commissions include engravings for the British Museum; National Gallery; British Library; V&A; Balliol and Worcester Colleges, Oxford; Sotheby's and the Royal Mint. She is only the third wood engraver ever elected to membership of the UK's Royal Academy of Arts (RA) in its 256-year history and she curated an historic exhibition celebrating 100 years of the art of wood engraving for the Ashmolean (2020). She lives and works in London and is represented by Eames Fine Art. www.annedesmet.com Instagram: @anne_desmet 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 Early Morning, 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.
Siomha Harrington Painted Furrow, 2024 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Síomha Harrington is an oil painter whose work explores themes of power dynamics, codependency, and the relationship between pleasure and pain. Her work is mostly figurative, often exaggerating or manipulating certain parts of the body to emphasise elements in the narrative. She paints using small, rigid brush strokes that mimic the feeling of control. Harrington's practice is a way of processing memories and experiences in a way that she holds the control and is able to blend them with play and performance. Education 2020-2023 BA (Hons) in Painting Fine Art, University of Brighton, Brighton, UK. Group Exhibitions 2025 (upcoming) - After Leonora: Echos of Surrealism-2024, Gillian Jason Gallery, London, UK (ongoing) Bloomberg's New Contemporaries, ICA, London, UK 2024 Bloomberg's New Contemporaries, The Levinsky Gallery, Plymouth, UK Fairground 2024, Glyndebourne Opera House, Lewes, UK The Private Art and Pasta Club, The Monday Pasta Club, Brighton, UK Phony Art Collective, Gallery Lock In, Brighton, UK 2023 Boundless Whispers, Eve Leibe Gallery, Online Exhibition Sun and Moon, Huang Contemporary, Wuhan, China New Contemporaries, Dodomu Gallery, Online Exhibition Degree Show, University of Brighton, Brighton, UK 2022 Coalescence, Edward Street Gallery, Brighton, UK 2021 ING Discerning Eye, Mall Galleries, London, UK 2018 Summer Exhibition, Royal Academy of Art, London, UK Awards 2024 Bloomberg's New Contemporaries Statement about AOAP Submitted Artwork 'Painted Furrow' depicts a person with rouged cheeks and painted furrowed brows, looking out to the viewer. I'm drawn to the concept of a masquerade- the idea of something being a pretence, a show or pretending to be something it is not. I often return to these painted on expressions of worry. I am fascinated by the idea of one face holding multiple expressions and creating false signals. 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 in a Snow Storm, 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.
Elizabeth Power Pink Study, 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.
Lesley Banks In Camogli, 2025 Acrylic and watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lesley Banks is a contemporary artist. Her work is informed by a skill-based classical training in observational painting and drawing, which is evident in her figurative interiors and more recent canal and urban landscape paintings. She works predominantly with oil on canvas and more recently watercolour and acrylic on paper. Education 1980-1984 Glasgow School of Art BA (Hons) Fine Art Solo Exhibitions 2024 Studio 261, Glasgow 2020 Summerlee Museum of Scottish Industrial Life, Coatbridge 2019 Lillie Art Gallery and Museum, Glasgow 2018 Eden Court, Inverness 2017 The Park Gallery, Falkirk Group Exhibitions 2024 Annual Open, Bath Society of Artists 198th Annual Exhibition, Royal Scottish Academy London Art Fair 2023 Objects of Desire, Calendar House, Falkirk ING Discerning Eye Jackson's Art Prize, longlisted SWA Society of Women Artists, Mall Galleries, London Scottish Landscape Awards, longlisted 2022 Scottish Portrait Awards, Edinburgh Inspired, Fidra Fine Art, Gullane 2021 Art in Mind, Glasgow Print Studio 2020 21st Century Women, The Backdoor Gallery, Clydebank Awards 2024 The Knox Award, PAI Annual Exhibition 2017 Paisley Drawing Competition, Walker Laird Award 2015 Open Project Funding, Creative Scotland Gallery Representation Compass Gallery, Glasgow, Scotland Studio 261, Glasgow, Scotland Roger Bilcliffe Fine Art, Glasgow Public Collections Kelvingrove Art Gallery and Museum, Glasgow, Scotland Perth Art Gallery and Museum, Perth, Scotland Lillie Art Gallery and Museum, Glasgow, Scotland Stirling Smith Museum and Art Gallery, Stirling, Scotland Scottish Canals University of Strathclyde, Scotland Falkirk Council Collection, Scotland East Dunbartonshire Council, Scotland Leicester Schools Collection, England Statement about AOAP Submitted Artwork Two watercolour/acrylic paintings exploring "after dark" themes in the Cinque Terre in Italy. I am working on a series of nocturne paintings, which necessitates muted tones and hazy light effects. 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 Lickin' Lips, 2024 Oil on paper 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.
Pia Pack Interlude, 2025 Acrylic, wax pastel, and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Pia Pack's work examines ideas surrounding motherhood and domestic life through an exploration of social interactions around the kitchen table; 'Table Talks'. Pia combines familiar patterns and shapes with repetition and overlapping to create looseness and tension. Through these contradictions, she expresses a universal statement about the challenges and satisfactions of human relationships. Her work speaks to engagement with family life, social expectations and daily patterns. Pia says of the works 'There is no shying away from the beauty and oddities of family life in these paintings.' Pia lives and works in Bristol and is represented by Gertrude. Pia studied painting at Wimbledon School of Art, Central St Martins and Bath School of Art and has been included in many group shows in London and in the U.S. In 2019, Alex Eagle invited Pia to take over their Soho studio with an exhibit entitled Table Talk. Whilst living in Los Angeles, Pia established the podcast 'What Artists Listen To' aimed at bringing artist's studio practises to life and building a community amongst creatives in the city and further afield. This communal sentiment has been continued recently with an initiative in London entitled 'The Binder of Women', organised by Pack to unite a group of 11 women artists to create a portfolio of works together. Solo shows 2024 Table Talk - TEALS, Somerset 2019 Table Talk - Alex Eagle, London, UK Group shows 2025 Tenterhooks presented by Binder of Women - Gillian Jason Gallery, London Art on a Postcard - International Womens Day, Bomb Factory, London 2024 Binder of Women, 4th Edition - Woolwich Contemporary Print Fair, London Colour Takes Shape - Eponine, London Art on a Postcard - International Womens Day, Bomb Factory, London Mothers of Invention - The Mount Without, Bristol Arts Emergency - Art for Charity Collective 2023 Presence - That Art Gallery, Bristol It's My House with CURA - Home House, London 2022 Binder of Women, 3rd Edition - The Arts Club, London Gertrude PRESENTS - The Truman Brewery, London Art for Charity Collective - Unit 1, London It's My House with CURA - Porch Gallery, Ojai 2020 Oblomovrooms - Bertoli Mauti, London LA: Night & Day with CURA - The Lodge LA 2019 Sexy X-Mas - The Lodge, LA A Store Show - Odd Ark, LA Dinner's Ready - Gallery Bang Bang, Nashville, TX You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Yulia Iosilzon Pond with Amanita, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Yulia Iosilzon's figurative paintings on stretched transparent fabric are portals into vivid dreamlike worlds with roots in both ancient mythologies and contemporary social concerns. Her works hint at unfolding narratives of human-animal metamorphosis. Her visual references are wide ranging; she draws on imagery from childhood cartoons and representations of paradise, as well as exploring the Jewish iconography of her heritage. This symbolic language also extends into her ceramic practice. Education 2017- 2019 MA Fine Art, Royal College of Art, London, UK 2013 - 2017 BA Fine Art, Slade School of Fine Art, UCL, London, UK Solo Exhibitions 2024 Cool Summer, De Brock, Knokke, Belgium Modus Operandi, Bertnson Bhattacharjee, London, UK 2023 Heaven's Chambers, Carvalho Park, New York, USA 2022 Frogspawn, Sapling, London, UK Yulia Iosilzon - Art Narratives, Roksanda, London, UK Amanita Muscaria, De Brock Gallery, Knokke, Belgium Nocturnal, Foundry, Seoul, South Korea 2021 Yulia Iosilzon, Art Antwerp 2021 Solo Booth presentation, De Brock Gallery, Antwerp, Belgium A Chorus of Beauty and Menace, Carvalho Park, New York, USA The Big Fish!, Berntson Bhattacharjee x Sotheby's Nordics, Stockholm, Sweden Fanfarria, Huxley-Parlour, London, UK 2020 Invisible Power, Osnova, Moscow, Russia Artist Room Solo Presentation, Columbia x Roman Road, London, UK 2019 Paradeisos, Carvalho Park, New York, USA Group Exhibitions 2025 The Threshold Beckons, Carvalho Park, New York, USA Auguries of Innocence, Cedric Bardawil, London, UK 2024 Kristian Touborg, Se Yoon Park, Yulia Iosilzon, Carvalho Park at Frieze No. 9 Cork Street, London, UK The Dimension of Feeling, Vortic x House of Koko, London, UK 2023 Hold Me Now, IONE & MANN, London, UK Luminous Terrain, Atipografia, Arzignano, Italy Processing the past and digesting the future, Badr El Jundi, Madrid, Spain L'heure du conte, Pangée, Montreal, Canada 2022 Jingle Bells VI, De Brock, Knokke, Belgium Once Upon a Time in Mayfair, Dynamisk x Phillips, London, UK The Earth has music for those who listen, Sapling, London, UK Two Sisters, Roman Road & Working Project, London, UK The Sky above the Roof, Tabula Rasa Gallery, Beijing, China 2021 All That And A Bag Of Chips, Des Bains, London, UK Unsellable, Just a Studio, London, UK Paradise Is Not Just a Place, Roman Road, London, UK The Ode to the Body, Daniel Benjamin Gallery, London, UK Selfhood, Berntson Bhattacharjee Gallery, London, UK 2020 Fight or Flight, Roman Road, London, UK Birthday, White Crypt, London, UK Begin Again, Guts Gallery, London, UK London Now, Space K, Seoul, South Korea Crowd, Hannah Barry Gallery, London, UK RedivideR, Platform Projects, Platform Southwark, London, UK 2019 Bloomberg New Contemporaries, South London Gallery, London, UK Detritus, Wells Projects, London, UK Lacuna, Sottosale Projects, London, UK Velvet Ropes, House of Vans, London, UK Bloomberg New Contemporaries, Leeds Art Gallery, Leeds, UK Library, Triumph Gallery, Moscow, Russia RCA Graduation Show, RCA, London, UK Varieties of Disturbance, Shelf Spanish City, Newcastle, UK Wolves by the Road, Assembly House, Leeds, UK Rub The Bronze Dog's Nose, Moscow Museum of Contemporary Art, Moscow, Russia Splodge, Hockney Gallery, London, UK We Can Only Have Fun on Certain Days, Warbling Collective, London, UK Nourishment, Guests Space, London, UK AWB, Herrick Gallery, London, UK 2018 Something Else, Triumph Gallery, Moscow, Russia UJS Exhibition, London, UK More Life, Hockney Gallery, London, UK The Origin of Who, Kvadrat 16 Gallery, Copenhagen, Denmark Thumbnails, Hockney Gallery, London, UK We Are the Ones Vol I, Group Exhibition, Copenhagen, Denmark Visions, Triumph Gallery, Moscow, Russia 2017 Slade Degree Show, Slade School of Fine Art, London, UK Awards 2019 Bloomberg New Contemporaries 2016 Audrey Wykeham Prize Gallery Representation Carvalho Park (New York, USA) Public Collections Roberts Institute of Art (London, UK) HSBC Art Collection (London, UK) Xiao Foundation Museum (Rizhao, China) Nanjo Museum (Nanjo, Japan) X Museum (Beijing, China) Sixi Museum (Nanjing, China) Statement about AOAP Submitted Artwork This is a body of work about scenic environments in which the anthropomorphic creatures find themselves in their natural habitat - a pond. These environments are inhabited by dynamic, changing entities with hybrid anatomies that mix delicately featured human faces with bulbous animal bodies. These creatures move through a colorfully flecked, luminous matter that supports and harmonizes their existence, like an extracorporeal amniotic fluid. 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.
Rafaela de Ascanio Estoy Aqui, 2024 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Rafaela de Ascanio is a multidisciplinary artist working in painting and sculpture, living between London and Madrid. Her work explores themes of feminism, mysticism and motherhood, in installations that combine ceramics and oil paintings in dialogue. Often, she gives life to research themes through audio and performance to animate these physical objects. Education 2018 - 2019 Turps Banana Off-Site Painting Programme 2009 - 2010 MA Curating the Art Museum, Courtauld Institute of Art, London, UK 2006 - 2008 BA History of Art, Courtauld Institute of Art, London, UK 2005 - 2006 Fine Art Foundation Diploma, Central Saint Martin's College 2005 - 2006, London, UK Solo Exhibitions 2023 Sexing the Cherry, Tristan Hoare Gallery, London, UK 2022 The Pump House, Berntson Bhattacharjee Gallery, London, UK 2021 Universal Yearnings, Liliya Art Gallery, London, UK Group Exhibitions 2024 Theia, Niru Ratnam Gallery, London, UK Wicca, Arc Salon, Painswick, UK Apocalypse Now, Tristan Hoare Gallery, London, UK 2023 Ex Voto, organised by The Mary Leyline Pilgrimage at Original Projects, UK 2022 Wave, Cob Gallery, London, UK Conjure, Arusha, curated by Chantal Powel, Bruton, UK Fancy a Bite?, Studio West, London, UK The Amber Room at Reference Point Library, 180 The Strand, London, UK I'll be your mirror, curated by Mark Connoly at Alice's Gallery and Oyster Bar, London, UK Swamp Legends, Terrace Gallery, London, UK 2021 Cracked, Tristan Hoare Gallery, curated by Leonie Mir, London, UK Focus on the Female, Cynthia Corbett Gallery, London, UK Back-to-Back: Nettle Grellier and Rafaela de Ascanio, Bowes Parris Gallery (duo), London, UK 2020 Monster/Beauty: The Female/Femme Gaze, Lychee One, curated by Marcelle Joseph, London, UK Paintings On, And With Paper, Cob Gallery, curated by Cassie Beadle, London, UK Clay Today: A Showcase Of Ceramics In Isolation, Cynthia Corbett Gallery, curated by Preston Fitzgerald, London, UK The Amber Room, curated by Rosie Reed, London, UK Tangled up in blue & the tales we tell ourselves, Purslane, London, UK With Love, Paint Talk, London, UK 2019 The Deccan Traps, Aindrea Contemporary (duo), London, UK Turps Banana Off-Site Painters, Turps Gallery, curated by Phil Allen and Marcus Harvey, London, UK If you know you know, Eccleston Project Space, curated by Mark Connolly & Joana Galego, London, UK The Amber Room, curated by Rosie Reed, London, UK Summer of Ceramics, Doddington Hall, Lincolnshire, UK Nobu Knows Art, Nobu Hotel Shoreditch, curated by Aindrea Emelife, London, UK A Room of One's Own, Koppel Gallery Central, London, UK Awards 2021 Winner of Young Masters Focus on the Female Emerging Women's Artist Award Gallery Representation Tristan Hoare Gallery, London, UK Statement about AOAP Submitted Artwork Two oil paintings. Sketches for larger works in a series that explores Lorca´s The House of Bernarda Alba where several sisters are caged up in a hot, Andalusian house by their oppressive mother and society at large. 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.
Sadie Tierney Selene (Silver), 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Sadie Tierney studied at the Royal College of Art, London and Newcastle University. Education MA Fine Art Printmaking, RCA BA(Hons) Fine Art, Newcastle University Solo Exhibitions 2021 The Mountains are Calling, Rabley Gallery 2019 Round Tower, Portsmouth 2017 From Here to There, Eton College The Night, The Light, and the Half Light, Rabley Gallery Group Exhibitions 2024 Artist Fundraiser for MSF, 14 Wharf Road London Summer Exhibition and Open Studios, Binnel Studios Woolwich Contemporary Print Fair, Open Call and Rabley Gallery Messums Emerging Landscape Painting Today, Online 2023 RWA 170 Annual Open Exhibition Summer Exhibition and Open Studios, Binnel Studios Woolwich Contemporary Print Fair Royal Academy Summer Exhibition Summer Exhibition, Rabley Gallery, Wiltshire 2022 RA Summer Exhibition London Original Print Fair Woolwich Contemporary Print Fair, Boodle Hatfield Prizewinner, Solo Presentation RWA Bristol Annual Open Exhibition IFPDA Print Fair, New York Public Collections Portsmouth Museum & Art Gallery National Museum, Gdańsk The Bronx Museum of the Arts Otter Collection Swindon Museum and Art Gallery The Royal West of England Academy Clifford Chance The Royal Navy Eton College RCA Cunard Pallant House Awards 2020, 2006, 2005 Arts Council England 2020 AN Bursary, Boodle Hatfield Prize 2019 Printfest Printmaker of the Year Statement About AOAP Submitted Artwork Working in a tradition of an English landscape painter and printmaker, Tierney's work explores objects and places where form is linked to emotion and metaphor. The expressive images have a contemporary edge marked by energetic use of colour and line. They spring from sketches and drawings made en plein air and are developed using painting and printmaking back at her studio on the south coast of the Isle of Wight where the moon reflected in the English Channel provides inspiration. In ancient Greek mythology and religion, Selene is the goddess and personification of the Moon. She was reputed to drive her horse drawn chariot across the night sky, as her brother Helios the day. The moon's long association with female power, and links with the female cycle led these artworks to be selected specially for International Women's Day. 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.
Siân Davey MS, 2025 Photographic print on paper Signed COA 10 x 15cm (3¾ x 5¾ in.) About Following a 15-year career as a psychotherapist in private practice, British photographer Sian Davey launched a career in photography in 2014, drawing on her experiences as a psychotherapist and mother to inform her practice. Her work is an investigation of the psychological landscapes of both herself and those around her. Her family and community are central to her work. Davey studied Fine Art painting (Bath Academy of Fine Art, 1985) and Social Policy (University of Brighton, 1990) Humanistic Psychotherapy (1995) and more recently, photography (MA 2014 and MFA 2016 at Plymouth University). Exhibitions 2024 The Photographers Gallery Soho Quarter 2023 V&A Prix Pictet 2022 Guernsey Museum Images Vevey - Martha and Looking for Alice AIPAD, Pier 94, New York Michael Hoppen 2021 On Hannah Arendt : The Crisis in Education Richard Saltoun Gallery Photo London, Somerset House, London Michael Hoppen Gallery, Grand Palais, Paris Photo, Paris Dong Gang International Photography Festival, Korea Paris Photo, Grande Palais Family Affairs Deichtorhallen Hamburg Germany Photo London Somerset House Michael Hoppen Gallery 2019 Birth TJ Boulting, London Newport Museum. Forever Young Representation of Childhood and Adolescence 2018 Looking for Alice - Västerbottens Museum. Umeå, Sweden 2017 Together - National Portrait Gallery, London 2017 Looking for Alice - Fitzrovia Chapel, London 2019 Photo London. Michael Hoppen Gallery, London 2018 Photo East. Emma Bowkett, Sufolk AIPAD. Michael Hoppen Gallery. New York Universal Mother. Save the Children. London Golden Boundaries. Robert Cappa Center. Budapest 2017 Untethered - Michael Hoppen Gallery, London Photo London. Michael Hoppen Gallery. London Photo 50 London Art Fair - Curated by Christiane Monarche. London 2016 The Guernsey Photography Festival. Guernsey Taylor Wessing National Gallery Portrait Prize. National Gallery, London (with catalogue) 2015 Fresh Faced + Wild Eyed. Photographer's Gallery, London Renaissance Photography Prize. Getty Image Gallery. London (with catalogue) Taylor Wessing National Gallery Portrait Prize. National Gallery. London (with Catalogue) 2014 Taylor Wessing National Gallery Portrait Prize. National Gallery, London (with catalogue) Lens Culture Emerging Photographer Awards. Barcelona (with catalogue) Renaissance Photography Prize. Getty Image Gallery. London (with catalogue) Royal Photographic International Print Exhibition. Greenwich Heritage Centre, Woolwich 2013 Lens Culture Exposure Awards. London College of Communication Gallery. London 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.
Tracey Falcon Jenny 12, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About A spinal injury in 2018 meant that multimedia artist Tracey Falcon was no longer able to make the heavier, more sculptural artwork she had been creating for the previous 20 or so years. As lockdown hit, she found her creativity returning and picked up a paintbrush and oils and was hooked. Each painting is a technical journey. Tracey is interested in colour, texture, and light almost more than the subject. Still-life studies work well for this kind of exploration - the tones and textures of fruit and the play of light we are all familiar with on these items we may take for granted every day in our homes and gardens. Education 1999-2004 BA(Hons) (First Class) Fine Art, Kent Institute of Art and Design, Canterbury, UK 2013-2014 MA (Distinction) Arts Criticism, University of Kent, Canterbury, UK Group Exhibitions 2024 October 21-27, Human/Nature, Whitstable Museum Gallery 2023 October, East Kent Artists Open Houses September 9-17, Assembly, Whitstable July 31-August 5, Unearthed, 54 The Gallery, Mayfair, London March 9-12, Print Show, The Horsebridge Arts Centre, Whitstable 2022 October, East Kent Artists Open Houses 2021 October-February 2022, Turner Contemporary Open, Margate October, East Kent Artists Open Houses 2020 October, East Kent Artists Open Houses 2019 March 14-24, Take Back Control, The Crypt Gallery, London 2018 November 29-30, Contributor VVM8, The Art Hostel, Leeds July 31-August 5, Contributor and Interviewee, Production Process Collaboration VVM7, Tate Exchange, Liverpool June 2-10, Assembly, Whitstable Biennale Satellite 2017 October 14-22, Contributor -The Artist Within - Branching Out, VVM5, 57th Venice Biennale June 4-10, Summer Small Fine Art Exhibition, Royal Opera Arcade Gallery, London January 20-23, Artrooms, Melia White House, London Statement about AOAP Submitted Artwork Two paintings, a lemon and a wren, play with texture and colour. Slightly undone, there's a hint of what lies beneath. What might be seen if photographed with too high or too low exposure. Vision is subjective. 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.
Yan Wang Preston With Love From an Invader 43-183, 09 June 2020, 2020 Photographic print on paper Signed on Verso with COA 10 x 15cm (3¾ x 5¾ in.) About Yan Wang Preston is a Chinese-British visual artist interested in landscape representation, identity, migration, and the environment. With photography as her primary medium, her solo, collaborative, and participatory projects employ still and moving image, sound, performance, installation, and the artist book to explore complex ideas from multiple angles. Education 2010-2018: PhD in Photography, University of Plymouth, Plymouth, UK 2006-2009: MA in Visual Arts, Leeds Beckett University, Leeds, UK 1994-1999: Clinical Medicine, Fudan University, Shanghai, China. Solo Exhibitions 2024: Yan Wang Preston: Three Easier Pieces, Messums London, UK 2023: Field Studies-Land Body Botany, Bath House Galleries, University of Huddersfield, UK 2022 Yan Wang Preston: With Love, Messums London, UK Yan Wang Preston: With Love. From an Invader, Royal Botanic Garden Edinburgh, UK 2019 Forest, LOOK Biennial, Liverpool, UK Forest, Side Gallery, Newcastle, UK Forest, Cortona on the Move Photography Festival, Italy He, LOOK Photo Biennial, Liverpool, UK 2018 Forest, Gibson's Mill, Hebden Bridge, UK Forest, Xposure Photography Festival, Sharjah City, UAE She Dreams, LiverpoolONE, Liverpool, UK Forest, The Atlantic Project, Plymouth, UK 2017 Forest, GETXOPHOTO, Getxo, Spain Now and Before, LiverpoolONE, Liverpool, UK Mother River, Photo Museum Ireland, Dublin, Ireland Mother River, Impressions Gallery, Bradford, UK 2015 Mother River, China Three Gorges Museum, Chongqing, China Mother River, Wuhan Art Museum, China Mother River, Swatch Art Peace Hotel, Shanghai, China Mother River, Swatch Pavilion, the 56th Venice Biennale, Italy Mother River, Lianzhou Fotofestival, Lianzhou, China 2014 He-River Together, Touchstones Rochdale, UK Group Exhibitions 2024 Nature on Notice: Contemporary Art and Ecology, LACMA, USA Human/Nature, Fotografiska, New York, USA In Bloom, Fotografiska, Tallinn, Estonia Mutantx: × BIENNALE DE L'IMAGE POSSIBLE, Liege, Belgium UK Women: British Photography Between Social Criticism and Identity, Ludwiggalerie Schloss Oberhausen, Germany Taylor Wessing Photo Portrait Prize 2024, National Portrait Gallery, London, UK Photo-Art-Photo: From Julia Margaret Cameron to Thomas Ruff, Clemens Sels Museum Neuss, Germany Presence: The Figure in British Postwar and Contemporary Sculpture, Messums West, UK 2023 Energy: Sparks from the Collection, Victoria & Albert Museum, London, UK Civilization, Saatchi Gallery, London, UK In Bloom, Fotografiska, Stockholm, Sweden Paper Geographies, FORMAT, Derby, UK Here and Now, Lee Kai Hung Chinese Culture Gallery, Manchester Museum, UK 2022 The Time is Right, Jeddah Photo 2022, Jeddah, UAE Contested Landscapes, Biennale für aktuelle Fotografie, Mannheim, Germany Archive at Play, Castlefield Gallery, Manchester, UK Rhododendrons: Riddle Obsession Threat, Royal Botanic Garden Edinburgh, UK Ground, Long Gallery, Messums Wiltshire, UK Zoopolis, Kunstraum, Innsbruck, Austria 2021 Soft City 2.0, MoCA Chongqing, Sichuan Fine Arts Institute, China Facing Britain - British Documentary Photography since the 1960s, Kunsthalle Darmstadt, Germany Cohabitation, Silent Green, Berlin, Germany Public Life, FotoFest, Houston, USA The Art of Trees, Gund Gallery, Kenyon College, OH, USA 2020 Ten by Ten, FotoFest Biennial 2020, Houston, Texas, USA Climate Emergency in 50 Rounds, Fotobokfestival Oslo, Norway Paper Geographies, Manchester Central Library, Manchester, UK 2019 Pier to Pier, LOOK Biennial, Liverpool, UK and Shanghai, China Our Happy Life: Architecture and Well-Being in the Age of Emotional Capitalism, Canadian Centre for Architecture, Canada Sony World Photography Awards, Somerset House, London, UK and other venues 209 Women, Open Eye Gallery, Liverpool, UK 2018 Ten Directions: the 10th Anniversary Exhibition of Three Shadows Photography Awards, Beijing & Xiamen, China 40 Years of Chinese Contemporary Photography, OCAT, Shenzhen, China 2017 Parallel 2017, C-Art Centre, Chongqing, China Syngenta Photography Award, Somerset House, London, UK Mother River, Kaunas Photo 2017, Lithuania Gallery Representation Messums.Org (UK) Public Collections Victoria and Albert Museum (London, UK) Los Angeles County Museum of Art (Los Angeles, USA) National Trust (UK) Wuhan Art Museum (Wuhan, China) Manchester Museum (Manchester, UK) Open Eye Gallery (Liverpool, UK) Statement about AOAP Submitted Artwork Wang Preston's practice is characterised by rigorous research processes led by her committed embodiment within the land to gain first-hand, skin-to-skin-like understanding. Her submitted artwork With Love. From an Invader. 43-183, 09 June 2020 is from such a project. In order to investigate the political and ecological complexities behind the term 'non-native invasive species', Wang Preston walked to and photographed one love-heart-shaped Rhododendron ponticum bush every other day for an entire year, 17 March 2020 to 16 March 2021. The photograph for Art on a Postcard was produced from the 43rd visit to the bush. As the title suggests, a postcard is the perfect form for the photograph which was intended to be a love letter. Throughout the year-long embodied research, she also discovered a thriving ecology as the home to more than 20 animal species and more than 45 bird species while the rhododendrons functioned as the keystone species. Such discovery challenges the prevalent view such as Rhododendron ponticum are 'naturally' invasive because they are non-native to the UK. Meanwhile, it supports the idea of a recombinant ecology in which species from different origins form a functional habitat with no naturalised hierarchies between the native and the non-native. Such recombinant ecology is much akin to the British society which is multicultural yet permeated with hierarchies and segregations. Supported by the Arts and Humanities Research Council and the University of Huddersfield, With Love. From an Invader. is to be released by The Eriskay Connection as a major publication in 2025. 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 Brothers, 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.
Kelly Jessiman Holding On, 2025 Stoneware Glazed Ceramic Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About St Leonards-on-Sea-based Kelly Jessiman builds her forms at the family dinner table, and each piece is fired and glazed in her garden shed. She takes a wide range of inspiration from contemporary paintings and ancient artefacts. Each stage is an organic process; the clay often takes on a life of its own, which leads to the final form, and from there, she decides how it will be glazed. Often glazed with hidden notes written on and scratched into the glaze, overlapped with drawings and good luck charms or superstitious markings warding off evil. Kelly enjoys the process of pottery and the unpredictable outcomes it presents. Her pieces are experimental, playing with the juxtaposition of neatly made traditional shapes against the organic imperfections inherent in the act of hand-building. Kelly's background is in fine arts, where she studied foundation art at Chelsea School of Art and went on to study BA Fine Art Sculpture at Camberwell School of Art. Exhibitions 2021 Babes in Arms group show, Big Yin Gallery, December 2022 Hot as Hell group show, Big Yin Gallery, June Burnt Orange group show, Big Yin Gallery, July A Trip Around the Sun group show, Big Yin Gallery, September Babes in Arms group show, De La Warr, September New Colour Now, Livingston, London, November 2023 Babes in Arms studio takeover, The Hastings Contemporary, March A Room of One's Own group show, Livingston, Bristol, May FOLDE group show, Coastal Currents, Hastings, September The Gallerist's Home, MAH Gallery, London, June Collection 04, Felt MKII, London, September The Bedroom and the Study, The House by MAH, London Design Festival, September In Time group show, Gallery 13, October Christmas Cracker, Georgia Stoneman Gallery, Castlecary, December 2024 Gate of Entrancement, Electro Studio Project Space, March Unapologetic Colour group show, Another Country, Marylebone, London, May Shaped, Felt, Straffordshire Street, London, July Gather in Gathering, Milieu Studios, October Served group show, Felt Host, London, December 2025 In Fleeting Moments group show, Secession Gallery, January Statement about AOAP Submitted Artwork The work submitted for Art on a Postcard is unusual for me as I don't usually work on small-scale flat surfaces. Here, I have decided to explore the idea of ceramic postcards and what postcards mean to me-sending thoughts of love, hope, and missing certain special people, added with my usual overlapping of words and images. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Kelly Jessiman Sunflowers and Coffee, 2025 Stoneware Glazed Ceramic Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About St Leonards-on-Sea-based Kelly Jessiman builds her forms at the family dinner table, and each piece is fired and glazed in her garden shed. She takes a wide range of inspiration from contemporary paintings and ancient artefacts. Each stage is an organic process; the clay often takes on a life of its own, which leads to the final form, and from there, she decides how it will be glazed. Often glazed with hidden notes written on and scratched into the glaze, overlapped with drawings and good luck charms or superstitious markings warding off evil. Kelly enjoys the process of pottery and the unpredictable outcomes it presents. Her pieces are experimental, playing with the juxtaposition of neatly made traditional shapes against the organic imperfections inherent in the act of hand-building. Kelly's background is in fine arts, where she studied foundation art at Chelsea School of Art and went on to study BA Fine Art Sculpture at Camberwell School of Art. Exhibitions 2021 Babes in Arms group show, Big Yin Gallery, December 2022 Hot as Hell group show, Big Yin Gallery, June Burnt Orange group show, Big Yin Gallery, July A Trip Around the Sun group show, Big Yin Gallery, September Babes in Arms group show, De La Warr, September New Colour Now, Livingston, London, November 2023 Babes in Arms studio takeover, The Hastings Contemporary, March A Room of One's Own group show, Livingston, Bristol, May FOLDE group show, Coastal Currents, Hastings, September The Gallerist's Home, MAH Gallery, London, June Collection 04, Felt MKII, London, September The Bedroom and the Study, The House by MAH, London Design Festival, September In Time group show, Gallery 13, October Christmas Cracker, Georgia Stoneman Gallery, Castlecary, December 2024 Gate of Entrancement, Electro Studio Project Space, March Unapologetic Colour group show, Another Country, Marylebone, London, May Shaped, Felt, Straffordshire Street, London, July Gather in Gathering, Milieu Studios, October Served group show, Felt Host, London, December 2025 In Fleeting Moments group show, Secession Gallery, January Statement about AOAP Submitted Artwork The work submitted for Art on a Postcard is unusual for me as I don't usually work on small-scale flat surfaces. Here, I have decided to explore the idea of ceramic postcards and what postcards mean to me-sending thoughts of love, hope, and missing certain special people, added with my usual overlapping of words and images. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Ann Dowker The Game, 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.
Anne Desmet RA Star/Scaffolding, 2024 Digital print on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Anne Desmet RA was born in Liverpool. She has BFA and MA degrees in Fine Art from Oxford University and a Postgraduate Diploma in Printmaking from Central School of Art, London. In 2018 she was elected Honorary Fellow of Worcester College, Oxford University, for 'distinction in the world of art'. She exhibits wood engravings, linocuts, lithographs and mixed-media printed collages widely, has won over 40 national and international awards (including a Rome Scholarship in Printmaking; Pollock-Krasner Foundation Award, USA; three Elizabeth Greenshields Foundation Awards, Montreal, Canada; and the London Original Print Fair Prize at the RA Summer Exhibition) and has works in major public and private collections worldwide. The Ashmolean Museum, Oxford, the Whitworth Art Gallery, Manchester, and the V&A all have substantial holdings of her work. Over 50 solo shows include two major museum retrospectives at the Ashmolean (1998) and Whitworth (2008) respectively: each toured UK museums for two years. She had an earlier retrospective at Moscow's Ex Libris Museum, Russia (1995); and different solo exhibitions of recent works at the Holburne Museum, Bath (2017); Gainsborough's House Museum, Suffolk (2018); Pallant House Gallery, Chichester (2022-23); and Guildhall Art Gallery, London (2024-25). Desmet is author of seven published books on printmaking and drawing (published variously by Bloomsbury, the RA and Ashmolean Publications) and was editor of Printmaking Today magazine from 1998-2013. Commissions include engravings for the British Museum; National Gallery; British Library; V&A; Balliol and Worcester Colleges, Oxford; Sotheby's and the Royal Mint. She is only the third wood engraver ever elected to membership of the UK's Royal Academy of Arts (RA) in its 256-year history and she curated an historic exhibition celebrating 100 years of the art of wood engraving for the Ashmolean (2020). She lives and works in London and is represented by Eames Fine Art. www.annedesmet.com Instagram: @anne_desmet 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.
Yulia Iosilzon Pond, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Yulia Iosilzon's figurative paintings on stretched transparent fabric are portals into vivid dreamlike worlds with roots in both ancient mythologies and contemporary social concerns. Her works hint at unfolding narratives of human-animal metamorphosis. Her visual references are wide ranging; she draws on imagery from childhood cartoons and representations of paradise, as well as exploring the Jewish iconography of her heritage. This symbolic language also extends into her ceramic practice. Education 2017- 2019 MA Fine Art, Royal College of Art, London, UK 2013 - 2017 BA Fine Art, Slade School of Fine Art, UCL, London, UK Solo Exhibitions 2024 Cool Summer, De Brock, Knokke, Belgium Modus Operandi, Bertnson Bhattacharjee, London, UK 2023 Heaven's Chambers, Carvalho Park, New York, USA 2022 Frogspawn, Sapling, London, UK Yulia Iosilzon - Art Narratives, Roksanda, London, UK Amanita Muscaria, De Brock Gallery, Knokke, Belgium Nocturnal, Foundry, Seoul, South Korea 2021 Yulia Iosilzon, Art Antwerp 2021 Solo Booth presentation, De Brock Gallery, Antwerp, Belgium A Chorus of Beauty and Menace, Carvalho Park, New York, USA The Big Fish!, Berntson Bhattacharjee x Sotheby's Nordics, Stockholm, Sweden Fanfarria, Huxley-Parlour, London, UK 2020 Invisible Power, Osnova, Moscow, Russia Artist Room Solo Presentation, Columbia x Roman Road, London, UK 2019 Paradeisos, Carvalho Park, New York, USA Group Exhibitions 2025 The Threshold Beckons, Carvalho Park, New York, USA Auguries of Innocence, Cedric Bardawil, London, UK 2024 Kristian Touborg, Se Yoon Park, Yulia Iosilzon, Carvalho Park at Frieze No. 9 Cork Street, London, UK The Dimension of Feeling, Vortic x House of Koko, London, UK 2023 Hold Me Now, IONE & MANN, London, UK Luminous Terrain, Atipografia, Arzignano, Italy Processing the past and digesting the future, Badr El Jundi, Madrid, Spain L'heure du conte, Pangée, Montreal, Canada 2022 Jingle Bells VI, De Brock, Knokke, Belgium Once Upon a Time in Mayfair, Dynamisk x Phillips, London, UK The Earth has music for those who listen, Sapling, London, UK Two Sisters, Roman Road & Working Project, London, UK The Sky above the Roof, Tabula Rasa Gallery, Beijing, China 2021 All That And A Bag Of Chips, Des Bains, London, UK Unsellable, Just a Studio, London, UK Paradise Is Not Just a Place, Roman Road, London, UK The Ode to the Body, Daniel Benjamin Gallery, London, UK Selfhood, Berntson Bhattacharjee Gallery, London, UK 2020 Fight or Flight, Roman Road, London, UK Birthday, White Crypt, London, UK Begin Again, Guts Gallery, London, UK London Now, Space K, Seoul, South Korea Crowd, Hannah Barry Gallery, London, UK RedivideR, Platform Projects, Platform Southwark, London, UK 2019 Bloomberg New Contemporaries, South London Gallery, London, UK Detritus, Wells Projects, London, UK Lacuna, Sottosale Projects, London, UK Velvet Ropes, House of Vans, London, UK Bloomberg New Contemporaries, Leeds Art Gallery, Leeds, UK Library, Triumph Gallery, Moscow, Russia RCA Graduation Show, RCA, London, UK Varieties of Disturbance, Shelf Spanish City, Newcastle, UK Wolves by the Road, Assembly House, Leeds, UK Rub The Bronze Dog's Nose, Moscow Museum of Contemporary Art, Moscow, Russia Splodge, Hockney Gallery, London, UK We Can Only Have Fun on Certain Days, Warbling Collective, London, UK Nourishment, Guests Space, London, UK AWB, Herrick Gallery, London, UK 2018 Something Else, Triumph Gallery, Moscow, Russia UJS Exhibition, London, UK More Life, Hockney Gallery, London, UK The Origin of Who, Kvadrat 16 Gallery, Copenhagen, Denmark Thumbnails, Hockney Gallery, London, UK We Are the Ones Vol I, Group Exhibition, Copenhagen, Denmark Visions, Triumph Gallery, Moscow, Russia 2017 Slade Degree Show, Slade School of Fine Art, London, UK Awards 2019 Bloomberg New Contemporaries 2016 Audrey Wykeham Prize Gallery Representation Carvalho Park (New York, USA) Public Collections Roberts Institute of Art (London, UK) HSBC Art Collection (London, UK) Xiao Foundation Museum (Rizhao, China) Nanjo Museum (Nanjo, Japan) X Museum (Beijing, China) Sixi Museum (Nanjing, China) Statement about AOAP Submitted Artwork This is a body of work about scenic environments in which the anthropomorphic creatures find themselves in their natural habitat - a pond. These environments are inhabited by dynamic, changing entities with hybrid anatomies that mix delicately featured human faces with bulbous animal bodies. These creatures move through a colorfully flecked, luminous matter that supports and harmonizes their existence, like an extracorporeal amniotic fluid. 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.
Maureen Grayson Sandy Heath, Hampstead 1, 2024 Mixed media on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Maureen Grayson is a London-based artist specialising in mixed media abstraction. Her work delves into the captivating interplay between natural phenomena and the ever-evolving landscape. Inspired by the dynamic shifts in light, temperature, and season, she is continually mesmerised by the volatile effects these elements have on our surroundings. Utilising a variety of substrates including wood panels, canvas, and paper, she embraces the versatility of mixed media to bring her vision to life. A fascination for the ancient trees and ponds on Hampstead Heath has been the inspiration for a series of tactile works incorporating thread, collage, and fibres. Solo Exhibitions 2020 The Space Beyond, OmniDe Gallery, Hampstead, London, UK 2023 Open Studio/Artist Spotlight Month, OmniDe Gallery, Hampstead, London, UK Group Exhibitions 2023/2024 Rotating Group Show 2023/24, OmniDe, Hampstead, London, UK 2024 International Women's Day Group Show, CasildART, 32 Connaught Street, Connaught Village, London W2 2AF Natura Exhibition, Art from Heart, Daku Coffee House Gallery, Kensington, London, UK Hampstead Art Fair Open/Picture the Heath, Hampstead, London, UK SMart Network Charity 24th Anniversary Group Show, Cyphermunk House, City of London Women In Art Prize Finalist's Exhibition, The Roundhouse, Camden, London, UK Zebra One Gallery, Perrin's Court, Hampstead, London, UK The ING Discerning Eye, Mall Galleries, London, UK Awards 2024 Winner of Picture the Heath, Hampstead Art Fair, London, UK HSoA Abstract Painting Award, Women In Art Prize, Camden, London, UK Statement about AOAP Submitted Artwork Two mixed media abstract landscapes inspired by The Sandy Heath, Hampstead Woods. In each work, I have used layers of collage and strands of thread/fibres to suggest the textures of the ancient gnarled trees reflecting into the wetland areas. 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.
Yulia Iosilzon Pond Vol III, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Yulia Iosilzon's figurative paintings on stretched transparent fabric are portals into vivid dreamlike worlds with roots in both ancient mythologies and contemporary social concerns. Her works hint at unfolding narratives of human-animal metamorphosis. Her visual references are wide ranging; she draws on imagery from childhood cartoons and representations of paradise, as well as exploring the Jewish iconography of her heritage. This symbolic language also extends into her ceramic practice. Education 2017- 2019 MA Fine Art, Royal College of Art, London, UK 2013 - 2017 BA Fine Art, Slade School of Fine Art, UCL, London, UK Solo Exhibitions 2024 Cool Summer, De Brock, Knokke, Belgium Modus Operandi, Bertnson Bhattacharjee, London, UK 2023 Heaven's Chambers, Carvalho Park, New York, USA 2022 Frogspawn, Sapling, London, UK Yulia Iosilzon - Art Narratives, Roksanda, London, UK Amanita Muscaria, De Brock Gallery, Knokke, Belgium Nocturnal, Foundry, Seoul, South Korea 2021 Yulia Iosilzon, Art Antwerp 2021 Solo Booth presentation, De Brock Gallery, Antwerp, Belgium A Chorus of Beauty and Menace, Carvalho Park, New York, USA The Big Fish!, Berntson Bhattacharjee x Sotheby's Nordics, Stockholm, Sweden Fanfarria, Huxley-Parlour, London, UK 2020 Invisible Power, Osnova, Moscow, Russia Artist Room Solo Presentation, Columbia x Roman Road, London, UK 2019 Paradeisos, Carvalho Park, New York, USA Group Exhibitions 2025 The Threshold Beckons, Carvalho Park, New York, USA Auguries of Innocence, Cedric Bardawil, London, UK 2024 Kristian Touborg, Se Yoon Park, Yulia Iosilzon, Carvalho Park at Frieze No. 9 Cork Street, London, UK The Dimension of Feeling, Vortic x House of Koko, London, UK 2023 Hold Me Now, IONE & MANN, London, UK Luminous Terrain, Atipografia, Arzignano, Italy Processing the past and digesting the future, Badr El Jundi, Madrid, Spain L'heure du conte, Pangée, Montreal, Canada 2022 Jingle Bells VI, De Brock, Knokke, Belgium Once Upon a Time in Mayfair, Dynamisk x Phillips, London, UK The Earth has music for those who listen, Sapling, London, UK Two Sisters, Roman Road & Working Project, London, UK The Sky above the Roof, Tabula Rasa Gallery, Beijing, China 2021 All That And A Bag Of Chips, Des Bains, London, UK Unsellable, Just a Studio, London, UK Paradise Is Not Just a Place, Roman Road, London, UK The Ode to the Body, Daniel Benjamin Gallery, London, UK Selfhood, Berntson Bhattacharjee Gallery, London, UK 2020 Fight or Flight, Roman Road, London, UK Birthday, White Crypt, London, UK Begin Again, Guts Gallery, London, UK London Now, Space K, Seoul, South Korea Crowd, Hannah Barry Gallery, London, UK RedivideR, Platform Projects, Platform Southwark, London, UK 2019 Bloomberg New Contemporaries, South London Gallery, London, UK Detritus, Wells Projects, London, UK Lacuna, Sottosale Projects, London, UK Velvet Ropes, House of Vans, London, UK Bloomberg New Contemporaries, Leeds Art Gallery, Leeds, UK Library, Triumph Gallery, Moscow, Russia RCA Graduation Show, RCA, London, UK Varieties of Disturbance, Shelf Spanish City, Newcastle, UK Wolves by the Road, Assembly House, Leeds, UK Rub The Bronze Dog's Nose, Moscow Museum of Contemporary Art, Moscow, Russia Splodge, Hockney Gallery, London, UK We Can Only Have Fun on Certain Days, Warbling Collective, London, UK Nourishment, Guests Space, London, UK AWB, Herrick Gallery, London, UK 2018 Something Else, Triumph Gallery, Moscow, Russia UJS Exhibition, London, UK More Life, Hockney Gallery, London, UK The Origin of Who, Kvadrat 16 Gallery, Copenhagen, Denmark Thumbnails, Hockney Gallery, London, UK We Are the Ones Vol I, Group Exhibition, Copenhagen, Denmark Visions, Triumph Gallery, Moscow, Russia 2017 Slade Degree Show, Slade School of Fine Art, London, UK Awards 2019 Bloomberg New Contemporaries 2016 Audrey Wykeham Prize Gallery Representation Carvalho Park (New York, USA) Public Collections Roberts Institute of Art (London, UK) HSBC Art Collection (London, UK) Xiao Foundation Museum (Rizhao, China) Nanjo Museum (Nanjo, Japan) X Museum (Beijing, China) Sixi Museum (Nanjing, China) Statement about AOAP Submitted Artwork This is a body of work about scenic environments in which the anthropomorphic creatures find themselves in their natural habitat - a pond. These environments are inhabited by dynamic, changing entities with hybrid anatomies that mix delicately featured human faces with bulbous animal bodies. These creatures move through a colorfully flecked, luminous matter that supports and harmonizes their existence, like an extracorporeal amniotic fluid. 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.
Tracey Falcon Still Life 102, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About A spinal injury in 2018 meant that multimedia artist Tracey Falcon was no longer able to make the heavier, more sculptural artwork she had been creating for the previous 20 or so years. As lockdown hit, she found her creativity returning and picked up a paintbrush and oils and was hooked. Each painting is a technical journey. Tracey is interested in colour, texture, and light almost more than the subject. Still-life studies work well for this kind of exploration - the tones and textures of fruit and the play of light we are all familiar with on these items we may take for granted every day in our homes and gardens. Education 1999-2004 BA(Hons) (First Class) Fine Art, Kent Institute of Art and Design, Canterbury, UK 2013-2014 MA (Distinction) Arts Criticism, University of Kent, Canterbury, UK Group Exhibitions 2024 October 21-27, Human/Nature, Whitstable Museum Gallery 2023 October, East Kent Artists Open Houses September 9-17, Assembly, Whitstable July 31-August 5, Unearthed, 54 The Gallery, Mayfair, London March 9-12, Print Show, The Horsebridge Arts Centre, Whitstable 2022 October, East Kent Artists Open Houses 2021 October-February 2022, Turner Contemporary Open, Margate October, East Kent Artists Open Houses 2020 October, East Kent Artists Open Houses 2019 March 14-24, Take Back Control, The Crypt Gallery, London 2018 November 29-30, Contributor VVM8, The Art Hostel, Leeds July 31-August 5, Contributor and Interviewee, Production Process Collaboration VVM7, Tate Exchange, Liverpool June 2-10, Assembly, Whitstable Biennale Satellite 2017 October 14-22, Contributor -The Artist Within - Branching Out, VVM5, 57th Venice Biennale June 4-10, Summer Small Fine Art Exhibition, Royal Opera Arcade Gallery, London January 20-23, Artrooms, Melia White House, London Statement about AOAP Submitted Artwork Two paintings, a lemon and a wren, play with texture and colour. Slightly undone, there's a hint of what lies beneath. What might be seen if photographed with too high or too low exposure. Vision is subjective. 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.
Tracey Falcon Still Life 101, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About A spinal injury in 2018 meant that multimedia artist Tracey Falcon was no longer able to make the heavier, more sculptural artwork she had been creating for the previous 20 or so years. As lockdown hit, she found her creativity returning and picked up a paintbrush and oils and was hooked. Each painting is a technical journey. Tracey is interested in colour, texture, and light almost more than the subject. Still-life studies work well for this kind of exploration - the tones and textures of fruit and the play of light we are all familiar with on these items we may take for granted every day in our homes and gardens. Education 1999-2004 BA(Hons) (First Class) Fine Art, Kent Institute of Art and Design, Canterbury, UK 2013-2014 MA (Distinction) Arts Criticism, University of Kent, Canterbury, UK Group Exhibitions 2024 October 21-27, Human/Nature, Whitstable Museum Gallery 2023 October, East Kent Artists Open Houses September 9-17, Assembly, Whitstable July 31-August 5, Unearthed, 54 The Gallery, Mayfair, London March 9-12, Print Show, The Horsebridge Arts Centre, Whitstable 2022 October, East Kent Artists Open Houses 2021 October-February 2022, Turner Contemporary Open, Margate October, East Kent Artists Open Houses 2020 October, East Kent Artists Open Houses 2019 March 14-24, Take Back Control, The Crypt Gallery, London 2018 November 29-30, Contributor VVM8, The Art Hostel, Leeds July 31-August 5, Contributor and Interviewee, Production Process Collaboration VVM7, Tate Exchange, Liverpool June 2-10, Assembly, Whitstable Biennale Satellite 2017 October 14-22, Contributor -The Artist Within - Branching Out, VVM5, 57th Venice Biennale June 4-10, Summer Small Fine Art Exhibition, Royal Opera Arcade Gallery, London January 20-23, Artrooms, Melia White House, London Statement about AOAP Submitted Artwork Two paintings, a lemon and a wren, play with texture and colour. Slightly undone, there's a hint of what lies beneath. What might be seen if photographed with too high or too low exposure. Vision is subjective. 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 in Mist, 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.
Rafaela de Ascanio Guerrera, 2024 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Rafaela de Ascanio is a multidisciplinary artist working in painting and sculpture, living between London and Madrid. Her work explores themes of feminism, mysticism and motherhood, in installations that combine ceramics and oil paintings in dialogue. Often, she gives life to research themes through audio and performance to animate these physical objects. Education 2018 - 2019 Turps Banana Off-Site Painting Programme 2009 - 2010 MA Curating the Art Museum, Courtauld Institute of Art, London, UK 2006 - 2008 BA History of Art, Courtauld Institute of Art, London, UK 2005 - 2006 Fine Art Foundation Diploma, Central Saint Martin's College 2005 - 2006, London, UK Solo Exhibitions 2023 Sexing the Cherry, Tristan Hoare Gallery, London, UK 2022 The Pump House, Berntson Bhattacharjee Gallery, London, UK 2021 Universal Yearnings, Liliya Art Gallery, London, UK Group Exhibitions 2024 Theia, Niru Ratnam Gallery, London, UK Wicca, Arc Salon, Painswick, UK Apocalypse Now, Tristan Hoare Gallery, London, UK 2023 Ex Voto, organised by The Mary Leyline Pilgrimage at Original Projects, UK 2022 Wave, Cob Gallery, London, UK Conjure, Arusha, curated by Chantal Powel, Bruton, UK Fancy a Bite?, Studio West, London, UK The Amber Room at Reference Point Library, 180 The Strand, London, UK I'll be your mirror, curated by Mark Connoly at Alice's Gallery and Oyster Bar, London, UK Swamp Legends, Terrace Gallery, London, UK 2021 Cracked, Tristan Hoare Gallery, curated by Leonie Mir, London, UK Focus on the Female, Cynthia Corbett Gallery, London, UK Back-to-Back: Nettle Grellier and Rafaela de Ascanio, Bowes Parris Gallery (duo), London, UK 2020 Monster/Beauty: The Female/Femme Gaze, Lychee One, curated by Marcelle Joseph, London, UK Paintings On, And With Paper, Cob Gallery, curated by Cassie Beadle, London, UK Clay Today: A Showcase Of Ceramics In Isolation, Cynthia Corbett Gallery, curated by Preston Fitzgerald, London, UK The Amber Room, curated by Rosie Reed, London, UK Tangled up in blue & the tales we tell ourselves, Purslane, London, UK With Love, Paint Talk, London, UK 2019 The Deccan Traps, Aindrea Contemporary (duo), London, UK Turps Banana Off-Site Painters, Turps Gallery, curated by Phil Allen and Marcus Harvey, London, UK If you know you know, Eccleston Project Space, curated by Mark Connolly & Joana Galego, London, UK The Amber Room, curated by Rosie Reed, London, UK Summer of Ceramics, Doddington Hall, Lincolnshire, UK Nobu Knows Art, Nobu Hotel Shoreditch, curated by Aindrea Emelife, London, UK A Room of One's Own, Koppel Gallery Central, London, UK Awards 2021 Winner of Young Masters Focus on the Female Emerging Women's Artist Award Gallery Representation Tristan Hoare Gallery, London, UK Statement about AOAP Submitted Artwork Two oil paintings. Sketches for larger works in a series that explores Lorca´s The House of Bernarda Alba where several sisters are caged up in a hot, Andalusian house by their oppressive mother and society at large. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Julie Caves Malibu, 2025 Acrylic and varnish on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Julie Caves is a painter of still lifes. Sometimes she approaches her subject directly and paints roomscapes and objects from observation, but often she focuses just on the colour and light separated from the subject, letting the painting develop intuitively, and those works are usually read as abstract paintings. She likes having these two ways of working, that she switches back and forth between. She says: I often make a body of work because I have a hunch about an idea, I don't know if it will work, but I want to see what it will look like. The materials and process of painting are very important to me. I love a good painting composition, just on the edge of imbalance. I adore a thin stain of colour barely washed on, next to a juicy slab of thick, pasty paint. Education 2017-2019 Alternative MA, Turps Studio Painting Programme 2012 Independent Curating course (certificate) at Central St Martins 2004 MA in Bookarts, University of the Arts London, Camberwell College of Art 2001 BFA (Hons) in Studio Art, University of Texas at Austin 2001 Studio Art, Universidad Politecnica de Valencia, Spain Solo Exhibitions 2024 Scrumptious, Convivium Gallery, London, UK Yummy Yummy Yummy, Cliffs, Margate, UK 2022 Shimmy, Lido Stores, Margate, UK 2021 Lost in the Woods, Stone Space Gallery, London, UK 2016 Painting Without Beginning or End, Heathcote Arms, London, UK 2015 Colourful Language at Hoe Street Central, Walthamstow, London, UK 2013 Curiosity: an art practice as a way of looking, The Crypt Gallery, London, UK 2012 They Do Things Differently Here, Artworks Project Space, London, UK Cloud 8, Arts and Crusts, Chapel End, London, UK 2007 Colour Matters, Oxford House, London, UK Group Exhibitions 2024 Beep Longlist exhibition, Swansea Hypha x Dispensary Open, Wrexham Creative Bloc, Fill the Gap, London GOLD!, Artworks Project Space, London It Rose and It Fell, Terrace Gallery, London Fight Flight or Freeze, Pictorem Gallery, London A Room of One's Own, Irving Gallery, Oxford Multitasking, Lido Stores, Margate This Year's Model, Studio 1.1 Gallery, London Cat Flap Blink, Terrace Gallery, London 2023 Sugar Cube, Lido Stores, Margate Goddesses on Sea, Lido Stores, Margate Windows and Thresholds: Breaking Glass, Bell House, Dulwich, London Tart Factory, Tart Gallery London Goddesses, Terrace Gallery, Leyton, London Mermaids Always Have Graceful Arms, Lido Stores, Margate There Are No Things Only Relationships, Terrace Gallery at Karya, Highams Park, London This Year's Model part 1, Studio1.1 Gallery, London 2022 Seeing, Feeling, Forgetting, APT Gallery, London Still Looking, The Lido Stores, Margate Colour, The Stone Space, London Starting the Line, travelling drawing project This Year's Model part 3, Studio1.1 Gallery, London Seedbomb, Terrace Gallery, London Sonic Spring, Filly Brook, London Old Parcels Office Open, Scarborough 2021-22 A Generous Space, Hastings Contemporary 2021 Lido Open, The Lido Stores, Margate Mirror Mirror on the Wall, The House of Smalls, Swindon A Break in the Clouds, Winns Gallery, London (3 person) Studio Confetti, Terrace Gallery, London A Space to Hold the Gaze, Liliya Gallery, Putney, London 2020 Waving in the Distance, Terrace Gallery, London 2019 Exceptional Award exhibition, Collyer Bristow, London A Hand Stuffed Mattress, Terrace Gallery, London Time Flies Like the Wind, Fruit Flies Like Bananas, Art Academy, London Society of Women Artists Annual Exhibition, London 40 Years, Pictorem Gallery, London Traces, Artworks Project Space, London Prufrock, Centre Gallery, Margate Delphian Open Call 2019 Winners Exhibition, Printspace, London 2018 Artist of the Day (Turps Painters), Flowers Gallery, London Frankenstein, Espacio Gallery, London 2017 Afternoon Tea: Works on Paper, Chiara Williams, Margate 2016 Palimpsest, Bad Oeynhausen, Germany Made in Margate, Viking Gallery, Margate Looking Up, Studio1.1 Gallery, London Seeing is Believing, St John's Church, London Leytonstone Arts Trail Gateposts Project (two site-specific installations), London Gallery Representation Lido Stores (Margate, UK) Public Collections Bodleian Library (Oxford, UK) Oxford Brooks University (Oxford, UK) Manchester Metropolitan University Library (Manchester, UK) University College Northampton (Northampton, UK) BookROOM Archives, Witte de With (Rotterdam, Netherlands) Tate Britain Special Collection has acquired three books (London, UK) Camberwell College of Arts Special Collection has acquired two books (London, UK) Two serigraphs in the permanent collection of the University of Texas at Austin (Austin, Texas, USA) Universidad Politecnica de Valencia (Valencia, Spain) Statement about AOAP Submitted Artwork Two abstract paintings looking at shapes, colour, brushstrokes, and scale. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Catherine Hyland The Future of Farming III, 2025 Archival Pigment Inkjet Signed on Verso with COA 10 x 15cm (3¾ x 5¾ in.) About Catherine Hyland is an artist based in London. She graduated from Chelsea College of Art and Design with a First class BA (Hons) Degree in Fine Art and completed her Masters at the Royal College of Art. Her photography centres around people and their connection to the land they inhabit. Primarily landscape based, her work is rooted in notions of fabricated memory, grids, enclosures and national identity. Her large format images depict humanity's attempts - some more effective than others - to tame its environment. An observation that has led to both artistic and commercial outreach, with residences at venues such as Focal Point gallery in Southend for the RADICAL ESSEX programme and has exhibited work at Month of Photography Los Angeles, Renaissance Photography Prize, National Portrait Gallery, Royal Photographic Society, LES MAGASINS GÉNÉRAUX, Somerset House, Design Museum in London, ICA & MAC in Birmingham. Hyland's ongoing projects highlight humanity's attempts to tame and transform nature, both past and present. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Yulia Iosilzon Pond II, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Yulia Iosilzon's figurative paintings on stretched transparent fabric are portals into vivid dreamlike worlds with roots in both ancient mythologies and contemporary social concerns. Her works hint at unfolding narratives of human-animal metamorphosis. Her visual references are wide ranging; she draws on imagery from childhood cartoons and representations of paradise, as well as exploring the Jewish iconography of her heritage. This symbolic language also extends into her ceramic practice. Education 2017- 2019 MA Fine Art, Royal College of Art, London, UK 2013 - 2017 BA Fine Art, Slade School of Fine Art, UCL, London, UK Solo Exhibitions 2024 Cool Summer, De Brock, Knokke, Belgium Modus Operandi, Bertnson Bhattacharjee, London, UK 2023 Heaven's Chambers, Carvalho Park, New York, USA 2022 Frogspawn, Sapling, London, UK Yulia Iosilzon - Art Narratives, Roksanda, London, UK Amanita Muscaria, De Brock Gallery, Knokke, Belgium Nocturnal, Foundry, Seoul, South Korea 2021 Yulia Iosilzon, Art Antwerp 2021 Solo Booth presentation, De Brock Gallery, Antwerp, Belgium A Chorus of Beauty and Menace, Carvalho Park, New York, USA The Big Fish!, Berntson Bhattacharjee x Sotheby's Nordics, Stockholm, Sweden Fanfarria, Huxley-Parlour, London, UK 2020 Invisible Power, Osnova, Moscow, Russia Artist Room Solo Presentation, Columbia x Roman Road, London, UK 2019 Paradeisos, Carvalho Park, New York, USA Group Exhibitions 2025 The Threshold Beckons, Carvalho Park, New York, USA Auguries of Innocence, Cedric Bardawil, London, UK 2024 Kristian Touborg, Se Yoon Park, Yulia Iosilzon, Carvalho Park at Frieze No. 9 Cork Street, London, UK The Dimension of Feeling, Vortic x House of Koko, London, UK 2023 Hold Me Now, IONE & MANN, London, UK Luminous Terrain, Atipografia, Arzignano, Italy Processing the past and digesting the future, Badr El Jundi, Madrid, Spain L'heure du conte, Pangée, Montreal, Canada 2022 Jingle Bells VI, De Brock, Knokke, Belgium Once Upon a Time in Mayfair, Dynamisk x Phillips, London, UK The Earth has music for those who listen, Sapling, London, UK Two Sisters, Roman Road & Working Project, London, UK The Sky above the Roof, Tabula Rasa Gallery, Beijing, China 2021 All That And A Bag Of Chips, Des Bains, London, UK Unsellable, Just a Studio, London, UK Paradise Is Not Just a Place, Roman Road, London, UK The Ode to the Body, Daniel Benjamin Gallery, London, UK Selfhood, Berntson Bhattacharjee Gallery, London, UK 2020 Fight or Flight, Roman Road, London, UK Birthday, White Crypt, London, UK Begin Again, Guts Gallery, London, UK London Now, Space K, Seoul, South Korea Crowd, Hannah Barry Gallery, London, UK RedivideR, Platform Projects, Platform Southwark, London, UK 2019 Bloomberg New Contemporaries, South London Gallery, London, UK Detritus, Wells Projects, London, UK Lacuna, Sottosale Projects, London, UK Velvet Ropes, House of Vans, London, UK Bloomberg New Contemporaries, Leeds Art Gallery, Leeds, UK Library, Triumph Gallery, Moscow, Russia RCA Graduation Show, RCA, London, UK Varieties of Disturbance, Shelf Spanish City, Newcastle, UK Wolves by the Road, Assembly House, Leeds, UK Rub The Bronze Dog's Nose, Moscow Museum of Contemporary Art, Moscow, Russia Splodge, Hockney Gallery, London, UK We Can Only Have Fun on Certain Days, Warbling Collective, London, UK Nourishment, Guests Space, London, UK AWB, Herrick Gallery, London, UK 2018 Something Else, Triumph Gallery, Moscow, Russia UJS Exhibition, London, UK More Life, Hockney Gallery, London, UK The Origin of Who, Kvadrat 16 Gallery, Copenhagen, Denmark Thumbnails, Hockney Gallery, London, UK We Are the Ones Vol I, Group Exhibition, Copenhagen, Denmark Visions, Triumph Gallery, Moscow, Russia 2017 Slade Degree Show, Slade School of Fine Art, London, UK Awards 2019 Bloomberg New Contemporaries 2016 Audrey Wykeham Prize Gallery Representation Carvalho Park (New York, USA) Public Collections Roberts Institute of Art (London, UK) HSBC Art Collection (London, UK) Xiao Foundation Museum (Rizhao, China) Nanjo Museum (Nanjo, Japan) X Museum (Beijing, China) Sixi Museum (Nanjing, China) Statement about AOAP Submitted Artwork This is a body of work about scenic environments in which the anthropomorphic creatures find themselves in their natural habitat - a pond. These environments are inhabited by dynamic, changing entities with hybrid anatomies that mix delicately featured human faces with bulbous animal bodies. These creatures move through a colorfully flecked, luminous matter that supports and harmonizes their existence, like an extracorporeal amniotic fluid. 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.
Lesley Banks Monterosso Train Station, 2025 Acrylic and watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lesley Banks is a contemporary artist. Her work is informed by a skill-based classical training in observational painting and drawing, which is evident in her figurative interiors and more recent canal and urban landscape paintings. She works predominantly with oil on canvas and more recently watercolour and acrylic on paper. Education 1980-1984 Glasgow School of Art BA (Hons) Fine Art Solo Exhibitions 2024 Studio 261, Glasgow 2020 Summerlee Museum of Scottish Industrial Life, Coatbridge 2019 Lillie Art Gallery and Museum, Glasgow 2018 Eden Court, Inverness 2017 The Park Gallery, Falkirk Group Exhibitions 2024 Annual Open, Bath Society of Artists 198th Annual Exhibition, Royal Scottish Academy London Art Fair 2023 Objects of Desire, Calendar House, Falkirk ING Discerning Eye Jackson's Art Prize, longlisted SWA Society of Women Artists, Mall Galleries, London Scottish Landscape Awards, longlisted 2022 Scottish Portrait Awards, Edinburgh Inspired, Fidra Fine Art, Gullane 2021 Art in Mind, Glasgow Print Studio 2020 21st Century Women, The Backdoor Gallery, Clydebank Awards 2024 The Knox Award, PAI Annual Exhibition 2017 Paisley Drawing Competition, Walker Laird Award 2015 Open Project Funding, Creative Scotland Gallery Representation Compass Gallery, Glasgow, Scotland Studio 261, Glasgow, Scotland Roger Bilcliffe Fine Art, Glasgow Public Collections Kelvingrove Art Gallery and Museum, Glasgow, Scotland Perth Art Gallery and Museum, Perth, Scotland Lillie Art Gallery and Museum, Glasgow, Scotland Stirling Smith Museum and Art Gallery, Stirling, Scotland Scottish Canals University of Strathclyde, Scotland Falkirk Council Collection, Scotland East Dunbartonshire Council, Scotland Leicester Schools Collection, England Statement about AOAP Submitted Artwork Two watercolour/acrylic paintings exploring "after dark" themes in the Cinque Terre in Italy. I am working on a series of nocturne paintings, which necessitates muted tones and hazy light effects. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Julie Caves Paradise Point, 2025 Acrylic and varnish on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Julie Caves is a painter of still lifes. Sometimes she approaches her subject directly and paints roomscapes and objects from observation, but often she focuses just on the colour and light separated from the subject, letting the painting develop intuitively, and those works are usually read as abstract paintings. She likes having these two ways of working, that she switches back and forth between. She says: I often make a body of work because I have a hunch about an idea, I don't know if it will work, but I want to see what it will look like. The materials and process of painting are very important to me. I love a good painting composition, just on the edge of imbalance. I adore a thin stain of colour barely washed on, next to a juicy slab of thick, pasty paint. Education 2017-2019 Alternative MA, Turps Studio Painting Programme 2012 Independent Curating course (certificate) at Central St Martins 2004 MA in Bookarts, University of the Arts London, Camberwell College of Art 2001 BFA (Hons) in Studio Art, University of Texas at Austin 2001 Studio Art, Universidad Politecnica de Valencia, Spain Solo Exhibitions 2024 Scrumptious, Convivium Gallery, London, UK Yummy Yummy Yummy, Cliffs, Margate, UK 2022 Shimmy, Lido Stores, Margate, UK 2021 Lost in the Woods, Stone Space Gallery, London, UK 2016 Painting Without Beginning or End, Heathcote Arms, London, UK 2015 Colourful Language at Hoe Street Central, Walthamstow, London, UK 2013 Curiosity: an art practice as a way of looking, The Crypt Gallery, London, UK 2012 They Do Things Differently Here, Artworks Project Space, London, UK Cloud 8, Arts and Crusts, Chapel End, London, UK 2007 Colour Matters, Oxford House, London, UK Group Exhibitions 2024 Beep Longlist exhibition, Swansea Hypha x Dispensary Open, Wrexham Creative Bloc, Fill the Gap, London GOLD!, Artworks Project Space, London It Rose and It Fell, Terrace Gallery, London Fight Flight or Freeze, Pictorem Gallery, London A Room of One's Own, Irving Gallery, Oxford Multitasking, Lido Stores, Margate This Year's Model, Studio 1.1 Gallery, London Cat Flap Blink, Terrace Gallery, London 2023 Sugar Cube, Lido Stores, Margate Goddesses on Sea, Lido Stores, Margate Windows and Thresholds: Breaking Glass, Bell House, Dulwich, London Tart Factory, Tart Gallery London Goddesses, Terrace Gallery, Leyton, London Mermaids Always Have Graceful Arms, Lido Stores, Margate There Are No Things Only Relationships, Terrace Gallery at Karya, Highams Park, London This Year's Model part 1, Studio1.1 Gallery, London 2022 Seeing, Feeling, Forgetting, APT Gallery, London Still Looking, The Lido Stores, Margate Colour, The Stone Space, London Starting the Line, travelling drawing project This Year's Model part 3, Studio1.1 Gallery, London Seedbomb, Terrace Gallery, London Sonic Spring, Filly Brook, London Old Parcels Office Open, Scarborough 2021-22 A Generous Space, Hastings Contemporary 2021 Lido Open, The Lido Stores, Margate Mirror Mirror on the Wall, The House of Smalls, Swindon A Break in the Clouds, Winns Gallery, London (3 person) Studio Confetti, Terrace Gallery, London A Space to Hold the Gaze, Liliya Gallery, Putney, London 2020 Waving in the Distance, Terrace Gallery, London 2019 Exceptional Award exhibition, Collyer Bristow, London A Hand Stuffed Mattress, Terrace Gallery, London Time Flies Like the Wind, Fruit Flies Like Bananas, Art Academy, London Society of Women Artists Annual Exhibition, London 40 Years, Pictorem Gallery, London Traces, Artworks Project Space, London Prufrock, Centre Gallery, Margate Delphian Open Call 2019 Winners Exhibition, Printspace, London 2018 Artist of the Day (Turps Painters), Flowers Gallery, London Frankenstein, Espacio Gallery, London 2017 Afternoon Tea: Works on Paper, Chiara Williams, Margate 2016 Palimpsest, Bad Oeynhausen, Germany Made in Margate, Viking Gallery, Margate Looking Up, Studio1.1 Gallery, London Seeing is Believing, St John's Church, London Leytonstone Arts Trail Gateposts Project (two site-specific installations), London Gallery Representation Lido Stores (Margate, UK) Public Collections Bodleian Library (Oxford, UK) Oxford Brooks University (Oxford, UK) Manchester Metropolitan University Library (Manchester, UK) University College Northampton (Northampton, UK) BookROOM Archives, Witte de With (Rotterdam, Netherlands) Tate Britain Special Collection has acquired three books (London, UK) Camberwell College of Arts Special Collection has acquired two books (London, UK) Two serigraphs in the permanent collection of the University of Texas at Austin (Austin, Texas, USA) Universidad Politecnica de Valencia (Valencia, Spain) Statement about AOAP Submitted Artwork Two abstract paintings looking at shapes, colour, brushstrokes, and scale. 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.
Poppy Lennox Echoes of the Land - Study, 2025 Liquid rust, crystallised salt, and pure silk thread on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About By looking to both the structures within the cosmos and nature's intricate systems and patterns, contemporary British artist Poppy Lennox explores the human desire to seek pattern as a way of understanding the vastness and complexities of existence. Using materials such as wood, plaster, paint, earth, metal powders, wax, raw silk and thread, Poppy's dynamic works capture the delicate yet powerful systems that underpin life itself. The Transcendentalist belief in the divinity of nature and the importance of our connection to it informs much of Poppy's subject matter. 'Energy Lines', Poppy's most recent body of work reveals pattern that is reminiscent of both mycelium and cosmic networks. Tethered forms of thread go beyond the woven mark to connect the microcosm and macrocosm and reflect on the energetic and vibrational forces that surround every aspect of life. The process of layering and revealing plaster and paint with the incisive, repetitive, often geometric stitched marks of thread creates traces and memories-echoes of both our presence and that which has forever existed. Education 1999-2003 BA (Hons) Fine Art, Newcastle University 1998-1999 BTEC Diploma in Foundation Studies, Cheltenham & Gloucester College Group Exhibitions 2025 Today for You, Tomorrow for Me, London Art Fair, curated by Becca Pelly-Fry International Women's Day Auction, Art on a Postcard OPEN05, Park Royal Gallery The Art Studio Pop-Up, London You are the Circle, Excelsior Studios, London Design Festival Just Playing, Gorst Road Studios, London Design Festival OPEN24, Tarpey Gallery, Castle Donington Dark Materials Tell Stories, J/M Gallery, London The Spirit of Boudica, Norwich Cathedral 2023 Re-Block, pop-up as part of the 'LONDON re made' programme OPEN04, Excelsior Studios, London Design Festival Synergism, Gorst Road Studios, London Design Festival Art For Charity Collective Summer Exhibition International Women's Day Auction, Art on a Postcard, curated by Lee Sharrock International Women's Day Auction, Art For Charity Collective 2022 Arms Around the Child, charity art auction, Christie's Auction House Poppy Lennox + Dawn Beckles: Life Still', 99 Projects, London Home House, London Expressions of Abstraction, The Savoy, London Rebirth, 99 Projects, London, group exhibition curated by Lee Sharrock Supernature, Paxton + Glew Gallery, Brighton SHE/HER/HERS, Oakland Gallery, New Brighton Gallery Representation 99 Projects, London, UK Statement About AOAP Artwork Echoes of the Land Study is part of Poppy's ongoing 'Energy Lines' series, in which she explores the intricate systems and patterns of nature's landscapes, our deep connection to the land, and the unseen energy that moves through and between us. In this latest exploration, she layers crystallised salt and liquid rust-textures evocative of eroded landscapes, salt plains, or even an otherworldly terrain-blending the raw and the ethereal. Silk threads, hand-stitched to represent energy lines, weave through the space, symbolising connection, purity, femininity, and the transcendental. 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.
Cas Campbell Hidden Rivers (Contd. 2), 2025 Recycled paper and pigments on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Cas Campbell's works explore the places where nature, ancient history, mythology and queer culture meet. Using intricate, transformative material processes, she creates paintings and wall hangings from paper pulp, alongside installations and ceramic pieces. Works are formed through cyclical, ritualistic techniques: colour is applied from mineral pigments, oak gall ink, and gathered material, and old pieces are reworked and recycled into new ones. Campbell (b. 1995) grew up in New Zealand and works between London and Brighton, UK. She holds an MA in Painting from the Royal College of Art (2022), and a BA from the University of Brighton (2018). Campbell is a recipient of an Arts Council England Developing Your Creative Practice grant and an A-N Artist Bursary, and has been shortlisted for the Chaiya Art Awards and the Visual Open Art Awards. Recent residencies include Studio Verde's 'Art and Ecology' in Italy and Sachaqa Centro de Arte in the Peruvian Amazon. Campbell's work is included in several public and private collections, including the Soho House Brighton collection of queer art. She has exhibited in the UK and internationally. Education 2020 - 2022 MA in Painting, Royal College of Art, London, UK 2015 - 2018 BA in Painting, University of Brighton, Brighton, UK Solo Exhibitions 2024 Hidden Rivers, Redkite Floating Gallery, London, UK Group Exhibitions 2024 Fair Ground, Glyndebourne, Lewes, UK Walk While You Have The Light, Safehouse 1, London, UK Can you Afford to Pay Attention? Greatorex Street, London, UK Traveling Memories, The Modern Showroom, London, UK A Daughter and Feral Mothers, AMP Gallery, London, UK 2023 What's Your Superpower? Safehouse 1, London, UK Futility of Camouflage, Sachaqa Centro de Arte, San Roque, PE Liminal Cracks, ASA Briggs Hall, London, UK Terra, SET Kensington, London, UK 2022 Home, Regency Townhouse, Brighton, UK Graduate Show, Royal College of Art, Battersea, London, UK Awards 2024 Artist's Bursary, A-N 2022 Developing Your Creative Practice, Arts Council England 2021 Shortlist, ColArt Awards 2019 Longlist, Visual Open Art Awards 2018 Shortlisted, Chaiya Art Awards Public Collections Soho House Brighton Beacon, Brighton, UK Statement about AOAP Submitted Artwork 'Panthalassa' and 'Hidden Rivers' were both large-scale installations exhibited in 2024: A five-metre wall hanging created from recycled paper pulp, seaweed and mineral pigments and a twenty-metre installation using the same. The installations reflected a life's journey mostly taken on the ocean and the detritus and ephemera of the everyday. 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.
Lucia Jones I was Nowhere to be Found, 2024 Gouache on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in. About Lucia Jones is a Welsh prize-winning painter. Since graduating from Falmouth University, she has exhibited globally in solo and group exhibitions including BEEP Painting Prize 2018 and 2024. She has also been long listed for a number of art prizes such as John Moores 2020, Jacksons Art Prize 2022 and 2023. Her work is currently held in private collections in Australia, Austria, Hong Kong, Mexico, UK and USA. Jones' practice delves into the female experience through the constructs of paint and film. Drawing from cinematic source imagery-particularly obscure 1950s-1990s B-movies-as well as her own photographs, Jones re-contextualizes women and objects, transforming them into anonymised figures and still lives. These subjects inhabit fractured, fabricated environments. Liberated from their initial mediums and planes of existence, they are absorbed into the painted realm Jones has cultivated throughout her oeuvre. Here, their context is reconstructed, their worlds reshaped, allowing them to serve as cyphers for the viewer-glimpses into layered narratives of lived experience, open to examination. Education 2011-2014 First Class BA(Hons) Fine Art, Falmouth University Solo Exhibitions 2024 Spectacle, Irving Gallery, Oxford, UK 2020 Tales from the Cutting Room Floor, Cardiff M.A.D.E, Cardiff, UK 2016 Desire Lines, Penarth Pier Pavilion, Cardiff, UK Group Exhibitions 2024 Intersum, Occupata x Oriel Canfas, Cardiff, UK Beep Painting Prize 2024, Elysium Gallery, Swansea, UK Among Women Vol I, Occupata x Art Market Cardiff, Cardiff, UK Chairish x Bergdorf Goodmans, NYC, USA 2023 Through a Glass Darkly, Visible Records, Charlottesville VA, USA The Art Unit X The Art City Works, York Street Gallery, London, UK Best of our Solo Art Prize winners exhibition, Cardiff M.A.D.E, Cardiff, UK Trails, Turner House, Cardiff, UK Made in Roath, G39, Cardiff, UK Art on a Postcard Summer Auction, Hoxton Gallery, London, UK A world of her own, Elysium Gallery, Swansea, UK 2022 Unity: British & Ukranian Art, The Art Unit, Koppel Projects Space Piccadilly, London, UK Painting Made Recently in Wales, Lle Projects, Bay Art, Cardiff, UK A Room of her Own, Irving Gallery, Oxford, UK A Woman's Place is Everywhere, The Cello Factory, London, UK 2021 Incandescent, Irving Gallery, Oxford, UK Without Borders, Elysium Gallery, Swansea, UK 2020 Tales from the Cutting Room Floor, Solo Show, Cardiff M.A.D.E, Cardiff, UK Arcade Studio Show, Arcade Campfa, Cardiff, UK 2019 Made in Roath Open, g39, Cardiff, UK Summer Art Prize, Cardiff M.A.D.E, Cardiff, UK Kings Road Artists, Hearth Gallery, Llandough, UK Viridis, Cardiff M.A.D.E, Cardiff, UK Awards 2019 Summer Art Prize, Cardiff M.A.D.E Statement about AOAP Submitted Artwork I was nowhere to be found is one of several works on paper made following Jones' recent solo exhibition, Spectacle, which investigated the performative nature of female existence. Expanding her focus, Jones substitutes the figure for symbolic elements such as phones and curtains-recurring cyphers in her work. These scenes, carefully staged and presented, invite observation and scrutiny, offering meditations on identity 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.
Newcastle on Tyne Bank of Economy, Alexander Murdoch, 64 Grey Street, a skit note in the style of a Bank f England £10, ND (1860’s), serial number 64, promising to ‘show the Bearer on demand a well selected stock of high quality finished Waterproof Beaver, Silk & Felt Hats, Caps etc, ten percent lower than any other house in the County of Northumberland’, signature of Alexander Murdoch, quite finely printed on laid paper, good extremely fine and scarce Outing unlisted £100-£150 --- Alexander Murdoch was a hatter who appears in the electoral roll as living at various times in Darlington and Newcastle, as well as potentially Durham. He appears to have gone bankrupt at least twice, the first time in 1863 and again in 1869.
Eadberht Praen (796-798), King of Kent, silver Penny, "Boeotian Shield" type reverse, Canterbury Mint, moneyer Dudda, three line obverse within linear and outer beaded circles, .:EAD. / BEARH / REX, rev. moneyer name in two lines, DV / DA surrounded by pellets on shield like device, cross with pellet in each angle either side of shield in the incurved sides, weight 1.37g (cf. BMC 2-3; Naismith CSE C5.1; N.202/1; S.875). Darkish tone of contrasting colour emphasising the lettering and design, extremely fine and of the highest rarity with only one other example recorded by Naismith, this coin being found since his publication. Eadberht was a member of priestly orders by 796 and had taken exile in Francia either to avoid execution or upon order of Offa who had tried to extradite him around 795, however Charlemagne sent him with other exiles to Pope Leo in Rome to ensure Leo did not listen to the requests of the then visiting Archbishop Aethelheard of Canterbury who wanted them sent home. Upon Offa's death in 796 Eadberht renounced his priestly vows and with a possible dynastic connection to the male line of the Royal House of Kent he led a rebellion in the county causing Aethelheard to flee rather than consecrate him King of Kent, leading to a rift with the church in which Pope Leo refused to recognise his actions. King Coenwulf of Mercia did obtain the backing of the Pope and invaded Kent in 798 and Eadberht Praen was captured, blinded and had his hands cut off then imprisoned. The succeeding King of Kent Cuthred felt safe enough to release Eadberht by 805 and it is thought he lived out his final days as a monk possibly in the Winchcombe area. The obverse legend translates as "Eadberht King" and the reverse with moneyer name "Duda" Provenance: Found near Maidstone, Kent, August 2016, EMC 2016.0254. Ex Timeline Auction, Essex, 10th December 2016, lot 3000. Ex Spink Coin Auction, 15th September 2020, lot 5.
* Miniature Doll & Clothes. A Victorian doll and garments, bisque porcelain doll with limbs articulated at shoulders and hips (left arm and sleeve coming loose), head (detached) with painted features and long curly blonde hair, wearing an ivory silk dress trimmed with a pale blue silk sash and matching pleated hem trim, height 9.5 cm (3.75 ins), together with 7 hand-stitched miniature garments: a cream cotton dress with gathered front, waist tie, and frills to neck and sleeves, toned; a cream muslin dress with feather stitch border in red to sleeves and to the three hem tucks; a gold silk dress, beginning to perish; a cream grosgrain skirt (and scrap of fabric from which skirt made); a fur-trimmed black velvet cloak and matching hat; and a knitted cream wool bobble hat, all contained in a wooden box (lacking key), hinged lid hand-painted with a spray of dog roses, height 6.5 cm (2.5 ins), width 14 cm (5.5 ins), depth 9.5 cm (3.75 ins), together with another Victorian miniature porcelain doll with articulated limbs, wearing a lace-trimmed brown silk dress tied with a pink ribbon sash, height 5.5 cm (2 ins), contained in a Dennison's Miniature Tapers cardboard boxQTY: (2)NOTE:Provenance: The Estcourt family of Estcourt House, near Tetbury, Gloucestershire.
* Sewing. A group of Georgian and Victorian sewing accoutrements, including 3 cylindrical reel cases, 1 of ivory silk-lined beaded dark blue velvet, 2 tiny insect holes (and 2 corresponding ones in lining) and button closure detached, the other 2 of tan morocco, each with pink silk ribbon tie and edging, one lined with matching silk, all 3 containing round wooden spools of coloured thread labelled 'J. Wreford & Co's China Sewing Silk' (19 spools in all); a finely carved and pierced coquilla sewing egg; a Victorian silver thimble by S. Bros, Birmingham 1898, and 4 white metal thimbles; a tiny brown paper packet of needles labelled 'Queens Needles Betweens Made by J. Hardwidge Needle Maker to Her late Majesty (Queen Charlotte) London'; and 3 tatting shuttles, 2 mother of pearl (one monogrammed 'MAJ' on each side) and the other bone, various condition and sizes, together with a box of 22 buttons and buckles, including a Scottish pebble button, and some setsQTY: (25)NOTE:Provenance: The Estcourt family of Estcourt House, near Tetbury, Gloucestershire.
KENNEDY JOHN F.: (1917-1963) American President 1961-63. A.L.S., John Kennedy, two pages, 4to, Washington D.C., n.d., to John, on the printed stationery of the Congress of the United States, House of Representatives. Kennedy thanks his correspondent for their good wishes and continues to state ´I think that the campaign will be very interesting and I believe successful´, further adding ´I don´t expect to be back in Boston until after the Easter Recess, but I have written Mark Dalton who is handling the direction of the campaign and have asked him to get in touch with you´, concluding by remarking ´I´ll see you, I hope, later in the month. I appreciate your offer of help and shall certainly take advantage of it´. Neatly cornermounted within an attractive black, blue, gold and cream matt alongside a slim 8vo printed senatorial campaign brochure featuring an image of Kennedy and with the printed caption Massachusetts Needs A Man Like This For U.S. Senator! beneath. Professionally framed and glazed (with a window to the verso for viewing the second page of the letter) to an overall size of 20.5 x 15.5. One very light, minor stain only very slightly affects two words of text, and not the signature, otherwise VGMark J. Dalton (d.2004) American attorney, a close political aide of John F. Kennedy and campaign manager for Kennedy´s first run for the United States House of Representatives in 1946.
![[CARTER HOWARD]: (1874-1939) English archaeologist and Egyptologist who discovered the Tomb of Tutankhamun in 1922. HAGGARD H](https://cdn.globalauctionplatform.com/45b0b23d-f22f-42d7-a7e3-b28a016ddfe5/b8354669-11e1-4cab-9597-b28f00b87e56/468x382.jpg)
[CARTER HOWARD]: (1874-1939) English archaeologist and Egyptologist who discovered the Tomb of Tutankhamun in 1922. HAGGARD H. RIDER: (1856-1925) English writer of adventure fiction including King Solomon's Mines. A.L.S., H. Rider Haggard, three pages, 8vo, Ditchingham House, Norfolk, 12th September 1923, to Howard Carter, on Haggard´s printed bifolium stationery featuring a hieroglyphic cartouche. The author states that Lady Carnarvon had kindly sent an invitation to Carter´s lecture, but unfortunately he won´t be able to attend as he will not be in London, further writing ´I have been wondering how I could get in touch with you and now send this note to her care to ask whether, by any chance, you would care to spend a week-end quietly here before you return to Egypt´ and adding ´I need hardly say that my wife & I would be very pleased if by chance you can come anytime before the middle of October, should you not be too full of engagements, and I should very much enjoy seeing you again´. In a postscript Haggard remarks that he hopes to come to Egypt for a trip next January. VG
BRETON ANDRE: (1896-1966) French writer and poet, the co-founder, leader and principal theorist of surrealism. A.L.S., Andre Breton, one page, 4to, Lorient, 15th August 1950, to a lady, in French. Breton writes in a charming tone, commencing ´Je suis tres sensible a la nouvelle marque d´estime et de sympathie que m´apporte votre lettre sachant que vous aviez regarde avec grande faveur cette maison du [Place du] Carol, je n´osais tout a fait desirer l´acquerir. Votre si aimable lettre me libere de ce scrupule et je vous en remercie vivement´ (Translation: ´I am very touched by the new mark of esteem and sympathy that your letter has brought me, knowing that you looked with great favour on this house in the [Place du] Carol, which I did not dare to hope to acquire. Your very kind letter frees me from this scruple and I thank you warmly for it´), and continuing to remark ´J´ecris a M. Martin Ferriere et j´espere tomber d´accord avec lui. Il me semble que lorsqu´on aime quelque chose comme j´aime St. Cirq, on doit être guidé par une tres bonne etoile. Si Monsieur votre gendre veut bien examiner la maison, son avis et ses conseils touchant les preparations indispensables me seront on ne peut plus precieux. J´espere bien contribuer pour une part a la renaissance du magnifique village que Monsieur Guilloris m´a fait mieux connaitre et que votre accueil nous a encore embelli´ (Translation: ´I am writing to M. Martin Ferriere and I hope to come to an agreement with him. It seems to me that when one loves something as I love St. Cirq, one must be guided by a very good star. If your son-in-law is willing to examine the house, his opinion and advice on the essential preparations will be most precious to me. I hope to contribute in some way to the renaissance of this magnificent village that Monsieur Guilloris has made me better acquainted with and that your welcome has further embellished´). A couple of neat splits to the edges of folds, only very slightly affecting a couple of words of text and not the signature, otherwise VGSaint-Cirq-Lapopie is located in south-western France and is regarded as one of the country´s most beautiful villages. The museum known as Maison Breton, housing the International Centre for Surrealism and Global Citizenship (CISCM), and situated in the Place du Carol, is the oldest inhabited building in the village with a tower dating back to the 13th century. Originally owned by the painter Henri Martin, it was subsequently acquired by Breton, who lived there every summer between 1951 and 1966
LOUIS XIV: (1638-1715) King of France 1643-1715. A very fine and clean L.S., `Louis´, a bold ink signature, one page, 4to, Paris, 16th November 1662, to the treasurers of France in Bordeaux, in French. The King sends a very important letter on that date, it is the moment when the King takes direct control of the Kingdom's finances. He abolishes the Superintendence of Finances and creates the Royal Council of Finances, which he chairs in person and of which Colbert will be the main figure in future. The King clearly orders, although in a very polite way, that he takes control of the finances, saying `Depuis que j'ai pris moi-même la conduite et l'administration de mes finances mon intention a été que vous apprissiez mes volontés sur ce sujet par les lettres que le sieur Colbert, conseiller en mon Conseil royal et Intendant de mes finances vous écrirait de ma part. Je vous fais la présente pour vous en donner avis et vous dire en même temps que je désire que vous ajoutiez une créance entière à tout ce qu'il vous mandera en mon nom, et même que vous ne procédiez à l'exécution d'aucun arrêt ni commission de mon conseil que vous ne receviez une lettre de lui en conformité desdits arrêts et commissions. N'y faites donc faute car tel est notre plaisir.´ (Translation: "Since I have taken charge of the management and administration of my finances myself, my intention has been that you learn my wishes on this subject through the letters that Mr. Colbert, advisor in my Royal Council and Intendant of my finances, would write to you on my behalf. I am writing this to you to give you notice of it and to tell you at the same time that I want you to add a full debt to everything he will send you in my name, and even that you will not proceed with the execution of any decree or commission from my council until you receive a letter from him in conformity with the said decrees and commissions. Do not therefore fail to do so, for such is our pleasure.") With address leaf bearing two attractive red wax Royal seals with ribbons. VGJean Baptiste Colbert (1619-1683) French Politician. Known as ''Le Grand Colbert'' (''The Great Colbert'') For more than twenty years Minister of Finances 1661-83 under King Louis XIV and Minister of State and of the Royal House. Colbert was an esteemed and reputed statesman who had to balance the French economy close to bankruptcy because of the King´s excessive spending.
PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A wonderful and vibrantly illustrated A.L.S., Picasso, two pages, slim 4to (approximately 10.5 x 27.5 cm), Mas Notre-Dame-de-Vie, Mougins, Alpes-Maritimes, 23rd October 1962, to Max [Pellequer] (´Mon cher Max´), in French. The artist sends his correspondent more papers, with his thanks, and continues to provide a snapshot of his relaxed life with his second wife and muse, Jacquelibe Roque, on the Cote d´Azur ´Il fait l´été nous nous sommes baignez au port hier encore et nous aurions pu aller encore aujourd´hui hier ce matin encore sur la plage et dejeuner sur le sable comme jusques à présent´ (Translation: ´It's summer, we went swimming at the port again yesterday and we could have gone again today yesterday or this morning again on the beach and had lunch on the sand as we have been doing until now´), further profusely expressing his gratitude to Pellequer, ´Merci et merci encore pour toute du travail que je vous donne avec tant d´histoire de contributions et maisons. Merci. Merci. Merci. Vous etes très bon pour moi´ (Translation: ´Thank you and thank you again for all the work I give you with so much history of contributions and houses. Thank you. Thank you. Thank you. You are very good to me´) and concluding by sending best wishes from himself and Jacqueline. To further reinforce the joy Picasso has found on his recent visit to the beach, the artist has added a delightful original drawing at the foot of his letter, executed in blue ink and various coloured crayons, depicting a magnificent, bright yellow sun in a clear blue sky, shining upon the deep blue Mediterranean sea, in which two bathers can be seen, and with a beach in the foreground upon which appear a number of other figures, some happily relaxing beneath bright orange parasols. To further illuminate his letter Picasso has underlined each Merci in orange crayon (a total of six times) and also underlined the name of his villa and the date in blue crayon at the head of the first page. A magnificent and rare illustrated letter by Picasso. A few very light, extremely minor creases, VGMax Pellequer (1903-1973) French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.In 1961, Picasso, who had discovered Mougins in 1936, bought Mas Notre-Dame-de-Vie from the Guinness family as a wedding present for his future wife Jacqueline. Referred to by Picasso as the ´house of my dreams´, the large villa (set in three hectares and with views over the Bay of Cannes) would be the artist´s final residence.
![[MONET CLAUDE]: (1840-1926) French Impressionist painter. MIRBEAU OCTAVE (1848-1917) French novelist and art critic. An excel](https://cdn.globalauctionplatform.com/45b0b23d-f22f-42d7-a7e3-b28a016ddfe5/1611ba74-bc18-4697-adbb-b28b012f3175/468x382.jpg)
[MONET CLAUDE]: (1840-1926) French Impressionist painter. MIRBEAU OCTAVE (1848-1917) French novelist and art critic. An excellent A.L.S., Octave Mirbeau, three pages, 8vo, n.p., n.d., to Claude Monet, in French. Mirbeau commences his letter by thanking Monet a thousand times for a gift (possibly a painting?) and a portrait photograph, remarking ´Les oliviers que je connaissais sont superbes de lumière en dessous, et je me retrouve là-bas, sous leurs branches que j´aime tant. Et quant à votre photographie, qui m´a été aussi une surprise exquise, c´est un chef d´oeuvre. Vous etes, vous tout entier, male, puissant, avec votre oeil qui dompte le soleil.....´ (Translation: ´The olive trees that I knew are superb in the light below, and I find myself there, under their branches that I love so much. And as for your photograph, which was also an exquisite surprise for me, it is a masterpiece. You are, all of you, male, powerful, with your eye taming the sun...´) and continues by trying to lift his friend´s spirits, ´Maintenant, parlons de vous en peu. Est-ce que vraiment vous allez devenir fou, vous? Et vous laisser abattre comme un vulgaire bonhomme? Comment, jamais vous n´avez été en possession de votre art, comme maintenant, et parce que, cette année, le temps vous a contrarié, vous allez tout envoyer promener! Vous le retrouverez le temps qu´il vous faut; et vous ferez d´admirables chefs d´oeuvre. Nom d´un chien, mais c´est enrageant, ce qui vous prend; et cette énergie dont vous avez donné tant de preuves, où donc est-elle maintenant?´ (Translation: ´Now, let's talk about you for a bit. Are you really going to go mad? And let yourself be brought down like a common man? How can you, when you have never been in possession of your art like you are now, and because the weather has upset you this year, you are going to throw it all away! You will find it again in time; and you will produce admirable masterpieces. Damn it, it's infuriating, what's got into you; and that energy of which you have given so much proof, where is it now?´), further writing ´Voulez-vous que je vous dise, mon ami?.......Mais, écoutez-moi bien, il y a aussi une cause purement physique;........les lubies - passagères d´ailleurs - prennent l´homme le mieux trempé. Mais cést pas grave. Il faut vous secouer; et la pire des choses pour vous, est de rester couché des journées entières, comme vous me dites. Il faut secouer cela, rigoureusement. Vous avez eu le plus grand tort de ne pas venir ici. Si vous ne vous sentez pas en veine de travail, encore, il ne faut pas vous acagnarder.........Remuez, voyagez, allez de l´un á l´autre. Vous savez que la maison ici est votre. Pourquoi ne venez-vous pas passer quelques jours?......Venez. Nous causerons de Monet; nous ferons l´article ensemble. Ca ne va pas, non plus, cette affaire-là? Et bien, nous tacherons de la faire aller. J´ai un ami puissant dans le gouvernement, un homme qui deviendra peut-etre, Napoleon.....il nous aidera. Voyons, mon cher Monet, je vous en prie, retrouvez votre belle energie des beaux jours. Moquez-vous de cet idiot de Wolff. Il n´empechera pas que vous etes un grand artiste, et que votre succès se ralentisse. Car vous avez franchi les dures portes, et vous etes en plein horizon. Cela est mathématique. Rien ne peut vous faire perdre les positions conquises, rien que votre découragement et votre inertie´ (Translation: ´Do you want me to tell you, my friend?.......But, listen to me carefully, there is also a purely physical cause;........whims - passing whimss at that - take even the steeliest man. But it doesn't matter. You have to shake yourself awake; and the worst thing for you is to lie in bed for days on end, as you tell me. You have to shake it off, rigorously. You were very wrong not to come here. If you don't feel like working, again, you mustn't hide away.........Stir yourself, travel, go from one to the other. You know that the house here is yours. Why don't you come and spend a few days?......Come. We'll talk about Monet; we'll do the article together. That's not going well either, is it? Well, we'll try to make it work. I have a powerful friend in the government, a man who may become Napoleon... he'll help us. Come now, my dear Monet, I beg you, rediscover your wonderful energy of the good times. Make fun of that idiot Wolff. He will not prevent you from being a great artist, and your success from slowing down. For you have passed through the difficult doors, and you are in full view. This is mathematical. Nothing can make you lose the positions you have conquered, only your discouragement and your inertia´). Mirbeau encourages Monet to write to him soon and let him know that he is feeling better, and also writes of his own current work, ´Mon roman se poursuit; le temps ne me derange guère, et cést stupide ce que je fais. Mais je crois que je deviens philosophe. Je regrette de ne pas faire mieux; mais puisque je ne peux pas, je me fais à la place, une raison. Vous verrez ca bientot, en effet; ce que je vous demanderai, ce sera de ne pas trop me blaguer. Il y avait un péril très grand dans mon livre, c´etait de tomber dans l´enfantillage. Or j´y suis tombé, naturellement´ (Translation: ´My novel is continuing; time doesn't bother me much, and what I'm doing is stupid. But I think I'm becoming philosophical. I regret not doing better; but since I can't, I'll make myself a reason instead. You'll see that soon enough; what I'll ask of you is not to joke too much with me. There was a very great danger in my book, which was to fall into childishness. Well, I fell into it, naturally´) and concludes his letter by again writing with positivity, ´Ce que je vous dis est la vérité pure. Mde. Hoschedé a du vous le dire certainement. Le seul danger, c´est de vous laisser aller à des découragements, que vous n´avez pas le droit d´avoir. Voyons, quand venez-vous? Toute de suite, hein! Je vous embrasse tendrement; me femme qui vient de lire ma lettre, dit qu´elle est illisible, et écrite betement; mais, tout de meme, elle l´approuve. Merci encore, mon cher ami, de votre superbe et trop magnifique don, merci de votre photographie. Et méditez ce que je vous raconte dans ma lettre, qui est, en effet, stupidement tournée, mais qui est, tout de meme, un che f´oeuvre de raison´ (Translation: ´What I'm telling you is the absolute truth. Mrs Hoschedé must have told you that. The only danger is that you will become discouraged, which you have no right to do. Come on, when are you coming? Right away, eh! I send you my warmest regards; my wife, who has just read my letter, says it is illegible and badly written, but she approves it all the same. Thank you again, my dear friend, for your superb and magnificent gift, thank you for your photograph. And meditate on what I tell you in my letter, which is, indeed, stupidly worded, but which is, all the same, a masterpiece of reason´). A letter of excellent content and association from Mirbeau to Monet, the artist whom he sang the praises of. VGMirbeau´s mention of Napoleon in the present letter is evidently a reference to Georges Clemenceau (1841-1929) French Prime Minister 1906-09, 1917-20. Clemenceau was a long-time friend and supporter of the impressionist painter, writing a short biography on the artist, and was also instrumental in persuading Monet to have a cataract operation in 1923.The source of Monet´s apparent depression may well have been the French writer and art critic Albert Wolff (1825-1891), mentioned in the present letter. Wolff strongly opposed Impressionism and an 1876 Impressionist Exhibition (at which Monet displayed eighteen paintings).
BULWER-LYTTON VICTOR: (1876-1947) 2nd Earl of Lytton. British politician and colonial administrator who served as Governor of Bengal 1922-27 and Viceroy of India 1925. A.L.S., Lytton, two pages, 8vo, Knebsworth House, Knebsworth, 17th October (1943), to Mr. Weymouth. Lytton states that he is glad that last week´s discussion is not going to be broadcast, adding that he was very dissatisfied with it, although also remarking ´but I am appalled at the prospect of doing it all over again - two more sittings of two hours each!´, further stating that he can be available on Thursday 28th at 3.30pm (´though an earlier hour would have suited me better´) and also writing ´I have read Sir Malcolm Darling´s notes and think they afford a better treatment of the subject than we adopted last week. I would suggest that at the outset we should define what we mean by "worship". How far is freedom of worship to be extended to social customs and habits of a religious community?´. A few small pinholes to the upper left corner and a small date stamp to the second page, only affecting one word of text. About VGMalcolm Lyall Darling (1880-1969) British civil servant who was a member of the Indian Civil Service and appointed Assistant Commissioner of the Pnjab, British India, in 1904. Retiring from the ICS in 1940, Darling went on to be chairman of the Horace Plunkett Foundation and was also head of the BBC India Section for some time.
BERGMAN INGRID: (1915-1982) Swedish actress, Academy Award winner for Best Supporting Actress in 1974 for her role as Greta Ohlsson in Murder on the Orient Express. An excellent signed colour 10 x 8 photograph, the original Front-of-House still depicting the actress in a close-up head and shoulders pose in costume from her Oscar winning performance as the Swedish missionary Ohlsson in the British mystery film Murder on the Orient Express, based on Agatha Christie´s 1934 novel of the same title. Signed by Bergman in black ink with her name alone to the image. A couple of very light, extremely minor surface creases, otherwise about EX
CARTER HOWARD: (1874-1939) English archaeologist and Egyptologist who discovered the Tomb of Tutankhamun in 1922. An interesting Autograph Manuscript, unsigned, eighteen pages (mostly written to the rectos of the feint ruled sheets of paper, neatly removed from a notebook), small 8vo, n.p., n.d., in pencil. Carter´s working manuscript, with many deletions and alterations, largely reads in chronological order (the first pages are paginated 1-10) although the later pages contain sentences and paragraphs (some repeated from earlier pages in the manuscript) which are disjointed and were evidently extracted from a larger work, Carter re-writing passages in order to polish his narrative. The manuscript reads, in part,´Perhaps the reader may not be displeased if I here attempt to acquaint him with something of the life during summer residence in Upper Egypt. During the very hot spells [when the thermometer runs between a minimum of 95 F and a maximum of 115 F] and it is sufficiently oppresive (sic) to occasion considerable lassitude, the tedium of each day may be described in a few words. At half-past four in the morning one is awakened by the first glimmer of light perceptible.....Then at 5 pm (sic; am) suddenly the sun´s rise appears above the horizon decking everything with its golden light. The first hour or so of morning possess a charm; but long before midday has arrived this apparent freshness is succeeded by intense sunshine. Everything is turned into heat, and at noon you are obliged to creep under cover.....In the evening you sally forth, but by seven o´clock darkness is complete. The moon, if there be one, then becomes a great luxury.....Generally speaking the heat of the summer months at Western Thebes....is not so oppresive (sic) as one might expect. There is, however, one great drawback, and a source of much discomfort, this arises from sunset winds......Thus, after sundown, when the atmosphere within the house becomes oppressive, at times almost unberable, these winds detract from the comfort of enjoying the evening air.....When young and fit the body easily withstands these physical trials, in fact, the process of perspiring resulting from the heat dissipates most bodily ailments and generally speaking one is fitter in the warmer weather than during the winter. A far greater trial lies in the monotonous life during those summer months in Upper Egypt. The passing of months on end without companionship. The loneliness can at times become intolerable and without some mental interest or occupation it would, I believe, be suicidal. Fortunately for me....I had plenty of interests.....more than enough to keep me occupied......The rising of the Nile, which begins about the period of the summer solstice in June, and attains its greatest height about the autumnal equinox in September. This annual flood breeds thousands - one may say millions without exaggerating - of gnats amd midges, which are attracted at dark by your lamp and make any recreation like reading impossible. Added to these pests at night are the mosquitoes and the terrible sand-fly (of the dipterous family, Psychodidae......During the moonlight nights, which are so glorious in Egypt, I used to sail.....in a small sailing boat......a somewhat crazy craft from which I watched the flocks of pelican fishing......By lying on the bottom of the boat, under the cover of some straw, one could at times bump into these enormous gregarious fish-eating birds......Prior to my post as Inspector-General of the Department of Antiquities for Upper Egypt I was free to spend the hot summer months in Europe or England. But the prosecution of my new duties would not allow of such a luxury......I devoted much of my attention to studying the methods and customs of illicit diggers.....who were inveterate tomb-robbing- In.....this particular section of my work, I soon began to recognise the importance and urgency of a far greater source of trouble than illicit diggers that had to be dealt with, and that was a means of preventing the ever increasing conservation against the destruction of ancient monuments, especially the cutting out of sculptured reliefs and fresco paintings from the walls of tomb-chapels.....to sell to the unsuspecting collector whose primary object was the acquisition of antiquities.....A perfect chapel would be hacked and disfigured in one night.....But though hundreds - nay, thousands - of tombs have been opened, what remains of them today is a few hundred. The rest have been destroyed.....by the modern marauders......The natural inclination was to put steel gates upon all the more important and interesting chapels, which I commenced by doing wherever my funds made it possible. But in most cases this form of protection was of very little avail for the rock in which the chapels were excavated were of a much softer nature than the steel gate, thus to force an entrance was quite easy. As an instance when the actual chapel was built of mud brick our iron or steel gate was as useless as a wooden door. The trouble was the national feeling, or lack of feeling, towards antiquities......Until one could get an adequate law created imposing a heavy punishment in the case of such outrages, these monuments were at the mercy of these inveterate tomb destroyers - there was no adequate means of fighting them........I believe, I acquired to a certain extent their good opinion, and some of their confidence; though not to such an extent as to prevent my having to contend with many official difficulties......except with subjects they thought you were acquainted with.....Clearing that shaft took the greater part of another two months. My description can give you no idea of the tediousness of the work: the fact, for instance, there was no means of arriving at any conclusion as to how deep we should have to go, nor the amount of extra material that would be required, made it all the more wearisome. However, at the end of November, the good news at last came. At the depth of rather more than 100 feet, the workmen reached the bottom and revealed a doorway carefully sealed up with slabs of limestone. I examined it & found that the masonry by which it was closed had been built with due care. I said to the foreman "this, without doubt, is the entrance to the tomb-chamber". He nodded his assent and muttered a prayer. My desire to remove a stone and peep through was almost irresistible. The foreman gave me a look of keen curiosity with which......By that time I was able to converse with the people among whom I was residing with tolerable ease......the diversions of the village.....where at times one can listen to reciters of romances, commit the subjects to memory, they afford attractive entertainment and are often lightly amusing.....I devoted much of my attention to the customs of the illicit digger among the inhabitants, and in an intercourse of two years with these people, I soon found that all the information I received amounted to very little.....´ A manuscript of fascinating content, parts of which are almost certainly unpublished, relating to Carter´s time in Egypt, the challenges he faced, and the discoveries he made. Some light age wear and a few minor faults, generally VGCarter published a number of books during his lifetime, including The Discovery of the Tomb of Tutankhamen (1923)
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