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Click here to subscribeKeith HARING (1958-1990), Attribué à.Subway drawing, 1984.Dessin original à la craie réalisé sur une affiche de métro contrecollée sur papier.98 x 66 cm environ.(Déchirures aux marges, dessin roulé, non encadrée)Provenance : Collection particulière, ParisWhite chalk on tinted paper-(34.64 x 27.55 in.)
MARIS RUDOLFS LIEPA (1936-1989) | HANDWRITTEN SIGNATURE WITH DRAWING (RUSSIA / RUSSIAN) | 1975 | profession: Ballet | country: Russia / Lithuania | signature: Original signature | size: 310 x 260 mm (size of the pad) | technique: Handwritten signature on a paper card | Lot information | Signature of the famous Latvian ballet dancer Maris Rudolfs Liepa, accompanied by a simple sketch of ballet dancers. Liepa was one of the most significant dancers of his generation, a long-time soloist at the Bolshoi Theatre in Moscow, and one of the most prominent figures in 20th-century classical ballet. This unique artifact not only captures his signature but also includes a personal artistic element, making it an exceptional collectible item.
KAROL FERSTER (1902-1986) | ORIGINAL DRAWING AND DEDICATION (POLAND / POLISH) | 1963 | profession: Painter | country: Poland | signature: Original signature | size: 310 x 260 mm (size of the pad) | technique: Original ink drawing and handwritten dedication | Lot information |Set containing an original drawing, handwritten dedication, and signature by Karol Ferster, known by the pseudonym "Charlie," dated Warsaw, 1963. The drawing depicts a humorous scene of a photographer and a painter, characteristic of the artist's satirical style. Karol Ferster was a renowned Polish caricaturist, illustrator, and satirist, whose works were regularly published in Polish and international magazines. His art was distinguished by sharp social critique combined with light humor.
KENNETH ARMITAGE (1916-2002) | A LETTER WITH A HANDWRITTEN SIGNATURE (ENGLAND / ENGLISH) | 1966 | profession: Sculptor | country: England | signature: Original signature | size: 310 x 260 mm (size of the pad) | technique: A letter written on a typewriter with a handwritten signature | Lot information | Letter from Kenneth Armitage, a renowned British sculptor known for his modern sculptures and drawings, dated March 16, 1966.The letter is addressed to Professor Siblik and expresses gratitude for the invitation to submit graphic examples for a book.The text of the letter, written on typing paper, reads:"Many thanks for your letter and kind invitation to send you graphic examples for your book. Unfortunately, I have made very few lithographs or prints, my work being almost entirely sculpture and drawing. A drawing, if sent, would, of course, be returned to me?"The letter concludes with a handwritten signature: "Kenneth Armitage" in blue ink.
MARIE ALSOVA (NEDOHLEDANO) | HANDWRITTEN CONGRATULATORY LETTER (CZECH/ BOHEMIAN) | 1914 | profession: Wife of the famous Czech painter Mikolas Ales | country: Czechia | signature: Original signature | size: 310 x 260 mm (size of the pad) | technique: Handwritten letter with signature | Lot information | Handwritten name-day greeting from Marie Alesova, the wife of renowned Czech painter Mikolas Ales. The letter is dated April 4, 1914, and originates from Kralovske Vinohrady.In the letter, she expresses heartfelt wishes for health and happiness to the recipient and their family. The document also includes a delicate drawing featuring a folk motif. This is a rare personal artifact connected to the family of one of the most significant Czech artists.
JIRI ANDERLE (*1936) | AUTOGRAPH WITH DRAWING (CZECH/ BOHEMIAN) | 1977 | profession: Painter and graphic artist | country: Czechia | signature: Original signature | size: 310 x 260 mm (size of the pad) | technique: Pen drawing on paper | Lot information | Handwritten dedication and signature of the renowned Czech painter and graphic artist Jiri Anderle, dated "September 1, 1977."On the right side, the dedication is complemented by a simple ink drawing of a stylized portrait.Anderle is known for his expressive graphic cycles and drawings, which combine realistic elements with surrealistic motifs.
GIDON KREMER (1947*) | HANDWRITTEN AUTOGRAPH WITH MUSICAL NOTATION (LATVIA / LATVIAN) | 1974 | Gidon Kremer (Гидо́н Ма́ркусович Кре́мер) | profession: Violinist | country: Latvia | signature: Original signature | size: 310 x 260 mm (size of the pad) | technique: Handwritten signature on a paper card | Lot information |Card with the autograph of the world-renowned Latvian-German violinist Gidon Kremer, accompanied by a musical notation, his photograph, and a drawing of a violinist. Dated June 1, 1974. Gidon Kremer is considered one of the most respected violinists of the 20th and 21st centuries, renowned not only for his interpretations of classical repertoire but also for his exploration of lesser-known composers. His distinctive style and artistic vision have influenced an entire generation of musicians.
MAX SVABINSKY (1873-1964) | AUTOGRAPH WITH DRAWING (CZECH/ BOHEMIAN) | 1915 | profession: Painter | country: Czechia | signature: Original signature | size: 210 x 160 mm | technique: Ink on paper | Lot information |Hand-drawn and signed portrait of renowned Czech painter, graphic artist, and illustrator Max Svabinsky. This ink drawing on paper portrays a man wearing a historical hat, accompanied by the artist's signature and dated "6/1915". The work demonstrates Svabinsky's masterful handling of lines and his keen sense of detail.
LUDMILA JIRINCOVA (1912-1994) | LETTER AND GRAPHIC SHEET (CZECH/ BOHEMIAN) | 1948 | profession: Painter and graphic artist | country: Czechia | signature: Original signature | size: 310 x 260 mm (size of the pad) | technique: Lithograph on paper and handwritten letter | Lot information |Set containing a handwritten letter and a graphic print with the New Year's greeting "P.F. 1948", signed by renowned Czech graphic artist and illustrator Ludmila Jirincova. The letter expresses the artist's personal stance on the sale of memorials of her colleagues and is accompanied by her handwritten signature. The graphic print, featuring a delicate figurative drawing, is signed in the lower right corner. Ludmila Jirincova was an acclaimed illustrator and graphic artist, known for her book illustrations, ex libris, and free graphic works. This set is an intriguing example of her artistic style and personal correspondence.
ALEXANDR I. PAVLOVIC (1777-1825) | PORTRAIT BY LITHOGRAPHER FRANCESCO VENDRAMINI (RUSSIA / RUSSIAN) | Alexandr I. Pavlovic (Александр I Павлович) | profession: Tsar | country: Russia | signature: Marked in the board | size: 310 x 260 mm (size of the pad) | technique: Lithograph on paper by Francesco Vendramini (1780 - 1856) by drawing by Louis de Saint-Aubin | Lot information |Rare lithograph depicting the portrait of Tsar Alexander I Pavlovich, who ruled the Russian Empire from 1801 to 1825. The artwork was created by renowned Italian lithographer Francesco Vendramin, whose precise technique emphasizes the tsar's majestic expression and his ornately decorated military uniform adorned with orders. Based on the original artistic model, the lithograph was dedicated to Empress Maria Feodorovna, the mother of Alexander I. This graphic print is a significant historical artifact, commemorating the reign of a ruler who played a key role in the Napoleonic Wars and the formation of the Holy Alliance.
WLASTIMIL HOFMAN (1881-1970) | HANDWRITTEN SIGNATURE AND PORTRAIT SKETCH (POLAND / POLISH) | 1935 and 1967 | profession: Painter | country: Poland | signature: Original signature | size: 310 x 260 mm (size of the pad) | technique: Original pen drawing and handwritten signature | Lot information | Set containing an original handwritten signature of Wlastimil Hofman, dated 1935, Krakow, and a hand-drawn self-portrait, signed and dated 12. II. 1967.The sketch, made in blue ink, portrays Hofman in a contemplative pose.Wlastimil Hofman was a renowned Polish painter of Czech origin, a representative of Symbolism and the Young Poland movement. A student of Jacek Malczewski, his work was characterized by spiritual themes and poetic stylization.After World War II, he lived and worked in Szklarska Poreba, where he became a respected figure in the Polish art scene.
JAN EVANGELISTA KUBELIK (1880-1940) | HANDWRITTEN AUTOGRAPH WITH VIOLINIST DRAWING (CZECH/ BOHEMIAN) | 1915 | profession: Violinist | country: Czechia | signature: Original signature | size: 210 x 160 mm | technique: Handwritten autograph | Lot information | Signature of the famous Czech violinist Jan Kubelik, accompanied by a stylized drawing of the violinist in action. Kubelik was considered one of the most prominent violin virtuosos of his time, and his technical brilliance earned him international fame.The document is dated January 9, 1915, and represents a unique artifact that combines the artist's signature with his artistic expression.
ALFRED MANESSIER (1911-1993) | HAND SIGNED LETTER (FRANCE / FRENCH) | 1957 | profession: Painter | country: France | signature: Original signature | size: 310 x 260 mm (size of the pad) | technique: Handwritten letter | Lot information |Handwritten letter dated December 17, 1957, in which French painter and printmaker Alfred Manessier responds to a request for lithographs. He regrets to inform that he creates his lithographic works exclusively for publishing houses and cannot accommodate the additional request for a new project, although he had already sent a drawing once before. Original text in French: "Messieurs, En reponse a votre lettre dont je vous remercie, j'ai le regret de vous informer que je ne fais pas de lithographies, mais exclusivement au compte de maisons d'edition. Bien qu'ayant eu le plaisir de vous adresser un dessin une premiere fois, il m'est impossible de donner suite a votre second projet. Veuillez agreer, Messieurs, l'assurance de mes sentiments distingues." Translation into English: "Gentlemen, In response to your letter, for which I thank you, I regret to inform you that I do not create lithographs, but exclusively for publishing houses. Although it was my pleasure to send you a drawing once before, it is impossible for me to continue with your second project. Please accept, Gentlemen, the assurance of my highest regards."
KAREL STIKA (1898-1975) | DOUBLE-SIDED AUTOGRAPHED DRAWING (CZECH/ BOHEMIAN) | 1937 | profession: Painter | country: Czechia | signature: Original signature | size: 310 x 260 mm (size of the pad) | technique: Ink on paper | Lot information | Double-sided drawing by Czech painter and graphic artist Karel Stika.On one side, a stylized self-portrait of the artist at work, executed in a free ink drawing style. On the other side, a handwritten text with the artist's signature.This piece is a striking and authentic example of his drawing mastery.
GIDON KREMER (1947*) | PAIR OF AUTOGRAPHS WITH MUSICAL NOTATION (LATVIA / LATVIAN) | 1976 | Gidon Kremer (Гидо́н Ма́ркусович Кре́мер) | profession: Violinist | country: Latvia | signature: Original signatures | size: 310 x 260 mm (size of the pad) | technique: Handwritten signatures on paper cards | Lot information |Set of two handwritten signed cards by Gidon Kremer, the legendary Latvian-German violinist, considered one of the most esteemed interpreters of the 20th and 21st centuries. Both cards include musical notation, a stylized drawing of the violinist, and a small portrait photograph of Kremer. Dated 15 May 1976. Gidon Kremer is renowned not only for his unique interpretations of the classical repertoire but also for discovering and popularizing works by lesser-known composers. His artistic approach has influenced many generations of musicians.
Bronze or patinated metal figure. It shows the deity in a static frontal pose, with both legs straight and shoulders slightly bent. The face is gentle, with a serene expression of narrowed eyes and lips drawing a slight smile. She wears a dothi tied at the waist, leaving her chest bare and adorned with fine jewellery that is also placed on her arms, hips and legs. Her hair is tied up in a high bun, crowned by an ornate, spiked headband flanked by two large earrings that adorn her long ears. Shows age wear.Size: 42 x 8.42 x 12.5 cm (approx.)Weight: 2409 g
Gilt bronze figure. Depicting Sakyamuni Buddha, born in 463 BC as Siddhartha Gautama in Shakya, southern Nepal, attaining enlightenment. He is shown seated, with his legs folded in ‘bhumisparsha mudra’, on a narrow double lotus throne, with his back firm and his hands resting in his lap, joined in ‘Dhyana mudra’. The expression is one of serenity, with slightly closed eyes, lips drawing a subtle smile, broad nose, thin eyebrows accompanied by the third eye of illumination and two elongated ears framing the composition. The hair, in keeping with classical models, is curled, tied in a high bun and crowned with an elegant tiara. Finally, the body is partially covered by a long tunic with incised floral details. A mark is shown on the base. Early Qing dynasty (1644-1912) or later.Size: 20 x 10.5 x 15.5 cmWeight: 2080 g
White jade with a slight golden undertone, carved in the form of the Bodhisattva Avalokitesvara, also known as ‘???’ or Guanyin. She is shown erect on a narrow lotiform throne, with both legs stretched out and slightly apart, torso straight and head facing forward. The left arm is arranged with the hand raised in ‘vitarka mudra’ and the right arm lowered in ‘varada mudra’. The expression is serene, with closed eyes and lips drawing a subtle smile, framed by long ears and a beautiful lotus crown that gathers his fine hair. The deity is lavishly adorned with jewellery, including bracelets, pendants and large earrings. The slender body has a bare torso and the legs are covered by a dhoti tied at the waist, while a fine scarf drapes over her shoulders and is draped with great dynamism across her body. On her back there is a niche of intertwined, ascending flames that holds the goddess. It shows patina from ageing. Qing Dynasty (1644-1912) or later.Size: 17 x 3.5 x 7.9 cmWeight: 322 g
A BEAUVAIS AMUSEMENTS CHAMPÊTRES TAPESTRY AFTER JEAN BAPTISTE OUDRY FRENCH, CIRCA 1780 Woven with Oudry's design 'La Main Chaude' ("Hot Cockles"), figures in a wooded landscape beside a stream and stone folly, an open landscape with chateau visible in the distance, a shepherdess and her flock on the opposite bank, within a scrolling bold acanthus frame border approximately 300cm high, 397cm wide The design for this tapestry panel belonged to a series of "amusements champêtres" devised by Oudry (1686-1755) with one stage of his composition preserved in a drawing in the Stockholm National Museum (No. 2890 / I863). The scene features a game of "hot cockles" where a blindfolded person bent over with his head in the lap of a woman. The other players slapped him on the hand that is tucked behind his back, and he had to guess who it is. When the person guesses correctly who slapped him, that person takes his place. The game is depicted in a contemporary painting (1767-1773) by Fragonard (National Gallery of Art, Washington, 1946.7.6). A version of this tapestry is held in the Harvard Art Museum (1953.114). Condition Report: With wear, marks, repairs and sun fading as per age, handling, use, and cleaning. The whole with a slightly brown tint but retaining some of the more fragile lighter colour tones. Numerous areas of stitch repairs- but with some fragility resulting in some open areas with backing visible. Backing fairly modern. May benefit from remedial conservation prior to installation in domestic setting. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
A SET OF SIX GEORGE III GILTWOOD ARMCHAIRS CIRCA 1770 93.5cm high, 71cm wide, 53cm deep Provenance: Possibly supplied to Philip Yorke, 2nd Earl of Hardwicke (1720-1790), for Wimpole Hall, Cambridgeshire, Wrest Park, Bedfordshire or St. James's Square, London, thence by descent Illustrated: The Connoisseur, May 1965, p.4Sets of giltwood Louis XV-style chairs were fashionable in Britain from the 1750s onwards with the publication of Thomas Chippendale's first edition of the Director (1754), which featured several designs for 'French chairs' (plates XVII, XVIII, XIX, XX). Chippendale's contemporary, John Linnell, was also making chairs derived from French patterns (Victoria & Albert Museum, E.59-1929; E.85-1929; E.102-1929). The 1835 inventory for Wimpole Hall, Cambridge, included two large sets of such chairs including: '8 Gilt Framed Cabriole Elbow Chairs stuffed seats & backs & Elbows covered to match' (No. 49, Red Drawing Room). A comparable set at Wimpole was probably commissioned by Philip, 2nd Earl Hardwicke, between 1777-80 when a new Eating Room and a Grand State Dining Room was added to the mansion; this set sold Sotheby's New York, 23 October 1998, lot 341. At Wrest Park, the 1917 sale of the contents of the mansion show that three sets of carved and gilt fauteuils in the Louis XV-style were sold (Wrest Park: Contents of the Mansion, Messrs. Foster, 10/9/1917 and four following days, lots 65, 77, 155). Condition Report: Condition Report Disclaimer
A GEORGE IV MAHOGANY METAMORPHIC FOLIO STAND WITH ELEVATING DESK ATTRIBUTED TO GILLOW & CO, CIRCA 1828 The outer folio divisions hinged to form reading stands, the bun feet with recessed brass casters 104.5cm high, 72cm wide, 72cm deep See Susan Stuart, GILLOWS OF LANCASTER and LONDON 1730-1840, Antique Collectors' Club, 2008, p99, pl 645, for a Gillow & Co drawing of an identical 'Folio stand with elevating desk made for Ferguson & Co., the London partners, in December 1828. Folio stands were essential items for country house libraries, to store and support large books, etc.'For a George IV folio stand of similar metamorphic folio/bookrest stand form see Christie's, The English Collector, London, 23rd May 2013, lot 224, (£8,750). Condition Report: Overall there are some scratches, marks, knocks, cracks and abrasions consistent with age and use.The hinged sides are released by pressing a button that releases the catch.A well designed and constructed folio stand of reassuringly greater weight than anticipated, the hinged sides with pleasingly crisp brass hinges and ratchet mechanism.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition - they are a vital part of this report. Condition Report Disclaimer
Calligraphy & Penmanship Richards (William H.) Manuscript Ornamental Album entitled 'Manuscript Ornamental Album comprising Specimens in Penmanship and Drawing' folio, dated 1847, including ink penmanship of title, unrelated title design, Ode to Spring, a page of decorative devices, and map of England and Wales with coloured borders inscribed W. H. Richards 1847, sample book pages with vignettes, an architectural plan and elevation and several pencil sketches including one further pasted and one loose, some signed W. H. Richards and dated, the pasted portrait sketch inscribed Jenny Lind 1847
The Archive of Lady Mary Pamela Madeline Sibell Strickland / Lyon (1895-1991), née CharterisTo include nine various leatherbound diaries in manuscript spanning 1916-1927; including some typewritten transcripts thereof (Volumes 1-4)Two ring binder files containing letters of response to the wedding of Ariel Susan Clare (adopted daughter of Mary Lyon) to Christopher Elliott in 1964, predominantly from the gentry of Gloucestershire and including from the author Michael Innes and Anne Fleming (wife of Ian Fleming)Two prisoner of war diaries by Lieutenant Algernon (Tom) Walter Strickland of the Royal Gloucestershire Hussars Yeomanry, dating from 1916-18, written while he was held prisoner in Turkey, measuring 13cm x 8.5cm each with cloth boards, with an accompanying manuscript book by his wife, Mary Strickland, summarising letters received from her husband while imprisoned, with a folded map of Gallipoli, alongside two files of manuscript letters from Algernon (known in the family as Tom or Tommy) to Mary spanning 1917-1938 including those from camps in Egypt, Switzerland and Gallipoli (Turkey).A folder of various letters to Mary Pamela Lyon, some dealing with the publication of Cynthia Asquith's diaries (Mary's sister), including from Sir Rupert Hart-Davis (1907-1999) and an envelope of press cuttings and reviews of Elizabeth Longford’s biography of Wilfred Scawen Blunt, letters from Elizabeth Longford and Roger FulfordTwo small notebooks with manuscript entries in pencil, one entitled 'Bird Notes' (spanning 1955-1965) and Birds seen in South Africa Orange Free State Dec 1937- March 1938A folder of Letters entitled 'Letters from Sara from 1929 up to 1950' (daughter of Mary Lyon) including juvenile correspondenceA folder of documents relating to World War I & II with related memorabilia including a typed manuscript ‘Torpedoed’ by Martin Charteris (1913-1999), a favourite courtier of Queen Elizabeth II and her longest serving Private Secretary, several ephemera publications by the British Legion, 1950-54, an auction catalogue Bruton, Knowles & Co. ‘The Gloucestershire Treasure Sale’ 1944 for the Red Cross, including a pencil drawing ‘Paternity’ by H.G. Wells, Mary Strickland and Mrs Belloc Lowndes, drawn at Stanway as part of a parlour game. Several WWII armbands for the British Red Cross, WVS Rest Centre and WLA (Women’s Land Army), several badges including a Royal British Legion Poppy brooch, ARP Women’s Voluntary Services, Women’s Land Army and Civil Defence CorpsA folder entitled ‘Soldier’s Letters 1917-1918’, mostly addressed ‘Dear Nurse’ to Mary StricklandA folder of newspaper cuttings Jan 1977 to ..., a further folder of press cuttings of reviews of Cynthia Asquith’s diaries, 1968 and other booksA marbled paper notebook entitled ‘Last Will and Testament of Mary Constance Wemyss’ dated March 9th 1929A manuscript poem by Herbert Asquith ‘Youth in the Skies’ with his accopmpanying letter, dated 1940An envelope of letters and ephemera relating to J. M. Barrie including two copies each of Stanway Mysteries programmes for ‘The Wheel’ and ‘Where was Simon’ by Barrie, nine signed manuscripts letters by J. M. Barrie, all to ‘Lady Mary Strickland’ at various addresses, 1923-1936Folders of LettersFolder entitled ‘Cynthia Asquith to her sister Mary’ but containing various letters including one manuscript letter from Augustus John, September 19, 1936 to Lady Mary regarding his works in Chelsea portraits and advance for his portrait of Mary and another letter from Augustus John regarding the same; a typewritten autograph letter to Lady Mary from Anthony Powell, 1977Folder of Letters to Mary Lyon on occasion of Cynthia Asquith’s death, amongst others by Osbert Sitwell, ‘Bibs’ Plymouth, Denis Mackail, Lord Tavistock, etc.Five folders of letters from Mary Strickland/Charteris to her mother (1899-1937)A folder of letters entitled ‘Bibs’ Plymouth (1910s-1920s)A folder of letters from Denis Mackail 1920s-1960sFive letters from Wilfred Scawen Blunt to Mary Constance Wyndham Countess Wemyss (1862-1937) [with whom she allegedly had an affair] including one poem dedicated to herAn extensive collection of letters dating circa 1899-1978 to Mary Strickland from various correspondents including from Wilfrid Scawen Blunt, Sir Walter Raleigh, George Vernon, Cynthia Asquith, various members of the Asquith, Wemyss and Charteris family, Denis Mackail, Augustus John, H. G. Wells, Violet Bonham Carter, Henry Yorke, Hugo Charteris, Osbert Sitwell, L. P. Jacks, Joan Webster-Young, Sybell Fulford , Roger Fulford, Anne Fleming and others Lady Mary was the adopted daughter of Percy Scawen Wyndham. Her mother was Mary Constance Charteris Wyndham and her biological father Wilfrid Scawen Blunt. Wyndham and her siblings and their spouses were members of The Souls, an elite English social group. She and her two sisters were the subjects of John Singer Sargent's 1899 painting The Wyndham Sisters.Mary was first married to Algernon (Tom) Strickland, who died in 1938, her second husband was Major John (Jack) Lyon, whom she married in 1943. Her older sister was the author and society hostess Lady Cynthia Asquith, married to Herbert Asquith, younger son of the Liberal Prime Minister Herbert Henry Asquith, who was Prime Minister at the outbreak of the First World War. Mary lost both her brothers during the war in quick succession, Yvo Alan Charteris in October 1915 and Hugo Francis Charteris (Lord Elcho) in April 1916. She resided both at Stanway House (her family home) and Apperley Court (family home of the Strickland's).Her fascinating diaries span the early years of a young Mary Strickland, documenting the outbreak of the First World War and its aftermath, nursing duties, attending seances with her mother, escapades to London and household and society gossip. Through her sister Lady Cynthia Asquith, the English writer and socialite, she was well connected with the literary elite and through her brother-in-law's family, she gained intriguing insights into the political machinations at the time. The diaries intersperse major international events with the comparative monotony of daily life in a country house and seemingly endless letter writing. An avid correspondent, the diary also documents, alongside original letters, the death in service of her brother Yvo in Gallipoli. The diaries describe varied events, from an altercation with her maid at Harrods, lunch at 10 Downing Street, bombs dropped in London, dinner with H.G. Wells, descriptions of her nursing duties during WWI at Winchcombe Hospital, her husband's imprisonment in Turkey and country house visits interspersed by reports and commentary on the events and battles of the First World War.Alongside the diaries, the archive includes extensive correspondence and documents spanning most of the 20th century with letters from literary figures such as H.G. Wells, J. M. Barrie, Denis Mackail and Osbert Sitwell alongside the family correspondence.Lady Mary Charteris pictured in the Tatler at the time of her engagement to Lieutenant Algernon W. Strickland of the Royal Gloucestershire Hussars.
Keith HARING (1958-1990), Attribué à. Subway drawing, 1983. Dessin original à la craie blanche et rouge réalisé sur une affiche de métro. 96 x 68 cm environ (Déchirures aux marges, dessin roulé, non encadrée) Provenance : Collection particulière, Paris White chalk on tinted paper-(34.64 x 27.55 in.)
Keith HARING (1958-1990), Attribué à. Subway drawing, 1984. Dessin original à la craie réalisé sur une affiche de métro contrecollée sur papier. . 97 x 66 cm environ. (Déchirures aux marges, dessin roulé, non encadrée) Provenance : Collection particulière, Paris White chalk on tinted paper-(34.64 x 27.55 in.)
John Gilbey Bowles (British 1929-2011): Artist's Sketchbook - Surreal Art History Conversations, sketchbook containing thirty-four pages of pencil pastel and mixed media sketches of an art historical theme with interactions between famous paintings by different hands, most signed and dated 2008Notes: examples include Edvard Munch's 'The Scream' reacting to a drawing by LS Lowry of street fighting; Albrecht Durer's drawing of a man dreaming of the Matisse line drawing; Hieronymus Bosch's 'The Last Judgment (detail) overseeing 'the Bacchanale Anglais' by Thomas Rowlandson; Toad of Toad Hall from the Wind in the Willows singing the praises of Henry VIII by Hans Holbein; a drawing by Leonardo Da Vinci admiring the humour in the drawing by LS Lowry; a Henry Moore drawing dreaming of a Thomas Rowlandson composition etc.
* JAMES HARDIE (SCOTTISH 1938 - 2024), UNTITLED oil on board, signed framedimage size 98cm x 120cm, overall size 106cm x 129cmNote: James Hardie was born in 1938. having studied at Glasgow School of Art in the 1950’s he won the Keith Award (1958), the Chalmers Bursary (1959), which enabled him to travel Holland and France, The Torrance Award (1968) and First Prize in Arbroath Art Festival (1971). He taught painting at Glasgow School of Art and Aberdeen College of Education, and lectured in art at Glasgow University and was the exchange tutor with the Chicago Institute of Art. Influenced by his love of flying and drawing on the landscapes of his native Firth of Clyde area, his manipulation of abstraction is much admired. He is widely collected and has had one man shows with the Compass Gallery in Glasgow, The Scottish Gallery in Edinburgh and The Charles Jahn Gallery in Chicago amongst others. His works are held in numerous public collections including the Scottish Arts Council, Stirling, Strathclyde, Leicester, Liverpool and Stockholm Universities, and the Aberdeen City Art Gallery. His daughter, New York based Gwen Hardie, is the youngest artist ever to be awarded a solo show at The Scottish National Gallery of Modern Art in Edinburgh, Scotland (1990).
ATTRIBUTED TO FABERGÉ, AN ENAMEL AND DIAMOND PENDANT UNMARKED, CIRCA 1909 Designed as a lattice work basket with old cut diamond edging and handle, holding orange and pink enamelled flowers with green enamelled leaves and millegrain set diamond accents, pendant loop deficient, later chain Size/dimensions: 5.0cm long Gross weight: 14.4 grams Provenance: Private CollectionAn entry in the Fabergé St. Petersburg archives dated 20th June 1909, shows a drawing and entry for a very similar pendant design, see 'Fabergé: Lost and Found' A. Kenneth Snowman, Abrams 1993, p. 52 Condition Report: All diamonds present and correct, bright, lively stones and well matched. Enamel in good overall condition, some losses to edges. Some surface scratches to reverse.Condition Report Disclaimer
Emil Nolde (1867-1956) Red Blooming Cacti (Epiphyllum Lovibia), signed lower right, watercolour on Japanese long fibred paper, 47 x 35.5 cm (SH), frame by Alfred Hecht (1907-1991) 76 x 64 cmThis painting has been authenticated by the Stiftung Seebüll Ada und Emil Nolde and will be included in the forthcoming Catalogue Raisonné of watercolours and drawings by Emil Nolde. A copy of the certificate signed by Dr Christian Ring and Dr Astrid Becker will be included. Provenance: Private collection, Shropshire, inherited by the current owner in 1963 and subsequently valued for family asset division in 1968 by Lord Westmorland at Sotheby's. The painting is believed to have been sourced by art dealer Dr Hermann Burg (1878-1946) for the family in the early 1940s.Notes: Emil Nolde (1867-1956) was a German-Danish painter and printmaker. He was one of the first Expressionist artists and an important figure in German Expressionism. Nolde was renowned for his intense and masterful use of colour, drawing his inspiration from the landscapes, flora and folklore of his surroundings and his home in the rural border between Germany and Denmark. He initially trained as a woodcarver but turned to painting in his thirties becoming associated with Die Brüke and Der Blaue Reiter groups 1908-1910, but Nolde preferred to work as an individual, unencumbered by the influence of others.The artist was supportive of the NSDAP party but the Nazi regime opposed Emil Nolde and banned him from painting. His work was labelled ‘degenerate art’ and 1,025 of his paintings were seized and confiscated by the Nazis. Some of these pieces were included in the infamous ‘Degenerate Art’ exhibition organised by Adolf Ziegler and the Nazis in Munich in 1937. Degenerate Art was defined as works that ‘insult Germany feeling or destroy or confuse natural form’, exhibiting 650 works by 112 artists including; Paul Klee, Pablo Picasso, Jean Metzinger, Piet Mondrian, Marc Chagall and Wassily Kandinsky. The exhibition attracted huge crowds, over two million visitors attended during its run, averaging 20,000 people per day.Despite being prohibited from working until the fall of the Third Reich, Nolde continued to paint in secret, producing some of his most striking watercolours during this period, asserting his creative freedom. Condition:The painting is a watercolour on Japanese long-fibred paper with an ink signature to the lower right. The painting does have a frame with glazing, it is currently kept separately to the frame inside acid-free wrappng inside a folder to allow for safe viewing and transportation. The sheet is in overall good condition, there are no obvious losses. There is a small repaired tear to the lower right edge which likely resulted from adhesive gum tape holding the painting in place within the frame which was repaired with lens tissue and wheatstarch paste by a conservator. All adhesive tape glue residue has been removed. There are some creases/crumples present including a horizontal crease extending horizontally at the mid-upper right edge between the flowers. There are further crumples which have been photographed - please see additional images in catalogue. There are some spots of foxing present which are predominantly located in the background areas rather than the flowers, the spots appear generally sparsly distributed across the sheet. The paint surface appears generally stable and the colours are good. The frame is gold coloured with black painted outer, the mount is topped with pale green material. The joints of the frame are sound, there is some general wear and tear present.
Victorian lady's and gentleman's pair of drawing room chairs - walnut framed open armchair and nursing chair, the arched cresting rail with central cartouche decorated with curled acanthus leaves, upholstered in neutral textured fabric, the frame decorated with satinwood band and scrolling foliate motifs, turned and fluted front feet with brass and ceramic castors
John Newberry RWS (British 1934-): Chinese Temples, pair watercolours signed in pencil 20cm x 30cm (2)Notes: Newberry read Architecture at Cambridge, but changed courses, moving to Newcastle where under Lawrence Gowing and Victor Pasmore he graduated in Fine Art in 1960. He taught at the Ruskin School of Drawing 1963-1989. Exh. Chris BeetlesCondition Report: Excellent condition, good original colours. Well presented, ready to hang
A JAPANESE VINTAGE (1990S) ARITA PORCELAIN VASE, FUJI SHUMEI. Japanese vintage (late 20thC) Arita porcelain ‘winter landscape at sunrise’ vase by Shumei Fuji (1936-2017). Signed by the artist on the base and comes with an inscribed box. Ca. 26.5cm high x 15cm diameter.The artist used tree leaves in his underglaze blue pottery to depict the seasonal scenery of Arita. His specialty is the technique of drawing a mountain by simulating the veins of a leaf, called the ‘leaf technique’, as if it were a complex tree branch. When young leaves such as magnolia are pressed against unglazed pottery like Japanese paper dyeing and bleeding Kuresu, the veins of the leaves emerge as dark lines and the mountains are drawn by arranging them. This technique is used to capture the characteristics of the season, and the Arita landscape itself, which is depicted in this work. Born in Arita in 1936, Shumei Fuji began making pottery at the age of 15 and was selected for the Nitten (Japan Fine Arts Exhibition) no less than 15 times. He won many prizes including the Japan Ceramic Art Exhibition and the Kyushu Yamaguchi Ceramics Exhibition Minister of Education Award. Good condition.
Svetlana Kornilova The Look, 2024 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Svetlana Kornilova, a professional artist, explores themes of childhood, the complexities of modern life, and the fleeting nature of existence, creating works that resonate on a profound emotional level. As the winner of the Art Competition commemorating the 70th anniversary of the Friends of Dulwich Picture Gallery in 2024, her painting, 'Make Your Choice,' is on display at the Dulwich Picture Gallery until January 2025. An internationally recognized artist, Svetlana has exhibited in prominent galleries worldwide, including Gagliardi Gallery (UK), Metropolitan Pavilion (USA), and Mall Galleries (UK). A member of the Society of Women Artists, she is also a prize-winner in prestigious competitions such as the London Art Biennale and Society of Women Artists. Her works are held in private collections across Europe, the Americas, and beyond. Education 2015 Professional Development Course, St. Petersburg State Academic Institute of Painting, Sculpture and Architecture, St. Petersburg, Russia 2014 Moscow State University of Art and Industry. Stroganov (Department of Monumental and Decorative Painting), Moscow, Russia 2013 Summer School Program for Drawing and Painting, St. Petersburg State Academic Institute of Painting, Sculpture and Architecture, Moscow, Russia 1992-1996 Art School, Dmitrov, Moscow Region, Russia Solo Exhibitions 2024 Never-ending Fairy Tale, Dulwich Social Hall, London, UK 2022 The Secret Garden, Curator Elina Gritchina, House-Museum of Marina Tsvetaeva, Moscow, Russia 2019 The Tale of the Main Thing, Community and Sports Center at Rosinka Residences, Moscow Region, Russia 2016 The Wide-Open Window, Memorial Estate "Dmitrovsky Kremlin," Moscow Region, Dmitov, Russia Cities by the Sea, Cultural Center of Liudviko Rezos, Juodkrante, Lithuania Group Exhibitions 2024 Dulwich Picture Gallery, permanent exposition as a winner of the Friends of Dulwich Picture Gallery competition, London, UK Visual Arts Scotland 'Now and Then,' Dalkeith Palace, Edinburgh, UK SWA Annual Exhibition, Mall Galleries, London, UK 2023 English Riviera Winter Open, Artizan Gallery, Torquay, UK Royal Institute of Oil Painters Annual Exhibition, Mall Galleries, London, UK SWA Annual Exhibition, Mall Galleries, London, UK 2022 London Biennale: Masterpiece, Gagliardi Gallery, London, UK Royal Society of Women Artists Annual Exhibition, Mall Galleries, London, UK 2021 London Art Biennale, 5th Edition, Chelsea Old Town Hall, London, UK 2019 Affordable Art Fair NYC, Metropolitan Pavilion, NYC, USA Awards 2024 Winner, 70th anniversary of the Friends of Dulwich Picture Gallery Winners Artists of the Season, 3rd Place, Art from Heart UK, Spring 2024 2023 Selected by Arts to Hearts project for the book "100 Emerging Artworks: Women's Edition 2023" 2021 London Art Biennale 2021, 2 notifications in "Others Award" category Gallery Representation Lysenko Gallery, London, UK Art Gallery "U Jaksy," Miechow, Poland Statement about AOAP Submitted Artwork The postcards submitted for the project are a part of my Fairy-tale series. It invites viewers into an enchanting imaginary world-a blend of whimsical narratives for children and thought-provoking stories for grown-ups. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Mercedes Lucy Swan 1, 2025 Ceramic Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About My practice revolves around ceramics, a medium I am drawn to for its physicality, diversity, and connection to both art and craftsmanship. I create a wide range of objects, sculptures, and illustrations, exploring both 2D and 3D forms through drawing, painting, and murals. I handmake tiles; I find the unique blend of utility and creativity deeply satisfying. My designs stem from a mix of imagination and observations of life around me, often infused with tongue-in-cheek humour. My work reflects themes of domesticity, feminism, motherhood, grief, and identity. I embrace the slow, intentional process of ceramics as a counterbalance to my natural urge to rush, while creating art that carries a sense of purpose. For me, this blend of functionality and creativity helps navigate the often-unspoken guilt associated with making art that might not traditionally be considered "necessary." Through my art, I aim to merge shape, perspective, and form, crafting pieces that resonate with the complexities of life while bringing joy and utility to 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.
Catherine Chambers First hand, 2025 Acryic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Catherine Chambers is a figurative artist who documents poignant moments, often from her experiences of living abroad in Ethiopia and the Middle East. Catherine is inspired by environments and their inhabitants, capturing intimate moments of connectedness. However, as with all good portraiture, there is more than meets the eye to her work. These works ask the viewer to confront the complicated dynamics of love, care and identity. This is Catherine's second time working with Art on a Postcard. Her previous contributions zoomed in on feet from her larger paintings. This time, Catherine has created postcards looking at the hands in existing works of hers. Education 2009-2012 BA (Hons) Drawing and Applied Arts, University of the West of England, Bristol, UK Solo Exhibitions 2019 I Appreciate You, The Embassy of Ethiopia, London 2016 A Brother's Progress, Freespace Gallery, Kentish Town, London Red Lodge Chair, Red Lodge Museum, Park Row, Bristol Possession(s), The Tobacco Factory, Bristol Group Exhibitions 2024 Herbert Smith Freehills Award, National Portrait Gallery, London Women In Art Finalists, The Roundhouse, London RBA Rising Stars, Royal Over-Seas League, London Wells Contemporary Art, Wells Cathedral, Wells A Personal Treasure, The Nunnery Gallery, London 2023 Missed Letters, Making Space Gallery, London New Wave, Spitalfields Studios, London Awe and Wonder, Chaiya Art Awards, Oxo Gallery, London 2022 Football Art Prize, Millennium Gallery, Sheffield Galvanise, Spitalfields Studios, London Art on a Postcard, The Bomb Factory, London 2021 Summer Show, Royal Academy of Arts, London Sunny Art Prize, Sunny Art Centre, London 2020 Summer Exhibition, Green and Stone Gallery, London 2018 Summer Show, Royal Academy of Arts, London Awards 2024 3rd Prize for The Herbert Smith Freehills Prize at the National Portrait Gallery Royal Society of British Artists Rising Star Women in Art Prize finalist Gallery Representation Mall Galleries, London, UK Statement About AOAP Submitted Artwork Fly is a cropped detail from a larger painting currently being exhibited at the Mall Galleries annual Royal Society of British Artists exhibition. The painting continues a conversation Catherine introduced with her painting "Lying" which won third prize at the National Portrait Gallery in 2024. In this painting, the same sitter holds a bird securely; as it is, the bird cannot fly despite being born to do so. Catherine wants the audience to contemplate, if you have something (could be a relationship, land, artefacts...) but you have it by force or deceit, do you really have it at all? And is it still worth having? Class is a cropped detail from Catherine's larger painting "Between Classes". The girl chooses colours to fill the outlines of a princess. The postcard questions how the girl came to choose those specific colours and how they differ to the girls own image. The work explores ideas of care, influence and status; how they overlap, interact and differ. Fortune is a detail from Catherine's larger painting "Nafkot (Yeabsra)". A child holds a popular paper game, commonly known as a chatterbox or fortune teller. It was introduced to the girl by Catherine in an exchange of sharing games local to one and foreign to another. Games are a recurring theme in Catherine's work, highlighting how unlevel the playing field is in real life. First Hand is a detail from Catherine's larger painting "Holding Space". The hand is of a dear friend of the artist, and celebrates a friendship that challenges outside expectations. It is a prompt to think for oneself and to learn from trusted resources. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Eleanor Ekserdjian They Will Not Take My Island III, 2024 Oil and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Eleanor Ekserdjian is a painter and film artist. Ekserdjian's practice involves projecting the moving image onto paper or canvas and drawing from and over it, her physical and emotional responses being made visible through rapid mark-making. These paintings and drawings become lyrical landscapes which explore her evolving emotional response to the film. Her most recent film and painting series was made during a six-week artist residency in Armenia, and explores cultural memory through landscape. Pepe Karmel, author of 'Abstract Art: A Global History', defined her work as 'Poetic, elegant and mysterious - a kinetic, subjective transcription of the world into calligraphy.' Education 2021 Drawing Intensive, Royal Drawing School, London, UK 2014-2019 MA Fine Art, The University of Edinburgh, Edinburgh, UK Solo Exhibitions 2025 Interwoven, Messums London, London, UK 2023 Light Pictures, Seen Fifteen Gallery, London, UK Group Exhibitions 2024 Crosscurrents Armenia | London, Redfern Gallery, London, UK 2023 International Diaspora Exhibition, Armenian Centre for Contemporary Experimental Art, Yerevan, Armenia 2022 Imagined Landscapes, Yerevan Im Ser Foundation, Yerevan, Armenia Emergence, AMP Gallery, London, UK 2021 Light & Line, Gallery 286, London, UK Royal Drawing School Selection, Hoxton 253, London, UK Summer Exhibition, The Gallery at Green & Stone, London, UK 2020 Spectral Pathways, Hidden Door Arts Festival, Edinburgh, UK Awards 2024 Hauser & Wirth Residency, Braemar, UK Sokyo Gallery Residency, Kyoto, Japan 2022 Yerevan Im Ser Foundation Residency, Yerevan, Armenia Statement about AOAP Submitted Artwork This series of works came out of my experience of growing up in Britain with a curiosity about Armenia and about my family who left Constantinople in the early 20th century. In 2022, I travelled to Armenia for the first time as a part of an artists' residency programme - the paintings I made there represented the first sight of a place I had always imagined but had never seen. 'They Will Not Take My Island III' is a response to the power of the Armenian Landscape and its glowing colour. The title refers to Arshile Gorky's drawing 'They Will Take My Island' and this work echoes his response to the loss of his homeland of Van. 'Red Nocturne' and 'New Green' were made on my return and combine the landscapes of both the UK and Armenia. I am interested in the idea of simultaneous landscape. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Nadia Ferrante Sorority Series n2 (study), 2024 Oil on paper COA Included 10 x 15cm (3¾ x 5¾ in.) About Nadia Ferrante is a contemporary figurative artist, born and raised in Italy. She tries to explore the various facets of the human soul and behaviours in modern society. Fascinated by the human figure and its shape in space, by facial expressions and its representations. She works mainly with dry pastels, oil colours, charcoal, graphite and sanguine. Education My artistic education is almost exclusively self-taught. I attended a two-year private drawing and composition course with two teachers from the Academy of Fine Arts in Rome during my adolescence. Group Exhibitions 2025 BFF Modern portraits, Palm Beach Design and Showroom, Lake Worth, Florida 2024 Feminism, Artsy with 33 contemporary Gallery and 33PA, Online Eros, Artsy with 33 contemporary Gallery and 33PA, Online Micro, Artsy with 33PA and 33 contemporary Gallery, Online The British Art Prize, OXO gallery, London, England Love, Artsy with 33PA and 33 contemporary Gallery, Online 2023 Retro, Artsy with 33 contemporary Gallery, Online Mujer 2023, Artsy with 33 contemporary Gallery, Online Self as self, Artsy with 33 contemporary Gallery, Online Al and me, Artsy with 33 contemporary Gallery and 33PA, Online NOAPS, Online Contemporary miniature nudes, Artsy with 33 contemporary Gallery and 33PA, Online Awards Grand prize People and figures, International Artist Magazine, first place. Finalist at the British Art Prize 2024 Statement about AOAP Submitted Artwork 1: Sorority, Study In this work I wanted to resume the narrative of female freedom from the impositions of patriarchy, already addressed in my work SORORITY, represented by the red ribbon that tightly encircles the wrist of the female hand depicted in the work. 2: Loneliness In this work I wanted to represent, with the three-color technique, in earth tones, the loneliness of the human being in this modern society, a theme very dear to me and which I often address. The faceless woman from behind is all of us women. I have developed the technique over time and it is particularly dear to me. 3: Study of a female head (neck) In this work I wanted to represent what fascinates me the most, the shape of the human body in space and all the compositions it can assume, particularly the female one. The charcoal technique is simple, atavistic, but powerful at the same time, because with a single color you can realize every nuance of reality. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Selena Corsellis Obras de Santa Engrácia 3/3, 2024 Oil and pigments on gesso Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Corsellis' delicate paintings explore the interplay of light and shadow within interior spaces, capturing fleeting, existential moments in ambiguous, often desolate settings. These shifting movements of light and shadow she depicts mirror the fluid and uncertain nature of our own lives, drawing a connection between the external world and the internal sense of awe and contemplation it evokes. Through both intimate and expansive compositions, Corsellis' aim is to provide moments of contemplation, rumination and empirical insight. Education 2020-2024 BA Fine Art from Leeds University of Art Group Exhibitions 2024 Ones to Watch Exhibition at Sunny Bank Mills, Yorkshire, Leeds Within and Without, Liliya Gallery Putney, London 2023 Royal Academy of Arts Summer Exhibition, London Statement about AOAP Submitted Artwork The three paintings, titled Obras de Santa Engrácia, depict the stairwells of Lisbon's National Pantheon. Each work explores the interplay of light and shadow, guiding the viewer through passages that seem to have no clear beginning or end. This reflects the metaphorical essence of the title, symbolizing the perpetual, ongoing process of constructing the Santa Engrácia church-an endeavour that, in a way much like the paintings themselves, is never truly completed. 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.
Katherine Perrins Little Weed, 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Katherine Perrins' paintings explore the domestic spaces we inhabit and the everyday rituals that occur within them. Light captured or reflected within these interiors becomes a tool to record the passing of time and accumulation of memories stored inside the home. Produced in series, her still life paintings provide an investigation of place and time. Perrins' current works explore the experience of maternity leave after the birth of her children. Attention is focused on the minutiae of daily routines and her paintings explore the experience of home as womb-like, a protective nest or chrysalis. Hers is a deeply intimate relationship with the domestic environment; paint is a tool to examine the overlooked. Here are areas where things have come undone or been abandoned; half-drunk coffee cups, dust under the table, scattered children's toys. The works explore stillness and a noticing of the everyday; they express a longing for moments that have passed. Education 2016-2017 City and Guilds of London Art School, MA Fine Art, Distinction 2008-2009 University of Cambridge, PGCE in Secondary Art Education 2002-2005 Falmouth College of Arts, BA (Hons), 1st Class 2001 Falmouth College of Arts, Foundation Diploma, Distinction Solo Exhibitions 2024 Many Lines of Luminous Things, CLOSE, Somerset, UK Group Exhibitions 2024 Mirrors Fog Over When I Breathe, Centrespace Gallery, Bristol, UK Drawing Now Art Fair, Paris, France 2023 GOLD, CLOSE, Somerset Bruton Open Exhibition, Bruton, Somerset 2022 Royal Academy Summer Exhibition, curated by Grayson Perry, London, UK Somerset Reacquainted, ACEarts and Musgrove Hospital, Taunton, Somerset Awards 2024 100 Emerging Female Artists- Hearts to Arts Project 2020 Recipient of a 'Creative Pathways Bursary', Somerset Art Works 2017 Shortlisted for the Art IQ Graduate Art Prize Gallery Representation CLOSE Gallery, Hatch Beauchamp, Somerset UK The Lemon Street Gallery, Truro, Cornwall Statement about AOAP Submitted Artwork These works explore visual elements of a children's playground. They are studies for a larger body of new work, but here I was interested in contrasting textures; the softness of the sand and shadows and waxy leaves in 'Little Weed' and the cool reflective metal surface of the swing's chain against the sandy floor in 'Swing Time'. 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.
Mercedes Lucy Eagle 2, 2025 Ceramic Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About My practice revolves around ceramics, a medium I am drawn to for its physicality, diversity, and connection to both art and craftsmanship. I create a wide range of objects, sculptures, and illustrations, exploring both 2D and 3D forms through drawing, painting, and murals. I handmake tiles; I find the unique blend of utility and creativity deeply satisfying. My designs stem from a mix of imagination and observations of life around me, often infused with tongue-in-cheek humour. My work reflects themes of domesticity, feminism, motherhood, grief, and identity. I embrace the slow, intentional process of ceramics as a counterbalance to my natural urge to rush, while creating art that carries a sense of purpose. For me, this blend of functionality and creativity helps navigate the often-unspoken guilt associated with making art that might not traditionally be considered "necessary." Through my art, I aim to merge shape, perspective, and form, crafting pieces that resonate with the complexities of life while bringing joy and utility to 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.
R&F Mo An apparition, 2024 Watercolour and gouache on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Narrative is central to R&F Mo's cross-disciplinary practice (drawing, painting, stitch, and performance), connecting the seen, the sensed, and the dreamed, in colour, mark, thread and motion. Mo employs an improvisational approach, finding the way in the moment of making, keeping the work alive, and sometimes vocally sound scatting in response to the work, the action, and the material of place. Education 2020-2021 Turps Offsite 2019-2020 Turps Correspondence Course 2006-11 PhD (by practice) Camberwell (U.A.L.) 2002-04 MFA Fine Art Central St. Martin's (U.A.L.) 1981-84 MA Illustration, Royal College of Art London 1978-81 Dip A.D Graphic Arts. City and Guilds of London Art School Gallery Representation Oliver Projects London Statement about AOAP Submitted Artwork Sprinkle, Youth talking with the sun, An appparition, and the listener, were all made through an improvisatory method- beginning with blobs of paint blotted from another surface, these prompted me to recognise figurative shapes in the marks and develop small figurative incidents - an event happening - usually between two figures -i'm interested in relationships and how we behave. 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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