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Noemi Conan The Ambassador, 2024 Smooth gel ink ball point pen and Ferrero Roche wrapper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Noemi Conan, born in Warsaw, Poland in 1987. Painter. Lives and works in London. Exploring the narrative potential of visual art through surreal, confrontational and/or humorous images of female friends, family and feline companions in forest landscapes of firs and ferns. Weaving slavic folklore with themes from communist and capitalist propaganda into stories based on personal experience of a young woman in off centre 90's Eastern Europe. Having gone through a miraculous journey through space and time, after working miriads of menial migrant jobs, Noemi Conan has finally decided that she's grown up to be a painter. Despite the warnings of her grandmother, despite the deluge of her mother's tears. She was not a good cleaner, not an attentive housekeeper. The famous Polish work ethic has not been ignited by any of the jobs that her friends in London worked their way up through. A passion for storytelling and the need for visual aids to explain a curriculum vitae that either confused or outraged her collegues has finally resulted in a glowing path to the Parnassus of a 'career'. Using plastic colours on canvas, on paper, on glass, on wood, the point of all these ridiculous adventures of the past has been found. Taking on the name of one of her REAL dads, the ones who actually taught her life in a small town in Western Poland all those years ago where even all the cats were female cats, Conan decided to take no prisoners. Following her other dad, the sad Norwegian man with a moustache, she gone over-the-top about her emotional landscapes. The last dad taught her that it's sometimes worth looking way back to go forward and applaud that progression on the faces of your opponents. Thank goodness for Arnold and Edvard and Igor.   Conan's work has been exhibited in the UK and internationally. Her work is in the collections of Soho House London, Glasgow School of Art and the Urban Nation Museum in Berlin. She has been selected as one of Bloomberg New Contemporaries in 2021, has been featured in the John Moores Painting Prize in 2020, the Royal Academy Summer Exhibition in 2021 and the Royal Scottish Academy Annual Exhibition. She graduated with a BA (Hons) in Painting and Printmaking from the Glasgow School of Art followed by the Royal Drawing School Drawing Year (2021-2022). Currently at the Turps Studio Programme (2022-2024) and The Fores Project February-March 2023 residency. From september 2024 she will start an MFA in Painting at the Slade in London. Represented by Christine Park Gallery in Shanghai and Traits Libres Gallery in Paris. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Jessie Makinson Don't Wrinkle Him, 2025 Watercolour, gouache, and chinese ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Jessie Makinson (b. 1985, London) lives and works, London. Makinson's work is in the collections of the British Museum, London; Long Museum, Shanghai; Hessel Museum, New York; and X Museum, Beijing. She has had solo exhibitions at Lyles & King, New York, US; Francois Ghebaly, Los Angeles, US; Galería OMR, Mexico City, MX; among others. Her work has been exhibited in group exhibitions including British Art Now, Telegraph Foundation, Olomouc, CR; The Descendants, K11 MUSEA, Hong Kong, CN; Machines of Desire, Simon Lee Gallery, London, UK & Hong Kong; Drawing Attention: Emerging British Artists, British Museum, London, UK; Der abscheuliche kuss, Kunstverein Dresden, Dresden, DE; Dancing in Dark Times, Pippy Houldsworth Gallery, London, UK; I See You, Victoria Miro Gallery, London, UK; No Patience for Monuments, Perrotin, Seoul, KR; In the Company Of, curated by Katy Hessel, TJ Boulting, London, UK; Formal Encounters, Nicodim Gallery, Bucharest, RO; among others. Makinson is represented by Lyles & King, New York and Francois Ghebaly, Los Angeles.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Fleur Yearsley To Hold the World in a Lava Lamp, 2024 Soft pastel, graphite, and ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Fleur Yearsley is a visual artist based in Manchester, UK. Her work explores themes of memory, humour, gender, and unfolding narratives, often drawing on pop culture to create a relatable connection with the viewer. Offering a fresh, immersive perspective, Yearsley reclaims the tradition of 'the gaze', which has historically objectified women in the Western canon of art, shifting the power dynamic. She engages viewers, inviting them into her approachable paintings to reflect on how they perceive the subjects and their own role in the act of looking. Her process is characterised by immediacy and openness, balanced with playful refinement and a colourful sensibility. Through a diverse range of gestural actions, hard edges, and flat colours, she infuses her work with energy and a sense of vibration. Yearsley's paintings resonate like a generational anthem, addressing concepts of high and low brow culture, everyday life, urban environments and social norms. Education 2015-2017 MFA in Fine Art, Slade School of Fine Art, UCL, London, UK 2010-2013 BA (Hons) Fine Art, Manchester School of Art, MMU, Manchester, UK Solo Exhibitions 2023 Breathing is Free, The Edge Gallery, UK 2022 ONE MORE TUNE, The Manchester Contemporary, UK Coming Up, Ruslan Faraev Institute of Art, UK 2021 When The Lights Go Up (Curated by Julia Lucero), Sapling Gallery, UK Group Exhibitions 2025 A Day In The Life, School Gallery, UK 2024 Input/Output, Paradise Works, UK Shifting Sands, Saan1, UK Manchester Open, HOME, UK 2023 In The Membrane, Paradise Works, UK OPEN, Bury Art Museum & Sculpture Centre, UK NSFW, Smolensky Gallery, UK Unity, Smolensky Gallery, UK 2022 Things Fall Apart, Paradise Works, UK Bankley Open, Bankley Gallery, UK 2021 SLAP-BANG, Warrington Contemporary Arts Festival (Curated by Short Supply), Castlefield Gallery's New Art Space, UK Anything Goes, Aatma, UK 2020 John Moores Painting Prize, Walker Art Gallery, UK 2019 GIFC & Velvet Ropes, House of Vans, UK Bow Open Show, Nunnery Gallery, UK Isolation Association, Art In The Docks, UK 2018 Desires, GNYP Gallery, Germany Original London Print Fair, Royal Academy of Arts, UK 2017 Paper Cuts, Tripp Gallery, UK BUFF, Slade Summer Residency, UK Slade Graduate Degree Show, Slade School of Fine Art, UK 2015 The Windshow Drawing, Camden People's Theatre, UK 2014 OBSESSION: Love, Ritual, Collection, Embassy Tea Gallery, UK 2013 We Are All Explorers, Manchester School of Art, UK Awards 2024 Shortlisted 'Macfarlanes Art Prize' Shortlisted 'Clyde & Co Art Prize' 2022 Shortlisted 'BEEP Painting Prize' 2021 Winner 'Repaint History Prize for Womxn Artists' 2016 Shortlisted 'Blooom Award, by Warsteiner' 2016 Shortlisted 'Taking Shape Prize' 2014 Shortlisted 'Young Masters Art Prize' 2014 Shortlisted 'The Signature Art Prize' Gallery Representation Seventeen (London, UK) Public Collections V&A Museum Collection (London, UK) Statement about AOAP Submitted Artwork 'Queen' is a hopeful bid for equality in light of International Women's Day, as Queen Conch shells are seen as lucky. They are a motif that I return to regularly in my work as they are also evocative of the female form. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Jemima Sara She's Magnificent, 2025 Ink, watercolour, and acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Jemima Sara (b.1997) merges diaristic texts with the figurative - incorporating everyday life and freedom of expression into her work. Jemima's formal training in BA Puppetry: Performance & Design at The Royal Central School of Speech and Drama (graduating in 2018) followed by a MA in Fine Art: Drawing at Camberwell (graduating in 2021) has enabled her work to embody the interplay between text, figurative paintings and performative installations. In November 2024, Jemima Sara was recognised as a finalist for the Ingram Prize, the drawings and paintings Jemima creates are journal-like entries, they show the daily tumultuous experience of the mundane existence. The work begins with unfiltered intrusive thoughts, the figures of women and fragmented words unravel the layers of her inner dialogue. Each work is a cathartic personal exploration, inviting audiences to decode the intricate layers of meaning embedded within. On her canvases and within her drawings, figures or women tend to appear with martini glasses. Jemima odes these figures to be her 'alter egos' or 'martini ladies'. When Jemima first started drawing she would use these 'martini ladies' as her voice. The naked ladies vulnerably get everything out on the table, physically and emotionally, and the martini glass - well, in my experience with the right attitude and martini glass you could do anything. Every work is like a secret code, inside joke or unfiltered diary entry waiting to be deciphered. She has turned work-in-progress into a genre. The works oscillate between bold declarations and intimate reflections. Education 2020/21 MA Fine Art: Drawing - Camberwell College, University of the Arts London 2015/18 BA Puppetry: Design and Performance - Royal Central School of Speech and Drama, University of London Solo Exhibitions 2024 SEE WHAT LOVE, St George's Church, UK 2023 The Toilet, Liminal Gallery - The Cupboard, Margate, UK 2022 I'VE LOST MY FAITH IN THIS CRAP, CRATE Gallery, Margate, UK 2021 My mind is a toilet, CRATE Gallery, Margate, UK 2020 165 Draycott Avenue, London, UK Rest, Miller Harris, Hong Kong 2019 Anxiety & Butterfly, Old Brompton Road, London, UK Recovery, Miller Harris Canary Wharf, London, UK 2017 Martini Ladies, The Square Gallery, London, UK Group Exhibitions 2024 Small is Beautiful XLII, Flowers Gallery, London, UK Ingram Prize Exhibition, Unit 1 Gallery, London, UK Salon II, Liminal Gallery, Margate, UK 2023 Salon, Liminal Gallery, Margate, UK Because - reprise, Dorothy Circus Gallery, London, UK Because, Dorothy Circus Gallery, Rome, IT 2022 Catalogue, F&deO Gallery, Madrid, Spain Green Grads, LDF Samsung, London, UK The Crossover Project x Edward Bulmer, LDF, London, UK The Crossover Project, Royal Exchange, London, UK ADONIS, The Margate School, Margate, UK 2021 It's a Wrap, Laurent Delaye Gallery, Ramsgate, UK Camberwell MA Fine Art Graduate Showcase x South London Gallery, London, UK SHIJ-ZY, Camberwell, London, UK Acedia, Purslane Gallery, UK The Postal Project, Camberwell, London, UK Awards 2024 Ingram Prize Finalist 2023 Print Club London Artist in Residence 2021-2022 Creative Business Accelerator with Google for Startups x UAL Statement about AOAP Submitted Artwork The postcard paintings: 'She's Magnificent', Showering' and 'Do not run from fear' explore the endless conflicted conscious yet subconscious monologue where I am constantly thinking of people I love, admire, lust for, despise, look up to, hate, am jealous of or who I am comparing myself to. The figures painted delve into the daily tumultuous experience of the mundane existence - but with martinis. I used a mixture of watercolour, acrylic, and ink to bring layers to the surface inviting the viewer to decode the intricate layers of meaning embedded within - what are they 'showering' in? who is the magnificent one? 'why do we run from fear?'. Perhaps I wish to burden the viewer with my thoughts or those are these important questions I need the answer to? 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.

Annette Pugh Landscove Palms, 2025 Ink and acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Annette Pugh is a contemporary artist whose work explores concepts relating to leisure, longing, and absence. Solitude and solace are ever present in Annette's paintings, which investigate a sense of place, happenstance and our deep emotional connections to the landscape. Education 2021-22 Turps Correspondence Course 2004 MA Art and Design Histories, University of Central England, Birmingham 1998 MA Fine Art, University of Central England, Birmingham 1993 PGCE Art and Design, University of Central England, Birmingham, West Midlands 1990 BA(Hons) Fine Art, Stourbridge College/Wolverhampton Polytechnic, West Midlands Solo Exhibitions 2023 Happenstance, The New Art Gallery Walsall Bittersweet, Colley Ison Gallery, Birmingham 2019 Verdant, Reuben Colley Fine Art, Birmingham Wanderlust, Argentea Gallery, Birmingham 2018 Ornament, Reuben Colley Fine Art, Birmingham 2017 Restless, Argentea Photography Gallery, Birmingham Somewhere Never Travelled, Reuben Colley Fine Art Group Exhibitions 2025 Surreal Solihull, Outdoor Exhibition 2024 London Art Fair, The Design Centre, Islington Midlands Painters, Moonraven Gallery, Birmingham 2023 London Art Fair, The Design Centre, Islington Bewdley Museum, Memory of Place, Birmingham Artspace, Bewdley Museum 2022 RBSA Prize Exhibition Common Wealth Games Festival Summer Exhibition, Colley Ison Gallery, Birmingham Winter Exhibition, Colley Ison Gallery, Birmingham 2021 Figurative Art Now, Mall Galleries Ikon for Artists, Ikon Gallery Birmingham Returning Voices (Art\write online project) 2020 Moment, (Art\write online project) Hinterland 3, Medicine Gallery, Birmingham Two Chairs (an online collaborative project with Art\write) 2019 RBSA Open Drawing, Birmingham Coventry Drawing Prize, Blue Door Gallery, Coventry 2018 Bridge Gallery, Birmingham Museum and Art Gallery Romeo and Juliet; Take 2, Studley Artists Workhouse Gallery Representation Colley Ison Gallery, Birmingham Gala Fine Art, Bristol (Roaming Art Gallery) Statement about AOAP Submitted Artwork Landscove Palm, Clarence Park Fountain and The 'No Longer There' Tree all record hidden or quiet locations, discovered by happenstance. They explore our emotional connection to the landscape and speak of quietude and reflection. Created in ink and acrylic, these small reminders of place draw upon my love of hand-tinted photographs and archive materials. 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.

Josie Deighton By Candlelight IV, 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Josie Deighton depicts figures as if transparent, pencil, brush or mouse weaving and darting around, inside out. Her works capture particular states of mind, how it feels, rather than how it looks. Deighton has been awarded several scholarships and prizes; her work is in held in notable collections and she exhibits widely within the UK and abroad. Deighton is a freelance artist and tutor in London and online. She has been facilitating life / live drawing since 2011. She is involved in and open to collectives, commissions and collaborations. Her work is held in notable and private collections, contact Deighton to arrange purchase of original art works or prints.   Education 2014-15 Postgraduate Diploma, The Royal Drawing School, London, UK 2011-2013 Bachelor of Fine Arts, Birmingham Institute of Art and Design, Birmingham, UK 2012 Erasmus Scholarship, Universitatea Arta si Design, Cluj-Napoca, Romania 2009-2010 Foundation Diploma Fine Art, Sussex Coast College, Hastings, UK   Solo Exhibitions 2023 Drawing Inside Out, The Crypt Gallery, London, UK   Group Exhibitions 2024 Riverside Artists Group, Polish Social and Cultural Association, London UK, Brighton Fringe Flicks, Lewes, UK The Nave, Kruja Castle, Durres, Albania Figuratively Speaking, ArtSect Gallery, London, UK Creators Studio Concepts, CMDMSTUDIO ACAVA, London, UK Passagi Atina, Aliso Beatrice, Atina, Italy We Like 'Em Short Film Festival, Oregon, United States Drawing Humans, XYZ Gallery, London, UK 2023 Borders, Polish Social and Cultural Association, London, UK Creators Studio Concepts, CMDMSTUDIO ACAVA, London, UK 2022 Many Rivers to Cross, Riverside Studios, London, UK Creators Studio Concepts, CMDMSTUDIO ACAVA, london UK Postcards from the Rivers Edge, Robert Phillips Gallery, Walton-on-Thames, UK It's a pattern, Art Car Boot Fair, online The Electic Art Car Boot Fair, online   Awards 2015 Catherine Yarrow grant 2013 Pip Seymour Painting Prize Statement about AOAP Submitted Artwork The 'By Candlelight' series is a continuation of collaborating with Emily Metalskin, friend, muse and artist. Created by building layers of depth with saturated watercolour, viscous black sumi ink and glazes. Dark and sensual, Emily directs her fearless confident gaze out at us even as she contorts her body into the limited composition. Challenging the semi-transparency of womanhood, fitting herself into the frame yet alluding to outside of it.   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.

Millie Shafiee Shadows in the Sky, 2025 Ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Millie Shafiee is a multi-disciplinary artist, who works in drawing, film, sound and installation. Light and space are key elements in Shafiee's practice and her imagery is often created using drawings from film. Her references to cinematic light highlight her experience of creating imagined stories from her family history. Being half Persian, her practice explores diaspora, inherited memory, and the fragility of oral histories, which become diluted or lost in translation.   Education 2023-2024 The Collective Studio, The Newbridge Project, Newcastle Upon Tyne 2019-2023 BA Fine Art, Newcastle University, Newcastle Upon Tyne with study abroad program at University of Victoria, Canada 2018-2019 Level 3 Diploma in Fine Art, The Royal Drawing School, London   Group Exhibitions 2025 New Contemporaries, Institute of Contemporary Arts, London, UK 2024 New Contemporaries, KARST, The Levinsky Gallery and MIRROR, Plymouth, UK Create Disrupt, Embassy Gallery, Edinburgh, UK The Forum Cinema, Hexham, UK Open Studios, The Newbridge Project, Newcastle Upon Tyne, UK 2023 Newcastle University at Parallax Art Fair, London, UK BA Fine Art Degree Show, Space, Liverpool, UK BA Fine Art Degree Show, Newcastle University, Newcastle Upon Tyne, UK Volunteers' exhibition, Star and Shadow, Newcastle Upon Tyne, UK 2022 Interim Show, Newcastle University, Newcastle Upon Tyne, UK Drawing and Mark-making, The Audain Gallery, Victoria, Canada Photography and Paint, The Grey Room, University of Victoria, Victoria, Canada 2021 Open Studios, Newcastle University, Newcastle Upon Tyne, UK Awards 2023 Forshaw Women Artists' Interview Award, The Forshaw Group Bartlett Travel Award, The Bartlett Fund   Statement about AOAP Submitted Artwork These ink drawings combine glimpses of family memories with the cinematic compositions and vast Northumberland landscape in BBC's Vera. They were created using rapid thumbnail sketches drawn live in response to the production, the fast pace of changing shots means some of the compositions are from memory and partially improvised. The combination of imagined and memorised imagery highlights my experience of creating ancestral memories from fragmented 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.

Faye Eleanor Woods Kiss me quick!, 2024 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Faye Eleanor Woods' sensual paintings act as a love letter to her own experience, full of life's joy, absurdity, humour, loss, and fear. Using raw pigments and acrylic ink, she forces rich colour into the grain of the canvas, blurring edges with copious amounts of water or using thin layers of oil to blend the figures with their backgrounds, creating an ethereal presence. As Woods says, "I try to bring attention to the surreal aspects of life and the way the oddness of experience manifests within individuals and how that manifestation then affects me. In my vulnerability, I crave strange moments of intimacy. I imagine drinking straight from the tap of all emotion, drinking so much of it, I take on too much and I'm sick and everything I spew out ends up in my work." Inherently influenced by British folklore and folk horror, Woods' paintings tell their own tales rooted in corporeal experience which then becomes heightened or exaggerated, resulting in a form of magical realism. A spirit of excess runs throughout the scenes that she depicts. Empowered yet vulnerable, the behaviour of paint sensualises her ruby red mouths, flushed cheeks, pert nipples, and knees rubbed raw. Dancing, leaping, cavorting figures in various states of consciousness or undress partake in a bacchanale that defies the hypocrisy of supposed propriety and convention, challenging the stiff upper lip. Eyes shine with ecstatic bewitchment as her animalistic protagonists dance and leap in a debaucherous state which teeters on the fine line edge between calamity and joy. What is conveyed is the relatable oddness that exists between the magical and the mundane. Education 2017 - 2021 Painting and Drawing BA Hons Solo Exhibitions 2023 The Grass Are Green, The Flowers Is Brown and Crimson, Anima Mundi, Cornwall, UK Group Exhibitions 2024 My Soul Hurts and I Think I Have Tinnitus, Calcio Gallery, London, UK 198th RSA Annual Exhibition, Edinburgh, UK VESSELS, OHSH, London, UK 2023 Ostara, Anima Mundi, Cornwall, UK New Contemporaries, Royal Scottish Academy, Edinburgh, UK Blue Shop Cottage WOP 5, London, UK Intersections, Black White Gallery, London, UK Bodies, Gluttony and Me, Pictorum Gallery, London, UK Neo Gothic, OHSH, London, UK Awards 2021 New Contemporaries RSA Gray's School of Art Purchase Prize 2024 RSA Latimer Award Statement about AOAP Submitted Artwork All four of these works are monoprints made with acrylic. I have been exploring accidental mark-making with my smaller works, and I feel like this experiment captured them perfectly! 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 Bramley Self-Portrait, 2024 Ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Pia Bramley is an artist and printmaker. She makes small-scale works that document the wonder and tedium of daily life. Having left London after a decade of city life, she now lives and works in The New Forest. Education 2013/2014 The Royal Drawing School Scholarship Postgraduate Program 2007/2009 University of Brighton, BA Hons Illustration 2006/2007 University College for the Creative Arts - Awarded Distinction, Foundation in Art and Design Group Exhibitions 2022 These Cartoons Are a Work Event, Cartoon Museum, London Lullabies in Lockdown, Sunnybank Mills, Leeds 2021 Heavy Love, Dog and Bone Gallery, Brighton 2019 Royal Academy Summer Exhibition, London Three Colt Gallery Summer Salon, London 2018 Sunlight Soap, Ground Gallery, Hull 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.

Helen G Blake Here we sit, 2025 Ink and coloured pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Helen Blake is an artist whose practice focuses on colour; engaging with rhythm and formalism, chance and deliberation. Using a working method where process and contemplation guide the evolution of the work, she constructs overtly hand-made drawings and paintings which record and examine colour conversations within accumulating pattern structures, embracing accidents, flaws and discrepancies within their rhythms. Education 1980-1983 B.A. (Hons) in Visual Art, Aberystwyth University, Wales. Solo Exhibitions 2023 A room full of altarpieces, but not a church, The Molesworth Gallery, Dublin, Ireland. Recent Works, The Molesworth Gallery, Dublin, Ireland. 2019 Choir, Limerick Museum, Limerick, Ireland. Recent Works, The Molesworth Gallery, Dublin, Ireland. 2018 New Paintings, Fenderesky Gallery, Belfast, Northern Ireland. 2017 Recent Works, The Molesworth Gallery, Dublin, Ireland. 2016 Helen G Blake, Mermaid Arts Centre, Bray, Co Wicklow, Ireland. Group Exhibitions 2025 London Art Fair, showing with Molesworth Gallery. 2024 Winter Group Show, Molesworth Gallery, Dublin. Butterfly Memory, Fenderesky Gallery, Belfast. A0 Inside + Out, Drawing Box International, Leitrim Sculpture Centre Gallery, Manorhamilton Co. Leitrim. Kites above the Castles, curated by Patrick T Murphy, Director. RHA; Mary Lavin Place, Wilton Park, Dublin. The First Page of Summer, Fenderesky Gallery, Belfast Summer Group Exhibition, The Molesworth Gallery, Dublin RHA Royal Hibernian Academy 194th Annual Exhibition, Dublin H_A_R_D_P_A_P_E_R, Phoenix Artspace, Brighton, UK 2023 Small Paintings, Victoria Munroe Fine Art, New York Winter Group Show, Molesworth Gallery, Dublin The Ballinglen Arts Foundation and Museum of Art First Biennial Exhibition, Ballycastle, Co Mayo Call & Response, a project by The Drawing Box, curated by Anoushka Havinden and Pearl Kinnear, Glasgow Project Room Changing Group Exhibition, Fenderesky Gallery, Belfast RHA Royal Hibernian Academy 193rd Annual Exhibition, Dublin Twenty one, Mermaid Arts Centre, Bray, Co Wicklow 2022 In and of itself - abstraction in the age of images, RHA Gallery, Dublin. Winter Group Show, The Molesworth Gallery, Dublin Changing Group Exhibition, Fenderesky Gallery, Belfast Contemporary British Painting Prize 2022, judged by Hettie Judah, Geraldine Swayne, Grant Scanlan, Thames-Side Studios Gallery Contemporary British Painting Prize 2022, judged by Hettie Judah, Geraldine Swayne, Grant Scanlan, Huddersfield Art Gallery Walking in Two Worlds part 3, curated by Jonathan Powell; Volcano Theatre, Swansea RHA Royal Hibernian Academy 192nd Annual Exhibition, Dublin Generation2022: New Irish Painting, Butler Gallery, Kilkenny. Curated by Anna O'Sullivan 2021 Return to Disintegration-Periodical Review 11, selected by Sheena Barrett, Alice Butler, Mark Cullen and Gavin Murphy, Pallas Projects, Dublin Winter Group Show, The Molesworth Gallery, Dublin Changing Group Exhibition, Fenderesky Gallery, Belfast RHA Royal Hibernian Academy 191st Annual Exhibition, Dublin Walking in Two Worlds part 2, curated by Jonathan Powell; Oceans Apart Gallery, Salford, Manchester Walking in Two Worlds part 1, curated by Jonathan Powell; Oriel Carn Gallery, Caernarfon, Wales. Art Beijing 2021; showing with the Embassy of Ireland, curated by Niamh Cunningham and Peking Art Associates Awards 2023 Visual Arts Bursary Award, Arts Council of Ireland 2022 Highly Commended Award and Runner-up Prize, Contemporary British Painting Prize 2021 Agility Award, Arts Council of Ireland Gallery Representation The Molesworth Gallery, Dublin, Ireland Fenderesky Gallery, Belfast, Northern Ireland Public Collections Aberystwyth University, Aberyswyth, Wales, UK Arts Council of Ireland Ballinglen Museum of Contemporary Art, Ballycastle, Co Mayo, Ireland OPW Irish State Art Collection, Ireland Statement about AOAP Submitted Artwork 'Here we sit' is a methodical free-hand ink drawing of close-set chevrons, building up and enclosing at the lower edge two areas of warm glowing colour. 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.

Josie Deighton By Candlelight I, 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Josie Deighton depicts figures as if transparent, pencil, brush or mouse weaving and darting around, inside out. Her works capture particular states of mind, how it feels, rather than how it looks. Deighton has been awarded several scholarships and prizes; her work is in held in notable collections and she exhibits widely within the UK and abroad. Deighton is a freelance artist and tutor in London and online. She has been facilitating life / live drawing since 2011. She is involved in and open to collectives, commissions and collaborations. Her work is held in notable and private collections, contact Deighton to arrange purchase of original art works or prints.   Education 2014-15 Postgraduate Diploma, The Royal Drawing School, London, UK 2011-2013 Bachelor of Fine Arts, Birmingham Institute of Art and Design, Birmingham, UK 2012 Erasmus Scholarship, Universitatea Arta si Design, Cluj-Napoca, Romania 2009-2010 Foundation Diploma Fine Art, Sussex Coast College, Hastings, UK   Solo Exhibitions 2023 Drawing Inside Out, The Crypt Gallery, London, UK   Group Exhibitions 2024 Riverside Artists Group, Polish Social and Cultural Association, London UK, Brighton Fringe Flicks, Lewes, UK The Nave, Kruja Castle, Durres, Albania Figuratively Speaking, ArtSect Gallery, London, UK Creators Studio Concepts, CMDMSTUDIO ACAVA, London, UK Passagi Atina, Aliso Beatrice, Atina, Italy We Like 'Em Short Film Festival, Oregon, United States Drawing Humans, XYZ Gallery, London, UK 2023 Borders, Polish Social and Cultural Association, London, UK Creators Studio Concepts, CMDMSTUDIO ACAVA, London, UK 2022 Many Rivers to Cross, Riverside Studios, London, UK Creators Studio Concepts, CMDMSTUDIO ACAVA, london UK Postcards from the Rivers Edge, Robert Phillips Gallery, Walton-on-Thames, UK It's a pattern, Art Car Boot Fair, online The Electic Art Car Boot Fair, online   Awards 2015 Catherine Yarrow grant 2013 Pip Seymour Painting Prize Statement about AOAP Submitted Artwork The 'By Candlelight' series is a continuation of collaborating with Emily Metalskin, friend, muse and artist. Created by building layers of depth with saturated watercolour, viscous black sumi ink and glazes. Dark and sensual, Emily directs her fearless confident gaze out at us even as she contorts her body into the limited composition. Challenging the semi-transparency of womanhood, fitting herself into the frame yet alluding to outside of it.   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.

Molly Burrows Rolling Hills, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Molly Burrows (b. Munich, 2002) is an artist and workshop facilitator based in South London. Her practice uses abstraction as a means of accessibility; by breaking down the human form into simplified shapes-panels of paint, clay, ink, or paper-she is able to tell stories through body language and share her techniques with others. Her work depicts individuals who are content amongst their natural environments, often blending into and becoming a part of their backgrounds. Her commitment to accessibility extends beyond her practice and workshops- she creates resources for exhibitions and galleries in order to make contemporary art spaces more welcoming. These booklets offer insight into artists' processes and practical advice for entering the art world.   Education 2021-2024 BA Fine Art: Painting, Camberwell College of Arts, University of the Arts London 2020- 2021 Foundation Diploma in Art and Design, Trowbridge College   Group Exhibitions 2025 New Contemporaries, Institute of Contemporary Arts, London, UK 2024 New Contemporaries, KARST Gallery, The Levinsky and MIRROR Plymouth, Plymouth, UK Camberwell College of Arts Degree Show, London, UK 2023 Secret Postcard Auction 2023, Royal West Academy of England, Bristol, UK Drawing in Social Space, Drawing Room, London, UK Window Shopping, Satellite Store, London, UK That's All, AMP Gallery, London, Uk 2022 Unheard Voices, Spiral Galleries, London, UK   Statement about AOAP Submitted Artwork A series of mountainous characters, colour studies for larger works.   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.

Annette Pugh The 'No Longer There' Tree, 2025 Ink and acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Annette Pugh is a contemporary artist whose work explores concepts relating to leisure, longing, and absence. Solitude and solace are ever present in Annette's paintings, which investigate a sense of place, happenstance and our deep emotional connections to the landscape. Education 2021-22 Turps Correspondence Course 2004 MA Art and Design Histories, University of Central England, Birmingham 1998 MA Fine Art, University of Central England, Birmingham 1993 PGCE Art and Design, University of Central England, Birmingham, West Midlands 1990 BA(Hons) Fine Art, Stourbridge College/Wolverhampton Polytechnic, West Midlands Solo Exhibitions 2023 Happenstance, The New Art Gallery Walsall Bittersweet, Colley Ison Gallery, Birmingham 2019 Verdant, Reuben Colley Fine Art, Birmingham Wanderlust, Argentea Gallery, Birmingham 2018 Ornament, Reuben Colley Fine Art, Birmingham 2017 Restless, Argentea Photography Gallery, Birmingham Somewhere Never Travelled, Reuben Colley Fine Art Group Exhibitions 2025 Surreal Solihull, Outdoor Exhibition 2024 London Art Fair, The Design Centre, Islington Midlands Painters, Moonraven Gallery, Birmingham 2023 London Art Fair, The Design Centre, Islington Bewdley Museum, Memory of Place, Birmingham Artspace, Bewdley Museum 2022 RBSA Prize Exhibition Common Wealth Games Festival Summer Exhibition, Colley Ison Gallery, Birmingham Winter Exhibition, Colley Ison Gallery, Birmingham 2021 Figurative Art Now, Mall Galleries Ikon for Artists, Ikon Gallery Birmingham Returning Voices (Art\write online project) 2020 Moment, (Art\write online project) Hinterland 3, Medicine Gallery, Birmingham Two Chairs (an online collaborative project with Art\write) 2019 RBSA Open Drawing, Birmingham Coventry Drawing Prize, Blue Door Gallery, Coventry 2018 Bridge Gallery, Birmingham Museum and Art Gallery Romeo and Juliet; Take 2, Studley Artists Workhouse Gallery Representation Colley Ison Gallery, Birmingham Gala Fine Art, Bristol (Roaming Art Gallery) Statement about AOAP Submitted Artwork Landscove Palm, Clarence Park Fountain and The 'No Longer There' Tree all record hidden or quiet locations, discovered by happenstance. They explore our emotional connection to the landscape and speak of quietude and reflection. Created in ink and acrylic, these small reminders of place draw upon my love of hand-tinted photographs and archive materials. 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.

Molly Burrows On the Horizon, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Molly Burrows (b. Munich, 2002) is an artist and workshop facilitator based in South London. Her practice uses abstraction as a means of accessibility; by breaking down the human form into simplified shapes-panels of paint, clay, ink, or paper-she is able to tell stories through body language and share her techniques with others. Her work depicts individuals who are content amongst their natural environments, often blending into and becoming a part of their backgrounds. Her commitment to accessibility extends beyond her practice and workshops- she creates resources for exhibitions and galleries in order to make contemporary art spaces more welcoming. These booklets offer insight into artists' processes and practical advice for entering the art world.   Education 2021-2024 BA Fine Art: Painting, Camberwell College of Arts, University of the Arts London 2020- 2021 Foundation Diploma in Art and Design, Trowbridge College   Group Exhibitions 2025 New Contemporaries, Institute of Contemporary Arts, London, UK 2024 New Contemporaries, KARST Gallery, The Levinsky and MIRROR Plymouth, Plymouth, UK Camberwell College of Arts Degree Show, London, UK 2023 Secret Postcard Auction 2023, Royal West Academy of England, Bristol, UK Drawing in Social Space, Drawing Room, London, UK Window Shopping, Satellite Store, London, UK That's All, AMP Gallery, London, Uk 2022 Unheard Voices, Spiral Galleries, London, UK   Statement about AOAP Submitted Artwork A series of mountainous characters, colour studies for larger works.   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 The Listener, 2024 Watercolour, ink, 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.

Jemima Sara Showering in Martini, 2025 Ink, watercolour, and acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Jemima Sara (b.1997) merges diaristic texts with the figurative - incorporating everyday life and freedom of expression into her work. Jemima's formal training in BA Puppetry: Performance & Design at The Royal Central School of Speech and Drama (graduating in 2018) followed by a MA in Fine Art: Drawing at Camberwell (graduating in 2021) has enabled her work to embody the interplay between text, figurative paintings and performative installations. In November 2024, Jemima Sara was recognised as a finalist for the Ingram Prize, the drawings and paintings Jemima creates are journal-like entries, they show the daily tumultuous experience of the mundane existence. The work begins with unfiltered intrusive thoughts, the figures of women and fragmented words unravel the layers of her inner dialogue. Each work is a cathartic personal exploration, inviting audiences to decode the intricate layers of meaning embedded within. On her canvases and within her drawings, figures or women tend to appear with martini glasses. Jemima odes these figures to be her 'alter egos' or 'martini ladies'. When Jemima first started drawing she would use these 'martini ladies' as her voice. The naked ladies vulnerably get everything out on the table, physically and emotionally, and the martini glass - well, in my experience with the right attitude and martini glass you could do anything. Every work is like a secret code, inside joke or unfiltered diary entry waiting to be deciphered. She has turned work-in-progress into a genre. The works oscillate between bold declarations and intimate reflections. Education 2020/21 MA Fine Art: Drawing - Camberwell College, University of the Arts London 2015/18 BA Puppetry: Design and Performance - Royal Central School of Speech and Drama, University of London Solo Exhibitions 2024 SEE WHAT LOVE, St George's Church, UK 2023 The Toilet, Liminal Gallery - The Cupboard, Margate, UK 2022 I'VE LOST MY FAITH IN THIS CRAP, CRATE Gallery, Margate, UK 2021 My mind is a toilet, CRATE Gallery, Margate, UK 2020 165 Draycott Avenue, London, UK Rest, Miller Harris, Hong Kong 2019 Anxiety & Butterfly, Old Brompton Road, London, UK Recovery, Miller Harris Canary Wharf, London, UK 2017 Martini Ladies, The Square Gallery, London, UK Group Exhibitions 2024 Small is Beautiful XLII, Flowers Gallery, London, UK Ingram Prize Exhibition, Unit 1 Gallery, London, UK Salon II, Liminal Gallery, Margate, UK 2023 Salon, Liminal Gallery, Margate, UK Because - reprise, Dorothy Circus Gallery, London, UK Because, Dorothy Circus Gallery, Rome, IT 2022 Catalogue, F&deO Gallery, Madrid, Spain Green Grads, LDF Samsung, London, UK The Crossover Project x Edward Bulmer, LDF, London, UK The Crossover Project, Royal Exchange, London, UK ADONIS, The Margate School, Margate, UK 2021 It's a Wrap, Laurent Delaye Gallery, Ramsgate, UK Camberwell MA Fine Art Graduate Showcase x South London Gallery, London, UK SHIJ-ZY, Camberwell, London, UK Acedia, Purslane Gallery, UK The Postal Project, Camberwell, London, UK Awards 2024 Ingram Prize Finalist 2023 Print Club London Artist in Residence 2021-2022 Creative Business Accelerator with Google for Startups x UAL Statement about AOAP Submitted Artwork The postcard paintings: 'She's Magnificent', Showering' and 'Do not run from fear' explore the endless conflicted conscious yet subconscious monologue where I am constantly thinking of people I love, admire, lust for, despise, look up to, hate, am jealous of or who I am comparing myself to. The figures painted delve into the daily tumultuous experience of the mundane existence - but with martinis. I used a mixture of watercolour, acrylic, and ink to bring layers to the surface inviting the viewer to decode the intricate layers of meaning embedded within - what are they 'showering' in? who is the magnificent one? 'why do we run from fear?'. Perhaps I wish to burden the viewer with my thoughts or those are these important questions I need the answer to? 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.

Ellie MacGarry Group, 2025 Ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ellie MacGarry makes paintings which consider connection, distance, gesture and touch. Using repeated motifs, most notably the hand, her work explores the way we communicate with our bodies as much as we communicate with words. While paint will always fix an image in a moment, Ellie is particularly drawn to transitory moments - a window letting the light in in the morning, a shirt half open, two hands on the cusp of meeting. Education 2016-2018 MFA Painting, Slade School of Fine Art, London UK 2010-2014 BA Fine Art, University of Leeds, Leeds, UK Solo Exhibitions 2024 Echo, Cedric Bardawil, London, UK 2021 Disappearing Act, Steve Turner, LA, USA Your Hand is a Warm Stone, Steve Turner, LA, USA, 2021 (online) 2019 Come Undone, Daniel Benjamin Gallery, London, UK, 2019 Group Exhibitions 2025 XXS, County Gallery, Palm Beach, Florida 2024 Drawing Biennial, Drawing Room, London, UK Borrowed Drawings, Cubitt invites, London, UK Artist Fundraiser for MSF, Wharf Road, London, UK 2023 Full House, Canopy Collections, London, UK, 2023 Cure3, Bonhams, London, 2023 2022 Stage Effects, Kate MacGarry, London, UK Paper and Clay, Canopy Collections at Cromwell Place, London, UK CUBITT 30, Victoria Miro, London, UK All The Lives We Ever Lived, Canopy Collections at Cromwell Place, London, UK Erotiques, Nullepart, Estarac, France 2021 Until the Walls Became the World All Around, Canopy Collections at Van Gogh House, London, UK Chrysalis, Hyde Park Art Club, Leeds, UK 2020 Untitled (But Loved), Bosse and Baum, London, UK 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.

Bahar Sabzevari Breaking free from within, 2024 Acrylic, ink, and graphite on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bahar Sabzevari (b. 1980, Iran) is a visual artist based in New York and works internationally. She has a painting practice and creates self-portraits, figurative and narrative paintings. She has worked and studied in Iran, Europe and the US. Sabzevari's work explores the boundaries of human identity: self-identity, freedom, restriction, and sense of place and belonging. In particular, her work looks at transient and hidden forms of identity: the imagination, hopes, fears, dreams, histories and evolution. Sabzevari's process is research and studio-based and involves the bringing together of complex imagery, symbols and narratives, often drawing from the fields of mythology, science, religion and art history. 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.

Millie Shafiee The Dark Wives, 2025 Ink on paper Signed on VersoInk on paper 10 x 15cm (3¾ x 5¾ in.) About Millie Shafiee is a multi-disciplinary artist, who works in drawing, film, sound and installation. Light and space are key elements in Shafiee's practice and her imagery is often created using drawings from film. Her references to cinematic light highlight her experience of creating imagined stories from her family history. Being half Persian, her practice explores diaspora, inherited memory, and the fragility of oral histories, which become diluted or lost in translation.   Education 2023-2024 The Collective Studio, The Newbridge Project, Newcastle Upon Tyne 2019-2023 BA Fine Art, Newcastle University, Newcastle Upon Tyne with study abroad program at University of Victoria, Canada 2018-2019 Level 3 Diploma in Fine Art, The Royal Drawing School, London   Group Exhibitions 2025 New Contemporaries, Institute of Contemporary Arts, London, UK 2024 New Contemporaries, KARST, The Levinsky Gallery and MIRROR, Plymouth, UK Create Disrupt, Embassy Gallery, Edinburgh, UK The Forum Cinema, Hexham, UK Open Studios, The Newbridge Project, Newcastle Upon Tyne, UK 2023 Newcastle University at Parallax Art Fair, London, UK BA Fine Art Degree Show, Space, Liverpool, UK BA Fine Art Degree Show, Newcastle University, Newcastle Upon Tyne, UK Volunteers' exhibition, Star and Shadow, Newcastle Upon Tyne, UK 2022 Interim Show, Newcastle University, Newcastle Upon Tyne, UK Drawing and Mark-making, The Audain Gallery, Victoria, Canada Photography and Paint, The Grey Room, University of Victoria, Victoria, Canada 2021 Open Studios, Newcastle University, Newcastle Upon Tyne, UK Awards 2023 Forshaw Women Artists' Interview Award, The Forshaw Group Bartlett Travel Award, The Bartlett Fund   Statement about AOAP Submitted Artwork These ink drawings combine glimpses of family memories with the cinematic compositions and vast Northumberland landscape in BBC's Vera. They were created using rapid thumbnail sketches drawn live in response to the production, the fast pace of changing shots means some of the compositions are from memory and partially improvised. The combination of imagined and memorised imagery highlights my experience of creating ancestral memories from fragmented 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.

Edie Flowers Miss Pettigrew, 2025 Charcoal, pastel, and ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Edie Flowers studied sculpture before joining the Royal Drawing School. Her work is concerned with addressing moments that are hard and loving, rust and feathers. Drawing and redrawing from life, memory, books, music and the imagination, she creates images that have potential to be magical and require interpretation from the viewer. 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.

Bahar Sabzevari Wild Hope, 2024 Acrylic and ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bahar Sabzevari (b. 1980, Iran) is a visual artist based in New York and works internationally. She has a painting practice and creates self-portraits, figurative and narrative paintings. She has worked and studied in Iran, Europe and the US. Sabzevari's work explores the boundaries of human identity: self-identity, freedom, restriction, and sense of place and belonging. In particular, her work looks at transient and hidden forms of identity: the imagination, hopes, fears, dreams, histories and evolution. Sabzevari's process is research and studio-based and involves the bringing together of complex imagery, symbols and narratives, often drawing from the fields of mythology, science, religion and art history. 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.

Millie Shafiee Castles in the Air, 2025 Ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Millie Shafiee is a multi-disciplinary artist, who works in drawing, film, sound and installation. Light and space are key elements in Shafiee's practice and her imagery is often created using drawings from film. Her references to cinematic light highlight her experience of creating imagined stories from her family history. Being half Persian, her practice explores diaspora, inherited memory, and the fragility of oral histories, which become diluted or lost in translation.   Education 2023-2024 The Collective Studio, The Newbridge Project, Newcastle Upon Tyne 2019-2023 BA Fine Art, Newcastle University, Newcastle Upon Tyne with study abroad program at University of Victoria, Canada 2018-2019 Level 3 Diploma in Fine Art, The Royal Drawing School, London   Group Exhibitions 2025 New Contemporaries, Institute of Contemporary Arts, London, UK 2024 New Contemporaries, KARST, The Levinsky Gallery and MIRROR, Plymouth, UK Create Disrupt, Embassy Gallery, Edinburgh, UK The Forum Cinema, Hexham, UK Open Studios, The Newbridge Project, Newcastle Upon Tyne, UK 2023 Newcastle University at Parallax Art Fair, London, UK BA Fine Art Degree Show, Space, Liverpool, UK BA Fine Art Degree Show, Newcastle University, Newcastle Upon Tyne, UK Volunteers' exhibition, Star and Shadow, Newcastle Upon Tyne, UK 2022 Interim Show, Newcastle University, Newcastle Upon Tyne, UK Drawing and Mark-making, The Audain Gallery, Victoria, Canada Photography and Paint, The Grey Room, University of Victoria, Victoria, Canada 2021 Open Studios, Newcastle University, Newcastle Upon Tyne, UK Awards 2023 Forshaw Women Artists' Interview Award, The Forshaw Group Bartlett Travel Award, The Bartlett Fund   Statement about AOAP Submitted Artwork These ink drawings combine glimpses of family memories with the cinematic compositions and vast Northumberland landscape in BBC's Vera. They were created using rapid thumbnail sketches drawn live in response to the production, the fast pace of changing shots means some of the compositions are from memory and partially improvised. The combination of imagined and memorised imagery highlights my experience of creating ancestral memories from fragmented 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.

Ray Annenberg  - Whitefriars - An original master drawing design in ink on tracing paper for Knobbly range vase, pattern number 9842, 37.5cm x 25.5cm, framed.

Geoffrey Baxter - Whitefriars - An original master drawing design in ink on tracing paper for Textured range vase, pattern number 9834, 38.5cm x 25cm, framed.

Geoffrey Baxter - Whitefriars - An original master drawing design in ink on tracing paper for Knobbly range vases, pattern numbers 9856 and 9857, 39cm x 26cm, framed.

Colin Bywater - Whitefriars - An original master drawing design in ink on tracing paper for Cirrus range vase, pattern number 9888, 29cm x 21cm, framed.

Geoffrey Baxter - Whitefriars - An original master drawing design in ink on tracing paper for Textured range Nailhead vases, pattern numbers 9808 and 9809, 38cm x 25cm, framed.

Geoffrey Baxter - Whitefriars - An original master drawing design in ink on tracing paper for New Studio range vases, pattern numbers 9885 and 9886, 38cm x 25cm, framed.

Geoffrey Baxter - Whitefriars - An original master drawing design in ink on tracing paper for New Studio range vase, pattern number 9882, 38cm x 25cm, framed.

Geoffrey Baxter - Whitefriars - An original master drawing design in ink on tracing paper for Textured range Cooling Tower vase, pattern number 9830, 38.5cm x 25cm, framed.

Colin Bywater - Whitefriars - An original master drawing design in ink on tracing paper for Cirrus range vase, pattern number 9887, 27.5cm x 21cm, framed.

Geoffrey Baxter - Whitefriars - An original master drawing design in ink on tracing paper for Dimple range vase, pattern numbers 9865, 38cm x 25.5cm, framed.

Ray Annenberg - Whitefriars - An original master drawing design in ink on tracing paper for Knobbly range vase, pattern number 9844, 37.5cm x 25cm, framed.

Roger Hampson (1925-1996) - 'Hatfield Road Park, Bolton', pen and ink drawing, signed, framed, 23cm x 33cm, frame size 46cm x 56cm. NB - This lot may be subject to Artist's Resale Right levy.

Geoffrey Baxter - Whitefriars - An original master drawing design in ink on tracing paper for New Studio range vases, pattern numbers 9883 and 9884, 38cm x 25cm, framed.

Colin Bywater - Whitefriars - An original master drawing design in ink on tracing paper for Cirrus range vase, pattern number 9890, 27cm x 21cm, framed.

Ray Annenberg - Whitefriars - An original master drawing design in ink on paper for Knobbly range vase and bowl, pattern numbers 9843 and 9846, 37.5cm x 25.5cm, framed.

Colin Bywater - Whitefriars - An original master drawing design in ink on tracing paper for Cirrus range vase, pattern number 9889, 21cm x 21cm, framed.

Geoffrey Baxter - Whitefriars - An original master drawing design in ink on tracing paper for Dimple range vases, pattern numbers 9863, 9864 and 9867, 38.5cm x 25.5cm, framed.

[SHOSTAKOVICH DMITRI]: (1906-1975) Russian composer. A printed folio programme for the Shostakovich 75th Anniversary Concert at the Royal Festival Hall, London, 21st October 1981, individually signed to the front cover by Maxim Shostakovich (1938- ) Russian-American conductor and pianist, son of Dmitri Shostakovich, and Dmitri Shostakovich Jr. (1961- ) Russian-American pianist, son of Maxim and grandson of Dmitri Shostakovich. Maxim Shostakovich conducted the 75th Anniversary Concert at which Dmitri Shostakovich Jr. performed as a soloist alongside the London Philharmonic Orchestra. Both have signed with their names alone in blue inks beneath the front cover portrait of Dmitri Shostakovich, a reproduction of a drawing of the composer by his son, Maxim. Together with Mstislav Rostropovich (1927-2007) Russian cellist and conductor, a friend of Shostakovich who wrote an introduction to the 75th Anniversary Concert programme. Blue ink signatures (in both Cyrillic and Roman script) and inscription an oblong 8vo sheet of paper, dated 1979 in his hand (a few stains, only slightly affecting one of the signatures). Also including Yehudi Menuhin (1916-1999) American-born British violinist and conductor. A printed folio souvenir programme for the Golden Jubilee Concert - 50th Anniversary of the Concert Début of Yehudi Menuhin at the Royal Albert Hall, 4th November 1979, signed by Menuhin in blue ink with his name alone to a clear area of the front cover. Some light age wear, G to VG, 3

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A good illustrated A.L.S., Picasso, one page, 4to, Cannes, 17th January 1956, to Max [Pellequer], in French. Picasso writes a brief letter, in full, ´Oui mon cher Max, je les ai recues et 100,000 et plus de fois merci´ (Translation: ´Yes, my dear Max, I've received them 100,000 times over, thank you´). Above his message of three lines Picasso has added an original blue ink drawing in his hand, which dominates the page, and depicts a bottle of wine standing alongside a glass. A simple yet highly appealing illustrated letter on a theme which recurred in many of Picasso´s artworks during his career. Some light, minor creasing and a few small tears to the edges, not affecting the text or illustration. About 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.´Picasso permanently relocated to Paris in 1904. He spent the remainder of his life and artistic career living in France……Alcohol was an important facet of French artists’ social scene and of their art. Bars, cafes, and other drinking establishments often served as meeting places and hangouts for artists of the generations immediately preceding Picasso, and it is no surprise that they frequently took these places and their wares as subjects for their works……..Picasso, like other artists living in France at the time, was the inheritor of the cultural ripples of alcohol, as well as of the visual themes it inspired….[Picasso´s]…….1896 painting The First Communion, depicts a young woman about to receive her first communion……[this, and other]……works do not prominently feature alcohol per se, although they do reveal an important facet of Picasso’s relationship with wine: wine not only as a religious sacrament, but also as marker of identity……..For Catholic Picasso, wine was not simply a tool for worship, but must also have been a sort of divine vessel, which, through God, became something new and holy. The doctrine of transubstantiation, by which Eucharist wine becomes the blood of Christ, was and remains a defining feature of Catholicism. These works also lay a foundation for Picasso’s later exploration of wine in the very different context of ancient Greco-Roman religion……The Minotaur’s Repose: Champagne and Mistress depict a minotaur and a nude woman reclining on a couch; the minotaur looks over his shoulder towards the viewer, raising the glass of wine in his hand…….The Dionysiac characters of satyrs and maenads (depicted in Picasso’s Bacchanale) also embody the intoxicating effects of alcohol which distance drinkers from the rational mind and, in Greek myth, their humanity…….This is a very different relationship to wine than the Catholic imagery of Picasso’s earlier career evokes, but both imply significance and even a form of reverence. In Picasso’s works, wine can be both transformed and transformative´ (extracts from Picasso: Wine and Art at La Cité du Vin by Paige Crawley, 2022)

CALDER ALEXANDER: (1898-1976) American sculptor known for his innovative mobiles and monumental public sculptures. A brief illustrated A.L.S., Calder, to the verso of a picture postcard of one of the artist´s works, n.p. (Azay-le-Rideau), n.d. (September 1965), to Jean Leymarie, in French. Calder writes, in full, ´Merci de ton mot. C´etait tres gentil, Geneve. Nous partons dans 1 mois pour 2 [mois] d´Amerique´ (Translation: ´Thank you for your message. It was lovely, Geneva. We are leaving in a month for two [months] in America´). At the side of his message Calder has added a simple, yet attractive, pen and ink drawing of the Swiss national flag, with its federal white cross to the centre, flying at full-mast from its pole. VGJean Leymarie (1919-2006) French art historian, director of the Musée national d´Art moderne in Paris from 1968-73.

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.

MARCEAU MARCEL: (1923-2007) French actor and mime artist. Signed and inscribed 8 x 10 photograph of Marceau in a half-length pose in costume as Bip the Clown. Signed in white fountain pen ink to the image, also adding his character name and a small drawing of a flower in his hand. VG

GIACOMETTI DIEGO: (1902-1985) Swiss sculptor and designer. Signed 4.5 x 6.5 photograph issued as a certificate of authenticity, the image depicting a medallion featuring a figure to the centre, being a work by Giacometti´s elder brother, Alberto Giacometti, signed to the verso in black ink with a statement in French, ´Cette medaille est l´oeuvre de mon frere Alberto Giacometti 1928-29, Diego Giacometti´ (Translation: ´This medallion is the work of my brother Alberto Giacometti 1928-29, Diego Giacometti´). The verso also features a couple of light pencil annotations in unidentified hands. Accompanied by four additional photographs of the medallion and Diego Giacometti´s statement (two each of the recto and verso) and a fifth slightly larger photograph of a pencil drawing by Alberto Giacometti. VG, 6

MUNNINGS ALFRED: (1878-1959) English painter, a member of the Newlyn School from 1912-14, and regarded as one of the finest painters of horses. A good collection of A.Ls.S. (5; one a brief illustrated message on a postcard), a T.L.S., five original pencil drawings, and a few pieces of printed ephemera. The autograph and typed letters signed Alfred Munnings, A. J. Munnings, and with his initials AJ, twelve pages (total), 4to and smaller, various places (Dedham, Essex & Withypool, Somerset), early to mid-1940s, to various correspondents including the portrait painter Maurice Codner. Munnings states, in part, ´I am not sure about the Tissot, as I told that secretary to remove the pictures if the raids started & they should have done so. How awful, that lovely [painting?] which nobody really cared for & which as Lutyens said was ruined by the overlighting of the chandeliers. What a hateful lot of buggers used that room.....& what a disagreable rascañ that Drysdale was wo stood in the way of everything. Damn him, what a pity he wasn´t in the drawing room when the bomb fell. My place in Chelsea has had it - windows out & all glass in frames broken......Winston in chair first dinner. Next Thursday Lord Gort in chair & they all give Winston a snuff box´ (to Maurice Codner, 30th September 1940, accompanied by the original envelope), ´I can´t tell you how glad I was to see that good notice of your work in The Times on Friday. You couldn´t want better and who ever the present (sic; President) is he is a more sane fellow than the last & I find him very good. Far better than the other old blighter - well - I was glad I read it out to Violet who never cares much about critics, & she was delighted. I´ve always seen you gradually gaining & burrowing in. You´re as undefeatable as the Hun. And to think you´re doing this in spite of the bombs & with only one eye......I´ve just written a line to Oswald Birley, poor fellow......I´m losing the will to work´ (to Maurice Codner, 4th November 1941, in pencil), ´What a pity that you could not remain at such a stage of brilliance for the rest of your natural life - or unnatural life, or whatever your present existence may be - Can´t you buy up a quantity of that same sherry & consume at intervals & go on flying through the air like a blazing comet?......Hunting all over England should be stopped. That´s my opinion. People who go wouldn´t if the hounds didn´t. Absolute not. Have you had time to go & see the exhibition of under 20 guinea pictures yet at Trafalgar Square? If not, go & let me know......You & I should go & stay at Bradley Farm up in the woods & hills near here for a month & live on cream & stuff & work.....trees galore & stone buildings & the rest & when it rained we´d do masterpieces indoors - big sitting rooms......write again my lad of wax - any f - g lately?´ (to Maurice Codner, n.d. [c. September 1942], in pencil), ´One day I´ll be round there. On Exmoor now, Army took my house at Dedham´ (to A. R. Blundell, 22nd March 1944), ´The man who did that plate of an old poplar tree is [a] great artist. If you can do such a thing as that although it is uncared for by the crowd is someone to be reckoned with. If only you could [do] an oil like that & as well!! It is superb. I saw it in Emmons´ house at Flatford Mill & looked & looked [at] it again having seen it in the R.A. It is equal to anything of its kind I know´ (to Blundell, 3rd January 1946; actually 1947), the postcard featuring an ink drawing by Munnings of a skier lying face down in the snow, with a mountain, trees and sun in the background, wishing the recipient a Happy Easter and hand addressed by Munnings to Mr. and Mrs. John Napper, April 1956. Together with five original pencil sketches by Munnings, one signed in full, three with initials, and one unsigned, the largest measuring approximately 20.5 x 16.5 cm, the majority depicting horses and one of a cow feeding her calves. All are matted and framed. Also including a small collection of ephemera etc. including printed illustrated 8vo booklets advertising new signed artist´s proofs of the works Going to the Meet, The Whip and A Little Piece of England, a catalogue for a Loan Collection of Pictures by Alfred Munnings exhibited at the Art Galleries of the Norwich Castle Museum, August - September 1928, etc. One letter with some tears and staining (only FR), generally G to about VG, Sml Qty.

LAGERFELD KARL: (1933-2019) German fashion designer. A wonderful original pencil and coloured crayon drawing executed and signed by Lagerfeld, one page, large 4to (approximately 19.5 x 28.5 cm), n.p., n.d. (1980s). On a sheet of Chanel printed stationery (featuring the interlocking CC monogram of Coco Chanel which Lagerfeld integrated into a style pattern for the House of Chanel in the 1980s) Lagerfeld has drawn an attractive full-length study of the slim Coco Chanel standing in profile, wearing a long skirt and matching jacket, and with a Chanel handbag hanging by its chain from her wrist. Lagerfeld has seemingly deliberately added more detail to the handbag, which features the interlocking CC monogram, reflecting on its importance as an iconic accessory of the Chanel brand. Lagerfeld has also prominently titled the drawing Gabrielle Chanel across the centre and added his signature at the base. Both Chanel´s name and Lagerfeld´s signature are written in black ink, adding a red outline (essentially a second signature) to both in order to attractively create the effect of a red ´shadow´. Matted in cream and framed and glazed in a plain black frame to an overall size of 12.5 x 16. A truly fabulous original drawing linking two of the 20th century´s most important fashion designers. VG

CALATRAVA SANTIAGO: (1951- ) Spanish-Swiss architect. Black ink signature (´Santiago Calatrava´) to the verso of a colour picture postcard featuring four images of buildings in Lisbon, Portugal, including the Gare do Oriente, designed by Calatrava. Alongside his signature the architect has added an original ink drawing of a dove. VG

After John Opie, RA,  British 1761-1807- The Murder of James I, King of Scotland; pen and black ink on paper, 45.8 x 58.8 cm. Provenance:  Collection of Nick Drummond, UK.  Private Collection, UK. Note:  Opie's original painting was made known to contemporaries through a print by Thomas Ryder I (1746-1810) and published by John Boydell (1719-1804). This drawing, however, most closely resembles a more pared-back print of 'The Murder of King James I' by Louis Marie Normand, known as Normand fils (1789-1874), after Opie, an illustration of which can be found in the Witt Library at the Courtauld [Courtauld_001956_Witt_030805_British_283595]. 

Circle of John Hamilton Mortimer,  British 1741-1779- Studies of figures in Classical dress; pen and brown ink on paper, bears possible initials 'HM [?]' (lower centre), 30.4 x 47 cm.; together with Circle of George Richmond, RA, British 1809-1896- Figure studies; pen and black ink on paper, 29.5 x 31.5 cm., two (2). (unframed / mounted). Note:  The first drawing is heavily reminiscent of Mortimer's sketches, often featuring figures with sharp, clearly defined profiles, and dressed in Classical costume - see for example his drawing in the British Museum [no.1861,0413.3].  The second work exhibits striking similarities to certain drawings by Richmond which reveal the artist's exploration of the depiction of the movement of the human figure. 

Arthur Pond, after Agostino Carracci,  British 1701-1758, and Italian 1557-1602- Figures Kneeling in Prayer, from: Prints in Imitation of Drawings; etching, circa 1732-1736, in brown ink on laid paper, watermark Letters VI, a fine rich impression trimmed within the plate, 17.5 x 30.4 cm. (unframed / mounted). Provenance:  Private Collection, UK. Literature: Hake 1922 (Pond & Knapton's Imitations of Drawing ), no.6. Note:  See British Museum no.2006,U.1111. 

Circle of Francesco Fontebasso,  Italian 1707-1769- Studies of two male nudes, reaching behind their backs; pen, brown ink, and wash on laid paper, 32 x 43.5 cm. Note:  The technique of the present drawing, particularly in the clearly delineated hatching, is extremely reminiscent of that of the Venetian artist Fontebasso.

George Romney, British 1734-1802- Sketch of a lady, traditionally identified as Henrietta, Countess of Warwick, seated with her arm outstretched; pen and black ink on laid paper, bears artist's studio stamp numbered '53' in pencil verso, bears various later pencil inscriptions to card mount, 10.1 x 9.5 cm. (unframed / mounted)Provenance: with R. R. Sée (the latter day assistant of the French dealer Xavier Haas, who bought a huge number of the drawings and sketchbooks that surfaced in the sale of Romney's grand-daughter Elizabeth at Christie's in 1894). Found by the present owner in a dumpster in Hudson, New York, in 2024. Note: We are grateful to Alex Kidson for confirming the authenticity of the present work. This sketch is purportedly a preparatory work for Romney's finished portrait of the Countess of Warwick with her children, painted in 1787-89, which is in the Frick Collection in New York [no.1908.1.107]. However, Romney conceived a significant number of portraits of seated ladies and we cannot yet state with confidence which one this would have been a preliminary sketch for.The artist was known to have had many sitters over his artistic career (over 10,000 appointments are recorded with sitters in his diaries). He continuously experimented with compositions, creating countless preparatory drawings, sometimes including them in his finished compositions, but mostly experimenting for his own reference and pleasure. His sketches give a wonderful insight into his drawing technique where he is uninhibited by the dictates of eighteenth-century aesthetics. The present pen and ink drawing is rapidly executed with fluent lines. The inscription to the inside of the mount reads 'Sketch for Henrietta Countess of Warwick, born 1760, married as his 2nd wife, George 2nd Earl of Warwick in 1776, died 20 April 1838. She sat to Romney in 1777, 1782 and 1784...'

Vittorio Maria Bigari,  Italian 1692-1776- Studies of three female figures; pencil, pen, and brown ink on laid paper, signed 'Bigari' (upper left), 15.2 x 12 cm. Provenance:  Collection of Dr Richard P. Wunder, Vermont.  with Thomas Agnew & Sons, London, 1980 [no.43521].   The Collection of Professor W. M. Ballantyne (1922-2021), and thence by descent. Exhibited:  Vermont, Middlebury College, 'Architectural, Ornament, Landscape and Figure Drawings collected by Richard P. Wunder', 1975, no.117.  London, Thomas Agnew & Sons, 1980, no.18. Note:  Bigari was one of the most important decorative painters working in Bologna in the 18th century. His most famous decorative cycle is his series of frescoes in the Palazzo Aldrovandi and the Palazzo Ranuzzi, Bologna, which he was engaged on in the 1720s. The theatrical style of these late baroque frescoes is echoed in this drawing in which three elegant figures employ characteristically dramatic gestures. This sheet demonstrates how close Bigari's graphic style comes to that of his elder contemporary Donato Creti (1671-1749). 

* Green (William, 1760-1823). View of Grasmere Lake & Church, 1810, and View of Grasmere from Loughrigg Fell, circa 1810, two pencil sketches on wove paper, the first signed and dated in pencil, 1 or 2 folds, toned and a few marks, first with a few edge tears, 59 x 45.5 cm (17 1/2 x 23 ins) and 48.5 x 26 cm (10 1/4 x 19 ins) respectively, together with:Davidson (Caroline, active 1830s-1860s). View of Hever Castle, 1865, watercolour, signed and dated lower right, toned, 21.5 x 32.5 cm (8 1/2 x 12 7/8 ins), in original mount titled in ink (37 x 36 cm), plus:Petit (John Louis, 1801-1868). View from Westerham Hill, 1867, watercolour on textured paper, titled in pencil to verso and dated 27th August 1867, sheet size 28 x 39 cm (11 x 15 3/8 ins)QTY: (4)NOTE:The watercolour sketch by John Louis Petit came from the estate of the artist.English artist, poet and landscape painter William Green is best known for his views of the Lake District and the north of England. After opening two drawing schools in his native Manchester, and a brief spell in London, he settled in Ambleside in about 1800. He produced etchings as well as drawings and watercolours of the region, selling his prints for as much as 20 guineas a pair in his 'Exhibition and Sale Rooms' at Ambleside and Keswick. He compiled The Tourist's New Guide to the Lake District in 1819, and became friends with both William Wordsworth and Samuel Coleridge. Green’s tombstone in Grasmere churchyard bears an epitaph composed by Wordsworth who was a loyal patron over many years, buying numerous prints and copies of the The Tourist’s New Guide. As Wordsworth wrote, William Green ‘produced faithful representations of the country and lasting memorials of its more perishable features’.

AR * Leach (Bernard Howell, 1887-1979). Coptic Leopard, circa 1952, pen and ink on headed 'Black Mountain [College], N. C.' paper, a profile view of a richly patterned and decorated leopard with annotations, another drawing entitled 'Lifter' to sheet verso, fixed to floating mount board with tape to top margin to sheet verso, gallery label to frame verso, sheet size 10.5 x 13.8 cm (4 x 5 ins), framed and glazed (29.5 x 33 cm)QTY: (1)NOTE:Bernard Leach taught at Black Mountain College in North Carolina in the early 1950s, giving pottery seminars alongside Shoji Hamada.

* Knight (Laura, 1877-1970). An archive of letters and sketches sent to Allardyce & Josephine Nicoll, 1938-1967, comprising: 18 pen & ink or biro sketches on 17 leaves, of dogs and people, some with typed captions tipped on, two on 'Wind's Acre' headed paper, some fraying and chipping to edges, sheet size largest 36.5 x 26.5 (14 1/4 x 10 1/2 ins), smallest 14 x 13 cm (5.5 x 5 1/8 ins), and a further 8 pen & ink or biro sketches on postcards or headed paper, mostly of angelic figures, together with 33 autograph letters signed from Laura Knight, comprising: 8 letters to Allardyce and Josephine, 11 letters to Josephine, 8 letters to Allardyce, and 6 to Allardyce and his second wife Maria, variously written on plain or headed paper, including a number written on red embossed headed paper '16, Langford Place', some written from the British Camp Hotel, Malvern, and 3 written from the Grand Hotel, Nuremberg, Germany, 4 with additional sketches, including one of Laura and Harold imbibing wine sent by the Nicolls, and another of Laura in bed whilst her new cleaning lady manically scrubs the floor, plus a portion only of 2 other letters from Laura to the Nicholls, an autograph letter signed from Harold Knight to Allardyce and Josephine (and a partial letter from him), and 18 other letters to Allardyce or Josie from other friends, including one from Arthur Pinero and a number from Sir Barry Jackson, several on 'The Birmingham Repertory Theatre Ltd.' headed paper, various sizesQTY: (approx. 80)NOTE:An important archive of letters and drawings sent by Dame Laura Knight to Allardyce and Josephine (known as Josie) Nicoll. The letters are full of warmth and appreciation for these closest of friends, whom Laura socialised and corresponded with over three decades.Allardyce Nicoll was a professor of Theatre History at the University of Birmingham, and he and Josie became friends with Laura Knight through their mutual involvement with the Malvern Festival. Their house, Wind's Acre in Colwall, was situated on the hillside to the west of the Herefordshire Beacon at Malvern. During WWII the Nicholls allowed Laura to design a beautiful studio in a detached two-storey outbuilding there, which had a huge window at the rear, where the artist painted her famous views of the Malvern Hills. One of the letters in this archive describes the renovation of the studio in October 1942, presumably whilst the Nicolls were absent from home, and in another (undated) she speaks of her gratitude at her friends' generosity: 'You can never have the vaguest idea of the grandeur of both yours and Allardyce's act in allowing me to use that heavenly studio. - Apart from the joy of being there, - but for it we would have been forced to go back to London into that awful bombing ...'.Laura's letters are wonderfully descriptive, with many passages painting a picture of people, animals and landscapes with her artist's eye. There are, of course, many references to her work as an artist. In one, dated 1938, she writes 'I am spending the days in a gypsy camp, having a grand time wading in paint', and in another of 1944 she says 'I hear my "Take-off" picture, the Bomber one, of which I told you, is hanging in the place of honour, the President's place at the R.A.' In 1945 she talks about the paintings she had embarked upon at the Skefko ball bearing factory: 'the work I have commenced here promises excitement and great interest. I think it may prove the most unusual and thrilling scheme of the kind I have done.' In 1949 she mentions the portrait she was painting of the then Princess Elizabeth: 'I go to Clarence House for another sitting from H.R.H. I do wish I could feel normal - tiresome to be so overawed, doesn't suit a hard job like doing a drawing - never easy at any time.'Various well-known people are mentioned in this archive, including Edwin Lutyens, whose election as the new President of the Royal Academy in 1938 was a great relief to Laura, John Birch, on whose behalf she wrote to The Times in an attempt to halt the destruction of Lamorna by commercial development, and Major Peter Casson (Deputy Assistant Adjutant General of the British War Crimes Executive, based at the Courthouse, Nuremberg), who became a firm friend, and a beneficiary in Laura's will.Peter Casson first met Laura Knight at Nuremberg. Laura was an official war artist during WWII, and at the age of 68, in January 1946, was commissioned to record the Nuremberg Trials in paint for the British Government War Records. Peter Casson was one of those responsible for the care and travel arrangements of the artist whilst at the Trials. Three of the letters herein were written during this fascinating period of Laura's life. She describes sitting in 'a little cubby hole of a press box, glassed-in front, right over, close to the 20 prisoners', and mentions Hess and Goering (the latter seems a 'jolly good fellow' but then there were 'glimpses of the ruthlessness in him'). She describes the 'utter desolation and horror' and the 'dreadful wounds' of the city of Nuremberg: walking through ruins from her luxurious hotel suite, picking her way 'over rubble, in the evenings, - sometimes in evening dress, in high heeled shoes...'. 'Being here', she writes, 'is the experience of a life-time - from the point of view of emotion: sorrow at such devastation and misery ...'. Musing on the problem of depicting such a subject she writes: 'What matters is -one's personal vision of any subject, and that must be the highest one can reach.'Other letters are filled with more prosaic concerns. In 1966, after her husband, Harold's, death, Laura writes: 'Although Harold is not here in bodily form, his spirit still hovers arround[sic]. I polish his end of the dining table every day - most especially.' In an undated letter the artist's humour shines through when she recalls that, after recounting an ecstatic greeting by Prime Minister Harold Wilson at the Royal Society's 30th Anniversary dinner, her companion housekeeper, Miss Worth, replied 'no wonder England is going to the dogs.'Even in later life, Laura Knight's drive to paint is evident; as busy as ever in her last years, painting, arranging exhibitions, attending dinners etc., she wrote in 1966 '... although I cannot again tramp miles with my paint box on my head, canvas and easel in hand, I still glory in the exquisite slush of paint ... to squeeze the fat tubes of lushious[sic] blue, red and yellow contents ... what a joy!' In a partial letter, undated but clearly written later on in her life, it is clear that Laura was still striving to produce her best work: '[I] work as a hard as usual - with perhaps ever greater joy and zest in the hope of doing something worth while before the book of Life closes its covers.'  

* Baglione (Giovanni, 1566/71-1643/44). Young couple in contemporary dress, black chalk on pale grey-brown laid paper, with touches of white chalk, early manuscript number 174 in brown ink to centre of top margin, and ‘l 225’ in brown ink to lower right corner, inscribed in pencil to verso (in a later hand) ‘Del Cavalier Baglione’, sheet size 298 x 224 mm (11 3/4 x 8 7/8 ins), hinge-mounted to a larger sheet of 18th century laid backing paper, with elaborate presentation title and inscription in Italian in brown ink above and below the drawing, giving the artist’s name above, and a long biographical note below, old inscribed number in brown ink to upper left corner: 161, some marks and soiling to the backing sheet with a few short closed marginal tears to margins (not affecting the drawing itself), the backing sheet with ruled framing lines around the drawing, backing sheet 49 x 34 cmQTY: (1)NOTE:Provenance: Private Collection.Giovanni Baglione worked mainly in Rome, his mature style typical of the early Roman Baroque, whilst also retaining elements of his early training in the Central Italian tradition of disegno. Between 1621 and 1622 he was in Mantua as the court artist to Duke Ferdinando Gonzaga. Baglione is best known as the author of the Vite de’ Pittori, Scultori, Architetti, ed Intagliatori (Lives of Painters, Sculptors, Architects and Engravers), first published in 1642, one of the most important contemporary sources for artists in Rome at this time. The artist is also famous due to his suit for libel in August 1603 against Caravaggio, Orazio Gentileschi and other painters in connection with some unflattering poems then circulating in Rome the previous summer. Caravaggio’s testimony during the trial is one of the few documented records of his opinions on art and his contemporaries.The present drawing, in which the chalk has been applied lightly and with shaded areas creating a sfumato effect, depicts an elegant young couple in contemporary dress, with two other figures behind, and may be a study for a wedding procession or similar subject.

* Strickland Family Archive. A collection of approximately 200 drawings, late 18th-early 19th century, by various members of the family, comprising 25 finely executed botanical preparatory studies, in partial watercolour and pencil (believed to be by Juliana Strickland), and approximately 175 pencil sketches and studies, mostly of historical buildings and landscape scenes, the majority on loose sheets, some in sketchbooks (one disbound), or in portfolios (one titled in ink manuscript 'Mrs Freeman's Sketches'), many captioned, some dated, together with: several ink manuscript letters, lists etc. by the Strickland family (especially Strickland Freeman and his wife Elizabeth), one dated 1798, unsigned and describing a tour of the country, visiting various estates including Woburn, another similar, dated 1817 and describing a tour around Devonshire, with accompanying itinerary; empty envelope addressed to 'Mr Freeman, Fawley Court'; a paper bi-fold roughly titled 'Monsters', containing numerous ink blot insects and animals; ink manuscript notes regarding oil painting, the materials used and their preparation; a pencil manuscript list of people met with notes about them (eg. 'good humour & honor' [sic], 'mate of the Perseverance East Indiaman', etc.), a small folder of leaf skeletons together with ink manuscript notes on how to make them, and a few silhouettes, also a folder containing 24 Chinese Export? watercolour drawings of a red plant (seaweed?) and 26 watercolour drawings of oysters?, some with Chinese annotations in ink manuscript, most with English ink manuscript annotations, apparently regarding prices, quality of the materials, and possible use of the red seaweed for making buttons, plus: a single folio sheet advertisement for 'John Holl, Bookseller, Printer and Stationer, High-Street, Worcester', circa 1790, printed on both sides with details of publications, pocket-books and almanacks, sealing-wax and wafers, musical instruments, colours and materials for drawing, painting &c., playing and printing cards, etc., also advertising a large selection from 'Holl's Genuine Patent Medicine Warehouse', including items for coughs, nervous disorders, for the stomach, for weaknesses, Dr. Hill's Herbal Medicines, etc., ornate woodcut printer's device to recto, both sides with outer typographical border, with some unrelated artworks and prints, comprising: an album of 14 sketches by Harry J. Johnson, some watercolour, some pencil; and another 17 items, sketches and prints, various conditions and sizesQTY: (A carton)NOTE:This collection of drawings and manuscripts comes from the archive of Apperley Court, Gloucestershire, the home of Henry Eustachius Strickland (1777-1865), his sisters Juliana and Charlotte, and his daughter Frances. The family members involved in this collection are believed to include Juliana Sabina Strickland (1765-1849), Elizabeth Freeman née Strickland (died 1821), and Frances Strickland (1803-1888). Possibly also Charlotte Strickland (died 1833) and John Henry Strickland (1818- ).The places drawn include: Bristol, Aysgarth Force, Fountains Abbey, Windermere, Richmond, Matlock, Warwick Castle, Battle Abbey, Valle Crucis Abbey, Cambridge, etc.Three female members of the Strickland family, Julia (also called Juliana), Charlotte, and their niece Frances were good watercolourists. Charlotte and Juliana were sisters who provided the 'exquisite' botanical illustrations for the work Select Specimens of British Plants, edited by their cousin and brother-in-law Strickland Freeman. Many of the pencil drawings are by their sister Elizabeth, who married Strickland Freeman of Fawley Court near Henley, in 1781.

* Stothard (Thomas, 1755-1834). The Laurel and the Reed, & The Sunflower and the Ivy, together two pen, ink and grey wash original drawings on laid paper, sheet size 82 x102 mm and 91 x 94 mm (3 1/4 x 4 ins and 3 5/8 x 3 3/4 ins respectively), window-mounted, together with another pen, ink, grey and black wash drawing in the manner of Thomas Stothard, of an older and younger man inside a chapel, sheet size 176 x 102 mm (7 x 4 ins)QTY: (3)