Follower of Michael Christoph Emanuel Hagelgans (1725-1766) German Portrait of Maria Theresa, Empress of Austria, half-length, wearing a teal blue dress decorated with gold brocade and embellished with jewels and lace, together with an ermine-trimmed cloak, with crowns resting on a red velvet cushion to her right Oil on canvas, 91cm by 71.5cmA pastel by Hagelgans was offered at Dorotheum, Vienna, June 6th 2011, Lot 9, albeit a head and shoulders rendition, the present oil on canvas bears a close resemblance to the positioning of the head, headdress and lace neck decoration worn by the Empress.Provenance: Baron Clemens von Leykam Thence by descent and marriage Mary Stuart Crewdson (nee Fryers) Thence by descent Private Collection, CumbriaIt is understood that the von Leykam's worked in the circle of The Empress Maria Theresa and her advisors. Lined, three keys missing, a little slack. A quantity of dirt and debris behind bottom stretcher. There is a noticable line around the edges of dirt and disrupted varnish, likely where it was in a slightly smaller frame. Brittle age craquelure throughout, mostly stable but with a little elevation and a few sharp lifting points associated with blows from the reverse and at the bottom edge. There has been a history of flaking at the bottom edge and at the left edge, which appears mostly stable at the moment. There are however, small areas of associated loss of paint and ground, with some crude retouching to these in places. There are scattered losses throughout, some partly retouched and some retouched (it appears that the retouching might have been partly removed??). See images. Some of the losses are unretouched. The larger losses are located at the bottom edge, to tle left of the jewelled crown, to the bottom of the lace where it falls over the bust etc. There are scattered losses, retouched, in the face including in the forehead and eye. It is difficult to see any further losses in the background due to the degraded old varnish. There has been a bit of abrasion to the paint layers. There is a thick degraded varnish, yellowed, with an uneven surface gloss, minor scuffs, surface dirt, drips.
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A uniquely handcrafted ceramic vase signed by artist B. Glassman. This contemporary piece showcases a gradient pastel color palette transitioning from blue to green, accented with geometric incised detailing throughout. The tapered cylindrical form gives it a modern aesthetic, while the surface design adds a touch of artistic depth. Signed on the underside by the artist.Artist: B. GlassmanIssued: 21st centuryDimensions: 11.5"HCondition: Age related wear.
Kate Mary Window View, Giverny, 2024 Ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Kate Mary (b.1992) is an artist living and working in Glasgow, Scotland. Her practice consists of largely two-dimensional drawings and paintings in oil pastel. Trained as an interior designer, Mary uses this creative lens to depict intimate renderings of domestic scenes and moments. Through enhancing motifs, playing with scale, celebrating colour, and intensifying light and shadow, her works become striking, atmospheric depictions of her memories. Education 2015 - 2019 Interior Design: BA Hons, Glasgow School of Art, Glasgow Solo Exhibitions 2024 Arrival, Salon 21, NYC, USA Group Exhibitions 2024 Original Works on Paper, For Arts Sake x Pitzhanger, London, UK There's No Place Like Home, Milieu Studios, St Ives, UK Summer Stories Exhibition, Artsnug, London, UK 50 x £50 - Auction Collective, London, UK 2023 Subconcious, Black White Gallery, London, UK SOTA Exhibition London Chapter, SOTA, London, UK Inaugural Salon Group Exhibition, Salon 21, NYC, USA Vivid Summer, Duet exhibition, Klamp Gallery, Seoul, South Korea Art on a Postcard, Hoxton Gallery and Dreweatts, London, UK 2022 Open Call Exhibition, Delphian Gallery, London, UK Kate Mary + Rie Kitagawa, Delphian Gallery, Tusson, France 2021 The Beat Goes On, Auction Collective, London, UK Gallery Representation Sobering Galerie, Paris, France Salon 21, NYC, USA For Arts Sake, London, England Statement about AOAP Submitted Artwork These works are a hopeful and ambiguous collection of observations from gardens in Givern and views of Nice; created to awaken the imagination and provide a sense of grounding, comfort, and growth. 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.
Alina Dieth Sleeping Woman and Dog, 2024 Wax pastel on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Alina is a German, London-based fine artist working almost entirely in dry media, predominantly charcoal. Her work explores moments of tenderness and care in a fleeting and desperately fast-moving world, with a strong relationship to animals and nature. Drawing from personal experience and memory, she wants to invite the viewer to reflect on their own memories and cogitate their perception and stance to anything they surround themselves with, opening a window into the quiet observation and contemplation of deep care, love, and loss. A meditation on the longing for active participation in our environment and the feeling of passiveness stemming from our disconnection to the natural world lies at the heart of her practice to help people, make them feel heard, and give solace. Alina studied Illustration at Camberwell College of Art before joining the postgraduate programme "The Drawing Year" at the acclaimed Royal Drawing School in Shoreditch. She is part of the represented artists collective "AGB Emerging" at Alice Black Gallery. Education 2021-2022 BA Illustration, Camberwell College of Art, London, UK 2022-2023 "The Drawing Year" Postgraduate Programme, The Royal Drawing School, London, UK Solo Exhibitions N/A Group Exhibitions 2023 The Best of the Drawing Year, Christie's, London, UK The Best of the Drawing Year, The Royal Drawing School, London, UK Open Studios, SPACE, London, UK 2024 AGB Emerging Collection 01, Alice Black Gallery, London, UK Gathering Relief, Appach Gallery, London, UK Whorl, Pulp Collective at Hypha, London, UK Residencies Moritz-Heyman Foundation Residency, Borgo Pignano, Tuscany, 2023 and 2024 National Trust Hafod Estate Residency, Wales, 2024 Public Collections The Royal Collection, Windsor, UK Statement about AOAP Submitted Artwork My work attempts to create an alternate universe, which breaks down the boundaries between humans and nature, while stressing the importance of community, empathy, and interrelatedness between humans and the broader ecological non-human community. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Xin Chen Little by Little my Nights got Better 01, 2024 Oil pastel and varnish on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Xin Chen is a Nottingham-based Chinese visual artist whose work spans ceramics, drawing, and collage. Her practice is marked by a playful engagement with physical and visual materials. Xin's intuitive process results in spontaneous pieces that explore the balance and mystery of the universe. Her practice investigates the relationships between nature and humankind, the subconscious and the cosmic, revealing unexpected discoveries and connections related to her childhood memories. Education 2023-2025 MFA in Fine Art, Nottingham Trent University, Nottingham, UK Solo Exhibitions 2019 108 Pattern Project, Shuxia Gallery, Chengdu, China Group Exhibitions 2024 The Last Horror Show, BACKLIT Gallery, Nottingham, UK BACKLIT Gallery Members Show, Nottingham, UK Frames Exhibition, Nottingham Contemporary, UK 2022 The Year of Tiger Exhibition, Shanghai Library, Shanghai, China Awards 2023 Merit Award, Hii Illustration International Competition 2022 Merit Award, Hii Illustration International Competition Statement about AOAP Submitted Artwork Little by Little, My Nights Got Better 1,2 depicts wild elephants wandering in the urban environment, exploring the relationship between nature and humankind. I used childlike and innocent combinations of colours and forms to convey a sense of playfulness and naivety. The compositions reflect my fascination with the juxtaposition of the organic and the constructed, raising questions about coexistence and harmony. What does it mean for wild animals to enter human spaces? Are we getting better? You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
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.
Kate Mary After Giverny, 2024 Acrylic and pastel on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Kate Mary (b.1992) is an artist living and working in Glasgow, Scotland. Her practice consists of largely two-dimensional drawings and paintings in oil pastel. Trained as an interior designer, Mary uses this creative lens to depict intimate renderings of domestic scenes and moments. Through enhancing motifs, playing with scale, celebrating colour, and intensifying light and shadow, her works become striking, atmospheric depictions of her memories. Education 2015 - 2019 Interior Design: BA Hons, Glasgow School of Art, Glasgow Solo Exhibitions 2024 Arrival, Salon 21, NYC, USA Group Exhibitions 2024 Original Works on Paper, For Arts Sake x Pitzhanger, London, UK There's No Place Like Home, Milieu Studios, St Ives, UK Summer Stories Exhibition, Artsnug, London, UK 50 x £50 - Auction Collective, London, UK 2023 Subconcious, Black White Gallery, London, UK SOTA Exhibition London Chapter, SOTA, London, UK Inaugural Salon Group Exhibition, Salon 21, NYC, USA Vivid Summer, Duet exhibition, Klamp Gallery, Seoul, South Korea Art on a Postcard, Hoxton Gallery and Dreweatts, London, UK 2022 Open Call Exhibition, Delphian Gallery, London, UK Kate Mary + Rie Kitagawa, Delphian Gallery, Tusson, France 2021 The Beat Goes On, Auction Collective, London, UK Gallery Representation Sobering Galerie, Paris, France Salon 21, NYC, USA For Arts Sake, London, England Statement about AOAP Submitted Artwork These works are a hopeful and ambiguous collection of observations from gardens in Givern and views of Nice; created to awaken the imagination and provide a sense of grounding, comfort, and growth. 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.
Phoebe Boddy Cowgirl, 2025 Oil pastel on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Phoebe Boddy is a London-based emerging artist. Her abstract, figurative, expressionist paintings focus on the mundane, weaving exhilarating compositions that celebrate the everyday. Whether it is a painting of a fruit stand from the market or a bathtub scene, Boddy amplifies the beauty in everyday life through her energised brushstrokes, infused with bold outlines and vibrant colours while often adding a sprinkle of humour through witty text written on the canvas. Education 2017 Fine Arts BA (Hons), Loughborough University 2014 UAL Level 3 Diploma Art & Design Foundation Studies Solo Exhibitions 2024 Reverse Cowgirl, Nomad Salon, London, UK Group Exhibitions 2024 A Living Room, Interrupted Art, The Fitzrovia Gallery, London, UK Art on a Postcard, International Women's Day Auction, London, UK 2023 Delphian Open Call 2023, Unit 1 Gallery Workshop, London, UK Papier, Delphian Gallery, France Art Collector's Home, The Nomad Salon, London, UK The Silo Collective, Group Show, Hampshire, UK Beyond Beck Road, Beck Road Open Studios, London, UK Women to Watch, Reem Gallery, London, UK May Collection, Amelia Maxwell, Online Show Kensington & Chelsea Art Week, London, UK 2022 The Auction Collective, 50 X £50, Online The Other Art Fair, The Truman Brewery, London, UK [RE]Configured, Mall Galleries, London, UK Fancy a Bite?, Studio West Gallery, Notting Hill, UK Kensington & Chelsea Art Week, London, UK Pie in the Sky, PALETTE, Protein Studios, London, UK Hive Open Studios, The Koppel Project, London, UK Aubaine Restaurant, London, UK Collection Two, Katherine Richards Art Gallery, Hove, UK Awards 2021 Figurative Art Prize, Mall Galleries Kate Bryan Prize Nominee 2020 Directors Pick, SAATCHI ART Statement about AOAP Submitted Artwork My current work delves into representations of women for the female gaze. 'Cowgirl' & 'Just Have Another Beer Then' features paintings of badass female figures empowered by embodying the traditional cowboy persona, exuding the tough, masculine energy long associated with Western Cowboy culture. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Pia Pack Jumbled, 20025 Acrylic, wax pastel, and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Pia Pack's work examines ideas surrounding motherhood and domestic life through an exploration of social interactions around the kitchen table; 'Table Talks'. Pia combines familiar patterns and shapes with repetition and overlapping to create looseness and tension. Through these contradictions, she expresses a universal statement about the challenges and satisfactions of human relationships. Her work speaks to engagement with family life, social expectations and daily patterns. Pia says of the works 'There is no shying away from the beauty and oddities of family life in these paintings.' Pia lives and works in Bristol and is represented by Gertrude. Pia studied painting at Wimbledon School of Art, Central St Martins and Bath School of Art and has been included in many group shows in London and in the U.S. In 2019, Alex Eagle invited Pia to take over their Soho studio with an exhibit entitled Table Talk. Whilst living in Los Angeles, Pia established the podcast 'What Artists Listen To' aimed at bringing artist's studio practises to life and building a community amongst creatives in the city and further afield. This communal sentiment has been continued recently with an initiative in London entitled 'The Binder of Women', organised by Pack to unite a group of 11 women artists to create a portfolio of works together. Solo shows 2024 Table Talk - TEALS, Somerset 2019 Table Talk - Alex Eagle, London, UK Group shows 2025 Tenterhooks presented by Binder of Women - Gillian Jason Gallery, London Art on a Postcard - International Womens Day, Bomb Factory, London 2024 Binder of Women, 4th Edition - Woolwich Contemporary Print Fair, London Colour Takes Shape - Eponine, London Art on a Postcard - International Womens Day, Bomb Factory, London Mothers of Invention - The Mount Without, Bristol Arts Emergency - Art for Charity Collective 2023 Presence - That Art Gallery, Bristol It's My House with CURA - Home House, London 2022 Binder of Women, 3rd Edition - The Arts Club, London Gertrude PRESENTS - The Truman Brewery, London Art for Charity Collective - Unit 1, London It's My House with CURA - Porch Gallery, Ojai 2020 Oblomovrooms - Bertoli Mauti, London LA: Night & Day with CURA - The Lodge LA 2019 Sexy X-Mas - The Lodge, LA A Store Show - Odd Ark, LA Dinner's Ready - Gallery Bang Bang, Nashville, TX You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Sophie Von Hellerman Delphinium, 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Sophie von Hellermann (b. 1975, Munich) lives and works in London and Margate, UK. Sophie von Hellermann's paintings recall the look of fables, legends, and traditional stories that are imbued with the workings of her subconscious rather than the content of existing images. Her romantic, pastel-washed canvases are often installed to suggest complex narrative threads. Von Hellermann applies pure pigment directly onto unprimed canvas, and her use of broad-brushed washes imbues a sense of weightlessness to her pictures. Von Hellermann's paintings draw upon current affairs as often and as fluidly as they borrow from the imagery of classical mythology and literature to create expansive imaginary places. In subject matter and style, von Hellermann tests imagination against 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.
Kate Mary Window View, Nice, 2024 Ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Kate Mary (b.1992) is an artist living and working in Glasgow, Scotland. Her practice consists of largely two-dimensional drawings and paintings in oil pastel. Trained as an interior designer, Mary uses this creative lens to depict intimate renderings of domestic scenes and moments. Through enhancing motifs, playing with scale, celebrating colour, and intensifying light and shadow, her works become striking, atmospheric depictions of her memories. Education 2015 - 2019 Interior Design: BA Hons, Glasgow School of Art, Glasgow Solo Exhibitions 2024 Arrival, Salon 21, NYC, USA Group Exhibitions 2024 Original Works on Paper, For Arts Sake x Pitzhanger, London, UK There's No Place Like Home, Milieu Studios, St Ives, UK Summer Stories Exhibition, Artsnug, London, UK 50 x £50 - Auction Collective, London, UK 2023 Subconcious, Black White Gallery, London, UK SOTA Exhibition London Chapter, SOTA, London, UK Inaugural Salon Group Exhibition, Salon 21, NYC, USA Vivid Summer, Duet exhibition, Klamp Gallery, Seoul, South Korea Art on a Postcard, Hoxton Gallery and Dreweatts, London, UK 2022 Open Call Exhibition, Delphian Gallery, London, UK Kate Mary + Rie Kitagawa, Delphian Gallery, Tusson, France 2021 The Beat Goes On, Auction Collective, London, UK Gallery Representation Sobering Galerie, Paris, France Salon 21, NYC, USA For Arts Sake, London, England Statement about AOAP Submitted Artwork These works are a hopeful and ambiguous collection of observations from gardens in Givern and views of Nice; created to awaken the imagination and provide a sense of grounding, comfort, and growth. 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.
Phoebe Boddy Just have another beer then, 2025 Oil pastel on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Phoebe Boddy is a London-based emerging artist. Her abstract, figurative, expressionist paintings focus on the mundane, weaving exhilarating compositions that celebrate the everyday. Whether it is a painting of a fruit stand from the market or a bathtub scene, Boddy amplifies the beauty in everyday life through her energised brushstrokes, infused with bold outlines and vibrant colours while often adding a sprinkle of humour through witty text written on the canvas. Education 2017 Fine Arts BA (Hons), Loughborough University 2014 UAL Level 3 Diploma Art & Design Foundation Studies Solo Exhibitions 2024 Reverse Cowgirl, Nomad Salon, London, UK Group Exhibitions 2024 A Living Room, Interrupted Art, The Fitzrovia Gallery, London, UK Art on a Postcard, International Women's Day Auction, London, UK 2023 Delphian Open Call 2023, Unit 1 Gallery Workshop, London, UK Papier, Delphian Gallery, France Art Collector's Home, The Nomad Salon, London, UK The Silo Collective, Group Show, Hampshire, UK Beyond Beck Road, Beck Road Open Studios, London, UK Women to Watch, Reem Gallery, London, UK May Collection, Amelia Maxwell, Online Show Kensington & Chelsea Art Week, London, UK 2022 The Auction Collective, 50 X £50, Online The Other Art Fair, The Truman Brewery, London, UK [RE]Configured, Mall Galleries, London, UK Fancy a Bite?, Studio West Gallery, Notting Hill, UK Kensington & Chelsea Art Week, London, UK Pie in the Sky, PALETTE, Protein Studios, London, UK Hive Open Studios, The Koppel Project, London, UK Aubaine Restaurant, London, UK Collection Two, Katherine Richards Art Gallery, Hove, UK Awards 2021 Figurative Art Prize, Mall Galleries Kate Bryan Prize Nominee 2020 Directors Pick, SAATCHI ART Statement about AOAP Submitted Artwork My current work delves into representations of women for the female gaze. 'Cowgirl' & 'Just Have Another Beer Then' features paintings of badass female figures empowered by embodying the traditional cowboy persona, exuding the tough, masculine energy long associated with Western Cowboy culture. 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 Loneliness (Figure Study), 2024 Pastels, sanguine, charcoal, and white pastel on paper Signed on Verso 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.
Pia Pack Interlude, 2025 Acrylic, wax pastel, and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Pia Pack's work examines ideas surrounding motherhood and domestic life through an exploration of social interactions around the kitchen table; 'Table Talks'. Pia combines familiar patterns and shapes with repetition and overlapping to create looseness and tension. Through these contradictions, she expresses a universal statement about the challenges and satisfactions of human relationships. Her work speaks to engagement with family life, social expectations and daily patterns. Pia says of the works 'There is no shying away from the beauty and oddities of family life in these paintings.' Pia lives and works in Bristol and is represented by Gertrude. Pia studied painting at Wimbledon School of Art, Central St Martins and Bath School of Art and has been included in many group shows in London and in the U.S. In 2019, Alex Eagle invited Pia to take over their Soho studio with an exhibit entitled Table Talk. Whilst living in Los Angeles, Pia established the podcast 'What Artists Listen To' aimed at bringing artist's studio practises to life and building a community amongst creatives in the city and further afield. This communal sentiment has been continued recently with an initiative in London entitled 'The Binder of Women', organised by Pack to unite a group of 11 women artists to create a portfolio of works together. Solo shows 2024 Table Talk - TEALS, Somerset 2019 Table Talk - Alex Eagle, London, UK Group shows 2025 Tenterhooks presented by Binder of Women - Gillian Jason Gallery, London Art on a Postcard - International Womens Day, Bomb Factory, London 2024 Binder of Women, 4th Edition - Woolwich Contemporary Print Fair, London Colour Takes Shape - Eponine, London Art on a Postcard - International Womens Day, Bomb Factory, London Mothers of Invention - The Mount Without, Bristol Arts Emergency - Art for Charity Collective 2023 Presence - That Art Gallery, Bristol It's My House with CURA - Home House, London 2022 Binder of Women, 3rd Edition - The Arts Club, London Gertrude PRESENTS - The Truman Brewery, London Art for Charity Collective - Unit 1, London It's My House with CURA - Porch Gallery, Ojai 2020 Oblomovrooms - Bertoli Mauti, London LA: Night & Day with CURA - The Lodge LA 2019 Sexy X-Mas - The Lodge, LA A Store Show - Odd Ark, LA Dinner's Ready - Gallery Bang Bang, Nashville, TX You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Rachel Louise Hodgson Doll, 2024 Oil pastel on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Rachel Hodgson is a multidisciplinary artist and alumni of The Royal Drawing School, currently living and working in Glasgow. Rachel has sold and exhibited her work internationally, with group and solo exhibitions in the U.K, Sweden, and Japan. Depicting her most strange, surreal, hysterical emotions through drawings, paintings, ceramics, and soft sculptures, she conjures a colourful and raw feminine world. Education 2017-2018 The Royal Drawing School, Drawing Year Solo Exhibitions 2023 Lost her doll head, Wish Less Gallery, Tokyo, Japan 2022 All of it: 10 years of horrible drawings, Hart Gallery, 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.
Mia Wilkinson Untitled, 2024 Lino print and oil pastel on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I toy with western stereotypes of the domestic female in my art. I undermine the performative nature of woman as 'the angel in the house', electrifying my figures with a grotesque, playful sexuality, and situating them in caricaturised, lurid domestic settings. I was born into a single parent, working-class family in the North-East. I don't know my Asian father and have little experience of one aspect of my racial heritage. Moulded by a strong but complex matriarchy I learned that a female body has both a social currency and a relative social invisibility. My experience of paternal absence and the ramifications of that for my racial identity, combined with the dominant female forces that raised me, find presence and voice in the bawdiness of the females I depict, skewing and skewering culturally imposed expectations and artistic traditions. I find myself as 'subject' deeply discomforting, and therefore increasingly turn the gaze onto myself, in attempt to further worry traditions of depicting women, and the female relationship with art. Education 2024-2025 Royal College of Art MA Painting 2011-2014 Wimbledon College of Art UAL Bachelors painting Solo Exhibitions 2023 DOMESTICALTED HINNY, KoKo Camden, London, UK 2018 THIS IS NOT PORN, Public Gallery, London, UK 2016 PLUS SIZE, Espacio Gallery London, UK Group Exhibitions 2025 In Fleeting Moments, Secession Gallery, Hastings 2024 Kunsthall UG, Augsburg, Germany REJECTS, Art Friend, London Lilacs out of the Dead Land, Donya Gallery, London The Way of all Flesh, SAATCHI, London 2023 Sweet Potion, Artistellar Gallery, London 2022 Two Doors, The House of st Barnabas, London Retrespect, The Art Bypass Gallery, London You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Xin Chen Little by Little my Nights got Better 02, 2024 Oil pastel and varnish on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Xin Chen is a Nottingham-based Chinese visual artist whose work spans ceramics, drawing, and collage. Her practice is marked by a playful engagement with physical and visual materials. Xin's intuitive process results in spontaneous pieces that explore the balance and mystery of the universe. Her practice investigates the relationships between nature and humankind, the subconscious and the cosmic, revealing unexpected discoveries and connections related to her childhood memories. Education 2023-2025 MFA in Fine Art, Nottingham Trent University, Nottingham, UK Solo Exhibitions 2019 108 Pattern Project, Shuxia Gallery, Chengdu, China Group Exhibitions 2024 The Last Horror Show, BACKLIT Gallery, Nottingham, UK BACKLIT Gallery Members Show, Nottingham, UK Frames Exhibition, Nottingham Contemporary, UK 2022 The Year of Tiger Exhibition, Shanghai Library, Shanghai, China Awards 2023 Merit Award, Hii Illustration International Competition 2022 Merit Award, Hii Illustration International Competition Statement about AOAP Submitted Artwork Little by Little, My Nights Got Better 1,2 depicts wild elephants wandering in the urban environment, exploring the relationship between nature and humankind. I used childlike and innocent combinations of colours and forms to convey a sense of playfulness and naivety. The compositions reflect my fascination with the juxtaposition of the organic and the constructed, raising questions about coexistence and harmony. What does it mean for wild animals to enter human spaces? Are we getting better? You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Lucy Smallbone Courtyard, 2025 Watercolour pastel and acrylic on carved wood Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lucy Smallbone is a graduate from the Slade School of Fine Art Master's program who specialises in modern landscape painting. Her work looks at the merging of fictional and real space and questions the part that memory and the mind can play in altering a view of a place. Education The Slade Masters in Fine Art City and Guilds Painting Bachelors Degree Falmouth and Exeter University Art and Design diploma Solo Exhibitions 2021 Fiumano Clase, London 2018 Fiumano Clase, London HSBC, London 2017 The space station gallery, London Group Exhibitions 2024 The British Art Fair, Cynthia Corbett Gallery The spirit of Boudicca, Norwich Elsewhere, cromwell place 2023 Young Master's Art Prize, London Works on Paper, London, 324 kings Road Wish you were here, Tag Fine Art A Slash of Blue, Gerald Moore Gallery Works on Paper 2023, 340 kings road 2022 Lucy Smallbone and Elizabeth Power at 99 Projects Art for Charity Exhibition at Unit 1 Gallery Weary Harold ASC Gallery 2021 Wish You Were Here at Fiumano Clase, London 2019 Still Here, Newington Gallery, London Recent Graduate's revisited, AAF Battersea, London One of One, Seen Fifteen Gallery, London Artist Sketchbooks, Marlborough Fine Art Gallery London Art Fair with Fiumano Clase Awards The Haworth Trust Award for Painting 2010 The David Ballardie Travel Award 2009 Statement about AOAP Submitted Artwork Courtyard is a painted woodcarving in a series of works looking at craft work, most have been inspired by tapestries. Craft based art pieces are often devalued by their connotations with female and unskilled work. Although they are time and labour intensive. 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.
Mia Wilkinson Untitled II, 2024 Lino print and oil pastel on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I toy with western stereotypes of the domestic female in my art. I undermine the performative nature of woman as 'the angel in the house', electrifying my figures with a grotesque, playful sexuality, and situating them in caricaturised, lurid domestic settings. I was born into a single parent, working-class family in the North-East. I don't know my Asian father and have little experience of one aspect of my racial heritage. Moulded by a strong but complex matriarchy I learned that a female body has both a social currency and a relative social invisibility. My experience of paternal absence and the ramifications of that for my racial identity, combined with the dominant female forces that raised me, find presence and voice in the bawdiness of the females I depict, skewing and skewering culturally imposed expectations and artistic traditions. I find myself as 'subject' deeply discomforting, and therefore increasingly turn the gaze onto myself, in attempt to further worry traditions of depicting women, and the female relationship with art. Education 2024-2025 Royal College of Art MA Painting 2011-2014 Wimbledon College of Art UAL Bachelors painting Solo Exhibitions 2023 DOMESTICALTED HINNY, KoKo Camden, London, UK 2018 THIS IS NOT PORN, Public Gallery, London, UK 2016 PLUS SIZE, Espacio Gallery London, UK Group Exhibitions 2025 In Fleeting Moments, Secession Gallery, Hastings 2024 Kunsthall UG, Augsburg, Germany REJECTS, Art Friend, London Lilacs out of the Dead Land, Donya Gallery, London The Way of all Flesh, SAATCHI, London 2023 Sweet Potion, Artistellar Gallery, London 2022 Two Doors, The House of st Barnabas, London Retrespect, The Art Bypass Gallery, London You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Ruby Dickson Blues for smoke, 2025 Oil pastel, spray paint, and varnish on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ruby Dickson (1996, UK) is a painter based in London, UK. In her work, the artist examines the workings of desire and need as symptoms of capitalist systems of exchange. Working at pace and with intuition, Dickson's paintings always look for the simplest expression of a feeling and the most immediate way to depict a subject, conveying a tension between urgency and vulnerability. In her most recent works, Dickson appropriates pop culture icons and cartoon characters to analyse contemporary modes of production, circulation and consumption of images, which she addresses in relation to the specific temporality and materiality of paint. As an artist of Irish and Jamaican descent, Dickson uses her investigation into contemporary spectacle to reflect upon the progressive ambiguation and constant redistribution of identification processes. 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.
Lucile Haefflinger Leg Study 1, 2025 Oil paint, oil pastel, and charcoal on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I grew up in the dirt and the leaves, caring for the smallest speck on the floor. And today, I still do the very same. I want to reveal the small and the unseen through my work. My paintings express the alienation of experiencing my own body in relation to my surroundings and other non-human beings. Education 2019-2021 Postgraduate diploma - The Drawing Year, The Royal Drawing School, London, UK 2016-2019 Bachelor -Textile and Text, The Gerrit Rietveld Academy, Amsterdam, The Netherlands Group Exhibitions 2024 I do this, I do that - Bayart - Cardiff -UK Ensor: Contemporary reflection - Studio23 - Gent - Belgium TASTE - OHSH Project / Wonzimer gallery - Los Angeles - California BREAD - OHSH Project - London - UK POTATO - OHSH Open - co-curated with Michael Chance - London - UK 2023 Picasso's late - Christie's gallery - London - UK Sun and Moon - Huang contemporary - Wuhan - China Neo-gothic - OHSH project - London - UK South open - OHSH project - London - UK Statement about AOAP Submitted Artwork In these three small paintings, I am interested how these limbs occupy the space and interact with other elements. They are purely a play of space, shape and colour. While making them, I had the painting "Versperrter Maler" by baselitz in the back of mind. In the painting, a severed man seems to struggle and props himself against a severed tree. 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.
Ruby Dickson Three because you wouldn't believe in one, 2025 Oil pastel, spray paint, and varnish on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ruby Dickson (1996, UK) is a painter based in London, UK. In her work, the artist examines the workings of desire and need as symptoms of capitalist systems of exchange. Working at pace and with intuition, Dickson's paintings always look for the simplest expression of a feeling and the most immediate way to depict a subject, conveying a tension between urgency and vulnerability. In her most recent works, Dickson appropriates pop culture icons and cartoon characters to analyse contemporary modes of production, circulation and consumption of images, which she addresses in relation to the specific temporality and materiality of paint. As an artist of Irish and Jamaican descent, Dickson uses her investigation into contemporary spectacle to reflect upon the progressive ambiguation and constant redistribution of identification processes. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Elizabeth Cope Whippet through Window Drawing Room Shankill, 2024 Watercolour, pencil, biro, oil, and pastel on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Irish Artist Elizabeth Cope was born in 1952 in Co. Kildare. She currently lives and works in Co. Kilkenny. Cope has exhibited in galleries and museums all over the world for the past 40 years and is found in many important public and private collections. "I paint through the chaos of everyday life, if I were to wait for a quiet moment I would never paint. I believe that painting should also be like dancing and that the real 'work of art' is not so much the canvas when the paint is dry, but rather the physical rhythm of the process of painting 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.
Sophie Von Hellerman Wild Goose, 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Sophie von Hellermann (b. 1975, Munich) lives and works in London and Margate, UK. Sophie von Hellermann's paintings recall the look of fables, legends, and traditional stories that are imbued with the workings of her subconscious rather than the content of existing images. Her romantic, pastel-washed canvases are often installed to suggest complex narrative threads. Von Hellermann applies pure pigment directly onto unprimed canvas, and her use of broad-brushed washes imbues a sense of weightlessness to her pictures. Von Hellermann's paintings draw upon current affairs as often and as fluidly as they borrow from the imagery of classical mythology and literature to create expansive imaginary places. In subject matter and style, von Hellermann tests imagination against 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.
Ruby Dickson Burn Out!, 2025 Oil pastel, spray paint, and varnish on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ruby Dickson (1996, UK) is a painter based in London, UK. In her work, the artist examines the workings of desire and need as symptoms of capitalist systems of exchange. Working at pace and with intuition, Dickson's paintings always look for the simplest expression of a feeling and the most immediate way to depict a subject, conveying a tension between urgency and vulnerability. In her most recent works, Dickson appropriates pop culture icons and cartoon characters to analyse contemporary modes of production, circulation and consumption of images, which she addresses in relation to the specific temporality and materiality of paint. As an artist of Irish and Jamaican descent, Dickson uses her investigation into contemporary spectacle to reflect upon the progressive ambiguation and constant redistribution of identification processes. 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.
Rachel Louise Hodgson Cry, 2024 Oil pastel on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Rachel Hodgson is a multidisciplinary artist and alumni of The Royal Drawing School, currently living and working in Glasgow. Rachel has sold and exhibited her work internationally, with group and solo exhibitions in the U.K, Sweden, and Japan. Depicting her most strange, surreal, hysterical emotions through drawings, paintings, ceramics, and soft sculptures, she conjures a colourful and raw feminine world. Education 2017-2018 The Royal Drawing School, Drawing Year Solo Exhibitions 2023 Lost her doll head, Wish Less Gallery, Tokyo, Japan 2022 All of it: 10 years of horrible drawings, Hart Gallery, 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.
Late 18th century pastel portrait, probably Continental, depicting a young gentleman, half length, dressed in blue waistcoat and jacket with 'vandyke' collar (so called after the paintings of Anthony van Dyck) and sash, apparently unsigned, 58.5cm x 46cm, in swept giltwood and gesso frame under glass
ITALIAN SCHOOL pastel – portrait profile classical maiden, 60 x 90cmsProvenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.
* GRAHAM H D MCKEAN, RAINY WALK pastel on paper, signedmounted, framed and under glassimage size 64cm x 49cm, overall size 86cm x 70cm Note: In 1996, after 17 years as a graphic designer, Graham McKean decided to commit himself totally to producing his oil paintings. Graham McKean’s paintings have featured in numerous exhibitions and are increasingly appearing at the U.K.’s leading auction houses. His work has now become highly collectible and is held in prestigious private and public collections worldwide. Graham also supports a number of charities through events and auctions. A review by the late W. Gordon Smith (Art Critic, The Scotsman), described the work of Graham McKean as a cross between the painters John Byrne and Stanley Spencer, but with an “interesting bite”. Graham McKean needs little introduction to our buyer audience having been consistently one of our most popular and best selling artists since the inaugural Scottish Contemporary Art Auction in November 2008.
* PETER HOWSON OBE (SCOTTISH b. 1958), FALLEN FROM GRACE pastel on paper, signedmounted, framed and under glassimage size 29cm x 21cm, overall size 61cm x 50cm Note: the major retrospective “When the Apple Ripens: Peter Howson at 65" of the work of the artist at the City Arts Centre, Edinburgh and organised by Museums & Galleries Edinburgh (27th May - 1st October 2023) brought together over 100 major works from his early years until the present time. The staging of this exhibition during (and beyond) the Edinburgh International Festival reflects the well documented and longstanding international interest in Peter Howson's work.
DOUGLAS LENNOX, HAWTHORN HEDGE FOULPAPPLE pastel on paper, signed, titled label verso mounted, framed and under glass image size 32cm x 48cm, overall size 54cm x 69cm Handwritten artist's label verso. Note: Douglas Lennox was born in 1948 and was educated in Kilmarnock. He attended Glasgow School of Art 1966-70 and Jordanhill College of Education 1970-71. Early retirement from being Principal Teacher of Art and Design in Grange Academy in Kilmarnock means he can now concentrate full-time on painting. He now lives in Darvel in the Irvine Valley which has been the inspiration for much of his work. His work is predominantly made up of landscapes and seascapes in Ayrshire. The seascapes feature the marinas and harbours of the Scottish coast. The basis of his work is simply a continual fascination with what he sees. He works directly in front of the subject throughout the year as he feels that there is no substitute to being out there responding to changing light and seasons. His work is in a variety of media to suit conditions and subject - oil, watercolour, gouache and pastels. Duncan Shanks, who was one of his teachers at art school, was an early influence. The work of the Impressionists, The Glasgow Boys and the Scottish Colourists are all constant influences.
* ALLY THOMPSON (SCOTTISH 1955 - 2016), VISCERAL FORM pastel and conte on paper, signed, titled and dated 2011 versoframed and under glassimage size 85cm x 60cm, overall size 114cm x 89cm Note: Ally (Alasdair Neil Renwick) Thompson, was a Scottish painter of the New Glasgow Boys generation alongside Peter Howson, Ken Currie, Adrian Wisniewski and the late Steven Campbell. Born in Glasgow, he studied at Glasgow School of Art from 1975 to 1980, gaining a B.A. First Class Honours in Fine Art, and a diploma in postgraduate studies with high commendation and a travelling scholarship. In 1989, a solo exhibition of his work at the Barbizon Gallery (Glasgow) was visited by the international art promoter Norbert Binotti, who then brought Thompson to international prominence with a one-man show in New York and major exhibitions in Paris. Ally lived and worked periodically in Provence in the 1990s. He subsequently steadily consolidated his international reputation with exhibitions in Britain, Europe and North America, appearing in galleries such as Flowers East in London and Gallery Albert 1er in Paris. A close friend of Peter Howson, with whom he was a fellow student at the Glasgow School of Art, both men and their work were almost equally unknown when they shared one of their first exhibitions, a two-man show at the Art School itself in 1984. Ally Thompson was naturally shy in new company rather than a bold and forthright salesman of his own work. He painted in several distinctly different styles, from surrealist to abstract to expressionist landscape and much in between, making him hard to categorise and package for promoters and critics. Visiting his studio in the early 1980s Alec Mather, a successful Lanarkshire businessman, was one of the first of several almost surrogate father figures in Thompson's life. He offered to pay Ally twice what he was asking for one his paintings on condition that the young artist gave up his day job as a school teacher. Thompson never looked back creatively. Alec Mather remained a friend, patron and supporter for the rest of the artist's life. Outside of Scotland, through the friendship and support of Norbert Binotti and (after his untimely death) Norbert's brother Claude, Thompson found an invigorating new audience for his work in New York, Paris and the South of France. For all his non-materialist philosophy, Thompson was not above a bit of name-dropping on occasion, and like any Glaswegian boy Ally was suitably astonished to sometimes find himself in the company (and painting collections of) the likes of Bob Geldof, Petula Clark, Richard Jobson, Picasso's son Claude and even France's President Mitterand.
* ALLY THOMPSON (SCOTTISH 1955 - 2016) THE ANGER OF THE GREEN-WINGED ANGEL pastel and conte on paper, signed, titled and dated 2011 versoframed and under glassimage size 88cm x 64cm, overall size 114cm x 89cm Note: Ally (Alasdair Neil Renwick) Thompson, was a Scottish painter of the New Glasgow Boys generation alongside Peter Howson, Ken Currie, Adrian Wisniewski and the late Steven Campbell. Born in Glasgow, he studied at Glasgow School of Art from 1975 to 1980, gaining a B.A. First Class Honours in Fine Art, and a diploma in postgraduate studies with high commendation and a travelling scholarship. In 1989, a solo exhibition of his work at the Barbizon Gallery (Glasgow) was visited by the international art promoter Norbert Binotti, who then brought Thompson to international prominence with a one-man show in New York and major exhibitions in Paris. Ally lived and worked periodically in Provence in the 1990s. He subsequently steadily consolidated his international reputation with exhibitions in Britain, Europe and North America, appearing in galleries such as Flowers East in London and Gallery Albert 1er in Paris. A close friend of Peter Howson, with whom he was a fellow student at the Glasgow School of Art, both men and their work were almost equally unknown when they shared one of their first exhibitions, a two-man show at the Art School itself in 1984. Ally Thompson was naturally shy in new company rather than a bold and forthright salesman of his own work. He painted in several distinctly different styles, from surrealist to abstract to expressionist landscape and much in between, making him hard to categorise and package for promoters and critics. Visiting his studio in the early 1980s Alec Mather, a successful Lanarkshire businessman, was one of the first of several almost surrogate father figures in Thompson's life. He offered to pay Ally twice what he was asking for one his paintings on condition that the young artist gave up his day job as a school teacher. Thompson never looked back creatively. Alec Mather remained a friend, patron and supporter for the rest of the artist's life. Outside of Scotland, through the friendship and support of Norbert Binotti and (after his untimely death) Norbert's brother Claude, Thompson found an invigorating new audience for his work in New York, Paris and the South of France. For all his non-materialist philosophy, Thompson was not above a bit of name-dropping on occasion, and like any Glaswegian boy Ally was suitably astonished to sometimes find himself in the company (and painting collections of) the likes of Bob Geldof, Petula Clark, Richard Jobson, Picasso's son Claude and even France's President Mitterand.
* ALLY THOMPSON (SCOTTISH 1955 - 2016), IN THE SPOTLIGHT pastel on paper, signedframed and under glassimage size82cm x 58cm, overall size 115cm x 91cm Note: Ally (Alasdair Neil Renwick) Thompson, was a Scottish painter of the New Glasgow Boys generation alongside Peter Howson, Ken Currie, Adrian Wisniewski and the late Steven Campbell. Born in Glasgow, he studied at Glasgow School of Art from 1975 to 1980, gaining a B.A. First Class Honours in Fine Art, and a diploma in postgraduate studies with high commendation and a travelling scholarship. In 1989, a solo exhibition of his work at the Barbizon Gallery (Glasgow) was visited by the international art promoter Norbert Binotti, who then brought Thompson to international prominence with a one-man show in New York and major exhibitions in Paris. Ally lived and worked periodically in Provence in the 1990s. He subsequently steadily consolidated his international reputation with exhibitions in Britain, Europe and North America, appearing in galleries such as Flowers East in London and Gallery Albert 1er in Paris. A close friend of Peter Howson, with whom he was a fellow student at the Glasgow School of Art, both men and their work were almost equally unknown when they shared one of their first exhibitions, a two-man show at the Art School itself in 1984. Ally Thompson was naturally shy in new company rather than a bold and forthright salesman of his own work. He painted in several distinctly different styles, from surrealist to abstract to expressionist landscape and much in between, making him hard to categorise and package for promoters and critics. Visiting his studio in the early 1980s Alec Mather, a successful Lanarkshire businessman, was one of the first of several almost surrogate father figures in Thompson's life. He offered to pay Ally twice what he was asking for one his paintings on condition that the young artist gave up his day job as a school teacher. Thompson never looked back creatively. Alec Mather remained a friend, patron and supporter for the rest of the artist's life. Outside of Scotland, through the friendship and support of Norbert Binotti and (after his untimely death) Norbert's brother Claude, Thompson found an invigorating new audience for his work in New York, Paris and the South of France. For all his non-materialist philosophy, Thompson was not above a bit of name-dropping on occasion, and like any Glaswegian boy Ally was suitably astonished to sometimes find himself in the company (and painting collections of) the likes of Bob Geldof, Petula Clark, Richard Jobson, Picasso's son Claude and even France's President Mitterand.
* ANDREW FITZPATRICK, FLAMENCO pastel on paper, signedmounted, framed and under glassimage size 49cm x 26cm, overall size 74cm x 50cm Note: Andrew Fitzpatrick was born in Greenock in 1966. He went to St. Columba’s School in Gourock before studying drawing and painting at Glasgow School of Art from 1984 to 1988. On graduating, Andrew exhibited mainly in Edinburgh but also in Amsterdam and Glasgow. He currently lives and works in Glasgow.
* PETER HOWSON OBE (SCOTTISH b. 1958), THUGS pastel on paper, signedmounted, framed and under glassimage size 29cm x 22cm, overall size 59cm x 48cm Note: the major retrospective “When the Apple Ripens: Peter Howson at 65" of the work of the artist at the City Arts Centre, Edinburgh and organised by Museums & Galleries Edinburgh (27th May - 1st October 2023) brought together over 100 major works from his early years until the present time. The staging of this exhibition during (and beyond) the Edinburgh International Festival reflects the well documented and longstanding international interest in Peter Howson's work.
* PETER HOWSON OBE (SCOTTISH b. 1958), MADONNA pastel on paper, signedmounted, framed and under glassimage size 45cm x 58cm, overall size 85cm x 97cmNote: the major retrospective “When the Apple Ripens: Peter Howson at 65" of the work of the artist at the City Arts Centre, Edinburgh and organised by Museums & Galleries Edinburgh (27th May - 1st October 2023) brought together over 100 major works from his early years until the present time. The staging of this exhibition during (and beyond) the Edinburgh International Festival reflects the well documented and longstanding international interest in Peter Howson's work.
* PETER HOWSON OBE (SCOTTISH b. 1958), EMBRACE pastel on paper, signedmounted, framed and under glassimage size 61cm x 46cm, overall size 86cm x 72cm Note: the major retrospective “When the Apple Ripens: Peter Howson at 65" of the work of the artist at the City Arts Centre, Edinburgh and organised by Museums & Galleries Edinburgh (27th May - 1st October 2023) brought together over 100 major works from his early years until the present time. The staging of this exhibition during (and beyond) the Edinburgh International Festival reflects the well documented and longstanding international interest in Peter Howson's work.
* GEORGE DEVLIN RSW RGI ROI ARWS FRSA (SCOTTISH 1937 - 2014), AT THE RIVA DELLA SCHIAVONI pastel on paper, signed, titled label versomounted, framed and under glassimage size 22cm x 29cm, overall size 50cm x 56cm Label verso: Barclay Lennie Fine Art Ltd., Glasgow.Note: George Devlin was one of Scotland's most successful 20th century artists with numerous exhibitions in Scotland, throughout the UK and around the world. Corporate collections include: De Beers (South Africa and Switzerland); Robert Fleming Holdings; Dutch Water Board; London Stock Exchange; Arthur Andersen and Co; Scottish Television; Universities of Leicester, Glasgow and Strathclyde, Essex, Dunbartonshire, Argyll and Tayside; Edinburgh City Collection; Royal Bank of Scotland; Clydesdale Bank; Lloyds TSB; Bank of Scotland; J. O. Hambro; Mason Owen; Dunedin Trust Management; Dunfermline Building Society; Argyll Group; Scottish Friendly Society; United Distillers; Teachers Whisky; Edrington Group and Clan Donald Centre; Cunard (QM2), Dunbartonshire Educational Trust. Private collections include: Sir Tim Rice; Sir James Black; Earl Haig; Lord Maclay; Duke of Bedford and numerous collections in the UK and worldwide. In The Scottish Contemporary Art Auction of 6th March 2022, two smaller examples of George Devlin's continental scenes sold for £2200 and £3300 (both hammer prices). In The Scottish Contemporary Art Auction of 30th January 2025, lot 189 "Twilight, Bacino San Marco" an 102 x 107cm oil by Devlin sold for £3800 (hammer).
* PETER HOWSON OBE (SCOTTISH b. 1958), THE OLD ANDREW pastel on paper, signed and dated '06, titled versomounted, framed and under glassimage size 20cm x 19cm, overall size 60cm x 46cm Note: the major retrospective “When the Apple Ripens: Peter Howson at 65" of the work of the artist at the City Arts Centre, Edinburgh and organised by Museums & Galleries Edinburgh (27th May - 1st October 2023) brought together over 100 major works from his early years until the present time. The staging of this exhibition during (and beyond) the Edinburgh International Festival reflects the well documented and longstanding international interest in Peter Howson's work.
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