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Lot 424
Calligraphy & Penmanship Richards (William H.) Manuscript Ornamental Album entitled 'Manuscript Ornamental Album comprising Specimens in Penmanship and Drawing' folio, dated 1847, including ink penmanship of title, unrelated title design, Ode to Spring, a page of decorative devices, and map of England and Wales with coloured borders inscribed W. H. Richards 1847, sample book pages with vignettes, an architectural plan and elevation and several pencil sketches including one further pasted and one loose, some signed W. H. Richards and dated, the pasted portrait sketch inscribed Jenny Lind 1847
Lot 429
The Archive of Lady Mary Pamela Madeline Sibell Strickland / Lyon (1895-1991), née CharterisTo include nine various leatherbound diaries in manuscript spanning 1916-1927; including some typewritten transcripts thereof (Volumes 1-4)Two ring binder files containing letters of response to the wedding of Ariel Susan Clare (adopted daughter of Mary Lyon) to Christopher Elliott in 1964, predominantly from the gentry of Gloucestershire and including from the author Michael Innes and Anne Fleming (wife of Ian Fleming)Two prisoner of war diaries by Lieutenant Algernon (Tom) Walter Strickland of the Royal Gloucestershire Hussars Yeomanry, dating from 1916-18, written while he was held prisoner in Turkey, measuring 13cm x 8.5cm each with cloth boards, with an accompanying manuscript book by his wife, Mary Strickland, summarising letters received from her husband while imprisoned, with a folded map of Gallipoli, alongside two files of manuscript letters from Algernon (known in the family as Tom or Tommy) to Mary spanning 1917-1938 including those from camps in Egypt, Switzerland and Gallipoli (Turkey).A folder of various letters to Mary Pamela Lyon, some dealing with the publication of Cynthia Asquith's diaries (Mary's sister), including from Sir Rupert Hart-Davis (1907-1999) and an envelope of press cuttings and reviews of Elizabeth Longford’s biography of Wilfred Scawen Blunt, letters from Elizabeth Longford and Roger FulfordTwo small notebooks with manuscript entries in pencil, one entitled 'Bird Notes' (spanning 1955-1965) and Birds seen in South Africa Orange Free State Dec 1937- March 1938A folder of Letters entitled 'Letters from Sara from 1929 up to 1950' (daughter of Mary Lyon) including juvenile correspondenceA folder of documents relating to World War I & II with related memorabilia including a typed manuscript ‘Torpedoed’ by Martin Charteris (1913-1999), a favourite courtier of Queen Elizabeth II and her longest serving Private Secretary, several ephemera publications by the British Legion, 1950-54, an auction catalogue Bruton, Knowles & Co. ‘The Gloucestershire Treasure Sale’ 1944 for the Red Cross, including a pencil drawing ‘Paternity’ by H.G. Wells, Mary Strickland and Mrs Belloc Lowndes, drawn at Stanway as part of a parlour game. Several WWII armbands for the British Red Cross, WVS Rest Centre and WLA (Women’s Land Army), several badges including a Royal British Legion Poppy brooch, ARP Women’s Voluntary Services, Women’s Land Army and Civil Defence CorpsA folder entitled ‘Soldier’s Letters 1917-1918’, mostly addressed ‘Dear Nurse’ to Mary StricklandA folder of newspaper cuttings Jan 1977 to ..., a further folder of press cuttings of reviews of Cynthia Asquith’s diaries, 1968 and other booksA marbled paper notebook entitled ‘Last Will and Testament of Mary Constance Wemyss’ dated March 9th 1929A manuscript poem by Herbert Asquith ‘Youth in the Skies’ with his accopmpanying letter, dated 1940An envelope of letters and ephemera relating to J. M. Barrie including two copies each of Stanway Mysteries programmes for ‘The Wheel’ and ‘Where was Simon’ by Barrie, nine signed manuscripts letters by J. M. Barrie, all to ‘Lady Mary Strickland’ at various addresses, 1923-1936Folders of LettersFolder entitled ‘Cynthia Asquith to her sister Mary’ but containing various letters including one manuscript letter from Augustus John, September 19, 1936 to Lady Mary regarding his works in Chelsea portraits and advance for his portrait of Mary and another letter from Augustus John regarding the same; a typewritten autograph letter to Lady Mary from Anthony Powell, 1977Folder of Letters to Mary Lyon on occasion of Cynthia Asquith’s death, amongst others by Osbert Sitwell, ‘Bibs’ Plymouth, Denis Mackail, Lord Tavistock, etc.Five folders of letters from Mary Strickland/Charteris to her mother (1899-1937)A folder of letters entitled ‘Bibs’ Plymouth (1910s-1920s)A folder of letters from Denis Mackail 1920s-1960sFive letters from Wilfred Scawen Blunt to Mary Constance Wyndham Countess Wemyss (1862-1937) [with whom she allegedly had an affair] including one poem dedicated to herAn extensive collection of letters dating circa 1899-1978 to Mary Strickland from various correspondents including from Wilfrid Scawen Blunt, Sir Walter Raleigh, George Vernon, Cynthia Asquith, various members of the Asquith, Wemyss and Charteris family, Denis Mackail, Augustus John, H. G. Wells, Violet Bonham Carter, Henry Yorke, Hugo Charteris, Osbert Sitwell, L. P. Jacks, Joan Webster-Young, Sybell Fulford , Roger Fulford, Anne Fleming and others Lady Mary was the adopted daughter of Percy Scawen Wyndham. Her mother was Mary Constance Charteris Wyndham and her biological father Wilfrid Scawen Blunt. Wyndham and her siblings and their spouses were members of The Souls, an elite English social group. She and her two sisters were the subjects of John Singer Sargent's 1899 painting The Wyndham Sisters.Mary was first married to Algernon (Tom) Strickland, who died in 1938, her second husband was Major John (Jack) Lyon, whom she married in 1943. Her older sister was the author and society hostess Lady Cynthia Asquith, married to Herbert Asquith, younger son of the Liberal Prime Minister Herbert Henry Asquith, who was Prime Minister at the outbreak of the First World War. Mary lost both her brothers during the war in quick succession, Yvo Alan Charteris in October 1915 and Hugo Francis Charteris (Lord Elcho) in April 1916. She resided both at Stanway House (her family home) and Apperley Court (family home of the Strickland's).Her fascinating diaries span the early years of a young Mary Strickland, documenting the outbreak of the First World War and its aftermath, nursing duties, attending seances with her mother, escapades to London and household and society gossip. Through her sister Lady Cynthia Asquith, the English writer and socialite, she was well connected with the literary elite and through her brother-in-law's family, she gained intriguing insights into the political machinations at the time. The diaries intersperse major international events with the comparative monotony of daily life in a country house and seemingly endless letter writing. An avid correspondent, the diary also documents, alongside original letters, the death in service of her brother Yvo in Gallipoli. The diaries describe varied events, from an altercation with her maid at Harrods, lunch at 10 Downing Street, bombs dropped in London, dinner with H.G. Wells, descriptions of her nursing duties during WWI at Winchcombe Hospital, her husband's imprisonment in Turkey and country house visits interspersed by reports and commentary on the events and battles of the First World War.Alongside the diaries, the archive includes extensive correspondence and documents spanning most of the 20th century with letters from literary figures such as H.G. Wells, J. M. Barrie, Denis Mackail and Osbert Sitwell alongside the family correspondence.Lady Mary Charteris pictured in the Tatler at the time of her engagement to Lieutenant Algernon W. Strickland of the Royal Gloucestershire Hussars.
Lot 6528
John Gilbey Bowles (British 1929-2011): Artist's Sketchbook - Surreal Art History Conversations, sketchbook containing thirty-four pages of pencil pastel and mixed media sketches of an art historical theme with interactions between famous paintings by different hands, most signed and dated 2008Notes: examples include Edvard Munch's 'The Scream' reacting to a drawing by LS Lowry of street fighting; Albrecht Durer's drawing of a man dreaming of the Matisse line drawing; Hieronymus Bosch's 'The Last Judgment (detail) overseeing 'the Bacchanale Anglais' by Thomas Rowlandson; Toad of Toad Hall from the Wind in the Willows singing the praises of Henry VIII by Hans Holbein; a drawing by Leonardo Da Vinci admiring the humour in the drawing by LS Lowry; a Henry Moore drawing dreaming of a Thomas Rowlandson composition etc.
Lot 276
*** Please note the description of this lot has changed. Giovanni Francesco Grimaldi (1606–1680)Landscape with shepherds kneeling before a termPen and brown ink, 17th century, on thick laid paper without watermark, pencil attribution to Grimaldi verso inscribed 'Attribution Pouncey BM', central vertical fold with associated creasing, minor surface dirt, laid at extreme edges onto 18th century window mount with verso exposed, sheet 235 x 325 mm (9 1/4 x 12 3/4 in) (framed)Provenance:Colnaghi, London [as by Annibale Carracci (1560-1609)]Private collection, London*** The present drawing bears Philip Pouncey's attribution to Giovanni Francesco Grimaldi verso.
Lot 234
Manner of PAUL NASH (British 1889-1946) Geometric forms Pencil drawing with shading, signed and dated '36 lower left, 34cm x 24cm, frame 65cm x 52cm.Unproven provenance: from the Frank Forti of London collection, purchased from Ron Slaven of Wakefield for £3,200 on 12th November 2001. CR : Good condition, no signs of any issues.
Lot 634
DAVID COX JUNIOR (1809-1885)A collection of approximately 35 pencil sketches in three Victorian drawing books each 10" x 14". The subjects are mostly trees, farm buildings, ruins and agricultural equipment. The inside cover to one of the sketch books is inscribed "David Cox, 2 New Park Road, Brixton Hill", together with an 1844 postmarked letter by David Cox Junior to a cousin living in Oswestry (Illustrated) (Est. plus 24% premium inc. VAT)Provenance: Mrs Elizabeth Cox, 2ndwife of David Cox Junior and then by descent to the present ownerCondition Report:All sheets essentially intact. Some wear to the paper edges and one book heavily foxed.
Lot 465
WALTER CRANE (1845-1915) PREPARATORY DRAWING FOR SCOTTISH WIDOWS CALENDAR, FEBRUARYpencil on paper21 x 14cm; 8 1/4 x 5 1/2in47.5 x 37.5cm; 18 1/2 x 14 1/2in (framed)ProvenanceThe Scottish Widows' Fund Life Assurance Society, Edinburgh (commissioned from the artist) Walter CraneLionel F. Crane (son of the above) The Fine Art Society, LondonExecuted circa 1890. Crane designed a poster, bookmarks and a calendar for the Scottish Widows' Fund.offered for sale without reserve
Lot 1105
Frank Reynolds (1876-1953) - Foresight, pencil sketch heightened in white on drawing board, unframed, 32x24cm, together with a copy of Winter's Pie dated 1912, in which the sketch appears on page 76 (2)Very poor, cover is loose. Binding falling apart. Back cover missing pages with browning to edges and some foxing in places.
Lot 222
John Newberry RWS (British 1934-): Chinese Temples, pair watercolours signed in pencil 20cm x 30cm (2)Notes: Newberry read Architecture at Cambridge, but changed courses, moving to Newcastle where under Lawrence Gowing and Victor Pasmore he graduated in Fine Art in 1960. He taught at the Ruskin School of Drawing 1963-1989. Exh. Chris BeetlesCondition Report: Excellent condition, good original colours. Well presented, ready to hang
Lot 464
Eleanor Ekserdjian They Will Not Take My Island III, 2024 Oil and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Eleanor Ekserdjian is a painter and film artist. Ekserdjian's practice involves projecting the moving image onto paper or canvas and drawing from and over it, her physical and emotional responses being made visible through rapid mark-making. These paintings and drawings become lyrical landscapes which explore her evolving emotional response to the film. Her most recent film and painting series was made during a six-week artist residency in Armenia, and explores cultural memory through landscape. Pepe Karmel, author of 'Abstract Art: A Global History', defined her work as 'Poetic, elegant and mysterious - a kinetic, subjective transcription of the world into calligraphy.' Education 2021 Drawing Intensive, Royal Drawing School, London, UK 2014-2019 MA Fine Art, The University of Edinburgh, Edinburgh, UK Solo Exhibitions 2025 Interwoven, Messums London, London, UK 2023 Light Pictures, Seen Fifteen Gallery, London, UK Group Exhibitions 2024 Crosscurrents Armenia | London, Redfern Gallery, London, UK 2023 International Diaspora Exhibition, Armenian Centre for Contemporary Experimental Art, Yerevan, Armenia 2022 Imagined Landscapes, Yerevan Im Ser Foundation, Yerevan, Armenia Emergence, AMP Gallery, London, UK 2021 Light & Line, Gallery 286, London, UK Royal Drawing School Selection, Hoxton 253, London, UK Summer Exhibition, The Gallery at Green & Stone, London, UK 2020 Spectral Pathways, Hidden Door Arts Festival, Edinburgh, UK Awards 2024 Hauser & Wirth Residency, Braemar, UK Sokyo Gallery Residency, Kyoto, Japan 2022 Yerevan Im Ser Foundation Residency, Yerevan, Armenia Statement about AOAP Submitted Artwork This series of works came out of my experience of growing up in Britain with a curiosity about Armenia and about my family who left Constantinople in the early 20th century. In 2022, I travelled to Armenia for the first time as a part of an artists' residency programme - the paintings I made there represented the first sight of a place I had always imagined but had never seen. 'They Will Not Take My Island III' is a response to the power of the Armenian Landscape and its glowing colour. The title refers to Arshile Gorky's drawing 'They Will Take My Island' and this work echoes his response to the loss of his homeland of Van. 'Red Nocturne' and 'New Green' were made on my return and combine the landscapes of both the UK and Armenia. I am interested in the idea of simultaneous landscape. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Lot 356
Georgie Huxley Some Kind of Mystical Shade, 2025 Pencil on card Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Georgie Huxley (b. 2000) is a painter based in London. A graduate of the Slade School of Fine Art, her work explores themes of connection, solitude, and nostalgia. Using personal archives as source material, their paintings evoke a quiet tension between presence and absence, offering contemplative reflections on the complexities of human experience. Education 2019-2023 The Slade School of Fine Art, London Group Exhibitions 2024 Alone Together, 2 Hoxton Street, London Sky Arts Portrait Artist of the Year, Heat 2, London 2023 Canyon, RuptureXIBIT, Kingston Bedrock, The Crypt Gallery, London Slade School of Fine Art UG Degree Show, London Art on a Postcard Winter Auction, Gathering Gallery, London Filthy Fox Auction Club, Greatorex Street Gallery, London 2022 Running Late, Changing Room Gallery, London TUB, Centrespace Gallery, Bristol Juicebox, RuptureXIBIT, Kingston Awards 2024 Stanbury Award, Slade School of Fine Art Statement about AOAP Submitted Artwork To celebrate International Women's Day, I've created three pencil drawings of Nicola Adilman, captured mid-dance in beautiful and dynamic poses. These drawings were inspired by As of Right Now, a performance choreographed by Nicola (@nicolaadilman), where movement, visual art, and storytelling intersect. While I typically work in paint, I chose to use pencil for these pieces, echoing my use of charcoal in the live performance. I appreciate the impermanence of charcoal in the performance, and pencil allowed me to capture a similar transient, delicate energy in these still moments of Nicola's dance. In As of Right Now, I'm drawing Nicola, alongside Ushara Dilrukshan (ushara_x), live while she dances. The photographs that inspired these drawings were taken by Michelle Rose (@romifolder), whose exceptional eye and artistry have profoundly influenced these drawings. Romifolder's photography beautifully captures the raw emotion and intensity of the moment, allowing me to explore the delicate balance of vulnerability and strength in Nicola's movements. 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.
Lot 178
Weronika Anna Rosa White Lily, 2024 Gouache and pencil on cotton paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About WERONIKA ANNA ROSA (b. 1990 in Warsaw, Poland) - visual artist, painter and designer, since 2016 based in Lisbon, Portugal. Rosa grew up in a family involved in arts and natural sciences. These two distant, but strongly complementary worlds, constitute the pillar of her visual sensibility and sculpted her curiosity. Plants play a vital role in her work - they are not only subjects, but also a vehicle of meanings and emotions. Rosa uses botanical iconography to explore relations between plants and humans; botany and its connection with current socio-cultural and environmental factors. The artist captures the ephemeral matter of nature, looking into its strength and fragility, imperfections and beauty. Starting from a careful observation of plants, through botanical studies and realism, she abstractly scales the subject, bringing it closer to the size of a human body. Rosa intends to express the identity of plants by observing their essence, and by analysing their history and role in our culture. This naturalistic representation becomes a universal and metaphorical language. Rosa experiments with various artistic techniques and media to obtain diverse textures, scales and volumes, in a way to reach the observer on different sensory levels. Education 2019 Botany and Art, course at FCSH, Universidade Nova, Lisbon, Portugal 2016-2017 Bachelor's degree in Ceramics, Faculty of Fine Arts, University of Lisbon, Portugal 2015-2017 Master's degree in History of Art, Faculty of Arts, University of Lisbon, Portugal / University of Warsaw, Poland 2011-2015 Bachelor's degree in History of Art, University of Warsaw, Poland 2010 Drawing of Nature, course at the Natural History Museum of Marseille, France Solo Exhibitions 2025 Vestígios de Memórias, National Museum of Natural History and Science, Lisbon, Portugal (TBC), Cliché Gallery, Warsaw, Poland 2023 Natura Ludzka, Galeria Prześwit, Warsaw, Poland 2021 In search of Beauty, Minds&More, Lisbon, Portugal 2020 Fabric - The Master's Material (Tkanina - Materia Mistrza), Galeria Nizio, Warsaw, Poland 2019 (In)Visivel, Espaço Santa Catharina - ESC, Lisbon, Portugal 2018 Vivace, Galerie La Canopée, Lisbon, Portugal 2017 Secret Garden's Metamorphosis, Transept, Lisbon, Portugal Group Exhibitions 2024 Warsaw Art Fair (represented by Cliché Gallery), Warsaw, Poland Souvenirs from faraway places, I have never been, Ethical Assembly, Lisbon, Portugal Lisbon Design Week, Artlier, Lisbon, Portugal 2023 Planatae, annual exhibition of the Society of Botanical Artists, Mall Galleries, London, United Kingdom 2020 Gardens, Analora, Lisbon, Portugal Awards 2025 International Design Pool, artistic residency organised by Vista Alegre, Portugal Statement about AOAP Submitted Artwork What intrigues me the most in flowers are details that are often neglected or unseen with a naked eye. We need to stop and take a time to observe, in order to perceive. Despite the limitation of the postcard size, I wanted to make the flowers as monumental as possible, and to capture the dancing movements of their petals and stamens. I hope you can imagine their scent. 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.
Lot 81
Lizzie Coles Keith, 2025 Watercolour and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I'm a visual person, all about shapes and symmetry, expressing this through my love of interior design, fashion and typography. I notice how things fit together and line up, I get easily distracted by how a curve leans into a surface or how the weight of chunky lettering helps a delicate photograph on a vintage poster. I'm impressed by figurative art that has personality as well as graphic, bold, abstract artwork. I try hard to combine at least a few of these elements in my art. My background is a little more eclectic than I'd planned. All I ever wanted to do was draw people, but I didn't really understand what a career doing that looked like. I was removed from Fine Art when it was obvious that I am colourblind, so I switched to Animation, because I'd seen an old film of Disney artists drawing Cinderella sat in a circle around a dancing actress. I hated the Animation degree, their obsession with concept over drawing quality didn't inspire or encourage me. I then worked in advertising as a business director supporting big brands such as John Lewis, Barclays, Vittel, Ryvita and L'Oréal. Whilst I loved the glamour of clicking across Soho with my Gwyneth Paltrow cropped hair and skyhigh heels, I dropped it all when I got impossibly pregnant (I'd been told after too many operations that it wouldn't be an option) So, the next chapter began when my husband, (together since we were 16) our new 1 year old and a massive bump, soon to become kid number 2 all emigrated to Paris. I adore Paris and thoroughly enjoyed hanging out with our kids and made friends for life. When the kids went to school, I was lucky enough to draw at the Académie de la Grande Chaumière, indulging in 8 hours a week of life drawing for 5 years. This was an absolute joy and such a privilege to be in surroundings established over a 100 years ago, once inhabited by the best French Impressionist painters. My French isn't as good as it could be, I could chat to a 10-year-old about peanut flavoured crisps but it became apparent that my knowledge of chemistry or history in French was a bit lax. With a heavy heart, we returned to the UK to support the kids through their education - don't ever mention Brexit to me. It's taken me a while to find my feet, hugely sidetracked with breast cancer and a year of chemo and radiotherapy (now fully in remission, thankfully), I've been a full-time artist for 3 years now and intend to stick at this for a while, hopefully. 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.
Lot 94
Alexandra Beteeva Anechka, 2024 Pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Alexandra Beteeva (b.1999) creates nostalgic paintings, prints and drawings tinged with intimacy and innocence. Interested in post-Soviet spaces and a process of presenting history in the form of personal and collective memory, she asks what it means to be homesick for a home one never had. Motivated by themes of immersion, the Caucasus becomes an interesting space to explore. Alexandra works with the archive, images that help to see and understand the past more accurately, as during excavations, the missing but suddenly found part of the object makes the idea of it whole. Education 2022-2023 Turps Correspondence Course 2018-2022 Glasgow School of Art: BA (Hons) Fine Art: Painting & Printmaking, Glasgow, United Kingdom 2017-2018 University of the Arts London: CCW Foundation Diploma in Art and Design, London, United Kingdom Selected Exhibitions 2024 Eye to Paper vol. 2, Edinburgh Palette, Edinburgh, United Kingdom RSA New Contemporaries Exhibition, Royal Scottish Academy, Edinburgh, United Kingdom Drawing Now, Carreau du Temple, Paris, France New Contemporaries, Camden Art Centre, London, United Kingdom 2023 New Contemporaries, Grundy Art Gallery, United Kingdom A Former Life, Traits Libres Gallery, Paris, France Do Not Swallow, Safehouse Gallery, London, United Kingdom Eye to Paper, Edinburgh Palette, Edinburgh, United Kingdom Mud, For You, Fitzrovia Gallery, London, United Kingdom Zug Zwang, Foundry, Dubai, UAE Awards 2024: RSA New Contemporaries, Royal Scottish Academy2023: New Contemporaries, Bloomberg2022: Selected artist, Portrait Artist of the Year; Euan Stewart Memorial Prize for Printmaking, Glasgow School of Art Gallery Representation Traits Libres Gallery (Paris, France)Mute.Gallery (Dubai, UAE)Deep List (Moscow, Russia) Public Collections Dumfries House collection, The King's Foundation (United Kingdom) Statement about AOAP Submitted Artwork The drawings created for AOAP dive into the language of memory. They explore patterns uniting figures and space, cultural signifiers and repetition. These elements help me tell the untold stories of those caught between the unforgiving turns of 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.
Lot 114
Angelina May Davis Untitled, 2025 Gouache and pencil crayon on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Angelina May Davis is a contemporary painter and member of Contemporary British Painting. Her paintings are fabrications, plundering imagery from childhood TV and art history. She is interested in what shapes us, using the transformative act of painting to reflect on history and culture as well as her own sense of belonging. She has been restoring the English Elm as depicted in remembered films, archival footage and English landscape painting as a metaphor for loss and longing, recalling a nostalgic and insincere past. Her paintings are claustrophobic worlds in which there is ambiguity, artifice, and the possibility of things just out of view. Education 2020-2022 Turps Correspondence Course 1996-1998 MA in Fine Art University of Central England 1985-1988 BA Fine Art Coventry Polytechnic Solo Exhibitions 2024 Model Village, United Reformed Church, Long Buckby 2022 PAL, Division of Labour, Salford, Manchester Coming up for Air, Oxmarket Gallery Chichester 1993 Living on the Ceiling, MAC, Birmingham 1992 Behind Closed Doors, City Gallery, Leicester Lanchester Gallery, Coventry Polytechnic Group Exhibitions 2024 Stop the Chaos, Turn the Page, Paradise Works, Manchester Librarian Services, Manchester Contemporary, Manchester Cassart Finalists Exhibition, Copeland Gallery, London Scrit, Terrace Gallery London Jackson's Shortlist Exhibition, Bankside, London Assembly, Contemporary British Painting, Rye 2023 Leaf and Tree, Division of Labour, Salford, Manchester Plein Air A site for resistance and remedial action, Pitt Studio, UOW 'X', Contemporary British Painting, Newcastle Contemporary, Newcastle Unnatural Women, Curated Rowena Easton, WIA Fair, Mall Galleries, London New Worlds with Daisy Collingridge, DOL and TJ Boulting Art Brussels 2022 Catalyst, Turps Banana Painters, Oriel Canfas, Cardiff Fare Share Fare, Whitworth Gallery Manchester P U L P, Pitt Studio, The Art House Worcester 2021 Bloomberg New Contemporaries, Firstsite Colchester Bloomberg New Contemporaries, South London Gallery Without Borders Touring Exhibition, Elysium Gallery, Swansea Ikon for Artists, Ikon Gallery Birmingham 2020 BEEP, Elysium Gallery, Swansea Hinterland 3, Birmingham Artspace, Medicine Gallery, Birmingham 2017 Elsewhere, Lanchester Gallery, Coventry University 2017 Hinterland 2, Rugby Gallery 2016 Elsewhere, Rugby School Bourne, Stryx Gallery, Birmingham 2015 Hinterland, Birmingham Art Space, Telsen Centre, Birmingham Coventry Drawing Prize, Rugby School Drawing Parallels, Eagle Works, Wolverhampton 1991 Secret Life of Objects, Ikon Gallery, Birmingham Awards Bloomberg New Contemporaries 2021 Outstanding Water Colour Award, Jackson's Art Prize, 2020 Gallery Representation Division of Labour, Manchester, UK Public Collections Government Art Collection, London and Manchester UK Manchester Art Gallery, Manchester, UK Isaac Newton Collection, Cambridge University. Statement about AOAP Submitted Artwork Tattered ribbons hang from a bright upright tree, a TV set is on in the corner, and fragments of landscape are contained, framed and slide out of view in what is probably an artist's studio. Painting allows me to think about ideas simultaneously and constructed landscapes provide the settings for me to ruminate about history, pop culture, and my own sense of belonging. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Lot 159
Alina Dieth Spider Love, 2024 Coloured pencil 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.
Lot 342
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.
Lot 305
Helen Davies Times of Reflection, 2025 Coloured pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Helen is a figurative artist, using her passion for details to capture moments of beauty in the every day. Her art is a documentation of the subtle love that is experienced in the most simple of moments - be it, in the peace of being in solitude, or in the bustle of a restaurant. Her work has transformed from focusing solely on the human form, to currently, how people interact with themselves and their surroundings. She works primarily with pencils, exploring light and composition through soft colour. Group Exhibitions 2024 Portrait Prize, RBSA, Birmingham, UK Comme Ca x AWOL, Comme Ca, Manchester, UK Liverpool Art Fair, Liverpool, UK AIR Open, Air Gallery, Manchester, UK 2023 She, The Bridewell, Liverpool, UK 2022 Manchester Open, HOME, Manchester, UK New Artists, Nextdoor Gallery, Didsbury, UK Air Open, Air Gallery, Manchester, UK 2020 Manchester Open, HOME, Manchester, UK The Drawing Show, The Bridewell, Liverpool, UK Contemporary Young Artist Award, The Biscuit Factory, Newcastle, UK Statement about AOAP Submitted Artwork 'Times of Reflection' was created around the idea of seeing myself how others see me. As I age, the tiny changes in my appearance are noticed whenever I look in the mirror, and that feeling is a universal experience. This piece, although created by myself, gives a chance to consider somebody else's gaze. 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.
Lot 357
Georgie Huxley Falling into Nowhere Fast, 2025 Pencil on card Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Georgie Huxley (b. 2000) is a painter based in London. A graduate of the Slade School of Fine Art, her work explores themes of connection, solitude, and nostalgia. Using personal archives as source material, their paintings evoke a quiet tension between presence and absence, offering contemplative reflections on the complexities of human experience. Education 2019-2023 The Slade School of Fine Art, London Group Exhibitions 2024 Alone Together, 2 Hoxton Street, London Sky Arts Portrait Artist of the Year, Heat 2, London 2023 Canyon, RuptureXIBIT, Kingston Bedrock, The Crypt Gallery, London Slade School of Fine Art UG Degree Show, London Art on a Postcard Winter Auction, Gathering Gallery, London Filthy Fox Auction Club, Greatorex Street Gallery, London 2022 Running Late, Changing Room Gallery, London TUB, Centrespace Gallery, Bristol Juicebox, RuptureXIBIT, Kingston Awards 2024 Stanbury Award, Slade School of Fine Art Statement about AOAP Submitted Artwork To celebrate International Women's Day, I've created three pencil drawings of Nicola Adilman, captured mid-dance in beautiful and dynamic poses. These drawings were inspired by As of Right Now, a performance choreographed by Nicola (@nicolaadilman), where movement, visual art, and storytelling intersect. While I typically work in paint, I chose to use pencil for these pieces, echoing my use of charcoal in the live performance. I appreciate the impermanence of charcoal in the performance, and pencil allowed me to capture a similar transient, delicate energy in these still moments of Nicola's dance. In As of Right Now, I'm drawing Nicola, alongside Ushara Dilrukshan (ushara_x), live while she dances. The photographs that inspired these drawings were taken by Michelle Rose (@romifolder), whose exceptional eye and artistry have profoundly influenced these drawings. Romifolder's photography beautifully captures the raw emotion and intensity of the moment, allowing me to explore the delicate balance of vulnerability and strength in Nicola's movements. 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.
Lot 427
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.
Lot 339
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.
Lot 390
Melissa Kime Harvest Folk, 2025 Watercolour and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Melissa Kime studied Fine Art at University College Falmouth and completed The Drawing Year at The Prince's Drawing School (now the Royal Drawing School) in 2012, where she won the Windsor and Newton Prize. She was selected for Bloomberg New Contemporaries 2014 and her work has been featured in Amelia's Magazine. Kime is currently studying on the MA Painting course at the Royal College of Art. 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.
Lot 307
Lucy Pass Camera One, 2025 Oil, acrylic, and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lucy Pass is a self-taught contemporary portrait painter living and working in Cheltenham, UK. Her work is focused on unpicking the idea of traditional portraiture, where the intent of her portraits isn't to capture a subject in their truest form, but instead to explore the unseen things that lie within us all. Fragments of faces hang in space, vanishing, obscured, repeated; all underscored with a language of gestural, abstract marks and shocks of colour, like key sentences highlighted from a passage. So much is stripped back that the redacted elements take on power and it becomes as much about what you can't see as what you can. The result is a visual conversation of absence and addition, inviting the viewer to ask questions and fill in the blanks. Solo Exhibitions 2025 TBC, Guildford House Gallery, Guildford, UK Group Exhibitions 2024 The Guildford House Open, Guildford House Gallery, Guildford RBSA Prize Exhibition, RBSA Gallery, Birmingham RBSA Summer Show, RBSA Gallery, Birmingham The British Art Prize '23 Exhibition, Gallery@OXO, London 2023 The Royal West of England Academy 170th Annual Open Exhibition, Bristol Drawing (Paper) Show, The Bridewell Studios and Gallery, Liverpool 2022 The Royal West of England Academy 169th Annual Open Exhibition, Bristol The Contemporary British Portrait Painters Exhibition, The Department Store, Brixton, London 2021 Pressing Matters - Helium London, 5 Carlos Place, London 2020 Perceptions, Contemporary British Portrait Painters, Cass Art Space, Islington, London 2019 The John Ruskin Prize: Agent Of Change The Holden Gallery, Manchester Awards 2024 First prize, The Guildford House Open 2023 First prize, The British Art Prize Statement about AOAP Submitted Artwork I love experimenting to see the intensity of mood I can create from out-of-context facial fragments, shapes and marks - these elements are building blocks that repeat throughout my work. I saw the tiny scale of the postcard format as a challenge to communicate as much meaning and emotion as possible from extremely minimal compositions. 'Camera One' and 'Camera Two' are quite similar in terms of the sum of their parts, but they express different things. 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.
Lot 177
Weronika Anna Rosa Cymbidium Kellys Winter Orchid, 2024 Gouache and pencil on cotton paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About WERONIKA ANNA ROSA (b. 1990 in Warsaw, Poland) - visual artist, painter and designer, since 2016 based in Lisbon, Portugal. Rosa grew up in a family involved in arts and natural sciences. These two distant, but strongly complementary worlds, constitute the pillar of her visual sensibility and sculpted her curiosity. Plants play a vital role in her work - they are not only subjects, but also a vehicle of meanings and emotions. Rosa uses botanical iconography to explore relations between plants and humans; botany and its connection with current socio-cultural and environmental factors. The artist captures the ephemeral matter of nature, looking into its strength and fragility, imperfections and beauty. Starting from a careful observation of plants, through botanical studies and realism, she abstractly scales the subject, bringing it closer to the size of a human body. Rosa intends to express the identity of plants by observing their essence, and by analysing their history and role in our culture. This naturalistic representation becomes a universal and metaphorical language. Rosa experiments with various artistic techniques and media to obtain diverse textures, scales and volumes, in a way to reach the observer on different sensory levels. Education 2019 Botany and Art, course at FCSH, Universidade Nova, Lisbon, Portugal 2016-2017 Bachelor's degree in Ceramics, Faculty of Fine Arts, University of Lisbon, Portugal 2015-2017 Master's degree in History of Art, Faculty of Arts, University of Lisbon, Portugal / University of Warsaw, Poland 2011-2015 Bachelor's degree in History of Art, University of Warsaw, Poland 2010 Drawing of Nature, course at the Natural History Museum of Marseille, France Solo Exhibitions 2025 Vestígios de Memórias, National Museum of Natural History and Science, Lisbon, Portugal (TBC), Cliché Gallery, Warsaw, Poland 2023 Natura Ludzka, Galeria Prześwit, Warsaw, Poland 2021 In search of Beauty, Minds&More, Lisbon, Portugal 2020 Fabric - The Master's Material (Tkanina - Materia Mistrza), Galeria Nizio, Warsaw, Poland 2019 (In)Visivel, Espaço Santa Catharina - ESC, Lisbon, Portugal 2018 Vivace, Galerie La Canopée, Lisbon, Portugal 2017 Secret Garden's Metamorphosis, Transept, Lisbon, Portugal Group Exhibitions 2024 Warsaw Art Fair (represented by Cliché Gallery), Warsaw, Poland Souvenirs from faraway places, I have never been, Ethical Assembly, Lisbon, Portugal Lisbon Design Week, Artlier, Lisbon, Portugal 2023 Planatae, annual exhibition of the Society of Botanical Artists, Mall Galleries, London, United Kingdom 2020 Gardens, Analora, Lisbon, Portugal Awards 2025 International Design Pool, artistic residency organised by Vista Alegre, Portugal Statement about AOAP Submitted Artwork What intrigues me the most in flowers are details that are often neglected or unseen with a naked eye. We need to stop and take a time to observe, in order to perceive. Despite the limitation of the postcard size, I wanted to make the flowers as monumental as possible, and to capture the dancing movements of their petals and stamens. I hope you can imagine their scent. 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.
Lot 308
Lucy Pass Camera Two, 2025 Oil, acrylic, and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lucy Pass is a self-taught contemporary portrait painter living and working in Cheltenham, UK. Her work is focused on unpicking the idea of traditional portraiture, where the intent of her portraits isn't to capture a subject in their truest form, but instead to explore the unseen things that lie within us all. Fragments of faces hang in space, vanishing, obscured, repeated; all underscored with a language of gestural, abstract marks and shocks of colour, like key sentences highlighted from a passage. So much is stripped back that the redacted elements take on power and it becomes as much about what you can't see as what you can. The result is a visual conversation of absence and addition, inviting the viewer to ask questions and fill in the blanks. Solo Exhibitions 2025 TBC, Guildford House Gallery, Guildford, UK Group Exhibitions 2024 The Guildford House Open, Guildford House Gallery, Guildford RBSA Prize Exhibition, RBSA Gallery, Birmingham RBSA Summer Show, RBSA Gallery, Birmingham The British Art Prize '23 Exhibition, Gallery@OXO, London 2023 The Royal West of England Academy 170th Annual Open Exhibition, Bristol Drawing (Paper) Show, The Bridewell Studios and Gallery, Liverpool 2022 The Royal West of England Academy 169th Annual Open Exhibition, Bristol The Contemporary British Portrait Painters Exhibition, The Department Store, Brixton, London 2021 Pressing Matters - Helium London, 5 Carlos Place, London 2020 Perceptions, Contemporary British Portrait Painters, Cass Art Space, Islington, London 2019 The John Ruskin Prize: Agent Of Change The Holden Gallery, Manchester Awards 2024 First prize, The Guildford House Open 2023 First prize, The British Art Prize Statement about AOAP Submitted Artwork I love experimenting to see the intensity of mood I can create from out-of-context facial fragments, shapes and marks - these elements are building blocks that repeat throughout my work. I saw the tiny scale of the postcard format as a challenge to communicate as much meaning and emotion as possible from extremely minimal compositions. 'Camera One' and 'Camera Two' are quite similar in terms of the sum of their parts, but they express different things. 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.
Lot 391
Melissa Kime Coal tit and long tailed tit, 2025 Watercolour and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Melissa Kime studied Fine Art at University College Falmouth and completed The Drawing Year at The Prince's Drawing School (now the Royal Drawing School) in 2012, where she won the Windsor and Newton Prize. She was selected for Bloomberg New Contemporaries 2014 and her work has been featured in Amelia's Magazine. Kime is currently studying on the MA Painting course at the Royal College of Art. 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.
Lot 358
Georgie Huxley Don't You Know, It's All for Now, 2025 Pencil on card Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Georgie Huxley (b. 2000) is a painter based in London. A graduate of the Slade School of Fine Art, her work explores themes of connection, solitude, and nostalgia. Using personal archives as source material, their paintings evoke a quiet tension between presence and absence, offering contemplative reflections on the complexities of human experience. Education 2019-2023 The Slade School of Fine Art, London Group Exhibitions 2024 Alone Together, 2 Hoxton Street, London Sky Arts Portrait Artist of the Year, Heat 2, London 2023 Canyon, RuptureXIBIT, Kingston Bedrock, The Crypt Gallery, London Slade School of Fine Art UG Degree Show, London Art on a Postcard Winter Auction, Gathering Gallery, London Filthy Fox Auction Club, Greatorex Street Gallery, London 2022 Running Late, Changing Room Gallery, London TUB, Centrespace Gallery, Bristol Juicebox, RuptureXIBIT, Kingston Awards 2024 Stanbury Award, Slade School of Fine Art Statement about AOAP Submitted Artwork To celebrate International Women's Day, I've created three pencil drawings of Nicola Adilman, captured mid-dance in beautiful and dynamic poses. These drawings were inspired by As of Right Now, a performance choreographed by Nicola (@nicolaadilman), where movement, visual art, and storytelling intersect. While I typically work in paint, I chose to use pencil for these pieces, echoing my use of charcoal in the live performance. I appreciate the impermanence of charcoal in the performance, and pencil allowed me to capture a similar transient, delicate energy in these still moments of Nicola's dance. In As of Right Now, I'm drawing Nicola, alongside Ushara Dilrukshan (ushara_x), live while she dances. The photographs that inspired these drawings were taken by Michelle Rose (@romifolder), whose exceptional eye and artistry have profoundly influenced these drawings. Romifolder's photography beautifully captures the raw emotion and intensity of the moment, allowing me to explore the delicate balance of vulnerability and strength in Nicola's movements. 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.
Lot 197
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.
Lot 5
Mercedes Lucy Into the Fishes Mouth, 2025 Pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About My practice revolves around ceramics, a medium I am drawn to for its physicality, diversity, and connection to both art and craftsmanship. I create a wide range of objects, sculptures, and illustrations, exploring both 2D and 3D forms through drawing, painting, and murals. I handmake tiles; I find the unique blend of utility and creativity deeply satisfying. My designs stem from a mix of imagination and observations of life around me, often infused with tongue-in-cheek humour. My work reflects themes of domesticity, feminism, motherhood, grief, and identity. I embrace the slow, intentional process of ceramics as a counterbalance to my natural urge to rush, while creating art that carries a sense of purpose. For me, this blend of functionality and creativity helps navigate the often-unspoken guilt associated with making art that might not traditionally be considered "necessary." Through my art, I aim to merge shape, perspective, and form, crafting pieces that resonate with the complexities of life while bringing joy and utility to the everyday. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Lot 92
Alexandra Beteeva Unlucky in daylight, 2024 Pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.)About Alexandra Beteeva (b.1999) creates nostalgic paintings, prints and drawings tinged with intimacy and innocence. Interested in post-Soviet spaces and a process of presenting history in the form of personal and collective memory, she asks what it means to be homesick for a home one never had. Motivated by themes of immersion, the Caucasus becomes an interesting space to explore. Alexandra works with the archive, images that help to see and understand the past more accurately, as during excavations, the missing but suddenly found part of the object makes the idea of it whole. Education 2022-2023 Turps Correspondence Course 2018-2022 Glasgow School of Art: BA (Hons) Fine Art: Painting & Printmaking, Glasgow, United Kingdom 2017-2018 University of the Arts London: CCW Foundation Diploma in Art and Design, London, United Kingdom Selected Exhibitions 2024 Eye to Paper vol. 2, Edinburgh Palette, Edinburgh, United Kingdom RSA New Contemporaries Exhibition, Royal Scottish Academy, Edinburgh, United Kingdom Drawing Now, Carreau du Temple, Paris, France New Contemporaries, Camden Art Centre, London, United Kingdom 2023 New Contemporaries, Grundy Art Gallery, United Kingdom A Former Life, Traits Libres Gallery, Paris, France Do Not Swallow, Safehouse Gallery, London, United Kingdom Eye to Paper, Edinburgh Palette, Edinburgh, United Kingdom Mud, For You, Fitzrovia Gallery, London, United Kingdom Zug Zwang, Foundry, Dubai, UAE Awards 2024: RSA New Contemporaries, Royal Scottish Academy2023: New Contemporaries, Bloomberg2022: Selected artist, Portrait Artist of the Year; Euan Stewart Memorial Prize for Printmaking, Glasgow School of Art Gallery Representation Traits Libres Gallery (Paris, France)Mute.Gallery (Dubai, UAE)Deep List (Moscow, Russia) Public Collections Dumfries House collection, The King's Foundation (United Kingdom) Statement about AOAP Submitted Artwork The drawings created for AOAP dive into the language of memory. They explore patterns uniting figures and space, cultural signifiers and repetition. These elements help me tell the untold stories of those caught between the unforgiving turns of 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.
Lot 212
* PETER HOWSON OBE (SCOTTISH b. 1958), CHRIST DRAWING VI pencil on paper, signed, titled and dated 2003 versomounted, framed and under glassimage size 30cm x 30cm, overall size 37cm x 37cm Label verso: Flowers East, London.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.
Lot 255
* ALEXANDER GOUDIE RP RGI (SCOTTISH 1933 - 2004), STUDY FOR OVER THE BRIDGE - HELL FOR LEATHER pencil on paper, signed, titled label versomounted, framed and under glass image size 21cm x 28cm, overall size 43cm x 50cm Label verso: Roger Billcliffe Fine Art, Glasgow.Note: Alexander Goudie was born in 1933 at Paisley and, as a child, showed prodigious talent for drawing. He studied at Glasgow School of Art when William Armour was head of drawing and painting and David Donaldson was the ubiquitous influence. Goudie, as a student at Glasgow, demonstrated his extraordinary ability. He received the Somerville Shanks Prize for Composition and, later, his draughtsmanship and sense of colour was recognized with the award of the Newbery Medal. As a young artist he grew up admiring three great masters, Sir John Lavery, George Henry and James Guthrie; all artists who had bridged the gap between Glasgow and Paris. It was these artists’ glorious virtuoso control of oil paint that appealed to Goudie, as well as their genre and realist subject-matter. Alexander Goudie was elected a member of the Glasgow Art Club in 1956 and a member of the Royal Society of Portrait Painters in 1970. He painted a portrait of the Queen for the Caledonian Club, London (1992/93), and exhibited widely, showing at Harari and Johns, in London, the Fine Art Society, Glasgow, and the Musee de la Faience, in Quimper. Sir Timothy Clifford, former Director of the National Galleries of Scotland, wrote: ''At his best, Goudie could draw better than any of his rivals in Scotland. There was magic and vision in his art and, I expect, history will be kind to him.'' Collections: 79 of Goudie's paintings are held in UK public collections including at Glasgow Museums & Galleries, The Hunterian, Rozelle House Galleries, Paisley Museum & Art Galleries and The Fleming Collection (London). Numerous prestigious corporate collections in the UK and France and in private collections around the world.
Lot 58
Walt Disney (1901-1966). ‘Cinderella’. Autographed reproduction of an original colour animation cel drawing, Walt Disney Productions, Burbank, California, (c. 1950) -depicted Gus and Jaq, Cinderella’s loveable mouse friends, and boldly inscribed by Walt Disney in black crayon on lower right margin, ‘To Pat Osborne Best Wishes Walt Disney’, further annotated in pencil in an unknown hand beneath the image on left margin ‘From Cinderella’, the image 15 x 20cm within mount, printed label on reverse, 44 x 42cm overall, framed and glazed. Provenance:Personally gifted by American animator, film producer, Walt Disney, to the vendor’s mother, the Late Pat Osborne, who was a BBC producer and close friend of Walt Disney.Pat Osborne started working for the BBC as a typist at the age of 18 in 1936, until she left the company in the mid-1970s. Pat then began to take over the corporation’s programmes which had lost their male producers to Her Majesty’s Armed Forces and by 1946 she had become a highly professional senior BBC producer in her own right.Miss Osborne started the BBC’s radio programme, ‘Woman’s Hour’ and produced numerous programmes including, ‘Housewives’ Choice’, ‘Radio Rhythm Club’, ‘Desert Island Discs’,‘ March of the Movies’, International Hit Parade’, and ‘The Wonderful World of Disney’ broadcasts on Christmas Day to name a few. Throughout her 40 years with the BBC, Pat Osborne made many friends, many of whom included the best-known names in show business.Bold and clear signature, a few small marks to the cream mount, toning and rubbing to printed label on reverse, some scuffs to the frame, otherwise overall good condition.
Lot 1029
ROSS VIRGIL: (1907-1996) American cartoonist and animator, best known for his collaboration with Friz Freleng and for animating many of the Warner Bros. cartoons, particularly those featuring Bugs Bunny. A good original graphite and coloured pencils drawing executed and signed by Virgil Ross, one page (animation peg hole paper), folio (approximately 27 x 32 cm), n.p., n.d. (1990s). The attractive image depicts Bugs Bunny and Yosemite Sam walking in full-length poses together, each wearing costumes from the Merrie Melodies cartoon Hare Trimmed (1953). Signed by Ross in pencil with his name alone to the base. VG
Lot 965
LALIQUE RENE: (1860-1945) French jeweller and glass designer. A fine and attractive original preparatory drawing by Lalique, unsigned, one page, 4to, n.p. (Paris?), n.d. (c.1890-1900). The watercolour, gouache and pencil drawing, executed at the centre of a light brown sheet of BFK paper, represents Lalique´s design for a brooch in the shape of a rounded lozenge, reminiscent of a heart, and features a central figure of a naked female in a full-length pose, her feet resting atop an emerald, and her arms oustretched to form the outline of the jewellery. To her left and right appear several other entwined naked females. A small work of art in its own right, despite being a preparatory study, the majestic central figure, with her slender waist, shapely body and long, slender legs is typical of the Art Nouveau aesthetics which Lalique mastered. Loosely contained within a double cream matt and gold borders, the window displaying an area of approximately 6 x 15 cm (including the complete design). Some very light, minor age wear, VGProvenance: Previously with Artepolis of Nice, France, and with their printed exhibition title label Femme bras tendu affixed to the verso of the mount.
Lot 988
SARGENT JOHN SINGER: (1856-1925) American artist, considered the leading portrait painters of his generation. A.L.S., John S. Sargent, two pages (written to the first and third sides of the bifolium), 8vo, n.p., n.d. (´Saturday´), to [Francis Derwent] Wood, in bold pencil. Sargent writes, in full, ´Thanks for the addresses. Miss Finch & Miss Phyllis Slough turned up & I have been drawing from them - and have also enjoyed the Belgian´. Some light dust staining and with a small area of paper loss to the upper left corner. GFrancis Derwent Wood (1871-1926) British sculptor.
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