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AN ISLAMIC INK DRAWING ON PAPER, depicting a seated figure, with calligraphy and gilt highlights, unframed, 32.5cm x 24cm.

BEN KELLY (born 1949); ink drawing of a blackbirds perching in trees, initialled lower right, 19 x 13.5cm, framed and glazed. (D)Additional InformationThe paper is slightly rippled. Minor knocks, scratches and scuffs to the frame.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

An Italian late 17th/early 18th century giltwood console tableof Venetian origin, the simulated marble decorated top of a later date The shaped simulated marble decorated top with a reverse ogee moulded edge, on two angled and projecting oversize S-scroll supports carved with flowers, fruit and acanthus foliage, flanking a central winged cherub holding a scroll aloft, below a fruiting floral swag (one segment missing) with conforming carving to the waved and scrolled stretchers, on moulded faux marble decorated plinth bases, the top probably 19th century, 144cm wide x 53cm deep x 95cm high, (56 1/2in wide x 20 1/2in deep x 37in high)Footnotes:PurchasedSotheby's, London, 10 June 1999, Important Continental Furniture and Tapestries, lot 61.A related design by the renowned and virtuoso wood carver Andrea Brustolon (1662-1732) for a console table, which is similar to the offered lot, appears illustrated in both E. Colle, Il Mobile Barocco in Italia, 2000, Milan, p. 308 and A. Gonzalez-Palacios, Il Tempio del Gusto, Le Arti Decorative in Italia fra Classicismi e Barocco, La Toscana e l'Italia Sttentrionale, 1986, Milan, fig. 760, p. 362. Brustolon's drawing, which is housed in the Musei Civici de Belluno, is a pen, ink and watercolour work executed on paper, however unfortunately it was evidently not dated.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

LOUISE HILL (BRITISH, B. 1968) Donated by Louise Hill 'Chinoiserie in Aquamarine & Powder Blues' Hand finished in gold ink Limited Edition of 100 Framed. 81cm high x 125cm wide. White frame Printed on to 350gsm Hahnemuhle German Etching Paper, this print is signed, numbered and stamped with a Louise Hill Design ‘blind embossing stamp’ on the front. Each print also includes a 'Certificate of Authenticity' sticker sealed with gold foil logo, embossed stamp, signature and edition number attached to the back of the frame. Louise Hill is a creative graphic designer and multimedia artist with a passion for her work. Having lived for many years in Shanghai, Hong Kong and now Singapore, her love for Asia shines through in her highly detailed, colourful and vibrant prints. You will find her either working at her computer or drawing board, or walking the streets with her camera on the lookout for vintage props and imagery, planning her next artwork. www.louise-hill-design.com/chinoiserie-in-powder-blues RRP $2,425.00 SGD 107 cm wide x 62 cm high (unframed) Condition: No obvious condition issues

Francis Carruthers Gould, (1844 - 1925), ink drawing 'Trying to put the door mouse into the the teapot', signed bottom right and inscribed in the mount, under glass in a Hogarth frame, 15 x 13cm Francis Carruthers Gould was a famous political cartoonist

10 Graphiken mit Markthändlern und Schaustellern, ab 1772 1) Lithographie von Fritz Reuter, 1881, "Jahrmarkt", gedruckt von C. Hacker's Institut, Berlin, Maße 23 x 33 cm. - 2) Tuschezeichnung von Theodor Grätz, um 1920, "Zirkuselefant", für die Fliegenden Blätter, Maße 29 x 37 cm. - 3) 4 Kreidelithographien von Lou Albert-Lasard, um 1925, aus der Serie "Montmatre", jeweils signiert, erschienen im Kiepenheuer-Verlag, Potsdam, Maße jeweils 37 x 48 cm. - 4) Lithographie nach Johan Fredrik Martin, London 1772, "The Sausage Woman, or a Scene in Covent Garden", gedruckt für Robert Sayer, Maße 25 x 35 cm. - 5) Kupferstich nach Karel Dujardin, "Les Charlatans", Maße 31 x 26 cm. - 6) Lithographie, um 1840, "Der Hühnermarkt in Frankfurt am Main", Maße 50 x 34 cm. - 7) Bleistiftzeichnung von J Schultz-Dahl, 1927, "Blumenverkäuferin, Druck Nr. 17/50, unten rechts handsigniert, Maße 25 x 32 cm. Start Price: EUR 240 Ten Prints of Market Traders and Showmen, 1772 onwards 1) Lithograph by Fritz Reuter, 1881, "Fair", printed by C. Hacker's Institut, Berlin, 23 x 33 cm. - 2) Ink drawing by Theodor Grätz, c. 1920, "Circus elephant", for the Fliegende Blätter, 29 x 37 cm. - 3) Four chalk lithographs by Lou Albert-Lasard, c. 1925, from the series "Montmatre", signed, published by Kiepenheuer-Verlag, Potsdam, 37 x 48 cm. - 4) Lithograph after Johan Fredrik Martin, London 1772, "The Sausage Woman, or a Scene in Covent Garden", printed for Robert Sayer, 25 x 35 cm. - 5) Copper engraving after Karel Dujardin, "Les Charlatans", 31 x 26 cm. - 6) Lithograph, c. 1840, "Der Hühnermarkt in Frankfurt am Main", 50 x 34 cm. - 7) Pencil drawing by J Schultz-Dahl, 1927, "Blumenverkäuferin", print no. 17/50, signed by hand on lower right, 25 x 32 cm. Start Price: EUR 240

12 Original-Graphiken mit Markt- und Schaustellerszenen 1) Eugen Nanz (1887-1958), handkolorierter Andruck, um 1915, vom Künstler selbst signiert, Nr. 1331C, für die Meggendorfer Blätter, 16 x 16,5 cm. - 2) Hugo Frank (1892-1962), aquarellierte Tuschfederzeichnung, 1922, "Signore Bambino", Verso mit Verlagsstempel, 22 x 16 cm. - 3) Aquarellierte Tuschfederzeichnung, unsigniert, um 1925, "Jahrmarktsbuden", 24 x 32 cm. - 4) Pahr, kolorierte Bleistiftzeichnung, um 1920, "Moritatensänger", 13,5 x 18 cm. - 5) Hugo Frank (1892-1962), Tuschfederzeichnung, 1943, "Dieses Universalmittel hilft", für die Fliegenden Blätter, Verso mit Verlagsstempel, 10,5 x 7,5 cm. - 6) Siegfried Böck (1887-1958), Tuschfederzeichnung, 1923, "Flohmarkthandel", Nr. 1681/7904, für die Meggendorfer Blätter, Verso mit Verlagsstempel, 18,5 x 19 cm. - 7) R. Zink, Tuschfederzeichnung, um 1915, "In Liebe", für die Meggendorfer Blätter, Verso mit Verlagsstempel, 14 x 12 cm. - 8) Adolf Oberländer (1845-1923), Andruck, um 1923, "Kaufmann und Spitzbuben", für die Fliegenden Blätter, 31 x 20 cm. - 9) Martin Claus (1892-1975), Bleistiftzeichnung, signiert, 1932, "Hippodrom", für die Fliegenden Blätter, Verso mit Verlagsstempel, 19 x 21 cm. - 10) Hugo Frank (1892-1962), Tuschfederzeichnung, um 1935, "Wurfbude", für die Fliegenden Blätter, Verso mit Verlagsstempel, 13 x 10 cm. - 11) Josef Mauder (1884-1969), Tuschfeder- und Pinselzeichnung, 1934, signiert, "Die Dame ohne Unterleib", für die Fliegenden Blätter, 22 x 16,5 cm. - Und: 12) Johann Baptist Maier (1881-1957), handkolorierter Andruck, um 1920, "Beim Trödler", für die Meggendorfer Blätter, 17 x 22 cm. Start Price: EUR 180 Twelve Original Illustrations of Market and Fairground Scenes 1) Eugen Nanz (1887-1958), hand-colored proof, c. 1915, signed by the artist, no. 1331C, for the Meggendorfer Blätter, 16 x 16.5 cm. - 2) Hugo Frank (1892-1962), watercolor pen-and-ink drawing, 1922, "Signore Bambino", publisher's stamp on verso, 22 x 16 cm. - 3) Watercolor pen-and-ink drawing, unsigned, c. 1925, "Fairground stalls", 24 x 32 cm. - 4) Pahr, colored pencil drawing, c. 1920, "Moritatensänger", 13.5 x 18 cm. - 5) Hugo Frank (1892-1962), pen-and-ink drawing, 1943, "Dieses Universalmittel hilft", for the Fliegende Blätter, publisher's stamp on verso, 10.5 x 7.5 cm. - 6) Siegfried Böck (1887-1958), pen-and-ink drawing, 1923, "Flohmarkthandel", no. 1681/7904, for the Meggendorfer Blätter, verso with publisher's stamp, 18.5 x 19 cm. - 7) R. Zink, pen-and-ink drawing, c. 1915, "In Liebe", for the Meggendorfer Blätter, publisher's stamp on verso, 14 x 12 cm. - 8) Adolf Oberländer (1845-1923), proof, c. 1923, "Kaufmann und Spitzbuben", for the Fliegende Blätter, 31 x 20 cm. - 9) Martin Claus (1892-1975), pencil drawing, signed, 1932, "Hippodrom", for the Fliegende Blätter, publisher's stamp on verso, 19 x 21 cm. - 10) Hugo Frank (1892-1962), pen-and-ink drawing, c. 1935, "Wurfbude", for the Fliegende Blätter, publisher's stamp on verso, 13 x 10 cm. - 11) Josef Mauder (1884-1969), pen, ink and brush drawing, 1934, signed, "Die Dame ohne Unterleib", for the Fliegende Blätter, 22 x 16.5 cm. - And: 12) Johann Baptist Maier (1881-1957), hand-colored proof, c. 1920, "Beim Trödler", for the Meggendorfer Blätter, 17 x 22 cm. Start Price: EUR 180

A letter including pen and ink drawing circa 19th Century referring to Billingsgate Fish Market history, product description and prices, framed and glazed, 22cm x 17cm

Robert Driessen - Art Forger - Banksy - An ink on paper drawing / painting of Banksy's 'Girl With A Blue Bird' graffiti street art. Signed in pen to the lower edge 'Made By R. J. C. Driessen In The Style Of Banksy'. Unframed with slight staining to the paper. Artwork measures approx; 560mm x 380mm. Robert Driessen was born in Arnhem in the Netherlands. Like many artists he struggled to sell his own work, but found he could easily copy any other artists style. Over the last 20 years he became one of the most successful art forgers in the world. He has fooled museums, galleries and every major auction house. He came to specialise in the work of Alberto Giacometti. Robert emigrated to Thailand where he opened a small restaurant and moved away from the world of art. He has recently taken up the brush and sculptors tools once again, producing original reproductions, all of which are signed by Robert Driessen.

Robert Driessen - Art Forger - Banksy - An ink and watercolour on paper drawing / painting of Banksy's 'Bomb Hugger' graffiti street art. Signed in pen to the lower edge 'Made By R. J. C. Driessen In The Style Of Banksy'. Unframed with slight staining to the paper. Artwork measures approx; 560mm x 380mm. Robert Driessen was born in Arnhem in the Netherlands. Like many artists he struggled to sell his own work, but found he could easily copy any other artists style. Over the last 20 years he became one of the most successful art forgers in the world. He has fooled museums, galleries and every major auction house. He came to specialise in the work of Alberto Giacometti. Robert emigrated to Thailand where he opened a small restaurant and moved away from the world of art. He has recently taken up the brush and sculptors tools once again, producing original reproductions, all of which are signed by Robert Driessen.

Robert Driessen - Art Forger - Banksy - An ink, watercolour and acrylic on paper drawing / painting of Banksy's 'Kissing Coppers' graffiti street art. Signed in pen to the lower edge 'Made By R. J. C. Driessen In The Style Of Banksy'. Unframed with slight staining / colour run to the paper. Artwork measures approx; 560mm x 380mm. Robert Driessen was born in Arnhem in the Netherlands. Like many artists he struggled to sell his own work, but found he could easily copy any other artists style. Over the last 20 years he became one of the most successful art forgers in the world. He has fooled museums, galleries and every major auction house. He came to specialise in the work of Alberto Giacometti. Robert emigrated to Thailand where he opened a small restaurant and moved away from the world of art. He has recently taken up the brush and sculptors tools once again, producing original reproductions, all of which are signed by Robert Driessen.

Robert Driessen - Art Forger - Banksy - An ink on paper drawing / painting of Banksy's 'Balloon Girl' graffiti street art. Signed in pen to the lower edge 'Made By R. J. C. Driessen In The Style Of Banksy'. Unframed. Artwork measures approx; 560mm x 380mm. Robert Driessen was born in Arnhem in the Netherlands. Like many artists he struggled to sell his own work, but found he could easily copy any other artists style. Over the last 20 years he became one of the most successful art forgers in the world. He has fooled museums, galleries and every major auction house. He came to specialise in the work of Alberto Giacometti. Robert emigrated to Thailand where he opened a small restaurant and moved away from the world of art. He has recently taken up the brush and sculptors tools once again, producing original reproductions, all of which are signed by Robert Driessen.

Robert Driessen - Art Forger - Banksy - An ink on paper drawing / painting of Banksy's 'Floating Balloon Girl' graffiti street art. Signed in pen to the lower edge 'Made By R. J. C. Driessen In The Style Of Banksy'. Unframed. Artwork measures approx; 560mm x 380mm. Robert Driessen was born in Arnhem in the Netherlands. Like many artists he struggled to sell his own work, but found he could easily copy any other artists style. Over the last 20 years he became one of the most successful art forgers in the world. He has fooled museums, galleries and every major auction house. He came to specialise in the work of Alberto Giacometti. Robert emigrated to Thailand where he opened a small restaurant and moved away from the world of art. He has recently taken up the brush and sculptors tools once again, producing original reproductions, all of which are signed by Robert Driessen.

Robert Driessen - Art Forger - Banksy - An ink on paper drawing / painting of Banksy's 'Vomiting Hearts' graffiti street art. Signed in pen to the lower edge 'Made By R. J. C. Driessen In The Style Of Banksy'. Unframed. Artwork measures approx; 560mm x 380mm. Robert Driessen was born in Arnhem in the Netherlands. Like many artists he struggled to sell his own work, but found he could easily copy any other artists style. Over the last 20 years he became one of the most successful art forgers in the world. He has fooled museums, galleries and every major auction house. He came to specialise in the work of Alberto Giacometti. Robert emigrated to Thailand where he opened a small restaurant and moved away from the world of art. He has recently taken up the brush and sculptors tools once again, producing original reproductions, all of which are signed by Robert Driessen.

Ink and wash drawing, the churchyard at Wilmington, signed with monogram PB, 25cm x 34cm, framedGood condition, mount slightly speckly

Brockbank, original pen and ink cartoon drawing for Peter Philby Alternative Cars magazine, signed, sheet size 13cm x 20cm, unframed Original horizontal crease just above the image, good condition

Alfred Wolmark (1877 - 1961), pen and ink drawing, head portrait, signed and dated 1926, 33cm x 25cm, framedEven paper discolouration

Lewis Baumer (1870 - 1963), ink drawing, a Baumer girl circa 1920, signed, 25cm x 20cm, mountedSlight paper discolouration

STEPHEN J. DARBISHIRE (b. 1940). ARR. A BIRD OF PREY. SIGNED PEN AND INK DRAWING. 32 x 43cms.

Dame Laura Knight, DBE,RA,RWS (1877-1970) "Bath Time," pen and ink with gouache highlight, approx. 25cms x 18cms (10" x 7") signed lower left mounted and framed. (1) Provenance: Originally owned by Lady Yarrow (née Eleanor Barnes) a leading promoter of the Arts and Crafts Revival, this drawing was gifted to the McDonnell family of Dalguise in Monkstown, Co. Dublin.

Alex Graham, British (1908-1940) A group of three original Pen and Ink Drawing Cartoons for 'Punch' Magazine entitled: * "Shutting him in the kitchen was your Bright Idea," * Anyway, It Makes a Change from Cats up Trees," * "Wasting Time," each approx. 16cms x 22cms (6" x 9") signed in uniform metal frames. (3)

Harry Clarke Studios- Richard King (1907-1974) "For a St. Francis of Assisi Window, c 1945," ink, watercolour and gouache on paper,  59" X 94" high (150 x 238cms). (1) In this large ink and watercolour study for a stained glass window, a decorative pattern of flowers and leaves, birds and animals, has been interwoven into a complex design that centres on the figure of St. Francis. A celebrated 12th century mendicant, famed for his penitential lifestyle and love of nature, St. Francis is shown standing, arms upraised, ready to receive the ?stigmata?, or wounds to his hands. At the base of the drawing, gathered close to the robes of the saint, are a wolf and a lamb, while swallows, kingfishers, thrushes and other birds cluster on the ground near St. Francis?s bare feet, or fly, wings outspread, in a spiral pattern around his figure. The background is heavily patterned, with curving branches of foliage and flowers forming stylised elements. The circle is divided into small panels, many of which have sunburst or abstract motifs. Beside the saint?s head hovers a dove, while on the lower right is a shield or crest bearing the image of a Cross, with crossed arms and hands. The whole design is framed with a decorative border composed of small squares, some tinted red and yellow.   The design is one of the most accomplished to have been produced by the Harry Clarke Studios, which continued to operate after the death of Harry Clarke.  Born in Dublin in 1889, Clarke came from a family of talented artists. Like the artisan family from Yorkshire who founded the Watson Studios in Youghal, Harry?s father Joshua Clark had migrated from England to Ireland in the latter half of the nineteenth century, to obtain work in church-building in Ireland; Harry?s mother was Brigid MacGonigal. Educated at Belvedere College, Harry then attended the Metropolitan School of Art in Dublin where, between the years 1911 and 1913, he won several prizes for stained glass designs. In 1915-17 he produced stained glass windows for the Honan Chapel at UCC and over the following two decades created brilliant stained glass for churches and private residences, as well as extraordinary watercolour and ink illustrations. In 1931, after Clarke?s death from TB in Switzerland, the workshop was taken over by his son Terence and his niece Ann. Initially the business prospered but with changes in fashion and decrees minimising church decoration, the studio finally closed in the early 1970?s. While inspired by the designs of Harry Clarke himself?many of which were in the workshop at the time of his death?the design for St. Francis of Assisi was produced by the artistic team that took over the studios after his death. Led by Charles B Simmonds, that team included Richard King, William Dowling and other artists. The St. Francis of Assisi design can be compared to work carried out in the churches such as St. Charles at Gosforth, St. John the Baptist at Knock, St. Thomas?s in Callow (a window made in 1943), and St. Patrick?s in Newport. Dr. Peter Murray, 2022

NIGHTINGALE (FLORENCE)Series of fifteen letters, comprising eleven autograph, two in another hand (one signed, with autograph subscription), one postcard and a printed facsimile, signed variously ('Florence Nightingale', 'F.N.', 'F. Nightingale'), to her good friend Jessie Lennox ('My dear Miss Lennox'), one of the original Nightingale Nurses, in pencil and ink, some marked 'Private' or 'Most Private', written in the fondest terms and taking a great interest in her work ('...I give you joy that you have made this a life-work, a 'calling' in the true meaning of the word...'), rejoicing at the progress already made in the profession ('...God has granted such an immense change during the last 30 years to Hospitals & Infirmaries & Districts in trained nursing...'), asking for her advice and discussing at length over several letters the duties required of a matron who would take charge in an 'Industrial Boys' Home' ('...It will not be a nurse to a hospital but rather to prevent the boys having to go into Hospital; to look after them & mother them... A Matron in the sense that each house at say Rugby School has a matron...'), voicing her expectations ('...I do not expect that we should succeed in getting a lady...'), but wishing for a 'mother to all these boys – especially to the younger ones', emphasising 'As in a hospital, the most important part of a Matron is to mother & care for all the nurses, body & soul', to 'have such charge of under clothing & of cleanliness of the boys & of their little ailments... and of – what? And of – what?...', mentioning the difficulties of persuading 'a man-Committee' to grant them a woman Matron ('...the man-Committee does not seem to think a woman has any business in the Barrack huts at all... In fact I do not expect to get her at all...'), the work of the District Nurses ('...not only to nurse but to teach the families how to nurse... cleanliness & ventilation... Sick Cookery... sick appliances, bedding, warm clothing...'), offering her a present ('...would you not like... some large, some Medical book?...'), making arrangements and sending gifts ('...a packet of cards for the little ones...'), 63 pages, dust-staining and marks, the majority 8vo (c.178 x 114mm.), Claydon House and 10 South Street, Park Lane, W., 9 September 1883 to 7 June 1896 (15)Footnotes:'THE MAN-COMMITTEE DOES NOT SEEM TO THINK A WOMAN HAS ANY BUSINESS IN THE BARRACK HUTS AT ALL': Florence Nightingale 'the mother of modern nursing' on pastoral care, difficulties with male committees and the role of the district nurse.Florence Nightingale is widely acknowledged as 'The Mother of Modern Nursing' and here she writes to one of her acolytes, Jessie Lennox, in a long correspondence discussing the ideal role of the matron she wishes to appoint to take over the care of some 500 poor boys in an 'industrial boys home'. The matron, she writes, should embody the practicalities of a trained nurse with a mother's care for her charges, with an emphasis on good diet, warm clothing and good shoes. She cites the story of Ella Pirrie, the Lady Superintendent of the Union Infirmary, Belfast, who persuaded a child struck dumb to speak by adopting this more gentle approach when harsher means had failed. She asks Lennox's advice in drawing up a set of requirements to put forward in the clearest possible terms to the 'man committee' as she puts it. Her frustration with such committees is evident, even for an influential person such as herself, but she recognises the enormous progress that has already been made in changing the status of nursing into a highly trained respectable profession. She goes on to speak of the role of the district nurse in the community ('...if the nurse has really that influence which she ought to have in the Patient's family, do they not become ashamed of letting her see the man or the woman drunk again? And does not that exercise a reforming influence?...'). Also included in the lot is a facsimile letter dated May 1900 addressed to all her nurses ('My dear children') in which she recognises her role as the Mother of Nursing ('...You have called me your mother-chief, it is an honour to me & a great honour, to call you my children...'), speaking too of advances in medicine and the professionalisation of nursing but ending, however, with a swipe at the suffragists ('...Woman was the home drudge. Now she is the teacher. Let her not forfeit it by being the arrogant – the 'Equal with men'...').The recipient of our letters, Jessie Lennox (1830-1933), was one of the original 'Nightingale Nurses' who trained at the Florence Nightingale School at St. Thomas's Hospital, London in the 1860's. According to her obituary in the British Journal of Nursing of February 1933 she also had the distinction of being a personal friend of David Livingstone, whom she met in Africa whilst working as a missionary and maid to Anna Mackenzie, who accompanied Mary Livingstone when she was reunited with her husband at the Zambezi in 1862. After her nursing training she was one of the first six Army Sisters appointed by the War Office to the Royal Victoria Hospital at Netley, and held the post of matron of the Sick Children's Hospital in Belfast for eighteen years. Her papers are held at the Florence Nightingale Museum. According to Lynn Macdonald, some 29 letters from Lennox to Florence Nightingale are extant (ed. Lynn Macdonald, Extending Nursing: Florence Nightingale Collected Works, 2009) but only a few from the other side of the correspondence are in the public domain. Photographs of her are also held at the Livingstone Family Trust.According to a letter from Jessie Lennox included in the lot, one letter from the series appears to have been sent by her to Dr Lilias Maclay (b.1893) in 1917, seven years after the death of Florence Nightingale: '...her body is at rest but her work is still very much with us...' she writes in a distinctive hand. Maclay's father was Lord Maclay of Duchal House, Kilmacolm, the founder of the Maclay-Macintyre shipping firm. She had enrolled at Glasgow University to study for a medical degree in 1912, passing the course with first class certificates in clinical surgery. During the First War she served with the Royal Army Medical Corps in Egypt and is one of the few females featured in the University's Roll of Honour (see www.universitystory.gl.ac.uk). After her marriage to John Edmund Hamilton in 1926 she practised as a doctor in Glasgow and Edinburgh. A great supporter of equal rights for women, she was the President of the YWCA of Great Britain and was Vice-President of Women's Voluntary Services as well as being an active member of the Women's Suffrage Society. The remainder of the letters were bequeathed to Dr Maclay after Lennox's death in 1933 as a solicitor's letter with the lot confirms (The Hon. Mrs J. E. Hamilton being her married name). Lilas' son Patrick (1934-1988) followed his mother into the medical profession, as did her granddaughter, the present owner of the letters. The correspondence has remained in the family until now.For further information on this lot please visit Bonhams.com

Louis William Wain (1860-1939) Uncle Taking His Revenge, signed lower left, ink drawing, measurements 29 x 36.5cm*At fault, two tears and a loss to paper, stuck down beneath mount.Condition report: The work is an ink drawing on paper. The sheet is attached to the mount and stuck down. There is a tear to the sheet extending from the lower left corner through the signature into the body of the front left kitten and across to the edge of the mount roughly 10 cm. There is a further tear from the lower centre-left edge diagonally through the second kitten's back foot through the back of the third kitten to its tail- roughtly 13.5 cm. There is a loss to the sheet measuring 2 x 1 cm to the lower-centre-right where the mount has been lifted and torn the sheet- the loss remaining stuck down to the mount backing. There is a small drawing-pin sized hole to the upper right corner. The surface otherwise appears stable, with some general signs of ageing (browning) to the paper. There are additional photographs of the damage in our online catalogue to view.

Richard Conway-Jones Nude from reverse, oil on canvas, 47 x 39cm and Lady in Hat, ink drawing 50 x 40cm, framed

ARTHUR HACKER RA, RI, RP, NEAC, (1858-1919). At the Mosque of Sidi Okbah, Tunisia, pen, ink and watercolour, 7 x 10in. Provenance: with Walker Bagshawe, London. According to a label on the reverse this drawing dates from the artist's honeymoon in North Africa. It depicts the artist and his wife removing their shoes outside the Mosque

Alfred Wainwright (1907-1991), an original pen and ink drawing "The County Fence, Salter Fell", 17 cm x 21 cm, framed, signed. ARR (see illustration). CONDITION REPORT: The pen and ink drawing is in good condition. It is framed with inscriptions and signature to the lower ledge. Not examined outside its frame. No losses or tears visible from the front.

PEN & INK DRAWING OF TWO DORMICE, SIGNED DEIRDRE MACMANUS TOGETHER WITH A SILK EMBROIDERED PANEL OF TWO HARVEST MICE

PEN, INK AND WASH DRAWING OF FIGURES ON A DESERT ISLAND, SIGNED EKO, INSCRIBED HARYANTO EKO TO THE REVERSE

PEN & INK DRAWING OF MEMORIAL STONE CHURCHYARD CROSSES & A WATERCOLOUR OF A HOUSE & GARDEN BY B.T SCRIVEN

WILLIAM JOHNSTONE [1897-1981]. Landscape. ink drawing. signed with initials. 22 x 15 cm - overall including frame 40 x 30 cm. Provenance: the artist; private collection, Spain; private collection, UK. See lot 94 for cv.[very good condition - unexamined out of frame]. Buyers premium of 20% + vat is payable.

MICHAEL AYRTON [1921-75]. Not to Disturb, 1971. ink drawing; studio stamp signature on the reverse. 20 x 14 cm - overall including frame 34 x 28 cm. Provenance: the artist; private collection, UK. Final drawing for the Murial Spark book etching - a wonderful drawing. [very good condition - unexamined out of frame]. Buyers premium of 20% + vat is payable.

MICHAEL AYRTON [1921-75]. Landscape [Suffolk], c.1950. ink drawing; studio stamp signature on the reverse. 7 x 9 cm - overall including frame 25 x 27 cm. Provenance: the artist; Shell collection; Abbott & Holder Gallery; private collection, UK. [very good condition - unexamined out of frame]. Buyers premium 20% + vat payable.

PETER HOWSON R.A. [1958 - ]. Head Study, 2012. ink drawing; signed. 13 x 20 cm - overall including frame 37 x 44 cm. Provenance: the artist; Cameron Contemporary Art [£850] - label on reverse; private collection, UK. [very good condition - unexamined out of frame]. Buyers premium of 20% + VAT is payable.

Peter Scott (edited): 'My Favourite Stories of Wild Life', 1965, 1st edition, signed and dated 15th June 1966 by the author, and with original ink drawing of a goose in flight by him to FFEP, original cloth gilt, dust wrapper

Isabel Saul (1895-1982) - An illuminated pen, ink, wash and gilt illuminated drawing, Saint Maurice circa AD287, signed, 18 x 15 cm, mounted framed and glazed - note - Isabel Saul exhibited 14 times at the Royal Academy 1926-40), to/w Lily Morgan - 'Proof', watercolour for prayer-book cover, circa 1900, 21 x 16.5 cm, mounted, framed and glazed, in Art Nouveau style frame (2)

A LARGE QUANTITY OF ART SUPPLIES ETC, to include SAA tins of watercolour paint most appear to be unused, unused Winsor and Newton Cotman watercolour set, desert collection set, Derwent Inktense ink blocks 72 set, Rowney soft pastels, Derwent pastel pencils, SAA folders of unused paint brushes, sketching pads, books and packs of drawing paper, boxed and unboxed wooden table box easels, variscaler in wooden box, watercolour mixing palettes, aluminium cases, and a box of photoframes etc

Old Master drawing, red ink and wash, Warships at sea, initialled, 11.5 x 16cm

Four Contemporary Paintings / Prints including Aldo Pasquali 1998 Mixed Media of Harbour Scenes Bateaux, Pen and Ink Drawing Yoga Poses 24cm x 19cm, Signed Marchant Print Surfing in Hawaii together with a Pencil Study by Ukrainian Artist Mitrik

Terry Challis, (1935-2009), Sailing The Ship Of Team Cambridge, an ink and watercolour drawing of the 1991 Division 3 Championship winning team, the players depicted in the rigging of a sailing ship, signed by the manager John Beck and 22 players to include Dion Dublin and Gary Rowett etc., 78 x 59cm.Terry Challis, born in Watford, was cartoonist at The Watford Observer for 28 years where he became a Hornets legend with his weekly strip and illustrations. See The Times 19th February 2000. His followers have devoted a web site to him stating ‘some people are lucky enough to be born with a god given talent. Terry was blessed with two: he was an incredible artist and a natural funny man

Paul Cadmus (American, 1904-1999). Ink drawing on tan paper depicting a woman with her legs crossed. Signed along the upper right and titled "Susie" along the upper left. The verso with a light sketch of the same composition.Provenance: Estate of Paul Cadmus (d. 1999) afterwards Jon Anderson (d. 2018).Height: 10 in x width: 8 1/4 in.

Jack Youngerman (1926-2020)Abstract Drawing (Maquette for Announcement, Galerie Lawrence Drawing Show)Brush and black ink with white, 1965, initialled in black ink lower right, signed, inscribed and dated in pencil verso, on stiff board, 432 x 355mm (17 x 14in)Provenance:The ArtistAcquired from the above by John Kasmin, LondonExhibited:Paul Kasmin Gallery, New York

Three framed Antique black and white engravings, together with a pencil and ink drawing of Ely Cathedral and a View of Llanton Abbey

A framed pen and ink drawing of a street scene in 1950's style, 29.5cm x 39.5cm

Albert Wainwright (1898-1943) - Clifford's Tower, York Castle, a landscape study of a castle on the hill top, to the reverse an architectural line drawing, pen, ink and wash, unframed, 13cm x 28cm.

Albert Wainwright (1898-1943) - A sketch depicting a line of dancing boys in red and green costumes, with a line drawing of singing choir boys, to the reverse small sketches of figures embracing and drums, pen, ink and wash, unframed, 23cm x 17cm.

Albert Wainwright (1898-1943) - A sketch depicting multiple full length drawing of male figures, above three bust length portraits, to the reverse further studies of female figures mostly partially dressed in various poses, pen and ink, unframed, 22.5cm x 17cm.

Norwood Nurses, a poorly cat recuperating in a chair with his feet in a footbath, probably biographical, inscribed, 'Don't Leave this page open long, or I shall get a chill on the liver, and shall require one of the "Norwood Nurses", Nurse J. Jones preferred' (sic), signed 'Louis Wain, Love from Ve-ra Leins 14.1.09', 20.3 x 16.4cms (double page); together with cloth pocket folder of various poems, sketches, nursing records, etc. all relating to Nurse Lissie JonesProvenance: Lissie Jones, bequeathed to close family firends, thence by descent. Lissie Jones workd as a private nurse in London in the early years of her career, and is remembered for caring for several celebrities including Harry Lauder and Louis Wain, at West Norwood Private Nursing Institution from 1903.Condition report: Comments: Wain drawing - small smudge to word 'ppreeferred', correction in blue ink to letter J to L, minor discolouration to margins.

CHARLES SISSMORE TOMES: MANNINGTON HALL AND ITS OWNERS, Norwich, Goose & Son, 1916, 1st edition, 3 photographic plates, folding pedigree, double page folding plan, original wraps worn with old clear adhesive tape reinforcement + W H MILEHAM: an early Victorian original pen, ink and wash drawing of Mannington Hall dated 1852, approx 150 x 250mm, contemporary glazed birds eye maple frame (2)

λ Elwin Hawthorne (British 1905-1954)Devon's Road, BowBlack and blue ink, double-sided12.8 x 18cm (5 x 7 in.)UnframedThe present work is an original drawing for a linocut. It depicts All Hallows Church which was destroyed during WWII and 'The Widow's Son' pub. A painting of this view was created in 1931, whereabouts unknown.The authenticity of this work has been confirmed by the artist's son.

Mary Yacoob Manifold 02 Ink on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Mary Yacoob's work encompasses ink on paper, printmaking, large-scale vinyl artworks and light boxes. She appropriates the visual languages of electrical and engineering diagrams, architectural plans, cartography, and alphabetical systems. Playing with repetition and geometry, systems and chance, her work involves transfiguring source materials, creating intricate, yet monumental and mysterious thought forms.   Education Based in London, Mary Yacoob gained a MA in Fine Art at Central Saint Martins, and a BA in Fine Art at London Metropolitan University. She received a BA in English Literature and Political Science.   Select Exhibitions/Awards Solo exhibitions include Five Years Gallery, The Hospital Club, The Centre for Recent Drawing and Seven Seven Gallery. Group exhibitions include The Royal Academy Summer Exhibitions in 2019 and 2021, Gallery 46, &Model, PayeShurvell, Guest Projects, Saturation Point, and Dark Matter Studio. Residencies include The Delta (Δ) Research Placement at Flat Time House with the Diagram Research Group, The North Devon Artist Residency in 2020, Mutton Fist Press in 2019 and the AA2A residency at Camberwell College of Art print department in 2011. Mary Yacoob's works are in the collections of Yinka Shonibare / Guest Projects, Brunel University Art Collection, and private collections. Her artist books are in the Tate Gallery Archive; Chelsea College of Art Special Collection and in the London College of Communication Library.   Statement about AOAP Submitted Artwork Mary Yacoob's drawings are inspired by geometric proof pictures. The drawings deconstruct simple forms, such as circles and triangles, reconstructing them with fractured lines, forming complex perceptual fields. The drawings explore how simple diagrams can be repurposed for playful, gestural and creative encounters.

Lucy MJ Ball Looking Back Pen, Ink and Gouache on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lucy was born in 1956 and has lived in the UK since then. She studied at Swansea College of Art on the foundation course and at Canterbury College of Art on the Fine Art course, specialising in painting. Later on, as a mature student, she studied History of Art at Birkbeck College, University of London. Before moving to Devon from Oxfordshire in 1997, Lucy was principally a painter, once in Devon her practice as an artist went on hold for many years and for very many reasons. Returning to her practice she found herself producing very different work. Having done very little printmaking previously, she became captivated by the medium and in particular etching and aquatint. She exploits the darkness of the technique which perfectly suits much of her imagery which is often of dark subject matter peppered with a similarly dark humour. Subject matter is mostly to do with the human condition, relationships of people, of people and place and of people and animals. Lucy's subject matter is also informed by literature and myth. She also sees it as a cathartic process. The alchemical violence of the etching process perfectly suits this subject matter. She enjoys the unpredictability of printmaking and the surprises it creates. The process of etching provides her with a feeling of alchemically creating magic. It is a process requiring both creativity and a patient, often slow but considered adherence to technical considerations. Considerations which can of course, be bent and manipulated. Lucy suggests that monotype printmaking satisfies a need for intuitive and often unlikely outcomes, this medium along with drawing feeds and adds to her library of images and scenarios.   Select Exhibitions/Awards 2021 Selected for Woolwich Contemporary Print Fair November 2021 Selected for RA Summer exhibition September '21-January '22 2021 Limekiln Gallery, Cornwall Summer Exhibition 2020/21 Journey: A Mayflower 400 Project. A Transatlantic Touring Exhibition. Tamar Valley Printmakers UK and Printmakers of Cape Cod USA - Torre Abbey and Plymouth exhibitions 2020/21 RWA 168 Annual Open Exhibition 2020 Fresh off the Press, Limekiln Gallery, Calstock, Cornwall 2019 Red Dot Art Mini Print Exhibition 2019 Fresh off the Press, Limekiln Gallery, Calstock, Cornwall (group) 2019 RWA 167 Annual Open Exhibition 2018 RWA 166 Annual Open Exhibition 2018 Red Dot Art Mini Print Exhibition 2018: RBSA Print Prize Open exhibition (third prize winner) 2018: International Mini Print - Seacourt (group) 2018: Fresh off the Press, Limekiln Gallery, Calstock, Cornwall (group) 2017: Endelienta, open exhibition, Cornwall (group) 1991: HallRichards Gallery, London (solo) 1990: Cole and Cole Solicitors, Oxford (group) 1988: RWA, Bristol (136th annual open) 1988: Oxford Billboard project 1988: Red in Tooth and Claw, Westgate Exhibition Room, Oxford (group) 1987/8: Cahill and Grebler Gallery, London. Christmas show (group) 1986: Women on Men, Cahill and Grebler Gallery, London (group) 1980's: Open studio shows during the decade.

Lucy MJ Ball Showroom Pen, Ink, Watercolour and Crayon on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lucy was born in 1956 and has lived in the UK since then. She studied at Swansea College of Art on the foundation course and at Canterbury College of Art on the Fine Art course, specialising in painting. Later on, as a mature student, she studied History of Art at Birkbeck College, University of London. Before moving to Devon from Oxfordshire in 1997, Lucy was principally a painter, once in Devon her practice as an artist went on hold for many years and for very many reasons. Returning to her practice she found herself producing very different work. Having done very little printmaking previously, she became captivated by the medium and in particular etching and aquatint. She exploits the darkness of the technique which perfectly suits much of her imagery which is often of dark subject matter peppered with a similarly dark humour. Subject matter is mostly to do with the human condition, relationships of people, of people and place and of people and animals. Lucy's subject matter is also informed by literature and myth. She also sees it as a cathartic process. The alchemical violence of the etching process perfectly suits this subject matter. She enjoys the unpredictability of printmaking and the surprises it creates. The process of etching provides her with a feeling of alchemically creating magic. It is a process requiring both creativity and a patient, often slow but considered adherence to technical considerations. Considerations which can of course, be bent and manipulated. Lucy suggests that monotype printmaking satisfies a need for intuitive and often unlikely outcomes, this medium along with drawing feeds and adds to her library of images and scenarios.   Select Exhibitions/Awards 2021 Selected for Woolwich Contemporary Print Fair November 2021 Selected for RA Summer exhibition September '21-January '22 2021 Limekiln Gallery, Cornwall Summer Exhibition 2020/21 Journey: A Mayflower 400 Project. A Transatlantic Touring Exhibition. Tamar Valley Printmakers UK and Printmakers of Cape Cod USA - Torre Abbey and Plymouth exhibitions 2020/21 RWA 168 Annual Open Exhibition 2020 Fresh off the Press, Limekiln Gallery, Calstock, Cornwall 2019 Red Dot Art Mini Print Exhibition 2019 Fresh off the Press, Limekiln Gallery, Calstock, Cornwall (group) 2019 RWA 167 Annual Open Exhibition 2018 RWA 166 Annual Open Exhibition 2018 Red Dot Art Mini Print Exhibition 2018: RBSA Print Prize Open exhibition (third prize winner) 2018: International Mini Print - Seacourt (group) 2018: Fresh off the Press, Limekiln Gallery, Calstock, Cornwall (group) 2017: Endelienta, open exhibition, Cornwall (group) 1991: HallRichards Gallery, London (solo) 1990: Cole and Cole Solicitors, Oxford (group) 1988: RWA, Bristol (136th annual open) 1988: Oxford Billboard project 1988: Red in Tooth and Claw, Westgate Exhibition Room, Oxford (group) 1987/8: Cahill and Grebler Gallery, London. Christmas show (group) 1986: Women on Men, Cahill and Grebler Gallery, London (group) 1980's: Open studio shows during the decade.

Lucy MJ Ball Train Window - Rain Pen, Ink, Watercolour and Crayon on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lucy was born in 1956 and has lived in the UK since then. She studied at Swansea College of Art on the foundation course and at Canterbury College of Art on the Fine Art course, specialising in painting. Later on, as a mature student, she studied History of Art at Birkbeck College, University of London. Before moving to Devon from Oxfordshire in 1997, Lucy was principally a painter, once in Devon her practice as an artist went on hold for many years and for very many reasons. Returning to her practice she found herself producing very different work. Having done very little printmaking previously, she became captivated by the medium and in particular etching and aquatint. She exploits the darkness of the technique which perfectly suits much of her imagery which is often of dark subject matter peppered with a similarly dark humour. Subject matter is mostly to do with the human condition, relationships of people, of people and place and of people and animals. Lucy's subject matter is also informed by literature and myth. She also sees it as a cathartic process. The alchemical violence of the etching process perfectly suits this subject matter. She enjoys the unpredictability of printmaking and the surprises it creates. The process of etching provides her with a feeling of alchemically creating magic. It is a process requiring both creativity and a patient, often slow but considered adherence to technical considerations. Considerations which can of course, be bent and manipulated. Lucy suggests that monotype printmaking satisfies a need for intuitive and often unlikely outcomes, this medium along with drawing feeds and adds to her library of images and scenarios.   Select Exhibitions/Awards 2021 Selected for Woolwich Contemporary Print Fair November 2021 Selected for RA Summer exhibition September '21-January '22 2021 Limekiln Gallery, Cornwall Summer Exhibition 2020/21 Journey: A Mayflower 400 Project. A Transatlantic Touring Exhibition. Tamar Valley Printmakers UK and Printmakers of Cape Cod USA - Torre Abbey and Plymouth exhibitions 2020/21 RWA 168 Annual Open Exhibition 2020 Fresh off the Press, Limekiln Gallery, Calstock, Cornwall 2019 Red Dot Art Mini Print Exhibition 2019 Fresh off the Press, Limekiln Gallery, Calstock, Cornwall (group) 2019 RWA 167 Annual Open Exhibition 2018 RWA 166 Annual Open Exhibition 2018 Red Dot Art Mini Print Exhibition 2018: RBSA Print Prize Open exhibition (third prize winner) 2018: International Mini Print - Seacourt (group) 2018: Fresh off the Press, Limekiln Gallery, Calstock, Cornwall (group) 2017: Endelienta, open exhibition, Cornwall (group) 1991: HallRichards Gallery, London (solo) 1990: Cole and Cole Solicitors, Oxford (group) 1988: RWA, Bristol (136th annual open) 1988: Oxford Billboard project 1988: Red in Tooth and Claw, Westgate Exhibition Room, Oxford (group) 1987/8: Cahill and Grebler Gallery, London. Christmas show (group) 1986: Women on Men, Cahill and Grebler Gallery, London (group) 1980's: Open studio shows during the decade.

Anna Harmon What Do You Know About Apples? Observation Is The Source To The Knowledge of Life Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About I was born in the small Siberian city of Sayansk. Since childhood, I studied at an art school, but classical painting and traditional drawing caused boredom and irritation. After moving to St. Petersburg, being influenced by the history and architecture of the city, the Hermitage, the Russian Museum and other exhibition spaces, I realized that it was possible to go beyond the academic school and try myself in completely different techniques: oil, aerosol paints, ink. At the same time, an image was formed that can be traced in all the works of the author. Young spontaneity, openness to the world, something that allows you to look beyond social dogmas - the beauty of the naked human body, conflicts, the magic of the transition of one into another. At that time, in the Golitsyn Hall in 2019, the first exhibition was held together with other artists, the inspiration for these works were paintings by Henri Matisse, ancient Greek painting and personal impressions. With the help of naked impersonal images, I conveyed various aspects of human relationships and attitudes towards myself. In 2021, I signed a contract with MSK Eastside Gallery. The variety of shapes and colors collected on my canvas refers us to the unity of the unlike. To the fact that in our multicultural world, pluralism of opinions and the ability to live with them is the only thing that moves the world forward.   Education Self-taught   Select Exhibitions/Awards Golitsyn Hall. Moscow. 2019 RABOTA Auction. London. 2021   Gallery Representation MSK Eastside Gallery   Statement about AOAP Submitted Artwork What do you know about apples? What do you know about oranges? People admire the sea or mountains, modern cities, but no one pays attention to apples and oranges lying on the table at home. That's why they are so flat and simple on my postcards. These are familiar household items that our eye ignores. But take a closer look, what do you know about apples?

Anna Harmon What Do You Know About Oranges? Observation Is The Source To The Knowledge of Life Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About I was born in the small Siberian city of Sayansk. Since childhood, I studied at an art school, but classical painting and traditional drawing caused boredom and irritation. After moving to St. Petersburg, being influenced by the history and architecture of the city, the Hermitage, the Russian Museum and other exhibition spaces, I realized that it was possible to go beyond the academic school and try myself in completely different techniques: oil, aerosol paints, ink. At the same time, an image was formed that can be traced in all the works of the author. Young spontaneity, openness to the world, something that allows you to look beyond social dogmas - the beauty of the naked human body, conflicts, the magic of the transition of one into another. At that time, in the Golitsyn Hall in 2019, the first exhibition was held together with other artists, the inspiration for these works were paintings by Henri Matisse, ancient Greek painting and personal impressions. With the help of naked impersonal images, I conveyed various aspects of human relationships and attitudes towards myself. In 2021, I signed a contract with MSK Eastside Gallery. The variety of shapes and colors collected on my canvas refers us to the unity of the unlike. To the fact that in our multicultural world, pluralism of opinions and the ability to live with them is the only thing that moves the world forward.   Education Self-taught   Select Exhibitions/Awards Golitsyn Hall. Moscow. 2019 RABOTA Auction. London. 2021   Gallery Representation MSK Eastside Gallery   Statement about AOAP Submitted Artwork What do you know about apples? What do you know about oranges? People admire the sea or mountains, modern cities, but no one pays attention to apples and oranges lying on the table at home. That's why they are so flat and simple on my postcards. These are familiar household items that our eye ignores. But take a closer look, what do you know about apples?

Allison Gildersleeve Untitled Ink and Gouache on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Behind Allison Gildersleeve's canvases, collages and drawings lies a singular proposition: places are not inert; they are repositories for all that passes through them. Gildersleeve deliberately returns again and again to familiar settings - wooded areas, home interiors, open highways, back country roads - to show that repeated visits to the same place invariably result in wildly divergent depictions. Gildersleeve received her MFA from Bard College in 2004, and her BA from College of William and Mary in 1992. Gildersleeve has exhibited widely across the United States and abroad. Notable solo exhibitions include Olle Nymans Ateljeer (Stockholm, SE), Asya Geisberg Gallery (New York, NY), Auxiliary Projects (Brooklyn, NY), Robischon Gallery (Denver, CO), Cynthia Reeves (Walpole NH), Valley House Gallery (Dallas, TX), The George Gallery (Charleston, SC) and Galleri Andersson/Sandstrom (Stockholm, SE). Selected group exhibitions include Hudson Valley Center for Contemporary Art (NY), CRG Gallery (New York, NY), PS122 (New York, NY), Sharon Arts Center (Peterborough, NH), Dunkers Kulturhus (Helsingberg, SE) and Gana Art Space (Seoul, Korea). Gildersleeve was a 2018-2019 recipient of The Sharpe-Walentas Studio Program in Brooklyn, NY. She has been awarded a NYFA Fellowship as well as residencies at Yaddo, the Millay Colony, the Vermont Studio Center, the Liquitex International Research Residency in London and the Norman Bird Sanctuary in Newport RI. Gildersleeve lives and works in Brooklyn, NY.   Education BA College of William and Mary, MFA Bard College   Select Exhibitions/Awards 2021 ASYA GEISBERG GALLERY, A Thousand Other Things, New York, NY VALLEY HOUSE GALLERY, Swiftly Flow the Days, Dallas, TX 2019 THE GEORGE GALLERY, Tilt-A-Whirl, Charleston, SC AUXILIARY PROJECTS, Paper Trail, Brooklyn, NY 2018 CYNTHIA-REEVES GALLERY, In the Retelling, North Adams, MA VALLEY HOUSE GALLERY, High Frequency, Dallas, TX 2017 GALLERI ANDERSSON SANDSTRÖM: OLLE NYMANS ATELJEER, Stockholm, Sweden LA GRUA CENTER, Beyond the Range of Sight: Allison Gildersleeve & Sue McNally, Stonington, CT ASYA GEISBERG GALLERY, Unruly, New York, NY 2015 VALLEY HOUSE GALLERY, Closer Than They Appear, Dallas, TX 2014 CYNTHIA-REEVES GALLERY, Walpole, NH ASYA GEISBERG GALLERY, Elsewhere, New York, NY ROBISCHON GALLERY, Within Earshot, Denver, CO 2012 GALLERI ANDERSSON SANDSTRÖM, Static Electric, Umeå, Sweden CYNTHIA-REEVES GALLERY, Written Under, Hanover, NH ASYA GEISBERG GALLERY, Let Me Show It To You Unfixed, New York, NY 2011 JOHANSSON PROJECTS, Bramblur: Katy Stone & Allison Gildersleeve, Oakland, CA 2010 CYNTHIA-REEVES GALLERY, Homeward Bound, Hanover, NH ALLEGRA LAVIOLA GALLERY, Eric Jeor & Allison Gildersleeve, New York, NY 2009 GALLERI ANDERSSON SANDSTRÖM, The Here and Then, two part exhibition: Umeå & Stockholm, Sweden 2007 MICHAEL STEINBERG FINE ART, Loss of Place, New York, NY 2005 650 MADISON AVE EXHIBITION PROGRAM, New York, NY 2004 SUPREME TRADING, Brooklyn, NY 2003 PS122 GALLERY, Allison Gildersleeve & Cynthia Innis, New York, NY 1999 SARAH NIGHTINGALE GALLERY, Allison Gildersleeve & Carol Hinrichsen, Water Mill, NY 1998 RED MILL GALLERY, Good Girl, Vermont Studio Center, Johnson, VT Selected Group Exhibitions 2021 ROBISCHON GALLERY, Root + Branch, Denver, CO 2020 CYNTHIA-REEVES GALLERY, Forefront 2020, North Adams, MA 2019 1GAP GALLERY, Sense of Place, curated by Michael Holden, Brooklyn, NY 2018 PARK PLACE GALLERY, Sense of Place, Brooklyn, NY 2017 ROBISCHON GALLERY, Out of View, Denver, CO VALLEY HOUSE GALLERY, Trees, Dallas, TX 2016 THE DRAWING ROOMS, The Nature of Things, curated by Anne Trauben, Jersey City, NJ GALLERI ANDERSSON SANDSTRÖM, 140 Artists-15 Years, Umeå, Sweden SHARON ARTS CENTER, NHIA, Collaboration: The Artist and the Land, curated by Kate Lenahan, Peterborough, NH 2014 VALLEY HOUSE GALLERY, 60TH Anniversary Show, Dallas, TX VALLEY HOUSE GALLERY, Summer Cut, Dallas, TX TOMARPS KUNGSGÅRD, Atelje Larsen, Kvidinge, Sweden 2013 ASYA GEISBERG GALLERY, A.G.G.W.O.P., New York, NY GALLERI PERSSON, Mästargrafik från Atelje Larsen, Malmö, Sweden 2012 HEINER CONTEMPORARY, Housebound, Washington, DC 2011 DUNKERS KULTURHUS, Under Great Pressure, Helsingborg, Sweden STOREFRONT GALLERY, Color Schemes, Brooklyn, NY ASYA GEISBERG GALLERY, The Woods are Lovely, Dark and Deep, New York, NY 2010 SILAS MARDER GALLERY, The Big Show, Bridgehampton, NY HESKIN CONTEMPORARY, Natural Reaction, Brooklyn, NY 2009 DUMBO ART UNDER THE BRIDGE FESTIVAL, The Map is Not the Territory, Brooklyn, NY LAVIOLA BANK GALLERY, Summer Salon, New York, NY 2008 MICHAEL STEINBERG FINE ART, Back to the Drawing Board, New York, NY 2007 HESKIN CONTEMPORARY, Red Desert, curated by Sarah Trigg, New York, NY 2006 COLLABORATIVE CONCEPTS, Flow: Navigating the Super Paradigm, curated by Karlos Carcamo, Beacon, NY CRG GALLERY, Greater Brooklyn, curated by Alex Dodge and Glen Baldridge, New York, NY HUDSON VALLEY CENTER FOR CONTEMPORARY ART, First Look, Peekskill, NY 2004 SUPREME TRADING, Six, Brooklyn, NY MILTON AVERY GRADUATE SCHOOL, The Warm Weather is Holding, Red Hook, NY 2001 BAY AREA CENTER FOR THE CONSOLIDATED ARTS, Berkeley, CA 2000 BOWERY GALLERY, curated by Joan Snyder, New York, NY GANA ART SPACE, Cross Point, Seoul, Korea 381G GALLERY, Delicate, San Francisco, CA Awards & Residencies 2018 SHARPE-WALENTAS STUDIO PROGRAM AWARD 2018-2019, Brooklyn, NY NORMAN BIRD SANCTUARY ARTIST IN RESIDENCE, Middletown, RI LIQUITEX INTERNATIONAL RESIDENCY, Griffin Gallery Studios, London, UK 2008 NEW YORK FOUNDATION OF THE ARTS FELLOW, New York 2004 ELAINE DE KOONING MEMORIAL FELLOWSHIP, Bard College 2002 YADDO, Saratoga Springs, NY 2001 MILLAY COLONY, Austerlitz, NY 1999 VERMONT STUDIO CENTER FELLOWSHIP, Johnson, VT 1995 WOODSTOCK SCHOOL OF ART, Woodstock, NY   Gallery Representation Asya Geisberg, New York, NY. Robischon, Denver, CO, Valley House Gallery, Dallas, TX. The George Gallery, Charleston, SC

Isabelle Hayman 80's Dancer Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About I am a French artist working from my studio in south London. I simultaneously work on 2 groups of artworks. One inspired by my curiosity for the decorative arts, formed by a large series of botanical drawings. Large drawings filled with multiple references and details forming an eclectic mosaic of different patterns carefully assembled. Alongside a series focused on the female representation. Portraits based on graphic lines, oversized eyes, strong profiled decorative elements. Female bodies expressing strength and movement. My work is strongly rooted in a daily drawing practice.   Education ESAA Duperré Printed Textiles Master of Fine Arts Paris I   Select Exhibitions/Awards RA Summer Exhibition 2021 ING Discerning Eye 2021 Paul Smith Group Show November 2020 Compton Verney "Lucas Cranach, Artist and Innovator"   Gallery Representation School Gallery London   Statement about AOAP Submitted Artwork The series of 4 ink drawings belongs to a recent group of drawings called the dancers. I have previously worked with a contemporary dancer and choreographer on 2 series of live drawings. I am interested in the geometry created by bodies in movement, this geometry being emphasised by clothing, accessories and colour. They are a joyful and humorous representation of the female form.

Isabelle Hayman With My Cat Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About I am a French artist working from my studio in south London. I simultaneously work on 2 groups of artworks. One inspired by my curiosity for the decorative arts, formed by a large series of botanical drawings. Large drawings filled with multiple references and details forming an eclectic mosaic of different patterns carefully assembled. Alongside a series focused on the female representation. Portraits based on graphic lines, oversized eyes, strong profiled decorative elements. Female bodies expressing strength and movement. My work is strongly rooted in a daily drawing practice.   Education ESAA Duperré Printed Textiles Master of Fine Arts Paris I   Select Exhibitions/Awards RA Summer Exhibition 2021 ING Discerning Eye 2021 Paul Smith Group Show November 2020 Compton Verney "Lucas Cranach, Artist and Innovator"   Gallery Representation School Gallery London   Statement about AOAP Submitted Artwork The series of 4 ink drawings belongs to a recent group of drawings called the dancers. I have previously worked with a contemporary dancer and choreographer on 2 series of live drawings. I am interested in the geometry created by bodies in movement, this geometry being emphasised by clothing, accessories and colour. They are a joyful and humorous representation of the female form.

Isabelle Hayman Purple Jumpsuit Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About I am a French artist working from my studio in south London. I simultaneously work on 2 groups of artworks. One inspired by my curiosity for the decorative arts, formed by a large series of botanical drawings. Large drawings filled with multiple references and details forming an eclectic mosaic of different patterns carefully assembled. Alongside a series focused on the female representation. Portraits based on graphic lines, oversized eyes, strong profiled decorative elements. Female bodies expressing strength and movement. My work is strongly rooted in a daily drawing practice.   Education ESAA Duperré Printed Textiles Master of Fine Arts Paris I   Select Exhibitions/Awards RA Summer Exhibition 2021 ING Discerning Eye 2021 Paul Smith Group Show November 2020 Compton Verney "Lucas Cranach, Artist and Innovator"   Gallery Representation School Gallery London   Statement about AOAP Submitted Artwork The series of 4 ink drawings belongs to a recent group of drawings called the dancers. I have previously worked with a contemporary dancer and choreographer on 2 series of live drawings. I am interested in the geometry created by bodies in movement, this geometry being emphasised by clothing, accessories and colour. They are a joyful and humorous representation of the female form.