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Samuel John Lamorna Birch RA RWS RWA, British 1869-1955 - The Glade, c.1912; oil on canvas, 47 x 61 cm (ARR) Provenance: with Austin Wormleighton (according to the inscription on the reverse of the frame); Phillips, London, 2nd November 1999, 20th Century British & Irish Art, lot 23; Bonhams, London, Modern And Contemporary - British And Continental Paintings And Sculpture, 28th June 2000, lot 2; Christie’s, London, 23rd November 2001, 20th Century British Art, lot 37; private collection, UK Note: Austin Wormleighton (1938-2019) wrote 'A Painter Laureate: Lamorna Birch and His Circle', Sansom & Company, Bristol, 1995. 

Dame Ethel Walker, British 1861-1951 - Portrait of a young girl, half-length; oil on canvas, 61.5 x 51 cm Provenance: Christie's, London, Modern British Paintings, Watercolours and Drawings, 27th April 1989, lot 160; private collection Note: with unidentified gallery stock label attached to the reverse of the stretcher and numbered 'X4381' (possibly Lefevre Gallery, London). This is classic example of Walker's style, with its subtle gradations of chalky paint and quiet, almost breathless atmosphere. Other works on this theme are in public collections including the Government Art Collection, the National Galleries of Scotland and The Courtauld, London. The artist exhibited widely in the UK during her lifetime and was the subject of a major retrospective at the Tate in 1951, alongside her contemporaries Gwen John and Frances Hodgkins and organised by John Rothenstein. More recently, her work was central to Tate Britain's 'Queer British Art 1861-1967' in 2017. 

Sir William Orpen, KBE RA RHA,  Irish 1878-1931 -  Trying to Draw this Rabbit;  watercolour and ink on headed paper, annotated across bottom quarter and reverse of sheet, 33.3 x 20.3 cm  Provenance:  Pyms Gallery, London, stock no.L937 (label attached to the reverse of the frame)  Note:  Irish born Sir William Orpen was one of the most important artists working in early 20th century Britain and his work made while an Official War Artist in WWI are now considered amongst the most powerful paintings depicting war ever made. Orpen’s work was synonymous with the endeavours and achievements of Mary and Alan Hobart at Pyms Gallery, as they were instrumental in bringing about a reappraisal of his work in the late 20th century. Due to various feuds with Augustus John and Wyndham Lewis amongst others, Orpen's reputation has been tarnished following his death and was rarely exhibited or written about. From their 1982 ‘The Irish Revival’, the Hobarts exhibited important Irish modern artists at their gallery in London, bringing these figures back to prominence. Orpen’s work was central to their private collection and was featured heavily in the exhibition ‘Championing Irish Art: The Mary and Alan Hobart Collection’ at the Irish Museum of Modern Art in 2023.

Sir William Orpen, KBE RA RHA, Irish 1878-1931 - I'm Looking for Titina; ink on paper, annotated and dedicated along bottom half of sheet, 26.2 x 20.5 cm Provenance: Pyms Gallery, London, stock no.H635 (label attached to the reverse of the frame) Note: Irish born Sir William Orpen was one of the most important artists working in early 20th century Britain and his work made while an Official War Artist in WWI are now considered amongst the most powerful paintings depicting war ever made. Orpen’s work was synonymous with the endeavours and achievements of Mary and Alan Hobart at Pyms Gallery, as they were instrumental in bringing about a reappraisal of his work in the late 20th century. Due to various feuds with Augustus John and Wyndham Lewis amongst others, Orpen's reputation has been tarnished following his death and was rarely exhibited or written about. From their 1982 ‘The Irish Revival’, the Hobarts exhibited important Irish modern artists at their gallery in London, bringing these figures back to prominence. Orpen’s work was central to their private collection and was featured heavily in the exhibition ‘Championing Irish Art: The Mary and Alan Hobart Collection’ at the Irish Museum of Modern Art in 2023.

Duncan Grant, British 1885-1978 - Tulips, 1929;  oil on board, signed and dated lower left 'D. Grant 29', 75 x 56.5 cm (ARR) Provenance: with The London Artists' Association (according to the inscribed and stamped label attached to the reverse); private collection, purchased from the above (according to the indistinct inscription on the label attached to the reverse); private collection Exhibited: The London Artists' Association, London, c.1929-31, no.128 (according to the inscribed and stamped label attached to the reverse) Note: this is a brilliant example of the artist's most beloved subject of a still life with flowers and has been in the same private collection for nearly 50 years. This is an extremely exciting opportunity to purchase the work the first time it is coming to the market in nearly half a century. Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh. Grant was a member of the London Artists' Association between 1929-31, locating when this work was first shown to the public. 

Duncan Grant, British 1885-1978 - Vanessa Bell (with 'Male Nude Study' on the reverse); pencil on paper, signed with initials lower right 'DG' and annotated lower left 'VB', 26.5 x 23.3 cm (ARR) Provenance: with The Fine Art Society, London, June 1975, no.NIC (according to the label attached to the reverse of the frame); Christie's, London, Twentieth Century British Art, 13th June 2001, lot 13; private collection, purchased from the above Note: this is a moving study of Grant's lifelong companion and artistic partner, Vanessa Bell. Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh. 

Denis Williams, Guyanese/British 1923-2008 - Untitled, 1951; gouache and pencil on paper, signed and dated lower right 'Williams 12/8/51', 25.6 x 17.5 cm (unframed) (ARR) Provenance:with Gimpel Fils, London, GF10621 (according to the label attached to the folder) Note: artist and writer Denis Williams was born in Guyana but studied and worked in London during the 1940s and 50s, attending the Camberwell School of Art and holding numerous exhibitions, including at the Berkeley Gallery and Gimpel Fils. His work was hugely admired by artists including Henry Moore, Salvador Dali and Wyndham Lewis. His work was recently a major feature of the acclaimed exhibition 'Postwar Modern: New Art in Britain 1945-1965' at the Barbican Centre, London in 2022. 

Sir William Orpen, KBE RA RHA,  Irish 1878-1931 -  The End - A Glaze of Copal Varnish;  ink and wash on paper, titled across top of sheet, 24.7 x 21.2 cm  Provenance:  Pyms Gallery, London, stock no.F561 (label attached to the reverse of the frame)  Note:  Irish born Sir William Orpen was one of the most important artists working in early 20th century Britain and his work made while an Official War Artist in WWI are now considered amongst the most powerful paintings depicting war ever made. Orpen’s work was synonymous with the endeavours and achievements of Mary and Alan Hobart at Pyms Gallery, as they were instrumental in bringing about a reappraisal of his work in the late 20th century. Due to various feuds with Augustus John and Wyndham Lewis amongst others, Orpen's reputation has been tarnished following his death and was rarely exhibited or written about. From their 1982 ‘The Irish Revival’, the Hobarts exhibited important Irish modern artists at their gallery in London, bringing these figures back to prominence. Orpen’s work was central to their private collection and was featured heavily in the exhibition ‘Championing Irish Art: The Mary and Alan Hobart Collection’ at the Irish Museum of Modern Art in 2023.

Oswell Blakeston, British 1907–1985 - By the Pond; oil on board, signed and titled on the reverse of the frame 'Oswell Blakeston By the Pond', 24.5 x 60.5 cm: together with another work by the same artist of a smaller size, 'Landscape Two' (2) (ARR) Provenance: from the Studio of Oswell Blakeston and Max Chapman Note: Oswell Blakeston (Henry Hasslacher 1907–1985) was the partner of Max Chapman. Blakeston exhibited with Leicester, Madden and Mercury galleries and the pair had a retrospective at Middlesbrough Institute of Modern Art in 1981. His abstract works show the shared influence of Chapman, Alan Davie and Aubrey Williams. Blakeston also worked variously in the publishing and film industry, creating experimental films and writing on film theory, alongside writing poetry and fiction. 

Mary Swanzy HRHA, Irish 1882-1978 - Street scene with figures and car; pencil crayon on paper, 25 x 19 cm (ARR) Provenance: with Pyms Gallery, London, stock no.26 (according to the label attached to the reverse of the frame); John Russell Taylor (by repute); private collection Note: Swanzy travelled widely in the early 20th century, working through various styles of Modern painting and becoming one of the first Irish artist to create abstract paintings. She exhibited alongside the other major figures in early Modern Irish painting and had a solo exhibition at the celebrated Galerie Bernheim Jeune in 1925 which drew praise from Gertrude Stein. Promoting her life and work was central to the ethos of Pyms Gallery and most recently she was subject to a major retrospective at the Irish Museum of Modern Art 'Mary Swanzy Voyages' in 2019. 

Daniel O'Neill, Irish 1920-1974 - Flotsam, Landscape Donegal; oil on board, titled on the reverse 'Landscape Donegal', 40.3 x 60.7 cm (ARR) Provenance: Sotheby’s, London, 20th Century British and Irish Art, 14th September 2005, lot 185; private collection, purchased from the above Note: Campbell was from a circle of Post-War Irish artists that worked in Conlig in the 1950s that included Gerald Dillon and George F. Campbell. The present work reflects the neo-romantic style that was prevalent in Britain and Ireland in the period, seen here in the heavy atmosphere of the landscape, reminiscent of the early work of John Minton and John Craxton. The colour palette of muddied browns, greens and blues suggest an eerie calm that settles on the landscape. Horizontal brush strokes emphasise the still water and sky, in a direct opposition to the scattered flotsam littered across the foreground which alludes to an unseen danger. The mounds of debris recall scenes from the trenches and ravaged fields of World War Two, deeply ingrained in the collective consciousness of the post-war era. O’Neill became a full-time painter in 1945, having previously worked as an electrician on Belfast shipyard, and visited Paris in 1949. Here he was influenced by Maurice Vlaminck, Georges Roualt and Maurice Utrillo. In the following decade he moved to Conlig, Country Down, where a small group of artists had formed. These included George Campbell and Gerard Dillon. Some of his works were exhibited at the Irish Museum of Modern Art in 2005 as part of an exhibit on Northern Irish Artists. His work is held in Irish public collections including Ulster Museum and Dublin City Gallery, The Hugh Lane, as well as the Laing Gallery and Herbert Art Gallery & Museum in the UK. His work was shown at the influential Victor Waddington Gallery in Dublin in 1946 and Arthur Tooth & Sons, London in 1952. 

Max Chapman, British 1911–1999 - Male nude in interior; oil on canvas, 41 x 51.3 cm (ARR) Provenance: from the Studio of Oswell Blakeston and Max Chapman Note: Chapman was the partner of Oswell Blakeston (Henry Hasslacher 1907–1985) and he exhibited throughout his life at important galleries including New Visions Centre, Leger Gallery and the Leicester Galleries. His works are now in the collection of Brighton & Hove Museums, Nottingham City Museums & Galleries and Middlesbrough Institute of Modern Art, where the pair had an retrospective in 1981. His abstract works show the shared influence of Blakeston, Zdzislaw Ruszkowski and Aubrey Williams. 

Duncan Grant, British 1885-1978 - Lovers Entwined, c.1965; waterolour and pencil on paper, annotated lower right 'fixed', 55.5 x 65.5 cm (ARR) Provenance: Christie's, London, British & Continental Furniture from 1860 to the present day - 20th Century British Decorative Arts, 29th October 1998, lot 524; private collection, purchased from the above Note: with thanks to Richard Shone for his assistance with the cataloguing of this work. Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh. 

Roger de Grey, British 1918–1995 - Le Tremblade; oil on canvas, signed lower right 'De G'  and inscribed on the reverse , 91.5 x 127 cm (ARR) Provenance: Phillips, Modern British and Irish Paintings, Drawings and Sculptures, 23rd November 1993, lot 96; private collection Note: similar works by the artist are in important UK collections, including the Towner Eastbourne, the Royal Academy of Arts and the Tate. He exhibited with New Art Centre and Agnews. 

Kenneth Hall,  British 1913-1946 -  Street scene; ink and watercolour on paper, 51.5 x 74.5 cm (ARR)  Note:  Basil Rákóczi (19081979) and his partner, Kenneth Hall (19131946), founded The White Stag Group of modernist artists in 1935. Influenced by Surrealism and founded in London, they moved to Ireland in late 1939, following the start of the Second World War. There the Group flourished, gaining both local and continental members, including Nano Reid and Patrick Scott. Rakoczi and Halls work brought a modernism to Dublin and they gained a sizeable and positive reputation for their work, which focused on psychological states and esoteric myth and symbols.Instrumental to both artists careers, was the influential dealer Lucy Wertheim, who ran a celebrated gallery in Mayfair during the 1930s, one of the spaces focused on young artists working in a Modern idiom. Wertheim promoted major figures such as Barbara Hepworth, Christopher Wood, Frances Hodgkins and Henry Moore at an early age, but she is perhaps most known for her support of a diverse group of lesser known artists, many of whom worked in either expressionistic or faux-naïve styles. An exhibition of Wertheims legacy 'A Life in Art & Reuniting the Twenties Group' has recently been on display at Towner Eastbourne, UK, including works by both Hall and Rákóczi.  

Georges Lemmen, Belgian 1865-1916 - Two nudes bathing, 1909; oil on board, signed with monogram and dated lower right '1909', 46 x 54.8 cm Provenance: Christie's, Amsterdam, Impressionist and Modern Art, 19th May 2010, lot 94; private collection, purchased from the above and thence by descent Note: according to the cataloguing of the work in 2010, this work will be included in the Catalogue Raisonné of Georges Lemmen being prepared by Mr. Olivier Bertrand. 

A very large lacquered and giltwood figure of the standing Buddha, late 19th/early 20th century, Mandalay period (1853-1948), Burmese (Myanmar), clad in thickly folded brocaded hems inset with multicoloured glass 'beads', the slender figure standing on a flat disc of the moon held within a lotus blossom, raised on a modern black plinth,72cm wide40cm deep201cm high excluding base234cm high including baseProvenance: A private collection, Cadogan Gardens, Chelsea, London SW3.For a similar example, see Bonhams, 'Asian Art', 5 November 2018, lot 245.Condition ReportOverall the Buddha is in good condition and structurally sound, but with some cosmetic wear and repairs. Breakage and repair to figure's left index finger. Splits to left hand, right sleeve, left shoulder, front right foot. Losses to glass insets. Break and repair to the robe's corner. Light wear and age to the lacquer and gilt. The chin with noticeable wear to gilding. Scuffs and light scratches to gilding throughout.

A French Empire gilt-bronze bust of the Apollo Belvedere, first quarter of the 19th century, on a modern green marble plinth,with base 17cm wide14cm deep25cm highProvenance: Sotheby’s, 'Paintings, Furniture and Works of Art from the Collection of Gianni Versace, Villa Fontanelle, Moltrasio', 19 March 2009, lot 529.Condition ReportSome very minor surface dirt. Good quality casting. Some very minor damage to edge of the bust at the front as visible from photograph. In overall good condition.

Fine Modern Bindings to include: Cervantes (Miguel de) The History of Don Quixote de la Mancha, London: Constable and Company, 1922, 4to, illustrated by Jean de Bosschere, full calf gilt bound by Asprey, marbled endpapers, aeg, tipped in cover, frontispiece and multiple further plates; Goethe (Johann Wolfgang von) Faust, translated by Abraham Hayward with illustrations by Willy Pogany, London: Hutchinson & Co. [circa 1908], 4to, full red calf gilt with black stamped title to cover, bound by Henry Sotheran, marbled endpapers, aeg; Davenport (Marcia) Mozart, New York: Charles Scribner's Sons, 1932, 8vo, full art deco style calf with blind tooled title to spine (3)Mozart: covers lightly sunfaded to the edges, top edge gilt, small white spot to spine and top back cover, black pastedown a little rubbed in parts, internally good and bright, Faust: front board with slight abrasion to centre, gilding bright with top edge slightly spotted, internally good with light toning to pagesDon Quixote: light scuffs and water spotting to cover, half title, title and first few pages spotted, minor marginal foxing, pages lightly toned

Folk Art a collection of books concerning folk and naive art, to include Dale (Rodney) Louis Wain, The Man Who Drew Cats, London: William Kimber, 1968, inscribed by Roger Cardinal; Bihalhi-Merin (Oto) Modern Primitives: Naive Painting from the Late Seventeenth Century to the Present Day, London: Thames and Hudson, 1971; Bossert (Helmuth) Folk Art of Europe, New York: Rizzoli, 1990, among numerous other books on the same and related subjects. including references volumes (qty) The Library of Roger Cardinal Roger Cardinal (1940-2019)Roger Cardinal was one of Britain’s most distinguished art historians, best known for defining what is generally known as Outsider Art - that is, art by people with no formal training. He began his career as a lecturer at the French department of the University of Manitoba, Canada, subsequently moving to Warwick University and finally to the University of Kent at Canterbury, where he taught for fifty years and held a professorship.Roger Cardinal was not only a leading authority on Outsider Art, but also on Surrealism. He was a prolific writer and a master of literary style. His eloquent, percipient writings include several books on a wide range of subjects such as Outsider Art (1972), German Romantics in Context (1975) Figures of Reality (1981), Expressionism (1984), The Landscape Vision of Paul Nash (1989), The Cultures of Collecting (1994), and Kurt Schwitters (2011). He also acted as a curator and was a regular contributor to art-historical publications.Cardinal’s interest in art lay in its margins - the neurodiverse, psychotic, uneducated, autistic, self-taught and ‘other’. His fascination with artists such as the violently psychotic Adolf Wölfli lay in their creativity rather than in the sensationalism of their lives. Certainly, it did not lie in the resale value of their work. That outsider art should have its own multimillion-dollar annual fair in New York and specialist departments at Christie’s auctioneers ran quite contrary to Cardinal’s thinking.Much of Roger Cardinal’s library has recently been donated to the Tate Gallery including the handwritten diaries that he kept his whole life. Cardinal often used books as working tools, heavily annotating in the margins - as with many volumes in the current sale. The library offered reflects Cardinal’s varied interests and fluent command of French and German. Alongside a large collection of art reference works in his specialist subjects, we also find collections of books on fairy tales and science fiction.

A processional cross, metal, engraved decoration on both sides "God the Father" and "Christ crucified", perforation for attaching applications, French, 13th/14th C., missing sculpture of crucified Christ and applications, modern metal stand. Notes: vd. similar copy was part of the exhibition "Obras em Reserva - O Museu que não se vê", held at the National Museum of Ancient Art, Lisbon, from May 18 to September 25, 2016, and is represented in the respective catalogue, p. 133, No. 22., Dim. - 47,5 x 28,1 cm

Spartan Bluebird modern replica art deco glass fronted radio player (This has been converted to Bluetooth function and can not be played as stand alone radio) item is rechargeable and selling as in working order but is in used condition minor faults commensurate with age. 

A group of vintage and modern cut and moulded glass - including two silver mounted cut glass vases, Birmingham 1926 and Chester 1928 (interior clouded); an Art Deco period cut glass dish with white metal rim, 14.5cm diameter; a Lalique-style frosted and clear glass vase; etc.

A finely hand-painted porcelain plaque depicting a neoclassical-style portrait of a young woman with flowing hair adorned with flowers. Signed by the artist J. Muller, this exquisite work is encircled by a deep burgundy border with elaborate gold scrollwork and embellishments. The artist works have been exhibited in institutions like the Whitney Museum and the Museum of Modern Art. The plaque is housed in an elaborate gilt frame featuring pierced rococo-style scrolls and decorative flourishes, enhancing its opulent aesthetic.Artist: J. Muller (1922 - 1958)Issued: 20th centuryDimensions: 16"L x 16"W x 3"DCountry of Origin: GermanyCondition: Age related wear. Minor chips on frame.

Antiquarian. Cookery. Carter, Susanna - The Frugal Housewife; or, Complete Woman Cook. Wherein the art of dressing all sorts of viands, with cleanliness, decency, and elegance, is explained in five hundred approved receipts, &c. London: J. Harris, 1805. With frontispiece and the twelve bills of fare (one for each month). 12mo. xx, 184pp plus adverts. Original boards, modern re-back, retains original end papers. (1)

BATMAN #404, 405, 406, 407 (4 in Lot) - (1987 - DC) - "Year One" storyline - First appearance of the modern Catwoman - Frank Miller story with David Mazzucchelli cover and interior art - a condition report is available on request

A modern Art Deco style chrome and glass table lamp

Large Modern Graffiti Art Limited Edition Print 'Army Dreamer' by Craig Everett. Limited edition 26/99, depicting young girl in combat gear in street scene. Measures 25'' x 29''. Mounted framed and glazed.

After Walter Bosse - a modern Art Deco cast bronze miniature model of a piglet, length 2.6cm, together with two Butler & Peach cast bronze miniature models of an elephant and pig, boxed, and a group of four cast bronze limited edition models of pigs by Richard Cooper & Co, length of largest 8.5cm.

A Tracey Emin rare art exhibition poster for the 'This is another place' exhibition at Modern Art Oxford in 2002, framed, 59cm X 42cm

A Roy Lichtenstein limited edition enamel pin badge from a 2021 edition of 1000 pieces titled “Small modern head pin” by the estate of Roy Lichtenstein, by Marion Goodman Gallery USA with original art card

A collection of modern design and art reference books (8)

A vintage 1978 White Decor BYO bottle chiller designed by Geordie McRae with original New York Museum of Modern Art label still intact. 38cm high excluding handle. A Tin bread bin and canister, Typhoon pattern and a set of plastic mugs

* JAMES HARDIE (SCOTTISH 1938 - 2024), UNTITLED oil on board, signed framedimage size 98cm x 120cm, overall size 106cm x 129cmNote: James Hardie was born in 1938. having studied at Glasgow School of Art in the 1950’s he won the Keith Award (1958), the Chalmers Bursary (1959), which enabled him to travel Holland and France, The Torrance Award (1968) and First Prize in Arbroath Art Festival (1971). He taught painting at Glasgow School of Art and Aberdeen College of Education, and lectured in art at Glasgow University and was the exchange tutor with the Chicago Institute of Art. Influenced by his love of flying and drawing on the landscapes of his native Firth of Clyde area, his manipulation of abstraction is much admired. He is widely collected and has had one man shows with the Compass Gallery in Glasgow, The Scottish Gallery in Edinburgh and The Charles Jahn Gallery in Chicago amongst others. His works are held in numerous public collections including the Scottish Arts Council, Stirling, Strathclyde, Leicester, Liverpool and Stockholm Universities, and the Aberdeen City Art Gallery. His daughter, New York based Gwen Hardie, is the youngest artist ever to be awarded a solo show at The Scottish National Gallery of Modern Art in Edinburgh, Scotland (1990).

* JOHN BYRNE RSA (SCOTTISH 1940 - 2023) BIG SELFIE offset lithograph on paperframed and under glassimage size 35cm x 27cm, overall size 50cm x 42cm Note: John Byrne studied at both Edinburgh and Glasgow Schools of Art in the late 50s and early 60s. A superb painter and draughtsman, the multi-talented Byrne was also a first-class playwright (‘The Slab Boys’, ‘Tutti Frutti’), his ear for dialogue was as acute (and witty) as his eye for detail. Much of his subject matter in both disciplines is overtly autobiographical, he often included or refers to the Teddy Boy/Rock and Roll era of his youth. Byrne designed record covers for Donovan, The Beatles, Gerry Rafferty and Billy Connolly. His work is held in major collections in Scotland and abroad. Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow. At the time of writing, The Fine Art Society, Edinburgh is staging "John Byrne: In The Studio" (until 23rd December).

Childish, Billy (pseud. Steven John Hamper). 2008 The Art World Apologises to Billy Childish, Hero of the British Art Resistance. Apologies Accepted from Sir Nicholas Serota, The Stuckishs, J. Joplin, Victoria Miro, Damien Hirst, Traci (sic.) Emin, Sir Richard Branson, Brian Eno and Significant Others. Two copies, each limited editions, hand numbered with Hangman doodle No. 31 of 50 and No. 36 of 50. No. 31 having been opened, contents being printed paper title page and A4 photocopied sheets, stapled upper left hand corner, containing facetious & tongue in cheek 'apologies' from noted modern artists & members of the art world; with Childish's photocopied annotations and amendments included. No. 36 remaining unopened. Both in smart condition, with edgewear to the envelopes commensurate with age, small tear to the flap of the opened envelope, which has been cut with a paper cutter. Two uncommon limited edition satirical letter collections by Childish. A4 leaves.

From the library of Alfred Edward Borthwick. A collection of early 20th century art reference books and artist biographies. The lot to include Anders Zorn from the Modern Masters of Etching series, Famous Watercolour Painters - Frank Brangwyn in orig. (torn) dw, Etchings of D. Y. Cameron in quarter vellum, Masterpieces of Modern Art, Drawings by the Old Masters publ. Savile Gallery 1930, a number of volumes from the Old Watercolour Society Club, Etchings of Charles Meryon and of Rembrandt, Vincent Van Gogh publ. The Phaidon Press 1936 in dust wrapper (loss to rear cover), Sir Henry Raeburn, Modern Etchings and Engravings, and other titles. A good collection with emphasis on watercolours and etching. Approx. 15 titles. Folio.

After Chiparus, bronze figure of an Art Deco dancer (modern), 45cm (Please note condition does not form part of the catalogue description. We strongly advise viewing to satisfy yourself as to condition. If you are unable to view and a condition report is not already available, please request one and it will be provided in writing).

A collection of various English china wares including three pairs of modern Staffordshire Spaniel ornaments with gilt decoration, a quantity of various Art Deco and Art Deco style china wares including a Mabel V Hodgkiss for William Bennett fan-shaped ornament, a Burleigh ware wall pocket, a Clarice Cliff "Hollyhock" decorated vase (damaged), a Honiton Pottery vase decorated by A Seaton, a Grindley ware plate decorated with the Haywain, a Shelley late Foley part tea service, a Mintons floral swag decorated set of five saucers, a Carlton ware cottage jam pot, etc.

SIR KYFFIN WILLIAMS O.B.E. R.A. (WELSH 1918-2006) LIGHT ABOVE CRIB GOCH signed with initials lower right, oil on canvas 49.5cm x 60.5cm (19.5 x 23 ¾in) Thackeray Gallery, LondonAcquired from the above in 1993 by the previous ownerTheir sale, Bonham's London, Modern British and Irish Art, 18 November 2014, lot 140 Exhibited: Thackeray Gallery, London, Kyffin Williams, An Exhibition of Recent Paintings and Watercolours, 19 May-4 June 1993, no.10 In his 1973 autobiography, Across the Straits, Sir Kyffin Williams described the inspiration that he found growing up in the natural environment of his native Wales, especially that of the Llŷn peninsula, by explaining that there, 'surrounded by some of the most glorious landscape in Britain, I began to assemble unknowingly a vast library of feelings, sensations and knowledge that were to form the foundations of my future life as a landscape painter.’ This deep-seated admiration for his surroundings can be seen in Light above Crib Goch, in which the titular red ridge in the Snowdonia National Park towers above a barren foreground. A sense of scale, power and longevity is evoked by way of the generous application of paint using a palette knife characteristic of his practice, combined with his distinctive palette of greys, black and olive green.Williams explained in his 1998 book The Land and the Sea,‘Crib Goch is one of my favourite mountains. I like the way it seems to crouch, I like the variety of its shapes while further up the valley at Pen-y-pass I love the way it seems to rear into the sky like a Himalayan peak…Crib Goch is a fierce and crinkled ridge make up of a fine-grained volcanic lava which weathers to a rusty-brown colour that gives it its name of red ridge or crest. I especially love the jagged ridges and the thrusting peaks when there is a strong light behind them, for it is then that they emanate a power that is stimulating to me as a painter.’ By the time of his death in 2006, Williams held an unassailable position as the pre-eminent Welsh artist, having been elected to the Royal Academy of Arts in London in 1974 and receiving a knighthood in 1999. His work is held in many public collections, including paintings featuring Crib Goch held by the National Library of Wales, Gwynedd County Council, the Government Art Collection and Bangor University.

'Chevaux' a Clarice Cliff Bizarre platter designed by John Armstrong for the 1934 Art In Industry exhibition, painted with a stylised horse to the well, printed factory mark and facsimile signature 42cm. diam. Catalogue notesIn 1934 Harrod's held a selling exhibition, Modern Art for the Table, part of a government campaign to link artists to industrial design of glass and ceramics. Clarice Cliff was appointed as an Artistic director, with twenty eight recognised contemporary artists invited to design for Wilkinson's, E Brain & Co (Foley) and Stuart glass. The list of artists included Dame Laura Knight, Paul Nash, Ben Nicholson, John Armstrong and Duncan Grant.

Ten hardback Fishing Flies & Fly-Tying Books - Fly-Tying Principles & Practice 1951 Sir Gerard Burrand, Practical Fly-Tying 1952 T R Henn, Fly-Tying As An Art 1957 C F Walker, Fly-Tying 1973 Raymond Sugg, Ken Whitehead and Alan Vare, Fly Tying for Trout c1947 Eric Taverner, Modern Fly-Tying Techniques 1979 John Veniard and Donald Downs, International Trout Flies W H Lawrie, Scottish Trout Flies W H Lawrie, English and Welsh trout Flies W H Lawrie, All-Fur Flies & How to Dress Them 1967 W H Lawrie, mixed condition

A limited edition modern art 20th century British coloured lithograph print by Paul Horton (b1958) the picture entitled The look of love with figures by a key side with buildings 165/195 signed in pencil in very good condition 57x70cm the reverse with certificate of authenticity.

Jazz / Esquire 10" LPs, approximately thirty original 10" UK albums on Esquire with artists including Art Farmer, Zoot Sims, Tad Dameron, Tommy Whittle, George Wallington, Stan Getz, Teddy Wilson, Modern Jazz Quartet, George Lewis, Dizzy Gillespie, Sidney Bechet and more - various years and conditions

Jazz / Fusion CDs, approximately ninety CDs and a Box Set of mainly Jazz and Fusion with artists including Miles Davis, John Coltrane, Thelonious Monk, Ben Webster, Modern Jazz Quartet, Cannonball Adderley, Bill Evans, Sadao Watanabe, Art Tatum, Duke Ellington, McCoy Tyner, Stanley Turrentine, Buck Clayton, Hugh Masekela, Charles Mingus, Barbara Thompson, The Crusaders, Hank Mobley, Dick Morrissey, Jim Mullen, Lee Morgan, Taj Mahal, Jelly Roll Morton and more - mainly all appear in good condition

Art Deco cream Bakelite telephone, adapted for modern useAppears to be in good condition. Wire and dial seem to be in good working condition. Case is in good condition.

Modern Art Glass vase, 39cm high, together with a pair of matching goblets

Craigie Aitchison CBA RSA (1926-2009) Oil and ink on canvas “Crucifixion, Angel and Bedlington”, 2007, signed verso, with Tim Taylor Gallery label verso and Timothy Taylor Gallery receipt dated 2008, 15cm x 12.5cm From the collection of the late Maurice Costley. Maurice and Craigie were acquainted. Craigie Aitchison was a Scottish born painter, who studied at the Slade School of Fine Art. His work includes still life, portraits and paintings of his Bedlington Terriers. However he is best known for depicting crucifixions, which appeared in his work after he studied in Italy in the early 1950s. His work possesses a poetic use of colour, within simple but vibrant compositions. He had his first solo exhibition at the Beaux Arts Gallery in London in 1959 and exhibited regularly both internationally and in the UK, including at Marlborough Fine Art. Retrospectives of his work were held at the Serpentine Gallery and Hardwood House and The Gallery of Modern Art in Glasgow. He won the Jerwood Prize in 1994 and the Nordstrom Art Prize in 2000. His work is in many private and public collections, including several at the Tate, Birmingham Museum and Art Gallery and also the National Gallery of Scotland.

ROBERT HEINDEL - signed modern art Limited Edition print No. 489/500

A pair of Art Deco style side tables with glass top, with modern-style legs featuring a brushed gold patina, size D66 x H54cm. Glass in good condition, no damage.

A striking print by acclaimed artist Edwina Sandys, showcasing her iconic black-and-white style, featuring bold abstract lines and symmetrical design. Signed and dated '15 by the artist in pencil. Measuring 25"L x 31"H, this framed piece captivates with its modern aesthetic and thought-provoking composition. A perfect addition for collectors of contemporary and graphic art.Artist: Edwina Sandys, British (b.1938)Dimensions: See DescriptionCondition: Age related wear.

A Swarovski silver crystal photo frame, surmounted by a ladybird (boxed), together with a modern Art Nouveau style silver clad easel photo frame, one other silver clad easel photo frame, and a white metal frame mount (4)

A collection of various art books comprising, Dame Laura Knight by Caroline Fox, The Fine and Decorative Art Collections of Britain and Ireland, Elizabeth Blackadder by Bumpus, Modern Scottish Women Painters and Sculptors 1855-1965 by National Galleries Scotland, Kandinsky and L.S. Lowry Masterpieces of Art by Susan Grange etc. (alot)

Taschen 'Modern Art' Two Volumes, in slip case, First Day Covers, stamp albums, etc:- One Box

This striking abstract sculpture depicts two stylized figures locked in a heartfelt embrace, symbolizing unity, love, and connection. Expertly carved from a smooth, polished stone with natural earthy hues, the piece showcases graceful curves and fluid lines, lending it a modern yet timeless aesthetic. The openwork design enhances the sense of movement and intimacy between the figures. Measuring 10.25"H, this sculpture is a beautiful representation of human relationships, making it a meaningful addition to any art collection or home decor.Dimensions: See DescriptionCondition: Age related wear.

Svetlana Kornilova The Look, 2024 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Svetlana Kornilova, a professional artist, explores themes of childhood, the complexities of modern life, and the fleeting nature of existence, creating works that resonate on a profound emotional level. As the winner of the Art Competition commemorating the 70th anniversary of the Friends of Dulwich Picture Gallery in 2024, her painting, 'Make Your Choice,' is on display at the Dulwich Picture Gallery until January 2025. An internationally recognized artist, Svetlana has exhibited in prominent galleries worldwide, including Gagliardi Gallery (UK), Metropolitan Pavilion (USA), and Mall Galleries (UK). A member of the Society of Women Artists, she is also a prize-winner in prestigious competitions such as the London Art Biennale and Society of Women Artists. Her works are held in private collections across Europe, the Americas, and beyond. Education 2015 Professional Development Course, St. Petersburg State Academic Institute of Painting, Sculpture and Architecture, St. Petersburg, Russia 2014 Moscow State University of Art and Industry. Stroganov (Department of Monumental and Decorative Painting), Moscow, Russia 2013 Summer School Program for Drawing and Painting, St. Petersburg State Academic Institute of Painting, Sculpture and Architecture, Moscow, Russia 1992-1996 Art School, Dmitrov, Moscow Region, Russia Solo Exhibitions 2024 Never-ending Fairy Tale, Dulwich Social Hall, London, UK 2022 The Secret Garden, Curator Elina Gritchina, House-Museum of Marina Tsvetaeva, Moscow, Russia 2019 The Tale of the Main Thing, Community and Sports Center at Rosinka Residences, Moscow Region, Russia 2016 The Wide-Open Window, Memorial Estate "Dmitrovsky Kremlin," Moscow Region, Dmitov, Russia Cities by the Sea, Cultural Center of Liudviko Rezos, Juodkrante, Lithuania Group Exhibitions 2024 Dulwich Picture Gallery, permanent exposition as a winner of the Friends of Dulwich Picture Gallery competition, London, UK Visual Arts Scotland 'Now and Then,' Dalkeith Palace, Edinburgh, UK SWA Annual Exhibition, Mall Galleries, London, UK 2023 English Riviera Winter Open, Artizan Gallery, Torquay, UK Royal Institute of Oil Painters Annual Exhibition, Mall Galleries, London, UK SWA Annual Exhibition, Mall Galleries, London, UK 2022 London Biennale: Masterpiece, Gagliardi Gallery, London, UK Royal Society of Women Artists Annual Exhibition, Mall Galleries, London, UK 2021 London Art Biennale, 5th Edition, Chelsea Old Town Hall, London, UK 2019 Affordable Art Fair NYC, Metropolitan Pavilion, NYC, USA Awards 2024 Winner, 70th anniversary of the Friends of Dulwich Picture Gallery Winners Artists of the Season, 3rd Place, Art from Heart UK, Spring 2024 2023 Selected by Arts to Hearts project for the book "100 Emerging Artworks: Women's Edition 2023" 2021 London Art Biennale 2021, 2 notifications in "Others Award" category Gallery Representation Lysenko Gallery, London, UK Art Gallery "U Jaksy," Miechow, Poland Statement about AOAP Submitted Artwork The postcards submitted for the project are a part of my Fairy-tale series. It invites viewers into an enchanting imaginary world-a blend of whimsical narratives for children and thought-provoking stories for grown-ups. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Ellen Starr Lyon Front Door Stripes, 2024 Gouache on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ellen Starr Lyon, b. 1974 in Columbus, Indiana. Lyon is a figurative painter focusing on modern portraiture that revolves around feminism, motherhood, and coming of age. Her naturalist painting style incorporates a colourful palette and multiple thin, luminous layers capturing her models in natural light. Lyon uses her own photography to catch unguarded moments that are translated into oil paintings showing glimpses of emotion on the faces of those around her. Lyon champions vulnerability as strength while showing it as our common language. Her Red Glove Series depicts her teenage daughter wearing bright red rubber gloves and a defiant expression to talk about the next generation's fight for reproductive rights. She has work in the permanent collection of the Evansville Museum, UC Irvine, and Indiana University. Lyon has been invited to the Pouch Cove Artist Residency in July of 2024. Education BFA Painting, Indiana University Bloomington Solo Exhibitions 2023 Flora and Fauna, online exhibition through 33 Contemporary Gallery, Chicago, IL Familiar Faces, Evansville Museum of Arts, History, and Science, Evansville, IN 2022 Five Year Study, I Fell Gallery, Bloomington, IN2019 Crowd Source, Krempp Gallery, Jasper, IN 2018 Sphere of Influence, Untitled Light Gallery, Bloomington, IN Group Exhibitions 2024 Being Human, The Painting Center, New York, NY 16th Annual Juried Exhibition, Prince Street Gallery, New York, NY 100th Hoosier Salon, Indiana State Museum, Indianapolis, IN FiKVA, MiniARTures Exhibition, WG Gallery, Dordrecht, The Netherlands Reflections of Us, Sergio Gomez juror, Visionary Art Collective, Warnes Contemporary, Brooklyn, NY CONVERGE, 9th Annual Benefit Exhibition, Bridgette Mayer Gallery, Philadelphia, PA Winter Juried Exhibition, Blue Mountain Gallery, New York, NY AWA Annual Online Exhibition 92nd Annual Juried Exhibition, Indiana Artists, Indianapolis Museum of Art at Newfields 2023 CONTEXT, Miami Art Fair, Miami, FL SELF, juried exhibition, Manifest Gallery, Cincinnati, OH Femme Rage, group exhibition and zine, Bloomington, IN Me, Myself, and I, HCAA, Noblesville, IN Sutphin Invitational, Harrison Art Center, Indianapolis, IN Indiana Artists Member Show, Fort Wayne Museum of Art, Fort Wayne, IN Allied Artists of America, 110th Juried Show Hoosier Salon 99th Annual Juried Exhibition, Indiana State Museum, Indianapolis, IN 91st Annual Juried Exhibition, Indiana Artists Club, Indianapolis Museum of Art at Newfields Ohio, Kentucky, Indiana, Regional Juried Exhibition, Manifest Gallery, Cincinnati, OH A Natural Selection, Five Woman Show, Rainbow Bakery, Bloomington Gallery Walk, Bloomington, IN Illuminate: Emerging Bloomington Artists, Grant Recipients, Waldron Arts Center, Bloomington, IN Awards 2024 AWA, Annual Online Exhibition, First Prize for Associate Level 92nd Annual Juried Exhibition, Merit Award, Indiana Artists, Indianapolis Museum of Art at Newfields Public Collections Indiana University, Bloomington, IN, US University of California, Irvine, CA, US Evansville of Art, Evansville, IN, US Igleheart Foundation, Evansville, IN, US Statement about AOAP Submitted Artwork Each portrait is a moment caught in time; the model arranging her hair, my daughter asleep, a friend's daughter caught in bright light, and a self-portrait of myself in the red light of a dance club.   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.

Jen Orpin The Gate, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About The visual representations of landscapes in my paintings and the framed view from the car make up and form the basis of visceral memories and nostalgia, liminal spaces that occupy the landscape between the places and people that mean the most to us. The importance of these external landscapes is often mirrored by the internal dialogue of the driver and passenger with the confinements of the car at times offering an intimate confessional space. The mundanity of these every day actions often belies the truth of deep routed emotions that come with these well-travelled routes and connections to these familiar places. In these paintings I aim to portray this feeling, emotionalism is a key element in the success of each one and as a viewer you are forced to look down the road as its sole traveler and undertake each journey as your own.   Education 1993-1996 BA Hons in Fine Art, Manchester Metropolitan University, UK   1992-1993 Art Foundation, West Surrey College of Art and Design, UK   Solo Exhibitions 2024 We Left Nothing Behind, Union Gallery, London, UK A Navigation Of Memory, Jari Lager Gallery, Seoul, South Korea Art Busan, solo presentation, Jari Lager Gallery, South Korea 2023 The Journey Continues, Saul Hay Gallery, Manchester, UK 2022 Thirteen Bridges, London Modern, Waltham Forest Town Hall, London, UK 2021 The Manchester Modernist Society, Silent Cursors Punctuated Journeys, Manchester, UK   Group Exhibitions 2025 London Art Fair, Saul Hay Gallery, UK A Bell Is A Cup Until It Is Struck, BLOC Projects, Sheffield, UK Journeys, Taylor-Jones & Son, Deal, UK Rolling Action...Paint!, Jari Lager Gallery, Vestfossen, Norway 2024 Here is My Favourite Place, Jari Lager Gallery, Seoul, UK London Art Fair. Encounters Space, Saul Hay gallery, London, UK New Light Art Prize, Bankside Gallery, London, UK New Light Art Prize, Rheged Arts Centre, Penrith, UK A Small Space On Tour, TAT Art Space, Bali Royal Academy Summer Show, London, UK Terrace Open, Patchworks, London, UK Friends Of Dorothy, Refuge. Manchester, UK New Light Art Prize, The Biscuit Factory, Newcastle, UK Connections. MAFA, Stockport War Memorial art Gallery, UK New Light Art Prize, The Mercer Art Gallery, Harrogate, UK Rogue Women 3, curator, Rogue Studios, Manchester, UK The Pearls & The Oyster, The Birley Studios, Preston, UK Manchester Contemporary. Rogue Women stand, Manchester, UK 2023 Rogue Women II. Co-Curated, Rogue Artists' Studios, Manchester, UK Coalescence, Contemporary Six Gallery, Manchester, UK Royal Academy Summer Exhibition. London, UK MAFA Summer Exhibition, Dean Clough, Halifax, UK A Generous Space 3, Huddersfield Art Gallery, UK New Light Art Prize. Williamson Art Gallery, Birkenhead, UK Sight Ingested, part performance. Tokyo My Brutal Life, Moore Street substation, Sheffield, UK Sight Seeing, School of Fine Art, Athens The Bury Open, Bury Museum and Art Gallery, UK ING Discerning Eye, Mall Galleries, London, UK The London Group Open, Copeland Gallery, London, UK Manchester Contemporary. Rogue Women, Curator, UK A Small Space, Square Feet Space, London, UK Daegu Art fair, Jari Lager Gallery, South Korea In Case You Missed It, The Modernist, Manchester, UK Gallery Representation Saul Hay Gallery, Manchester, UK Jari Lager Gallery, London/South Korea Public Collections Manchester Art Gallery, UK New Art Gallery Walsall, UK   Statement about AOAP Submitted Artwork My night driving paintings capture the interplay of artificial and natural light, evoking a sense of solitude, romanticism, mystery, and the fleeting nature of night time journeys. These paintings emphasise contrasts, car headlights pick out the shadowy details and subtle shapes. The soft glow of distant lights offers a visual narrative of transition, introspection, and the quiet beauty of the darkened world outside the car. Through this lens, night driving becomes both a literal and metaphorical journey, often exploring themes of isolation, motion, and the search for meaning in the vastness of the night.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Nadia Ferrante Sorority Series n2 (study), 2024 Oil on paper COA Included 10 x 15cm (3¾ x 5¾ in.) About Nadia Ferrante is a contemporary figurative artist, born and raised in Italy. She tries to explore the various facets of the human soul and behaviours in modern society. Fascinated by the human figure and its shape in space, by facial expressions and its representations. She works mainly with dry pastels, oil colours, charcoal, graphite and sanguine.   Education My artistic education is almost exclusively self-taught. I attended a two-year private drawing and composition course with two teachers from the Academy of Fine Arts in Rome during my adolescence.   Group Exhibitions 2025 BFF Modern portraits, Palm Beach Design and Showroom, Lake Worth, Florida 2024 Feminism, Artsy with 33 contemporary Gallery and 33PA, Online Eros, Artsy with 33 contemporary Gallery and 33PA, Online Micro, Artsy with 33PA and 33 contemporary Gallery, Online The British Art Prize, OXO gallery, London, England Love, Artsy with 33PA and 33 contemporary Gallery, Online 2023 Retro, Artsy with 33 contemporary Gallery, Online Mujer 2023, Artsy with 33 contemporary Gallery, Online Self as self, Artsy with 33 contemporary Gallery, Online Al and me, Artsy with 33 contemporary Gallery and 33PA, Online NOAPS, Online Contemporary miniature nudes, Artsy with 33 contemporary Gallery and 33PA, Online   Awards Grand prize People and figures, International Artist Magazine, first place. Finalist at the British Art Prize 2024   Statement about AOAP Submitted Artwork 1: Sorority, Study In this work I wanted to resume the narrative of female freedom from the impositions of patriarchy, already addressed in my work SORORITY, represented by the red ribbon that tightly encircles the wrist of the female hand depicted in the work.   2: Loneliness In this work I wanted to represent, with the three-color technique, in earth tones, the loneliness of the human being in this modern society, a theme very dear to me and which I often address. The faceless woman from behind is all of us women. I have developed the technique over time and it is particularly dear to me.   3: Study of a female head (neck) In this work I wanted to represent what fascinates me the most, the shape of the human body in space and all the compositions it can assume, particularly the female one. The charcoal technique is simple, atavistic, but powerful at the same time, because with a single color you can realize every nuance of reality.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Jen Orpin The Sign, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About The visual representations of landscapes in my paintings and the framed view from the car make up and form the basis of visceral memories and nostalgia, liminal spaces that occupy the landscape between the places and people that mean the most to us. The importance of these external landscapes is often mirrored by the internal dialogue of the driver and passenger with the confinements of the car at times offering an intimate confessional space. The mundanity of these every day actions often belies the truth of deep routed emotions that come with these well-travelled routes and connections to these familiar places. In these paintings I aim to portray this feeling, emotionalism is a key element in the success of each one and as a viewer you are forced to look down the road as its sole traveler and undertake each journey as your own.   Education 1993-1996 BA Hons in Fine Art, Manchester Metropolitan University, UK   1992-1993 Art Foundation, West Surrey College of Art and Design, UK   Solo Exhibitions 2024 We Left Nothing Behind, Union Gallery, London, UK A Navigation Of Memory, Jari Lager Gallery, Seoul, South Korea Art Busan, solo presentation, Jari Lager Gallery, South Korea 2023 The Journey Continues, Saul Hay Gallery, Manchester, UK 2022 Thirteen Bridges, London Modern, Waltham Forest Town Hall, London, UK 2021 The Manchester Modernist Society, Silent Cursors Punctuated Journeys, Manchester, UK   Group Exhibitions 2025 London Art Fair, Saul Hay Gallery, UK A Bell Is A Cup Until It Is Struck, BLOC Projects, Sheffield, UK Journeys, Taylor-Jones & Son, Deal, UK Rolling Action...Paint!, Jari Lager Gallery, Vestfossen, Norway 2024 Here is My Favourite Place, Jari Lager Gallery, Seoul, UK London Art Fair. Encounters Space, Saul Hay gallery, London, UK New Light Art Prize, Bankside Gallery, London, UK New Light Art Prize, Rheged Arts Centre, Penrith, UK A Small Space On Tour, TAT Art Space, Bali Royal Academy Summer Show, London, UK Terrace Open, Patchworks, London, UK Friends Of Dorothy, Refuge. Manchester, UK New Light Art Prize, The Biscuit Factory, Newcastle, UK Connections. MAFA, Stockport War Memorial art Gallery, UK New Light Art Prize, The Mercer Art Gallery, Harrogate, UK Rogue Women 3, curator, Rogue Studios, Manchester, UK The Pearls & The Oyster, The Birley Studios, Preston, UK Manchester Contemporary. Rogue Women stand, Manchester, UK 2023 Rogue Women II. Co-Curated, Rogue Artists' Studios, Manchester, UK Coalescence, Contemporary Six Gallery, Manchester, UK Royal Academy Summer Exhibition. London, UK MAFA Summer Exhibition, Dean Clough, Halifax, UK A Generous Space 3, Huddersfield Art Gallery, UK New Light Art Prize. Williamson Art Gallery, Birkenhead, UK Sight Ingested, part performance. Tokyo My Brutal Life, Moore Street substation, Sheffield, UK Sight Seeing, School of Fine Art, Athens The Bury Open, Bury Museum and Art Gallery, UK ING Discerning Eye, Mall Galleries, London, UK The London Group Open, Copeland Gallery, London, UK Manchester Contemporary. Rogue Women, Curator, UK A Small Space, Square Feet Space, London, UK Daegu Art fair, Jari Lager Gallery, South Korea In Case You Missed It, The Modernist, Manchester, UK Gallery Representation Saul Hay Gallery, Manchester, UK Jari Lager Gallery, London/South Korea Public Collections Manchester Art Gallery, UK New Art Gallery Walsall, UK   Statement about AOAP Submitted Artwork My night driving paintings capture the interplay of artificial and natural light, evoking a sense of solitude, romanticism, mystery, and the fleeting nature of night time journeys. These paintings emphasise contrasts, car headlights pick out the shadowy details and subtle shapes. The soft glow of distant lights offers a visual narrative of transition, introspection, and the quiet beauty of the darkened world outside the car. Through this lens, night driving becomes both a literal and metaphorical journey, often exploring themes of isolation, motion, and the search for meaning in the vastness of the night.   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.