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Click here to subscribeJoseph Kirkpatrick (1872-1938) - Shepherd on a Wall at Sunset, aquatint, signed by the artist in pencil, 10.5 x 27cm, Edith Snowdon (Fl. late 19th / early 20th c) - Whitby, signed, pastel, 35.5 x 47.5cm and Alfred Bird, 20th c - Whitby Harbour, signed, watercolour, 28 x 38.5cm Kirkpatrick - Slight crease upper rightotherwise all in good condition
Barbara Mary Steyning Everard (British, 1910-1990)Four botanical studieswatercolour, three signed lower right in red, narrow black edged glazed frames, and the fourth example glazed in a gilt gesso frame, titled in pencil top right, 'Airedes Rhohaninom', signed lower left, (4)three 36cm high, 26cm wide without frames, gilt frame height 42cm, 34cmCondition:Some creases in places, faded areas, one has faded a little and has a large diagonal crease.
Lawrence Josset (British, 1910-1995) A collection of thirty four Christmas card etchings and mezzotintsthe majority being botanical, Nativity and winter inspired scenes, some with hand colouring, all bearing pencil signature to front and inscriptions inside by the artist, (34)the largest 20.6cm x 15.4cm Condition:Overall good - some with wear, staining and evidence of handling.
Laurence Stephen Lowry, RBA, RA (British, 1887-1976)'St. Luke's Church', limited edition print, signed in pencil to lower right, published by G.R. Mellor, with impressed blind stamp, and details to upper margin, mounted and framed, labelled verso John Charles Galleries and ex Phillips lot label 850/475overall 92cm x 75cm, within mount 64cm x 47.2cm Condition:Unexamined out of frame - overall appears good - some knocks to frame and surface scratches.
Laurence Stephen Lowry, RBA, RA (British, 1887-1976)'Landscape with Farm Buildings', print, signed in pencil to lower right, bearing credit to top margin 'Published in 1974 by Ventura Prints Ltd., Printed in England, Copyright in all Countries including the U.S.A. Printed in England', with impressed Fine Art Trade Guild blind stamp, mounted and framedoverall 66.5cm x 76cm, within mount 43cm x 52cmCondition:Unexamined out of frame - in apparently good condition overall.
Laurence Stephen Lowry, RBA, RA, (British, 1887 - 1976)'His Family', print, signed in pencil lower right, with impressed blind stamp Fine Art Trade Guild B B A lower left, mounted within wooden frametotal frame: 80.7 x 96.4cm approximately.Condition:Fair to good condition with minimal wear to the print and frame
British School (20th century)'Southwark Bridge and Cannon Street Station from the River Thames', sanguine, pencil and watercolour, architectural type design dated to lower left '73', framed and mounted, .overall 58cm x 82cm, within mount 36.25cm x 60.5cm ,.Condition:Unexamined out of frame - in apparently good overall condition ,
A 9ct gold propelling pencil and anotherthe first hallmarked 9ct, the body with chased scrolled decoration engraved 'Emmie' and suspension loop, the second extending pencil with cabouchon terminal and French control marks, with fitted tapered outer gold case with suspension loop (2)total weight approx 21gCondition:Marks on the former rubbed. Case of the second with a number of dents
A 9ct gold Cartier propelling pencilcontained in Cartier fitted caselength of pencil 8.5cmCondition: The push mechanism of this pencil is broken and needs some attention therefore it is not working at all well at present. The pencil can be extended but with great difficulty. Some light surface scratches . Case interior is dirty but in fair condition. The side of the pencil is stamped 'Cartier 9ct'. The sprung mechanism is not functioning so the pencil does not extend as it should. There is no crack to the exterior, there are occasional light dings and some surface wear. The lead diameter is approx. 1.2mm
A George V silver cigarette case, open faced fob watches and other itemssilver items to include a square curved cigarette case with foliate engraved decoration , initialled, A Victorian silver rope-twist necklace, attached a foliate engraved oval locket, a Pius IX silver pendant with hinged compartment verso, a telescopic propelling pencil and ands dip pen with chased decoration, a/f, three St Christopher's medals etc., together with an Elgin gold plated keyless open faced pocket watch, three silver cased fob watch etc., a gilt brass and agate oval hinged snuff box, an embossed brass vesta case in the form of flagon, etc., (qty)various weighable silver approx. 6.57 ozt.Condition:Dings to cigarette case. Locket hinge pin has sheared. terminal of pencil sheared off and not present. rattle with absent teether. Elgin pocket watch winds ticks and runs, some rubbing to case. Other fob watches all with condition issues and a/f. Cuff bracelet has been made form three different bracelets, of which one is silver plated, other two unmarked probably Indian , centre bracelet with damaged push clasp.
A collection of silver to include a George III silver and mother of pearl handled folding pocket knife and a William IV fiddle pattern caddy spoon with shell bowl first duty mark and lion passant only, second London 833 by William Chawner II together with two other mother of pearl handled folding knives a spot hammered sovereign case on chain chatelaine pencil holder, an engine turned powder compact initialled D, pocket knife and toothpick, two silver page marks and a brass pocket tool compendium, (qty)variousCondition:Overall fair to good condition. Compact snaps shut.
An album containing an extensive collection of jewellery designs, c. 1930s-1960sthe majority in pencil and gouache on paper, card and acetate, including designs for gem-set head ornaments, tiaras, brooches, tie-pins, rings, earrings, necklaces etc... (qty)Condition:The illustrations have been stuck down with glue into the book however they should ease off but please note they some do have glue marks. This is an extensive historical collection and does have some wear to edges of the drawings. Album includes cards for jewellers 'Gostling & Boraston, Beak St, London' and 'J. Hurwitz & Co., Holborn, London'.
An interesting collection of twelve pencil and gouache 1930s jewellery designs by winners of the Goldsmiths and Silversmiths Arts Council exhibitions most designs of brooches and pendants on paper, all framed, with jewellery prize winners names including W. Hutchinson, P.G.J.Leamy, E.R.H.Pageot etc...(12)with frames 11 x 16cmCondition:Some with foxing and staining. Frames with some wear.
Silver Yard-O-Led pencil, the engine turned body with cartouche engraved "Gertie", miniature gilt metal sliding pencil set with turquoise, double scent bottle with silver caps and ruby glass body, silver bladed mother of pearl handled fruit knife, pencil with amber and green plastic body stamped "BAVARIA", cheroot holder with amber coloured mouthpiece, housed in a fitted case (6)
A SILVER TWIN HANDLED BONBON DISH AND THIRTEEN FURTHER ITEMS (14)Comprising; a christening egg cup and spoon, cased, two napkin rings, a glass toilet jar, three condiments, a silver salt spoon, a propelling pencil, also plated wares, comprising; a set of six pairs of dessert knives and forks, having mother-of-pearl handles, cased, a mustard spoon, a riding crop trophy and a butter dish stand, having a faceted glass liner
§ AUGUSTUS EDWIN JOHN (WELSH 1878-1961) QUINCY 2 - 1919 Etching, ed. 50, signed in pencil to margin, and two further etchings by the same hand, 'Old Arthy - 1902' etching, ed. 25, signed in pencil to margin, signed in plate, and 'Stephen Granger -1906,' etching, signed in pencil, signed in plate Dimensions:plate size 12.5cm x 10cm (5in x 4in); 20cm x 13.5cm (8in x 5.25in); 14cm x 12.5cm (5.5in x 5in)Provenance:Provenance: Collection of the late Sir Richard Shepherd, MP
Y GROUP OF VICTORIAN CARD CASES AND BOXES 19TH CENTURY to include a tortoiseshell card case outlined in silver pique, 10cm long; a mother-of-pearl and abalone card case, 10.5cm long; a papier mâché card case painted with flower bouquets, 10.5cm long; a tortoiseshell notebook with silver inlay and mechanical pencil, 11cm long; an ebony brass inlaid stamp box by Tahan, Paris, 8.5cm wide; and a tortoiseshell rose gold inlaid coin poise with initials EA, 7cm wideProvenance:Provenance: The Bellamy Collection, County Down, Northern IrelandNote: Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit https://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Football Liverpool Legends Multi Signed Colour Montage Print, Signed by 27 Legends including Ian St John, Roger Hunt, Ronnie Whelan, David Fairclough, Ian Callaghan, Phil Neal, Tommy Smith, Phil Thompson, Brian Hall, Emlyn Hughes, Sammy Lee and Joey Jones. Requires a bit more research. Fantastic Signatures, All Signed in pencil. Housed in a Frame Measuring 40x30 Overall. A Must Have Item. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
A good mixed lot, to include a leather-cased compass by Barker's, Chester silver miniature chocolate pot/shaker (Cornelius Desormeaux Saunders & James Francis Hollings Shepherd, 1897), a guilloche enamel miniature pencil, an unusual butterfly brooch with wings made from "the bones of Australian fish", a Grand Tour-style specimen marble octagonal ruler, Birmingham silver fob medal etc. Condition Report:Available upon request
ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012)."Une vase de terre crue et le T du nom de Tàpies", 1988.Etching and aquatint engraving, copy 31/85.Signed and justified in pencil.Work published in "Antoni Tàpies. Obra gráfica / graphic work Vol. 4: 1987-1994", Ed. Gustau Gili, Barcelona.Size: 50 x 65 cm.Co-founder of "Dau al Set" in 1948, Tàpies began to exhibit at the Salones de Octubre in Barcelona, as well as at the Salón de los Once held in Madrid in 1949. After his first solo exhibition at the Galerías Layetanas, he travels to Paris in 1950, with a grant from the Institut Français. In 1953 he had a solo exhibition at Martha Jackson's gallery in New York. From then on, he exhibited his work, both in group and solo shows, all over the world, in leading galleries and museums such as the Guggenheim in New York and the Museum of Modern Art in Paris. Since the 1970s, anthologies have been devoted to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. Self-taught, Tàpies created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style full of symbolism, giving great importance to the material substratum of the work. It is worth noting the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous prizes and distinctions, including the Praemium Imperiale of Japan, the National Prize for Culture, the Grand Prix for Painting in France, the Wolf Foundation for the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Prize for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Prize for the Plastic Arts (2003). Antoni Tàpies is represented in major museums all over the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.
William Kentridge (born 1955)Walking Man, 2000 signed and numbered 8/25 in pencillinocut257.8 x 88.7cm (101 1/2 x 34 15/16in).unframedprinted by Artist Proof Studio, published by David Krut, JohannesburgFootnotes:ProvenanceDavid Krut Fine Art, Johannesburg;Acquired from the above by the current owner in 2002.LiteratureJudith B. Hecker and William Kentridge, William Kentridge – Trace – Prints from the Museum of Modern Art (Verona: Trifolio SRL, 2010) p.25Milena Kalinovska and Eric Denker, William Kentridge, Oleg Kudryashov: Against the Grain (Washington, DC: The Kreeger Museum, Washington, 2009) p.15William Kentridge, William Kentridge: Prints, (Johannesburg: David Krut Publishing, 2006) p. 96Kate McCrickard, William Kentridge: WK, (London: Tate Publishing, 2012), p.38Lilian Tone, Kate McCrickard and William Kentridge, William Kentridge: Fortuna, (London: Thames and Hudson, 2013), p.270Walking Man is a fascinating work that explores the possibilities of scale, celebrates South Africa's long tradition of linocutting, and subtly combines the political and the poetical, calling to mind yet not explicitly, anti-apartheid marchers and uprooted communities. Working together with master printer Osiah Masekoameng at the Artist Proof Studio, Johannesburg, on the largest press in South Africa, William Kentridge challenged his technical expertise of the medium with this work, morphing not only a walking man into a tree, but the usually small-scale medium of linocut into a monumental presence of crisp lines, stark contrasts, and captivating patterns. If the latter recall the woodcut prints of Northern Renaissance and German Expressionism artists, the print's impact also lies in the poetical transformation of the man, reminiscent of a tale from Roman poet Ovid's Metamorphoses. The industrial landscape across which the figure strides could well be the outskirts of Johannesburg, where the artist was born and continues to live today. South Africa might even be the second character of this print, whose presence is suggested more than obvious, and certainly seems to inform the multiple readings of this important print, encapsulating 'themes of loss, transformation, personal and cultural memory, oppression and conflict'. Interestingly, William Kentridge says of the linocut medium:In South Africa, linocut is the primary form of printmaking, because linoleum is a very cheap material and the tools to make it are very easy ...And there's also a root to linocutting from the various missionaries who brought the technique to South Africa and a link to the German Expressionists whose style obviously comes back to African masks. And so there's a kind of circularity. It occurred to me that if etching and engraving have to do with the split in northern Europe between the Reformation and other ways of being, then linocutting corresponds to anti-colonialism, certainly in South Africa, to something that comes out of that struggle.Impressions of this print are in the collections of the Metropolitan Museum and the MoMA in New York; the Virginia Museum of Fine Arts, and the Art Gallery of New South Wales in Sydney. An impression of Walking Man was also included in the landmark exhibition Impressions from South Africa: 1965 to Now at MoMA in 2011.BibliographyImpressions from South Africa: 1965 to now (New York: Museum of Modern Art, 2011) https://www.moma.org/interactives/exhibitions/2011/impressions_from_south_africa/works/walking-man/ Judith B. Hecker and William Kentridge, William Kentridge – Trace – Prints from the Museum of Modern Art (Verona: Trifolio SRL, 2010)William Kentridge: Walking Man (Sydney: Art Gallery of New South Wales)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
William Kentridge (born 1955)Planes, from Zeno II, 2003 signed and numbered 24/30 in pencilphotogravure with drypoint50.5 x 65.5cm (19 7/8 x 25 13/16in).published by David Krut, New YorkFootnotes:Provenance Annandale Galleries, Sydney (with their label affixed verso)LiteratureWilliam Kentridge, William Kentridge: Prints, (Johannesburg: David Krut Publishing, 2006) pp. 138-139Roger Malbert, Rosalind Krauss, Kate McCrickard and William Kentridge, A Universal Archive: William Kentridge as Printmaker, (London: Hayward Gallery Publishing, 2013), pp. 78-81This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
William Kentridge (born 1955)Three Shadows, 2003 signed and numbered 33/40 in penciletching and sugarlift aquatint77 x 90cm (30 5/16 x 35 7/16in).Footnotes:ProvenanceAnnandale Galleries, Sydney (with their label affixed verso);Acquired from the above by the current owner; A private collection.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
William Kentridge (born 1955)Scribe, 2011 signed and numbered 22/40 in penciletching and drypoint44 x 39cm (17 5/16 x 15 3/8in).unframedpublished by David Krut, New York and London, with their blindstampThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
William Kentridge (born 1955)Against Argument (But Not This One), from Rubrics, 2012 signed and numbered 3/16 in pencilscreenprint in colours on book pages37.2 x 50.5cm (14 5/8 x 19 7/8in).unframedprinted by Artist Proof Studio, Johannesburg, published by Goodman Gallery, Cape TownFootnotes:LiteratureWilliam Kentridge, No It Is!, (Köln: Verlag der Buchhandlung Walther König, 2016), p.281Lilian Tone, Kate McCrickard and William Kentridge, William Kentridge: Fortuna, (London: Thames and Hudson, 2013), pp. 44-47This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
William Kentridge (born 1955)The Pleasures of Self Deception from Rubrics, 2012 signed and numbered 3/16 in pencilscreenprint in colours on book pages37.5 x 46.5cm (14 3/4 x 18 5/16in).unframedprinted by Artist Proof Studio, Johannesburg, published by Goodman Gallery, Cape TownFootnotes:LiteratureWilliam Kentridge, No It Is!, (Köln: Verlag der Buchhandlung Walther König, 2016), p.283Lilian Tone, Kate McCrickard and William Kentridge, William Kentridge: Fortuna, (London: Thames and Hudson, 2013), pp. 44-47 and pp.274-5This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
William Kentridge (born 1955)Casspirs Full of Love, 1989 signed and inscribed IX/X in pencil, a proof aside from the edition of 30drypoint167 x 98cm (65 3/4 x 38 9/16in).printed by Jack Shirreff at the 107 Workshop, Wiltshire, 2000, published by David Krut Fine Art, LondonFootnotes:LiteratureNeal Benezra, Staci Boris and Dan Cameron, William Kentridge (Chicago: Museum of Contemporary Art and New York: Harry N. Abrams Publishers, 2001) p. 80Dan Cameron, Carolyn Christov-Bakargiev, J.M. Coetzee, William Kentridge (London and New York: Phaidon Press Limited, 1999) p.50Carolyn Christov-Bakargiev, William Kentridge (Brussels: Société des Expositions du Palais des Beaux-Arts de Bruxelles, 1998), pg. 29Judith B. Hecker and William Kentridge, William Kentridge – Trace – Prints from the Museum of Modern Art (Verona: Trifolio SRL, 2010) p.19Milena Kalinovska and Eric Denker, William Kentridge, Oleg Kudryashov: Against the Grain (Washington, DC: The Kreeger Museum, Washington, 2009) p.16William Kentridge, William Kentridge: Prints (Johannesburg: David Krut Publishing, 2006) pp. 36-37Margaret K. Koerner, William Kentridge: Smoke, Ashes, Fable (Brussels: Mercatorfonds, 2017) p.31Casspirs Full of Love as a group of works is a testament to William Kentridge's multi-disciplinary and multi-layered practice. The various incarnations of the subject, made between 1988 and 1989, include a drawing, an encaustic, a screenprinted banner and the present drypoint, itself printed in two phases, between 1989 and 2000. The satirical title of the work, inscribed prominently to the right in looping cursive handwriting, refers to a personal message overheard by Kentridge on a popular radio program, from a mother to her son in the white South African defence force: this message comes to you from your mom with Casspirs full of love. Casspirs were armoured riot-control vehicles deployed by the South African defence force under the National Party regime of apartheid (1948-94), for the forceful patrol of black townships during the state of emergency declared in 1985 and renewed until 1990, leading to arbitrary racial arrests and persecution. The tense juxtaposition of love and death, affection and violence, also expressed textually: what comfort now? at left, Not A Step at lower centre, highlight the contradictions inherent to the apartheid state. The work also resonates with scenes from William Kentridge's 1989 film Johannesburg, 2nd Greatest City after Paris (see Lot 1 on previous page), while the heads were inspired by drawings the artist made in 1988 in Florence, based on Giotto's early 14th century frescoes in Santa Croce, that he later cut up and rearranged, and were also influenced by a Tony Cragg bronze sculpture of carved beetroot heads he saw in Florence that same year. As William Kentridge said: The print became a combination of Giotto, Cragg and 1980s South African radio. It has come to be known as one of Kentridge's most overtly political projects, and its importance is reflected in the fact that impressions of the print appear in significant international collections such as those of the Metropolitan Museum and the MOMA in New York, the Johannesburg Art Gallery, and the Tate in London.Printmaking has always been primary to Kentridge's practice as an artist, and the highly charged, textural surface and intensity of contrasts in the inking and composition of Casspirs Full of Love demonstrate his masterful exploration of the etching and drypoint mediums. The impression presented here provides the final version of the image as printed by master printer Jack Shirreff at 107 Workshop, Wiltshire, England in 2000. BibliographyWilliam Kentridge, William Kentridge: Prints (Johannesburg: David Krut Publishing, 2006) p. 36Roger Malbert, 'William Kentridge: Printmaker' in A Universal Archive: William Kentridge as Printmaker (London: Hayward Publishing, 2012) p. 13Elizabeth Manchester, William Kentridge: Casspirs Full of Love (London: Tate, 2002)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
William Kentridge (born 1955)Kaboom!, 2019 signed and numbered 30/50 in red pencilarchival pigment print in colours54 x 54cm (21 1/4 x 21 1/4in).together with three soundtracks on vinyl, within the original sleeve designed and printed by the artistThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
William Kentridge (born 1955)Man with Megaphone, 1998 signed and numbered 31/70 in penciletching and aquatint in colours35 x 50cm (13 3/4 x 19 11/16in).printed by Malcolm Christian, The Caversham Press, with their blindstamp, published by the artist and Kunstverein, MunichFootnotes:LiteratureDan Cameron, Carolyn Christov-Bakargiev, J.M. Coetzee, William Kentridge (London and New York: Phaidon Press Limited, 1999) p.97Judith B. Hecker and William Kentridge, William Kentridge – Trace – Prints from the Museum of Modern Art (Verona: Trifolio SRL, 2010) p.50William Kentridge, William Kentridge: Prints (Johannesburg: David Krut Publishing, 2006) p. 70Kate McCrickard, William Kentridge: WK (London: Tate Publishing, 2012), p.96This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
William Kentridge (born 1955)Man with Megaphone Cluster, 1998 signed and numbered 31/70 in penciletching and aquatint in colours35 x 50cm (13 3/4 x 19 11/16in).printed by Malcolm Christian, The Caversham Press, with their blindstamp, published by the artist and Kunstverein, MunichFootnotes:LiteratureDan Cameron, Carolyn Christov-Bakargiev, J.M. Coetzee, Kentridge (London and New York: Phaidon Press Limited, 1999) p.97Judith B. Hecker and William Kentridge, William Kentridge – Trace – Prints from the Museum of Modern Art (Verona: Trifolio SRL, 2010) p.50William Kentridge, William Kentridge: Prints (Johannesburg: David Krut Publishing, 2006) p. 71This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Tin Stanton Lovers Leap, 2022 Ink and Charcoal on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Tin Stanton is a creative artist from Bristol with a passion for painting. His study of traditional impressionist techniques and his experience as a photographer enable him to deliver the dramatic through the use of colour and light, giving his paintings an intrinsically cinematic feel. With several works claiming finalist positions in galleries in London, Birmingham and Doncaster in 2021, Tin Stanton has also had his own solo exhibition in the D31 Art Gallery, Doncaster in 2022 as well as a painting displayed in the Royal Academy Summer Exhibition. Education 2019-22 - First Class BA (hons) Drawing & Print (University of West of England) 2022 - 2023 MA Graphic Art (current study) Select Exhibitions/Awards Visitors - D31 Art Summer Exhibition Finalist (D31 Doncaster) 2021 The Heat - Clifton Arts Summer Exhibition (Bristol) 2021 From Dust - UK Coloured Pencil Society 2oth Anniversary Gala(OXO Tower Bargehouse, London) 2021 Above New London - The Artist Lounge Finalist, Artist of the Year (Online, Magazine) 2021 Day at the Beach / Above New London - April Fish - Round Lemon (Zest, Birmingham, Online, Magazine) 2021 Sol IX / The Towers - D31 Art Gallery Winter Exhibition (D31 Doncaster) 2021 Visitors Solo Exhibition - D31 Art Gallery (D31 Doncaster) 2022 Visitors II - Objects In Mirrors Are Closer Than They Appear - UWE / Jan-Philipp Fruehsorge (Centrespace Gallery, Bristol) 2022 Perspective / GET OFF MY LAND! / The Towers II - Doncaster Art Fair (Doncaster, Online) 2022 The Clearing / Dreaming Northward / Fire at Fox Cove - D31 Art Gallery Summer Exhibition (D31 Doncaster) 2022 The Towers II - Royal Academy Summer Exhibition (London) 2022 Statement about AOAP Submitted Artwork Tin Stanton's postcard submissions form part of his ongoing futuristic exploration 'Visitors'; a collection of beautiful yet haunting paintings underpinned by a dark, insightful world of drawings, photographs, digital works, sculpture and text, which raise questions about aspects of our own futures in a way that is both convincing and compelling. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Tin Stanton The Point, 2022 Ink and Charcoal on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Tin Stanton is a creative artist from Bristol with a passion for painting. His study of traditional impressionist techniques and his experience as a photographer enable him to deliver the dramatic through the use of colour and light, giving his paintings an intrinsically cinematic feel. With several works claiming finalist positions in galleries in London, Birmingham and Doncaster in 2021, Tin Stanton has also had his own solo exhibition in the D31 Art Gallery, Doncaster in 2022 as well as a painting displayed in the Royal Academy Summer Exhibition. Education 2019-22 - First Class BA (hons) Drawing & Print (University of West of England) 2022 - 2023 MA Graphic Art (current study) Select Exhibitions/Awards Visitors - D31 Art Summer Exhibition Finalist (D31 Doncaster) 2021 The Heat - Clifton Arts Summer Exhibition (Bristol) 2021 From Dust - UK Coloured Pencil Society 2oth Anniversary Gala(OXO Tower Bargehouse, London) 2021 Above New London - The Artist Lounge Finalist, Artist of the Year (Online, Magazine) 2021 Day at the Beach / Above New London - April Fish - Round Lemon (Zest, Birmingham, Online, Magazine) 2021 Sol IX / The Towers - D31 Art Gallery Winter Exhibition (D31 Doncaster) 2021 Visitors Solo Exhibition - D31 Art Gallery (D31 Doncaster) 2022 Visitors II - Objects In Mirrors Are Closer Than They Appear - UWE / Jan-Philipp Fruehsorge (Centrespace Gallery, Bristol) 2022 Perspective / GET OFF MY LAND! / The Towers II - Doncaster Art Fair (Doncaster, Online) 2022 The Clearing / Dreaming Northward / Fire at Fox Cove - D31 Art Gallery Summer Exhibition (D31 Doncaster) 2022 The Towers II - Royal Academy Summer Exhibition (London) 2022 Statement about AOAP Submitted Artwork Tin Stanton's postcard submissions form part of his ongoing futuristic exploration 'Visitors'; a collection of beautiful yet haunting paintings underpinned by a dark, insightful world of drawings, photographs, digital works, sculpture and text, which raise questions about aspects of our own futures in a way that is both convincing and compelling. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Tin Stanton Dreaming Northward, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Tin Stanton is a creative artist from Bristol with a passion for painting. His study of traditional impressionist techniques and his experience as a photographer enable him to deliver the dramatic through the use of colour and light, giving his paintings an intrinsically cinematic feel. With several works claiming finalist positions in galleries in London, Birmingham and Doncaster in 2021, Tin Stanton has also had his own solo exhibition in the D31 Art Gallery, Doncaster in 2022 as well as a painting displayed in the Royal Academy Summer Exhibition. Education 2019-22 - First Class BA (hons) Drawing & Print (University of West of England) 2022 - 2023 MA Graphic Art (current study) Select Exhibitions/Awards Visitors - D31 Art Summer Exhibition Finalist (D31 Doncaster) 2021 The Heat - Clifton Arts Summer Exhibition (Bristol) 2021 From Dust - UK Coloured Pencil Society 2oth Anniversary Gala(OXO Tower Bargehouse, London) 2021 Above New London - The Artist Lounge Finalist, Artist of the Year (Online, Magazine) 2021 Day at the Beach / Above New London - April Fish - Round Lemon (Zest, Birmingham, Online, Magazine) 2021 Sol IX / The Towers - D31 Art Gallery Winter Exhibition (D31 Doncaster) 2021 Visitors Solo Exhibition - D31 Art Gallery (D31 Doncaster) 2022 Visitors II - Objects In Mirrors Are Closer Than They Appear - UWE / Jan-Philipp Fruehsorge (Centrespace Gallery, Bristol) 2022 Perspective / GET OFF MY LAND! / The Towers II - Doncaster Art Fair (Doncaster, Online) 2022 The Clearing / Dreaming Northward / Fire at Fox Cove - D31 Art Gallery Summer Exhibition (D31 Doncaster) 2022 The Towers II - Royal Academy Summer Exhibition (London) 2022 Statement about AOAP Submitted Artwork Tin Stanton's postcard submissions form part of his ongoing futuristic exploration 'Visitors'; a collection of beautiful yet haunting paintings underpinned by a dark, insightful world of drawings, photographs, digital works, sculpture and text, which raise questions about aspects of our own futures in a way that is both convincing and compelling. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Caroline Wong Magnum, 2022 Acrylic and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Caroline Wong's work responds to traditional, restricted representations of East Asian women. For Wong, subverting these ideals is the essence of her practice. Her beginnings, as an artist, lay in more traditional forms of portraiture, yet, as she has grown, she has nurtured the epicurean side of herself, moving towards more excitable, expressive mark-making driven by a hedonistic desire for fun. She likens creating to eating. In both, she becomes consumed by the moment of pleasure, detaching herself from the world. The final image presents a hot, sticky portal of pleasure and the senses. The scintillating heat of her portraits is a visual representation of this joy and decadence, whilst also being reminiscent of the chaos and colour of Southeast Asia. Whether depicting female friendships or obdurately exhibiting female pleasure in food, her work is a joyful push-back against tradition, celebrating the beauty in excess. Education 2019-2021 Masters in Fine Art, City and Guilds of London Art School, London 2016-2018 Diploma in Contemporary Portraiture, The Art Academy, London Select Exhibitions/Awards 2022 Angels with Dirty Faces, Ojiri Gallery, London Artificial Paradises (solo), Soho Revue, London Cats and Girls (solo), Soy Capitán, Berlin Go Figure!, Daniel Raphael Gallery, London À la carte, Tchotchke Gallery, New York Eat Drink Man Woman, 180 Strand, London Lotus Eaters, Indigo + Madder, London Friends and Family, Pi Artworks, London In the Land of Cockaigne, Quench Gallery, Margate 2021 ING Discerning Eye, Mall Galleries, London MA Show, City and Guilds of London Art School Drawn Out, Drawing Room, London Drawing Biennial 2021, Drawing Room, London 2019 Society of Women's Artists 158th annual exhibition, The Mall Galleries, London 2018 Society of Women's Artists 157th annual exhibition, The Mall Galleries, London Prizes Drawing Biennial Bursary Award (2021) Liberty Specialty Markets Art Prize (2018) Society of Women Artists' Derwent Special Prize for Materials (2018) Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Dan Gluibizzi Fish, 2022 Acrylic and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Lives and works in Portland, OR Education 1997MFA, University of Cincinnati, OH 1994BFA, Kutztown University, PA Select Exhibitions/Awards 2021Ensemblecast, Russo Lee Gallery, Portland, OR Platform backed by David Zwirner Gallery, featured December 2021 Meta Open Arts, site-specific 45' mural, Bellevue, WA 2020Looking Outside, James Harris Gallery, Seattle, WA Somebody, Hashimoto Contemporary, San Francisco, CA 2019A Coupled Search, Russo Lee Gallery, Portland, OR Portluck, Hashimoto Contemporary, San Francisco, CA A Couple Kisses, Commune Gallery, Tokyo, Japan 2018Together we follow, Russo Lee Gallery, Portland, Oregon If a tree falls in the woods, Hashimoto Contemporary, San Francisco, CA What we don't realize when we see things, The Wassaic Project Wassaic, NY Over & Over, Glass Curtain Gallery, Columbia College, Chicago, IL 2017Friends & Stangers, Russo Lee Gallery, Portland, Oregon Hope and Hazard: A comedy of Eros, curated by Eric Fichl, Hall Art Foundation, Reading, Vermont Go Figure, Spoke Art, New York, New York. 2016Spring/Summer, The Battery, San Francisco, California Miami Project, FMLY Projects booth, Miami, Florida Pleasures and Treasures, Ampersand Gallery and Fine Books, Portland, Oregon Watermill Art Center Summer Benefit, Watermill, NY 2015You don't have to be alone tonight, CULT Aimee Friberg Exhibitions, San Francisco, CA Texas Contemporary, FMLY, Houston, Texas Blazermania, Gallery 135, Portland, Oregon Other Threads, P:ear, Portland, Oregon 2014A Frenzied Balance, Ampersand Gallery + Fine Books, Portland, OR Between Friends, Kopeikin Gallery, Los Angeles, CA Head, Western Exhibitions, Chicago, IL Sports, Compound Gallery, Portland, OR 2013Tomorrow it's time for the future, Kunstraum Kreuzberg/Bethanien, Berlin, Germany New York Art Book Fair / MoMA's PS1, Ampersand Gallery + Fine Books booth What if?, TEDxPortland, White Box, University of Oregon, Portland, OR LA MOCA Printed Matter artbook fair, Ampersand Gallery booth, Los Angeles, CA 2012Undressing Room, Froelick Gallery, Portland, OR There is no finish line, Ampersand Gallery + Fine Books, Portland, OR Uncharted Territory, TEDxPortland, Portland, OR Dangerous Curves, curated by Nathan Tabor, Compound Gallery, Portland, OR 2011Seven for Science, curated by Jonathan Cartledge, Smith College, Northampton, MA Our Time, Ampersand Gallery + Fine Books, Portland, OR 2010I'll Tumblr for ya, By and By, Brooklyn, NY Horror Vacui, Nudashank, Baltimore, MD 2009I-lines, Engineer's Office Gallery, New York, NY Don't Flee the ArtMarket#, curated by Paulina Bebecka, Postmasters, New York, NY The Exquisite Corpse, Paul Robeson Galleries, Rutgers University, NJ 2008The Object Direct, Elizabeth Heskin Contemporary, New York, NY New Work, The Object Direct in Recent Art, curated by Matthew Fisher, Mississippi State University 2007Paper Bombs, curated by Bart Exposito, Jack Hanley Gallery, Los Angeles, CA Mystic Truths, curated by Dan Gluibizzi, Eckhaus, Kutztown, PA Pierogi, Flat files, Brooklyn, NY Helter Swelter, curated by Seth Adelsberger, Sara Nightingale Gallery, Water Mill, NY 2006The Drawing Center Viewing Program, New York, NY Flux Factory, Lennon Weinberg Inc., New York, NY Night of 1000 Drawings, Artists Space, New York, NY 2004Harvard University Art Museums, Staff exhibtion,organized by Dan Gluibizzi, Cambridge, MA 1999Plain Brown Paper, ABC No Rio, New York, NY 1998The Fourth Independents' Biennial, Charas/ El Bohio, New York, NY Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Dan Gluibizzi Puzzle Piece, 2022 Coloured Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Lives and works in Portland, OR Education 1997MFA, University of Cincinnati, OH 1994BFA, Kutztown University, PA Select Exhibitions/Awards 2021Ensemblecast, Russo Lee Gallery, Portland, OR Platform backed by David Zwirner Gallery, featured December 2021 Meta Open Arts, site-specific 45' mural, Bellevue, WA 2020Looking Outside, James Harris Gallery, Seattle, WA Somebody, Hashimoto Contemporary, San Francisco, CA 2019A Coupled Search, Russo Lee Gallery, Portland, OR Portluck, Hashimoto Contemporary, San Francisco, CA A Couple Kisses, Commune Gallery, Tokyo, Japan 2018Together we follow, Russo Lee Gallery, Portland, Oregon If a tree falls in the woods, Hashimoto Contemporary, San Francisco, CA What we don't realize when we see things, The Wassaic Project Wassaic, NY Over & Over, Glass Curtain Gallery, Columbia College, Chicago, IL 2017Friends & Stangers, Russo Lee Gallery, Portland, Oregon Hope and Hazard: A comedy of Eros, curated by Eric Fichl, Hall Art Foundation, Reading, Vermont Go Figure, Spoke Art, New York, New York. 2016Spring/Summer, The Battery, San Francisco, California Miami Project, FMLY Projects booth, Miami, Florida Pleasures and Treasures, Ampersand Gallery and Fine Books, Portland, Oregon Watermill Art Center Summer Benefit, Watermill, NY 2015You don't have to be alone tonight, CULT Aimee Friberg Exhibitions, San Francisco, CA Texas Contemporary, FMLY, Houston, Texas Blazermania, Gallery 135, Portland, Oregon Other Threads, P:ear, Portland, Oregon 2014A Frenzied Balance, Ampersand Gallery + Fine Books, Portland, OR Between Friends, Kopeikin Gallery, Los Angeles, CA Head, Western Exhibitions, Chicago, IL Sports, Compound Gallery, Portland, OR 2013Tomorrow it's time for the future, Kunstraum Kreuzberg/Bethanien, Berlin, Germany New York Art Book Fair / MoMA's PS1, Ampersand Gallery + Fine Books booth What if?, TEDxPortland, White Box, University of Oregon, Portland, OR LA MOCA Printed Matter artbook fair, Ampersand Gallery booth, Los Angeles, CA 2012Undressing Room, Froelick Gallery, Portland, OR There is no finish line, Ampersand Gallery + Fine Books, Portland, OR Uncharted Territory, TEDxPortland, Portland, OR Dangerous Curves, curated by Nathan Tabor, Compound Gallery, Portland, OR 2011Seven for Science, curated by Jonathan Cartledge, Smith College, Northampton, MA Our Time, Ampersand Gallery + Fine Books, Portland, OR 2010I'll Tumblr for ya, By and By, Brooklyn, NY Horror Vacui, Nudashank, Baltimore, MD 2009I-lines, Engineer's Office Gallery, New York, NY Don't Flee the ArtMarket#, curated by Paulina Bebecka, Postmasters, New York, NY The Exquisite Corpse, Paul Robeson Galleries, Rutgers University, NJ 2008The Object Direct, Elizabeth Heskin Contemporary, New York, NY New Work, The Object Direct in Recent Art, curated by Matthew Fisher, Mississippi State University 2007Paper Bombs, curated by Bart Exposito, Jack Hanley Gallery, Los Angeles, CA Mystic Truths, curated by Dan Gluibizzi, Eckhaus, Kutztown, PA Pierogi, Flat files, Brooklyn, NY Helter Swelter, curated by Seth Adelsberger, Sara Nightingale Gallery, Water Mill, NY 2006The Drawing Center Viewing Program, New York, NY Flux Factory, Lennon Weinberg Inc., New York, NY Night of 1000 Drawings, Artists Space, New York, NY 2004Harvard University Art Museums, Staff exhibtion,organized by Dan Gluibizzi, Cambridge, MA 1999Plain Brown Paper, ABC No Rio, New York, NY 1998The Fourth Independents' Biennial, Charas/ El Bohio, New York, NY Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Dan McFall Buy A Postcard Make A Difference, 2022 Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Dan McFall \ South London Artist Dan Born in south London I am a self taught artist using Acrylics on Canvas board and stretched canvases, I am inspired by the great L.S.Lowry I tend to paint London and local scenes that bring back happy memories of a bygone era. I have done commissions for Sir Ian McKellen, Ralph McTell ..streets of London fame and many other people Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Dan McFall The Suffragettes, 2022 Pencil on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About Dan McFall \ South London Artist Dan Born in south London I am a self taught artist using Acrylics on Canvas board and stretched canvases, I am inspired by the great L.S.Lowry I tend to paint London and local scenes that bring back happy memories of a bygone era. I have done commissions for Sir Ian McKellen, Ralph McTell ..streets of London fame and many other people Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Johanna Seidel Darling, 2022 Crayon and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About *1993, Sebnitz, Germany lives and works in Dresden. In my artistic work I deal with the nature of perceived realities. I approach these by means of a poetic visual language, in which symbols from history, mythology and dreams mix with the everyday and the personal. The canvas offers me the space in which I can freely create references and develop narratives, constantly searching for the balance between realistic and naive figuration. From the painting itself, I thus develop stories and still images that exist in an atmospheric space, condensing memories into abstract moments that become universally accessible and experiential here. Education 2014 - 2021 Studies of Fine Arts at the Academy of Fine Arts Dresden with Peter Bömmels, Anton Henning and Anne Neukamp 2017 - 2018 Semester in exchange at the École nationale superieure des Beaux-Arts Paris 2021 Diploma of Fine Arts Since 2022 Master class studies of Fine Arts at the Academy of Fine Arts Dresden Select Exhibitions/Awards 2022 Azul Celeste, Artistellar Gallery, London Nocturne, Galerie Mellies, Detmold Dear Diary, Scotty, Berlin If it´s not baroque, don´t fix it, Tchotchke Gallery, New York City 2021 Nymph, Am Walkgraben 13, Chemnitz Staycation Beach, Kunsthalle Ost, Leipzig 2019 Solani Dulcamarae, Phyllis Johnson, Leipzig Dreamers, Galerie Stephanie Kelly, Dresden Statement about AOAP Submitted Artwork On my postcards you can see my playful approach to the arrangement of motifs that meet in the picture and speak to each other in associative ways. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Michael Dawson Working Class Fireflies, 2022 Chinagraph Pencil and Crayon on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About I mainly make vibrant images on paper, wood, and canvas in an expressionist, graphic and romantic style. The work has been called 'outsider'; I take that as a compliment! I use a combination of elements to make paintings - acrylic paint and oil sticks, colour and text, historical references, contemporary culture, social commentary, abstraction and figuration, to create deliberate enigmas, mysterious kaleidoscopes! Education Self taught artist (BA HONS English) Select Exhibitions/Awards Jul - Aug 2022 The Royal Academy of Arts Summer Exhibition May 2018 National Galleries of Scotland 'Artists at Work' (Group Show) 2014 - 2016 Scottish Royal Academy Open Exhibition, Edinburgh UK (2016 Recipient of Royal Scottish Academy Open Exhibition Award, Summerhall Prize) Statement about AOAP Submitted Artwork The four A6 pieces are made in a loose, fast automatic style. I combine colour and text as an oblique, enigmatic commentary on my life and society as I find them. They are an expressionistic frozen moment, the lid is lifted and what is there escapes! Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising.
Isaac Aldridge Your Head, 2022 Oil, Ink and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Painter (b.1996 Essex, England). Lives and works in Glasgow, Scotland. Education MLitt Fine Art Practice Painting, Glasgow School of Art 2022. BA Fine Art, Falmouth University 2018. Select Exhibitions/Awards Sonnet Eyes, GSA Stow Building, Glasgow (2022); Good Life, Glasgow Botanic Gardens, Glasgow (2022); Shrewn Taboos, The Barnes Garage, Glasgow (2022); Early Days, The Barnes Garage, Glasgow (2021); LA Summer, Arusha, Edinburgh (2018); Manchester Art Fair, Arusha, Manchester (2018); Isaac Aldridge Residency Show, Back Lane West, Redruth (2018); BA Degree Show, Falmouth University, Falmouth (2018); The Thrown Gauntlet Festival, Falmouth (2018); 1 of 2, The Poly, Falmouth (2017); Harwich Arts Festival, Old Bank Studios, Harwich (2015); Limited Additions, The Minories, Colchester (2015). Gallery Representation A selection of work available with New Blood Art. Statement about AOAP Submitted Artwork Isaac sees painting as a slippery structure that provides visual bonds a surface to redefine the value of an image. The visual bonds are the debris of an audio-visual production(s). I am mostly interested in oxymorons, irony and satire; where the Postdigital provokes translation and mistranslation. Image making in this way creates disruptive engagements of thought and affect. In short, painting imitates life, if only for a moment. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Isaac Aldridge My Chest, 2022 Oil, Ink and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Painter (b.1996 Essex, England). Lives and works in Glasgow, Scotland. Education MLitt Fine Art Practice Painting, Glasgow School of Art 2022. BA Fine Art, Falmouth University 2018. Select Exhibitions/Awards Sonnet Eyes, GSA Stow Building, Glasgow (2022); Good Life, Glasgow Botanic Gardens, Glasgow (2022); Shrewn Taboos, The Barnes Garage, Glasgow (2022); Early Days, The Barnes Garage, Glasgow (2021); LA Summer, Arusha, Edinburgh (2018); Manchester Art Fair, Arusha, Manchester (2018); Isaac Aldridge Residency Show, Back Lane West, Redruth (2018); BA Degree Show, Falmouth University, Falmouth (2018); The Thrown Gauntlet Festival, Falmouth (2018); 1 of 2, The Poly, Falmouth (2017); Harwich Arts Festival, Old Bank Studios, Harwich (2015); Limited Additions, The Minories, Colchester (2015). Gallery Representation A selection of work available with New Blood Art. Statement about AOAP Submitted Artwork Isaac sees painting as a slippery structure that provides visual bonds a surface to redefine the value of an image. The visual bonds are the debris of an audio-visual production(s). I am mostly interested in oxymorons, irony and satire; where the Postdigital provokes translation and mistranslation. Image making in this way creates disruptive engagements of thought and affect. In short, painting imitates life, if only for a moment. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Oona Grimes Etruscan Puppet b, 2022 Pencil and Collage on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Oona Grimes is a London based artist, primarily a chaser of language through drawing, clay making & film. During Grimes' 2018 Bridget Riley Fellowship at The British School at Rome she segued from thieving Lorenzetti tartans and cartoon detail from Etruscan paintings, to the appropriation of neorealist films - mis-remembered, imitated and low tech re- enacted: a physical drawing of herself captured on i-phone. Recently a Visiting Lecturer at The Royal College of Art London, The Ruskin School of Art Oxford University & University of The Arts London Education Norwich School of Art BA Hons; Slade School of Art MA Select Exhibitions/Awards Bridget Riley Fellowship British School at Rome 2018; Brian Robertson Award 2022 Gallery Representation Danielle Arnaud Gallery London Statement about AOAP Submitted Artwork A set of three fuzzy-felt warrior puppets, battling against unseen predators. Their defining nature and only hope is their quickness and lightness. What Calvino calls, "the irreplaceable outline of all human stories." Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising.
Eugenia Cuellar Pensive, 2022 Watercolour and Pencil on Arches Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Eugenia Cuellar's paintings are mainly focused on women and the challenges they have to face in a contemporary world. Women interacting with men and women, in different settings and situations, in non-places, subjected to other people and to social and cultural norms. Sourced from own images, collages or mass media imagery, the people depicted in her compositions are either real or imagined. Her work can oscillate from painful or abusive situations to idyllic ones that make up a kind of parallel world that surround us. A world of beauty and pleasure that create a new unreachable standard, an unavoidable mirror in which to look oneself at. Education Turps Banana Art School CC 2017/2022. Master in Fine Arts 2015/2017 (MIAC) Complutense Unversity Madrid (UCM) Fine Arts, 2010/2015, Complutense University Madrid . Degree in Law, Santiago de Compostela University and La Coruña University. Select Exhibitions/Awards 2022 Bloomberg New Contemporaries BN22: Hull, HumberStreetGallery & FerensArtGallery and SouthLondonGallery 2022 Dream on Dreamer, Riana Raouna Gallery, Limassol Cyprus (upcoming) 2022 Royal Academy Summer Exhibition, London. 2020 Royal West Academy 168th Annual Open Exhibition. 2020 Wells Art Contemporary, (catalogue). 2019 MOSTYN Open 21, Wales. 2018 Royal Scottish Academy of Art and Architecture, Open Exhibition of Art 2018. 2018 Fe/Male. Air Gallery, (UK) 2017 Peter Scott Gallery, Lancaster Arts, Rabley Drawing Centre, Marlborough, Black Swan Arts, Frome , The Drawing Studios. Plymouth College of Art (Sketch Open ) 2017 Masters Salon Painting. KoMask. Antwerp (BEL). 2017 Royal Ulster Academy, 135th Annual Exhibition 2016 BEEP Wales International Painting prize 2015 7th Annual Passion for Freedom Art Festival, Mall Galleries, London. 2015 The Open West 2015, The Wilson, Cheltenham Art gallery and Museum. Gallery Representation Riana Raouna Gallery Statement about AOAP Submitted Artwork Both works submitted belong to the realm of fantasy. They are a product of pure imagination. Pomeline and Louis are little lambs that belong to Marie Antoinette and graze happily in the Petit Trianon gardens, completely unaware of their owner's fatal destiny. Equally, the woman in red is absorbed in her thoughts, imagining ways of changing things. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Eugenia Cuellar Pomeline and Louis, 2022 Watercolour and Pencil on Arches Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Eugenia Cuellar's paintings are mainly focused on women and the challenges they have to face in a contemporary world. Women interacting with men and women, in different settings and situations, in non-places, subjected to other people and to social and cultural norms. Sourced from own images, collages or mass media imagery, the people depicted in her compositions are either real or imagined. Her work can oscillate from painful or abusive situations to idyllic ones that make up a kind of parallel world that surround us. A world of beauty and pleasure that create a new unreachable standard, an unavoidable mirror in which to look oneself at. Education Turps Banana Art School CC 2017/2022. Master in Fine Arts 2015/2017 (MIAC) Complutense Unversity Madrid (UCM) Fine Arts, 2010/2015, Complutense University Madrid . Degree in Law, Santiago de Compostela University and La Coruña University. Select Exhibitions/Awards 2022 Bloomberg New Contemporaries BN22: Hull, HumberStreetGallery & FerensArtGallery and SouthLondonGallery 2022 Dream on Dreamer, Riana Raouna Gallery, Limassol Cyprus (upcoming) 2022 Royal Academy Summer Exhibition, London. 2020 Royal West Academy 168th Annual Open Exhibition. 2020 Wells Art Contemporary, (catalogue). 2019 MOSTYN Open 21, Wales. 2018 Royal Scottish Academy of Art and Architecture, Open Exhibition of Art 2018. 2018 Fe/Male. Air Gallery, (UK) 2017 Peter Scott Gallery, Lancaster Arts, Rabley Drawing Centre, Marlborough, Black Swan Arts, Frome , The Drawing Studios. Plymouth College of Art (Sketch Open ) 2017 Masters Salon Painting. KoMask. Antwerp (BEL). 2017 Royal Ulster Academy, 135th Annual Exhibition 2016 BEEP Wales International Painting prize 2015 7th Annual Passion for Freedom Art Festival, Mall Galleries, London. 2015 The Open West 2015, The Wilson, Cheltenham Art gallery and Museum. Gallery Representation Riana Raouna Gallery Statement about AOAP Submitted Artwork Both works submitted belong to the realm of fantasy. They are a product of pure imagination. Pomeline and Louis are little lambs that belong to Marie Antoinette and graze happily in the Petit Trianon gardens, completely unaware of their owner's fatal destiny. Equally, the woman in red is absorbed in her thoughts, imagining ways of changing things. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Oona Grimes Etruscan Fool a, 2022 Coloured Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Oona Grimes is a London based artist, primarily a chaser of language through drawing, clay making & film. During Grimes' 2018 Bridget Riley Fellowship at The British School at Rome she segued from thieving Lorenzetti tartans and cartoon detail from Etruscan paintings, to the appropriation of neorealist films - mis-remembered, imitated and low tech re- enacted: a physical drawing of herself captured on i-phone. Recently a Visiting Lecturer at The Royal College of Art London, The Ruskin School of Art Oxford University & University of The Arts London Education Norwich School of Art BA Hons; Slade School of Art MA Select Exhibitions/Awards Bridget Riley Fellowship British School at Rome 2018; Brian Robertson Award 2022 Gallery Representation Danielle Arnaud Gallery London Statement about AOAP Submitted Artwork A set of three fuzzy-felt warrior puppets, battling against unseen predators. Their defining nature and only hope is their quickness and lightness. What Calvino calls, "the irreplaceable outline of all human stories." Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising.
Stephen Earl Rogers Life Drawing Class x4, 2022 Pencil on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About Stephen Earl Rogers is an artist whose work is held in collections across the world. He is a highly sought-after portrait painter whose clients include major, international art collectors, public institutions, private individuals and families. Working mainly in oils, he creates striking contemporary portraits through a highly collaborative process. His work brings together a deep understanding of the traditions of portraiture with a very broad range of cultural references. His clients are drawn to a vivid sense of character and atmosphere and the clarity of colour and light present in all his paintings. In addition to his portrait work he creates paintings, in series, based around a common theme; these include 'What To Do In An Emergency' and the ongoing 'Stirchley Twitcher'. Education BA Hons Fine Art University of Derby. Select Exhibitions/Awards RA Summer Show 2022; 'What to do in an Emergency', Ikon Gallery 2011; BP Portrait Award 2016/09/07/06/05/04/02/01; Sunday Times Watercolour Competition 2017; 'Walls have Ears' 400 years of Change, Arts Council Collection, Aston Hall, Birmingham 2018. Gallery Representation Fine Art Commissions, Quantum Contemporary Art, Colley Ison gallery Statement about AOAP Submitted Artwork Life Drawing Class x4: I run a weekly life drawing class and thought it would make for an interesting image if I combined a drawing of my own with that of three of my students. The viewer can form their own view as to who, tutor or student, is responsible for the different drawings. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Nan Collantine Untitled (1), 2022 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Nan Collantine is an artist living and working in Greater Manchester. She works with assemblage and installation, although considers painting her primary medium. She is drawn to responding to place, using the language of painting to explore memory and hidden social and cultural politics that might shape perception, sentiment and feelings of belonging and exclusion. Education Nan Collantine completed a foundation in art in 1990 followed by 25 years working in the creative sector. Her self-taught art practice began as she and her family moved to Australia in 2016, on her return she joined the Islington Mill Art Academy, a year long peer-led art programme. From 2019-2020 Nan participated in the Turps Banana Painting correspondence course. Select Exhibitions/Awards Beep Painting Prize shortlist 2022 Castlefield Gallery Award recipient 2022 Solo exhibition at World of Glass St Helens 2021 Gallery Representation New Blood Art Statement about AOAP Submitted Artwork Painting onto pages of the Futon catalogue is a favourite past time of mine. It's a rest from my large scale paintings and using oil paint. These are made using pencil drawings and gouache paint, which I love for its powdery texture. I enjoy playing around with the shadows that the catalogue images cast under the paint, and I collage the pages too in order to create abstract interior landscapes, each postcard is like a flattened, cropped intersection of space. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Nan Collantine Untitled (2), 2022 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Nan Collantine is an artist living and working in Greater Manchester. She works with assemblage and installation, although considers painting her primary medium. She is drawn to responding to place, using the language of painting to explore memory and hidden social and cultural politics that might shape perception, sentiment and feelings of belonging and exclusion. Education Nan Collantine completed a foundation in art in 1990 followed by 25 years working in the creative sector. Her self-taught art practice began as she and her family moved to Australia in 2016, on her return she joined the Islington Mill Art Academy, a year long peer-led art programme. From 2019-2020 Nan participated in the Turps Banana Painting correspondence course. Select Exhibitions/Awards Beep Painting Prize shortlist 2022 Castlefield Gallery Award recipient 2022 Solo exhibition at World of Glass St Helens 2021 Gallery Representation New Blood Art Statement about AOAP Submitted Artwork Painting onto pages of the Futon catalogue is a favourite past time of mine. It's a rest from my large scale paintings and using oil paint. These are made using pencil drawings and gouache paint, which I love for its powdery texture. I enjoy playing around with the shadows that the catalogue images cast under the paint, and I collage the pages too in order to create abstract interior landscapes, each postcard is like a flattened, cropped intersection of space. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Nan Collantine Untitled (4), 2022 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Nan Collantine is an artist living and working in Greater Manchester. She works with assemblage and installation, although considers painting her primary medium. She is drawn to responding to place, using the language of painting to explore memory and hidden social and cultural politics that might shape perception, sentiment and feelings of belonging and exclusion. Education Nan Collantine completed a foundation in art in 1990 followed by 25 years working in the creative sector. Her self-taught art practice began as she and her family moved to Australia in 2016, on her return she joined the Islington Mill Art Academy, a year long peer-led art programme. From 2019-2020 Nan participated in the Turps Banana Painting correspondence course. Select Exhibitions/Awards Beep Painting Prize shortlist 2022 Castlefield Gallery Award recipient 2022 Solo exhibition at World of Glass St Helens 2021 Gallery Representation New Blood Art Statement about AOAP Submitted Artwork Painting onto pages of the Futon catalogue is a favourite past time of mine. It's a rest from my large scale paintings and using oil paint. These are made using pencil drawings and gouache paint, which I love for its powdery texture. I enjoy playing around with the shadows that the catalogue images cast under the paint, and I collage the pages too in order to create abstract interior landscapes, each postcard is like a flattened, cropped intersection of space. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
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