Yui Kugimiya Untitled, Study North, 2021 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) YUI KUGIMIYA (b. 1981, Tokyo) is a painter based in Brooklyn, NY. Education She received her MFA from Yale University School of Art, BFA from Massachusetts College of Art, and she attended the Skowhegan School of Painting and Sculpture. Exhibitions Her work is held in various collections including the Museum of Modern Art (New York), Everson Museum of Art (Syracuse), The Bass Museum of Art (Miami), and the New York Prespertyrian Hospital (New York). MFA - Yale School Of Art 2007Yui Kugimiya has held solo exhibitions at the Everson Museum of Art (Syracuse,NY), Galeria Enrique Guerrero (Mexico City), Taymour Grahne Gallery, (New York City), Marlborough Broome Street (New York City), PAGE (New York City), Kunsthall Stavanger (Stavanger, Norway), Taka Ishii Gallery (Kyoto, Japan), Horton Gallery (New York City), and Carroll and Sons (Boston, MA), amongst others. Gallery Representation Galeria Enrique Guerrero About the postcard artworks These watercolour drawings are of flowers in a vase. I paint from imaginations to create images that resembles memories and emotional realities.
We found 13246 price guide item(s) matching your search
There are 13246 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
13246 item(s)/page
Yui Kugimiya Untitled, Study East, 2021 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) YUI KUGIMIYA (b. 1981, Tokyo) is a painter based in Brooklyn, NY. Education She received her MFA from Yale University School of Art, BFA from Massachusetts College of Art, and she attended the Skowhegan School of Painting and Sculpture. Exhibitions Her work is held in various collections including the Museum of Modern Art (New York), Everson Museum of Art (Syracuse), The Bass Museum of Art (Miami), and the New York Prespertyrian Hospital (New York). MFA - Yale School Of Art 2007Yui Kugimiya has held solo exhibitions at the Everson Museum of Art (Syracuse,NY), Galeria Enrique Guerrero (Mexico City), Taymour Grahne Gallery, (New York City), Marlborough Broome Street (New York City), PAGE (New York City), Kunsthall Stavanger (Stavanger, Norway), Taka Ishii Gallery (Kyoto, Japan), Horton Gallery (New York City), and Carroll and Sons (Boston, MA), amongst others. Gallery Representation Galeria Enrique Guerrero About the postcard artworks These watercolour drawings are of flowers in a vase. I paint from imaginations to create images that resembles memories and emotional realities.
Annabelle Shelton On The Go 1, 2021 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Annabelle Shelton was born in London. Currently based in Milton Keynes and holds a studio at New Bradwell Workspace. Predominately works in painting and photography. In 2010 Shelton was a resident artist at the Aberystwyth Art Centre, Wales, on the University campus, where, she took part in the main gallery show Five. In the same year she selected for the John Moore's Painting Prize. In 2011 she had a solo show at Chapter in Cardiff. She has provided critical texts and reviews for a-n. Gallery Representation Shelton has been represented and shown by national and international galleries showing work at the Rarity Gallery, Mykonos, Greece, Caudwell Snyder San Francisco, Corte Real Portugal, Rebecca Hossack London and Jill George London. Her work is in many private and public collections internationally. Education BA Fine Art from Staffordshire University and a Postgraduate Diploma and MA Fine Art from Birmingham City University Exhibitions/Awards Neo Art Prize Bolton 2nd place 2013 Discerning Eye 2015, 2009 Mall galleries Times watercolour Prize Exhibition 2015 John Moores Painting Exhibition 2010 About the postcard artworks My work explores the modern condition of space and place focusing on the arrangements of people in the Beachscape or urbanscape. The work exposes the geographical arrangements the timings and the sequencing of a time and space.
Annabelle Shelton On The Go 2, 2021 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Annabelle Shelton was born in London. Currently based in Milton Keynes and holds a studio at New Bradwell Workspace. Predominately works in painting and photography. In 2010 Shelton was a resident artist at the Aberystwyth Art Centre, Wales, on the University campus, where, she took part in the main gallery show Five. In the same year she selected for the John Moore's Painting Prize. In 2011 she had a solo show at Chapter in Cardiff. She has provided critical texts and reviews for a-n. Gallery Representation Shelton has been represented and shown by national and international galleries showing work at the Rarity Gallery, Mykonos, Greece, Caudwell Snyder San Francisco, Corte Real Portugal, Rebecca Hossack London and Jill George London. Her work is in many private and public collections internationally. Education BA Fine Art from Staffordshire University and a Postgraduate Diploma and MA Fine Art from Birmingham City University Exhibitions/Awards Neo Art Prize Bolton 2nd place 2013 Discerning Eye 2015, 2009 Mall galleries Times watercolour Prize Exhibition 2015 John Moores Painting Exhibition 2010 About the postcard artworks My work explores the modern condition of space and place focusing on the arrangements of people in the Beachscape or urbanscape. The work exposes the geographical arrangements the timings and the sequencing of a time and space.
Yuki Aruga After Pontormo: Madonna Feeding Child, 2021 Linoprint on Japanese Paper, Watercolour and Pencil Signed verso 15 x 10cm (5¾ x 3¾ in.) Drawing on personal experiences and her mixed Japanese-British heritage, Yuki Aruga's works are a manifestation of her ongoing investigation into how we are influenced by our personal and collective histories. Yuki's current works are inspired by European still life paintings and religious iconography of the 16th and 17th centuries, as well as eastern philosophies and Japanese aesthetic principles. Education Yuki is currently studying for an MA in Fine Art at City & Guilds of London Art School. City & Guilds of London Art School | MA Fine Art | 2019-2021 Camberwell College of Art UAL | BA Fine Art Painting | 2005-2008 Wimbledon School of Art UAL | Foundation Diploma in Art & Design | 2004-2005 Exhibitions Her work has been exhibited in the Columbia Threadneedle Prize: Figurative Art Today and shown in the associated exhibitions at the Mall Galleries in London and Palazzo Strozzi in Florence. Last year Yuki's work was selected for the ING Discerning Eye exhibition.
Aimée Parrott Full, 2021 Monotype and Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Education Royal Academy Schools (Post Graduate Diploma), 2011-2014 University College Falmouth (BA Fine Art, First Class) 2006-2009 Exhibitions/Awards Gaia's Kidney, solo presentation at Broadway Gallery, 2020, Letchworth Garden City, U.K solo presentation, Mackintosh Lane, 2021, London Selected Exhibitions The Studio at 4am, 2020, Group show curated by Anne Ryan, Hastings Contemporary WHERE WE ARE, 2020, Group show curated by Danny Rolph, Mercers Hall Ambulatory, Ironmonger Lane, London To Paint the Gloom itself, 2020, Group Show at Terrace Gallery, London Kate McMillan and Aimée Parrott, 2020 , Two person booth at Zona Maco with Arusha Gallery, Mexico City All That the Rain Promises and More...July, 2019 (curation) Group show curated by myself for Edinburgh Arts Festival, hosted by Arusha Gallery, Edinburgh The Box, Pippy Houldsworth, May, 2019, Pippy Houldsworth, London Platform Y, Platform Foundation, June, 2019 , Group show curated by Kate Bryan, Platform Foundation, London IN CONSTANT USE, July, 2019 . Group show curated by Jöel Riff, London Fully awake, September 2018. Group show curated by Ian Hartshorne & Sean Kaye, Royal College of Art, Dyson Gallery, London Blood, Sea, May 2018. Solo show at Pippy Houldsworth Gallery, London Solo Show at Trade Gallery, May, 2018. Trade Gallery, Nottingham Without Moving a Muscle, December, 2017 Group show curated by Daniel Lipp and David Noonan, 12 Mackintosh Lane, London Exeter Contemporary Open, Sept, 2017 (Winner) Group show, Exeter Phoenix, Exeter Implicit Touch, June 2017, Group show, Stadtgalerie Villa Dessauer, Bamburg, Germany 31 Women, June 2017, Group show, Breese Little, London Energy is Eternal Delight, Collaboration with Frank Kent & Jenny Valentine, May 2017, Richard Booth's Book Shop, Hay-on-Wye, Wales Only Connect, group show curated by David Remfry RA, April-Sept 2017, Royal Academy of Art, London 5 Years at Heddon Street, November 2016, Group show, Pippy Houldsworth, London Solo show at Breese Little, September 2016, Breese Little, London Solo presentation at Manchester Contemporary Art Fair with Breese Little, September 2015 , Bresse Little, London Aimée Parrott and Adam Collier at the Kennington Residency, June 2015, The Kennington Residency, London Ben Sanderson, Aimée Parrott & Adam Collier at the Porthmeor Studios, September 2015, St Ives, Cornwall Contemporary British Abstraction, 2015, Group show at The Container Gallery, London Soaked, not resting, 2015, Two Person Show at Pippy Houldsworth, London Promise of Palms, 2015, Group Show at Breese Little, London Derive, November 2014 , Group show curated by Stuart Evans, The Place Downstairs, London Painting about Painting, Oct 2014, Group show, curated by Andrew Hewish for Simmons and Simmons, London Screaming Hornets, Sept 2014, Group Show at Tintype Gallery, London Royal Academy Schools Final Show 2014, Royal Academy of Art, Burlington Gardens, Piccadilly, London Awards/ Residencies Villa Lena (upcoming-postponed until 2021) Exeter Contemporary Open, first prize. September 2017 Cill rialaig residency, Ireland, Autumn 2017 Dentons Art Prize, Spring 2016 Artists league of New York Residency, November 2014 Archie Sherman Scholarship 2012-2014 Micro Residency at Angelika Studios , October 2013 Ford Award (travel bursary) August 2013
Aimée Parrott Woodruff, 2021 Monoprint and Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Education Royal Academy Schools (Post Graduate Diploma), 2011-2014 University College Falmouth (BA Fine Art, First Class) 2006-2009 Exhibitions/Awards Gaia's Kidney, solo presentation at Broadway Gallery, 2020, Letchworth Garden City, U.K solo presentation, Mackintosh Lane, 2021, London Selected Exhibitions The Studio at 4am, 2020, Group show curated by Anne Ryan, Hastings Contemporary WHERE WE ARE, 2020, Group show curated by Danny Rolph, Mercers Hall Ambulatory, Ironmonger Lane, London To Paint the Gloom itself, 2020, Group Show at Terrace Gallery, London Kate McMillan and Aimée Parrott, 2020 , Two person booth at Zona Maco with Arusha Gallery, Mexico City All That the Rain Promises and More...July, 2019 (curation) Group show curated by myself for Edinburgh Arts Festival, hosted by Arusha Gallery, Edinburgh The Box, Pippy Houldsworth, May, 2019, Pippy Houldsworth, London Platform Y, Platform Foundation, June, 2019 , Group show curated by Kate Bryan, Platform Foundation, London IN CONSTANT USE, July, 2019 . Group show curated by Jöel Riff, London Fully awake, September 2018. Group show curated by Ian Hartshorne & Sean Kaye, Royal College of Art, Dyson Gallery, London Blood, Sea, May 2018. Solo show at Pippy Houldsworth Gallery, London Solo Show at Trade Gallery, May, 2018. Trade Gallery, Nottingham Without Moving a Muscle, December, 2017 Group show curated by Daniel Lipp and David Noonan, 12 Mackintosh Lane, London Exeter Contemporary Open, Sept, 2017 (Winner) Group show, Exeter Phoenix, Exeter Implicit Touch, June 2017, Group show, Stadtgalerie Villa Dessauer, Bamburg, Germany 31 Women, June 2017, Group show, Breese Little, London Energy is Eternal Delight, Collaboration with Frank Kent & Jenny Valentine, May 2017, Richard Booth's Book Shop, Hay-on-Wye, Wales Only Connect, group show curated by David Remfry RA, April-Sept 2017, Royal Academy of Art, London 5 Years at Heddon Street, November 2016, Group show, Pippy Houldsworth, London Solo show at Breese Little, September 2016, Breese Little, London Solo presentation at Manchester Contemporary Art Fair with Breese Little, September 2015 , Bresse Little, London Aimée Parrott and Adam Collier at the Kennington Residency, June 2015, The Kennington Residency, London Ben Sanderson, Aimée Parrott & Adam Collier at the Porthmeor Studios, September 2015, St Ives, Cornwall Contemporary British Abstraction, 2015, Group show at The Container Gallery, London Soaked, not resting, 2015, Two Person Show at Pippy Houldsworth, London Promise of Palms, 2015, Group Show at Breese Little, London Derive, November 2014 , Group show curated by Stuart Evans, The Place Downstairs, London Painting about Painting, Oct 2014, Group show, curated by Andrew Hewish for Simmons and Simmons, London Screaming Hornets, Sept 2014, Group Show at Tintype Gallery, London Royal Academy Schools Final Show 2014, Royal Academy of Art, Burlington Gardens, Piccadilly, London Awards/ Residencies Villa Lena (upcoming-postponed until 2021) Exeter Contemporary Open, first prize. September 2017 Cill rialaig residency, Ireland, Autumn 2017 Dentons Art Prize, Spring 2016 Artists league of New York Residency, November 2014 Archie Sherman Scholarship 2012-2014 Micro Residency at Angelika Studios , October 2013 Ford Award (travel bursary) August 2013
Eleanor Watson Blue Dissolve, 2021 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Born 1990 Lives and works in London Education 2018 - September 2019 Masters in Fine Art, City and Guilds of London Art School (Distinction) 2015 - 2016 The Drawing Year, The Royal Drawing School 2009 - 2012 Wimbledon College of Art; BA Fine Art Painting (First Class Honours) 2008 - 2009 Chelsea College of Art; Level 4 Foundation Diploma in Art and Design Exhibitions/Awards Selected Solo and Joint Exhibitions 2020 - The London Art Fair alongside Suzanne Moxhay with The Contemporary London 2017 - Derby Museum and Art Gallery - Dear Reader, New Court Gallery, Repton - Eleanor Watson 2015 - The Foundry Gallery, Chelsea - Emma Alcock and Eleanor Watson 2013 - The Foundry Gallery, Chelsea - In the First Place Mall Galleries, St. James' - Biscuit. I've kept you half. Joint exhibition with Bartholomew Beal GX Gallery, Camberwell - Dual Exhibition: Benjamin Bridges & Eleanor Watson Selected Group Exhibitions 2020 - Royal Academy Summer Exhibition A Dream is not a Dream, Purslane Art curated by Charlie Siddick Reaction Exhibition curated by Beatrice Hassel-McCosh The Birds are Singing in the Distant Woods with The Violet Hour 2019 - Tender with The Violet Hour Royal Academy Summer Exhibition 2018 - Art Basel Miami with Cynthia Corbett Gallery 2018 - The London Art Fair with Cynthia Corbett Gallery 2017 - Christie's, St. James' - Best of the Drawing Year at Christie's The Royal Drawing School, Shoreditch - The Drawing Year 2016 2015 - Cynthia Corbett Gallery - Young Masters New York Sluice Art Fair with Paper Gallery Simmons & Simmons, curated by Jonathan Sharples - Piercing the Veil The Contemporary London at W10 Space - Small Paintings London Art Fair with Cynthia Corbett Gallery, St. Anne's Gallery, and Paper Gallery 2014 - Royal Academy Summer Exhibition 2013 - St. Anne's Gallery - New Contemporary South Prizes and Residency 2019 - ACS City and Guilds of London Art School Studio Prize 2019 - Slaughterhaus Print Prize 2018 - The Royal Drawing School Dumfries House Residency 2016 - The Jonathan Vickers Fine Art Award 2015 - Jerwood Painting Fellowship - shortlisted 2014 - Young Masters Art Prize - shortlisted 2014 - The Jonathan Vickers Fine Art Award - runner-up 2013 - The Zabludowicz Future Map Prize - shortlisted 2013 - Down Stairs Gallery Residency, Herefordshire 2012 - The Jonathan Vickers Fine Art Award - runner-up 2011 - Hans Brinker Budget Trophy Award - winner 2011 - Prunella Clough Painting Prize - runner-up Collections Dumfries House Collection Jonathan Vickers Fine Art Award University of the Arts London
Eleanor Watson Ring on Ring, A Series of Weddings, 2021 Watercolour Monotype on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Born 1990 Lives and works in London Education 2018 - September 2019 Masters in Fine Art, City and Guilds of London Art School (Distinction) 2015 - 2016 The Drawing Year, The Royal Drawing School 2009 - 2012 Wimbledon College of Art; BA Fine Art Painting (First Class Honours) 2008 - 2009 Chelsea College of Art; Level 4 Foundation Diploma in Art and Design Exhibitions/Awards Selected Solo and Joint Exhibitions 2020 - The London Art Fair alongside Suzanne Moxhay with The Contemporary London 2017 - Derby Museum and Art Gallery - Dear Reader, New Court Gallery, Repton - Eleanor Watson 2015 - The Foundry Gallery, Chelsea - Emma Alcock and Eleanor Watson 2013 - The Foundry Gallery, Chelsea - In the First Place Mall Galleries, St. James' - Biscuit. I've kept you half. Joint exhibition with Bartholomew Beal GX Gallery, Camberwell - Dual Exhibition: Benjamin Bridges & Eleanor Watson Selected Group Exhibitions 2020 - Royal Academy Summer Exhibition A Dream is not a Dream, Purslane Art curated by Charlie Siddick Reaction Exhibition curated by Beatrice Hassel-McCosh The Birds are Singing in the Distant Woods with The Violet Hour 2019 - Tender with The Violet Hour Royal Academy Summer Exhibition 2018 - Art Basel Miami with Cynthia Corbett Gallery 2018 - The London Art Fair with Cynthia Corbett Gallery 2017 - Christie's, St. James' - Best of the Drawing Year at Christie's The Royal Drawing School, Shoreditch - The Drawing Year 2016 2015 - Cynthia Corbett Gallery - Young Masters New York Sluice Art Fair with Paper Gallery Simmons & Simmons, curated by Jonathan Sharples - Piercing the Veil The Contemporary London at W10 Space - Small Paintings London Art Fair with Cynthia Corbett Gallery, St. Anne's Gallery, and Paper Gallery 2014 - Royal Academy Summer Exhibition 2013 - St. Anne's Gallery - New Contemporary South Prizes and Residency 2019 - ACS City and Guilds of London Art School Studio Prize 2019 - Slaughterhaus Print Prize 2018 - The Royal Drawing School Dumfries House Residency 2016 - The Jonathan Vickers Fine Art Award 2015 - Jerwood Painting Fellowship - shortlisted 2014 - Young Masters Art Prize - shortlisted 2014 - The Jonathan Vickers Fine Art Award - runner-up 2013 - The Zabludowicz Future Map Prize - shortlisted 2013 - Down Stairs Gallery Residency, Herefordshire 2012 - The Jonathan Vickers Fine Art Award - runner-up 2011 - Hans Brinker Budget Trophy Award - winner 2011 - Prunella Clough Painting Prize - runner-up Collections Dumfries House Collection Jonathan Vickers Fine Art Award University of the Arts London
Eleanor Watson Ring on Ring, A Series of Weddings II, 2021 Watercolour Monotype on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Born 1990 Lives and works in London Education 2018 - September 2019 Masters in Fine Art, City and Guilds of London Art School (Distinction) 2015 - 2016 The Drawing Year, The Royal Drawing School 2009 - 2012 Wimbledon College of Art; BA Fine Art Painting (First Class Honours) 2008 - 2009 Chelsea College of Art; Level 4 Foundation Diploma in Art and Design Exhibitions/Awards Selected Solo and Joint Exhibitions 2020 - The London Art Fair alongside Suzanne Moxhay with The Contemporary London 2017 - Derby Museum and Art Gallery - Dear Reader, New Court Gallery, Repton - Eleanor Watson 2015 - The Foundry Gallery, Chelsea - Emma Alcock and Eleanor Watson 2013 - The Foundry Gallery, Chelsea - In the First Place Mall Galleries, St. James' - Biscuit. I've kept you half. Joint exhibition with Bartholomew Beal GX Gallery, Camberwell - Dual Exhibition: Benjamin Bridges & Eleanor Watson Selected Group Exhibitions 2020 - Royal Academy Summer Exhibition A Dream is not a Dream, Purslane Art curated by Charlie Siddick Reaction Exhibition curated by Beatrice Hassel-McCosh The Birds are Singing in the Distant Woods with The Violet Hour 2019 - Tender with The Violet Hour Royal Academy Summer Exhibition 2018 - Art Basel Miami with Cynthia Corbett Gallery 2018 - The London Art Fair with Cynthia Corbett Gallery 2017 - Christie's, St. James' - Best of the Drawing Year at Christie's The Royal Drawing School, Shoreditch - The Drawing Year 2016 2015 - Cynthia Corbett Gallery - Young Masters New York Sluice Art Fair with Paper Gallery Simmons & Simmons, curated by Jonathan Sharples - Piercing the Veil The Contemporary London at W10 Space - Small Paintings London Art Fair with Cynthia Corbett Gallery, St. Anne's Gallery, and Paper Gallery 2014 - Royal Academy Summer Exhibition 2013 - St. Anne's Gallery - New Contemporary South Prizes and Residency 2019 - ACS City and Guilds of London Art School Studio Prize 2019 - Slaughterhaus Print Prize 2018 - The Royal Drawing School Dumfries House Residency 2016 - The Jonathan Vickers Fine Art Award 2015 - Jerwood Painting Fellowship - shortlisted 2014 - Young Masters Art Prize - shortlisted 2014 - The Jonathan Vickers Fine Art Award - runner-up 2013 - The Zabludowicz Future Map Prize - shortlisted 2013 - Down Stairs Gallery Residency, Herefordshire 2012 - The Jonathan Vickers Fine Art Award - runner-up 2011 - Hans Brinker Budget Trophy Award - winner 2011 - Prunella Clough Painting Prize - runner-up Collections Dumfries House Collection Jonathan Vickers Fine Art Award University of the Arts London
Eleanor Watson Their Gifts, 2021 Watercolour Monotype on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Born 1990 Lives and works in London Education 2018 - September 2019 Masters in Fine Art, City and Guilds of London Art School (Distinction) 2015 - 2016 The Drawing Year, The Royal Drawing School 2009 - 2012 Wimbledon College of Art; BA Fine Art Painting (First Class Honours) 2008 - 2009 Chelsea College of Art; Level 4 Foundation Diploma in Art and Design Exhibitions/Awards Selected Solo and Joint Exhibitions 2020 - The London Art Fair alongside Suzanne Moxhay with The Contemporary London 2017 - Derby Museum and Art Gallery - Dear Reader, New Court Gallery, Repton - Eleanor Watson 2015 - The Foundry Gallery, Chelsea - Emma Alcock and Eleanor Watson 2013 - The Foundry Gallery, Chelsea - In the First Place Mall Galleries, St. James' - Biscuit. I've kept you half. Joint exhibition with Bartholomew Beal GX Gallery, Camberwell - Dual Exhibition: Benjamin Bridges & Eleanor Watson Selected Group Exhibitions 2020 - Royal Academy Summer Exhibition A Dream is not a Dream, Purslane Art curated by Charlie Siddick Reaction Exhibition curated by Beatrice Hassel-McCosh The Birds are Singing in the Distant Woods with The Violet Hour 2019 - Tender with The Violet Hour Royal Academy Summer Exhibition 2018 - Art Basel Miami with Cynthia Corbett Gallery 2018 - The London Art Fair with Cynthia Corbett Gallery 2017 - Christie's, St. James' - Best of the Drawing Year at Christie's The Royal Drawing School, Shoreditch - The Drawing Year 2016 2015 - Cynthia Corbett Gallery - Young Masters New York Sluice Art Fair with Paper Gallery Simmons & Simmons, curated by Jonathan Sharples - Piercing the Veil The Contemporary London at W10 Space - Small Paintings London Art Fair with Cynthia Corbett Gallery, St. Anne's Gallery, and Paper Gallery 2014 - Royal Academy Summer Exhibition 2013 - St. Anne's Gallery - New Contemporary South Prizes and Residency 2019 - ACS City and Guilds of London Art School Studio Prize 2019 - Slaughterhaus Print Prize 2018 - The Royal Drawing School Dumfries House Residency 2016 - The Jonathan Vickers Fine Art Award 2015 - Jerwood Painting Fellowship - shortlisted 2014 - Young Masters Art Prize - shortlisted 2014 - The Jonathan Vickers Fine Art Award - runner-up 2013 - The Zabludowicz Future Map Prize - shortlisted 2013 - Down Stairs Gallery Residency, Herefordshire 2012 - The Jonathan Vickers Fine Art Award - runner-up 2011 - Hans Brinker Budget Trophy Award - winner 2011 - Prunella Clough Painting Prize - runner-up Collections Dumfries House Collection Jonathan Vickers Fine Art Award University of the Arts London
Sara Dare Velvet Purse I, 2021 Ink on Watercolour Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Sara Dare is an abstract painter. She primarily works on a large-scale using paper, linen and canvas, combined with a range of mediums informed by finish and viscosity such as ink, oil, emulsion and acrylic. Dare's paintings seek to convey an initial playful interaction with the viewer followed by a sense of unease or tension. Dare is also concerned with the environment surrounding the works and the conversations between them. She consistently works on several pieces as a series and actively encourages a dialogue and visual interaction that connects and holds them together. Sara Dare is based in West Sussex and has sold work to collectors internationally Education Sara Dare graduated in Fine Art Painting at The University of Brighton in 2008. In 2010 she received a Postgraduate Certificate in Education of Art and Design and focused on absorbing these methodologies into her approach as a socially engaged artist and collaborator. She recently studied on the Correspondence Course at alternative art school Turps Education. 2021 London Art Fair, After Nyne Gallery, EDIT online. 2020 'Kite Circus', Group Show, Sidney and Matilda, Sheffield. UK 'Dear Painting', Group show, Nordic Art Agency, Malmo, Sweden. 2019 '2022', Group show, Studio 2, The Ark, Bembridge, Isle of Wight 'Object Meditation', After Nyne Gallery, London. UK 'Putting Ourselves in the Picture', Artist-in-Residence. Fabrica Gallery, Brighton UK 'Black Stuff', Group exhibition, Unit 3 Projects, ASC Studios. London. Solo Show, Rye Creative Centre. Rye, East Sussex. UK Solo Show, Sid Motion Gallery, London. 2018 'C'est De La Peinture'. Bankley Studios & Gallery, Manchester. UK 'Not 30%'. Curated by Kate Bryan, The Other Art Fair. Saatchi Art. London. Featured at ''100% Design. London Design Festival. Olympia. West Kensington. UK Featured at 'Decorex International'. London Design Festival. Syon Park. UK 'Girls Just Wanna Have Fun'.Group Show, Unit 3 Projects. ASC Studios. London 'Third Order'. Group show, Unit 3 Projects. ASC Studios. London. Gallery Representation After Nyne Contemporary About the postcard artworks Applying new sequences of colour across familiar forms, these pieces are an investigation into feelings of nostalgia and vulnerability.
Sara Dare Velvet Purse VI, 2021 Ink on Watercolour Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Sara Dare is an abstract painter. She primarily works on a large-scale using paper, linen and canvas, combined with a range of mediums informed by finish and viscosity such as ink, oil, emulsion and acrylic. Dare's paintings seek to convey an initial playful interaction with the viewer followed by a sense of unease or tension. Dare is also concerned with the environment surrounding the works and the conversations between them. She consistently works on several pieces as a series and actively encourages a dialogue and visual interaction that connects and holds them together. Sara Dare is based in West Sussex and has sold work to collectors internationally Education Sara Dare graduated in Fine Art Painting at The University of Brighton in 2008. In 2010 she received a Postgraduate Certificate in Education of Art and Design and focused on absorbing these methodologies into her approach as a socially engaged artist and collaborator. She recently studied on the Correspondence Course at alternative art school Turps Education. 2021 London Art Fair, After Nyne Gallery, EDIT online. 2020 'Kite Circus', Group Show, Sidney and Matilda, Sheffield. UK 'Dear Painting', Group show, Nordic Art Agency, Malmo, Sweden. 2019 '2022', Group show, Studio 2, The Ark, Bembridge, Isle of Wight 'Object Meditation', After Nyne Gallery, London. UK 'Putting Ourselves in the Picture', Artist-in-Residence. Fabrica Gallery, Brighton UK 'Black Stuff', Group exhibition, Unit 3 Projects, ASC Studios. London. Solo Show, Rye Creative Centre. Rye, East Sussex. UK Solo Show, Sid Motion Gallery, London. 2018 'C'est De La Peinture'. Bankley Studios & Gallery, Manchester. UK 'Not 30%'. Curated by Kate Bryan, The Other Art Fair. Saatchi Art. London. Featured at ''100% Design. London Design Festival. Olympia. West Kensington. UK Featured at 'Decorex International'. London Design Festival. Syon Park. UK 'Girls Just Wanna Have Fun'.Group Show, Unit 3 Projects. ASC Studios. London 'Third Order'. Group show, Unit 3 Projects. ASC Studios. London. Gallery Representation After Nyne Contemporary About the postcard artworks Applying new sequences of colour across familiar forms, these pieces are an investigation into feelings of nostalgia and vulnerability.
Vanessa Mitter Leda and the Swan (Part one), 2021 Japanese Watercolour, Pencil, Pen and Oil Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Vanessa Mitter is a painter and a performance artist, who lives and works in London. Mitter co-founded the all-female international artist collective, LaLa, with the artist Paige Perkins in 2019. Alice Butler (Frieze Writer's Prize, 2012) writes that 'in Vanessa Mitter's paintings, the personal is treated as a pliant material, a source of affect and investigation, but also of fiction and performance. Collage, paint and pigment find a way on to the canvas in ephemeral expressive gestures.' Mitter's work is held in private collections in Europe and America, including the Helen Rowe Collection, London and the collection of Dexter Dalwood, London. Education BTEC Higher National Diploma: Foundation Art and Design - Kingston University, Surrey BA Honours Fine Art: Painting, Central Saint Martins College, London Postgraduate Diploma and MA in Fine Art, Chelsea College of Art and Design, London Exhibitions/Awards Selected exhibitions include: With Love, Paint Talk, Objects of Desire, ASC Gallery (London), The Lore of the Land, Churchgate Gallery (London), Mother Art Prize, Mimosa House (London), Velvet Ropes, David Risley Gallery (Copenhagen), Velvet Ropes at Athina Art Fair (Athens) through 0-0 Gallery (Los Angeles), Ornamental Neon at ASC Gallery (London), You Are Here, Stockport War Memorial Art Gallery, The Lore of the Land, Churchgate Gallery (Somerset), Frivolous Convulsions, Turf Projects (London), I Am A Beautiful Monster, Arthouse1 Gallery (London), The Painting Game, K Projects (Berlin), de Kooning, de Kooning, de Kooning, David Risley Gallery (Copenhagen). Mitter was a joint winner of the Hackney Wicked Art Prize in 2015. She has been shortlisted for: The Mother Art Prize 2018, The Ruth Borchard Self-Portrait Prize 2017, The Red Mansion Foundation Art Prize 2011 and GAM - Gilbert de Botton Art Prize 2010 and longlisted for: 100 Painters of Tomorrow (Beers Gallery) 2013. Unit G Gallery, London and Procreate Project, London About the postcard artworks Leda and the Swan is a story and subject in art from Greek mythology in which the god Zeus, in the form of a swan, seduces or rapes Leda. In this triptych, I wanted to convey a sense of Leda being both overwhelmed and enveloped by the swan (Zeus), but also for her not to seem completely powerless. The images are layered and complex. There is an ambiguity about the eroticism and about who is doing what. Where do the swan and Leda begin and end? Is this an entirely unpleasurable and violent experience or not? I mean unpleasure in the psychoanalytic sense of inner pain, discomfort, or anxiety, which results from the blocking of an instinctual impulse by the ego. Is Leda completely overcome, or is she an active participant in what is happening?
Vanessa Mitter Leda and the Swan (Part two), 2021 Japanese Watercolour, Pencil, Pen and Oil Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Vanessa Mitter is a painter and a performance artist, who lives and works in London. Mitter co-founded the all-female international artist collective, LaLa, with the artist Paige Perkins in 2019. Alice Butler (Frieze Writer's Prize, 2012) writes that 'in Vanessa Mitter's paintings, the personal is treated as a pliant material, a source of affect and investigation, but also of fiction and performance. Collage, paint and pigment find a way on to the canvas in ephemeral expressive gestures.' Mitter's work is held in private collections in Europe and America, including the Helen Rowe Collection, London and the collection of Dexter Dalwood, London. Education BTEC Higher National Diploma: Foundation Art and Design - Kingston University, Surrey BA Honours Fine Art: Painting, Central Saint Martins College, London Postgraduate Diploma and MA in Fine Art, Chelsea College of Art and Design, London Exhibitions/Awards Selected exhibitions include: With Love, Paint Talk, Objects of Desire, ASC Gallery (London), The Lore of the Land, Churchgate Gallery (London), Mother Art Prize, Mimosa House (London), Velvet Ropes, David Risley Gallery (Copenhagen), Velvet Ropes at Athina Art Fair (Athens) through 0-0 Gallery (Los Angeles), Ornamental Neon at ASC Gallery (London), You Are Here, Stockport War Memorial Art Gallery, The Lore of the Land, Churchgate Gallery (Somerset), Frivolous Convulsions, Turf Projects (London), I Am A Beautiful Monster, Arthouse1 Gallery (London), The Painting Game, K Projects (Berlin), de Kooning, de Kooning, de Kooning, David Risley Gallery (Copenhagen). Mitter was a joint winner of the Hackney Wicked Art Prize in 2015. She has been shortlisted for: The Mother Art Prize 2018, The Ruth Borchard Self-Portrait Prize 2017, The Red Mansion Foundation Art Prize 2011 and GAM - Gilbert de Botton Art Prize 2010 and longlisted for: 100 Painters of Tomorrow (Beers Gallery) 2013. Unit G Gallery, London and Procreate Project, London About the postcard artworks Leda and the Swan is a story and subject in art from Greek mythology in which the god Zeus, in the form of a swan, seduces or rapes Leda. In this triptych, I wanted to convey a sense of Leda being both overwhelmed and enveloped by the swan (Zeus), but also for her not to seem completely powerless. The images are layered and complex. There is an ambiguity about the eroticism and about who is doing what. Where do the swan and Leda begin and end? Is this an entirely unpleasurable and violent experience or not? I mean unpleasure in the psychoanalytic sense of inner pain, discomfort, or anxiety, which results from the blocking of an instinctual impulse by the ego. Is Leda completely overcome, or is she an active participant in what is happening?
Vanessa Mitter Leda and the Swan (Part three), 2021 Japanese Watercolour, Pencil, Pen and Oil Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Vanessa Mitter is a painter and a performance artist, who lives and works in London. Mitter co-founded the all-female international artist collective, LaLa, with the artist Paige Perkins in 2019. Alice Butler (Frieze Writer's Prize, 2012) writes that 'in Vanessa Mitter's paintings, the personal is treated as a pliant material, a source of affect and investigation, but also of fiction and performance. Collage, paint and pigment find a way on to the canvas in ephemeral expressive gestures.' Mitter's work is held in private collections in Europe and America, including the Helen Rowe Collection, London and the collection of Dexter Dalwood, London. Education BTEC Higher National Diploma: Foundation Art and Design - Kingston University, Surrey BA Honours Fine Art: Painting, Central Saint Martins College, London Postgraduate Diploma and MA in Fine Art, Chelsea College of Art and Design, London Exhibitions/Awards Selected exhibitions include: With Love, Paint Talk, Objects of Desire, ASC Gallery (London), The Lore of the Land, Churchgate Gallery (London), Mother Art Prize, Mimosa House (London), Velvet Ropes, David Risley Gallery (Copenhagen), Velvet Ropes at Athina Art Fair (Athens) through 0-0 Gallery (Los Angeles), Ornamental Neon at ASC Gallery (London), You Are Here, Stockport War Memorial Art Gallery, The Lore of the Land, Churchgate Gallery (Somerset), Frivolous Convulsions, Turf Projects (London), I Am A Beautiful Monster, Arthouse1 Gallery (London), The Painting Game, K Projects (Berlin), de Kooning, de Kooning, de Kooning, David Risley Gallery (Copenhagen). Mitter was a joint winner of the Hackney Wicked Art Prize in 2015. She has been shortlisted for: The Mother Art Prize 2018, The Ruth Borchard Self-Portrait Prize 2017, The Red Mansion Foundation Art Prize 2011 and GAM - Gilbert de Botton Art Prize 2010 and longlisted for: 100 Painters of Tomorrow (Beers Gallery) 2013. Unit G Gallery, London and Procreate Project, London About the postcard artworks Leda and the Swan is a story and subject in art from Greek mythology in which the god Zeus, in the form of a swan, seduces or rapes Leda. In this triptych, I wanted to convey a sense of Leda being both overwhelmed and enveloped by the swan (Zeus), but also for her not to seem completely powerless. The images are layered and complex. There is an ambiguity about the eroticism and about who is doing what. Where do the swan and Leda begin and end? Is this an entirely unpleasurable and violent experience or not? I mean unpleasure in the psychoanalytic sense of inner pain, discomfort, or anxiety, which results from the blocking of an instinctual impulse by the ego. Is Leda completely overcome, or is she an active participant in what is happening?
Sue Arrowsmith Temptation I, 2021 Gold Ink and Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Sue Arrowsmith was born in Manchester,1968. She studied at Tameside College of Technology, Ashton-Under-Lyne (Foundation) from 1984-86 and BA Hons Textiles at Goldsmiths College of Art from 1987-1990. She lives and Works in London. Exhibitions/Awards Prizewinner John Moores Liverpool Exhibition 20 -1997, Prizewinner Natwest Art Prize, London - 1998, Artist in Residence, Josef and Anni Albers Foundation, Connecticut, USA - 2010 Solo exhibitions Entwistle Gallery, London (1994), Cold Spring, Entwistle Gallery, London (1997) Galerie Frahm, Copenhagen (1999), Galerie Fahnemann, Berlin (2001), Artist of the Day, Flowers Central, London (2004), Galerie allerArt, Bludenz (2009) Courtyard Gallery, The National Botanic Garden of Wales, Carmarthen (2011), Sue Arrowsmith - Studio Show, October, London (2013), Whisper from The Shadows, Purdy Hicks Gallery, London (2015), Waiting for the Moon, Galerie Andres Thalmann, Zurich (2016), We could dream this night away, Purdy Hicks Gallery, London (2018), Let the wind blow through your heart, Galerie Andres Thalmann, Zurich (2019), Natura Naturans, Luca Tommasi Arte Contemporanea, Milan (2020) Public Collections Fidelity Investments, Boston and London Arts Council Collection, Hayward Gallery, London Goldman Sachs Collection, London Kupferstichkabinett of the National Gallery of Berlin Royal Bank of Scotland Group Art Collection, London San Diego Museum of Contemporary Art, San Diego The Government Art Collection, London About the postcard artworks Light is instrumental to Sue Arrowsmith's paintings. They start with the reflection of light through a camera lens that traps a fleeting splatter of leaves. She excludes all daylight from her studio to allow the image to travel through the cone of light from her projector to the painting surface. Here, working in the dark, she translates the colour figures into graceful marks ; the summation or negation of light. Each mark is a separate, complete gesture, crystallising the forms of coloured light that kiss the panel.
Sue Arrowsmith Temptation II, 2021 Gold Ink and Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Sue Arrowsmith was born in Manchester,1968. She studied at Tameside College of Technology, Ashton-Under-Lyne (Foundation) from 1984-86 and BA Hons Textiles at Goldsmiths College of Art from 1987-1990. She lives and Works in London. Exhibitions/Awards Prizewinner John Moores Liverpool Exhibition 20 -1997, Prizewinner Natwest Art Prize, London - 1998, Artist in Residence, Josef and Anni Albers Foundation, Connecticut, USA - 2010 Solo exhibitions Entwistle Gallery, London (1994), Cold Spring, Entwistle Gallery, London (1997) Galerie Frahm, Copenhagen (1999), Galerie Fahnemann, Berlin (2001), Artist of the Day, Flowers Central, London (2004), Galerie allerArt, Bludenz (2009) Courtyard Gallery, The National Botanic Garden of Wales, Carmarthen (2011), Sue Arrowsmith - Studio Show, October, London (2013), Whisper from The Shadows, Purdy Hicks Gallery, London (2015), Waiting for the Moon, Galerie Andres Thalmann, Zurich (2016), We could dream this night away, Purdy Hicks Gallery, London (2018), Let the wind blow through your heart, Galerie Andres Thalmann, Zurich (2019), Natura Naturans, Luca Tommasi Arte Contemporanea, Milan (2020) Public Collections Fidelity Investments, Boston and London Arts Council Collection, Hayward Gallery, London Goldman Sachs Collection, London Kupferstichkabinett of the National Gallery of Berlin Royal Bank of Scotland Group Art Collection, London San Diego Museum of Contemporary Art, San Diego The Government Art Collection, London About the postcard artworks Light is instrumental to Sue Arrowsmith's paintings. They start with the reflection of light through a camera lens that traps a fleeting splatter of leaves. She excludes all daylight from her studio to allow the image to travel through the cone of light from her projector to the painting surface. Here, working in the dark, she translates the colour figures into graceful marks ; the summation or negation of light. Each mark is a separate, complete gesture, crystallising the forms of coloured light that kiss the panel.
Elise Ansel Libica I, 2021 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Elise Ansel was born and raised in New York City. She currently lives in Portland, Maine. Ansel received a BA in Comparative Literature from Brown University in 1984. While at Brown, she studied art at both Brown and the Rhode Island School of Design. She worked briefly in the film industry before deciding to make painting her first order medium. Exhibitions/Awards Ansel has exhibited widely in the United States and England. Ansel was included in the 2018 Portland Biennial, and featured in an exhibition at the David Winton Bell Gallery, Brown University in 2018. In 2016, the Bowdoin College Museum of Art presented Distant Mirrors, an exhibition of her paintings and drawings. Ansel's work was included in the Summer Exhibition at the Royal Academy in 2015 and 2019. Ansel was a Joan Mitchell Foundation Award Nominee in 2018. Her work is in the permanent collections of the Bowdoin College Museum of Art, the Museum of Contemporary Art Kraków, MOCAK, Poland, the Eli Lilly Foundation and Sopwell House, St. Albans. Gallery Representation Ansel is represented by Cadogan Contemporary in London, Carol Corey Fine Art in Kent, Connecticut and Miles McEnery Gallery in New York City. About the postcard artworks: The artworks I submitted to AOAP spring from details excavated from iconic Old Master paintings. Two are from Michelangelo's Libyan Sibyl which is on the ceiling of the Sistine Chapel in Vatican City, one is from Giovanni Bellini's San Zaccaria Altarpiece, 1505 in Venice and one is cropped from Still Life with Flowers on a Marble Ledge, 1652 life by Willem Van Aelst. I create by translating Old Master paintings into a contemporary pictorial language. Using an idiom of energetic gestural abstraction, I mine art historical imagery for colour and narrative structure. I use abstraction to interrupt representational content in order to excavate and transform meanings and messages embedded in the works from which my paintings spring. I examine the impact of authorial agency and address the myriad subtle ways the gender, identity and belief systems of the artist are reflected in the art. Old Master paintings were, for the most part, created by white men for white men. Abstraction allows me to interrupt this one sided narrative and transform it into sensually capacious non-narrative form of visual communication that embraces multiple points of view. To be clear, my modus operandi uses the past as a springboard for something new, not to destroy the past but to build on it, to reconstitute what's problematic and to celebrate what's beautiful, to radically reinvent historical art through my own perspective, in my own language, for my own time. My collages and paintings are not critiques of the Old Masters but rather a vehicle for shining a light on imbalances existent today. In this, the Old Masters/Mistresses are my powerful allies.
Bahar Sabzevari Sunny Conversations, 2021 Watercolour and Coloured Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "Bahar Sabzevari (b. 1980, Iran) is a visual artist based in New York and works internationally. She has a painting practice and creates self-portraits, figurative and narrative paintings. Her career spans over 16 years and she has worked and studied in Iran, Europe and the US. Sabzevari's work explores the boundaries of human identity: self-identity, freedom, restriction, and sense of place and belonging. In particular, her work looks at transient and hidden forms of identity: the imagination, hopes, fears, dreams, histories and evolution. Sabzevari's process is research and studio-based and involves the bringing together of complex imagery, symbols and narratives, often drawing from the fields of mythology, science, religion and art history."
Elise Ansel Libica II, 2021 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Elise Ansel was born and raised in New York City. She currently lives in Portland, Maine. Ansel received a BA in Comparative Literature from Brown University in 1984. While at Brown, she studied art at both Brown and the Rhode Island School of Design. She worked briefly in the film industry before deciding to make painting her first order medium. Exhibitions/Awards Ansel has exhibited widely in the United States and England. Ansel was included in the 2018 Portland Biennial, and featured in an exhibition at the David Winton Bell Gallery, Brown University in 2018. In 2016, the Bowdoin College Museum of Art presented Distant Mirrors, an exhibition of her paintings and drawings. Ansel's work was included in the Summer Exhibition at the Royal Academy in 2015 and 2019. Ansel was a Joan Mitchell Foundation Award Nominee in 2018. Her work is in the permanent collections of the Bowdoin College Museum of Art, the Museum of Contemporary Art Kraków, MOCAK, Poland, the Eli Lilly Foundation and Sopwell House, St. Albans. Gallery Representation Ansel is represented by Cadogan Contemporary in London, Carol Corey Fine Art in Kent, Connecticut and Miles McEnery Gallery in New York City. About the postcard artworks: The artworks I submitted to AOAP spring from details excavated from iconic Old Master paintings. Two are from Michelangelo's Libyan Sibyl which is on the ceiling of the Sistine Chapel in Vatican City, one is from Giovanni Bellini's San Zaccaria Altarpiece, 1505 in Venice and one is cropped from Still Life with Flowers on a Marble Ledge, 1652 life by Willem Van Aelst. I create by translating Old Master paintings into a contemporary pictorial language. Using an idiom of energetic gestural abstraction, I mine art historical imagery for colour and narrative structure. I use abstraction to interrupt representational content in order to excavate and transform meanings and messages embedded in the works from which my paintings spring. I examine the impact of authorial agency and address the myriad subtle ways the gender, identity and belief systems of the artist are reflected in the art. Old Master paintings were, for the most part, created by white men for white men. Abstraction allows me to interrupt this one sided narrative and transform it into sensually capacious non-narrative form of visual communication that embraces multiple points of view. To be clear, my modus operandi uses the past as a springboard for something new, not to destroy the past but to build on it, to reconstitute what's problematic and to celebrate what's beautiful, to radically reinvent historical art through my own perspective, in my own language, for my own time. My collages and paintings are not critiques of the Old Masters but rather a vehicle for shining a light on imbalances existent today. In this, the Old Masters/Mistresses are my powerful allies.
Elise Ansel Bellini San Zac, 2021 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Elise Ansel was born and raised in New York City. She currently lives in Portland, Maine. Ansel received a BA in Comparative Literature from Brown University in 1984. While at Brown, she studied art at both Brown and the Rhode Island School of Design. She worked briefly in the film industry before deciding to make painting her first order medium. Exhibitions/Awards Ansel has exhibited widely in the United States and England. Ansel was included in the 2018 Portland Biennial, and featured in an exhibition at the David Winton Bell Gallery, Brown University in 2018. In 2016, the Bowdoin College Museum of Art presented Distant Mirrors, an exhibition of her paintings and drawings. Ansel's work was included in the Summer Exhibition at the Royal Academy in 2015 and 2019. Ansel was a Joan Mitchell Foundation Award Nominee in 2018. Her work is in the permanent collections of the Bowdoin College Museum of Art, the Museum of Contemporary Art Kraków, MOCAK, Poland, the Eli Lilly Foundation and Sopwell House, St. Albans. Gallery Representation Ansel is represented by Cadogan Contemporary in London, Carol Corey Fine Art in Kent, Connecticut and Miles McEnery Gallery in New York City. About the postcard artworks: The artworks I submitted to AOAP spring from details excavated from iconic Old Master paintings. Two are from Michelangelo's Libyan Sibyl which is on the ceiling of the Sistine Chapel in Vatican City, one is from Giovanni Bellini's San Zaccaria Altarpiece, 1505 in Venice and one is cropped from Still Life with Flowers on a Marble Ledge, 1652 life by Willem Van Aelst. I create by translating Old Master paintings into a contemporary pictorial language. Using an idiom of energetic gestural abstraction, I mine art historical imagery for colour and narrative structure. I use abstraction to interrupt representational content in order to excavate and transform meanings and messages embedded in the works from which my paintings spring. I examine the impact of authorial agency and address the myriad subtle ways the gender, identity and belief systems of the artist are reflected in the art. Old Master paintings were, for the most part, created by white men for white men. Abstraction allows me to interrupt this one sided narrative and transform it into sensually capacious non-narrative form of visual communication that embraces multiple points of view. To be clear, my modus operandi uses the past as a springboard for something new, not to destroy the past but to build on it, to reconstitute what's problematic and to celebrate what's beautiful, to radically reinvent historical art through my own perspective, in my own language, for my own time. My collages and paintings are not critiques of the Old Masters but rather a vehicle for shining a light on imbalances existent today. In this, the Old Masters/Mistresses are my powerful allies.
Elise Ansel Van Aelst Detail, 2021 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Elise Ansel was born and raised in New York City. She currently lives in Portland, Maine. Ansel received a BA in Comparative Literature from Brown University in 1984. While at Brown, she studied art at both Brown and the Rhode Island School of Design. She worked briefly in the film industry before deciding to make painting her first order medium. Exhibitions/Awards Ansel has exhibited widely in the United States and England. Ansel was included in the 2018 Portland Biennial, and featured in an exhibition at the David Winton Bell Gallery, Brown University in 2018. In 2016, the Bowdoin College Museum of Art presented Distant Mirrors, an exhibition of her paintings and drawings. Ansel's work was included in the Summer Exhibition at the Royal Academy in 2015 and 2019. Ansel was a Joan Mitchell Foundation Award Nominee in 2018. Her work is in the permanent collections of the Bowdoin College Museum of Art, the Museum of Contemporary Art Kraków, MOCAK, Poland, the Eli Lilly Foundation and Sopwell House, St. Albans. Gallery Representation Ansel is represented by Cadogan Contemporary in London, Carol Corey Fine Art in Kent, Connecticut and Miles McEnery Gallery in New York City. About the postcard artworks: The artworks I submitted to AOAP spring from details excavated from iconic Old Master paintings. Two are from Michelangelo's Libyan Sibyl which is on the ceiling of the Sistine Chapel in Vatican City, one is from Giovanni Bellini's San Zaccaria Altarpiece, 1505 in Venice and one is cropped from Still Life with Flowers on a Marble Ledge, 1652 life by Willem Van Aelst. I create by translating Old Master paintings into a contemporary pictorial language. Using an idiom of energetic gestural abstraction, I mine art historical imagery for colour and narrative structure. I use abstraction to interrupt representational content in order to excavate and transform meanings and messages embedded in the works from which my paintings spring. I examine the impact of authorial agency and address the myriad subtle ways the gender, identity and belief systems of the artist are reflected in the art. Old Master paintings were, for the most part, created by white men for white men. Abstraction allows me to interrupt this one sided narrative and transform it into sensually capacious non-narrative form of visual communication that embraces multiple points of view. To be clear, my modus operandi uses the past as a springboard for something new, not to destroy the past but to build on it, to reconstitute what's problematic and to celebrate what's beautiful, to radically reinvent historical art through my own perspective, in my own language, for my own time. My collages and paintings are not critiques of the Old Masters but rather a vehicle for shining a light on imbalances existent today. In this, the Old Masters/Mistresses are my powerful allies.
A collection of pictures and prints including a late 19th century watercolour and bodycolour study of the head a hound, 33 x 25.5cm, a pencil study of a kitten, an Egyptian painting on papyrus of a recumbent dog on a sarcophagus, a coloured print of an oriental woodblock showing an owl by moonlight, a needlework picture of children in a playground, etc, various sizes, all framed (14)
Algernon Talmage (British 1871-1939) - A coloured print of the founding of Australia, 66 x 80cm, together with a signed limited edition print after John Chancellor of a shipping scene off the coast, 53 x 71cm, an oil painting on board of a coastal scene signed Morse, a watercolour of a coastal scene signed B Handcock, inscribed verso West Bay November, an oil painting on board - study of a sailing vessel signed D Nutt, 32 x 43cm approx, all framed (5)
A collection of mainly 19th century pictures and prints relating to animals including a small watercolour study of a squirrel peering from a tree, signed with initials CJS and dated 1830, 10 x 8cm approx, a naïve style oil painting on panel of a black horse, 12.5 x 22cm, a fabric collage picture of a donkey in a landscape, 8 x 12.5cm, a miniature painting of oval form showing a thrush at its nest, signed with initials JBC, dated 1978, 7cm max, etc, all framed (11)
Attributed to George Bryant Campion (British 1796-1870) - Landscape with horse drawn cart, watercolour, bodycolour and pencil on paper, no visible signature but inscribed verso George Campion, The Wren Gallery, 10 x 16cm, together with two further 19th century British school watercolours, one attributed to Henry Martens (British 1828-1854) showing Babbacombe Bay, Devon, 14.5 x 19.5cm approx, and a continental style lake scene, 17.5 x 31cm approx and also together with a mid-19th century school, oil painting on canvas of a lakeland view with figures in the manner of Joseph Horler (British 1809-1887) 19.5 x 39.5cm approx, all framed (4)
An interesting collection of pictures and prints including a contemporary city scape in gouache on card, indistinctly signed, 38 x 57.5 cm approximately, together with an oil painting on board - study of the vessel Glen Usk signed H G Dawe, 30 x 24 cm, a watercolour of fuchsias signed Pat and dated 86, a pastel study of Row Berrow church and a painting on board of a country lane, both signed P Corpe, topographical engraving including Worcester College, St Vincents Rock, etc, various sizes, all framed (17)
Four Chinese fan paintings, Qing dynasty, ink and watercolour on paper laid onto card, painted with landscape scenes with figures, buildings and animals, signed and with red seals, each painting approximately 54cm wide, (4). Condition Report Generally in good condition. Some light staining in places.
A Chinese fan painting, Qing dynasty, watercolour on paper, painting with a man and boy walking in a landscape, signed and with red seals, painting 54cm wide. Condition Report Formed of tow pages with central join at the back. Tears to the right hand side edge. Some discolouration, staining and markings.
Arthur Henry Buckland (1870-?) RBA Watercolour , child / fairy painting ?Elusion ? Signed and dated ?1939? upper right , titled with artist?s label and address verso. 16 x 13 (40.6 x 33 cms) In original frame Address verso reads ?Kerri, 40 Granville Road, Barnet , Herts? £500-600 It is understood that the girl in the painting is a member of Buckland?s own family ( thought to be grand daughter ) who used to think that the ? Elusive? butterflies in the hot house garden were fairies. Fl.1895-1927 Painter of Romantic landscape subjects , genre and portraits; illustrator. Born in Taunton; studied at the Academie Julian in Paris. exhib. 1895-1927 at the R.A. And also at the RI, RBA, ROI and Paris Salon. ? Valley of Flowers, RA 1897 was one of his best known works. ? Mr. Arthur Buckland?s ? Valley of Flowers? isis of the order of romantic landscape; a forest glade , in which rhododendrons, along with many coloured wild flowers are conspicuous, being the background of the subject. ?She placed a crown of gold upon my head which brought forgetfulnessof all things?- a richley robed knight kneels at the feet of a stately woodland nymph, and if a few discordant notes ofcolour are struck, there is no lack of spirit and grace in the can as (AJ) Dictionary of British Art vol IV Victorian Painter by Christopher Wood
A watercolour, AB, thatched cottage, monogrammed and dated 1936, 35 x 27cm, plus frame and glazed, a watercolour, Marion Henshaw, Golden Summer, still life, signed, 34 x 25cm, plus frame and glazed, an oil painting on board, townscape, 39 x 31cm, and an oil painting, on board, Bliss, harbour scene, 34 x 53cm, plus frame and glazed
Maxa Nordau (French, 1897-1991)Vue de Paris signed 'Maxa Nordau' (lower left)oil on canvas65 x 46cm (25 9/16 x 18 1/8in).Footnotes:Maxa Nordau was the daughter of the famous co-founder of the World Zionist Organization, Max Nordau. She studied oil and watercolour painting under Jules Adler and perfected her technique along the artists of the School of Paris. During the First World War, Nordau stayed in Spain. From 1921, she exhibited in various Art Salons such as Salon d'Automne and Salon des Independants, she joined the female group Société des femmes artistes modernes and in 1937, contributed to the decoration of the Palestine Pavilion in the International Exhibition in Paris. During World War II, as other Jewish artists like Zadkine and Chagall, Maxa Nordau took refuge in the USA, where she exhibited her work and taught painting at the City College of New York. In 1946, she returned to Paris where she continued to paint and illustrated various works such as Max Nordau, Les contes pour Maxa, Pierre Créange and The Wind in the hair.For further information on this lot please visit Bonhams.com
Maxa Nordau (French, 1897-1991)Nu de dos signed 'Maxa Nordau' (upper left)oil on canvas65 x 50cm (25 9/16 x 19 11/16in).Painted c. 1930Footnotes:Exhibited Jewish Artists of the School of Paris, Artcurial Vienna - Artcurial Brussels - Artcurial Paris, 2015.Granville, Musée d'Art Moderne Richard Anacréon, 2016.LiteraturePeintres Juifs de l'École de Paris 1905-1939, Éditions Denoël, Paris, 2000, p. 271 (illustrated).Jewish Artists of the school of Paris 1905-1939, Somogy éditions d'Art, Paris 2015, p. 269.Brigitte Richart, catalogue Belles de Nuit,Éditions Musée d'Art Moderne Richard Anacréon, Granville, 2016, p. 78.Maxa Nordau was the daughter of the famous co-founder of the World Zionist Organization, Max Nordau. She studied oil and watercolour painting under Jules Adler and perfected her technique along the artists of the School of Paris. During the First World War, Nordau stayed in Spain. From 1921, she exhibited in various Art Salons such as Salon d'Automne and Salon des Independants, she joined the female group Société des femmes artistes modernes and in 1937, contributed to the decoration of the Palestine Pavilion in the International Exhibition in Paris. During World War II, as other Jewish artists like Zadkine and Chagall, Maxa Nordau took refuge in the USA, where she exhibited her work and taught painting at the City College of New York. In 1946, she returned to Paris where she continued to paint and illustrated various works such as Max Nordau, Les contes pour Maxa, Pierre Créange and The Wind in the hair.For further information on this lot please visit Bonhams.com
Frank Wasley (1848/54-1934) Coastal Watercolour in the Manner of Turner, measurements 24 x 43 cm, frame 38 x 58 cmCondition report: The painting is a watercolour on paper which is load down on card. There is some bowing of the paper- the back is loose in the frame. There are some dark spots of foxing in the background of the painting -please see photographs- and foxing on the back of the card it is laid down on. There is general wear and tear as well as surface losses to the frame.
John Bagnold Burgess (British 1830-1897), Lamballe, watercolour, signed and titled bottom right, measurements 52 x 36.5 cm, frame 58 x 43 cmCondition report: The painting is a watercolour on paper, framed under glazing, not examined external to the frame. The paper appears in good condition with no obvious signs of rips, tears or deterioration to the paper. The paint condition appears good, minimal fading and no obvious evidence of paint loss. There is wear and tear to the frame and the tape at the back has been removed to allow access to the back
Nancy Jane Burton (Scottish 1891-1972), South Asian Courtyard and Houses, watercolour, signed bottom right, measurements 20 x 23 cm, frame 39 x 41 cmCondition report: The painting is a watercolour on paper, framed under glazing, not examined external to the frame. The paper appears in good condition with no obvious signs of rips, tears or holes. There are a couple of sparse spots of foxing in the upper left area- please refer to photographs. There is some ageing of the mount and general wear and tear to the frame.
Gordon Beningfield (British, 1936-1998), Gamecock, signed lower right, Tryon Gallery label verso, titled verso, watercolour, 25.5cm x 23cmCondition report: The painting is a work on paper, framed under glazing. Not examined external to the frame. The paper appears in good condition, no obvious signs of tears, creases or deterioration. The paint condition appears well preserved, no obvious evidence for paint loss or deterioration. The frame has general wear and tear with some minor chips etc, joints appear solid.
ASSORTED PRINTS AND WATERCOLOUR PAINTING to include two monochrome Japanese woodblock prints, aquatint etchings by Derek Jones and Stephen Whittle, signed Annie Williams print, topographical prints of Lichfield Cathedral, signed Geoff Tristram prints, watercolour of a whitewashed house signed Terry, Victorian photograph of a gentleman in ebonised frame, etc
ANTHONY SMITH (CONTEMPORARY), a colourful coastal landscape, signed bottom right, dated 2004, watercolour on paper, framed, size approximately 37cm x 69cm, together with a smaller framed watercolour by the same hand, three framed S.C. Seagrief botanical studies, two framed Thalia Lincoln prints, South American painting on velvet of a native child, zebra print and reproduction map (10)
* CLAIRE HARKESS RSW (SCOTTISH B. 1970 - ),POLAR BEARwatercolour on paper, signed, dated 1998 label verso26cm x 18cmMounted, framed and under glass.Label verso: Gallery 41, EdinburghNote 1: In 1998, Claire worked as Artist in Residence with The Royal Zoological Society of Scotland. While at Edinburgh Zoo she was filmed as part of the BBC "Ex-S" series and a fascinating documentary about her work was broadcast in November of that year. This work is a portrait of a specific animal at Edinburgh Zoo and it's likely that many Edinburgh residents and visitors to the Zoo will recognise this animal..Note 2: Claire Harkess was born in Ayr, Scotland, graduating from Glasgow School of Art in the early 1990s. In recent years her painting has taken her to fragile lands to study and interpret life on the edge. Antarctica, Outback Australia and St Kilda are all places where, in such extreme environments, survival is difficult and the balance of life is delicate. Harkess has also worked on the Galápagos Islands, made famous by Charles Darwin’s ‘The Origin of the Species’. This isolated volcanic outpost remained relatively untouched by man, evolving to become one of the World’s unique ecosystems. The balance present in nature is clearly communicated through Claire's paintings. Painting in watercolour or gouache offers a unique directness; the essential qualities of light and energy present in the natural world are the very essence of the medium itself. The delicacy of her palette and oriental economy of her mark-making creates a subtle tension representing a world that is ‘holding still’, giving a sense of freedom, spirit, time and place. Claire's work is exhibited at The Scottish Gallery, where her most recent highly successful solo show was in July 2020, and at other prestigious galleries around the UK.
* JEAN B MARTIN RSW (SCOTTISH b 1948), PRIMROSES watercolour on paper, signed 19cm x 27cm Mounted, framed and under glass. Note: Jean B Martin was born in Glasgow in 1947 and trained at the Glasgow School of Art. She was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW) in 2002. Luminosity and depth are the most immediately striking features of Martin's work, achieved by building up layers of glazing and collage, lending the effect of an inner glow to her painting. Her work comprises a diversity of subject matter, from vibrant floral-based still lives to sublime church interiors, and landscapes from golden-hued Venice to the blustery East Coast of Scotland, involving the viewer through evoking the distinct atmosphere of each subject. Jean Martin has won numerous awards and is an important Scottish painter of her generation. Her work is held in many private and corporate collections in the UK, Hong Kong, Singapore, Australia, Canada and America.
* WILLIAM LITTLEJOHN RSA RSW RGI (SCOTTISH 1929 - 2006), SPOTTED FISH watercolour on paper, signed and dated, further titled verso 50cm x 78cm Mounted, framed and under glass Note: William Littlejohn was born in Arbroath, Scotland in 1929 and began his artistic training at the Gray’s School of Art in Aberdeen from 1946-50. Although he explored different approaches to painting, Littlejohn favoured watercolours and collage-based media, often incorporating images of his native Angus and Aberdeenshire into his work. He held his first solo exhibition in 1963 but had already been exhibiting at the Royal Scottish Academy since 1951. He was elected member of the RSA in 1973, and often exhibited with the Royal Society of Painters in Watercolour. Littlejohn taught at his former high school in Arbroath and subsequently at Gray’s School of Art, later becoming Head of Fine Art until his retirement in 1991. He continued to paint late into life and began to experiment with silver and gold leaf in his later works. In 2006, Littlejohn gifted the contents of his studio, including 300 watercolours, oils, drawings, and studio objects, to the Royal Scottish Academy. That same year, the RSA held an exhibition in his honour. His work is held in important collections throughout Britain, including the private collections of HM The Queen and the Duke of Edinburgh.
* MARYSIA DONALDSON (1930 - 2018), GIRL AND MIRROR watercolour on paper, signed 20cm x 20cm Mounted, framed and under glass Note: Marysia Donaldson was born in Warsaw and brought up in Scotland where she was educated. She studied at the renowned Glasgow School of Art, which counted amongst its past students many illustrious painters. Marysia was taught there by her future husband, David Donaldson, the Queen’s Painter and Limner in Scotland, and by Hugh Crawford RSA. On leaving Art School she took up sculpture, but in time concentrated on painting. She has had numerous one-man exhibitions, both in the UK and abroad and has exhibited in many group shows including the Fine Arts Society, the Scottish Gallery, Fosse Gallery and the Everard Read Gallery, Johannesburg. She was a regular exhibitor at the Royal Scottish Academy, Edinburgh, The Royal Glasgow Institute and The Royal Academy, London as well as at the Royal Society of Portrait Painters. She is represented in the collection of HRH The Duke of Edinburgh and in collections throughout Scotland, England, France, South Africa, Canada and the USA as well as in numerous corporate collections, including Hambros Bank, The MacFarlane Group, John Capel and Freshfields.
Loading...-
13246 item(s)/page