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A framed and mounted Watercolour titled "The Old Bridge" along with a framed and mounted Pastel painting "Welsh Waterfall", both signed by the artist Gillian Jones.

A Collection of Prints & Paintings; Castle Ruins Scene Watercolour signed R Hichens, Oriental house scene, Church scene oil painting & others

A Collection of two Watercolors; Thatch roof painting signed W. Dixon Darnton dated 1918 & Watercolour Castle Straiker Signed initials J.G.F

Late 20th century school, "Donkey" with figure, watercolour painting, indistinctly signed, dated (19)81, 53cm x 35cm, gilt framed, mounted and glazed

Rupert Cordeux, "Venice" watercolour painting, information to the reverse, 42cm x 27cm, gilt framed, mounted and glazed 

R&F Mo An apparition, 2024 Watercolour and gouache on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Narrative is central to R&F Mo's cross-disciplinary practice (drawing, painting, stitch, and performance), connecting the seen, the sensed, and the dreamed, in colour, mark, thread and motion. Mo employs an improvisational approach, finding the way in the moment of making, keeping the work alive, and sometimes vocally sound scatting in response to the work, the action, and the material of place. Education 2020-2021 Turps Offsite 2019-2020 Turps Correspondence Course 2006-11 PhD (by practice) Camberwell (U.A.L.) 2002-04 MFA Fine Art Central St. Martin's (U.A.L.) 1981-84 MA Illustration, Royal College of Art London 1978-81 Dip A.D Graphic Arts. City and Guilds of London Art School Gallery Representation Oliver Projects London Statement about AOAP Submitted Artwork Sprinkle, Youth talking with the sun, An appparition, and the listener, were all made through an improvisatory method- beginning with blobs of paint blotted from another surface, these prompted me to recognise figurative shapes in the marks and develop small figurative incidents - an event happening - usually between two figures -i'm interested in relationships and how we behave. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Louise Dougherty Woods between the worlds, 2024 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Louise Dougherty is a contemporary landscape artist living and working in Norfolk, England. Discovering a deeper connection absorbs her artistic practice. She walks and records her surroundings to explore the metaphor between landscapes and life experiences. Recording the conflicting differences between being absorbed with the delicacy and power of the female experience contrasted or linked to the rhythms of the skies and landscape. Her work continually investigates how she connects to the landscape, whether through memory, physicality, or spirituality. Education 2001-2002 Post Graduate Certificate in Education (PGCE), Cambridge University, England 1998-2001 BA (Hons) Fine Art Painting, Winchester School of Art, Winchester, England 1997-1998 Art Foundation, Winchester School of Art, Winchester, England Solo Exhibitions 2024 Quiet Moments, Suffolk Wildlife Trust, Lowestoft, England 2023 Restore, No 36 The Art Workshop Gallery, Gorleston on Sea, England 2015 Quietly Discovered, Anteros Arts Foundation, Norwich, England Group Exhibitions 2025 Wales Contemporary, The Waterfront Gallery, Milford Haven, Wales Wales Contemporary, The Garrison Chapel, London, England 2024 Women in Art Prize Final, The Roundhouse, London, England Mixed Autumn Exhibition, Geedon Gallery, Fingringhoe, England Creative Odyssey, Mandells Gallery, Norwich, England Summer Open, The Bank Gallery, Eye, England Unconsumed, The Shoe Factory, Norwich, England Threads, Gallery 42, Eastbourne, England 2023 Society of Women Artists, Mall Galleries, London, England 2022 Summer by the Sea, No 36 The Art Workshop, Gorleston, England Flora and Fauna, The Yare Gallery, Great Yarmouth, England Between River and Reed, The Assembly House, Norwich, England Between River and Reed, Water Mills and Marshes, Skippings Gallery, Great Yarmouth, England 2021 Norfolk Open Studio Preview Exhibition, The Forum, Norwich, England Summer by the Sea, No 36 The Art Workshop, Gorleston, England Summer Exhibition, The Yare Gallery, Great Yarmouth, England Country and Coast, No 36 The Art Workshop, Gorleston, England Statement about AOAP Submitted Artwork Wood Between the Worlds is a discovered landscape after heavy rain. Reflection, new light, growth, and quiet calm. The haunting quality of the woodland immediately evoked CS Lewis's The Magician's Nephew and the wood between our world and others. I wanted to explore the ideas of possibility, new beginnings, and hope. I used watercolour to capture the light and the subtlety of the textures. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Sarah Pickstone Damascus Rose 25, 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Sarah Pickstone is a painter who lives and works in London. Her work looks at structures of art history and literature and draws on motifs from historical sources. The work is however predominantly concerned with process and the material and time-based nature of paint. Education Royal Academy Arts London postgraduate University of Newcastle Upon Tyne BA undergraduate Solo Exhibitions 2023 Billboard 23 Kingsgate Gallery, London, UK 2018 - 19 An Allegory of Painting Royal Academy Arts, London, UK 2017 Other Stories Southwark Park Galleries, London, UK 2016 The Rehearsal Mercer Gallery, Harrogate Museum, UK 2015 The Writers Series New Art Centre, Wilts, UK Group Exhibitions 2025 A Plan for Living Thameside Gallery, London, UK Renaissance of Being, curated by Bengu Gun, London, UK 2024 Cubitt Invites Cubitt, London, UK 2023 Cubitt 30 Victoria Miro Gallery, London, UK 2022 The Return Kingsgate Gallery, London, UK 2021 Fully Awake Holden Gallery, Manchester School of Art, UK Knocking it Out Of The Park Gallery 46, London, UK Awards 2012 John Moores Painting Prize First Prize 2004 John Moores painting Prize Runner up 1991-1992 Rome Scholarship in Painting Public Collections Royal Academy Arts, London, UK Societe Generale Collection, London, UK Mercer Gallery, Yorkshire Museums Collection, UK Walker Art Gallery, National Museums of Liverpool, UK The Saatchi Collection, UK British School at Rome, Italy Statement about AOAP Submitted Artwork Damascus Rose 25 is a new painting based on a large work made in 2017. The original painting was made thinking about the Rose as symbol of English history. The flower - which I love - in fact migrated from the middle east, Syria and the Himalayas. The large hand is loosely based on a drawing - bottom left corner - from Guernica. War, beauty, destruction. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Ariane Hughes Figure of Eight, 2024 Oil on primed watercolour paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ariane Hughes (b.1997, London) is a painter known for her meticulous approach to texture and surface. Her work is characterised by smooth, polished finishes and the careful rendering of organic and figurative forms, including body parts, which evoke a striking illusion of tactility. Driven by a quest for perfection, her process is both exploratory and introspective, capturing the fragility and fragmented nature of human experience while challenging conventional perspectives of observation and interpretation. Through her refined technique, Hughes creates a tension between the ideal and the imperfect, seamlessly merging unsettling elements with dark humour to produce paradoxically beautiful compositions. In addition to her solo and group presentations, Hughes has curated exhibitions such as (It's My Party) I Can Cry If I Want To, Guts Gallery, London (2023), and Damned If I Do, Gallery 46, London (2022). Education BA in painting, Camberwell University, London, UK (graduated 2019) Solo Exhibitions 2024 / 04 H0rnyCatholicG1rl, Edge Art Space (Turin) 2023 / 07 Don't Cry Because It Happened, Smile Because It's Over, Steve Turner (Los Angeles) 2022 / 07 Better Luck Next Time, GNYP Gallery (Berlin) Group Exhibitions Recent group exhibitions include: Antigone Revisited, Hypha Studios, London (2024) Horripilation, The Hole, New York (2024) Surrealism And Witchcraft, LAMB Gallery, London (2023). Public Collections Studio Berkheim (Stuttgart, Germany) Statement about AOAP Submitted Artwork The works created for Art on a Postcard, 'Gently Does It' and 'Figure of Eight', represent an evolution in my practice, building on the foundations of earlier themes while introducing fresh perspectives. This new direction refines and deepens my focus on organic textures, floral forms, and fragmented body parts, presenting them with greater intimacy and detail. These specific works capture close-ups of my fingers interacting with rose petals. Visually, they highlight a shift towards decluttered backgrounds and close-ups, allowing the textures and forms to take centre stage. The works prioritise the refinement of the handling of paint and surface finish, intertwining organic textures with figurative forms. This creates a balance of delicacy and subtle sensuality, with an undercurrent of mystery and the evocative, reflecting the fragmented nature of human experience. The palette also reflects this evolution, blending muted yet sumptuous tones that evoke a sense of veiled eroticism. These choices build upon my practice while opening new creative possibilities. Creating these works has inspired me to explore working on paper, a shift that promises further experimentation and growth while continuing to honour the core of my artistic vision. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Ariane Hughes Gently Does It, 2024 Oil on primed watercolour paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ariane Hughes (b.1997, London) is a painter known for her meticulous approach to texture and surface. Her work is characterised by smooth, polished finishes and the careful rendering of organic and figurative forms, including body parts, which evoke a striking illusion of tactility. Driven by a quest for perfection, her process is both exploratory and introspective, capturing the fragility and fragmented nature of human experience while challenging conventional perspectives of observation and interpretation. Through her refined technique, Hughes creates a tension between the ideal and the imperfect, seamlessly merging unsettling elements with dark humour to produce paradoxically beautiful compositions. In addition to her solo and group presentations, Hughes has curated exhibitions such as (It's My Party) I Can Cry If I Want To, Guts Gallery, London (2023), and Damned If I Do, Gallery 46, London (2022). Education BA in painting, Camberwell University, London, UK (graduated 2019) Solo Exhibitions 2024 / 04 H0rnyCatholicG1rl, Edge Art Space (Turin) 2023 / 07 Don't Cry Because It Happened, Smile Because It's Over, Steve Turner (Los Angeles) 2022 / 07 Better Luck Next Time, GNYP Gallery (Berlin) Group Exhibitions Recent group exhibitions include: Antigone Revisited, Hypha Studios, London (2024) Horripilation, The Hole, New York (2024) Surrealism And Witchcraft, LAMB Gallery, London (2023). Public Collections Studio Berkheim (Stuttgart, Germany) Statement about AOAP Submitted Artwork The works created for Art on a Postcard, 'Gently Does It' and 'Figure of Eight', represent an evolution in my practice, building on the foundations of earlier themes while introducing fresh perspectives. This new direction refines and deepens my focus on organic textures, floral forms, and fragmented body parts, presenting them with greater intimacy and detail. These specific works capture close-ups of my fingers interacting with rose petals. Visually, they highlight a shift towards decluttered backgrounds and close-ups, allowing the textures and forms to take centre stage. The works prioritise the refinement of the handling of paint and surface finish, intertwining organic textures with figurative forms. This creates a balance of delicacy and subtle sensuality, with an undercurrent of mystery and the evocative, reflecting the fragmented nature of human experience. The palette also reflects this evolution, blending muted yet sumptuous tones that evoke a sense of veiled eroticism. These choices build upon my practice while opening new creative possibilities. Creating these works has inspired me to explore working on paper, a shift that promises further experimentation and growth while continuing to honour the core of my artistic vision. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Sadie Tierney Selene (Golden), 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Sadie Tierney studied at the Royal College of Art, London and Newcastle University.   Education MA Fine Art Printmaking, RCA BA(Hons) Fine Art, Newcastle University Solo Exhibitions 2021 The Mountains are Calling, Rabley Gallery   2019 Round Tower, Portsmouth   2017 From Here to There, Eton College The Night, The Light, and the Half Light, Rabley Gallery   Group Exhibitions 2024 Artist Fundraiser for MSF, 14 Wharf Road London Summer Exhibition and Open Studios, Binnel Studios Woolwich Contemporary Print Fair, Open Call and Rabley Gallery Messums Emerging Landscape Painting Today, Online   2023 RWA 170 Annual Open Exhibition Summer Exhibition and Open Studios, Binnel Studios Woolwich Contemporary Print Fair Royal Academy Summer Exhibition Summer Exhibition, Rabley Gallery, Wiltshire   2022 RA Summer Exhibition London Original Print Fair Woolwich Contemporary Print Fair, Boodle Hatfield Prizewinner, Solo Presentation RWA Bristol Annual Open Exhibition IFPDA Print Fair, New York Public Collections Portsmouth Museum & Art Gallery National Museum, Gdańsk The Bronx Museum of the Arts Otter Collection Swindon Museum and Art Gallery The Royal West of England Academy Clifford Chance The Royal Navy Eton College RCA Cunard Pallant House Awards 2020, 2006, 2005 Arts Council England   2020 AN Bursary, Boodle Hatfield Prize   2019 Printfest Printmaker of the Year Statement About AOAP Submitted Artwork Working in a tradition of an English landscape painter and printmaker, Tierney's work explores objects and places where form is linked to emotion and metaphor. The expressive images have a contemporary edge marked by energetic use of colour and line. They spring from sketches and drawings made en plein air and are developed using painting and printmaking back at her studio on the south coast of the Isle of Wight where the moon reflected in the English Channel provides inspiration. In ancient Greek mythology and religion, Selene is the goddess and personification of the Moon. She was reputed to drive her horse drawn chariot across the night sky, as her brother Helios the day. The moon's long association with female power, and links with the female cycle led these artworks to be selected specially for International Women's Day.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Josie Deighton By Candlelight IV, 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Josie Deighton depicts figures as if transparent, pencil, brush or mouse weaving and darting around, inside out. Her works capture particular states of mind, how it feels, rather than how it looks. Deighton has been awarded several scholarships and prizes; her work is in held in notable collections and she exhibits widely within the UK and abroad. Deighton is a freelance artist and tutor in London and online. She has been facilitating life / live drawing since 2011. She is involved in and open to collectives, commissions and collaborations. Her work is held in notable and private collections, contact Deighton to arrange purchase of original art works or prints.   Education 2014-15 Postgraduate Diploma, The Royal Drawing School, London, UK 2011-2013 Bachelor of Fine Arts, Birmingham Institute of Art and Design, Birmingham, UK 2012 Erasmus Scholarship, Universitatea Arta si Design, Cluj-Napoca, Romania 2009-2010 Foundation Diploma Fine Art, Sussex Coast College, Hastings, UK   Solo Exhibitions 2023 Drawing Inside Out, The Crypt Gallery, London, UK   Group Exhibitions 2024 Riverside Artists Group, Polish Social and Cultural Association, London UK, Brighton Fringe Flicks, Lewes, UK The Nave, Kruja Castle, Durres, Albania Figuratively Speaking, ArtSect Gallery, London, UK Creators Studio Concepts, CMDMSTUDIO ACAVA, London, UK Passagi Atina, Aliso Beatrice, Atina, Italy We Like 'Em Short Film Festival, Oregon, United States Drawing Humans, XYZ Gallery, London, UK 2023 Borders, Polish Social and Cultural Association, London, UK Creators Studio Concepts, CMDMSTUDIO ACAVA, London, UK 2022 Many Rivers to Cross, Riverside Studios, London, UK Creators Studio Concepts, CMDMSTUDIO ACAVA, london UK Postcards from the Rivers Edge, Robert Phillips Gallery, Walton-on-Thames, UK It's a pattern, Art Car Boot Fair, online The Electic Art Car Boot Fair, online   Awards 2015 Catherine Yarrow grant 2013 Pip Seymour Painting Prize Statement about AOAP Submitted Artwork The 'By Candlelight' series is a continuation of collaborating with Emily Metalskin, friend, muse and artist. Created by building layers of depth with saturated watercolour, viscous black sumi ink and glazes. Dark and sensual, Emily directs her fearless confident gaze out at us even as she contorts her body into the limited composition. Challenging the semi-transparency of womanhood, fitting herself into the frame yet alluding to outside of it.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Elizabeth Cope Owl, Lion, and Sundial from Conservatory, 2024 Watercolour and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Irish Artist Elizabeth Cope was born in 1952 in Co. Kildare. She currently lives and works in Co. Kilkenny. Cope has exhibited in galleries and museums all over the world for the past 40 years and is found in many important public and private collections.   "I paint through the chaos of everyday life, if I were to wait for a quiet moment I would never paint. I believe that painting should also be like dancing and that the real 'work of art' is not so much the canvas when the paint is dry, but rather the physical rhythm of the process of painting it."   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Eva Merendes Port na' Bo, 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Eva Merendes is a Greek, London-based contemporary artist and art educator whose work spans painting, drawing, and installations. She works in a variety of mediums with a sweet spot for watercolours and their expressive qualities. Eva creates works on paper and wood panels, drawing inspiration from the humour and absurdity of everyday life. Her practice includes series of works exploring observations, landscapes, and a deep connection to nature, reflecting on the interplay between human experiences and the natural world. Influenced by existentialist and stoic philosophies, Eva's art employs symbolic elements to examine resilience, authenticity, and the paradoxes of existence, inviting viewers to embrace life's complexities with curiosity and humour. Education 2022-2024 MFA in Fine Art, City & Guilds of London Art School, London, UK 2016-2018 MA in Art Psychotherapy, University of Roehampton, London, UK 2009-2015 BSc in Psychology, Aristotle University of Thessaloniki, Thessaloniki, Greece Group Exhibitions 2024 Southwark Park Galleries | Annual Open 2024, London, UK Candid Arts Trust Graduate Show, London, UK MA Show at City & Guilds of London Art School, London, UK Royal Scottish Academy 198th Annual Exhibition, London, UK Chelsea Art Society 75th Annual Summer Show at Chelsea Old Town Hall The Entranced Essence at RuptureXibit Gallery, London, UK Interim Show at City & Guilds of London Art School, London, UK Invisible Visible: A celebration of LGBTQ+ bodies & Identities at Hartslane Gallery, London, UK 2023 Interim Show at City & Guilds of London Art School, London, UK 2022 London Design Festival, London, UK The Royal Exchange X The Crossover Project, London, UK Erotic Art London X Oxo Tower, London, UK Royal Institute of Painters in Watercolours X Mall Galleries, London, UK 2021 'Home Takeover' Campaign for Bleur Art, across UK 2020 'Insert Feeling Here' for Bleur Art, London, UK Forces at Art Number 23, London, UK Awards 2024 The Tony Carter Award, City & Guilds of London Art School Gallery Representation Bleur Gallery, London, UK Statement about AOAP Submitted Artwork Golden Hour, Where to Next, Port Na Bo, and Mourne Mountains are reflections on my travels along the Northern Irish coastlines and frosty, sunlit landscapes. These works explore my connection to nature, capturing the fleeting beauty of changing environments and the sense of wonder and smallness they evoke in me. Using watercolours, I created translucent layers and fluid marks to reflect the delicate interplay of light and atmosphere. These pieces serve as both observations and metaphors, inviting reflection on the resilience and poetry of the natural world. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Eva Merendes Where to next?, 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Eva Merendes is a Greek, London-based contemporary artist and art educator whose work spans painting, drawing, and installations. She works in a variety of mediums with a sweet spot for watercolours and their expressive qualities. Eva creates works on paper and wood panels, drawing inspiration from the humour and absurdity of everyday life. Her practice includes series of works exploring observations, landscapes, and a deep connection to nature, reflecting on the interplay between human experiences and the natural world. Influenced by existentialist and stoic philosophies, Eva's art employs symbolic elements to examine resilience, authenticity, and the paradoxes of existence, inviting viewers to embrace life's complexities with curiosity and humour. Education 2022-2024 MFA in Fine Art, City & Guilds of London Art School, London, UK 2016-2018 MA in Art Psychotherapy, University of Roehampton, London, UK 2009-2015 BSc in Psychology, Aristotle University of Thessaloniki, Thessaloniki, Greece Group Exhibitions 2024 Southwark Park Galleries | Annual Open 2024, London, UK Candid Arts Trust Graduate Show, London, UK MA Show at City & Guilds of London Art School, London, UK Royal Scottish Academy 198th Annual Exhibition, London, UK Chelsea Art Society 75th Annual Summer Show at Chelsea Old Town Hall The Entranced Essence at RuptureXibit Gallery, London, UK Interim Show at City & Guilds of London Art School, London, UK Invisible Visible: A celebration of LGBTQ+ bodies & Identities at Hartslane Gallery, London, UK 2023 Interim Show at City & Guilds of London Art School, London, UK 2022 London Design Festival, London, UK The Royal Exchange X The Crossover Project, London, UK Erotic Art London X Oxo Tower, London, UK Royal Institute of Painters in Watercolours X Mall Galleries, London, UK 2021 'Home Takeover' Campaign for Bleur Art, across UK 2020 'Insert Feeling Here' for Bleur Art, London, UK Forces at Art Number 23, London, UK Awards 2024 The Tony Carter Award, City & Guilds of London Art School Gallery Representation Bleur Gallery, London, UK Statement about AOAP Submitted Artwork Golden Hour, Where to Next, Port Na Bo, and Mourne Mountains are reflections on my travels along the Northern Irish coastlines and frosty, sunlit landscapes. These works explore my connection to nature, capturing the fleeting beauty of changing environments and the sense of wonder and smallness they evoke in me. Using watercolours, I created translucent layers and fluid marks to reflect the delicate interplay of light and atmosphere. These pieces serve as both observations and metaphors, inviting reflection on the resilience and poetry of the natural world. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Elizabeth Cope Seagull, 2024 Watercolour and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Irish Artist Elizabeth Cope was born in 1952 in Co. Kildare. She currently lives and works in Co. Kilkenny. Cope has exhibited in galleries and museums all over the world for the past 40 years and is found in many important public and private collections.   "I paint through the chaos of everyday life, if I were to wait for a quiet moment I would never paint. I believe that painting should also be like dancing and that the real 'work of art' is not so much the canvas when the paint is dry, but rather the physical rhythm of the process of painting it."   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Kate Kirk Blue Skies, 2025 Monoprint on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Kate Kirk is a London-based artist and teacher, originally from North Yorkshire. Often drawing from the landscape, her work encompasses printmaking, painting, illustration and ceramics. Education 2014-2015 The Drawing Year, Royal Drawing School 2012-2013 MA in History of Art, University of York 2006-2009 BA(Hons) in Fine Art, Aberystwyth University Group Exhibitions 2021 Royal Drawing School Alumni Exhibition, Windsor Castle   2020 Online exhibition, Royal Drawing School 2019 Elements, Bils & Rye Shades of Clay, Kunsthuis Gallery Winter Exhibition, The Old Lockup 2018 Draw, Mandell's Gallery Home, The Kiln Rooms 2017 Royal Society of British Artists, Mall Galleries Royal Watercolour Society, Bankside Gallery Royal Drawing School Alumni Exhibition, Buckingham Palace Awards 2017 Michael Harding Award, Royal Society of British Artists Statement about AOAP Submitted Artwork These three landscapes are painted monoprints, representing landscapes drawn from memory and imagination.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Kate Kirk Birches 1, 2025 Monoprint on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Kate Kirk is a London-based artist and teacher, originally from North Yorkshire. Often drawing from the landscape, her work encompasses printmaking, painting, illustration and ceramics. Education 2014-2015 The Drawing Year, Royal Drawing School 2012-2013 MA in History of Art, University of York 2006-2009 BA(Hons) in Fine Art, Aberystwyth University Group Exhibitions 2021 Royal Drawing School Alumni Exhibition, Windsor Castle   2020 Online exhibition, Royal Drawing School 2019 Elements, Bils & Rye Shades of Clay, Kunsthuis Gallery Winter Exhibition, The Old Lockup 2018 Draw, Mandell's Gallery Home, The Kiln Rooms 2017 Royal Society of British Artists, Mall Galleries Royal Watercolour Society, Bankside Gallery Royal Drawing School Alumni Exhibition, Buckingham Palace Awards 2017 Michael Harding Award, Royal Society of British Artists Statement about AOAP Submitted Artwork These three landscapes are painted monoprints, representing landscapes drawn from memory and imagination.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Ellie MacGarry Pair, 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ellie MacGarry makes paintings which consider connection, distance, gesture and touch. Using repeated motifs, most notably the hand, her work explores the way we communicate with our bodies as much as we communicate with words. While paint will always fix an image in a moment, Ellie is particularly drawn to transitory moments - a window letting the light in in the morning, a shirt half open, two hands on the cusp of meeting. Education 2016-2018 MFA Painting, Slade School of Fine Art, London UK 2010-2014 BA Fine Art, University of Leeds, Leeds, UK Solo Exhibitions 2024 Echo, Cedric Bardawil, London, UK 2021 Disappearing Act, Steve Turner, LA, USA Your Hand is a Warm Stone, Steve Turner, LA, USA, 2021 (online) 2019 Come Undone, Daniel Benjamin Gallery, London, UK, 2019 Group Exhibitions 2025 XXS, County Gallery, Palm Beach, Florida 2024 Drawing Biennial, Drawing Room, London, UK Borrowed Drawings, Cubitt invites, London, UK Artist Fundraiser for MSF, Wharf Road, London, UK 2023 Full House, Canopy Collections, London, UK, 2023 Cure3, Bonhams, London, 2023 2022 Stage Effects, Kate MacGarry, London, UK Paper and Clay, Canopy Collections at Cromwell Place, London, UK CUBITT 30, Victoria Miro, London, UK All The Lives We Ever Lived, Canopy Collections at Cromwell Place, London, UK Erotiques, Nullepart, Estarac, France 2021 Until the Walls Became the World All Around, Canopy Collections at Van Gogh House, London, UK Chrysalis, Hyde Park Art Club, Leeds, UK 2020 Untitled (But Loved), Bosse and Baum, London, UK You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Lesley Banks In Camogli, 2025 Acrylic and watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lesley Banks is a contemporary artist. Her work is informed by a skill-based classical training in observational painting and drawing, which is evident in her figurative interiors and more recent canal and urban landscape paintings. She works predominantly with oil on canvas and more recently watercolour and acrylic on paper.   Education 1980-1984 Glasgow School of Art BA (Hons) Fine Art Solo Exhibitions 2024 Studio 261, Glasgow 2020 Summerlee Museum of Scottish Industrial Life, Coatbridge 2019 Lillie Art Gallery and Museum, Glasgow 2018 Eden Court, Inverness 2017 The Park Gallery, Falkirk Group Exhibitions 2024 Annual Open, Bath Society of Artists 198th Annual Exhibition, Royal Scottish Academy London Art Fair 2023 Objects of Desire, Calendar House, Falkirk ING Discerning Eye Jackson's Art Prize, longlisted SWA Society of Women Artists, Mall Galleries, London Scottish Landscape Awards, longlisted 2022 Scottish Portrait Awards, Edinburgh Inspired, Fidra Fine Art, Gullane 2021 Art in Mind, Glasgow Print Studio 2020 21st Century Women, The Backdoor Gallery, Clydebank Awards 2024 The Knox Award, PAI Annual Exhibition 2017 Paisley Drawing Competition, Walker Laird Award 2015 Open Project Funding, Creative Scotland Gallery Representation Compass Gallery, Glasgow, Scotland Studio 261, Glasgow, Scotland Roger Bilcliffe Fine Art, Glasgow Public Collections Kelvingrove Art Gallery and Museum, Glasgow, Scotland Perth Art Gallery and Museum, Perth, Scotland Lillie Art Gallery and Museum, Glasgow, Scotland Stirling Smith Museum and Art Gallery, Stirling, Scotland Scottish Canals University of Strathclyde, Scotland Falkirk Council Collection, Scotland East Dunbartonshire Council, Scotland Leicester Schools Collection, England Statement about AOAP Submitted Artwork Two watercolour/acrylic paintings exploring "after dark" themes in the Cinque Terre in Italy. I am working on a series of nocturne paintings, which necessitates muted tones and hazy light effects. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Josie Deighton By Candlelight I, 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Josie Deighton depicts figures as if transparent, pencil, brush or mouse weaving and darting around, inside out. Her works capture particular states of mind, how it feels, rather than how it looks. Deighton has been awarded several scholarships and prizes; her work is in held in notable collections and she exhibits widely within the UK and abroad. Deighton is a freelance artist and tutor in London and online. She has been facilitating life / live drawing since 2011. She is involved in and open to collectives, commissions and collaborations. Her work is held in notable and private collections, contact Deighton to arrange purchase of original art works or prints.   Education 2014-15 Postgraduate Diploma, The Royal Drawing School, London, UK 2011-2013 Bachelor of Fine Arts, Birmingham Institute of Art and Design, Birmingham, UK 2012 Erasmus Scholarship, Universitatea Arta si Design, Cluj-Napoca, Romania 2009-2010 Foundation Diploma Fine Art, Sussex Coast College, Hastings, UK   Solo Exhibitions 2023 Drawing Inside Out, The Crypt Gallery, London, UK   Group Exhibitions 2024 Riverside Artists Group, Polish Social and Cultural Association, London UK, Brighton Fringe Flicks, Lewes, UK The Nave, Kruja Castle, Durres, Albania Figuratively Speaking, ArtSect Gallery, London, UK Creators Studio Concepts, CMDMSTUDIO ACAVA, London, UK Passagi Atina, Aliso Beatrice, Atina, Italy We Like 'Em Short Film Festival, Oregon, United States Drawing Humans, XYZ Gallery, London, UK 2023 Borders, Polish Social and Cultural Association, London, UK Creators Studio Concepts, CMDMSTUDIO ACAVA, London, UK 2022 Many Rivers to Cross, Riverside Studios, London, UK Creators Studio Concepts, CMDMSTUDIO ACAVA, london UK Postcards from the Rivers Edge, Robert Phillips Gallery, Walton-on-Thames, UK It's a pattern, Art Car Boot Fair, online The Electic Art Car Boot Fair, online   Awards 2015 Catherine Yarrow grant 2013 Pip Seymour Painting Prize Statement about AOAP Submitted Artwork The 'By Candlelight' series is a continuation of collaborating with Emily Metalskin, friend, muse and artist. Created by building layers of depth with saturated watercolour, viscous black sumi ink and glazes. Dark and sensual, Emily directs her fearless confident gaze out at us even as she contorts her body into the limited composition. Challenging the semi-transparency of womanhood, fitting herself into the frame yet alluding to outside of it.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Melissa Kime Harvest Folk, 2025 Watercolour and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Melissa Kime studied Fine Art at University College Falmouth and completed The Drawing Year at The Prince's Drawing School (now the Royal Drawing School) in 2012, where she won the Windsor and Newton Prize. She was selected for Bloomberg New Contemporaries 2014 and her work has been featured in Amelia's Magazine. Kime is currently studying on the MA Painting course at the Royal College of Art. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Sadie Tierney Selene (Silver), 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Sadie Tierney studied at the Royal College of Art, London and Newcastle University.   Education MA Fine Art Printmaking, RCA BA(Hons) Fine Art, Newcastle University Solo Exhibitions 2021 The Mountains are Calling, Rabley Gallery   2019 Round Tower, Portsmouth   2017 From Here to There, Eton College The Night, The Light, and the Half Light, Rabley Gallery   Group Exhibitions 2024 Artist Fundraiser for MSF, 14 Wharf Road London Summer Exhibition and Open Studios, Binnel Studios Woolwich Contemporary Print Fair, Open Call and Rabley Gallery Messums Emerging Landscape Painting Today, Online   2023 RWA 170 Annual Open Exhibition Summer Exhibition and Open Studios, Binnel Studios Woolwich Contemporary Print Fair Royal Academy Summer Exhibition Summer Exhibition, Rabley Gallery, Wiltshire   2022 RA Summer Exhibition London Original Print Fair Woolwich Contemporary Print Fair, Boodle Hatfield Prizewinner, Solo Presentation RWA Bristol Annual Open Exhibition IFPDA Print Fair, New York Public Collections Portsmouth Museum & Art Gallery National Museum, Gdańsk The Bronx Museum of the Arts Otter Collection Swindon Museum and Art Gallery The Royal West of England Academy Clifford Chance The Royal Navy Eton College RCA Cunard Pallant House Awards 2020, 2006, 2005 Arts Council England   2020 AN Bursary, Boodle Hatfield Prize   2019 Printfest Printmaker of the Year Statement About AOAP Submitted Artwork Working in a tradition of an English landscape painter and printmaker, Tierney's work explores objects and places where form is linked to emotion and metaphor. The expressive images have a contemporary edge marked by energetic use of colour and line. They spring from sketches and drawings made en plein air and are developed using painting and printmaking back at her studio on the south coast of the Isle of Wight where the moon reflected in the English Channel provides inspiration. In ancient Greek mythology and religion, Selene is the goddess and personification of the Moon. She was reputed to drive her horse drawn chariot across the night sky, as her brother Helios the day. The moon's long association with female power, and links with the female cycle led these artworks to be selected specially for International Women's Day.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

R&F Mo The Listener, 2024 Watercolour, ink, and gouache on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Narrative is central to R&F Mo's cross-disciplinary practice (drawing, painting, stitch, and performance), connecting the seen, the sensed, and the dreamed, in colour, mark, thread and motion. Mo employs an improvisational approach, finding the way in the moment of making, keeping the work alive, and sometimes vocally sound scatting in response to the work, the action, and the material of place. Education 2020-2021 Turps Offsite 2019-2020 Turps Correspondence Course 2006-11 PhD (by practice) Camberwell (U.A.L.) 2002-04 MFA Fine Art Central St. Martin's (U.A.L.) 1981-84 MA Illustration, Royal College of Art London 1978-81 Dip A.D Graphic Arts. City and Guilds of London Art School Gallery Representation Oliver Projects London Statement about AOAP Submitted Artwork Sprinkle, Youth talking with the sun, An appparition, and the listener, were all made through an improvisatory method- beginning with blobs of paint blotted from another surface, these prompted me to recognise figurative shapes in the marks and develop small figurative incidents - an event happening - usually between two figures -i'm interested in relationships and how we behave. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Lucy Smallbone Courtyard, 2025 Watercolour pastel and acrylic on carved wood Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lucy Smallbone is a graduate from the Slade School of Fine Art Master's program who specialises in modern landscape painting. Her work looks at the merging of fictional and real space and questions the part that memory and the mind can play in altering a view of a place. Education The Slade Masters in Fine Art City and Guilds Painting Bachelors Degree Falmouth and Exeter University Art and Design diploma Solo Exhibitions 2021 Fiumano Clase, London 2018 Fiumano Clase, London HSBC, London 2017 The space station gallery, London Group Exhibitions 2024 The British Art Fair, Cynthia Corbett Gallery The spirit of Boudicca, Norwich Elsewhere, cromwell place 2023 Young Master's Art Prize, London Works on Paper, London, 324 kings Road Wish you were here, Tag Fine Art A Slash of Blue, Gerald Moore Gallery Works on Paper 2023, 340 kings road 2022 Lucy Smallbone and Elizabeth Power at 99 Projects Art for Charity Exhibition at Unit 1 Gallery Weary Harold ASC Gallery 2021 Wish You Were Here at Fiumano Clase, London 2019 Still Here, Newington Gallery, London Recent Graduate's revisited, AAF Battersea, London One of One, Seen Fifteen Gallery, London Artist Sketchbooks, Marlborough Fine Art Gallery London Art Fair with Fiumano Clase Awards The Haworth Trust Award for Painting 2010 The David Ballardie Travel Award 2009 Statement about AOAP Submitted Artwork Courtyard is a painted woodcarving in a series of works looking at craft work, most have been inspired by tapestries. Craft based art pieces are often devalued by their connotations with female and unskilled work. Although they are time and labour intensive. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Bex Massey Queen, 2025 Watercolour and acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bex Massey's work examines the role of painting and the language of display in the face of popular culture. She amalgamates simulacra and allegory to investigate notions of 'worth' via motifs and tones extracted from her childhood. Massey's previous works and exhibitions have engaged the codes and history of queer culture, along with markers of selfhood and Northern identity. Recent works have become visually softer, more sedate and uncomfortable as the unease and 'value' in this series is created via the relationships between the minimal conflations. The image pairings within these paintings encourage allusion to female bodies, building an underlying sexual tension imbued by the artist into quotidian objects. Compositionally the couplet mirror each other and their visceral epicentres form a visual echo. This is further extended by an implied auditory element as the scenes contain the potential of noise, whether it is the moment a cat yawns or fizzy drink explodes - force in one image is released in its partner. These climactically coupled, female laden, tension imbued depictions are a nod to societies persistently binary notions of gender and therein the habitual reminder that outside the male gaze, Female + Female = Incorrect. Masseys recent fertility journey with her partner has brought this into sharp focus, and this process is alluded to in the titles of canvas which are named after the sperm donors they have considered. This additional layer encourages the work to be viewed via a reproductive lens. Education 2012-2013: MA Fine Art. Merit. Chelsea School of Art, London. 2004-2007: Ba Hons Fine Art. 2:1. The School or Art, Architecture and Design, London. 2025: Just Desserts, Seventeen, London, UK Solo Exhibitions 2024 My deuce, My double, GERTRUDE x Seventeen, London, UK 2022 The truth is out there, Roman Road, London, UK 2020 We didn't start the fire, VOLT Eastbourne, UK 2018 ÀhhÁÀhhÁ, SLUGTOWN, Newcastle upon Tyne, UK 2017 ÀhhÁ, Arebyte LASER, London, UK Group Exhibitions 2024 Strange Days: Surrealist Gaze, Cross Lane Projects, Cumbria, UK Landscape of the Gods, Vestry street, London, UK 2023 Landscape of the Gods, Cross Lane Projects, Cumbria, UK Catastrophic, Unit G, London, UK 2022 Elephant, Art Gazette, London, UK QUEER ART(ists) NOW, Space Station Sixty Five, London, UK Art on a Postcard summer Auction, The Bomb Factory, London, UK Instagram Live, 19 Karen, Queensland, Australia Northern Deviants, Unit G, London, UK Kunst the clown and friends, Gallery 46, London, UK Hyper Contemporary, Hasbrook Galleries, Milwaukee, USA 2021 Play and the post peak, The Factory, London Still Journey, The Columbia, London. The Big Show, Good Mother Gallery, San Francisco. Everywoman, Superchief Gallery, New York. 2020 Pop Now, Gallery 46, London. Body Politic, Susan Boutwell Gallery, Munich. She Performs, The Glass Tank, Oxford. Viewing Room, Harlesden High St, London. Awards 2024 Shortlisted 'Macfarlanes Art Prize'. Shortlisted 'Clyde & Co Art Prize'. 2022 Shortlisted 'BEEP Painting Prize'. 2021 Winner 'Repaint History Prize for Womxn Artists'. 2016 Shortlisted 'Blooom Award, by Warsteiner'. 2016 Shortlisted 'Taking Shape Prize'. 2014 Shortlisted 'Young Masters Art Prize' 2014 Shortlisted 'The Signature Art Prize Gallery Representation Seventeen (London, UK) Statement about AOAP Submitted Artwork 'Queen' is a hopeful bid for equality in light of International Women's Day, as Queen Conch shells are seen as lucky. They are a motif that I return to regularly in my work as they are also evocative of the female form. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Kate Kirk Birches 2, 2025 Monoprint on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Kate Kirk is a London-based artist and teacher, originally from North Yorkshire. Often drawing from the landscape, her work encompasses printmaking, painting, illustration and ceramics. Education 2014-2015 The Drawing Year, Royal Drawing School 2012-2013 MA in History of Art, University of York 2006-2009 BA(Hons) in Fine Art, Aberystwyth University Group Exhibitions 2021 Royal Drawing School Alumni Exhibition, Windsor Castle   2020 Online exhibition, Royal Drawing School 2019 Elements, Bils & Rye Shades of Clay, Kunsthuis Gallery Winter Exhibition, The Old Lockup 2018 Draw, Mandell's Gallery Home, The Kiln Rooms 2017 Royal Society of British Artists, Mall Galleries Royal Watercolour Society, Bankside Gallery Royal Drawing School Alumni Exhibition, Buckingham Palace Awards 2017 Michael Harding Award, Royal Society of British Artists Statement about AOAP Submitted Artwork These three landscapes are painted monoprints, representing landscapes drawn from memory and imagination.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Elizabeth Cope Seagull with Sundial and Dab Chickens on Pond, 2024 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Irish Artist Elizabeth Cope was born in 1952 in Co. Kildare. She currently lives and works in Co. Kilkenny. Cope has exhibited in galleries and museums all over the world for the past 40 years and is found in many important public and private collections.   "I paint through the chaos of everyday life, if I were to wait for a quiet moment I would never paint. I believe that painting should also be like dancing and that the real 'work of art' is not so much the canvas when the paint is dry, but rather the physical rhythm of the process of painting it."   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Melissa Kime Coal tit and long tailed tit, 2025 Watercolour and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Melissa Kime studied Fine Art at University College Falmouth and completed The Drawing Year at The Prince's Drawing School (now the Royal Drawing School) in 2012, where she won the Windsor and Newton Prize. She was selected for Bloomberg New Contemporaries 2014 and her work has been featured in Amelia's Magazine. Kime is currently studying on the MA Painting course at the Royal College of Art. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Lesley Banks Monterosso Train Station, 2025 Acrylic and watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lesley Banks is a contemporary artist. Her work is informed by a skill-based classical training in observational painting and drawing, which is evident in her figurative interiors and more recent canal and urban landscape paintings. She works predominantly with oil on canvas and more recently watercolour and acrylic on paper.   Education 1980-1984 Glasgow School of Art BA (Hons) Fine Art Solo Exhibitions 2024 Studio 261, Glasgow 2020 Summerlee Museum of Scottish Industrial Life, Coatbridge 2019 Lillie Art Gallery and Museum, Glasgow 2018 Eden Court, Inverness 2017 The Park Gallery, Falkirk Group Exhibitions 2024 Annual Open, Bath Society of Artists 198th Annual Exhibition, Royal Scottish Academy London Art Fair 2023 Objects of Desire, Calendar House, Falkirk ING Discerning Eye Jackson's Art Prize, longlisted SWA Society of Women Artists, Mall Galleries, London Scottish Landscape Awards, longlisted 2022 Scottish Portrait Awards, Edinburgh Inspired, Fidra Fine Art, Gullane 2021 Art in Mind, Glasgow Print Studio 2020 21st Century Women, The Backdoor Gallery, Clydebank Awards 2024 The Knox Award, PAI Annual Exhibition 2017 Paisley Drawing Competition, Walker Laird Award 2015 Open Project Funding, Creative Scotland Gallery Representation Compass Gallery, Glasgow, Scotland Studio 261, Glasgow, Scotland Roger Bilcliffe Fine Art, Glasgow Public Collections Kelvingrove Art Gallery and Museum, Glasgow, Scotland Perth Art Gallery and Museum, Perth, Scotland Lillie Art Gallery and Museum, Glasgow, Scotland Stirling Smith Museum and Art Gallery, Stirling, Scotland Scottish Canals University of Strathclyde, Scotland Falkirk Council Collection, Scotland East Dunbartonshire Council, Scotland Leicester Schools Collection, England Statement about AOAP Submitted Artwork Two watercolour/acrylic paintings exploring "after dark" themes in the Cinque Terre in Italy. I am working on a series of nocturne paintings, which necessitates muted tones and hazy light effects. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Elizabeth Cope Whippet through Window Drawing Room Shankill, 2024 Watercolour, pencil, biro, oil, and pastel on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Irish Artist Elizabeth Cope was born in 1952 in Co. Kildare. She currently lives and works in Co. Kilkenny. Cope has exhibited in galleries and museums all over the world for the past 40 years and is found in many important public and private collections.   "I paint through the chaos of everyday life, if I were to wait for a quiet moment I would never paint. I believe that painting should also be like dancing and that the real 'work of art' is not so much the canvas when the paint is dry, but rather the physical rhythm of the process of painting it."   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Kate Burling Propeller Study, 2024 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Kate Burling's work explores the human/animal experience of exponential change. The paintings are a meeting point between soft, stable insides, and harsh, unknowable and ever-accelerating outsides. Through flooding fluid compositions with swarms of mechanical objects, and considering the impact of sharp externalities on a soft, warm core, the paintings allude to narratives of biblical disaster, climate collapse and the rituals we might turn to in order to maintain sanctuary within our bodies. Education 2019-2022 BA in Fine Art: Painting, Camberwell College of Art, London 2018-19 Foundation Diploma in Fine Art, The Art Academy, London Solo Exhibitions 2024 Softness as a Torrent, Ronchini Gallery, London, UK 2023 The Rain has Changed, Nosbaum Reding Gallery, Brussels, Belgium 2020 Eclipse of a Dodgy Lamp, Guts Gallery, London, UK Group Exhibitions 2024 Vigil: Death and the Afterlife, Semester 9, Amsterdam, Netherlands The Future of Loneliness, Guts Gallery, London, UK 2023 Chasing Elsewhere, Fiumano Clase, London, UK All the Small Things, Soup Gallery, London, UK Goodeye Project End of Residency Show, Christie's, London, UK 2022 Second Expression - SPLIT Gallery, London, UK Nothing has Changed, Everything has Changed - Elysium Gallery (BEEP Painting Biennial), Swansea, UK Un/Sense - Christie's, London, UK A material World - Liliya Art Gallery, London, UK Sugarcoated - Changing Room Gallery, London, UK In Awe of You - Lililya Art Gallery, London, UK Public Collections The Tom and Chai Hall Collection, Hampshire, UK Statement about AOAP Submitted Artwork The first postcard is a propeller study, a recurring motif in my paintings which represents a hybrid between sharp, mechanical objects and fluid bodies. Here it shown at a rain-like angle against the ground, as if it has been caught mid landing. The second shows two arched passages which frame a fire and the head of a boy. The bowed head of hair is shaped like a smoke cloud, so the boy is both part of and separate from the fire. The arched passages start and lead nowhere. The painting evokes ideas of merging, coming apart and travelling in cycles. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

* ROBERT EGGINTON (BRITISH b. 1943) SPEY VALLEY FROM LAGGAN BRIDGE watercolour on paper, signed, titled versomounted, framed and under glass image size 37cm x 55cm, overall size 59cm x 76cm Label verso: T. & R. Annan & Sons Ltd., Glasgow.Note: Robert Egginton was born in 1942 the grandson of Wycliffe Egginton, R.I (1875-1951) and nephew of Frank J. Egginton (born 1908). Robert was educated in the traditional style of water-colour painting similar to that of his Uncle and Grandfather. He lives in Grantown-on- Spey and paints full time exhibiting widely in Scotland, London and Ireland. He paints accurate and detailed studies of famous land marks and riverscapes.

DOUGLAS LENNOX, AYRSHIRE COAST oil on board, signed and dated '22, titled label verso framed image size 39cm x 49cm, overall size 57cm x 67cm Note: Douglas Lennox was born in 1948 and was educated in Kilmarnock. He attended Glasgow School of Art 1966-70 and Jordanhill College of Education 1970-71. Early retirement from being Principal Teacher of Art and Design in Grange Academy in Kilmarnock means he can now concentrate full-time on painting. He now lives in Darvel in the Irvine Valley which has been the inspiration for much of his work. His work is predominantly made up of landscapes and seascapes in Ayrshire. The seascapes feature the marinas and harbours of the Scottish coast. The basis of his work is simply a continual fascination with what he sees. He works directly in front of the subject throughout the year as he feels that there is no substitute to being out there responding to changing light and seasons. His work is in a variety of media to suit conditions and subject - oil, watercolour, gouache and pastels. Duncan Shanks, who was one of his teachers at art school, was an early influence. The work of the Impressionists, The Glasgow Boys and the Scottish Colourists are all constant influences.

* JACQUELINE ORR RSW RGI PAI (SCOTTISH b. 1961) IN THE GARDEN mixed media on board, signedmounted, framed and under glassimage size 28cm x 35cm, overall size 48cm x 57cm Note: Jacqueline Orr was born in Glasgow in 1961 and studied Drawing and Painting at Glasgow School of Art under the tutelage of Dr James D Robertson, Dr Barbara Rae, Dr Jack Knox and Dr John Cunningham. James Robertson was her mentor until his death in 2010. A few years after graduating from Glasgow School of Art, she gained an MSc in Information Technology from the University of Glasgow and worked in the private sector, specialising in IT and technical project management while simultaneously pursuing her painting career. However, by the beginning of 2004, she found herself frustrated by the lack of time to paint and decided to paint on a full time basis. She set up studios both in Scotland and in France and is now based full-time in Scotland. I'm a painter. I tend to be drawn to subjects that visually stimulate me. In addition, the process and the craft of making paintings are very important to me, so draughtsmanship, mark making, composition and the intelligent use of colour are all key tenets of my work. I try to make best use of these tools to create rich and dynamic paintings. Jacqueline Orr exhibits widely and has gained a number of awards. 2013 Elected member of the Royal Glasgow Institute Of The Fine Arts (RGI) 2013 Mackintosh Residency, Collioure 2009 Riverside Gallery Exhibition Award (RSW) 2009 The Joe Hargan Award, Paisley Art Institute 2008 RSW Alexander Graham Munro Award, Royal Scottish Society of Painters in Watercolour 2007 Elected member of Royal Scottish Society of Painters in Watercolour (RSW) 1996 Armour Award, Royal Glasgow Institute Of The Fine Arts 1995 James Torrance Memorial Award, Royal Glasgow Institute Of The Fine Arts 1983 Armour Prize, Glasgow School of Art

DOUGLAS LENNOX, HAWTHORN HEDGE FOULPAPPLE pastel on paper, signed, titled label verso mounted, framed and under glass image size 32cm x 48cm, overall size 54cm x 69cm Handwritten artist's label verso. Note: Douglas Lennox was born in 1948 and was educated in Kilmarnock. He attended Glasgow School of Art 1966-70 and Jordanhill College of Education 1970-71. Early retirement from being Principal Teacher of Art and Design in Grange Academy in Kilmarnock means he can now concentrate full-time on painting. He now lives in Darvel in the Irvine Valley which has been the inspiration for much of his work. His work is predominantly made up of landscapes and seascapes in Ayrshire. The seascapes feature the marinas and harbours of the Scottish coast. The basis of his work is simply a continual fascination with what he sees. He works directly in front of the subject throughout the year as he feels that there is no substitute to being out there responding to changing light and seasons. His work is in a variety of media to suit conditions and subject - oil, watercolour, gouache and pastels. Duncan Shanks, who was one of his teachers at art school, was an early influence. The work of the Impressionists, The Glasgow Boys and the Scottish Colourists are all constant influences.

* DANNY ROSS, AUTUMN HILLS watercolour on paper, signed, titled label versomounted, framed and under glassimage size 25cm x 49cm, overall size 49cm x 72cm Note: Danny Ross studied at Gray’s School of Art, Aberdeen, graduating in 1974. He gained a Post Diploma in Drawing and Painting (High Commend) which was followed by a travelling scholarship from the Royal Academy Schools, London. In 1987, with his wife Joan, he opened Tolquhon Gallery (Aberdeenshire) and he now paints and runs the gallery. He is particularly inspired by the sweeping landscapes of the north and north east of Scotland, especially Orkney and Aberdeenshire. He uses colour in his work to create a heightened sense of place and atmosphere. He also expresses the intricacies of landscape found among rocks and cliff faces, snow and ice, trees and summer flowers, quiet rivers and gleaming seas. Linear qualities, tone and texture all form a harmonious ode to the changing seasonal rhythms of the landscapes of the North. He has exhibited widely and his work is held in many collections, both private and public, including Christies Fine Art, Ireland Alloys Holdings, Grampian Television, Lothian Health Board, Robert Gordon University, Royal Bath and West of England Society, Royal Highland Society, Scottish Arts Council and the University of Edinburgh.

* CHRISTOPHER WOOD RSW RGI PPSSA, WINTER'S GRASP oil on board, signed, titled and dated 2004 versoframed and under glass image size 46cm x 51cm, overall size 59cm x 64cm Artist's label versoLabel verso: Manor House Gallery, Chipping NortonNote: Christopher Wood trained at Edinburgh College of Art, graduating with an Honours degree in Drawing & Painting in 1984. He has been a full-time professional artist since his first one-man exhibition in Edinburgh 1987. Inspired by the artist’s coastal environment near his home in Dunbar, Wood’s palette is infused with the reflection and absorption of light to be found in ever changing elements of Scottish land and seascape. Wood has won numerous prestigious awards. “My work encompasses landscape, seascape and abstraction, using oils, acrylics, collage and mixed media. My working practice is intuitive and improvisational - an approach which fosters the unexpected. Through the processes of painting, of layering and scraping, of looking and reacting, the work finds its own identity, with a purpose, history and a voice of its own. I endeavour to leave enough room for the viewer to engage with my work through the lens of their own experience." He is a Past-President of the Society of Scottish Artists, an elected member of the Royal Scottish Society of Painters in Watercolour and an elected member of the Royal Glasgow Institute of the Fine Arts. Collections include: HM King Charles, the Bank of Scotland; Aberdeen Asset Management; United Distillers; Edinburgh University; Lennox Lewis; The Demarco European Foundation; MacRoberts Solicitors; Premier Property Group; Phoenix Equity Partners and many other private and corporate collections around the world.

* CHARLES OAKLEY (BRITISH 1925 - 2008), MOONLIGHT RENDEZVOUS oil on board, titled label verso framed image size 49cm x 95cm, overall size 65cm x 110cm Partial artist's label verso. Note: Obituary published in The Independent by Prof Kenneth McConkey 8 April 2008: Charles Oakley was one of an important generation of British painters who, in the late Forties, arrived at the Slade School of Fine Art wearing "demob" suits. He had neither portfolio nor sketchbooks to show, but a single watercolour, depicting a momentous occasion in his youth. Oakley grew up in Urmston, Manchester, the son of an engineer; two previous generations of Oakleys had been naval captains. Family holidays spent in Falmouth provided an ideal playground for the young Charles – rusting old U-boats from the Great War were berthed in the harbour. Then, in the early years of the Second World War, while youth hostelling in the Lake District, he came upon the crash site of two Hurricane fighters. A dead pilot lay by the wreckage of one of the planes. The scene burned itself into his mind and was only exorcised when he sketched it out on paper and coloured it. This single work became a talisman and after his three years' military service with the Royal Artillery in the Himalayas, it was this that he took to his successful Slade interview with Randolph Schwabe in 1947. His tutors, William Townsend and William Coldstream, being well-connected, brought artists and critics such as Francis Bacon, Wyndham Lewis and David Sylvester into the Slade to look at students' work. Oakley's diligent studies in the Antique Room won him the Taylor and Melvill Nettleship awards, as well as the Wilson Steer medal for Northern Landscape, a "summer composition" painting of coal trucks in a railway yard produced in 1950. He remained at the Slade for a postgraduate year and in 1951 married Ann, his life-long partner. In those days, the path from the Slade and the Royal College to the New English Art Club was still in use and Oakley showed industrial scenes at two of its exhibitions before moving north to become an art master at Eden School in Carlisle. A splendid watercolour of the old city bus station remains a popular reproduction sold by Tullie House museum in Carlisle. In 1957 his first solo exhibition was held at the Crane Kalman Gallery, Manchester, and was opened by L.S. Lowry. Oakley recalled Lowry's enthusiasm when he purchased a picture from the show. At this stage, living on a fabric designer's salary, and with a growing family, the Oakleys could not reciprocate – much to their chagrin in later years. Thereafter he showed regularly in Manchester exhibitions, being praised for his "poetry in paint". In 1962 he obtained the post of Senior Lecturer at Belfast College of Art, and it was after this that true poetry arrived, with paintings of ships' engine rooms at Harland and Wolff, recalling the submarines of childhood – one of which was acquired for the Ulster Museum, Belfast. In shows at the Caldwell Gallery in Bradbury Place, Belfast, these intense, claustrophobic interiors were juxtaposed with the wide expanses of Donegal where the Oakley family had a summer cottage. Oakley rhapsodised on the windswept beaches where occasionally he would come across the rotting remains of old fishing boats. When these paintings were exhibited in 1965 at the Bondgate Gallery, Alnwick, along with works by Lord Haig and J.H. Themal, Oakley, according to The Guardian, "stole the show". A few years later, as Seamus Heaney and Michael Longley were emerging as the poetic voices of Ulster, the critic William Feaver praised the "mortuary effect" of the painter's "leaky skies" and "peat trenches". Oakley might easily have been typecast as an Irish landscapist of a conventional kind. However, hints of Edward Hopper and "magic realism" had begun to creep into his painting and around the time of his return to England in 1974, he became interested in working in three dimensions – "dabbling in construction work" and experimenting with trompe l'oeil was how it was described. Repeated visits to the Dutch museums instilled a respect for the measured space of Vermeer, Terborch and Metsu, and took him back to his Slade School exercises in mathematical perspective. In 1982, on a student trip, he visited the massive 360-degree Mesdag Panorama in The Hague which was re-examined in a series of works – as indeed were the methodical approaches of painters such as Thomas Eakins and George Stubbs whose deep visual research led to periods of physical and spiritual isolation. These and the Dutch masters became his new subject matter in what were described as "works with romantic and historical associations", in the first of three exhibitions staged at Pyms Gallery, London in 1984 – perhaps the most fruitful collaboration of Oakley's career since it led to touring shows, in galleries in Hull, York, Kendal and Belfast. What we see in The Eakins Studio (1986), for instance, is a box/vitrine, similar to a stage designer's model. The life room impedimenta, sculpture stands and a "donkey", are recreated in miniature – tiny hand-crafted objects in which experience is locked. And on the back wall are pinned the famous studies of male and female nudes which contain them. Oakley's own experiences had come back to haunt him. A connection between these austere academic rituals and lost heroes such as Scott and Oates of the Antarctic, or Mallory and Irvine on Everest, fused in his mind and led him to produce the evocative Antarctic Triptych (1984) and the Quarter Rupee Triptych (1986) in which the intrepid teams of explorers and mountaineers pose for famous photographs. In the former the image is pinned to the remnants of one of their packing cases, along with other memorabilia, including a postcard of Caspar David Friedrich's The Wreck of the 'Hoffnung', inspired by an attempt on the North Pole in 1823. Embedded in the foreground fragments of cracked ice are remnants of a Union Jack. By the early Nineties, other themes, equally austere, suggested themselves. The discovery of a monument to Roger Casement, the death of Richthoven and new interpretations of Balthus, Winslow Homer and Magritte were added to the repertoire in these later years when two further solo shows were staged at Castleside Gallery, Cockermouth, in 1996 and 2000. In 1999 he won the Singer Friedlander/Sunday Times watercolour prize with The Thomas Eakins Gallery. In a genial, self-deprecating way, Charles Oakley used to claim that he was having fun and that these "tableaux" were just a way of filling time. But it was much more than that. Serious research would take him off to find the Mallory ice axe at the Alpine Club, or in 1996, back to Rajasthan. And with collectors waiting for paintings that might take months of detailed work to complete, he carried on until his late seventies when his eyes began to fail. Thereafter, he still spent his mornings in the studio, listening to Radio 3 and reading, surrounded by the work of a lifetime. Note: Kenneth McConkey is Emeritus Professor of Art History at the University of Northumbria. He is an expert on British, Irish and French painting of the late nineteenth and early twentieth centuries, especially Sir John Lavery, British Impressionism and the New English Art Club, and has published extensively on the art of the period, including on George Clausen. Very good condition with no visible or known issues.

* DAVID REDPATH MICHIE OBE RSA RWA FRSA RGI (SCOTTISH 1928 - 2015), FIVE DARK FISH ON HEAD oil on board, signed and dated '64framed and under glassimage size 29cm x 36cm, overall size 38cm x 45cm Note: David Michie was born at Saint-Raphaël in the south of France. His father, James Michie, was an architect and painter who had been an apprentice to Edwin Lutyens at the War Graves Commission, helping to lay out cemeteries in northern France after the First World War. His mother was the celebrated artist Anne Redpath OBE RSA. David’s early years were spent living in St-Jean-Cap-Ferrat where his father was private architect to American tycoon Charles Thompson. Later, the vibrant colour schemes of the Côte d’Azur would infuse his work. In 1934, David returned to Scotland with his family and settled in the Scottish Borders where David attended school in Hawick. In 1946, he enrolled at the Edinburgh College of Art but his time there was interrupted in 1947 with the introduction of National Service. He completed his service in the Signal Corps, qualifying as an instructor with the Royal Artillery Signals in 1949 and returned to Edinburgh College of Art where he was taught by William Gillies RSA. In 1953 he received a travelling scholarship to Italy, accompanied by his friend, the painter John Houston. They toured the Renaissance sites of Tuscany, and stayed in the hilltop towns of Anticoli Corrado and Orvieto in Umbria. John Houston RSA and his wife Elizabeth Blackadder RSA were to remain life-long friends. Colour was central to David’s painting. Working in both oils and watercolour, David’s subjects ranged from nature, garden compositions and his observance of people going about their everyday activities. His work was regularly inspired by his travels to far-flung places such as Australia, the USA and across Europe and is very effectively seen in his RSA Diploma painting On the Ramblas (1976) which invokes a colourful and busy Barcelona street scene. David taught widely, lecturing at James Clarke’s School in Edinburgh and Gray’s School of Art in Aberdeen. He was a visiting professor at the Academy of Fine Art in Belgrade and the University of California. He returned to Edinburgh College of Art to teach painting during the 1960s and 1970s, and was Vice Principal there from1974-77. Between 1982 and 1990 he was Head of the School of Drawing and Painting. In 2009, he received an Honorary Fellowship from the College “in recognition of his outstanding contribution to the life of the college and the education of its students”. David was a prominent member of the Royal Scottish Academy, a former President of the Society of Scottish Artists and a member of the Royal Glasgow Institute of the Fine Arts. He was also a Fellow of the Royal Society of Arts and a Founding Fellow of the Institute of Contemporary Scotland. He served on a number of professional panels including those of the Scottish Arts Council and the Scottish Education Trust. Sixty-seven of his paintings are included in many significant public collections such as Aberdeen Art Gallery, Glasgow Museums, the National Galleries of Scotland, the City of Edinburgh Museums, The Fleming Collection and the Tate. David was elected an Associate of the Royal Scottish Academy in 1964 and Royal Scottish Academician in 1972. He was appointed OBE in 1997. Was a regular exhibitor in one-man shows at Mercury Gallery and later ones including The Scottish Gallery, Edinburgh. Work held by HM Queen Elizabeth II.

* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), STORM BEACH watercolour on paper, signed, titled label versomounted, framed and under glassimage size 25cm x 33cm, overall size 47cm x 53cm Artist's label verso.Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.

* DOUGLAS LENNOX, WHITE CRUISER, TROON oil on board, signed and dated '08framedimage size 55cm x 55cm, overall size 72cm x 72cmNote: Douglas Lennox was born in 1948 and was educated in Kilmarnock. He attended Glasgow School of Art 1966-70 and Jordanhill College of Education 1970-71. Early retirement from being Principal Teacher of Art and Design in Grange Academy in Kilmarnock means he can now concentrate full-time on painting. He now lives in Darvel in the Irvine Valley which has been the inspiration for much of his work. His work is predominantly made up of landscapes and seascapes in Ayrshire. The seascapes feature the marinas and harbours of the Scottish coast. The basis of his work is simply a continual fascination with what he sees. He works directly in front of the subject throughout the year as he feels that there is no substitute to being out there responding to changing light and seasons. His work is in a variety of media to suit conditions and subject - oil, watercolour, gouache and pastels. Duncan Shanks, who was one of his teachers at art school, was an early influence. The work of the Impressionists, The Glasgow Boys and the Scottish Colourists are all constant influences.

DOUGLAS LENNOX, STUBBLE FIELDS AND HEDGE oil on board, signed, titled label verso framed image size 47cm x 67cm, overall size 62cm x 82cm Handwritten artist's label verso. Note: Douglas Lennox was born in 1948 and was educated in Kilmarnock. He attended Glasgow School of Art 1966-70 and Jordanhill College of Education 1970-71. Early retirement from being Principal Teacher of Art and Design in Grange Academy in Kilmarnock means he can now concentrate full-time on painting. He now lives in Darvel in the Irvine Valley which has been the inspiration for much of his work. His work is predominantly made up of landscapes and seascapes in Ayrshire. The seascapes feature the marinas and harbours of the Scottish coast. The basis of his work is simply a continual fascination with what he sees. He works directly in front of the subject throughout the year as he feels that there is no substitute to being out there responding to changing light and seasons. His work is in a variety of media to suit conditions and subject - oil, watercolour, gouache and pastels. Duncan Shanks, who was one of his teachers at art school, was an early influence. The work of the Impressionists, The Glasgow Boys and the Scottish Colourists are all constant influences.

* CHRISTOPHER WOOD RSW PAI PPSSA, THE DIM CLOUD THE DIM CLOUD THAT DOTH THE WORLD ENFOLD HATH LESS THE CHARACTERS OF DARK AND COLD THAN WARMTH AND LIGHT ASLEEPoil on canvas, signed, titled and dated 1995 versoframedimage size 46cm x 51cm, overall size 67cm x 72cmLabel verso: The Gatehouse Gallery, Glasgow.Note: Christopher Wood trained at Edinburgh College of Art, graduating with an Honours degree in Drawing & Painting in 1984. He has been a full-time professional artist since his first one-man exhibition in Edinburgh 1987. Inspired by the artist’s coastal environment near his home in Dunbar, Wood’s palette is infused with the reflection and absorption of light to be found in ever changing elements of Scottish land and seascape. Wood has won numerous prestigious awards. “My work encompasses landscape, seascape and abstraction, using oils, acrylics, collage and mixed media. My working practice is intuitive and improvisational - an approach which fosters the unexpected. Through the processes of painting, of layering and scraping, of looking and reacting, the work finds its own identity, with a purpose, history and a voice of its own. I endeavour to leave enough room for the viewer to engage with my work through the lens of their own experience." He is a Past-President of the Society of Scottish Artists, an elected member of the Royal Scottish Society of Painters in Watercolour and an elected member of the Royal Glasgow Institute of the Fine Arts. Collections include: HM King Charles, the Bank of Scotland; Aberdeen Asset Management; United Distillers; Edinburgh University; Lennox Lewis; The Demarco European Foundation; MacRoberts Solicitors; Premier Property Group; Phoenix Equity Partners and many other private and corporate collections around the world.

* SPENCER W TART, ASIR - MOUNTAINS watercolour on paper, signed and titledmounted, framed and under glassimage size 20cm x 35cm, overall size 47cm x 57cm Note: Spencer W Tart (also known as Bill ) was born in Chesterfield, England. He qualified as an architect and worked for many years in Canada and the USA before returning to Bath, England where he now lives. In 1980 Spencer was invited to work as an architect on a conservation study of the historic city of Old Jeddah in Saudi Arabia. This was his introduction to the Middle East, which has remained the main subject matter of his work. Whilst sketching and painting was always a small part of his work as an architect, this quickly became more serious and interest in his watercolour paintings grew quickly during the 1980’s. His continued explorations have taken him to many different regions across the Middle East, where the different architectural styles and spectacular geographical features have provided constant inspiration. His work has become a valuable record of the architectural heritage of Saudi Arabia, the U.A.E. and the Oman. Many of the Suks, landscapes and street scenes in Dubai, Bahrain, Riyadh, Jeddah and Muscat have proved to be very popular with both the local and ex-patriot communities. His style of watercolour continues to be admired wherever he exhibits, and his pictures feature in many private collections of discerning buyers around the world. Many are now an accurate historical record of a bygone age. His work is exhibited in selected galleries across the Middle East on a continuous basis.

DOUGLAS LENNOX, STREAM NEAR KYPE ROAD oil on board, signed, titled label verso framed image size 57cm x 77cm, overall size 72cm x 92cm Handwritten artist's label verso. Note: Douglas Lennox was born in 1948 and was educated in Kilmarnock. He attended Glasgow School of Art 1966-70 and Jordanhill College of Education 1970-71. Early retirement from being Principal Teacher of Art and Design in Grange Academy in Kilmarnock means he can now concentrate full-time on painting. He now lives in Darvel in the Irvine Valley which has been the inspiration for much of his work. His work is predominantly made up of landscapes and seascapes in Ayrshire. The seascapes feature the marinas and harbours of the Scottish coast. The basis of his work is simply a continual fascination with what he sees. He works directly in front of the subject throughout the year as he feels that there is no substitute to being out there responding to changing light and seasons. His work is in a variety of media to suit conditions and subject - oil, watercolour, gouache and pastels. Duncan Shanks, who was one of his teachers at art school, was an early influence. The work of the Impressionists, The Glasgow Boys and the Scottish Colourists are all constant influences.

* PETER THOMSON RGI RSW (SCOTTISH b. 1962), ABSINTHE oil on panel, signed, titled labels versoframed and under glass image size 22cm x 22cm, overall size 39cm x 39cm Handwritten artist's label versoLabel verso: Compass Gallery, Glasgow.Note: Peter Thomson graduated from Glasgow School of Art in 1984 with a degree in Drawing and Painting. Inspired by Edward Hopper, Thomson has a surreal take on everyday scenarios and uses thick layered oil paint in his paintings to provide a blurred and feathered glimpse into his imagination. His latest body of work focuses on what Thomson calls "contemporary observations" and pays an homage to a series of his most admired artists. He has participated in numerous solo and group exhibitions throughout the UK, Europe and the USA. Thomson was elected as a member of the Royal Glasgow Institute of the Fine Arts (RGI) in 2015 and the Royal Scottish Society of Painters in Watercolour (RSW) in 2016. His work can be found in many national collections such as the Gallery of Modern Art Glasgow, Scottish Arts Council and the Fleming Collection, London.

* LISA GRAA JENSEN RI (DANISH b. 1953), BOATS FOR HIRE gouache on paper, signedmounted, framed and under glassimage size 29cm x 20cm, overall size 53cm x 42cmNote: Lisa Graa Jensen was born in Copenhagen. She attended the Sir John Cass School of Art in Whitechapel (London) and then trained at Camberwell School of Art from 1975-78 gaining a BA (Hons) in Graphic Design. After art college Lisa spent time as an Illustrator with B.L. Kearley Limited working for Hamlyn, MacMillan, Marshall Cavendish and the BBC as well as Puffin Books and Camden Graphics. She then took up a roll as an Art Therapist before becoming a freelance Painter and Illustrator of books and cards in 1983. In 1997 Lisa Graa Jensen was the winner of The RI Kingsmead Award. She also received the Royal Academy of Art, Christmas Design Award (1984, 1985, and 1986) and was runner up Artist of the Year Award 2008. In 1996 she was elected a Member of the Royal Institute of Painters in Watercolours. She is also a member of ASGFA (The Society of Graphic Fine Art). Talking about her art work Lisa says: 'I am a painter and illustrator of vibrant colourful figurative landscapes. i.e.: undulating countryside, markets, pubs, cafes, French farming scenes and coastal/beach scenes usually featuring dogs and cats and often farm animals such as sheep, donkeys, cows, hens etc..'. Her work is typically colourful and lively and demonstrates a strong sense of observation. Method of Working- Lisa uses light, fast watercolour and acrylic inks which have good reproduction qualities and designer gouache. She paints on very heavy watercolour paper that doesn’t need stretching. She uses brushes, a sharpened end of paintbrush to scratch out detail, fingers, splatter bristle brush, and salt for colour dispersal. Working on one piece at a time, Lisa works from memory, sketches and photos. The initial idea is very loosely mapped out so that the painting can feel spontaneous, and not like painting by numbers. Lisa's work is exhibited widely including at many annual major public exhibitions and at private galleries around the UK.

* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), BROKEN EDGE watercolour on paper, signed, titled label versomounted, framed and under glassimage size 43cm x 59cm, overall size 70cm x 85cmNote: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.

* RALSTON GUDGEON RSW (SCOTTISH 1910 - 1984), LAPWING watercolour on paper, signedframed and under glass image size 25cm x 30cm, overall size 34cm x 39cm Label verso: T. & R. Annan & Sons, Ltd., Glasgow.Note: Ralston Gudgeon was a Scottish artist, best known for painting birds and animals mostly in gouache watercolour. He studied at the Glasgow School of Art in 1933 and won the Torrance Memorial Award of the Glasgow Institute. When Ralston Gudgeon was elected to the RSW in 1937, he became the youngest man ever to achieve that honour. In 2018, "The Scottish Wild Cat" by Gudgeon sold in our auction for £900 (hammer) which "signposted" a resurgence of collector interest in his work. This resurgence of buyer interest has continued unabated.

* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), ARRIVING TIDE watercolour on paper, signed, titled label versomounted, framed and under glass image sie 36cm x 47cm, overall size 61cm x 71cm Artist's label verso.Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.

* PAUL LUCIEN MAZE (ANGLO-FRENCH 1887 - 1979), JESSIE'S GARDEN WITH DECK CHAIR oil on board, signedframedimage size 21cm x 26cm, overall size 29cm x 34cm Note: Paul Lucien Maze was an Anglo-French painter. He is often known as “The last of the Post Impressionists" and was one of the great artists of his generation. His mediums included oil and watercolour although he was especially acclaimed for his pastels. Maze’s paintings include French maritime scenes, busy New York City scenes and the English countryside as well as Still Life. During the First World War, Maze met Winston Churchill in the trenches and their shared love of painting led to a lifelong friendship. Maze became Churchill's artistic mentor, encouraging him to develop his drawing and painting techniquesCondition is good overall, with no visible or known issues.

* DOROTHY JOHNSTONE ARSA (SCOTTISH 1892 - 1980), AUTUMN PICNIC oil on board, signed and dated 1973, titled label versoframedimage size 77cm x 51cm, overall size 88cm x 63cmHandwritten artist's label verso.Provenance: Exhibited Royal Scottish Academy Annual Exhibition (Edinburgh) 1974 no 138.Note: Johnstone was born in Edinburgh in 1892 and grew up in Napier Road, near the Gothic Mansion, Rockville. Her father, landscape artist George Whitton Johnstone RSA (1849–1901), encouraged her artistic talents, and at the age of 16 she enrolled as a student at the Edinburgh College of Art. She took the Life Class with Ernest Stephen Lumsden where she revealed her talents at informal portraiture, a genre for which she became well known. In 1914 she became a member of staff at the Edinburgh College of Art. From the summer of 1915, she became a regular annual visitor to Kirkcudbright in Galloway, where she would paint with other mainly female artists including Jessie Marion King as part of the Kirkcudbright School. Dorothy Johnstone, with her close friends Cecile Walton and Mary Newbery, was a member of The Edinburgh School, which reformed in 1919, a collective of gifted and progressive artists associated with the Edinburgh College of Art. During 1919 she was living in Kirkcudbright where she had an affair with Vera Holme who would go on to be the 'Pankhursts' chauffeur'. In 1924, at the peak of her artistic career, Johnstone mounted a joint exhibition in Edinburgh with fellow artist Cecile Walton. She married her colleague and fellow group member David MacBeth Sutherland in 1924. They had a son, Sir Iain Sutherland, in 1925, and a daughter in 1928. As a consequence of her husband's appointment in 1933 as Head of Gray's School of Art in Aberdeen (now at Robert Gordon's University) and of the "marriage bar" in place at the time, she gave up her career and her students. She kept her links with Edinburgh by continuing to exhibit her portraits and landscapes at the Royal Scottish Academy to which she was elected an Associate (ARSA) in 1962. Johnstone painted landscapes and portraits, particularly of children, and her style was free and relaxed, whether using oil, watercolour, pencil or chalk. Some of her work is displayed at the National Gallery of Scotland. When she died in 1980, she bequeathed her important early painting 'Marguerites' (painted in 1912) to the Royal Scottish Academy. In 1983 Aberdeen Art Gallery gave her a major memorial show which toured, then in 1987 Bourne Fine Art (now The Fine Art Society) in Edinburgh and London staged a joint exhibition of the works of Dorothy Johnstone and her husband David MacBeth Sutherland.

Isabel Codrington(1874-1943)A folio of five preparatory studies for "Cantine Franco-Britannique, Vitry-le-François", 1919, part of the collection at the Imperial War Museum London, including a draft for the final oil painting and individual studies of soldiers and a nurse,unsigned,watercolour and pencil studies on paper,largest 61 x 74cms, unframed.

* Chinese. A painting on silk depicting ladies in an interior, early 20th century, watercolour and gouache on a cream silk ground, depicting 6 ladies in an interior furnished with a large screen painted with birds in a tree within a star and swastika border, and a number of pots and vases containing flowering plants and sprays on tables and jardinières, 4 x 1 mm worm hole, 36.5 x 40.5 cm (14.5 x 15.75 ins), framed and glazed (40.5 x 44 cm), backboard with worm holes and old manuscript label 'Right of Top Fireplace', together with:A hand-embroidered long banner, worked in blue, green, white, and black silks, on a gold silk ground (beginning to perish, with several tears, and lower edge frayed), depicting a motif with two fish at the top, and 2 large roundels below, each with a crane in the centre surrounded by floral motifs, and cornerpieces of flowers, bats, butterflies, and swastikas, lined with bright green silk (some marks and mottling), black plastic mount and hanging cord to upper edge, 150.5 x 47.5 cm (59.25 x 18.75 ins)QTY: (2)

GEORGE MAYER-MARTON (HUNGARIAN 1897-1960) ⊕ LANDSCAPE WITH BRIDGEwatercolour on paper48.5 x 63cm; 19 x 24 3/4in unframedThere are two large and a few flanking smaller tears to the centre bottom edge. There are small tears to the lower, centre and upper left; and along the top edge to the right and left. There is a large crease in the upper section of the painting, spanning top left edge to the upper right edge, but is visible only under close inspection. There are folds in the upper left, upper right and lower right corners and a small dogear to the lower left corner. There is wear to all edges of the work.

GEORGE MAYER-MARTON (HUNGARIAN 1897-1960) ⊕ GEORGE MAYER-MARTON (HUNGARIAN 1897-1960) EVENING OVER THE FUNFAIR watercolour on paper 39.5 x 57.5cm; 15 1/2 x 22 3/4in unframed Painted in 1951. GEORGE MAYER-MARTON (LOTS 1-8) Introduction HIS APPEARANCE, ACCENT AND MANNER SPOKE OF A LOST AND TO US LARGELY UNKNOWN MITTELEUROPA. Always meticulously dressed in a suit and wearing a hat and polished shoes, he would arrive in the college with his leather briefcase and don his professional white coat. In Their Safe Haven', Hungarian artists in Britain from the 1930s, compiled and edited by Robert Waterhouse, the bleak story of George Mayer-Marton's dispossession is graphically pieced together from the artist's diaries and first hand accounts. Born in Györ, North Hungary, the artist's formative years had largely been spent in Austria and Germany. During the First World War he had served on the front line in the Austrian army, and - leading up to the Anschluss - he lived in Vienna, happily married and, as vice-president of the Hagenbund, he was a leading voice among contemporary artists. But with Hitler's annexation of the country at the end of September 1938 with Grete his wife he fled Vienna for London. Mayer-Marton's diaries evoke with withering honesty the reception he received and his despairing sense of dislocation: 'For the moment, London spells turmoil, noise, rows of double decker buses and a language one doesn't understand... We observe the English art of 'splendid isolation', their culture of bureaucratic niceties, good manners and cold souls; their complete consideration for others out of consideration for their own piece and quiet.' (Waterhouse, p. 74). Eventually the couple set up home and a studio in St John's Wood, only for the premises to be hit by an incendiary bomb in 1940 during the Blitz. In the ensuing fire Mayer-Marton lost the vast majority of the work he had brought with him. At the end of the War he learnt of the murder of his and Grete's parents together with his brother in the Holocaust. Unsurprisingly these horrors took a mental toll: all too much for Grete, she suffered a nervous breakdown and died in a psychiatric hospital in Epsom in 1952. Yet, despite such a succession of tragedies, Mayer-Marton remained resolutely determined. He strove to replace the works lost in the London bombing, not simply with copies but because he felt challenged by the very different light and landscape of the British countryside, his lightness of touch and deftness of colour are abundantly apparent in the present selection of works. He was also appointed a senior lecturer at Liverpool College of Art, a post in which he flourished. His Liverpool students recalled Mayer-Marton's innovative approach to teaching. He introduced weekly 'Socratic method' seminars, challenging students with rhetorical questions ranging from 'Kant's moral imperative to Schopenhauer's aesthetic theory, the scientific ideas of Einstein, concepts of the primitive in art, abstraction, expressionism, the medieval guilds and so on... these seminars were a decade before the history and theory of art were incorporated into art school curricula in the 1960s' (Waterhouse, pp. 212-213). In Liverpool he also introduced new technical know-how, in particular fresco painting and the re-introduction of Byzantine-style mosaic practices. These he deployed in a series of large scale ecclesiastical commissions in the north-west, including the large Crucifixion mural at the former church of the Holy Rosary, Oldham (1955), Pentecost now in Liverpool Metropolitan Cathedral, and the Crowning of St Clare at St Clare's Church, Blackley. Small dogear upper left corner. There is slight wear to edges of paper. Otherwise this work is in good original condition.

A selection of art books on 19th and 20th century paintings and artists to include Martin Hardie Watercolour painting in Britain Vol 1, 2 and 3, along with other examples to include H W Wilson The Great War, along with others Location: RWMIf there is no condition report shown, please request

λ DAME LAURA KNIGHT (BRITISH 1877-1970) TWO THEATRE STUDIES: SONJA HENIE AT THE BLACKPOOL ICE DOME & STUDY FOR "PAVLOVA TAKING A CALL" Black crayon, each study executed on two sheets of paper, the set framed as one Both signed (lower right) Each 19 x 30.5cm (7¼ x 12 in.) Overall (including frame): 68 x 53cm (26¾ x 20¾ in.) The top drawing, depicting Sonja Henie, dates in all probability from circa 1935. Knight executed five other works of Henie at the Blackpool Ice Dome, namely The Skater; Finale Skating Ballet exhibited at The Royal Society of Painters and Watercolours; Arabesque on Skate exhibited at the Royal Academy, London in 1965; Five Ballerinas exhibited at Eastbourne Fine Art in 1966 and The Skating Ballet exhibited at the Royal Watercolour Society in spring 1949. Sonja Henie (1912-1969) was a Norwegian figure skater and actress. At the time, Henie won more Olympic and world titles than any other female figure skater, achieving gold medals in 1928, 1932 and 1936. She was world champion ten times between 1927, when she was only 15, and 1936, and six times European Champion between 1931 and 1936. Henie is credited with being the first ice skater to adopt the short skirt costume in figure skating and made great use of dance choreography. She moved from competitive ice skating into films and in 1936 she joined 20th Century Fox studios in Hollywood. The lower drawing is a sketch and draft for Knight's well known ballet painting entitled Pavlova taking a call from 1920 which was exhibited at the Leicester Galleries in the same year. The present drawing can therefore be safely dated to the same period. We are grateful to R. John Croft F.C.A. for his assistance in cataloguing this lot. The works will be included in the Laura Knight Catalogue Raisonne currently being prepared.  Condition Report: Each work is executed on two sheets. Unexamined out of glazed frame. SONJA HENIE AT THE BLACKPOOL ICE DOME There are gaps between the two sheets, where they don't completely align and the edge is not completely straight. Slight undulation to both sheets. Otherwise appears to be in good original condition. STUDY FOR "PAVLOVA TAKING A CALL" There are gaps between the two sheets. The edges are not straight or even and slightly fraying. Sheets are undulating most notable to the centre of the lower edge.  Condition Report Disclaimer

Pictures and prints - a Japanese woodblock type printed book, Japanese Customs by the months of the year, 12cm x 9cm; Elsie Maway, Satirical painting, ‘Dad’, signed, dated 1919, watercolour; Vintage Bird’s Custard poster, framed; The Boulevards Quadrille, print; etc, (5).