‘Landing’

Landing, Kristian Day in collaboration with Herrick Gallery,  93 Piccadilly, London W1,  29th September – 15th October 2016

Hannah Brown Washford Pyne 11, 2016 oil on linen 200 cm x 150 cm

Hannah Brown
Washford Pyne 11, 2016
oil on linen
200 cm x 150 cm

In this his second show as an independent gallerist – the first was the successful Sampler– Kristian Day brings together the work of three artists, Hannah Brown, Anna Freeman Bentley and Freya Douglas-Morris.

Freya Douglas-Morris Acrobats, 2016 oil on canvas 140 x 100 cm

Freya Douglas-Morris
Acrobats, 2016
oil on canvas
140 x 100 cm

The works are very different featuring landscape, the figure and architecture but there is a unifying theme of being part-reality and part-ethereal in them that draws the viewer in. The exhibition’s title suggests the end of a journey for each of the artists in their finished works.

Anna Freeman Bentley Red Room, 2016 oil on linen 93 x 110 cm

Anna Freeman Bentley
Red Room, 2016
oil on linen
93 x 110 cm

 

http://www.kristianday.co.uk

The 2016 Goldsmiths’ Fair

Goldsmiths’ Fair, Goldsmiths’ Hall, Foster Lane, London EC2, 27th September – 9th October 2016
 

Goldsmiths’ Fair 2015 Image © The Goldsmiths’ Company. Photograph by Rory Lindsay

Goldsmiths’ Fair 2015
Image © The Goldsmiths’ Company. Photograph by Rory Lindsay

I totally understand why this Fair is so popular as it offers a wide variety of choice whether you are looking for gold or silver jewellery or pieces for your home.  There is both traditional and cutting-edge design to choose from and don’t forget you can commission bespoke pieces from the makers directly and I assure you the latter is well worth doing for a special occasion.

Erin O’Connor Selects Nan Nan Liu – Shell Sterling and fine silver (Week One, Stand 32) Image © The Goldsmiths’ Company. Photography by Richard Valencia

Erin O’Connor Selects
Nan Nan Liu – Shell
Sterling and fine silver
(Week One, Stand 32)
Image © The Goldsmiths’ Company. Photography by Richard Valencia

This year the super-model Erin O’ Connor has been asked to make a personal selection of what she finds appealing from among the designers and makers exhibiting. She sums up her choices saying: “My selection reflects my personal style. It’s made up of jewellery I’d happily wear on a variety of occasions and contemporary silver I’d proudly display at home. I love the high degree of craftsmanship in each piece.”

Erin O’Connor Selects John Moore – Verto Necklace Sterling silver, 18ct yellow gold, steel, silicone, magnets (Week Two, Stand 36) Image © The Goldsmiths’ Company. Photography by Richard Valencia

Erin O’Connor Selects
John Moore – Verto Necklace
Sterling silver, 18ct yellow gold, steel, silicone, magnets
(Week Two, Stand 36)
Image © The Goldsmiths’ Company. Photography by Richard Valencia

 

Barbara Cartlidge and Electrum Gallery: A Passion for Jewellery Ring, ‘his master’s voice’, silver and gold, c1973. Photo: Elke Bock

Barbara Cartlidge and Electrum Gallery: A Passion for Jewellery
Ring, ‘his master’s voice’, silver and gold, c1973.
Photo: Elke Bock

 

 

 

 

 

 

 

 

 

 

 

There is a special display celebrating Barbara Cartlidge and Electrum Gallery: A Passion for Jewellery and features some twenty-five pieces of her distinctive and original jewellery.  It certainly highlights why the Electrum Gallery which she opened in 1971 with Ralph Turner became such a popular destination for those looking for contemporary art jewellery. A newly published biography Barbara Cartlidge and Electrum Gallery: A Passion for Jewellery, by Dr Beatriz Chadour-Sampson and Janice Hosegood, published by Arnoldsche will also be available to buy.

 

Barbara Cartlidge and Electrum Gallery: A Passion for Jewellery Pendant, silver amethyst and green agate, c1968. Photo: Elke Bock

Barbara Cartlidge and Electrum Gallery: A Passion for Jewellery
Pendant, silver amethyst and green agate, c1968.
Photo: Elke Bock

Adi Toch Dessert Wine Pourer Image © The Goldsmiths’ Company. Photography by Richard Valencia

Adi Toch
Dessert Wine Pourer
Image © The Goldsmiths’ Company. Photography by Richard Valencia

 

 

 

 

 

 

 

 

 

 

The second display Silver: The Dark Side challenges our perception on how silver should look.  It is the inspiration of Brian Kennedy.  He explains: “Many years ago, while visiting the Art Institute of Chicago, I came across a case holding a magnificent pair of Georgian candelabra. Instead of the usually gleaming silver, I was confronted by two inky black oxidised pieces, mysterious and slightly sinister and oh so contemporary! A love affair with blackened silver had begun”.  The objects he has selected in some case feature not only these intriguing surfaces but have enamelling or other metals incorporated in their design. So whether pieces of jewellery or objects for interiors they are certainly the dernier cri.

Hazel Thorn Fractured Vessel Image © The Goldsmiths’ Company. Photography by Richard Valencia

Hazel Thorn
Fractured Vessel
Image © The Goldsmiths’ Company. Photography by Richard Valencia

DETAILS:

Week One: 27 Sept– 2 Oct 2016
Week Two: 4 – 9 Oct 2016

Opening Times
11am – 6pm (Thursdays late till 8pm)
11am – 4pm Sunday
Closed Monday 3 October

 

goldsmithsfair.co.uk

thegoldsmiths.co.uk

Alfies at the Autumn Decorative Antiques & Textiles Fair

The Autumn Decorative Antiques & Textiles Fair, Battersea Evolution, Battersea Park, London SW11, 27th September-2nd October 2016

1930s Art Deco occasional table offered by Travers Antiques

1930s Art Deco occasional table offered by Travers Antiques

Those fans of the series Poldark and Victoria on television will no doubt find antiques and furnishings to achieve a similar period look at home while those who favour Scandinavian style will find inspiration in the special exhibition Scandi Days & Nordic Nights.

Brass drinks cart offered by Matt Mitchell

Brass drinks cart offered by Matt Mitchell

Special visitors to this edition of the Fair are a group of dealer’s from the well-known Alfies Antique Market in Church Street, London NW8.  Alfies are celebrating a well-deserved fortieth anniversary this year and this special Alfies Marylebone Stand on the Fair’s mezzanine floor is part of the celebrations.  I sincerely hope that they will become a regular feature.

Brass lamp offered by Travers Antiques

Brass lamp offered by Travers Antiques

 

 

 

 

 

Among the Alfies dealers taking part are:
The Moderns
Tin Tin Collectables Luggage
Thirteen Interiors
Duncan Clarke
Steven Lazarus
Diplomat Treasures International
Mark Eaton
Louise Verber
Travers Antiques
Matt Mitchell London

 

www.decorativefair.com

http://www.alfiesantiques.com

Glass end table offered by Louise Verber

Glass end table offered by Louise Verber

Brian Sewell

Brian Sewell: Critic & Collector, Christie’s London King Street, 27 September 2016

Matthias Stomer (Amersfoort c. 1600-after 1652 ?Sicily or northern Italy) Blowing Hot, Blowing Cold oil on canvas 46 ¾ x 54 in. (118.8 x 137.1 cm.) Estimate: £400,000-600,000 CHRISTIE'S IMAGES LTD. 2016

Matthias Stomer (Amersfoort c. 1600-after 1652 ?Sicily or northern Italy)
Blowing Hot, Blowing Cold
oil on canvas
46 ¾ x 54 in. (118.8 x 137.1 cm.)
Estimate: £400,000-600,000
CHRISTIE’S IMAGES LTD. 2016

It can really come as no surprise that the taste and connoisseurship of the legendary art critic, author and award-winning journalist, Brian Sewell (1931-2015) should be commemorated in this special sale at Christie’s next week.  The two hundred and forty-eight lots range from Old Master paintings and drawings to 19th and 20th century British Art and reflect many years of collecting.  Estimates range from £600 to £600,000 and I feel sure that some estimates will be well exceeded.

John Craxton, R.A. (London 1922-2009) Lucian Freud signed 'Craxton' (lower left), dated '26.10.46.' (lower right), inscribed 'Lucian' (upper right) and inscribed again and dated again 'Lucian Freud/poros 1946' (on the backboard) pencil 22 x 17 in. (55.8 x 43.2 cm.) Estimate: £50,000 – 80,000 CHRISTIE'S IMAGES LTD. 2016

John Craxton, R.A. (London 1922-2009)
Lucian Freud
signed ‘Craxton’ (lower left), dated ‘26.10.46.’ (lower right), inscribed ‘Lucian’ (upper right) and inscribed again and dated again ‘Lucian Freud/poros 1946’ (on the backboard)
pencil
22 x 17 in. (55.8 x 43.2 cm.)
Estimate: £50,000 – 80,000
CHRISTIE’S IMAGES LTD. 2016

Following his studies in Art History at the Courtauld Institute he went on to work at Christie’s in the picture department between 1958 and 1967.  His colleague Noël Annesley (Honorary Chairman, Christie’s UK) recalled: “Brian was a young man of 27 when he joined Christie’s. As his assistant, I got to admire him and to like him enormously. He evolved from a rather shy, cerebral art historian turned auction house expert into one of the most famous and widely read British art critics of our time. Brian was a man whose opinions were sought not just on art but on a wide variety of topics, reflecting the exceptional range of his interests. He could be relied upon to provide witty and often devastating judgements. A wonderful instructor, serious but humorous too, he set a standard for us all.”

 

The current UK Chairman Orlando Rock said: “Brian Sewell was, undoubtedly, one of Christie’s most colourful and learned former colleagues. What always motivated him was his love of great art and its power to move and inspire, combined with his characteristic and acerbic wit.”

Eliot Hodgkin (1905-1987) Twelve Pheasant Eggs signed, inscribed and dated 'Twelve Pheasant Eggs/by Eliot Hodgkin/2 VII 59' (lower right) tempera on board 10½ x 16 in. (26.5 x 40.8 cm.) Estimate: £20,000 - 30,000 CHRISTIE'S IMAGES LTD. 2016

Eliot Hodgkin (1905-1987)
Twelve Pheasant Eggs
signed, inscribed and dated ‘Twelve Pheasant Eggs/by Eliot Hodgkin/2 VII 59’ (lower right)
tempera on board
10½ x 16 in. (26.5 x 40.8 cm.)
Estimate: £20,000 – 30,000
CHRISTIE’S IMAGES LTD. 2016

I was fortunate to meet him on many occasions through colleagues and always found him to be a very approachable man who had a great sense of what is right and was not afraid to speak out when things were not.  Our world is in need of such voices today but sadly they appear to be becoming fewer.

Daniele Ricciarelli, called Daniele da Volterra (Volterra 1509-1566) Dido reclining, asleep black chalk, watermark crossbow in a circle (Briquet 749, Lucca, 1548), unframed 13 x 18 1/8 in. (33.2 x 45.9 cm.) Estimate: £100,000 - 150,000 CHRISTIE'S IMAGES LTD. 2016

Daniele Ricciarelli, called Daniele da Volterra (Volterra 1509-1566)
Dido reclining, asleep
black chalk, watermark crossbow in a circle (Briquet 749, Lucca, 1548), unframed
13 x 18 1/8 in. (33.2 x 45.9 cm.)
Estimate: £100,000 – 150,000
CHRISTIE’S IMAGES LTD. 2016

 

http://www.christies.com

BOOK REVIEW: HUBERT ROBERT

Hubert Robert

Margaret Morgan Grasselli and Yuriko Jackall with contributions from Guillaume Faroult and Catherine Voiriot

£45.00 GBP
Lund Humphries
ISBN: 9781848221918

hubert-robert-2d-cover-lores

This is a wonderful celebration of this multi-faceted artist and draftsman, Hubert Robert (1733-1808), who could also turn his hand to being an interior decorator and garden architect, including designs for the Queen’s Dairy at Rambouillet for Marie Antoinette.  We are fortunate that while the book has been published to coincide with the exhibition in Washington DC’s National Gallery of Art which ends at the beginning of October it will have a very long and useful life as a stand-alone reference work thanks to the scholarship and up-to-date research that the authors and contributors bring to it.

 

His time in Rome, where he met and became friends with Fragonard, Panini and Piranesi, led to his penchant for depicting ruins often peopled with figures and for which he became known as ‘Robert des ruines’. He received the support of wealthy patrons and in 1784 was appointed ‘Keeper of the Museum’ (the future Louvre Museum).  He was imprisoned for a while after the French Revolution but on his release continued with a series of paintings depicting the Louvre’s Grande Galerie.

Hubert Robert (1733-1808). Painting Gallery Being Used as an Artist's Studio, 1789 Paris, Musée du Louvre. RF1938-69.

Hubert Robert (1733-1808).
Painting Gallery Being Used as an Artist’s Studio, 1789
Paris, Musée du Louvre. RF1938-69.

I have long been interested in 18th century French art and have enjoyed seeing works by artist such as Boucher, Greuze, Fragonard, Vigée- Le Brun and so on, but my favourite has always been Robert.  To me he captures the spirit of the time perfectly and while his works are out of my reach I now have the great pleasure of this book to enjoy.

Hubert Robert (1733-1808) Burning of Rome, c. 1771 Musée d'Art Moderne André Malraux, Le Havre

Hubert Robert (1733-1808)
Burning of Rome, c. 1771
Musée d’Art Moderne André Malraux, Le Havre

 

http://www.lundhumphries.com

‘Gibson of Rome’

John Gibson RA: A British Sculptor in Rome, Tennant Gallery and Council Room, Royal Academy of Arts, Burlington House, Piccadilly, London W1, until 18th December 2016

John Gibson, R.A. (1790-1866) Sleeping Shepherd Boy 1818 Bequeathed by John Gibson, R.A., 1866 Plaster 110.50 x 47.0 x 94.0 cm Photo credit: (c) Royal Academy of Arts, London

John Gibson, R.A. (1790-1866)
Sleeping Shepherd Boy
1818
Bequeathed by John Gibson, R.A., 1866
Plaster
110.50 x 47.0 x 94.0 cm
Photo credit: (c) Royal Academy of Arts, London

It is a hundred and fifty years since the death of John Gibson RA (1790-1866) who was a leading neoclassical sculptor of his time. He was born in the Welsh town of Conwy but when still a child moved with his family to Liverpool. He was enthralled by Ancient Greek and Roman Art from an early age and his artistic talent and enthusiasm was recognised by a group of supporters who raised the wherewithal for him to go on a study trip to Italy in 1817.

John Gibson, R.A. (1790-1866) Cupid pursuing Psyche Before 1843 Bequeathed by John Gibson, R.A., 1866 Marble relief 72.40 x 103.50 x 10.50 cm Photo credit: (c) Royal Academy of Arts, London

John Gibson, R.A. (1790-1866)
Cupid pursuing Psyche
Before 1843
Bequeathed by John Gibson, R.A., 1866
Marble relief
72.40 x 103.50 x 10.50 cm
Photo credit: (c) Royal Academy of Arts, London

In Rome he was able to study under the leading sculptor of the day, Antonio Canova and was urged by him to set up a studio in Rome.  Gibson did so and thanks to a European clientele decided to settle there saying: ‘In England my life would be spent in making busts and statues of great men in coats and neckties; here I am employed upon poetical subjects which demand the exercise of the imagination, and the knowledge of the beautiful.’.  His sculptures were also popular in this country where he was known as ‘Gibson of Rome’ and by 1844 (the year of his first return visit) he counted the Queen and Prince Albert among his patrons. In 1836 he was elected as a Royal Academician.

Sir Edwin Landseer, R.A. (1802-1873) Portrait of John Gibson, R.A. ca.1850 Bequeathed by Sir Edwin Landseer, R.A., 1874 92.50 x 72.0 x 2.50 cm Oil on canvas Photo credit: (c) Royal Academy of Arts, London; Photographer: John Hammond

Sir Edwin Landseer, R.A. (1802-1873)
Portrait of John Gibson, R.A.
ca.1850
Bequeathed by Sir Edwin Landseer, R.A., 1874
92.50 x 72.0 x 2.50 cm
Oil on canvas
Photo credit: (c) Royal Academy of Arts, London; Photographer: John Hammond

He had bequeathed his artworks to the Royal Academy on his death in 1866 and works on show in this exhibition and others on display at Bodelwyddan Castle, Denbighshire, Wales are part of this significant bequest.

John Gibson, R.A. (1790-1866) Monument to Lady Leicester: Angel carrying infant and leading mother to heaven ca.1844 Bequeathed by John Gibson, R.A., 1866 Plaster cast 181.0 x 126.50 x 18.0 cm Photo credit: (c) Royal Academy of Arts, London

John Gibson, R.A. (1790-1866)
Monument to Lady Leicester: Angel carrying infant and leading mother to heaven
ca.1844
Bequeathed by John Gibson, R.A., 1866
Plaster cast
181.0 x 126.50 x 18.0 cm
Photo credit: (c) Royal Academy of Arts, London

This exhibition is complemented by a virtual exhibition ‘The Gibson Trail’ which has images and information on over one hundred and fifty objects in the collections of the Royal Academy, the Victoria & Albert Museum, Tate Britain, the Palace of Westminster, Westminster Abbey, the National Portrait Gallery and Buckingham Palace. The website www.gibson-trail.uk includes an interactive map showing the locations of Gibson’s works in the capital.

The Tennant Gallery and Council Room Dates and Opening Hours Exhibition open to the public: 8 September – 18 December 2016 Tuesday – Friday, 10am – 4pm Saturday – Sunday, 10am – 6pm Closed Monday

 www.royalacademy.org.uk

Sotheby’s at Chatsworth

Beyond Limits – Sotheby’s at Chatsworth, Chatsworth, Derbyshire, until 30th October 2016

Zaha Hadid Lilas, 2007 Courtesy of Sotheby's

Zaha Hadid
Lilas, 2007
Courtesy of Sotheby’s

Sotheby’s annual Beyond Limits has the perfect setting in the glorious gardens of Chatsworth, the family home of the Duke and Duchess of Devonshire and so it is no wonder that it has become a popular platform for the display and sale of both modern and contemporary outdoor sculpture.  Pride of place this year is given to Zaha Hadid’s sculpturally stunning Lilas pavilion, which was created for London’s Serpentine Gallery’s summer party in 2007.

Chatsworth’s own Art Out Loud festival takes place between 23rd -25th September

 

http://www.chatsworth.org/attractions-and-events/events/chatsworth-festival

 

www.sothebys.com