Oleg Vassiliev: Paintings 1967 – 2012 at the Faggionato Gallery

Oleg Vassiliev: Paintings 1967 – 2012, until 17th January 2014, Faggionato Gallery, 1st Floor, 49 Albemarle Street, London W1S 4JR

Welcome 2012 Oil on canvas Signed, dated and titled on reverse O. Vassiliev I/XII, “Welcome” 152.4 x 119.4 cm (60 x 47 in)

Welcome 2012
Oil on canvas
Signed, dated and titled on reverse O. Vassiliev
I/XII, “Welcome”
152.4 x 119.4 cm (60 x 47 in)

In 2008 Faggianato held Russian artist Oleg Vassiliev’s first major show in London and now hold a retrospective that celebrates his life and includes some of his last works.  He died in January this year.

Praire Grasses, Reflections 2012 Oil on canvas 182.9 x 182.9 cm (72 x 72 in)

Praire Grasses, Reflections 2012
Oil on canvas
182.9 x 182.9 cm (72 x 72 in)

His works certainly do not conform to the State’s idea of Socialist Realism and he was considered to be one of the leading exponents of the Soviet Non-Conformist Art Movement (the “unofficial” Russian Art Movement) which emerged in the 1960s.

The Aisle 2004 Oil on canvas Signed, titled, dated and inscribed on reverse O. Vassiliev, “The Aisle” 2004, | Study | 71.1 x 61 cm (28 x 24 in)

The Aisle 2004
Oil on canvas
Signed, titled, dated and inscribed on reverse O.
Vassiliev, “The Aisle” 2004, | Study |
71.1 x 61 cm (28 x 24 in)

The paintings, which include some (Lusja with Tulips, 1967 and The Aisle, 2004) which are being exhibited for the first time, are a mixture of the Russian early 20th century Avant Garde and the lyrical realism of the previous century.  They are a fusion of almost abstract light and realism – “the light of consciousness”. There is a sense of looking back combined with a feeling of looking forward; a spirit of hope imbues them.

Lusja with Tulips 1967 Oil on canvas Signed, titled and dated on reverse in Russian 100 x 79.5 cm (40 2/5 x 31 3/10 in)

Lusja with Tulips 1967
Oil on canvas
Signed, titled and dated on reverse in Russian
100 x 79.5 cm (40 2/5 x 31 3/10 in)

The artist himself said “To me, the visible and tangible world is more a thing of remembrance than of perception of reality.”

Intertwined Space 2012 Oil on canvas 182.9 x 182.9 cm (72 x 72 in)

Intertwined Space 2012
Oil on canvas
182.9 x 182.9 cm (72 x 72 in)

One thing is certain in my mind and that is that this a show worth seeing.

Space and Landscape 1994 Oil on canvas Signed, titled and dated on reverse O. Vassiliev, “Space and Landscape”, 1994 121.9 x 91.4 cm (48 x 36 in)

Space and Landscape 1994
Oil on canvas
Signed, titled and dated on reverse O. Vassiliev,
“Space and Landscape”, 1994
121.9 x 91.4 cm (48 x 36 in)

http://www.faggionato.com

Tompion and the Golden Age: English Clocks 1675-1725 at Howard Walwyn Fine Antique Clocks

Tompion and the Golden Age: English Clocks 1675-1725 at Howard Walwyn Fine Antique Clocks, 123 Kensington Church Street, W8 7LP, until 14th December

 

To mark the opening of his new gallery leading antique clock specialist Howard Walwyn hosts an exhibition Tompion and the Golden Age which also marks the three hundredth anniversary of Thomas Tompion’s death in November 1713.  He was clockmaker to Charles II, James II, William and Mary and Queen Anne and is regarded as the foremost English clockmaker. He is buried in Westminster Abbey.

A fine James II period, ebony veneered, striking repeating bracket clock with a substantial twin fusee 8-day movement. A rare model, as few were made by Tompion with this movement. By Thomas Tompion of London Circa 1688 Ht: 12 3/8 in (31.5 cm) Provenance: This clock appears to have been in the same family for a great many generations and possibly since shortly after it was made. It is said to have been given by Queen Anne to a Miss Nicol who was a member of the Royal household and has come since by descent. If this is the case, the clock would have been some twenty years old at the time of the gift from the Queen

A fine James II period, ebony veneered, striking repeating bracket clock with a substantial twin fusee 8-day movement. A rare model, few were made  with this movement by Tompion.
By Thomas Tompion of London
Circa 1688
Ht: 12 3/8 in (31.5 cm)
Provenance: This clock appears to have been in the same family for a great many generations and possibly since shortly after it was made. It is said to have been given by Queen Anne to a Miss Nicol who was a member of the Royal household and has come down by descent. If this is the case, the clock would have been some twenty years old at the time of the gift from the Queen

What makes this exhibition very special, given the relatively small number of clocks made by Tompion still in existence, is that three clocks  – a Phase I ebony striking table clock, a rare 30-hour japanned longcase and a miniature striking lantern clock – are for sale (two of which  sold on the opening night!).

An important month duration Queen Anne period longcase clock, its magnificent case constructed principally of oak and veneered with the finest burr walnut veneers. The month duration movement is an example of Quare’s finest work. Made by Daniel Quare of London. Circa 1700 Ht: 117 1/4 in (298 cm) including top finial

An important month duration Queen Anne period longcase clock, its magnificent case constructed principally of oak and veneered with the finest burr walnut. The month duration movement is an example of Quare’s finest work.
Made by Daniel Quare of London.
Circa 1700
Ht: 117 1/4 in (298 cm) including top finial

Alongside these are a number of works by other leading clockmakers of the period and later, including a highly important longcase clock by Daniel Quare, who was also a Royal clockmaker.  There is a tavern clock by George III’s clockmaker Justin Vulliamy, unusual because of its tear-drop shaped trunk, as well as the rare one illustrated here by Thomas Chappell.

Thomas Chappell - Tavern clock An exceptionally rare George II period shield dial Tavern Clock of most unusual elongated form, the 8 Day movement with rectangular shaped plates. On the dial below the chapter ring are two outer angels playing trumpets and a central angel holding a scythe and an hour glass. The chinoiserie decoration on the door is also very distinctive with sun and clouds at the top and an intimate dining scene below. Date: circa 1755 Height: 64 in (165 cm)

Thomas Chappell – Tavern clock
An exceptionally rare George II period shield dial Tavern Clock of most unusual elongated form, the 8 Day movement with rectangular shaped plates. On the dial below the chapter ring are two outer angels playing trumpets and a central angel holding a scythe and an hour glass. The chinoiserie decoration on the door is also very distinctive with sun and clouds at the top and an intimate dining scene below.
Date: circa 1755
Height: 64 in (165 cm)

There is also a selection of other clocks and barometers from the 17th to the early 19th centuries, which are shown in a mixture of period and contemporary settings.

Tompion – Bracket or table clock - back plate

Tompion – Bracket or table clock – back plate

www.walwynantiqueclocks.com

ALL IMAGES ARE COPYRIGHT

Vincennes Porcelain Blue Celeste Oval Dish from First Louis XV Service Sells For £70,000

What is it about turquoise coloured Vincennes and Sèvres porcelain that make it so attractive and so sought after?  I think looking at this Vincennes Porcelain Bleu Celeste oval dish many will understand the reason why.

Vincennes porcelain Blue Celeste dish from Louis XV Service

What a dish it is too. Sold by Guildford-based Wellers Auctioneers for £70,000 after enthusiastic competition and setting a new house record, this dish comes from the first service made for Louis XV.  The service introduced Bleu Céleste as a ground colour and the shape of many of the pieces in the service were especially designed by Jean-Claude Duplessis who was created orfèvre du roi (King’s goldsmith) in 1758.  Duplessis had produced designs for the Vincennes factory since the late 1740s.  The service was delivered to the King in three stages between 1753 and 1755.

The successful bidder was La Maison Vandermeersch who specialise in French porcelain and European ceramics.  Speaking of their purchase Camille Le Prince said “We are thrilled for having discovered this exceptional piece, as its shape is very rare. It was designed by Jean Claude Duplessis and its’ drawing is now held at the archives at the Manufacture Nationale de Sèvres. We are excited by this new acquisition that will no doubt endow our large exhibition of French porcelain scheduled for June 2014”

LAPADA Gift Vouchers for Christmas Presents

If you are scratching your head in frustration at what to buy family or friends for Christmas (or any other celebratory occasion) then LAPADA Gift Vouchers may be the solution.  Ideal for those who love art and antiques!

French Modernist Chrome Planet Champagne Cooler, c.1955-60 from Smith & Robinson

French Modernist Chrome Planet Champagne Cooler, c.1955-60 from Smith & Robinson

They can be bought in denominations of £50 or £100 and can be used as full or part-payment towards your purchase from any LAPADA member whether in a shop or when exhibiting at one of the major antique fairs.  They have to be spent within a year of the date of issue.

Antique Cameo Shell Brooch from Berganza

Antique Cameo Shell Brooch from Berganza

To purchase LAPADA Gift Vouchers, email Max Stiegler (mstiegler@lapada.org), or telephone 020 7823 3511 and  request a leaflet and order form.

Butterfly Garden, 2013, porcelain and black stain, edition of 10, by Katherine Morling from Long & Ryle

Butterfly Garden, 2013, porcelain and black stain, edition of 10, by Katherine Morling from Long & Ryle

www.lapada.org

Christofle squirrel nut dishes, c.1930 from Hampton Antiques

Christofle squirrel nut dishes, c.1930 from Hampton Antiques

ALL IMAGES ARE COPYRIGHT

A George II red lacquer bracket clock by Robert Ward, London c1750 from Millington Adams Ltd

A George II red lacquer bracket clock by Robert Ward, London c1750 from Millington Adams Ltd

‘Christmas Selling Exhibition’ at Stockspring Antiques, 4th-7th December

 ‘Christmas Selling Exhibition’ at Stockspring Antiques, 114 Kensington Church Street, London W8 4 BH,  4th-7th December

Xmas-shot-5

 This exhibition combines 18th and early 19th century English and Continental porcelain and pottery (Stockspring Antiques), fine English and Irish glass (Delomosne & Son Ltd) and some very fine silver from the noted London dealer Sanda Lipton. She is showing a selection of fine silver, historic medals, posy rings and plaid brooches.

All in all whether you are looking for Christmas gifts, or seeking to decorate your Christmas table with usable antiques this is the place to go.

(Opening Hours: 4th 11:00-19:00hrs, 5th& 6th 10:00-17:30hrs & 7th 10:00-16:00hrs)

The Male Nude: Eighteenth-century drawings from the Paris Academy, an exhibition at The Wallace Collection

The Male Nude: Eighteenth-century drawings from the Paris Academy, The Wallace Collection, until 19th January 2014

François Boucher, Study of a man lying down, an elbow leaning on the ground, 1739. © ENSBA, Paris.

François Boucher, Study of a man lying down, an elbow leaning on the ground, 1739. © ENSBA, Paris.

These remarkable drawings come from the Ėcole nationale supérieure des Beaux-Arts in Paris, which is a descendant of the Royal Academy of Painting and Sculpture, which was originally founded in 1648.  The Academy’s role was to teach the more gifted artists what skills were needed to succeed in history painting which in the late seventeenth and eighteenth century was considered the most important genre for a painter.  Indeed the Academy provided the best training in Europe.

François de Troy, Bacchus, standing face on, late 17th century. © ENSBA, Paris.

François de Troy, Bacchus, standing face on, late 17th century. © ENSBA, Paris.

At this time would-be painters or sculptors were apprenticed to a Master to learn in their studio.  Those who showed promise were allowed to attend the life class at the Academy.  Only male models were used as the male figure was regarded as the basis of sculpture and painting.  There were no female models allowed at the Academy, which meant that artists had to seek out their female subjects in less salubrious settings.

Hyacinthe Rigaud, Two fighters, (undated). © ENSBA, Paris.

Hyacinthe Rigaud, Two fighters, (undated). © ENSBA, Paris.

Although the Academy’s teaching regime was strict there is no doubt that it paid off as the thirty-seven drawings on show amply prove.  The figures whether single or in pairs are shown in a variety of poses, their facial expressions suited to the physical emotions they are expressing.

Antoine-Jean Gros, Man standing, striking a bull, 1790. © ENSBA, Paris.

Antoine-Jean Gros, Man standing, striking a bull, 1790. © ENSBA, Paris.

While some of the artists included in this show, such as Rigaud, Boucher, Nattier and Jean-Baptiste Isabey, are represented in the Wallace Collection, the Hertfords hardly collected any historical or academic works. So the opportunity to see this group of drawings fills an important gap in our understanding of the story of 18th century French painting.

Nicolas de Plattemontagne, Sleeping man, legs bent, 1687. © ENSBA, Paris.

Nicolas de Plattemontagne, Sleeping man, legs bent, 1687. © ENSBA, Paris.

As well as the exhibition there is a trail guide to pictures and objects in the Wallace’s collections that relate to the exhibition.

Jean-Baptiste Lagrenée, Seated man, leaning on his right arm, 1789. © ENSBA, Paris.

Jean-Baptiste Lagrenée, Seated man, leaning on his right arm, 1789. © ENSBA, Paris.

www.wallacecollection.org

François-Guillaume Ménageot, Hercules at rest, left profile, (undated). © ENSBA, Paris.

François-Guillaume Ménageot, Hercules at rest, left profile, (undated). © ENSBA, Paris.