LAPADA Art & Antiques Fair 2014

LAPADA Art & Antiques Fair 2014, Berkeley Square, Mayfair, London, W1, 24th September – 28th September 2014

 The LAPADA Art & Antiques Fair Berkeley Square 2013

The LAPADA Art & Antiques Fair Berkeley Square 2013

This is the sixth edition of the fair in its prime central location and it has very much become a place for collectors from around the world to come and buy some of the many fine pieces of furniture, jewellery, carpets, tapestries, antiquities, clocks, ceramics, silver and fine art that are on offer.   All works are vetted by an expert committee before being displayed.

Chinese School, 19th century,  selection of works from a collection depicting various subjects, from Crispian Riley-Smith Fine Arts

Chinese School, 19th century, selection of works from a collection depicting various subjects, from Crispian Riley-Smith Fine Arts

Among newcomers to the fair is Crispian Riley-Smith Fine Arts Ltd who will be showing the Cesare Maccari Collection of Chinese Watercolours. Their subject matter is natural history and biology and they were originally commissioned by an officer in the British East India Company and were aimed for the growing European interest in such subjects in the 19th century.

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As my regular followers know leading furniture dealers Butchoff Antiques are celebrating their 50th anniversary this year and at the show they are exhibiting the winning piece of their 50th Anniversary Design Competition. Called‘E-Scritoire’, it is a small writing cabinet or portable laptop table and was designed by Giulia Liverani and combines both elegance and utility well as these images show.

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The Italian textile company Dedar has collaborated with Butchoff to use their textiles to upholster period furniture such as the pair of French Régence style armchairs which have been upholstered in the Turkish inspired fabric Bukara. Seems a great way forward to me.

A fine pair of salon armchairs in the Régence manner by Maison Krieger of Paris, circa 1870. Dimensions H 113 cm, W 70 cm, D 60 cm. Upholstered in Bukara, a pattern of Turkoman inspiration embroidered with bulky textured yarn onto a Tussah silk ground.

A fine pair of salon armchairs in the Régence manner by Maison Krieger of Paris, circa 1870. Dimensions H 113 cm, W 70 cm, D 60 cm. Upholstered in Bukara, a pattern of Turkoman inspiration embroidered with bulky textured yarn onto a Tussah silk ground.

The Fair’s charity party will benefit The National Osteoporosis Society.

 

Cuenca rug, Spain, circa. 1920, 2.46 x 2.02 metre, from Gallery Yacou

Cuenca rug, Spain, circa. 1920, 2.46 x 2.02 metre, from Gallery Yacou

Fine George III mahogany table  clock by J & F Vigne, London, c. 1795, from Montpellier Clocks-1

Fine George III mahogany table clock by J & F Vigne, London, c. 1795, from Montpellier Clocks

www.lapadalondon.com

Iva Troj at Imitate Modern

Iva Troj – My Dear Foe, Imitate Modern, 27A Devonshire St, Marylebone, London W1, 23rd –28th September 2014

Lions Fight and then Rest, 2014.  110x66cm,  oil pastel, ink, acrylics on canvas  © Iva Troj

Lions Fight and then Rest, 2014.
110x66cm,
oil pastel, ink, acrylics on canvas
© Iva Troj

This exhibition of works by the Bulgarian-born artist Iva Troj is being presented by Roberta Moore Contemporary and is Troj’s first UK solo show.

Swan Daughter, 2014.  40x40cm,  oil pastel, ink, acrylics on canvas  © Iva Troj

Swan Daughter, 2014.
40x40cm,
oil pastel, ink, acrylics on canvas
© Iva Troj

Her works are a combination of both traditional and postmodern elements – she actually uses computer-based tools and techniques to sketch and test her proposed paintings before starting on them. The results as we see are quite striking with renaissance-like figures combined with elements and symbols of Japanese art in some. The result – a new form of allegory with a modern twist perhaps?

The Scorching Sun, 2014.  91x91cm, oil pastel, ink, acrylics on canvas  © Iva Troj

The Scorching Sun, 2014.
91x91cm, oil pastel, ink, acrylics on canvas
© Iva Troj

http://www.robertamoore.co.uk

Liss Fine Art at the Morley Gallery

The Great War – As Recorded through the Fine and Popular Arts, Morley Gallery, Morley College, 61 Westminster Bridge Road, London, SE1, until 2nd October, 2014

 

Ludovic-Rodolphe (Rodo) Pissarro (1878-1952), Business as Usual, c.1916, Signed with initials, Watercolour on paper, 7 x 5 1/2 in. (14 x 8 cm)

Ludovic-Rodolphe (Rodo) Pissarro (1878-1952),
Business as Usual, c.1916,
Signed with initials,
Watercolour on paper, 7 x 5 1/2 in. (14 x 8 cm)

It is fitting that this very special exhibition should be taking place so close to London’s Imperial War Museum as it is part of the IWM-led WW1 Centenary initiatives. This exhibition has been ten years in the making and Liss Fine Art deserve our congratulations on their impressive achievement.

George Edward Wade (1853-1933), Sergeant of the Grenadier Guards in Marching Order , Plaster, 17 in. (43 cm) high

George Edward Wade (1853-1933),
Sergeant of the Grenadier Guards in Marching Order ,
Plaster, 17 in. (43 cm) high

By combining fine and popular arts they show not only the varying responses to the war but also how women, pacifists and fighting men were depicted. It is a very comprehensive survey.

Adolph Treidler (1886-1981) For every fighter a woman worker - care for her through the YWCA, c.1918, Lithograph, 40 x 30in. (101.6 x 76.2 cm)

Adolph Treidler (1886-1981)
For every fighter a woman worker – care for her through the YWCA, c.1918,
Lithograph, 40 x 30in. (101.6 x 76.2 cm)

Among the artists represented are Eric Kennington, Spencer Pryse, Colin Gill, Percy Jowett, William Strang and Stanhope Forbes, as well as Henry Tonks, Christopher Nevinson, James McBey, Ellis Martin and Muirhead Bone.

Henry Tonks (1862-1937), Study for ‘An Advanced Dressing Station in France’, 1918 Pastel on paper, 20 x 14 in. (50.5 x 35.5 cm)

Henry Tonks (1862-1937),
Study for ‘An Advanced Dressing Station in France’, 1918
Pastel on paper, 20 x 14 in. (50.5 x 35.5 cm)

The pictures are greatly enhanced with a generous loan of WW1 memorabilia, propaganda, commemorative china, Trench Art, miniatures, and historic artefacts from the collection of David and Judith Cohen.

CONCHY An extremely rare hand-painted Savoy china (Birks Grotesques) World War One CONCHY. A Chloe Preston “peek-a-boo” character. Height: 4 1/2 in. (11.5 cm)

CONCHY
An extremely rare hand-painted Savoy china (Birks Grotesques) World War One CONCHY.
A Chloe Preston “peek-a-boo” character.
Height: 4 1/2 in. (11.5 cm)

 A fully illustrated 260 page catalogue accompanies the exhibition and all the proceeds will go to The Red Cross and Morley College.

Geoffrey Watson (1894-1979), A Direct Hit, 1918, Signed, titled and dated, Monochrome watercolours with gouache, 20 1/2 x 14 1/4 in. (52 x 36 cm)

Geoffrey Watson (1894-1979),
A Direct Hit, 1918,
Signed, titled and dated,
Monochrome watercolours with gouache, 20 1/2 x 14 1/4 in. (52 x 36 cm)

www.lissfineart.com

35 The trenches in winter

http://www.morleycollege.ac.uk/gallery

Peace Plate An extremely rare W. H. Goss “Peace” plate, c.1919, China - transfer printed ceramic, diameter: 8 in. (20.5 cm)

Peace Plate
An extremely rare W. H. Goss “Peace” plate, c.1919,
China – transfer printed ceramic, diameter: 8 in. (20.5 cm)

Norman Blamey

Norman Blamey OBE (1914-2000)

Norman Blamey RA OBE 1914 - 2000 The Flower Stall, 1949 oil on canvas   H 51 x W 61 cm (H 20 1⁄8 x W 24  in)

Norman Blamey RA OBE 1914 – 2000
The Flower Stall, 1949
oil on canvas
H 51 x W 61 cm (H 20 1⁄8 x W 24 in)

Knowing how much many of you enjoyed my recent blog A painting by Norman Blamey sells for over five times its estimate at auction I thought I would share these two pictures which are in Messum’s exhibition Modern Romantics until the 27th of September.

Norman Blamey RA OBE 1914 - 2000  Jumble Sale, 1949 oil on canvas  H 38 x W 31 cm (H 15  x W 12 1⁄4 in)

Norman Blamey RA OBE 1914 – 2000
Jumble Sale, 1949
oil on canvas
H 38 x W 31 cm (H 15 x W 12 1⁄4 in)

http://www.messums.com

Bowman Sculpture – Indoors and Outside

Nicole Farhi: ‘From the Neck Up’, Bowman Sculpture, 6 Duke Street St James’s, London SW1, until 3rd October 2014.

 

 NICOLE FARHI, FRANCIS BACON, EDITION OF 9

NICOLE FARHI, FRANCIS BACON,
EDITION OF 9

To many Nicole Farhi is known only as a fashion designer but in fact she has been sculpting for nearly thirty years and was taught by the noted sculptor Sir Eduardo Paolozzi CBE (1924–2005). She has been a full-time sculptor for the last three years and From the Neck Up is her first gallery exhibition.

NICOLE FARHI, ANNA WINTOUR, IN THE STUDIO EDITION OF 9

NICOLE FARHI, ANNA WINTOUR, IN THE STUDIO
EDITION OF 9

She has an idiosyncratic style that favours both the abstract works and the twelve busts of people from the world of the arts on view, including Dame Judi Dench, Bill Nighy and Helena Bonham Carter; playwright Tom Stoppard; Anna Wintour, editor of Vogue; and artists Lucian Freud, Francis Bacon and Eduardo Paolozzi.

NICOLE FARHI, PURE FORCE II,  EDITION OF 9

NICOLE FARHI, PURE FORCE II,
EDITION OF 9

 

Farhi says of her work: “The human face has always greatly interested me. I have a rather good memory for faces, even if in life I have seen them only once or twice as in the case of Freud and Bacon. Most of the time producing a portrait requires a rapport between the artist and the sitter. The true character of the person will come through these repeated sessions.

 Usually my sitters will come to the studio to be photographed or I will go to them. I will then start building an armature and after a few hours sculpting in clay the structure of the face will appear or not… Once I have the structure the true character will follow – sometimes days later, weeks, sometimes months.”

 

It is a very good debut and among the luminaries at the opening were Dame Judi Dench, Leslie Caron, Julian Sands and Farhi’s husband the playwright David Hare.

 

NICOLE FARHI, JUDI DENCH IN THE STUDIO

NICOLE FARHI, JUDI DENCH IN THE STUDIO

____________________________________

 

 

Not too far away from the gallery at the Economist Plaza, St James’s, will be three of Paolozzi’s sculptures – Suwasa (1966) Kalasan (1973-4) and Trishula (1966) – which are reunited for the first time since the sculptors 70th birthday in 1994.

Suwasa, 1966 Eduardo Paolozzi (British 1924-2005) cast, extruded and welded aluminium, Unique. Height: 222cm  Modified by the Artist in 1974 for the Wallingford commission

Suwasa, 1966 Eduardo Paolozzi (British 1924-2005) cast, extruded and welded aluminium, Unique.
Height: 222cm
Modified by the Artist in 1974 for the Wallingford commission

Originally they formed part of a children’s playground Paolozzi conceived for the Habitat store at Wallingford in Oxfordshire and will be at the Plaza from September 20th.

 

 

 

 

www.bowmansculpture.com

all images are copyright

PRIMROSE: Early Colour Photography in Russia

PRIMROSE: Early Colour Photography in Russia, The Photographers’ Gallery, 16-18 Ramillies Street, London W1, until 19th October 2014

 

P.T. Ivanov First year of the military service, Saint Petersburg, 1911 Collection of the Multimedia Art Museum, Moscow/ Moscow House of Photography Museum © Multimedia Art Museum, Moscow/ Moscow House of Photography Museum

P.T. Ivanov
First year of the military service, Saint Petersburg, 1911
Collection of the Multimedia Art Museum, Moscow/
Moscow House of Photography Museum
© Multimedia Art Museum, Moscow/ Moscow House of
Photography Museum

This exhibition takes us on a journey from the Russia of the 1860s to that of the 1980s and it looks at the experiments with and development of colour photography in both the pre- and post-revolutionary periods. Like me you may wonder why the word primrose is used; it is easily explained as it literally means ‘first colour’ in Russian.

Dmitri Baltermants Stalin’s funeral, Moscow, 1953 Collection of the Multimedia Art Museum, Moscow/ Moscow House of Photography Museum © Multimedia Art Museum, Moscow/ Moscow House of Photography

Dmitri Baltermants
Stalin’s funeral, Moscow, 1953
Collection of the Multimedia Art Museum, Moscow/
Moscow House of Photography Museum
© Multimedia Art Museum, Moscow/ Moscow House of
Photography

Divided into five sections chronologically it takes us from the 1860s when prints were hand-tinted with oil paints and watercolours, through progression and repression to a time when everyday reality was starting to become more apparent, although works could not always be shown publicly. Interestingly enough hand-tinted portraits also started to re-appear.

Varvara Stepanova Photomontage 'Beready!' 1932 Using photographs by A. Rodchenko Courtesy of a Private Collection

Varvara Stepanova
Photomontage ‘Beready!’ 1932
Using photographs by A. Rodchenko
Courtesy of a Private Collection

It provides a rewarding glimpse into the social and political life of Russia.

 Anonymous Sochi. Arboretum, 1957 Collection of the Multimedia Art Museum, Moscow/ Moscow House of Photography Museum © Multimedia Art Museum, Moscow/ Moscow House of Photography Museum

Anonymous
Sochi. Arboretum, 1957
Collection of the Multimedia Art Museum, Moscow/ Moscow House of Photography Museum
© Multimedia Art Museum, Moscow/ Moscow House of Photography Museum

 

http://www.thephotographersgallery.org.uk

Boris Mikhailov From the ‘Luriki’ series. 1971-1985 Collection of the Multimedia Art Museum, Moscow/ Moscow House of Photography Museum ©Boris Mikhailov © Multimedia Art Museum, Moscow/ Moscow House of Photography Museum

Boris Mikhailov
From the ‘Luriki’ series. 1971-1985
Collection of the Multimedia Art Museum, Moscow/
Moscow House of Photography Museum
©Boris Mikhailov
© Multimedia Art Museum, Moscow/ Moscow House of
Photography Museum

 

Connaught Brown

Baltasar Lobo: The Feminine Form, Connaught Brown, 2 Albemarle Street, London, W1, until 9th October 2014

Baltasar Lobo 1910- 1993  Torse incliné en avant sur socle, 1976-1981 Signed, stamped with foundry mark and numbered 0/3 Bronze, Susse foundry, Paris 13 3/8 x 8 5/8 x 7 1/4 in, 34 x 22 x 18.5cm

Baltasar Lobo 1910- 1993
Torse incliné en avant sur socle, 1976-1981
Signed, stamped with foundry mark and numbered 0/3
Bronze, Susse foundry, Paris
13 3/8 x 8 5/8 x 7 1/4 in, 34 x 22 x 18.5cm

In 1939 Lobo moved to Paris at the end of the Spanish Civil War where he soon found his niche within the group of international artists, known as the School of Paris, which included Jacques Lipchitz, Pablo Picasso and Henri Laurens.

Baltasar Lobo 1910- 1993  Mere et enfant, 1953 signed and dated lower right, titled on reverse Ink on paper 25 x 19 ins 65 x 50 cm

Baltasar Lobo 1910- 1993
Mere et enfant, 1953
signed and dated lower right, titled on reverse
Ink on paper
25 x 19 ins
65 x 50 cm

As the exhibition title suggests Lobo was fascinated by the female form and was adept at depicting it sensually in his exquisite bronzes with an element of abstraction. He also explored the theme of motherhood through his drawings and paintings. As this drawing shows he really could catch the joy and bond between child and mother.

Baltasar Lobo 1910- 1993  Colombe, 1967 Signed White Carrara marble 10 5/8 x 11 1/8 x 5 7/8 in, 27 x 28 x 15cm

Baltasar Lobo 1910- 1993
Colombe, 1967
Signed
White Carrara marble
10 5/8 x 11 1/8 x 5 7/8 in, 27 x 28 x 15cm

http://www.connaughtbrown.co.uk

all images are copyright