Monthly Archives: December 2014

Albemarle Gallery

Winter Collective, Albemarle Gallery, 49 Albemarle Street, London W1, until 24th January 2015

download 1

I have had much enjoyment in writing about the Albemarle Gallery for many years now and have admired their shows by established and emerging artists with their obvious bias towards the unique and original.

download6
It therefore gives me pleasure to draw your attention to this exciting show which features not only their regular artists such as Pablo Atchugarry, Luciano Ventrone and Stuart Luke Gatherer but includes newcomers such as Anita Arbidane, Fletcher Sibthorp, Brad Faine and David Wightman.

download5

Try not to miss it!

download3

http://www.albemarlegallery.com

MAGGI HAMBLING

MAGGI HAMBLING: WALLS OF WATER at the National Gallery & Marlborough Fine Art

Maggi Hambling Wall of water, Amy Winehouse 2011 Oil on canvas 36 x 48 in © Maggi Hambling, photograph by Douglas Atfield

Maggi Hambling
Wall of water, Amy Winehouse
2011
Oil on canvas
36 x 48 in
© Maggi Hambling, photograph by Douglas Atfield

The gigantic waves depicted in this new body of work are inspired by the waves the artist has seen crashing against the sea wall at Southwold in her native Suffolk. In her large paintings at the National Gallery the exuberant colours bring the immediacy of the life and death cycle of the waves to the viewer forcefully as do the starker black and white monotypes to be seen at Marlborough Fine Art. Closer inspection of the works reveals the shadowy ghosts of people and animals as well and indeed there is one smaller painting that was created in response to Amy Winehouse’s death in 2011.

Wall of Water 3, 2011, 75.3 x 106.5 cm Courtesy of Marlborough Fine Art

Wall of Water 3, 2011, 75.3 x 106.5 cm
Courtesy of Marlborough Fine Art

Hambling says of them “The one crucial thing that only painting can do is to make you feel as if you’re there while it’s being created – as if it’s happening in front you.”

 

http://www.nationalgallery.org.uk

http://www.marlboroughfineart.com

NEWS UPDATE: CARTIER II – MARJORIE MERRIWEATHER POST

NEWS UPDATE: CARTIER II – MARJORIE MERRIWEATHER POST’S DAZZLING GEMS, Hillwood Estate, Museum and Gardens, Washington DC

Marjorie Post and Daughter Nedenia Hutton, 1929 Giulio de Blaas, Italy In this portrait, Post wears the Cartier emerald and diamond pendant brooch. Courtesy Hillwood Estate, Museum and Gardens.

Marjorie Post and Daughter Nedenia Hutton, 1929
Giulio de Blaas, Italy
In this portrait, Post wears the Cartier emerald and diamond pendant brooch.
Courtesy Hillwood Estate, Museum and Gardens.

Further to my blog of December 22nd- it has  been announced that the exhibition will now close on January 11, 2015, rather than on December 31st 2014. So still time to visit it!

 

http://www.HillwoodMuseum.org

A CHRISTMAS MESSAGE

Merry Christmas and a Happy New Year

Xmas 2014

Many thanks to you all for your interest in my blog and for the many likes, comments and endorsements in 2014
Warm good wishes

Tim Forrest

PS: Will be posting again next week

 

(IMAGE: Churchill Arms, Kensington Church Street, London W8. Kensington Church Street offers one of the largest selections of Art and Antiques in London  – http://www.antiques-london.com)

The Art of Speed

The Art of Speed, The Gallery, 54 Shepherd Market, London, W1, 22nd December 2013 – 5th January 2014

1964 British Grand Prix

1964 British Grand Prix

Some of you may recall the exciting exhibition held at the same time last year and I am delighted to tell you that William Lansbury has returned this year with an eclectic mixture of works, including paintings, posters and photos. The posters are particularly striking with their nostalgic appeal of times past.

Stirling Moss Mercedes 1955 British GP.

Stirling Moss Mercedes 1955 British GP.

Opening times:

Opening times:

22nd December 10am – 5pm

23rd December 10am – 10pm

24th – 26th December closed.

27th December 11am – 4pm

28th December 11am – 4pm        

29th December 11am – 4pm

30th December 11am – 4pm

 31st December closed (or by appointment)

 2nd – 4th January 2015 11am – 5pm.

 

 

www.theartofspeed.co.uk

Cartier II – MARJORIE MERRIWEATHER POST

CARTIER: MARJORIE MERRIWEATHER POST’S DAZZLING GEMS, Hillwood Estate, Museum and Gardens, Washington DC, until December 31, 2014

Portrait of Marjorie Merriweather Post, 1946 Frank O. Salisbury England Post wears Cartier diamond and sapphire Art Deco necklace Courtesy Hillwood Estate, Museum and Gardens

Portrait of Marjorie Merriweather Post, 1946
Frank O. Salisbury
England
Post wears Cartier diamond and sapphire Art Deco necklace
Courtesy Hillwood Estate, Museum and Gardens

Although there are two factors that suggest that I should not write about this – one the distance from London and two the fact that it is nearly over – I will still mention it in association with my Cartier book review.

Necklace, 1936/1937 Centerpiece by Cartier, New York Sapphires, diamonds, platinum Courtesy Hillwood Estate, Museum and Gardens

Necklace, 1936/1937
Centerpiece by Cartier, New York
Sapphires, diamonds, platinum
Courtesy Hillwood Estate, Museum and Gardens

While many of you will know of Mrs Post’s collections of French and Russian decorative arts (the latter is considered the best outside of Russia) she was also a serious collector of jewellery of the highest quality and ranks among the great American Cartier patrons. This exhibition which combines Hillwood’s own holdings of her jewellery and some of the jewellery she donated to the Smithsonian in 1964 reflects her taste and style. Among the loans is the Maximilian Emerald ring, named after the ill-fated Mexican Emperor, which she wore when presented at the English Royal court in 1929. She also had a French carpet that belonged to the Emperor in her Hillwood dining room.

Photograph of Marjorie Post taken at the time of her presentation of the Court of St. James’s in 1929. Courtesy Hillwood Estate, Museum and Gardens

Photograph of Marjorie Post taken at the time of her presentation of the Court of St. James’s in 1929.
Courtesy Hillwood Estate, Museum and Gardens

Nor were her Cartier purchases and commissions restricted to jewellery as she ordered frames in enamel, agate and onyx, sometimes adorned with semi-precious stones which were specially designed to complement the intended image they were to contain. Gem-set gold vanity cases and an extensive silver and enamel dressing table set were among her other purchases.

Compact and Lipstick Case, ca. 1920 Cartier, New York Gold, enamel, lapis lazuli, diamonds This Cartier piece serves both practical and decorative purposes. The lipstick case and compact are both enameled in black and white with lapis lazuli and diamond accents. Each component suspends from enameled chains that attach to a gold ring. The interior of the compact is fitted with a mirror and also has a small compartment for coins. The ring to which the compact and lipstick case are attached can be slipped onto a finger so that the items can also be worn as an accessory. Courtesy Hillwood Estate, Museum and Gardens

Compact and Lipstick Case, ca. 1920
Cartier, New York
Gold, enamel, lapis lazuli, diamonds
This Cartier piece serves both practical and decorative purposes. The lipstick case and compact are both enameled in black and white with lapis lazuli and diamond accents. Each component suspends from enameled chains that attach to a gold ring. The interior of the compact is fitted with a mirror and also has a small compartment for coins. The ring to which the compact and lipstick case are attached can be slipped onto a finger so that the items can also be worn as an accessory.
Courtesy Hillwood Estate, Museum and Gardens

Although the exhibition ends soon some of her jewellery is displayed in Hillwood; a house that perfectly reflects her interests and style and should be a must see place for any visitor to Washington DC.

Frames with Grand Duchess Olga Nikolaevna and Grand Duchess Tatiana Nikolaevna, ca. 1910 Cartier frame Gold, silver, enamel, ivory Courtesy Hillwood Estate, Museum and Gardens

Frames with Grand Duchess Olga Nikolaevna and Grand Duchess Tatiana Nikolaevna, ca. 1910
Cartier frame
Gold, silver, enamel, ivory
Courtesy Hillwood Estate, Museum and Gardens

http://www.HillwoodMuseum.org

Cartier I – Book Review

Cartier Royal: High Jewelry and Precious Objects
By Francois Chaille
ISBN: 9782080201942
ISBN-10: 2080201948
Publisher: Flammarion-Pere Castor

£80 / 95 Euros

Cartier%20Royal_cover

Few of us can fail to know quite how luminous some gemstones can be, especially when of great clarity and quality and this is certainly true of the jewels shown in this book celebrating the legendary jewellers Cartier.

Stages of production of the REINE MAKEDA necklace. Gérard Uféras © Cartier

Stages of production of the REINE MAKEDA necklace.
Gérard Uféras © Cartier

What a roll call of customers they have had and continue to have. Royalty, film stars and the wealthy adorn these pages but the real stars throughout are the gemstones and jewellery whether it be exceptional diamonds, sapphires, rubies, emeralds or pearls. Their design and settings reflect the genius and enduring quality of Cartier’s workshops. Long may they go on!

Flower brooch made for Queen Elizabeth II in 1953; resembling an edelweiss, it features the pink Williamson diamond in its centre. Archives Cartier © Cartier

Flower brooch made for Queen Elizabeth II in 1953; resembling an edelweiss, it features the pink Williamson diamond in its centre.
Archives Cartier © Cartier

Moroni at the RA

Giovanni Battista Moroni (c.1520-1579), The Sackler Wing, Royal Academy of Arts, Burlington House, Piccadilly, London W1, until 25th January 2015

Giovanni Battista Moroni Gian Girolamo Albani, c.1570 Oil on canvas, 107 x 75 cm Private Collection Photo: Private collection

Giovanni Battista Moroni
Gian Girolamo Albani, c.1570
Oil on canvas, 107 x 75 cm
Private Collection
Photo: Private collection

This is the first UK exhibition devoted to this talented 16th century Italian painter and while one can ask “why?” one acknowledges that it was certainly worth the wait. His portraits have a realness that underlines the character, appearance and almost the soul of the sitter. It would not surprise me greatly if one of his subjects started talking to me because they give that sense of engagement and realism.

Giovanni Battista Moroni Young Lady, c.1560-65 Oil on canvas, 51 x 42 cm Private collection Photo: Private collection

Giovanni Battista Moroni
Young Lady, c.1560-65
Oil on canvas, 51 x 42 cm
Private collection
Photo: Private collection

While usually associated with the city of Bergamo, which was part of the Venetian Republic, he is also known to have worked in Brescia, Albino and Trent which are close by. It is most likely as there was no ducal or noble court in Bergamo this meant that many of Moroni’s subjects are drawn from the professional and intellectual classes as well as artisans. His very well-known portrait of The Tailor is the first known portrait of a man depicted doing manual labour.

Giovanni Battista Moroni The Tailor, c. 1570 Oil on canvas, 99.5 x 77 cm The National Gallery, London Photo c. The National Gallery, London

Giovanni Battista Moroni
The Tailor, c. 1570
Oil on canvas, 99.5 x 77 cm
The National Gallery, London
Photo c. The National Gallery, London

He was also a painter of religious subjects which reflect the principles of the Counter-Reformation and he produced works for both public devotion in churches as well as for more private devotion. All in all this really is an eye-opening and rewarding experience.

Giovanni Battista Moroni A Gentleman in Adoration before the Baptism of Christ, c.1555-60 Oil on canvas, 112.8 x 104 cm Gerolamo and Roberta Etro Photo: Gerolamo and Roberta Etro

Giovanni Battista Moroni
A Gentleman in Adoration before the Baptism of Christ, c.1555-60
Oil on canvas, 112.8 x 104 cm
Gerolamo and Roberta Etro
Photo: Gerolamo and Roberta Etro

royalacademy.org.uk

Giovanni Battista Moroni Gian Gerolamo Grumelli, c. 1560 Oil on canvas, 216 x 123 cm Fondazione Museo di Palazzo Moroni - Lucretia Moroni Collection, Bergamo. Photo Fondazione Museo di Palazzo Moroni - Lucretia Moroni Collection, Bergamo. Photography: Marco Mazzoleni.

Giovanni Battista Moroni
Gian Gerolamo Grumelli, c. 1560
Oil on canvas, 216 x 123 cm
Fondazione Museo di Palazzo Moroni – Lucretia Moroni Collection, Bergamo.
Photo Fondazione Museo di Palazzo Moroni – Lucretia Moroni Collection, Bergamo. Photography: Marco Mazzoleni.

Giovanni Battista Moroni Isotta Brembati, c.1555 Oil on canvas, 160 x 115 cm Fondazione Museo di Palazzo Moroni - Lucretia Moroni Collection, Bergamo. Photo Fondazione Museo di Palazzo Moroni - Lucretia Moroni Collection, Bergamo. Photography: Marco Mazzoleni.

Giovanni Battista Moroni
Isotta Brembati, c.1555
Oil on canvas, 160 x 115 cm
Fondazione Museo di Palazzo Moroni – Lucretia Moroni Collection, Bergamo.
Photo Fondazione Museo di Palazzo Moroni – Lucretia Moroni Collection, Bergamo. Photography: Marco Mazzoleni.

Easyart

Savile Row Inspired

Photo credit: Denis Laner

Photo credit: Denis Laner

You may well travel in one of the two thousand black cabs in London that are showing the film Dead Man’s Patterns over the next six weeks or you may see it on VeriFone Media screens. It shows the artistic process used by the by award-winning London artist, Hormazd Narielwalla to create his prints. Their inspiration initially came from discarded Savile Row tailoring patterns which he then overlaid in part with slivers of coloured acetate and tissue paper.

For the online art retailer Easyart he has prepared a collection of seven limited edition prints made from French domestic tailoring patterns which come from his series Le Petit Echo de la Mode.

www.easyart.com

BOOK REVIEW: The Belvedere Collection

Vincennes and Early Sèvres Porcelain From the Belvedere Collection
Joanna Gwilt
£60.00 HB
ISBN 9781851777730
270 x 216 mm 256 pp
1000 col
BIC: AFP

Vincennes and Early Sevres Porcelain NEW ARTWORK

What does one say about this delight of a book which looks at the wonderful porcelain of Vincennes and early Sèvres in what is one of the most comprehensive collections of rare, early pieces from this French porcelain factory? The only answer is to buy it!

JUG (COVER AND HANDLE MISSING) (pot à bouillon/marmite) Vincennes, soft-paste porcelain c.1746/7 (Belvedere Collection)

JUG (COVER AND HANDLE MISSING)
(pot à bouillon/marmite) Vincennes, soft-paste porcelain c.1746/7
(Belvedere Collection)

It provides a wonderful survey of the early years of the factory by both giving a welcome history and through the objects themselves. One can see that the rival Meissen manufactory influenced the early porcelain decoration and how the factory’s own style evolved and began to include detailed gilding and ground colours. As well as useful and decorative ware there is also a fine group of sculptural figures. Noted artists such as François Boucher and Oudry provided inspiration for the decoration and earlier etchings were also a decorative source.

VASE (?vase Duplessis Urne/?vase Duplessis à fleurs) c.1750/51Provenance: Elizabeth Parke Firestone Collection, USA Exhibited at the Detroit Institute of Arts, 1956, no. 418 (Belvedere Collection)

VASE (?vase Duplessis Urne/?vase Duplessis à fleurs)
c.1750/51Provenance:
Elizabeth Parke Firestone Collection, USA
Exhibited at the Detroit Institute of Arts, 1956, no. 418
(Belvedere Collection)

One can only admire the taste, perseverance and determination that went into putting this stunning collection together. This shows the factory before the opulent wares we more usually associate with Sèvres became more common; a Meissen collector friend said of the book that it was a pleasure to go through, much more so than a book on later Sèvres collections.

Vincennes/Sèvres soft-paste porcelain, Poeny (paeonia suffruticosa), c.1745–55, Dia. 10.5cm (Belvedere Collection)

Vincennes/Sèvres soft-paste porcelain,
Poeny (paeonia suffruticosa), c.1745–55,
Dia. 10.5cm (Belvedere Collection)

Thanks are due to Joanna Gwilt for her work on this book. She is certainly qualified to write it having been the Assistant Curator at the Royal Collection and also at London’s Wallace Collection. She is also the author of French Porcelain for English Palaces: Sèvres from the Royal Collection (2009). There is also an ebook to accompany the printed version containing additional photographs, showing every piece in close detail. What more can you ask for? As I suggested earlier this should be in every serious enthusiast’s library!