The Wolsey Angels

Saved for the Nation – The Wolsey Angels

This is a great result for all involved – donors both large and small. As the V & A’s director Martin Roth says “The Wolsey Angels are a vital part of our national history and artistic heritage. We are very grateful to everyone who contributed to our fundraising appeal to ensure these outstanding sculptures, which were thought to be lost, are reunited and preserved at the V&A for future generations.”

Wolsey Angels on display at the V&A Benedetto da Rovezzano 2014 (C) Victoria and Albert Museum, London

Wolsey Angels on display at the V&A
Benedetto da Rovezzano
2014
(C) Victoria and Albert Museum, London

These four figures (approximately a metre high) have an interesting story. They were commissioned in 1524 from the Florentine sculptor Benedetto da Rovezzano, who worked in England between 1519 and 1543, and were to be part of a magnificent tomb for Cardinal Wolsey. However it was not completed before Wolsey’s fall from grace with Henry VIII which was due to his inability to persuade the Pope to annul the King’s marriage to Catherine of Aragon. Wolsey died in 1530. The King who appropriated Wolsey’s property and belongings ordered that the tomb be completed for him. Due to slow progress the tomb was not completed by Henry’s death and despite the good intentions of each of his children it remained incomplete. Elements were sold during the Civil War and the only known surviving piece from the tomb was the large black stone chest which now houses the body of Lord Nelson in St Paul’s Cathedral. Four large gilt-bronze candlesticks also from the tomb’s design can now be seen in the St. Bavo Cathedral in Ghent.

 Wolsey Angels on display at the V&A  Benedetto da Rovezzano 2014 (C) Victoria and Albert Museum, London

Wolsey Angels on display at the V&A
Benedetto da Rovezzano
2014
(C) Victoria and Albert Museum, London

 Wolsey Angels on display at the V&A  Benedetto da Rovezzano 2014 (C) Victoria and Albert Museum, London

Wolsey Angels on display at the V&A
Benedetto da Rovezzano
2014
(C) Victoria and Albert Museum, London

The existence of the angels was unknown until fortuitously two were put to auction in 1994. Unillustrated in the catalogue they were acquired by a French art dealer and subsequent scholarly research led to the firm attribution to Benedetto. The other two angels were discovered at Harrowden Hall in Northamptonshire where apparently they had once been the finials on gateposts.

I shall leave the final thoughts to the acclaimed novelist Hilary Mantel “The recovery of Wolsey’s angels is one of those miracles that historians pray for; something that seems irrevocably lost has been there all the time. To claim the angels for the nation would connect us to one of the liveliest eras of our history and one of its most remarkable men.”

 

http://www.vam.ac.uk/wolseyangels

 

Daniela Gullotta

Daniela Gullotta: London Known and Unknown, Marlborough Fine Art, 6 Albemarle Street, London W1, until 28th February 2015

The Chapter House,                           Westminster Abbey 2014 80 x 55 cm./31 ½ x 21 ½ in Courtesy of Marlborough Fine Art

The Chapter House,
Westminster Abbey 2014
80 x 55 cm./31 ½ x 21 ½ in
Courtesy of Marlborough Fine Art

I am somewhat at a loss to describe just how appealing I find these mixed media works by the Bolognese artist Daniela Gullotta. Her move to this city to study has resulted in these evocative, elegant, timeless images that gives us a new perspectives on familiar buildings and those less well-known. A true delight!

Trellick Tower 2014                           130 x 65 cm 51 x 25 ½ in. Courtesy of Marlborough Fine Art

Trellick Tower 2014
130 x 65 cm 51 x 25 ½ in.
Courtesy of Marlborough Fine Art

Millenium Mills 2014                         100 x 150 cm 39 ¼ x 59 in. Courtesy of Marlborough Fine Art

Millenium Mills 2014
100 x 150 cm 39 ¼ x 59 in.
Courtesy of Marlborough Fine Art

Sir John Soane’s Museum 2014                                 130 x 90 cm 51 x 35 ½ in. Courtesy of Marlborough Fine Art

Sir John Soane’s Museum 2014
130 x 90 cm 51 x 35 ½ in.
Courtesy of Marlborough Fine Art

 

 

http://www.marlboroughfineart.com

POP UP SHOP IN LILLIE ROAD, LONDON

Lillie Road #AYGINLOVE POP UP SHOP – 315 Lillie Road, London SW6, 11th – 14th February 2015

Edd In The Clouds  French Art Deco Partners Desk- 1920s

Edd In The Clouds
French Art Deco Partners Desk- 1920s

The Antique Young Guns Group (AYG) is proving a vibrant body of young members of the antique trade who are both keen to share their knowledge and enthusiasm with clients but also to promote the idea of antiques to newcomers.

Henry Saywell Ivan Moscovich drawings (called Harmonograms) were created by his Harmonograph in the early 1970s.

Henry Saywell
Ivan Moscovich drawings (called Harmonograms) were created by his Harmonograph in the early 1970s.

This, their first pop-up shop, shows a variety of beguiling stock from members and is ideally located in an area well-known for decorative antiques.  Don’t miss out and go along.

Jason Clarke Antiques An exquisite late Victorian Burr Walnut and Brass Decanter set complete with Bramah lock and original key. Circa 1880

Jason Clarke Antiques
An exquisite late Victorian Burr Walnut and Brass Decanter set complete with Bramah lock and original key. Circa 1880

For those further away the AYG website will also run a virtual Pop Up #AYGINLOVE gallery for one month from 11 February 2015.

Doe & Hope Good Pair of c.1900 Bronzed Spelter Egyptian Revival Figural Candlesticks

Doe & Hope
Good Pair of c.1900 Bronzed Spelter Egyptian Revival Figural Candlesticks

Molly and Maud’s Place A 19th Century lady’s bureau

Molly and Maud’s Place
A 19th Century lady’s bureau

The shop will be open:
Wednesday 11 February – 12pm – 6pm
Thursday 12 February – 10am – 6pm

Friday 13 February – 10 am – 6 pm
Saturday 14 February -10am – 7.30 pm

 

Late night opening and drinks party:

Friday 13 February from 7pm till late

 

 

www.antiquesyoungguns.com

Gallery 8

Vestige, Gallery 8, 8 Duke Street, St James’s, London SW1, 9th – 21st February 2015
Aaron Smith  'Frou Frou'  Oil on canvas,  122 x 91.5 cm ©

Aaron Smith
‘Frou Frou’
Oil on canvas,
122 x 91.5 cm
©

 This show organised by Coates & Scarry concentrates on the idea of “vestige” as interpreted by the artists Lisa Wright, Emma Vidal, Penny Byrne, Aaron Smith and Henry Hussey.  As the images suggest each has a unique approach to the concept.

Henry Hussey Heresy,  Dyed damask, dyed Cotton, woven yarn, embroidered linen and faux pearls 95 x 50 cm ©

Henry Hussey
Heresy,
Dyed damask, dyed Cotton, woven yarn, embroidered linen and faux pearls
95 x 50 cm
©

Lisa Wright  'Time Would Stop for Her'  Oil on canvas  150 x 120 cm ©

Lisa Wright
‘Time Would Stop for Her’
Oil on canvas
150 x 120 cm
©

Emma Vidal  'Untitled III' Charcoal on paper ©

Emma Vidal
‘Untitled III’
Charcoal on paper
©

Penny Byrne 'Life is a Riot' Bronze with two part car body paint,  100 x 56 x 60 cm ©

Penny Byrne
‘Life is a Riot’
Bronze with two part car body paint,
100 x 56 x 60 cm
©

 

Atlas Gallery

Niko Luoma ‘TEMPORAL MATTER’, Atlas Gallery, 49 Dorset Street, W1, until 21st March 2015
 
Large-scale works by this celebrated Finnish photographer are to be found in this his first UK exhibition.  Although he first started creating his highly distinctive photographs in the late 90s the images on show date from between 2006 and 2014. 

1966A, 2010, Niko Luoma Courtesy of the Atlas Gallery

1966A, 2010, Niko Luoma
Courtesy of the Atlas Gallery


The photgraphs from the four series – Cronos, Motives, Symmetrium and Variations on a Standard of Space – are a fusion of Luoma’s own highly scientific approach and the working process of the analogue camera he uses which of course he cannot fully control.

One Day In March, 2007, Niko Luoma Courtesy of the Atlas Gallery

One Day In March, 2007, Niko Luoma
Courtesy of the Atlas Gallery

The concept of the use of linear light in the photographic process are a feature of both ‘Cronos’ and ‘Symmetrium’ and indeed you would be right to think of the American abstract expressionist works of the 1960s when viewing these series.

158th Day, 2007, Niko Luoma Courtesy of the Atlas Gallery

158th Day, 2007, Niko Luoma
Courtesy of the Atlas Gallery

Art is the inspiration for the series Variation on a Standard of Space in that they are a reaction to Paul Cèzannes belief that, ‘all depiction of nature can be reduced to three solids: Cube, Sphere and Cone.’
Randomized Unfold IV, 2014, Niko Luoma Courtesy of the Atlas Gallery

Randomized Unfold IV, 2014, Niko Luoma
Courtesy of the Atlas Gallery


Luoma says “My work is about reduction and repetition, layering ideas of systems and chance. Ultimately my core interest lies not in the front of the camera but inside of it where the exposure becomes a content.” As I said to him at the private View – he does it very successfully.

 

Christie’s Mayfair

Roman Opałka: The End is Defined and Darren Almond: Present Form,  Christie’s Mayfair, 103 New Bond Street, London, W1, until 18th April 2015

This is an exhibition that addresses the perception and measurement of time, the finite and infinite.

ROMAN OPAŁKA (1931 – 2011) Opałka 1965/1-∞ Détail 918,554 – 943,954 oil on canvas 77 ⅛ x 53 ⅛ in. (196 x 135 cm.) Courtesy Archives of the Artist

ROMAN OPAŁKA (1931 – 2011)
Opałka 1965/1-∞
Détail 918,554 – 943,954
oil on canvas
77 ⅛ x 53 ⅛ in. (196 x 135 cm.)
Courtesy Archives of the Artist

It is fifty years since Roman Opałka (1931-2011) painted his first Détail work where by painting a white figure 1 in the top left-hand corner of a black background he started counting towards infinity.  Each work had a one more percent of white pigment so that by 2008 he achieved his aim of a totally white canvas when he surpassed 5 million.  He continued in a world of white until his death in 2011.  The last number he recorded was 5,607,249.

ROMAN OPAŁKA (1931 – 2011) Opałka 1965/1-∞ A pair of portrait photographs gelatine silver print (detail) 77 x 53 in. (196 x 135 cm.) Courtesy Archives of the Artist

ROMAN OPAŁKA (1931 – 2011)
Opałka 1965/1-∞
A pair of portrait photographs
gelatine silver print (detail)
77 x 53 in. (196 x 135 cm.)
Courtesy Archives of the Artist

With each canvas he both took photographic self-portraits and recorded his voice for as he said ‘The end is defined by the death of the artist. Death as an instrument (organ) of finitude, of the work of a lifetime, in the form of the Détails, the paintings that branch off from the single, overall work: Opałka 1965/1-∞.’ But of course the paintings live on beyond the finality of the artist’s demise as does the count towards infinity.
DARREN ALMOND Perfect Time (8 x 3) 2012 Twenty four synchronized digital clocks 44 ⅞ x 35 x 5 ⅛ in. (114 x 89 x 13 cm.) Courtesy of Jay Jopling, White Cube

DARREN ALMOND
Perfect Time (8 x 3)
2012
Twenty four synchronized digital clocks
44 ⅞ x 35 x 5 ⅛ in. (114 x 89 x 13 cm.)
Courtesy of Jay Jopling, White Cube

London-based artist Darren Almond (b. 1971) says ‘I’m fascinated by the idea that whenever anything seems too far away we turn to numbers. We’ll say: a million, billion, trillion, but we can’t really grasp the actual scale of them I’m naturally drawn to numbers…I love the abstract quality of maths and the idea that within the abstract realm everything needs to be in balance. You need to have nothing otherwise you can’t have anything.’

DARREN ALMOND (b. 1971) Present Form: Ein 2012 119 ½ x 71 ¼ in. (303.5 x 181 cm.) set of 5 photographs edition of 1 plus 1 AP Courtesy of Jay Jopling, White Cube

DARREN ALMOND (b. 1971)
Present Form: Ein
2012
119 ½ x 71 ¼ in. (303.5 x 181 cm.)
set of 5 photographs
edition of 1 plus 1 AP
Courtesy of Jay Jopling, White Cube

He explores the context of time through photographs (Present Form), sculptures (Apollo), the two paintings each entitled Chance Encounter and two flip-style jumbled clocks – Perfect Time.  While the two paintings and clocks are reminders of our obsession with time and schedules in this technological age, the photographs of the ancient standing stones on the Isle of Lewis and the Apollo sculptures reflect the timelessness of the landscape and the heavens.
www.christies.com 

The Works on Paper Fair 2015

Works on Paper Fair, Level 1, Science Museum, South Kensington, SW7, 5th – 8th February 2015

Roland Collins (b.1918) Cannon Street Gouache 37 x 52.5 cm For sale by Michael Parkin Fine Art

Roland Collins (b.1918)
Cannon Street
Gouache
37 x 52.5 cm
For sale by Michael Parkin Fine Art

This Fair is the place to go for drawings, watercolours, prints and photographs of all periods and is a popular annual event for collectors and with some fifty dealers participating.

Giorgia Oldano   'The Wises' Courtesy of The Gallery at Sculpture by the Lakes

Giorgia Oldano
‘The Wises’
Courtesy of The Gallery at Sculpture by the Lakes

One newcomer is The Gallery at Sculpture by the Lakes who are bringing an exciting selection of national and international artists, including Jonathan Sainsbury (UK), Giorgia Oldano(Italy)and Andrew Denman (US).  There is also a special loan exhibition entitled “Alan Sorrell (1904 – 1974) – The Man who Created Roman Britain”.  Regular readers may recall my post on the exhibition Alan Sorrell: A Life Reconstructed last January.
John Varley (1778 – 1842) A Boathouse at Pimlico, Vauxhall Bridge beyond, London Watercolour over pencil heightened with touches of bodycolour 23.3 x 35.2 cm For sale by Guy Peppiatt Fine Art

John Varley
(1778 – 1842)
A Boathouse at Pimlico, Vauxhall Bridge beyond, London
Watercolour over pencil heightened with touches of bodycolour
23.3 x 35.2 cm
For sale by Guy Peppiatt Fine Art

www.worksonpaperfair.com

Stefaan Eyckmans

STILL LIFE WITH CASTROL OIL TIN, 2009 Oil on Panel 23¾ x 27½ ins /60 x 70 cm Courtesy of Lucy B Campbell Fine Art

STILL LIFE WITH CASTROL OIL TIN, 2009
Oil on Panel
23¾ x 27½ ins /60 x 70 cm
Courtesy of Lucy B Campbell Fine Art

Lucy B Campbell is showing works by a new gallery artist Stefaan Eyckmans who was born near Antwerp. His father, also an artist, was both teacher and mentor to his son. Stefaan’s work is influenced by both 17th century painters and more recent artists such as Henk Helmantel, Giorgio Morandi and the Antwerp hyperrealist movement.  It is a winning combination with a timeless appeal.
TWO QUINCES, 2013 Oil on Panel 9½ x 12¾ ins (approx) / 24 x 32 cm Courtesy of Lucy B Campbell Fine Art

TWO QUINCES, 2013
Oil on Panel
9½ x 12¾ ins (approx) / 24 x 32 cm
Courtesy of Lucy B Campbell Fine Art

House of Illustration

 Paula Rego / Honoré Daumier: Scandal, Gossip and Other Stories,  House of Illustration, 2 Granary Square, King’s Cross London N1C 4BH, until 22nd March 2015
Honore Daumier Crinoline in Winter © courtesy of Juan Espino Navia

Honore Daumier
Crinoline in Winter
© courtesy of Juan Espino Navia

The House of Illustration is the perfect place to enjoy and learn about illustration in all its forms.  Their current exhibition unites the work of Honoré Daumier and Paula Rego for the first time in this country and it is a powerful combination.

Scarecrow  Paula Rego 2006  courtesy of Marlborough Fine Art

Scarecrow
Paula Rego 2006
courtesy of Marlborough Fine Art

Daumier numbers among the greatest 19th century caricaturists using his lithographs as the means to observe and comment on Parisian life in La Caricature and Le Charivari.  In our times Paula Rego, who incidentally is co-curator of this show, uses printmaking for her sometimes unsettling take on stories and the familiar.  As you will see that even though separated by a century these artistic visions have recognisable similarities.

Honore Daumier Cursed by the Shadows of his Victims © courtesy of Juan Espino Navia

Honore Daumier
Cursed by the Shadows of his Victims
© courtesy of Juan Espino Navia

 House of Illustration’s director sums the exhibition up well saying  ‘Both Rego and Daumier mastered the technique of printmaking and recognise its power as a democratic art – by creating multiple images, printmaking enables their work to be circulated widely and effect change. We are delighted to host the works of such great artists at House of Illustration with an exhibition which reaffirms the importance of illustration as the sister art of painting and sculpture.’
The Baker's Wife Paula Rego  courtesy of Marlborough Fine Art

The Baker’s Wife
Paula Rego
courtesy of Marlborough Fine Art