Deborah, Duchess of Devonshire, Sotheby’s London, 2nd March 2016

Deborah, Duchess of Devonshire: The Last of the Mitford Sisters, Sotheby’s London, 34-35 New Bond Street, London W1, 2ndMarch 2016

Lot 111 - David Dawson DEBORAH, DOWAGER DUCHESS OF DEVONSHIRE AND 'SKEWBALD MARE', 2004 Estimate 400 — 600 Chromogenic print. Signed, dated and titled ‘Lucian’s Studio’ in black felt tip pen on the reverse. Mounted and framed. sheet: 20.3 x 25.3 cm, 8 x 10 in.; image: 19 x 21.5 cm, 7 ½ x 8 ½ in

Lot 111 – David Dawson
DEBORAH, DOWAGER DUCHESS OF DEVONSHIRE AND ‘SKEWBALD MARE’, 2004
Estimate 400 — 600
Chromogenic print. Signed, dated and titled ‘Lucian’s Studio’ in black felt tip pen on the reverse. Mounted and framed.
sheet: 20.3 x 25.3 cm, 8 x 10 in.; image: 19 x 21.5 cm, 7 ½ x 8 ½ in

A lady of great, presence, elegance and taste and very much to my mind an archetypal Duchess.  One can, through her writings, understand why she was so respected and admired.  Now following her death in 2014 some of her personal belongings come to what I am sure will be a memorable and nostalgic auction.

The Old Vicarage, Edensor (c) Sotheby's

The Old Vicarage, Edensor
(c) Sotheby’s

Her family have said:  “Our mother was very clear about how things should be organised following her death. She left precise instructions for a large number of personal legacies and specific bequests to the Chatsworth House Trust, and the remainder of her possessions she left to us. Given the kind of person she was, and the rich and varied life she led, there are more belongings than we can together accommodate. We are keeping items that are particularly precious to us, but we have made the decision to consign the remainder to Sotheby’s. Our mother was always fascinated by the auction process, so we feel sure she would be delighted at the prospect of this sale and would be very happy to know that some of her possessions were to go to new homes where they will be cherished and enjoyed.”

The Old Vicarage, Edensor (c) Sotheby's

The Old Vicarage, Edensor
(c) Sotheby’s

In the words of David MacDonald, the specialist in charge of the sale, “This auction paints a vivid picture of Deborah, Duchess of Devonshire, featuring mementoes, objects and pictures that tell the story of her remarkable life. A friend to many of the people who shaped her generation, she herself was a writer, an entrepreneur, a patron of the arts, and a much-admired beauty who also had the knack of absorbing the influences of other designers and decorators to develop her own style. The objects with which she chose to surround herself in her final home, the Old Vicarage at Edensor, were often moving, funny, or both, and usually had marvellous stories attached. The items in this sale capture the very essence of this endlessly captivating woman.”

The Old Vicarage, Edensor (c) Sotheby's

The Old Vicarage, Edensor
(c) Sotheby’s

Henry Wyndham, Chairman of Sotheby’s Europe commented: “What is particularly wonderful about the sale is not only the sense one gets of the personal taste of Deborah, Duchess of Devonshire, but also of the value she placed on these objects that she chose to take with her from Chatsworth to the ‘Old Vic’. Together they form a rich collage that tells a remarkable story. I am sure the Duchess would have been quietly amused by this auction, and would undoubtedly have enjoyed correcting our cataloguers on the breed or species of animal which feature in many of her pictures. She would also have enjoyed telling the stories her possessions carry with them, as many of the lots have been ‘touched’ by the great and the good of the 20th century, among whose number Deborah, Duchess of Devonshire must certainly be counted.”

The Old Vicarage, Edensor (c) Sotheby's

The Old Vicarage, Edensor
(c) Sotheby’s

Even without the above comments the picture one gets from the lots in the catalogue is of a person of style, wit and character – and I respectfully suggest one of the last of her kind.

Lot 433 - Gem set and diamond brooch, late 19th century Estimate 1,000 — 1,500 Designed as a bumblebee, set with circular-cut diamonds, the body and head accented with a cabochon ruby and a circular-cut emerald, with sapphire eyes.

Lot 433 – Gem set and diamond brooch, late 19th century
Estimate 1,000 — 1,500
Designed as a bumblebee, set with circular-cut diamonds, the body and head accented with a cabochon ruby and a circular-cut emerald, with sapphire eyes.

http://www.sothebys.com

The Old Vicarage, Edensor (c) Sotheby's

The Old Vicarage, Edensor
(c) Sotheby’s

 

The Old Vicarage, Edensor (c) Sotheby's

The Old Vicarage, Edensor
(c) Sotheby’s

 

The Old Vicarage, Edensor (c) Sotheby's

The Old Vicarage, Edensor
(c) Sotheby’s

 

 

 

 

 

 

 

 

 

 

Lot 47 - Her Grace's Collection of Elvis Presley Ephemera Estimate 500 — 1,000 comprising: An E.P.E. Official Product Telemania limited edition novelty 'Singing and Dancing Telephone' (C) 1996, cased Two key-rings A small printed circular box Two plastic bags from Graceland An 'Easy Come Easy Go' record, published Camden Records, 1972, now moulded into a bowl A simulated 'Elvis' 1 dollar note Five Elvis fridge magnets A 'Tiny Tomes / Elvis The Legend' miniature book Two Elvis button fridge magnets Two small tins of breath mints A printed fabric hanging 'Graceland' from the Andy Warhol Collection produced by Andrew Martin Elvis Presley's Graceland, The Ultimate Graceland Tour DVD, Elvis Presley Foundation 2007 'The King' printed porcelain mug A Franklin Mint wristwatch hung with charms, cased A tin of Elvis Presley playing cards Two further packs of playing cards Two RCA cassettes 'Amazing Grace - His Greatest Sacred Performance' A portable 'Legends' ashtray A 'Legends' lady's compact mirror Two German magazines with accompanying DVD free gift A tin sign printed 'He Dared to Rock July, 5, 1954, That's All Right' Five Christmas Tree Elvis inspired decorations A polychrome resin Elvis and surfboard ornament A 'Bradford Exchange' King of Rock and Roll ornament A painted ceramic wall plaque by Janice Raynor, A Ms Understood Prod. 2007, titled That's Alright Mama, exhibited Elvis's Teddy Has Left The Building, Newtown NSW, Australia A Zadig & Voltaire printed navy long sleeve t-shirt 'Love Forever Elvis', size large A knitted British new wool Elvis Presley scarf by Jean Birch-Leonard A Wrebbit 350 piece 3-D jigsaw puzzle of Graceland A modern The King birthday card and plain Born to Rock postcard A 'Grow The King' expandable toy Alf Burnell, three quarter length portrait of Elvis Presley, acrylic on canvas A pair of Mexican Elvis bottle top pendant evening earrings An E.P.E. cardboard cut-out, (almost life-size) of 'The King' Mann, May, Special Collector's Edition, Elvis and the Colonel, Drake Pub. Ltd. New York, 1977 Keogh, Pamela Clarke, Elvis Presley, The Man. The Life. The Legend., Simon & Schuster, London, 2004 Presley, Lisa Marie (fwd), Elvis Presley's Graceland, Official Guidebook, E.P.E. Graceland, rev. ed. 2009 An E.P.E. 2011 Official Elvis Calendar BMG records presentation disc set, framed and glazed, Presented to The Duchess of Devonshire / In recognition for her continued support of Elvis Presley from BMG records and The Day Team at Chatsworth Five Elvis Presley records Two Boxed sets of CD compilations, one with commemorative 'Collectable Stamps' A vintage Elvis Presley pocket knife printed 'Elvis Presley King of Rock n' Roll 1935-1977' Three modern photographic prints of Elvis Presley (two the same image) An RCA 7" of The Wonder of You and Mama Liked the Roses, 1974 An Elvis / Summer Festival / Las Vegas Hilton / Complimentary Menu Hand, A (ed.) Elvis Monthly, no. 5, 5th Year, 1964 Four modern photographic prints by Alfred Wertheimer; Going Home; Elvis Sings to the Hound Dog; A-Frame; Grilled Cheese 20 Cents, published by the New York Times, each signed l/l in ink by A. Wertheimer

Lot 47 – Her Grace’s Collection of Elvis Presley Ephemera
Estimate 500 — 1,000
comprising:
An E.P.E. Official Product Telemania limited edition novelty ‘Singing and Dancing Telephone’ (C) 1996, cased
Two key-rings
A small printed circular box
Two plastic bags from Graceland
An ‘Easy Come Easy Go’ record, published Camden Records, 1972, now moulded into a bowl
A simulated ‘Elvis’ 1 dollar note
Five Elvis fridge magnets
A ‘Tiny Tomes / Elvis The Legend’ miniature book
Two Elvis button fridge magnets
Two small tins of breath mints
A printed fabric hanging ‘Graceland’ from the Andy Warhol Collection produced by Andrew Martin
Elvis Presley’s Graceland, The Ultimate Graceland Tour DVD, Elvis Presley Foundation 2007
‘The King’ printed porcelain mug
A Franklin Mint wristwatch hung with charms, cased
A tin of Elvis Presley playing cards
Two further packs of playing cards
Two RCA cassettes ‘Amazing Grace – His Greatest Sacred Performance’
A portable ‘Legends’ ashtray
A ‘Legends’ lady’s compact mirror
Two German magazines with accompanying DVD free gift
A tin sign printed ‘He Dared to Rock July, 5, 1954, That’s All Right’
Five Christmas Tree Elvis inspired decorations
A polychrome resin Elvis and surfboard ornament
A ‘Bradford Exchange’ King of Rock and Roll ornament
A painted ceramic wall plaque by Janice Raynor, A Ms Understood Prod. 2007, titled That’s Alright Mama, exhibited Elvis’s Teddy Has Left The Building, Newtown NSW, Australia
A Zadig & Voltaire printed navy long sleeve t-shirt ‘Love Forever Elvis’, size large
A knitted British new wool Elvis Presley scarf by Jean Birch-Leonard
A Wrebbit 350 piece 3-D jigsaw puzzle of Graceland
A modern The King birthday card and plain Born to Rock postcard
A ‘Grow The King’ expandable toy
Alf Burnell, three quarter length portrait of Elvis Presley, acrylic on canvas
A pair of Mexican Elvis bottle top pendant evening earrings
An E.P.E. cardboard cut-out, (almost life-size) of ‘The King’
Mann, May, Special Collector’s Edition, Elvis and the Colonel, Drake Pub. Ltd. New York, 1977
Keogh, Pamela Clarke, Elvis Presley, The Man. The Life. The Legend., Simon & Schuster, London, 2004
Presley, Lisa Marie (fwd), Elvis Presley’s Graceland, Official Guidebook, E.P.E. Graceland, rev. ed. 2009
An E.P.E. 2011 Official Elvis Calendar
BMG records presentation disc set, framed and glazed, Presented to The Duchess of Devonshire / In recognition for her continued support of Elvis Presley from BMG records and The Day Team at Chatsworth
Five Elvis Presley records
Two Boxed sets of CD compilations, one with commemorative ‘Collectable Stamps’
A vintage Elvis Presley pocket knife printed ‘Elvis Presley King of Rock n’ Roll 1935-1977′
Three modern photographic prints of Elvis Presley (two the same image)
An RCA 7″ of The Wonder of You and Mama Liked the Roses, 1974
An Elvis / Summer Festival / Las Vegas Hilton / Complimentary Menu
Hand, A (ed.) Elvis Monthly, no. 5, 5th Year, 1964
Four modern photographic prints by Alfred Wertheimer; Going Home; Elvis Sings to the Hound Dog; A-Frame; Grilled Cheese 20 Cents, published by the New York Times, each signed l/l in ink by A. Wertheimer

Michael Eden at the Holburne Museum

Michael Eden – History Re-printed A New Commission for the Holburne Museum, The Holburne Museum, Great Pulteney Street, Bath BA2, until 28th March 2016

Bloom Series, 2011 © The Artist | The Holburne Museum | Adrian Sassoon | Sylvain Deleu

Bloom Series, 2011
© The Artist | The Holburne Museum | Adrian Sassoon | Sylvain Deleu

The long table in the Museum’s Ballroom provides the perfect place to display the skilled potter Michael Eden’s remarkable creations which blend both history and the contemporary engagingly.

Objects within the museum have provided inspiration for the works that combine 3D printing, drawing and traditional hand skills to produce these unique objects.  Eden says: “Three-dimensional printing allows the customization of objects, and gives me the creative freedom to do things impossible with the wheel and clay.”

Soho, 2015 © The Artist | The Holburne Museum | Adrian Sassoon | Sylvain Deleu

Soho, 2015
© The Artist | The Holburne Museum | Adrian Sassoon | Sylvain Deleu

http://www.holburne.org

How Architecture Rebuilds Communities

Creation From Catastrophe – How Architecture Rebuilds Communities, The Architecture Gallery, RIBA, 66 Portland Place, London W1, until 24th April 2016

Sir Christopher Wren's Plan for Rebuilding the City of London after the Great Fire of 1666 (c) RIBA Collections

Sir Christopher Wren’s Plan for Rebuilding the City of London after the Great Fire of 1666
(c) RIBA Collections

This is an engaging study of how architects and designers have looked at bringing a new harmony and way forward after catastrophic disasters, natural or man-made, to existing cities and communities over the centuries.  Appropriately it starts with the plans to rebuild London after the Great Fire of 1666 and then via 18th century Lisbon and 19th century Chicago to the 20th and 21st centuries in Japan, Macedonia, Chile, Pakistan, Nigeria, Nepal and the USA.

Post Chicago fire, high rise - Reliance Building by Atwood, Burnham & Co, North State Street, Chicago 1890-95 (c) RIBA Collections

Post Chicago fire, high rise – Reliance Building by Atwood, Burnham & Co, North State Street, Chicago 1890-95
(c) RIBA Collections

What is remarkable is how the communities that survive such catastrophes come together to build a new and hopefully more stable future life.

Design for water communities, Lagos, Nigeria by NLÉ (c) NLÉ

Design for water communities, Lagos, Nigeria by NLÉ
(c) NLÉ

 

http://www.architecture.com

THREE SHOWS IN CORK STREET

David Blackburn: A Search for the Inexpressible, Messum’s, 28 Cork Street, London W1, until 11th March 2016

GREY AUSTRALIA, pastel and collage, 1983, H 41 x W 37 cm (H 16 1⁄8 x W 14 5⁄8 in)

GREY AUSTRALIA, pastel and collage, 1983, H 41 x W 37 cm (H 16 1⁄8 x W 14 5⁄8 in)

Although scenes in Australia and America are the subject of these somewhat abstract pastels the artist describes the way he depicts them as ‘a sort of visionary geometry’. I certainly feel that he also reflects his native Yorkshire in some of the wonderful colours he uses and it is quite understandable why he has such an international reputation.

SUMMER SUNLIGHT, pastel, 2003, H 65 x W 51 cm (H 25 5⁄8 x W 20 1⁄8 in)

SUMMER SUNLIGHT, pastel, 2003, H 65 x W 51 cm (H 25 5⁄8 x W 20 1⁄8 in)

www.messums.com

 

Gabo’s Monoprints: A Family Collection, Alan Cristea, 34 Cork Street, London W1, until 12th March 2016

Naum Gabo Opus Four (Family name – The Lyrebird), 1950 Monoprint in dark brown from a professionally made end-grain block. Paper 22.9 x 15.3 cm / Image 15.9 x 13.7 cm Inscribed For my dearly beloved daughter Nina Serafima on Her Seventeenth Birthday from her Father Gabo May 26th 1958 Courtesy Nina and Graham Williams and Alan Cristea Gallery, London

Naum Gabo
Opus Four (Family name – The Lyrebird), 1950
Monoprint in dark brown from a professionally made end-grain block.
Paper 22.9 x 15.3 cm / Image 15.9 x 13.7 cm
Inscribed For my dearly beloved daughter Nina Serafima on Her Seventeenth Birthday from her Father Gabo May 26th 1958
Courtesy Nina and Graham Williams and Alan Cristea Gallery, London

This is the first time that these prints made by the celebrated Russian sculptor Naum Gabo (1890 – 1977) have been seen publicly. He was persuaded at the age of sixty to make prints and the first – Opus 1 – is on a small circular piece of tissue. He used the same woodblock to make another print which he gave to his daughter Nina for her ninth birthday in May 1950.

Naum Gabo Opus Eight, date unknown Monoprint from block of Florida Boxwood. Paper 30.2 x 23.8 cm Courtesy Nina and Graham Williams and Alan Cristea Gallery, London

Naum Gabo
Opus Eight, date unknown
Monoprint from block of Florida Boxwood.
Paper 30.2 x 23.8 cm
Courtesy Nina and Graham Williams and Alan Cristea Gallery, London

He went on to produce a serious body of woodcuts (Opus I – XXII) until his death. His daughter and her husband have particularly treasured those received as gifts and even given them special names.  This is a unique opportunity join them in their admiration of Gabo’s work.

http://www.alancristea.com

 

Boyd and Evans – Overland, Flowers, 21 Cork Street, London W1, until 12th March 2016

Boyd & Evans, Tonopah NV, 2015 (c) Boyd & Evans, Courtesy of Flowers Gallery London and New York

Boyd & Evans, Tonopah NV, 2015
(c) Boyd & Evans, Courtesy of Flowers Gallery London and New York

This show of works by Boyd & Evans of large-scale photographs continues their exploration of the wild landscapes of America’s south-west. It is almost a visual diary, one they have been working on since the 70’s.  These new works show signs of human occupation but with no human figures raising the question are they now abandoned or unused places?

Boyd & Evans, Benton Springs CA, 2015 (c) Boyd & Evans, Courtesy of Flowers Gallery London and New York

Boyd & Evans, Benton Springs CA, 2015
(c) Boyd & Evans, Courtesy of Flowers Gallery London and New York

http://www.flowersgallery.com

Sublime Gardens

Painting the Modern Garden: Monet to Matisse, Main Galleries, Royal Academy of Art, Burlington House, Piccadilly, London W1, until 20th April 2016

Auguste Renoir, Monet Painting in His Garden at Argenteuil, 1873 Oil on canvas, 46.7 x 59.7 cm Wadsworth Atheneum Museum of Art, Hartford, CT. Bequest of Anne Parrish Titzell, 1957.614 Photo (c) Wadsworth Atheneum Museum of Art, Hartford, CT

Auguste Renoir, Monet Painting in His Garden at Argenteuil, 1873
Oil on canvas, 46.7 x 59.7 cm
Wadsworth Atheneum Museum of Art, Hartford, CT. Bequest of Anne Parrish Titzell, 1957.614
Photo (c) Wadsworth Atheneum Museum of Art, Hartford, CT

The star of this show which celebrates artists and gardens is, of course, Claude Monet.  Rightly so because he was a serious horticulturalist and one would certainly not disagree with him when he wrote ‘I perhaps owe it to flowers that I became a painter’.

It is a large show that welcomes more than one visit and the fact that like some gardens the paintings are arranged in themed rooms such as Impressionist Gardens or Gardens of Reverie gives the visitor ample scope to re-visit as one would a favourite part of a garden.

Joaquin Sorolla, Louis Comfort Tiffany, 1911 Oil on canvas, 150 x 225.5 cm On loan from the Hispanic Society of America, New York, NY Photo (c) Courtesy of The Hispanic Society of America, New York

Joaquin Sorolla, Louis Comfort Tiffany, 1911
Oil on canvas, 150 x 225.5 cm
On loan from the Hispanic Society of America, New York, NY
Photo (c) Courtesy of The Hispanic Society of America, New York

The paintings whether Impressionist, Postimpressionist or Avant Garde tell a story too of the growing interest in gardens by the middle classes through a variety of materials such as journals, receipts and letters.

Although not a gardener myself I enjoyed this show and found myself deeply moved in the last room where the three great Monet water lily paintings – the Agapanthus Triptych of 1916 – 1919, normally in the The Nelson-Atkins Museum of Art, The Cleveland Museum of Art and Saint Louis Art Museum, hang reunited once more.

Claude Monet, Nympheas (Waterlilies), 1914-15 Oil on canvas, 160.7 x 180.3 cm Portland Art Museum, Oregon. Museum Purchase: Helen Thurston Ayer Fund, 59.16 Photo (c) Portland Art Museum, Portland, Oregon

Claude Monet, Nympheas (Waterlilies), 1914-15
Oil on canvas, 160.7 x 180.3 cm
Portland Art Museum, Oregon. Museum Purchase: Helen Thurston Ayer Fund, 59.16
Photo (c) Portland Art Museum, Portland, Oregon

www.royalacademy.org.uk

Dickens, Pomodoro, Schwabe and Drawn to the 19th Century

Sophie Dickens – Be Mine, Sladmore Contemporary, 32 Bruton Place, London W1, until 26th February 2016

“ BloodyBitchBastard, by Sophie Dickens”

“ BloodyBitchBastard, by Sophie Dickens”

This new show of work by this talented figurative sculptor tells, through eighteen bronzes and accompanying drawings, the story of a modern love affair – and yes it does end on a happy note so perfect for Valentine’s Day.

“ BloodyBitchBastard, by Sophie Dickens”

“ BloodyBitchBastard, by Sophie Dickens”

Dickens says of her use of bright colours: ‘there is a perception that bronzes need to look antique, but in Greece and Rome they were painted, and the colour has simply fallen off with age.  I want my sculptures to look new and bright.’ She certainly achieves that here.

 

http://www.sladmorecontemporary.com

 

 

Chris Beetles Gallery, 8 & 10 Ryder Street , St James’s, London SW1, until 27th February 2016.

HREE SYCAMORES ON THE GRAVE OF WILLIAM HUTCHINSON, ST JOHN THE BAPTIST, ALDENHAM, HERTFORDSHIRE RANDOLPH SCHWABE, RWS LG NEAC (1885-1948) SIGNED WITH INITIALS, INSCRIBED 'ALDENHAM' AND DATED 1943 INSCRIBED 'ALDENHAM' AND '43/1' AND DATED 43 BELOW MOUNT WATERCOLOUR AND CHALK 8 X 12 INCHES PROVENANCE: THE ESTATE OF RANDOLPH SCHWABE

HREE SYCAMORES ON THE GRAVE OF WILLIAM HUTCHINSON, ST JOHN THE BAPTIST, ALDENHAM, HERTFORDSHIRE
RANDOLPH SCHWABE, RWS LG NEAC (1885-1948)
SIGNED WITH INITIALS, INSCRIBED ‘ALDENHAM’ AND DATED 1943
INSCRIBED ‘ALDENHAM’ AND ’43/1′ AND DATED 43 BELOW MOUNT
WATERCOLOUR AND CHALK
8 X 12 INCHES
PROVENANCE: THE ESTATE OF RANDOLPH SCHWABE

These two exhibitions complement each other well.  In Randolph Schwabe – artist, teacher, diarist we see how his keen observation of people and places was transposed onto paper or canvas to produce an accurate, detailed observation of the subject matter.  He was a gifted art teacher and it is no surprise that in 1930 he became Professor and Principal of the Slade School of Art a position he held until his death in 1948.

 OLD PUTNEY BRIDGE SIR ERNEST GEORGE, RA (1839-1922) SIGNED WITH INITIALS, INSCRIBED 'PUTNEY' AND DATED 1885 WATERCOLOUR 6 3/4 X 8 3/4 INCHES PROVENANCE:A BOSTON COLLECTION


OLD PUTNEY BRIDGE
SIR ERNEST GEORGE, RA (1839-1922)
SIGNED WITH INITIALS, INSCRIBED ‘PUTNEY’ AND DATED 1885
WATERCOLOUR
6 3/4 X 8 3/4 INCHES
PROVENANCE: A BOSTON COLLECTION

The second Drawn to the 19th Century celebrates the continuing appeal of works on paper to collectors.  It was a time that saw the watercolour come into its own as a medium especially when depicting nature “en plein air”.

http://www.chrisbeetles.com

 

Arnaldo Pomodoro, Tornabuoni Art, 46 Albemarle Street W1, until 16th April 2016

This is the first time for over fifty years that this artist’s work is being shown in London and it provides a view of his artistic output from his early woks to more recent examples.

Tornabuoni Art, Arnaldo Pomodoro, Photography: Prudence Cuming, Courtesy Tornabuoni Art London

Tornabuoni Art, Arnaldo Pomodoro,
Photography: Prudence Cuming, Courtesy Tornabuoni Art London

Key to them are the sculptor’s fascination with symbols and signs and the “language” he creates with them. Paul Klee and Lucio Fontana have been influences but what comes across strongly in this exhibition is a natural ability to renew himself in his interpretation of the latter’s Spatialism.

http://www.tornabuoniart.com

The 2016 Works on Paper Fair

The Works on Paper Fair, The Royal Geographical Society, Exhibition Road, South Kensington, London SW7, 11th – 14th February 2016

John Iddon Fine Art David Hockney, Anne Combing Her Hair, Lithograph ed. of 75

John Iddon Fine Art
David Hockney,
Anne Combing Her Hair,
Lithograph ed. of 75

This year’s Fair is in a new venue but it will still bring a tempting array of works on paper from over six centuries from some fifty or so European and British dealers.

Laurie Lee: The Artist loan exhibition - Laurie Lee, Self Portrait, Gouache, c.1937, 56 x 38cm

Laurie Lee: The Artist loan exhibition –
Laurie Lee,
Self Portrait,
Gouache, c.1937, 56 x 38cm

There is a very special exhibition, thanks to Jessy Lee, of drawings and paintings by her father Laurie Lee of Cider with Rosie fame.  Among those giving talks during the Fair are historian Simon Schama and the National Portrait Gallery’s Colin Wiggins.

Elizabeth Harvey Lee Jan Both (c1615/18 - 1652), Ponte Molle, Original etching, early1640s 20 x 27 cm

Elizabeth Harvey Lee
Jan Both (c1615/18 – 1652),
Ponte Molle, Original etching, early1640s
20 x 27 cm

The dealers at this well-vetted fair include among others Abbott and Holder, Chris Beetles Gallery, Marcus Campbell Art Books, Martyn Gregory, Elizabeth Harvey-Lee, John Iddon Fine Art, Kevis House Gallery, Kaye Michie, Stephen Ongpin Fine Art, Crispian Riley-Smith Fine Arts, David Simon Contemporary and John Spink.

David Simon Contemporary Peter Lloyd-Jones, The Dance, Ink, 30 x 21cm

David Simon Contemporary
Peter Lloyd-Jones,
The Dance,
Ink, 30 x 21cm

 

Stephen Ongpin Henri Lebasque (1865 - 1937), A Seated Female Nude in an Interior 20 x 19cm,

Stephen Ongpin
Henri Lebasque (1865 – 1937),
A Seated Female Nude in an Interior
20 x 19cm,

 

Crispian Riley-Smith attrib. Patrizi (1663 - 1744), Marriage Scene of Dorinda and Silvio, Red chalk, ink wash, 20 x 14cm

Crispian Riley-Smith
attrib. Patrizi (1663 – 1744),
Marriage Scene of Dorinda and Silvio,
Red chalk, ink wash, 20 x 14cm

 

 

 

 

 

http://www.worksonpaperfair.com