Barry Flanagan

Barry Flanagan, Animal, Vegetable, Mineral, Waddington Custot Galleries, 11 Cork Street, London W1, until 14th May 2016

Barry Flanagan: Animal, Vegetable, Mineral is at Waddington Custot Galleries 4 March – 14 May 2016 www.waddingtoncustot.com

Barry Flanagan: Animal, Vegetable, Mineral is at Waddington Custot Galleries 4 March – 14 May 2016
http://www.waddingtoncustot.com

Curated by Dr Jo Melvin, this exhibition looks at the works from this noted sculptor who was a part of early British Conceptual Art. He worked in a variety of materials – sand, plaster, cloth, metal, stone and bronze – and one can correctly discern a note of irreverence in his approach.  In his film sand girl (1970) where sand is poured over a naked woman the viewer becomes an element in the “sculptural” process.

Barry Flanagan: Animal, Vegetable, Mineral is at Waddington Custot Galleries 4 March – 14 May 2016 www.waddingtoncustot.com

Barry Flanagan: Animal, Vegetable, Mineral is at Waddington Custot Galleries 4 March – 14 May 2016
http://www.waddingtoncustot.com

The show’s title comes from a review by the American writer and curator Gene Baro of Flanagan’s first solo show at the Rowan Gallery.  I shall share Barry Flanagan’s own words about his work with you: All materials are sculptural. I experience the physical world in nature and the physical world in our built structures, as sculptural

http://www.waddingtoncustot.com

Three Mayfair Galleries

 

Tilson: The Stones of Venice, Marlborough Fine Art, 6 Albemarle Street, London W1, until 2nd April 2016

Joe Tilson, The Stones of Venice La Scuola Grande di San Giovanni Evangelista, Venessia, 2014, acrylic on canvas on wood relief, 50 x 75 cm, © Joe Tilson, courtesy Marlborough Fine Art, London

Joe Tilson, The Stones of Venice La Scuola Grande di San Giovanni Evangelista, Venessia, 2014,
acrylic on canvas on wood relief, 50 x 75 cm,
© Joe Tilson, courtesy Marlborough Fine Art, London

This artist had his first exhibition at the gallery in 1962 and this is his seventh solo show there and is inspired by Ruskin’s eponymous book The Stones of Venice. Many of the paintings combine buildings and flooring patterns, sometimes with words too, to create a colourful whole. Joe Tilson’s thick application of acrylic evokes the decaying fabric of many Venetian buildings.

http://www.marlboroughfineart.com

 

 

Martyn BrewsterAn exhibition of recent paintings and drawings, Waterhouse & Dodd, 47 Albemarle Street, London W1, until 24thMarch 2016

To the sea Acrylic & collage on canvas 47 x 47 in / 120 x 120 cm Signed, titled & dated on reverse

To the sea
Acrylic & collage on canvas
47 x 47 in / 120 x 120 cm
Signed, titled & dated on reverse

Whilst continuing his coastal light theme in this exhibition those more familiar with his work will see that his combination of abstraction with the landscape has evolved stylistically.

www.waterhousedodd.com

 

 

Between the Eyes, Sotheby’s S|2 Gallery, 31 St George Street, London W1, until 24th March 2016

Bruce Nauman, Double Poke in the Eye II, 1985, Courtesy of Sotheby's

Bruce Nauman,
Double Poke in the Eye II, 1985,
Courtesy of Sotheby’s

This show traces the development of Minimalist and Conceptual Art from the 60s onwards with an emphasis on those works that interact between the brain and the eye. The artists featured include John Baldessari, Alighiero Boetti, Dan Flavin, Wade Guyton, Damien Hirst, Donald Judd, Joseph Kosuth, Yayoi Kusama, Sol Lewitt, Robert Mangold, Francois Morellet, Bruce Nauman, Robert Ryman, Rudolf Stingel and James Turrel.

http://www.sothebys.com

The 2016 BADA Fair

The BADA Fair, The Duke of York Square, Chelsea, London SW3, until 15th March 2016

GRAY M.C.A Henry Moore “Insect Wings & Ovals” Orange & Grey 9.5” x 14.5” , Rayon Crepe, Provenance: The Ascher Collection

GRAY M.C.A
Henry Moore “Insect Wings & Ovals” Orange & Grey
9.5” x 14.5” , Rayon Crepe,
Provenance: The Ascher Collection

This is the 24th Fair and one can certainly understand why it is such a popular event with all ages. BADA’s CEO Marco Forgione aptly sums it up saying: “we look forward to welcoming 100 leading dealers, including 11 new exhibitors, and over 18,000 visitors from around the world. BADA Fair is a brilliant opportunity for a wide range of antique buyers, collectors and interior designers to draw on the expertise of our members and select from a wide range of pieces of outstanding quality.”

TIMOTHY MILLET London Haymarket, King’s Theatre, Prince Regent’s Box, No. 1, silver gilt pass. British c. 1815, 8.3 x 4.2 cm

TIMOTHY MILLET
London Haymarket, King’s Theatre, Prince Regent’s Box, No. 1, silver gilt pass. British c. 1815,
8.3 x 4.2 cm

This year’s charity partner is Marie Curie.

HOWARDS JEWELLERS Sapphire and diamond suite, circa 1970 Total estimated sapphire weight: 34 carats Total estimated diamond weight: 30 carats

HOWARDS JEWELLERS
Sapphire and diamond suite, circa 1970
Total estimated sapphire weight: 34 carats
Total estimated diamond weight: 30 carats

 

JONATHAN COOPER, PARK WALK GALLERY Tulip 'Rococo' Study Fiona Strickland Watercolour on vellum 9.06 x 7.09ins (23 x 18cm)

JONATHAN COOPER, PARK WALK GALLERY
Tulip ‘Rococo’ Study Fiona Strickland Watercolour on vellum
9.06 x 7.09ins (23 x 18cm)

 

THOMAS COULBORN & SONS Carved Giltwood Console Table by John Linnell (1729-1796), England, circa 1750 W: 125.5 cm; H: 96.5 cm; D: 58.5 cm Provenance: The late Margaret Feilding, Beckley Park, Oxfordshire

THOMAS COULBORN & SONS
Carved Giltwood Console Table by John Linnell (1729-1796), England, circa 1750
W: 125.5 cm; H: 96.5 cm; D: 58.5 cm
Provenance: The late Margaret Feilding, Beckley Park, Oxfordshire

 

SYLVIA POWELL DECORATIVE ARTS Tete d’Oiseau by Pablo Picasso (1881-1973) Incised ceramic, inscribed and dated underneath “Vallauris juillet 50” Length 9cm Provenance Marina Picasso

SYLVIA POWELL DECORATIVE ARTS
Tete d’Oiseau by Pablo Picasso (1881-1973) Incised ceramic, inscribed and dated underneath “Vallauris juillet 50”
Length 9cm
Provenance Marina Picasso

 

 

 

http://www.badafair.com

A Year in the Life of a London Priest

Of Things Not Seen: A Year in the Life of a London Priest, gallery@oxo, Oxo Tower Wharf, Bargehouse Street, London SE1, until 20th March 2016

Going to work, courtesy Jim Grover

Going to work, courtesy Jim Grover

This is a rather special ‘snapshot’ of life in a South London parish which saw photographer Jim Grover accompany his local Church of England minister Kit Gunasekera as he went about his duties over a year.

Quiz Night, Cod and Chips for Table 5, courtesy Jim Grover

Quiz Night, Cod and Chips for Table 5, courtesy Jim Grover

The forty photographs on view were selected by curator Katy Barron from the more than fifteen thousand images Jim took. They show service, community, fellowship, laughter, concern and spirituality things that are part of daily life in a parish and to me there was, to quote from the hymn ‘Dear Lord and Father of Mankind’, a sense of that still, small voice of calm.

Pastoral visit, courtesy Jim Grover

Pastoral visit, courtesy Jim Grover

www.ofthingsnotseen.com

Young at Heart, courtesy Jim Grover

Young at Heart, courtesy Jim Grover

www.coinstreet.org

Foodbank collection, courtesy Jim Grover

Foodbank collection, courtesy Jim Grover

Norway in London

Painting Norway: Nikolai Astrup (1880-1928), Dulwich Picture Gallery, Gallery Road, London SE21, until 15th May 2016

Nikolai Astrup The Parsonage, Oil on canvas 101 x 88 cm The Savings Bank Foundation DNB/The Astrup Collection/KODE Art Museums of Bergen

Nikolai Astrup
The Parsonage,
Oil on canvas
101 x 88 cm
The Savings Bank Foundation DNB/The Astrup Collection/KODE Art Museums of Bergen

This is London’s first exhibition of paintings and prints by the renowned Norwegian artist Nikolai Astrup (1880-1928).  It is an exhilarating insight into both his artistic life and the area where he lived in western Norway where he grew up in his father’s parsonage at Ålhus and later at his own farmstead at Astruptunet (formerly known as Sandalstrand).  It is a magical world recalling his childhood and the spirit of the place.

Nikolai Astrup Interior Still Life: Christmas Morning, Oil on canvas 94 x 104 cm Private Collection

Nikolai Astrup
Interior Still Life: Christmas Morning,
Oil on canvas
94 x 104 cm
Private Collection

Although initially a follower of the Norwegian naturalist style through studying elsewhere in Europe he became influenced by the “naive” style of Maurice Denis and Henri ‘le Douanier’ Rousseau and the results as you can see are both distinctive and engaging.

Nikolai Astrup Midsummer Eve Bonfire, After 1917 Black and white woodcut on paper 34.5 x 34 cm approx Private Collection

Nikolai Astrup
Midsummer Eve Bonfire, After 1917
Black and white woodcut on paper
34.5 x 34 cm approx
Private Collection

 

Henrik Lund Portrait of Nikolai Astrup, 1900 Oil on canvas 90 x 68 cm Oslo Museum

Henrik Lund
Portrait of Nikolai Astrup, 1900
Oil on canvas
90 x 68 cm
Oslo Museum

 

Nikolai Astrup A Clear Night in June, 1905-1907 Oil on canvas 148 x 152 cm The Savings Bank Foundation DNB/The Astrup Collection/KODE Art Museums of Bergen

Nikolai Astrup
A Clear Night in June, 1905-1907
Oil on canvas
148 x 152 cm
The Savings Bank Foundation DNB/The Astrup Collection/KODE Art Museums of Bergen

http://www.dulwichpicturegallery.org.uk

‘Must not be Shook’

A Handful of Dust – Georgian Pastels from the Permanent Collection, The Holburne Museum, Great Pulteney Street, Bath BA2, until 18th September 2016

Unknown Artist, eighteenth century A Market Woman with Fruit Pastel on paper, 81.3 x 66cm © The Holburne Museum

Unknown Artist, eighteenth century
A Market Woman with Fruit
Pastel on paper, 81.3 x 66cm
© The Holburne Museum

This year the Museum celebrates its centenary a 100 Years Here with a series of exhibitions.  One is quite delightful, featuring rarely seen 18th century portraits in pastel.  Pastel is a mixture of china clay, plaster and pigment which are rolled into sticks. However it is fragile and can deteriorate quite easily. Indeed Thomas Lawrence wrote on the back of one of his pastels ‘to be kept from the Damp &sun/and must not be shook.’ 

 

Be that as it may the effect of pastel when applied to paper is quite luminous especially for portraits as the examples here amply show.  It became a medium adopted by British artists for about a hundred years from the 1730s. Unlike portraits in oils pastels required no time for drying so Bath painters such as William Hoare and a young Thomas Lawrence often used it when depicting short-term visitors to the city.

Jean-Etienne Liotard (1702 – 1789) James Nelthorpe (c. 1718 – 1767), 1738 Pastel on paper, 62 x 50cm © The Holburne Museum

Jean-Etienne Liotard (1702 – 1789)
James Nelthorpe (c. 1718 – 1767), 1738
Pastel on paper, 62 x 50cm
© The Holburne Museum

The technique was revived by Impressionist artists as we will discover in another exhibition at the Holburne.

 

http://www.holburne.org