Monthly Archives: April 2016

Charles Cundall – Salisbury & London

Charles Cundall – A Working Method, Young Gallery, Market Place, Salisbury SP1, until 21st April 2016  then at Sotheran’s, 2-4 Sackville Street, London W1,  28th April – 7th May 2016

Study for a painting of the Steel Company of Wales, Newport, circa 1958 Framed (ref: 4013) Oil on canvas 26 x 30 in. (66 x 76.2 cm) Provenance: Acquired directly from the Artist's Daughter Exhibited: - A Working Method,Young Gallery Salisbury, March- April 2016, Sotheran's, April-May 2016. Literature: Charles Cundall - A Working Method, Edited by Sacha Llewellyn & Paul Liss, published by Liss Llewellyn Fine Art, February 2016.

Study for a painting of the Steel Company of Wales, Newport, circa 1958
Framed (ref: 4013)
Oil on canvas
26 x 30 in. (66 x 76.2 cm)
Provenance: Acquired directly from the Artist’s Daughter
Exhibited: – A Working Method,Young Gallery Salisbury, March- April 2016, Sotheran’s, April-May 2016.
Literature: Charles Cundall – A Working Method, Edited by Sacha Llewellyn & Paul Liss, published by Liss Llewellyn Fine Art, February 2016.

Charles Cundall (1890-1971) was without doubt a talented and well-travelled artist.  He started as a designer at the Pilkington Pottery, before studying art at the Royal College of Art and then eventually at the Slade.  Panoramic pictures were one of his specialities and they reveal his skill in handling texture and light as well as depicting people.  He was also a war artist in World War II. We are fortunate that this exhibition is also coming to London in a week or two.

Lancaster Bombers Framed (ref: 6976) Watercolour on paper 9 ½ x 24 in. (24 x 61 cm) Provenance: Acquired directly from the Artist's Daughter Exhibited: - A Working Method,Young Gallery Salisbury, March- April 2016, Sotheran's, April-May 2016. Literature: Charles Cundall - A Working Method, Edited by Sacha Llewellyn & Paul Liss, published by Liss Llewellyn Fine Art, February 2016.

Lancaster Bombers
Framed (ref: 6976)
Watercolour on paper
9 ½ x 24 in. (24 x 61 cm)
Provenance: Acquired directly from the Artist’s Daughter
Exhibited: – A Working Method,Young Gallery Salisbury, March- April 2016, Sotheran’s, April-May 2016.
Literature: Charles Cundall – A Working Method, Edited by Sacha Llewellyn & Paul Liss, published by Liss Llewellyn Fine Art, February 2016.

http://www.lissfineart.com

The cattle market Orvieto, 1922 Framed (ref: 5225) Signed and dated 21 1/4 x 17 1/2 in. (54 x 44.5 cm) Provenance: Colnaglia & Obach Exhibited: - A Working Method,Young Gallery Salisbury, March- April 2016, Sotheran's, April-May 2016. Literature: Charles Cundall - A Working Method, Edited by Sacha Llewellyn & Paul Liss, published by Liss Llewellyn Fine Art, February 2016.

The cattle market Orvieto, 1922
Framed (ref: 5225)
Signed and dated
21 1/4 x 17 1/2 in. (54 x 44.5 cm)
Provenance: Colnaglia & Obach
Exhibited: – A Working Method,Young Gallery Salisbury, March- April 2016, Sotheran’s, April-May 2016.
Literature: Charles Cundall – A Working Method, Edited by Sacha Llewellyn & Paul Liss, published by Liss Llewellyn Fine Art, February 2016.

WESTMINSTER CITY COUNCIL’S CONTROVERSIAL PLANNING DECISIONS

Given the amount of the new and proposed tall buildings that will be pricking London’s skyline I thought some of you would be interested in this update from

 

Petitioning nbarrett@westminster.gov.uk 

STOP WESTMINSTER COUNCIL APPROVING A MASSIVE 30 STOREY TOWER IN WEST END GREEN

SKYLINE CAMPAIGN London, United Kingdom

 

 

Petition update

WEST END GREEN APPROVED 3-1

SKYLINE CAMPAIGN
London, United Kingdom


12 Apr 2016 — Very unfortunately, following an extremely well-argued case for refusal by Cllr Caplan, Councillors Davis, Mitchell and Burbridge decided to disregard WCC’s own policy on the basis that, supposedly, the scheme delivers more significant benefits than it causes harm.

Their arguments were less than persuasive and disingenuous to say the least, but there was clearly a desire to gloss over principles and truths about this scheme in order to wave it through.

It is a dark hour for Westminster and for London, in terms of its built environment, its legacy to future generations, and its democratic decision-making process.

The Skyline Campaign and other opposition groups are considering their next moves.

Thank you all for your great support. We were told that the Council had never before received such a high number of objections for a planning application!

 

I am sure many Londoners, especially Westminster residents, will be very disappointed in this decision by WCC (Westminster City Council).

 

Another WCC planning decision that has caused controversy can be found on the website of the Victorian Society (http://www.victoriansociety.org.uk/news/damaging-scheme-for-londons-first-great-department-store-approved/).  Here is a brief extract but please do visit their website:

“Westminster Council’s decision to approve a damaging scheme for Whiteleys, London’s ‘first great department store’, will leave this part of West London architecturally poorer. The proposed roof extension would be highly visible and harm the Queensway Conservation Area.”

These are worrying decisions by WCC who have charge of such an historic area of London.  One can understand why there is such concern from residents and others working in the area at such planning choices. Perhaps time for WCC to listen??

Burgh House, Hampstead

Faces and Spaces, Burgh House, New End Square, Hampstead, London NW3, until 17th April 2016

Rw Easterby Ice Pass I, 2016 Oil and mixed media on wood, 103 cm x 103cm

Rw Easterby
Ice Pass I, 2016
Oil and mixed media on wood, 103 cm x 103cm

Curated by Sue Ecclestone this show in the delightful environs of Burgh House features the work of six artists and a photographer – Tim Wright, Rw Easterby, Steve Wazowski, Chris Filtness, Claire Tilroe, Robert Dearman and Jess de Silva.  Portraits, landscapes and cityscapes delight and intrigue the viewer.

 

For opening times: http://www.burghhouse.org.uk/visit

 

http://www.ecclestoneartagency.com

Marian Goodman Gallery

James Coleman, Marian Goodman Gallery, 5-8 Lower John Street, London W1, until 16th April 2016

JAMES COLEMAN Untitled, 2011-15 LED Video installation with audio, colour. Photographer: Matthew Hollow Copyright: James Coleman Courtesy of: the artist and Marian Goodman Gallery

JAMES COLEMAN
Untitled, 2011-15
LED Video installation with audio, colour.
Photographer: Matthew Hollow
Copyright: James Coleman Courtesy of: the artist and Marian Goodman Gallery

This show combines some of the artist’s earlier well-known works with two new major film installations that he has worked on over the last five years. One can easily understand why he has influenced younger artists because his work combines elegance with beauty in a manner which captures the imagination of the onlooker.

JAMES COLEMAN Photograph, 1998-99 Projected slide images with synchronised audio narration; 35mm slides, colour. Continuous projection; duration 20 mins, interval 2 mins 30 secs. Photographer: Matthew Hollow Copyright: James Coleman Courtesy of: the artist and Marian Goodman Gallery

JAMES COLEMAN
Photograph, 1998-99 Projected slide images with
synchronised audio narration; 35mm slides, colour.
Continuous projection; duration 20 mins, interval 2 mins 30
secs.
Photographer: Matthew Hollow
Copyright: James Coleman Courtesy of: the artist and Marian Goodman Gallery

mariangoodman.com

‘A Poetic Eye’

John Craxton ‘A Poetic Eye: A life in art from Cranborne Chase to Crete’, Salisbury Museum, The King’s House, 65 The Close, Salisbury SP1, until 7th May 2016

John Craxton working on Pastoral for P.W., 1948 Photograph by Felix Man

John Craxton working on Pastoral for P.W., 1948
Photograph by Felix Man

Curated by Ian Collins, Craxton’s art executor, the exhibition tells the story of this exciting artist, a friend of Freud, whose work developed from the dark, brooding paintings and drawings he created during the war period on Cranborne Chase to the bright works that celebrated his love of Crete and the way of life there. It is a revelatory and well-deserved remembrance of a talented and characterful artist.

 

http://www.salisburymuseum.org.uk

They Shall Be Male and Female

Biggs and Collings  – They Shall Be Male and Female, Vigo Gallery, 21 Dering Street, London, W1, until 27th April 2016

Tongues, Biggs & Collings, 2016 (c) the artist, courtesy of Vigo Gallery

Tongues,
Biggs & Collings, 2016
(c) the artist, courtesy of Vigo Gallery

This is an intriguing show especially as it is the harmonious product of a husband and wife team who divide the work between them.  Emily Biggs is responsible for choosing the colours and also where they go and Matthew Collings paints them on to the canvases.

Paradise, Biggs & Collings, 2016 (c) the artist, courtesy of Vigo

Paradise,
Biggs & Collings, 2016
(c) the artist, courtesy of Vigo

The results, I am sure you will agree, are remarkable.  The diamond grid pattern common to all is playful and engrossing and reflects Emily’s work as a mosaic artist.  The titles of the works derive from the Book of Genesis as Matthew explains: “The thing we’re creating in the studio is like life. There’s the peril of chaos, but you’re capable of creating a structure, you’re always trying to, anyway.”

Egyptians, Biggs & Collings, 2016, (c) the artist, courtesy of Vigo Gallery

Egyptians,
Biggs & Collings, 2016,
(c) the artist, courtesy of Vigo Gallery

vigogallery.com

Chillida at Ordovas

Chillida: Rhythm-Time-Silence, Ordovas, 25 Savile Row London W1, until 23rd April 2016

Chillida: Rhythm-Time-Silence installation view, photography by Mike Bruce, Chillida Belzunce Family Collection © Zabalaga-Leku, DACS, London, 2016

Chillida: Rhythm-Time-Silence installation view,
photography by Mike Bruce,
Chillida Belzunce Family Collection © Zabalaga-Leku, DACS, London, 2016

This exhibition comes to London from the gallery’s pop-up space in New York where it formed the inaugural show.  It examines through the three large-scale pieces on show the Chillida’s fascination with the concept of space as material.  The sculptures are made from corten steel – reflecting the blacksmithing heritage of his native Basque country – and granite.

Chillida: Rhythm-Time-Silence installation view, photography by Mike Bruce, Chillida Belzunce Family Collection © Zabalaga-Leku, DACS, London, 2016

Chillida: Rhythm-Time-Silence installation view,
photography by Mike Bruce,
Chillida Belzunce Family Collection © Zabalaga-Leku, DACS, London, 2016

I can only concur with Pilar Ordovas who says “My intention is to continue to increase international awareness of his major innovations in the field of sculpture and serve to introduce his work to new generations of audiences, scholars and collectors.”

Chillida: Rhythm-Time-Silence installation view, photography by Mike Bruce, Chillida Belzunce Family Collection © Zabalaga-Leku, DACS, London, 2016

Chillida: Rhythm-Time-Silence installation view,
photography by Mike Bruce,
Chillida Belzunce Family Collection © Zabalaga-Leku, DACS, London, 2016

 

WWW.ORDOVASART.COM