News Flash – Helping the homeless charity CRISIS this Christmas

Just received this and thought I really should share it with you:

 

“CAMILLE WALALA, NATASHA LAW, D*FACE, KATE MOROSS & FREEBEEZ COLLABORATE TO LAUNCH ‘SIMBA ART COLLECTIVE’ TO RAISE FUNDS FOR HOMELESSNESS CHARITY CRISIS THIS CHRISTMAS

gallery_compbox

DESIGN-LED SLEEP BRAND, SIMBA, UNVEILS ITS EXCLUSIVE LIMITED EDITION COLLECTION OF DESIGNER MATTRESSES IN PARTNERSHIP WITH CRISIS”

 https://simbasleep.com/pages/collective

‘Treasures’

 ‘Italian Treasures’, Brun Fine Art, 38 Old Bond Street, London W1, until 16th December 2016

Trapani (Sicily), Early 18th Century Nativity Ivory, Coral, Tortoise, Lapis, Bronze 35 x 30 cm

Trapani (Sicily), Early 18th Century
Nativity
Ivory, Coral, Tortoise, Lapis, Bronze
35 x 30 cm


I thought, given the time of year, I would use this Nativity image to draw your attention to this exhibition of fine coral objects created in Trapani in Sicily which are shown alongside 17th and 18th century Italian bronzes and old master paintings.

Installation view

Installation view

http://www.brunfineart.com

A Dagenham Designer

HARDY AMIES: A DAGENHAM DESIGNER, Valence House Museum, Becontree Avenue, Dagenham, RM8 3HT, until 25th February 2017

Queen Elizabeth (b.1926), photo Cecil Beaton (1904-80). Photograph. England, 1969. © Cecil Beaton/Victoria and Albert Museum, London

Queen Elizabeth (b.1926), photo Cecil Beaton (1904-80).
Photograph. England, 1969.
© Cecil Beaton/Victoria and Albert Museum, London

Although the renowned couturier and royal dressmaker  Sir (Edwin) Hardy Amies (1909-2003) was born just up the road from me in Maida Vale his story is being told, rightly so, in Dagenham where his father was the land agent acquiring land for the Becontree Estate in the 1920s and 30s. It was the largest public housing project of its time and was part of the Homes fit for Heroes national housing programme. Amies grew up there firstly at Gale Street Farm and then later at White House. The latter is being used to host some of the events related to the exhibition.

Hardy Amies with his father and sister outside Gale Street Farm, Dagenham, 1920. Image © LBBD Archive at Valence House

Hardy Amies with his father and sister outside Gale Street Farm, Dagenham, 1920.
Image © LBBD Archive at Valence House

It is being held in Valence House Museum, a place which merits a visit on its own accord as it tells the long and interesting history of the area. Amies skill is revealed through his work whether for Her Majesty the Queen, the high street store chain Hepworths or his designs for the film 2001: A Space Odyssey. He was also involved in the designs for the clothing of the 1966 English World Cup Team both off and on the pitch.

Barbara Goalen (1921-2002) and Hardy Amies (1909-2003), photo John French (1906-66). Photograph. London, UK, 1952. © John French / Victoria and Albert Museum, London

Barbara Goalen (1921-2002) and Hardy Amies (1909-2003), photo John French (1906-66).
Photograph. London, UK, 1952.
© John French / Victoria and Albert Museum, London

He was an astute business man and as he himself wrote in his book ‘Still Here’ My forte was tailored clothes”.  The exhibition has various examples of his designs on show including two that were worn by the Queen as well as clothes worn by Amies himself. While not a large-scale show it is one that I am very pleased to have seen.

Queen Elizabeth II Silver Jubilee outfit Hardy Amies, 1977 Image © Royal Collection Trust/All Rights Reserved

Queen Elizabeth II Silver Jubilee outfit
Hardy Amies, 1977
Image © Royal Collection Trust/All Rights Reserved

The exhibition has been co-curated by Create London and Valence House Museum, with dress historian and curator Amy de la Haye.

The White House Image © LBBD Archive at Valence House

The White House
Image © LBBD Archive at Valence House

Opening hours: Tuesday to Saturday 10am to 4pm (except public holidays)

 

www.lbbd.gov.uk/…/valence-house

http://createlondon.org/event/hardy-amies

Label from Hardy Amies’ own suit jacket, 1967 Image © LBBD Archive at Valence House

Label from Hardy Amies’ own suit jacket, 1967
Image © LBBD Archive at Valence House

A Surreal Legacy

Sale 13765

A Surreal Legacy – Selected works of art from The Edward James Foundation, Christie’s London, King Street, London SW1, 15 December 2016,

 Lot 10 Salvador Dalí (1904-1989) and Edward James (1907-1984) Lobster Telephone (white aphrodisiac) white Bakelite telephone and white plaster lobster Length: 12 ½ in. (31.7 cm.) Conceived by Salvador Dalí in 1936; commissioned by Edward James from Green & Abbott in 1938 in an edition of eleven, four red and seven white. Estimate GBP 150,000 - GBP 250,000 (USD 186,450 - USD 310,750) © Christie’s Images Limited 2016

Lot 10
Salvador Dalí (1904-1989) and Edward James (1907-1984)
Lobster Telephone (white aphrodisiac)
white Bakelite telephone and white plaster lobster
Length: 12 ½ in. (31.7 cm.)
Conceived by Salvador Dalí in 1936; commissioned by Edward James from Green & Abbott in 1938 in an edition of eleven, four red and seven white.
Estimate GBP 150,000 – GBP 250,000 (USD 186,450 – USD 310,750)
© Christie’s Images Limited 2016

Edward James (1907-1984) was a notable patron and art collector and one who particularly embraced Surrealism and indeed transformed Monkton House on the West Dean estate into a Surrealist-inspired home.  It was an interest that first started when he lived in Paris as a young man and he became a patron and close friend of artists and writers such as Paul Éluard, André Breton René Magritte and Salvador Dalí. The latter said of him “Edward is as insanely relentless as myself”.  He was also a patron of the Russian Neo-Romanticist Pavel Tchelitchew and James built up a large collection of his works and some of these are in this sale.

Edward James, circa late 1920s © Christie’s Images Limited 2016

Edward James, circa late 1920s
© Christie’s Images Limited 2016

As well as the Surrealist works there is a mixture of pieces from West Dean House that reflects the taste and lifestyle of its various owners, including James’s father.  They are being sold to continue the work of the Edward James Foundation which is based at West Dean.

Lot 20 Pavel Tchelitchew (1898-1957) The Concert signed and dated 'P Tchelitchew 33' (lower left) oil on canvas 35 x 45¾ in. (89.5 x 116. 3 cm.) Painted in 1933 Estimate GBP 250,000 - GBP 350,000 (USD 310,750 - USD 435,050) © Christie’s Images Limited 2016

Lot 20
Pavel Tchelitchew (1898-1957)
The Concert
signed and dated ‘P Tchelitchew 33’ (lower left)
oil on canvas
35 x 45¾ in. (89.5 x 116. 3 cm.)
Painted in 1933
Estimate GBP 250,000 – GBP 350,000 (USD 310,750 – USD 435,050)
© Christie’s Images Limited 2016

Christie’s UK Chairman, Orlando Rock says: “Edward James was touched by genius – and the inspirational Surrealist fantasies that he created at Monkton and elsewhere are testimony to his visionary patronage. This eclectic auction embraces the contrasting and pioneering tastes of several generations of this Anglo-American family and will raise funds to safeguard the future of the educational Foundation at West Dean, through which Edward James sought to secure future generations of artistic creativity.”

Lot 30 Salvador Dalí (1904-1989) and Edward James (1907-1984) Mae West Lips Sofa wood carcass upholstered in red and green Melton wool fabric with green appliqué and black wool fringing Length: 81 in. (205.7 cm.) Height: 30 ¼ in. (77 cm.) Depth: 37 ¾ in. (96 cm.) Conceived by Salvador Dalí and Edward James in 1936, and executed by Green & Abbott in 1938 as one of a pair for the dining room at Monkton House. Estimate GBP 250,000 - GBP 400,000 (USD 310,750 - USD 497,200) © Christie’s Images Limited 2016

Lot 30
Salvador Dalí (1904-1989) and Edward James (1907-1984)
Mae West Lips Sofa
wood carcass upholstered in red and green Melton wool fabric with green appliqué and black wool fringing
Length: 81 in. (205.7 cm.)
Height: 30 ¼ in. (77 cm.)
Depth: 37 ¾ in. (96 cm.)
Conceived by Salvador Dalí and Edward James in 1936, and executed by Green & Abbott in 1938 as one of a pair for the dining room at Monkton House.
Estimate GBP 250,000 – GBP 400,000 (USD 310,750 – USD 497,200)
© Christie’s Images Limited 2016

www.christies.com

Ancient objects for today

Christmas Exhibition, Rupert Wace Ancient Art, 19 Crown Passage, St James’s, London SW1, until 23rd December 2016

Carnelian and red jasper necklace New Kingdom. 18th Dynasty, c.1400 BC Length: 43 cm

Carnelian and red jasper necklace
New Kingdom. 18th Dynasty, c.1400 BC
Length: 43 cm

A wonderful selection of over a hundred of over a hundred objects await you in this beguiling exhibition. Wearable ancient jewellery, including Roman bronze animal brooches, Egyptian faience amulets which were believed to have specific powers by their original owners, as well as Danish Neolithic flint and stone are there to tempt you at affordable prices.

Romano-British bronze peacock brooch c. 2nd-3rd century AD Dimensions: 2.6 x 2.6 cm

Romano-British bronze peacock brooch
c. 2nd-3rd century AD
Dimensions: 2.6 x 2.6 cm

 

Danish flint dagger Neolithic. c.2000-1800 BC Length: 17.9 cm

Danish flint dagger
Neolithic. c.2000-1800 BC
Length: 17.9 cm

 

Roman glass jug 1st - 2nd century AD Height: 13.5 cm

Roman glass jug
1st – 2nd century AD
Height: 13.5 cm

 

 

 

 

 

http://www.rupertwace.co.uk

Shine 2016

Shine 2016, The Goldsmiths’ Centre, 42 Britton St. EC1, until 19th December 2016

Rebecca Wilkes, Floral Focus, 3D printed customisable blooms hand finished, 2016 © Emilia Romagnani-Onida

Rebecca Wilkes,
Floral Focus, 3D printed customisable blooms hand finished, 2016
© Emilia Romagnani-Onida

I always like to draw your attention to events where emerging and new talent in the field of jewellery and metalworking are on display and available to buy or even commission. Shine 2016 at Clerkenwell’s Goldsmiths’ Centre fits the brief perfectly as there are thirty-seven participants who are learning to start their own businesses through the Centre’s Setting Out and Getting Started course.

Emily Bedford, one of this year’s ‘class’, sums it up saying: “Setting Out has completely and utterly changed everything for me and my business. I was quite rudderless when I started the programme, but I now have a concrete plan and feel excited about re-launching my business.”

Ana Thompson, Setting Out 2016, The Macro_World, Sedna Collection, 2016 © Colin Crisford, The Goldsmiths’ Centre

Ana Thompson, Setting Out 2016,
The Macro_World, Sedna Collection, 2016
© Colin Crisford, The Goldsmiths’ Centre

http://www.goldsmiths-centre.org

At home with the Gee Family

Lives, Loves and Loss: Traces at Fenton House, Fenton House and Garden, Hampstead Grove, London NW3, until 23rd December 2016

Lives Loves and Loss - Traces at Fenton House Photo by Sophia Schorr-Kon

Lives Loves and Loss – Traces at Fenton House
Photo by Sophia Schorr-Kon

Fenton House is a delightful 17th century brick merchant’s house with a walled garden that was left to the National Trust in 1952 by Lady Binning.  This month it has been transformed by Traces, a group of curators and makers, into a different multi-sensory world.

Lives Loves and Loss - Traces at Fenton House Photo by Sophia Schorr-Kon

Lives Loves and Loss – Traces at Fenton House
Photo by Sophia Schorr-Kon

They take us into the world of the Gee family in 1730. The family were important silk and linen merchants in London who resided at Fenton House at that time. The visitor equipped with a chamberstick (battery version) wanders through the abandoned rooms and learns, as the title suggests, about the goings on of their lives.  The rooms are specially lit to give an idea of how life was before gaslight or electricity. To help tell the story the work of eighty contemporary artists has been used and the good news is that these art works can be purchased.

Lives Loves and Loss - Traces at Fenton House Photo by Sophia Schorr-Kon

Lives Loves and Loss – Traces at Fenton House
Photo by Sophia Schorr-Kon

National Trust London’s Creative Director, Joseph Watson, comments: “Known for its rich history and inspiring collections the best of contemporary craft, design and art seemed the perfect way to tell this part of Fenton House’s story. Offering an escape from the bustle of Christmas, we are certain visitors will be amazed by the transformation that Traces have brought to this historic London home.”

Diana Bliss Annies Apron Lives Loves and Loss - Traces at Fenton House Photo by Sophia Schorr-Kon

Diana Bliss Annies Apron Lives Loves and Loss – Traces at Fenton House
Photo by Sophia Schorr-Kon

 

Opening Hours
Saturday 3rd – Sunday 4th, 11am – 5pm (last admission at 4.30pm)
Thursday 8th, Thursday 15th, 5.30pm – 8.30pm (last admission at 8pm)
Saturday 10th – Sunday 11th, 11am – 5pm (last admission at 4.30pm)
Saturday 17th – Friday 23rd, 11am – 5pm (last admission at 4.30pm)
All tickets must be booked in advance, including for National Trust members, from http://www.nationaltrust.org.uk/fenton-house-and-garden, 0344 249 1895
Admission National Trust members – free
Adult day – £10
Child day – £5
Adult evening (includes complimentary drink) – £15
Please note that the evening openings are not suitable for children under the age of 18. Ticket price applies to all, including National Trust members, for evening admission.
Lives Loves and Loss - Traces at Fenton House Photo by Sophia Schorr-Kon

Lives Loves and Loss – Traces at Fenton House
Photo by Sophia Schorr-Kon

 

@NTLovesLondon, @NTFentonHouse, @traceslondon

Room 90 at the BM

Maggi Hambling – Touch: works on paper, Room 90, The British Museum, until 29th January 2017 

French portrait drawings from Clouet to Courbet, Room 90, The British Museum, until 29th January 2017

 

Rosie, the stuffed rhinoceros in Ipswich Museum, 1963. Ink 48.3 x 34.9 cm, Maggi Hambling © The Trustees of the British Museum

Rosie, the stuffed rhinoceros in Ipswich Museum, 1963.
Ink 48.3 x 34.9 cm,
Maggi Hambling © The Trustees of the British Museum

The British Museum’s Room 90 plays host to two very good exhibitions of drawings.  The first Touch features forty works by that great British contemporary artist Maggi Hambling who although proficient in all media – painting, drawing, printmaking, sculpture – regards drawing as the heart of her working practice.

The show’s title ‘Touch’ reflects Hambling’s belief that there is a deep connection between artist and subject.  She explains: : ‘I believe the subject chooses the artist, not vice versa, and that subject must then be in charge during the act of drawing in order for the truth to be found. Eye and hand attempt to discover and produce those precise marks which will recreate what the heart feels. The challenge is to touch the subject, with all the desire of a lover.’

Father painting 16/1/94 (4), 1994. Ink on paper. 61 x 49 cm © Maggi Hambling; photo: Douglas Atfield

Father painting 16/1/94 (4), 1994.
Ink on paper. 61 x 49 cm
© Maggi Hambling; photo: Douglas Atfield

The show also marks the gift of fifteen works by the artist to the British Museum and follows on from the idea, originated by Francis Towne in 1816, of artists giving some of their works to the Museum.

Portrait of Jean-Baptiste de Champaigne and his wife Geneviève , Nicolas de Plattemontage, 1677, 260.00 x208.00 mm, Black chalk with red and white chalk on paper © The Trustees of the British Museum

Portrait of Jean-Baptiste de Champaigne and his wife Geneviève , Nicolas de Plattemontage, 1677,
260.00 x208.00 mm, Black chalk with red and white chalk on paper
© The Trustees of the British Museum

Nearby is French portrait drawings from Clouet to Courbet a wonderful selection that highlights the Museum’s notable holdings of French portrait drawings. There is something intimate about a drawing – as Maggi Hambling suggests – and so no wonder artists used it to depict family and friends.  It is also a good medium to try out new ideas of portraiture. As well as these ravishing drawings there are examples in other media including enamels, medals and an onyx cameo.

Leopold Mozart and his two children, Wolfgang Amadeus and Marie Anne, 1777, 320 x 200 mm. Watercolour and bodycolour, on contemporary gold, black and green wash mount © The Trustees of the British Museum

Leopold Mozart and his two children, Wolfgang Amadeus and Marie Anne, 1777,
320 x 200 mm. Watercolour and bodycolour, on contemporary gold, black and green wash mount
© The Trustees of the British Museum

britishmuseum.org

Gustave Courbet, Self Portrait , 570.00 x 450.00 mm, 1852, Black chalk and charcoal on paper © The Trustees of the British Museum

Gustave Courbet, Self Portrait ,
570.00 x 450.00 mm, 1852,
Black chalk and charcoal on paper
© The Trustees of the British Museum