Recalling the 18th Century!

© Alix de Montaigu-Sèvres-Cité de la Céramique

J. Paul Getty’s statement “For technical skill & perfection and for delicacy & taste Sèvres is unsurpassed” is in my view definitely true whether talking about 18th and 19th century pieces or something contemporary such as the items shown by the Sèvres Factory at the recent PAD show in Berkeley Square.

© Alix de Montaigu-Sèvres-Cité de la Céramique

I think that Getty would have been intrigued by the fact that as well as making striking modern designs they were also able, using the traditional methods, to recreate major pieces from the 18th century such as the boat-shaped Vaisseau à Mât.  Only twelve of these were created in the 18th century, of which ten are known to survive today, including one in the Royal Collection. It is therefore a remarkable achievement that the factory has produced this soft paste ‘copy’ of the Buckingham Palace example which was originally owned by the great supporter and patron of the Sèvres Factory Madame de Pompadour.

© Alix de Montaigu-Sèvres-Cité de la Céramique

 

© Alix de Montaigu-Sèvres-Cité de la Céramique

The images reflect both the production and resultant vase – a veritable tour de force!

© Alix de Montaigu-Sèvres-Cité de la Céramique

It can be seen at Thomas Goode in South Audley Street check for details 020 7499 2823; INFO@THOMASGOODE.COM)

 

sevresciteceramique.fr

 

thomasgoode.com

THE LAPADA FAIR 2017

LAPADA Art & Antiques Fair, Berkeley Square, Mayfair, London W1, 15th-20th September 2017

Once again Mayfair’s Berkeley Square plays host to the LAPADA Fair – can you believe it’s their ninth year there, time really does go by quickly?

Among the 110 plus participants at the fair bringing a tempting mixture of art and antiques from all periods is Mackinnon Fine Furniture and I thought you would be interested to see this pair of George II chairs known as the Newhailes House Armchairs which they are showing at the Fair. Dating from c1750-55 their mahogany frames are beautifully carved and pierced and have Chinoiserie stretchers. They are upholstered in their original signed Aubusson tapestry covers.

The chairs, originally a set of four, were acquired by the first Lord Hailes at a sale of the contents of his aunt’s house in Greek Street and remained at Newhailes House until c1928. They were in various American collections, including the Walter P Chrysler Collection.

Slightly earlier in date are these very important George II mahogany armchairs of c1745 which come from Warwick Castle and were part of suite acquired in the 18th century for the castle and where some can still be seen in the Cedar Drawing Room. They are upholstered in early 18th century Genoese silk velvet.

Whoever buys these chairs is going to be very lucky and have many years pleasure in owning them.

 

www.mackinnonfineart.com

http://lapadalondon.com

BOOK REVIEW: Gilded Interiors: Parisian Luxury and the Antique

Gilded Interiors: Parisian Luxury and the Antique

Helen Jacobsen

Imprint: Philip Wilson Publishers Ltd
Publisher: Philip Wilson Publishers Ltd

£19.95

ISBN: 9781781300589

 

This book is far more than just a souvenir of the recent seriously good exhibition at The Wallace Collection which focused on their gilt-bronze as it includes even more of the wonderful bronzes d’ameublement that are an important part of The Wallace’s justly famous collections of French eighteenth-century art.

Dr Jacobsen introduces us to the late 18th century Parisian interiors and the taste for the Antique setting the stage for these superbly designed and executed objects.  You will find clocks, firedogs, candelabra, mounted porcelain and even tables – which are then individually discussed in detail. It is beautifully illustrated with a combination of new photography and copies of original designs and proposals for both objects and interiors.  The book is a great celebration of 18th century connoisseurship and taste revealing the world of figures such as Marie Antoinette and the comte d’Artois and their circles. It is an absolute must for all interested in the interiors and the ‘douceur de vivre’ of the Ancien Régime.

 

www.ibtauris.com

OUT & ABOUT – Parafin

Fernando Casasempere
Reminiscence, 2017
Porcelain
135 x 135 x 115 cm
© Nick Turpin

The Chilean sculptor Fernando Casasempere’s new work Reminiscence (2017) has been included in this year’s Sculpture in the City. It is located in a walkway off Leadenhall near to the Gherkin. The artist uses pottery as his chosen material as it symbolises both the earth and nature. The wall sculpture also reflects culture as it evokes Pre-Columbian forms and architecture. It will be on view until May 2018.

https://www.cityoflondon.gov.uk › … › Visit the City › Art and Architecture

 

parafin.co.uk

‘Op Art’

Seurat to Riley: The Art of Perception, Compton Verney, until 1st October 2017

Blaze IV,
Bridget Riley,
© UK Government Art Collection © Bridget Riley 2017. All rights reserved

Regular readers of my blog may recall that in October 2015 I posted about a small but enjoyable exhibition Bridget Riley: Learning from Seurat at the Courtauld Gallery and now in this large-scale show at Compton Verney this debt is re-visited and much expanded upon.

La Luzerne, Saint-Denis,
Georges Seurat,
© Scottish National Gallery

It reminds us that since the 19th century some artists have been fascinated by the way in which the eye sees optical illusions as it responds to visual stimuli and this point is well proven in this exhibition. Ninety diverse ‘Op Art’ works are featured in the show, including pieces by Victor Vasarely, Julio Le Parc, Jeffrey Steele, Jesus Rafael Soto, Carlos Cruz-Diez, Peter Sedgley, Liliane Lijn and, of course, Bridget Riley and Seurat.

Our Spectral Vision,2016,
Liz West.
Photo (c) Hannah Devereux

Professor Steven Parissien, Director of Compton Verney sums it up: “Optical Art explores a range of effects and emotions, using complex geometry and advanced mathematics to communicate with the viewer in a way that is simultaneously mentally challenging and visually appealing. This wonderful exhibition demonstrates just how exhilarating, electrifying and (quite literally) eye-opening Op Art can be.”

The show is curated by Penelope Sexton and Dr Frances Follin and appropriately enough supported by Farrow & Ball.

Pulse 05,
White Earthenware, Underglaze colour, matt glaze, 2012.
Sara Moorhouse,
(c) Sara Moorhouse

http://www.comptonverney.org.uk

Enlightened Princesses

Enlightened Princesses: Caroline, Augusta, Charlotte and the Shaping of the Modern World, Kensington Palace, until November 2017

Queen Caroline of Ansbach, Joseph Highmore c.1735,
Royal Collection Trust c Her Majesty Queen Elizabeth II 2017

This fascinating exhibition has come to Kensington Palace from the Yale Center for British Art where it understandably attracted so much interest while there. It considers the part played by three German Protestant princesses at the court of the Hanoverian Kings who ruled 18th century Britain. A legacy that can still be seen in today’s monarchy.

Enlightened Princesses – Installation view
(c) Historic Royal Palaces

The three princesses concerned are Caroline, consort of George II; her daughter-in-law Augusta, who was married to Frederick Prince of Wales and Charlotte (Augusta’s daughter-in-law), consort of George III. In many senses they were the right women in the right place as Britain was embracing the ideas of the Enlightenment and the princesses’ intelligence and curiosity combined with their exalted status allowed them to foster and support the new ideas.

Queen Charlotte, Johann Joseph Zoffany 1771,
Royal Collection Trust c Her Majesty Queen Elizabeth II 2017

Scientists, authors and even musicians such as Handel were all drawn to their drawing rooms. They encouraged medical advances such as inoculation and were involved in the establishment of London’s Foundling Hospital. Plants and wildlife were another interest that all three shared and Kew Gardens is part of that legacy. They also supported British trade and manufacturing.

Enlightened Princesses – Installation view
(c) Historic Royal Palaces

The exhibition succeeds in bringing both their private and public world to life.  The Yale Center for British Art’s director Amy Meyers sums it up: “Caroline, Augusta, and Charlotte had sweeping intellectual, social, cultural, and political interests, which helped to shape the courts in which they lived, and encouraged the era’s greatest philosophers, scientists, artists, and architects to develop important ideas that would guide ensuing generations”.

The Flying Squirrel, Plate T-77, Mark Catesby
c The Royal Board of Trustees of Royal Botanic Gardens Kew

www.hrp.org.uk

Christening robe made for future George IV, ivory silk satin c. 1760
(c) Historic Royal Palaces

Masterpiece London 2017 – Butchoff Antiques

Butchoff Antiques at Masterpiece London 2017, until 5th July 2017

A Royal Cabinet for Prince Albert Edward by Holland & Sons, Circa 1865

Butchoff have exhibited regularly at the Fair and this year their stand evokes the feel and flavour of an interior in a 19th century chateau. It is the perfect backdrop for their choice selection of 19th century English and Continental furniture and objects. Many are signed by their makers or have an interesting provenance.

An Impressive Large Ormolu Mirror Signed Henry Dasson et Cie, 1889

Ian Butchoff sums it up: “We are proud to be one of the original exhibitors at Masterpiece, and as always will bring a range of statement pieces appealing to the diverse, international crowd at the fair.”

Pair of Urns Signed by Ferdinand Barbedienne, Circa 1880

www.butchoff.com

www.masterpiecefair.com