A Dutch Master

Adriaen van de Velde: Dutch Master of Landscape, Dulwich Picture Gallery, Gallery Road,
London SE21,
until 15th January 2017 

Adriaen van de Velde, Figures on the beach at Scheveningen, 1660, Oil on canvas, 38.2 x 50cm, Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015

Adriaen van de Velde,
Figures on the beach at Scheveningen, 1660,
Oil on canvas, 38.2 x 50cm,
Royal Collection Trust / © Her Majesty Queen Elizabeth II 2015

This is a very special exhibition arranged in collaboration with the Rijksmuseum, Amsterdam.

Adriaen van de Velde (1636 – 1672) was the son of the celebrated marine painter Willem van de Velde the Elder (1611-1693) and brother of the equally famous marine painter Willem van de Velde the Younger (1663-1707). Adriaen however is regarded as one of the best landscape artists of the Dutch Golden Age.

Adriaen van de Velde, Herdsman and herdswoman with livestock by a stream, Pen in brown and black grey wash, 17.7 x 17.7 cm, Teylers Museum, Haarlem, The Netherlands

Adriaen van de Velde,
Herdsman and herdswoman with livestock by a stream,
Pen in brown and black grey wash, 17.7 x 17.7 cm,
Teylers Museum, Haarlem, The Netherlands

Although his career lasted less than two decades his works were eagerly sought after by collectors of Dutch 17th century painting in both the 18th and 19th century. From the opening gallery onward one can see how good a painter he was and as we progress through the exhibition we see both finished works and preparatory drawings, with the latter revealing the artist’s working method.

He was so good at painting figures that fellow landscape artists, including Jacob van Ruisdael, Meindert Hobbema and Jan van der Heyden asked him to paint the figures in some of their works.

Adriaen van de Velde, The Hut, 1671, Oil on canvas, 76 x 65 cm, Rijksmuseum, Amsterdam

Adriaen van de Velde,
The Hut, 1671,
Oil on canvas, 76 x 65 cm,
Rijksmuseum, Amsterdam

It is a delight of an exhibition and as its curator Bart Cornelis commented: This exhibition provides an opportunity for the public to get to know the work of one of those exceptionally gifted and refined artists of the Dutch Golden Age who has more recently slipped through the net of history but who deserves to be rediscovered as the great painter and draughtsman that he is. What’s more, his drawings provide a fascinating opportunity to see a seventeenth-century Dutch artist at work: we can, as it were, look over his shoulder to see how he composed his landscapes.

Adriaen van de Velde, Two studies of a reclining shepherd, 1666-1671, red chalk over a sketch in black chalk, Rijksmuseum, Amsterdam. Purchased with the support of the Vereniging Rembrandt

Adriaen van de Velde,
Two studies of a reclining shepherd, 1666-1671,
red chalk over a sketch in black chalk,
Rijksmuseum, Amsterdam. Purchased with the support of the Vereniging Rembrandt

http://www.dulwichpicturegallery.org.uk/

Tom Ellis at the Wallace Collection

The Middle – Tom Ellis at the Wallace Collection, The Wallace Collection, Hertford House, Manchester Square, London, W1, until 27th November 2016

The Middle- Tom Ellis at the Wallace Collection

The Middle- Tom Ellis at the Wallace Collection

This intriguing exhibition starts on this prestigious Museum’s front lawn and then inside occupies the Front State Room and the downstairs exhibition gallery.  The Museum’s own collections have inspired contemporary artist Tom Ellis (b1973) to create these site specific works. His large-scale paintings with their recurring motif of a shoemaker are inspired by work by Teniers the Younger while his furniture is inspired by those 18th century French examples in the Collection which have transformative elements.

Front State Room The Middle- Tom Ellis at the Wallace Collection

Front State Room
The Middle- Tom Ellis at the Wallace Collection

The installation’s title reflects the unresolved nature of the works and the idea that the museum is neither a fully domestic or public space.  The third inspiration comes from the writer Samuel Beckett who was interested in the idea of the unresolved and open-endedness that can be found in art.  Beckett, a frequent visitor to the Wallace in 1935, also shared Ellis’s love of Dutch paintings.

Exhibition Room The Middle- Tom Ellis at the Wallace Collection

Exhibition Room
The Middle- Tom Ellis at the Wallace Collection

http://www.wallacecollection.org

 

BOOK REVIEW: Going Once

Going Once: 250 Years of Culture, Taste and Collecting at Christie’s

 going-once-jacket

ISBN: 978 0 7148 7202 5

Phaidon

£39.95

 

What better way to celebrate two hundred and fifty years as a leading art business than through the two hundred and fifty objects selected for this book.  It is a wonderful survey of these remarkable sales and the high prices achieved whether for a 3,000-year-old Assyrian frieze or Dorothy’s ruby slippers from The Wizard of Oz. Paintings, furniture, gold and silver, sculpture, wine, even a London Routemaster bus are included.  One feature I like is that as well as giving the original sale price they also give today’s equivalent value.

 

This is a great book to dip into time and time again as there is much to learn and enjoy from it.

phaidon.com

Brian Sewell

Brian Sewell: Critic & Collector, Christie’s London King Street, 27 September 2016

Matthias Stomer (Amersfoort c. 1600-after 1652 ?Sicily or northern Italy) Blowing Hot, Blowing Cold oil on canvas 46 ¾ x 54 in. (118.8 x 137.1 cm.) Estimate: £400,000-600,000 CHRISTIE'S IMAGES LTD. 2016

Matthias Stomer (Amersfoort c. 1600-after 1652 ?Sicily or northern Italy)
Blowing Hot, Blowing Cold
oil on canvas
46 ¾ x 54 in. (118.8 x 137.1 cm.)
Estimate: £400,000-600,000
CHRISTIE’S IMAGES LTD. 2016

It can really come as no surprise that the taste and connoisseurship of the legendary art critic, author and award-winning journalist, Brian Sewell (1931-2015) should be commemorated in this special sale at Christie’s next week.  The two hundred and forty-eight lots range from Old Master paintings and drawings to 19th and 20th century British Art and reflect many years of collecting.  Estimates range from £600 to £600,000 and I feel sure that some estimates will be well exceeded.

John Craxton, R.A. (London 1922-2009) Lucian Freud signed 'Craxton' (lower left), dated '26.10.46.' (lower right), inscribed 'Lucian' (upper right) and inscribed again and dated again 'Lucian Freud/poros 1946' (on the backboard) pencil 22 x 17 in. (55.8 x 43.2 cm.) Estimate: £50,000 – 80,000 CHRISTIE'S IMAGES LTD. 2016

John Craxton, R.A. (London 1922-2009)
Lucian Freud
signed ‘Craxton’ (lower left), dated ‘26.10.46.’ (lower right), inscribed ‘Lucian’ (upper right) and inscribed again and dated again ‘Lucian Freud/poros 1946’ (on the backboard)
pencil
22 x 17 in. (55.8 x 43.2 cm.)
Estimate: £50,000 – 80,000
CHRISTIE’S IMAGES LTD. 2016

Following his studies in Art History at the Courtauld Institute he went on to work at Christie’s in the picture department between 1958 and 1967.  His colleague Noël Annesley (Honorary Chairman, Christie’s UK) recalled: “Brian was a young man of 27 when he joined Christie’s. As his assistant, I got to admire him and to like him enormously. He evolved from a rather shy, cerebral art historian turned auction house expert into one of the most famous and widely read British art critics of our time. Brian was a man whose opinions were sought not just on art but on a wide variety of topics, reflecting the exceptional range of his interests. He could be relied upon to provide witty and often devastating judgements. A wonderful instructor, serious but humorous too, he set a standard for us all.”

 

The current UK Chairman Orlando Rock said: “Brian Sewell was, undoubtedly, one of Christie’s most colourful and learned former colleagues. What always motivated him was his love of great art and its power to move and inspire, combined with his characteristic and acerbic wit.”

Eliot Hodgkin (1905-1987) Twelve Pheasant Eggs signed, inscribed and dated 'Twelve Pheasant Eggs/by Eliot Hodgkin/2 VII 59' (lower right) tempera on board 10½ x 16 in. (26.5 x 40.8 cm.) Estimate: £20,000 - 30,000 CHRISTIE'S IMAGES LTD. 2016

Eliot Hodgkin (1905-1987)
Twelve Pheasant Eggs
signed, inscribed and dated ‘Twelve Pheasant Eggs/by Eliot Hodgkin/2 VII 59’ (lower right)
tempera on board
10½ x 16 in. (26.5 x 40.8 cm.)
Estimate: £20,000 – 30,000
CHRISTIE’S IMAGES LTD. 2016

I was fortunate to meet him on many occasions through colleagues and always found him to be a very approachable man who had a great sense of what is right and was not afraid to speak out when things were not.  Our world is in need of such voices today but sadly they appear to be becoming fewer.

Daniele Ricciarelli, called Daniele da Volterra (Volterra 1509-1566) Dido reclining, asleep black chalk, watermark crossbow in a circle (Briquet 749, Lucca, 1548), unframed 13 x 18 1/8 in. (33.2 x 45.9 cm.) Estimate: £100,000 - 150,000 CHRISTIE'S IMAGES LTD. 2016

Daniele Ricciarelli, called Daniele da Volterra (Volterra 1509-1566)
Dido reclining, asleep
black chalk, watermark crossbow in a circle (Briquet 749, Lucca, 1548), unframed
13 x 18 1/8 in. (33.2 x 45.9 cm.)
Estimate: £100,000 – 150,000
CHRISTIE’S IMAGES LTD. 2016

 

http://www.christies.com

Masterpiece London 2016 – Preview

Masterpiece London 2016, The Bull Ring Gate Entrance, South Grounds, The Royal Hospital Chelsea, London SW3, 30thJune – 6th July 2016

Nazy Vassegh, CEO of Masterpiece with J.F. Courville, Executive Vice President and Chief Operating Officer at the RBC Wealth Management 2015 Courtesy Masterpiece London

Nazy Vassegh, CEO of Masterpiece with J.F. Courville, Executive Vice President and Chief Operating Officer at the RBC Wealth Management
2015
Courtesy Masterpiece London

Now in its 7th edition one can easily understand why Masterpiece has become a magnet for collectors and museum curators from around the world.  There is a great emphasis on quality and connoisseurship and the pieces on show reflect more than five thousand years of art history – and yes they are for sale.

Vetting during Masterpiece London 2015 Courtesy Masterpiece London

Vetting during Masterpiece London 2015
Courtesy Masterpiece London

Masterpiece’s chief executive Nazy Vassegh says: ‘I am delighted to announce so many exciting additions to this year’s fair. Masterpiece 2016 will have unrivalled depth and quality, and I am pleased that Masterpiece continues to strengthen every edition. We are looking forward to another great year.’

It truly is a must visit fair and allow yourself plenty of time because there are so many exciting things to see and tempt. Like me you may well want visit more than once.

Vetting during Masterpiece London 2015 Courtesy Masterpiece London

Vetting during Masterpiece London 2015
Courtesy Masterpiece London

Over the coming days I will post varied selections of what is on show.

 

http://www.masterpiecefair.com

London Art Week starts in four days time

London Art Week, Mayfair and St James’s, London, 1st – 8th July 2016

MAURIZIO NOBILE Jacopo Amigoni (1682-1752) Jupiter and Callisto

MAURIZIO NOBILE
Jacopo Amigoni (1682-1752)
Jupiter and Callisto

This is a really special gallery-led festival of art dating from antiquity to the 20th century.  There is a combination of nearly fifty dealers and three major auction houses who are bringing a tempting mix of subjects ranging from Greek coins, arms and armour, stained glass, sculpture and fine art in all its disciplines.

Specialist exhibitions include:

Vanitas / Memento Mori and The Crucifixion by Paolo Uccello at Agnew’s

Art & Adornment: Treasures of Combat at Ariadne Galleries

Early European Sculpture at Arcadia Cerri Fine Art

ARCADIA CERRI Exhibition: Early European Sculpture Head of a man frowning Champagne, Reims Second third 13th century fossiliferous limestone 13 x 13 x 13 cm

ARCADIA CERRI
Exhibition: Early European Sculpture
Head of a man frowning
Champagne, Reims
Second third 13th century
fossiliferous limestone
13 x 13 x 13 cm

Inter-War Paris: Works on Paper at Aktis Gallery

AKTIS GALLERY Exhibition: Inter-War Paris: Works on Paper Leonard Tsuguharu Foujita (1886-1968) Tulips, 1920 Watercolour and ink on paper Signed and dated lower left Countersigned in Japanese lower left

AKTIS GALLERY
Exhibition: Inter-War Paris: Works on Paper
Leonard Tsuguharu Foujita (1886-1968)
Tulips, 1920
Watercolour and ink on paper
Signed and dated lower left
Countersigned in Japanese lower left

European Master Drawings (1545-2015) at Didier Aaron Ltd.

Deities & Daily Life at Charles Ede

Gilded Light; 16th-century stained glass roundels from the collection of Sir Thomas Neave and other private collections at Sam Fogg

SAM FOGG Exhibition: Gilded Light: 16th Century Stained Glass Roundels from the collection of Sir Thomas Neave and other private collections Circle of Lambert Van Noort (c.1520-1571) Nebuchadnezzar dreams of a tree that must be felled

SAM FOGG
Exhibition: Gilded Light: 16th Century Stained Glass Roundels from the collection of Sir Thomas Neave and other private collections
Circle of Lambert Van Noort (c.1520-1571)
Nebuchadnezzar dreams of a tree that must be felled

Flint Marble Bronze from the Mediterranean and Beyond at Oliver Forge & Brendan Lynch Ltd.

Dutch Flower Pieces 1607-1814 and Aspects of British Impressionism at Richard Green Fine Paintings

RICHARD GREEN GALLERY Exhibition: Aspects of British Impressionism Sir Alfred Munnings (1878-1959) September Afternoon Oil on canvas Signed lower left: AJ. Munnings

RICHARD GREEN GALLERY
Exhibition: Aspects of British Impressionism
Sir Alfred Munnings (1878-1959)
September Afternoon
Oil on canvas
Signed lower left: AJ. Munnings

17th Century Still Life and Song Yu at Johnny Van Haeften Ltd.

Horses, Rulers, and Victory in the Art of Ancient Greek Coinage at Kallos Gallery

KALLOS GALLERY Exhibition: Horses, Rulers and Victory in the Art of Ancient Greek Coinage Gold Drachm of Syracuse (Sicily), c.317-310BC Minted under Agathocles (317-289BC)

KALLOS GALLERY
Exhibition: Horses, Rulers and Victory in the Art of Ancient Greek Coinage
Gold Drachm of Syracuse (Sicily), c.317-310BC
Minted under Agathocles (317-289BC)

Of Gods and Men at Daniel Katz Gallery

Antonio Joli (1700 – 1777): Views of Italy at Lampronti Gallery

Classicism Reimagined: Master Paintings and Sculpture 1700-1900 at Lullo•Pampoulides

LULLO∙PAMPOULIDES Exhibition: Classicism Reimagined: Master paintings & sculpture 1700-1900 Camille Claudel (1864 –1943) Torso of a Crouching Woman,1887 Bronze, 35 cm. high

LULLO∙PAMPOULIDES
Exhibition: Classicism Reimagined: Master paintings & sculpture 1700-1900
Camille Claudel (1864 –1943)
Torso of a Crouching Woman,1887
Bronze, 35 cm. high

Material X at M&L Fine Art

Traveller-artists in the Far East: Views in India, China and Indonesia at Martyn Gregory

Bronze Animal Sculptures by Rembrandt Bugatti at The Sladmore Gallery

Drawing Inspiration: Sketches and Sketchbook Pages from the 19th and 20th Century at Stephen Ongpin Fine Art

STEPHEN ONGPIN FINE ART Exhibition: Drawing Inspiration: Sketches and Sketchbooks from the 19th and 20th Centuries Eugene Delacroix (1798-1863) A Standing Moroccan Man Watercolour and pencil

STEPHEN ONGPIN FINE ART
Exhibition: Drawing Inspiration: Sketches and Sketchbooks from the 19th and 20th Centuries
Eugene Delacroix (1798-1863)
A Standing Moroccan Man
Watercolour and pencil

Antique Inspiration at Tomasso Brothers Fine Art

From Wax to Bronze – Themes and Materials in Sculpture at Trinity Fine Art Ltd.

TRINITY FINE ART Exhibition: From Wax to Bronze – Themes and Materials of Sculpture Attributed to the Master of the Unruly Children (16th century Florence) Bacchus Terracotta 95/8 x 111/4 x 8 ¼ in. (24.5 x28.5 x 21cm)

TRINITY FINE ART
Exhibition: From Wax to Bronze – Themes and Materials of Sculpture
Attributed to the Master of the Unruly Children (16th century Florence)
Bacchus
Terracotta
95/8 x 111/4 x 8 ¼ in. (24.5 x28.5 x 21cm)

Object in Focus: An Archaic Greek Bronze Griffin Protome at Rupert Wace Ancient Art

Cornelius Johnson: Painter to King and Country at The Weiss Gallery

THE WEISS GALLERY Exhibition: Cornelius Johnson Cornelius Johnson (1593 – 1661) Sir William Campion of Combwell (1585–1640) Oil on panel Indistinctly signed, centre right: ‘C.J….’

THE WEISS GALLERY
Exhibition: Cornelius Johnson
Cornelius Johnson (1593 – 1661)
Sir William Campion of Combwell (1585–1640)
Oil on panel
Indistinctly signed, centre right: ‘C.J….’

 

OPENING TIMES:

Galleries:

Preview -Thursday: 3pm to 8pm
Friday 1st July – Friday 8th July: 10am to 6pm
Weekends: 12 noon to 5pm

STOPPENBACH & DELESTRE Henry Moret (1856-1913) La baie de Lampaul, Île de Ouessant Oil on canvas

STOPPENBACH & DELESTRE
Henry Moret (1856-1913)
La baie de Lampaul, Île de Ouessant
Oil on canvas

Auction houses:

Friday 1st July – Friday 8th July: 9am to 5pm
Saturday 2nd July: 12 noon to 5pm
Sunday 3rd July: 11 noon to 5pm

 

http://www.londonartweek.co.uk.

Olympia Summer Fair 2016

The Art & Antiques Fair, Olympia London, Hammersmith Road, London W14, 27th June – 3rd July 2016

Opening Day, June 2015

Opening Day, June 2015

This Fair certainly has staying power as it is in its 44th year and continues to draw visitors in from home and abroad to see what the hundred and sixty participating dealers have to offer for their collections and homes.

Wakelin & Linfield An unusually large late 19th century two plank Spanish table in walnut with carved decoration to the legs and original ironwork supports to the base. L144” x W39” x H30.25” In the region of £25000 Provenance: Orson Welles

Wakelin & Linfield
An unusually large late 19th century two plank Spanish table in walnut with carved decoration to the legs and original ironwork supports to the base.
L144” x W39” x H30.25”
In the region of £25000
Provenance: Orson Welles

The Fair’s Director, Mary Claire Boyd sums it up: “The Art & Antiques Fair, Olympia is London’s original, quintessential art and antiques fair. Over four decades since the event was founded, we continue to pride ourselves on offering a wider choice of high quality, vetted art, antiques, furniture and collectibles than any other event in the capital.”

Art Ancient Large piece of Roman glass work, reflecting the heights achieved in glassblowing in the 1st-2nd Centuries AD

Art Ancient
Large piece of Roman glass work, reflecting the heights achieved in glassblowing in the 1st-2nd Centuries AD

Among new “features” is Showcase which highlights five specially chosen galleries and dealers – Simon Pirzada (ceramics), The Parker Gallery (Fine Art), Adam Gahlin Fine Art (Modern paintings, drawings and prints), Adam Bentley (Contemporary Art) and Store Street Gallery ((Contemporary Art).

Albermarle Gallery. SOFA LONDON Rado Kirov Monolith mirrored stainless steel 227 x 30 x 110 cm (89 x 12 x 43 in)

Albermarle Gallery. SOFA LONDON
Rado Kirov
Monolith
mirrored stainless steel
227 x 30 x 110 cm (89 x 12 x 43 in)

The well-known SOFA CHICAGO – a Sculpture Objects Functional Art and Design Fair (SOFA) will have a European version at this Fair as Mary Claire Boyd, explains“We are very excited to introduce SOFA LONDON as part of The Art & Antiques Fair, Olympia for the very first time this June. SOFA is widely known in the US for its international dealers selling one-of- a-kind masterpieces. Here in London we have an elite selection of dealers who will be showcasing original works from different artists and makers using a variety of mediums. For sale will be works of art including ceramics, metal work, photography, glass works, textiles, furniture and sculptures that appear more contemporary and cutting edge than other pieces in the fair, but yet will also stand the test of time. SOFA CHICAGO attracts over 35,000 people but for those who aren’t able to cross the pond to attend we’re delighted to offer this opportunity within the UK.”

Opening Day, June 2015

Opening Day, June 2015

According to recent research there is a resurgence in the demand for antiques and again I will share Mary Claire Boyd’s observations on this: “The world of antiques can be intimidating at first glance but this research shows that there is a real thirst for antiques. They are appreciated for the qualities they can bring to people’s homes– particularly amongst the younger generation who are frustrated with spending money on furnishings that only last a few years. 

Galerie Arabesque Three-legged ottoman inlaid table. Provenance: estate of Eduard Starke-Pascha, Berlin-Constantinople

Galerie Arabesque
Three-legged ottoman inlaid table.
Provenance: estate of Eduard Starke-Pascha, Berlin-Constantinople

“While people see great benefits of purchasing antiques often they don’t realise the options and scope available to them – and the affordability.  Antiques are unique, often come with a fascinating story – and add individuality to your home.  They can also be combined very effectively with contemporary art and furniture.”

Gilden’s Art Gallery JOAN MIRÓ 1893-1983 Sun Eater | Mangeur de Soleil, 1955 Original Hand Signed and Numbered Lithograph in Colours on Arches Paper Paper size: 76.2 x 56.5 cm. / 30 x 22.3 in.

Gilden’s Art Gallery
JOAN MIRÓ 1893-1983
Sun Eater | Mangeur de Soleil, 1955
Original Hand Signed and Numbered Lithograph in Colours on Arches Paper
Paper size: 76.2 x 56.5 cm. / 30 x 22.3 in.

Very true indeed as many leading interior decorators would no doubt concur.

Tribal Gathering London Mende helmet mask ' Sowei'. Sande society. Sierra Leone

Tribal Gathering London
Mende helmet mask ‘ Sowei’. Sande society. Sierra Leone

 

Manning Fine Art “Keep Calm and Carry On” poster, printed in 1939

Manning Fine Art
“Keep Calm and Carry On” poster, printed in 1939

 

Kate Thurlow Louis XIV upholstered oak armchair, circa 1700 Provenance: Formerly in the collection of Yves St Laurent.

Kate Thurlow
Louis XIV upholstered oak armchair, circa 1700
Provenance: Formerly in the collection of Yves St Laurent.

 

 

 

 

 

 

 

 

 

 

 

 

Don Kelly Books, June 2015

Don Kelly Books, June 2015

 

 

http://www.olympia-art-antiques.com

BOOK REVIEW: European Art at the Huntington

Blue Boy & Co

European Art at the Huntington

Catherine Hess, Melinda McCurdy
ISBN: 978-3-7913-5468-2
£24.99

 423_5468_165471_xxl

The Huntington (San Marino, California) is a veritable treasure house of European Art and one can easily understand why it is such an important centre of research, education and culture.

The “Blue Boy”, of course, refers to Gainsborough’s celebrated painting which hangs with other great examples of 18th century English portraits and paintings.  Add to those an important collections of French 18th century and other decorative arts, sculpture, paintings from other schools and works on paper and you have a fascinating range of objects.

This well-illustrated book provides a perfect introduction to this remarkable place and is a helpful aide memoire of the treasures therein.

 

http://www.prestel.com

The Queen’s Gallery

Masters of the Everyday: Dutch Artists in the Age of Vermeer, The Queen’s Gallery, Buckingham Palace, London SW1, until 14th February 2016

Jan Steen, 'A Woman at her Toilet', 1663 Royal Collection Trust/ (C) Her Majesty Queen Elizabeth II 2015

Jan Steen, ‘A Woman at her Toilet’, 1663
Royal Collection Trust/ (C) Her Majesty Queen Elizabeth II 2015

This is a really engaging exhibition that reveals interest in Dutch painting by various monarchs since the reign of Charles I. He was the recipient of a gift of Rembrandt’s painting An Old Woman, called ‘The Artist’s Mother’ in 1629 and also had paintings by Dutch artists in his legendary art collection.

Johannes Vermeer, 'Lady at the Virginals with a Gentleman or 'The Music Lesson'', 1662-5 Royal Collection Trust/ (C) Her Majesty Queen Elizabeth II 2015

Johannes Vermeer, ‘Lady at the Virginals with a Gentleman or ‘The Music Lesson”, 1662-5
Royal Collection Trust/ (C) Her Majesty Queen Elizabeth II 2015

Vermeer’s ‘The Music Lesson’ was a part of Consul Smith’s collection which George III purchased in 1762.  His son George IV was an avid collector of Dutch art and many of the works on show were acquired by him.  In some ways he was following in the tradition of some of the 18th century French collectors such as the duc de Choiseul and one can certainly agree that French furniture of that period sits well with 17th century Dutch works.  There is also a small display of Sèvres porcelain – another of George IV’s favourites – decorated with scenes taken from Dutch paintings.

Willem van Mieris, 'The Neglected Lute', c.1708 Royal Collection Trust/ (C) Her Majesty Queen Elizabeth II 2015

Willem van Mieris, ‘The Neglected Lute’, c.1708
Royal Collection Trust/ (C) Her Majesty Queen Elizabeth II 2015

Some twenty or so works in this exhibition will move to the Dutch Royal Picture Gallery Mauritshuis in The Hague this coming autumn because that gallery has loaned Gerrit Dou’s The Young Mother to this show.  It is a painting which was given to Charles II in 1660 and when William of Orange became our King in 1688 he inherited this painting with the rest of the British Royal Collection.  The picture was sent to decorate Het Loo his new hunting lodge near Apeldoorn in the Netherlands and has remained there ever since.

Ludolf de Jongh, 'A Formal Garden: Three Ladies Surprised by a Gentleman', c.1676 Royal Collection Trust/ (C) Her Majesty Queen Elizabeth II 2015

Ludolf de Jongh, ‘A Formal Garden: Three Ladies Surprised by a Gentleman’, c.1676
Royal Collection Trust/ (C) Her Majesty Queen Elizabeth II 2015

There is a sense of fun and humour in many of the paintings which depict scenes from everyday middle class life from the servants’ point of view and it is this element that makes it a suitable bedfellow for the adjoining Rowlandson exhibition.

 

High Spirits: The Comic Art of Thomas Rowlandson, The Queen’s Gallery, Buckingham Palace until 14th February 2016

Money Lenders, 1784 Royal Collection Trust/ (C) Her Majesty Queen Elizabeth II 2015

Money Lenders, 1784
Royal Collection Trust/ (C) Her Majesty Queen Elizabeth II 2015

Very little was safe from Rowlandson’s satirical wit as this exhibition shows be it society, fashion, politicians, love or the royal family.  The young George IV when Prince of Wales was a particular target because of his extravagance and dubious lifestyle.  Despite that it was George who started collecting these prints.  They provide a fascinating glimpse into a world that many of us have read about in the works of Jane Austen.

Four-leaf screen, pasted with satirical prints c.1806 Royal Collection Trust/ (C) Her Majesty Queen Elizabeth II 2015

Four-leaf screen, pasted with satirical prints c.1806
Royal Collection Trust/ (C) Her Majesty Queen Elizabeth II 2015

 

http://www.royalcollection.org.uk

 

PS: Don’t forget you can enjoy free re-admission for a year by asking us to treat your ticket purchase as a donation:
1. Before you leave the site, please sign and print your name in the spaces provided on the reverse of your ticket.
2. Hand the ticket to a member of staff, who will stamp and validate it.
3. Retain your ticket for future visits.
Your ticket will only be accepted for re-admission if it has been stamped and signed on the day of your first visit