Category Archives: Italian Art

BOOK REVIEW: The Orléans Collection

The Orléans Collection

Edited by Vanessa I. Schmid

D Giles Limited in association with the New Orleans Museum of Art

£44.95

ISBN 978-1-911282-28-0

9781911282280_FC

 

I remember when visiting Castle Howard in Yorkshire as a child that one of the rooms was then known as the Orléans Room marking the fact that the 5th Earl of Carlisle was part of a syndicate that acquired a portion of the already legendary Orléans Collection.

Philippe II, Duke of Orléans (1674– 1723) had started forming the collection in the second decade of the 18th century when he became Regent of France, following Louis XIV’s death. It was a way of expressing his connoisseurship and taste and included artists such as Raphael, Titian, Veronese, Correggio, Poussin, Rubens, and Rembrandt.

This informative volume looks not only at the component parts of the collection but also at the contemporary Paris art market.  The display of the paintings within the Palais Royale and their overall impact on the collectors and tastes of the day are considered too.

It is a real celebration of early 18th century taste and style and while one can be truly grateful that many pictures may still be seen in museums and galleries today one could be tempted to regret that the collection is no longer one single entity. The book however gives us the chance to relive that experience in a vibrant and enjoyable way.

 

gilesltd.com

Chippendale at Wilton

VLUU L310W L313 M310W / Samsung L310W L313 M310W

South East facade of Wilton House. Copyright (c) Wilton House

Wilton House, near Salisbury, is an absolute delight combining architecture, fine interiors, paintings, sculpture and furniture with elegant gardens and the earliest Palladian Bridge in England. It has been the home of the Herbert family (Earls of Pembroke) since 1544.  It is famous for its suite of State Rooms which were designed by Inigo Jones and Isaac de Caux in the 17th century – many of you will recognise the Double Cube Room which has been used as a location for many films and television programmes but nothing quite prepares you for the wow factor of entering it for the first time.

In celebration of the Chippendale tercentenary the Earl and Countess have commissioned a small booklet that highlights Chippendale pieces within the house, including those which can be firmly attributed to his workshop. You will see many of these as you go around the house.

Chippendale at Wilton

.

The 10th Earl commissioned the architect Sir William Chambers to rebuild his London home, Pembroke House and also to provide designs for rooms. It is known from Chippendale’s Director that he provided furniture for these rooms.

Sadly the family papers no longer have any itemized accounts from Chippendale but a receipt for fifteen hundred pound eleven shillings certainly indicate the furniture maker had had a major commission. Other bills show that the firm was still patronised after Chippendale’s death when it was being run by his son Thomas Chippendale the Younger.

Among the items that are definitely ascribed to Chippendale’s workshop are the pair of bookcases in the Large Smoking Room which are en suite with the superb ‘Violin’ bookcase which can be seen in the view of the room. Elsewhere chairs, sofas, hall lanterns, tables, picture frames and pelmet boards remind us of Chippendale’s great design talent.

Smoking-Room-W-Pryce-2008-003 jpeg

The Large Smoking Room at Wilton House. Copyright (c) Will Pryce.

All in all I think the best word to sum up Wilton House is sublime!

 

http://www.wiltonhouse.co.uk/

Canaletto & the Art of Venice

Canaletto & the Art of Venice, The Queen’s Gallery, Buckingham Palace. London SW1, until 12th November 2017

Canaletto, Piazza San Marco looking west towards San Geminiano, c.1723-4, part of a set of six views of Venice.
Royal Collection Trust/(c) Her Majesty Queen Elizabeth II 2017

The two key figures in this remarkable show are Joseph Smith, British Consul in Venice, and George III. The former was also Canaletto’s agent and dealer encouraging the artist to depict Venetian life for the Grand Tour visitors, especially the English ones, in the first half of the 18th century. The latter in 1762 bought almost all of Smith’s collection of paintings, drawings, medals and books which included Canaletto paintings, drawings and etchings as well as the works of other Venetian painters of the day.

Canaletto, The Pantheon, 1742, part of a set of five Roman views.
Royal Collection Trust/(c) Her Majesty Queen Elizabeth II 2017

This superb exhibition proves how wise George III was and how fortunate we are to be able to see it brought together – it is the best group of Canaletto’s works in the world! Alongside his paintings of Venice are the series of 5 large-scale Roman views which Canaletto painted in 1742.  I particularly liked the smaller view of the Grand Canal (The Grand Canal looking north-west from near the Rialto) showing Smith’s palazzo with its new classical façade altered later by the artist.

Rosalba Carriera,’Winter’, c. 1726
Royal Collection Trust/(c)Her Majesty Queen Elizabeth II 2016

Add to this works by Sebastiano and Marco Ricci, Francesco Zuccarelli, Rosalba Carriera, Pietro Longhi and Giovanni Battista Piazzetta and one really gets an absorbing picture of life in 18th century Venice. I loved the Sebastiano Ricci of The Adoration of the Kings (1726) because of the way Christ’s arm and hand are outstretched touching one of the king’s heads in benediction.

Canaletto, The Mouth of the Grand Canal looking West towards the Carita, c.1729-30, from a set of 12 paintings of the Grand Canal.
Royal Collection Trust/(c) Her Majesty Queen Elizabeth II 2017

This exhibition should not be missed!

http://www.royalcollection.org.uk

Marco Ricci, Farinelli in walking dress, c.1729-30
Royal Collection Trust/(c)Her Majesty Queen Elizabeth II 2016

BOOK REVIEW: Villa Astor

VILLA ASTOR Paradise Restored on the Amalfi Coast

Introduction by The Right Honourable the Lord Astor of Hever

Text by Curt DiCamillo, Suzanne Tise-Isoré, Alexandra Campbell and Rita Vessichelli Pane Photography by Eric Sander

£40
Flammarion 
ISBN 978-2-08-137592-5

The Villa Astor has, as the cover illustration suggests, rather a splendid location in the town of Sorrento overlooking the Bay of Naples. A former American ambassador to Italy William Waldorf Astor (1848-1919) acquired the Villa and its surrounding properties in 1905 and then went on to transform it. He was certainly well practiced in such matters for in the United Kingdom he had an office at 2, Temple Place, and also homes at Hever Castle and Cliveden (he gave the latter to his son as a wedding present in 1906). As well as building up a large collection of classical sculpture at the Villa Astor he also had a Pompeian-style villa built on the east side of the gardens. Following Astor’s death the Italian government stepped in and said the sculpture collections and gardens should be protected and remain part of the villa.

 

It is a great survival having withstood different owners and World War II – and now following a restoration by the new owners, with the help of the famous French decorator Jacques Garcia. this extensively illustrated book celebrates the Villa in its full glory while telling the tale of its intriguing history. Can’t ask for much more really.

editions.flammarion.com

The Encounter!

THE ENCOUNTER: DRAWINGS FROM LEONARDO TO REMBRANDT, National Portrait Gallery, London, until 22nd October 2017

I am grateful to John Kirkwood for visiting and writing about this exhibition:

Giulio Pedrizzano, The Lutenist Mascheroni by Annibale Carracci c.1593-4
Copyright: Royal Collection Trust © Her Majesty Queen Elizabeth II 2017

This delightful exhibition features old master European portrait drawings by the likes of Leonardo da Vinci, Durer and Rembrandt, many rarely seen and some not displayed for decades.

Young Woman in a French Hood, possibly Mary Zouch by Hans Holbein the Younger c.1533
Copyright: Royal Collection Trust Her Majesty Queen Elizabeth II 2017

It attempts to show that the artist and the sitter connected and is rather like going through a Renaissance copy of Vanity Fair featuring as it does eight portraits of people from the court of Henry VIII by Hans Holbein the Younger – the David Bailey of his day – but also people from the street as well.

Sir John Godsalve by Hans Holbein the Younger c.1532-4
Copyright: Royal Collection Trust Her Majesty Queen Elizabeth II 2017

An exhibition which cheers the soul with these close encounters.

A sheet of figure studies, with male heads and three sketches of a woman with a child by Rembrandt van Rijn c.1636
Copyright: The Henry Barber Trust, the Barber Institute of Fine Arts, University of Birmingham

 

http://www.npg.org.uk/

Sublime joy!

Raphael: The Drawings, Ashmolean Museum, Oxford, until 3rd September 2017

Study for Adam in the Disputa, c. 1508–10
Chalk and/or charcoal with white heightening, 35.7 x 21.2 cm
© Gallerie degli Uffizi, Gabinetto dei Disegni e delle Stampe, Florence

Did you know that the Ashmolean’s fifty Raphael drawings are the most significant group in the world? They have been supplemented by a further twenty-five from Vienna’s Albertina Museum and the rest of the total group of one hundred and twenty drawings come from international collections. The result is an absolutely stunningly memorable exhibition which is a joy to visit.

Study for the Massacre of the Innocents, c. 1509–10
Pen and brown ink over red chalk and geometrical indications in stylus, selectively pricked for transfer, 23.2 x
37.7 cm
© Trustees of the British Museum

Raphael (1483 – 1520) has long held the reputation of being the pre-eminent artist of the Renaissance and through these drawings which take us from the early days in Umbria to Florence and then on to Rome where he was at his very best we can see why.

Study for Charity, c. 1519
Black chalk with very few touches of white heightening, 31.3 x 15.2 cm
© Ashmolean Museum, University of Oxford

The exhibition also reminded me why I am always attracted to drawings since they allow glimpses into the mind and vision of the artist – ideas that both intrigue and excite – but which may not always be translated into the finished work.  Please, please make every effort to see this show.  The Museum’s director Dr Xa Sturgis says: ‘The generosity of lenders and supporters has enabled us to give people a ‘once in a generation’ opportunity – that of experiencing the visual and emotive power of Raphael’s hand, and of understanding Raphael’s genius.’

 

Studies of heads and hands, and sketches after Leonardo, c. 1505–7
Metalpoint with white heightening, partially oxidised, on white prepared paper, 21 x 27.4 cm
© Ashmolean Museum, University of Oxford

www.ashmolean.org

The heads and hands of two apostles, c. 1519–20
Black chalk with over-pounced underdrawing with some white heightening, 49.9 x 36.4 cm
© Ashmolean Museum, University of Oxford

The Collection of Raine, Countess Spencer

The Collection of Raine, Countess Spencer (1929-2016), Christie’s King Street, London SW1, Old Masters Evening Sale (6th July 2017) and The Collection of Raine, Countess Spencer (13thJuly 2017)

Interior
From the property of Lady Spencer © Christie’s Images Limited 2017

I count myself fortunate in having encountered Raine, Countess Spencer several times over the years and she was always the epitome of elegance and charm. That sense of style is very much reflected in her home, the contents of which are to be found in these sales. While the paintings, furniture and objects contributed to the glamour of the rooms they were not mere ‘background’ objects but were bought because Lady Spencer liked them and wanted to live with and use them.

Interior
From the property of Lady Spencer © Christie’s Images Limited 2017

She was very much drawn to the arts of 18th century France and numbered works by Boucher, Fragonard and Greuze among the pictures she collected. On some purchases she was advised by Sir Francis Watson (former Director of the Wallace Collection) who also advised the Wrightsmans with their legendary collection. Regency furniture was another love and it blended well with her French pieces. Her last dining room recalled the Art Deco period and there was also a collection of French Art Nouveau lithographs.

Interior
From the property of Lady Spencer © Christie’s Images Limited 2017

From her birth – she was the daughter of the novelist Dame Barbara Cartland – onwards Lady Spencer was the focus of media interest whether through her marriages or her work as a Westminster City Councillor and in the conservationist campaigns she supported. In later years she was a director of Harrods and had a hands-on approach. The thread of perfectionism that runs through her life is also reflected in her clothes, jewellery and other accessories in the 13th July auction. This is very much an opportunity to appreciate, enjoy or even acquire a piece of the elegant perfection that was Lady Spencer’s way of life.

Claude Joseph Vernet (Avignon 1714-1789 Paris)
A Mediterranean sea-port with fishermen unloading cargo
oil on canvas
Estimate: £300,000-500,000
© Christie’s Images Limited 2017

 

A LOUIS XVI COMMODE
CIRCA 1770-75, ATTRIBUTED TO ANTOINE-PIERRE FOULLET
Estimate: £60,000-90,000
© Christie’s Images Limited 2017

 

Interior
From the property of Lady Spencer © Christie’s Images Limited 2017

 

 

 

 

 

 

 

 

 

 

 

AN 18 CARAT GOLD, RUBY AND DIAMOND PARURE, BY VAN CLEEF & ARPELS
Comprising a necklace, designed as a graduated series of ruby cabochon and brilliant-cut diamond clusters
Estimate: £100,000-150,000
© Christie’s Images Limited 2017

 

One of several ‘Lady Dior’ handbags, this one of black leather with studwork decoration.
Estimate: £1,000-1,500
© Christie’s Images Limited 2017

 

 

 

 

 

 

 

 

 

 

 

 

 

 

http://www.christies.com

Masterpiece London 2017 – Introduction

Masterpiece London 2017, South Grounds, The Royal Hospital, Chelsea, London SW3, 29th June – 5th July 2017

MASTERPIECE PRESENTS
Iván Navarro
Impenetrable Room
2017
Courtesy Paul Kasmin Gallery

Since its inception this fair has grown into one of the most must-visit events of the art and antiques year. Some thirty-seven thousand visitors last year! It attracts museum directors and private collectors from all over the world to see the artworks shown by a hundred and fifty international dealers. The artworks range from antiquity to the present time. The Royal Bank of Canada is once again the principal sponsor

This year the new MASTERPIECE PRESENTS will reveal a large-scale dedicated exhibition space at the entrance which has been transformed by a special artwork – Impenetrable Room, 2017. Created by the Chilean artist Iván Navarro it has been commissioned by the New York-based Paul Kasmin Gallery who are new exhibitors.

Over the coming days I look forward to sharing blogs on some of the leading dealers taking part.

www.masterpiecefair.com

London Art Week – Tomasso Brothers

Canova and His Legacy , Tomasso Brothers Fine Art , Marquis House, 67 Jermyn Street, St. James’s, London SW1

Antonio D’Este (1754-1837)
(Workshop of)
Herm of Antonio Canova (1757-1822)
White Marble
55 cm (21 ½ in.) high
32 cm (12 ½ in.) wide

Having given a flavour of what exhibitions are on in Mayfair and St James’s in the post on Mayfair Art Weekend I thought it appropriate to focus on one gallery to indicate the myriad delights in store at London Art Week 2017 (30th June – 7th July 2017).

Antonio Canova (1757-1822)
Cast by Vincenzo Malpieri
Paris and Helen, 1812
Plaster
Paris: 72 x 30 x 26 cm
Helen: 67,5 x 33 x 29 cm
SIGNED
‘ANT • CANOVA • F • A • 1812’ (Paris)
PROVENANCE
Possibly Francesco Barisan, Castelfranco Veneto, Italy, purchased from Canova in 1814
Private collection, Veneto, Italy

How better than by marking the opening of Tomasso Brothers new gallery space with this exhibition which gloriously celebrates Antonio Canova’s genius and influence. Rafaello Tomasso says: “We chose Canova as a central subject for this exhibition because, like Michelangelo and Bernini, Canova was a revolutionary force in the field of sculpture.  His impact on the Italian School and beyond cannot be overstated.  Throughout the Neoclassical period his workshop represented the focal point of sculptural studies in Europe and for generations of marble carvers to come.  His legacy reached as far away as Denmark and Scotland, Germany and Spain.”

Cincinnato Baruzzo (1796-1878)
Baccante Cimbalista, 1837
White Marble
148 cm (58 ¼ in.) high

http://www.tomassobrothers.co.uk/