FRIEZE MASTERS 2016

Oct4

Frieze Masters, The Regent’s Park, London NW1 4HA, (the north-east corner of The Regent’s Park, near the London Zoo), 6^th-9^th October 2016

Prahlad Bubbar Ltd.
Ladies celebrate Holi on a Pleasure Pavilion
Leaf from an album made for Antoine Polier
Attributed to Mihr Chand, with calligraphy by Hafiz Nur Ullah
Lucknow, India, c. 1775-1780
Opaque watercolour and gold on paper
Folio 45.5 x 62 cm; Painting 29 x 42.5 cm

The well-known architect Annabelle Selldorf has designed the structure for this the fifth edition of Frieze Masters and it will play host to one hundred and thirty-three leading historical and modern galleries from around the world.

BLAIN|SOUTHERN LONDON
Lynn Chadwick, The Stranger, 1954,
Courtesy The Estate of Lynn Chadwick and Blain|Southern,
Photo: Matthew Hollow

As Frieze’s Director Victoria Siddall commented: ‘The quality and breadth of work in Frieze Masters keeps it fresh and exciting each year. I am looking forward to seeing even more antiquities dealers in the fair, as well as Indian art, alongside the best Old Masters and 20th-century work. Curators play an important role in this fair as well as in our contemporary fairs, and this year we welcome Tim Marlow (Director of Artistic Programmes, Royal Academy, London) who is co-curating Frieze Masters Talks, and Toby Kamps of the Menil Collection in Houston who is presenting his first edition of Spotlight.

Once again we will see galleries from different fields collaborate on ground-breaking presentations, as the fair continues to offer new models for looking at and collecting art.’

Daniel Crouch Rare Books
Benjamin Read,
View in the Colosseum Regents Park London, Summer Fashions for 1836. London, 1836.
Image courtesy of Daniel Crouch Rare Books.

Luxembourg & Dayan
Robert Rauschenberg (1925-2008),
Untitled (mud painting), 1953-1992
Courtesy Luxembourg & Dayan

Dr. Jörn Günther Rare Books AG
Beauchamp-Corbet Hours, manuscript on vellum, illuminated by the Milemete workshop, mainly by the De Bois Master. England, London, dated 1328
image courtesy of Dr. Jorn Gunther Rare Books

Mayor Gallery
Ad Dekkers
Relief met drie circkels 1967
Polyester, paint Ø 180 x 3 cm Ø 70 7/8 x 1 1/8 in

Waddington Custot
Manolo Millares, Ínsula, 1967,
mixed media on burlap.
Courtesy Waddington Custot

Kallos Gallery
Archaic Cretan Bronze Helmet, circa 650-620 BC.
Credit Steve Wakeham & Kallos Gallery

Bernard Jacobson Gallery
Robert Motherwell (1915-1991)
Untitled (New England Elegy No.5)
1967
Oil on canvas
296.6 x 355.6 cms (116 3/4 x 140 ins)
RM12608

frieze.com/fairs/frieze-masters

Brian Sewell

Sep23

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

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 19^th and 20^th 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

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

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

http://www.christies.com

From Freud to Van Dyck

Aug8

Painters’ Paintings – From Feud to Van Dyck, Sainsbury Wing, National Gallery, London, until 4^th September 2016

Jean-Baptiste-Camille Corot
Italian Woman, or Woman with Yellow Sleeve (L’Italienne)
about 1870
Oil on canvas
73 x 59 cm
© The National Gallery, London

It really should not come as a surprise that painters may actually collect paintings to both live with and be inspired by whether they are contemporary or not. The lynch-pin painting in this show is the strong depiction of an Italian Woman by Corot which belonged to the late, great Lucian Freud and which he left to the Nation on his death in 2011. One can certainly understand why this powerful work would have appealed to Freud.

This exciting and informative exhibition also looks at works that were owned by Matisse, Degas, Frederic, Lord Leighton, Watts, Sir Thomas Lawrence, Sir Joshua Reynolds and Sir Anthony van Dyck and they in many ways expand our knowledge of the owners.

Titian
The Vendramin Family, venerating a Relic of the True Cross
Begun about 1540-3, completed about 1550-60
Oil on canvas
206.1 x 288.5 cm
© The National Gallery, London

George Frederic Watts
Self Portrait in a Red Robe, about 1853
Oil on canvas
154.9 × 74.9 cm
Frame: 179 × 100.5 × 9.5 cm
© Watts Gallery (COMWG2014.10)

Jacopo Tinteretto
Jupiter and Semele
about 1545
Oil on spruce
22.7 x 65.4 cm
© The National Gallery, London

The more than eighty works on show combine examples of the artists’ own work with the ones they acquired whether purchased by the artists themselves, received as gifts or bought as investments or status symbols. This is perhaps best summed up by Sir Joshua Reynolds who said – “Works of art are models you are to imitate, and at the same time rivals you are to combat”

This is an enlightening show of the painter as collector and one that really has to be seen for its message to be fully appreciated.

Jean-Auguste-Dominique Ingres
Angelica saved by Ruggiero
1819-39
Oil on canvas
47.6 x 39.4 cm
© The National Gallery, London

Raphael
An Allegory (‘Vision of a Knight’)
about 1504
Oil on poplar
17.1 x 17.3 cm
© The National Gallery, London

Paul Gauguin
Young Man with a Flower behind his Ear, 1891
Oil on canvas
45.7 × 33.3 cm
Property from a distinguished Private Collection, courtesy of Christie’s
Photo © Christie’s Images / Bridgeman Images

http://www.nationalgallery.org.uk

Rembrandt
Lamentation over the Dead Christ, about 1634-1635
Pen and brown ink and brown wash, with red and perhaps some black chalk, reworked in oils ‘en grisaille’; framing lines in thin black oil paint; on paper
21.6 × 25.4 cm
© The British Museum, London (Oo,9.103)

Masterpiece London 2016 – Preview

Jun29

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

Now in its 7^th 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

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

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

Jun27

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

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

This is a really special gallery-led festival of art dating from antiquity to the 20^th 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

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

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

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

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)

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

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

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)

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….’

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

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.

The 2016 Works on Paper Fair

Feb10

The Works on Paper Fair, The Royal Geographical Society, Exhibition Road, South Kensington, London SW7, 11^th – 14^th February 2016

John Iddon Fine Art
David Hockney,
Anne Combing Her Hair,
Lithograph ed. of 75

This year’s Fair is in a new venue but it will still bring a tempting array of works on paper from over six centuries from some fifty or so European and British dealers.

Laurie Lee: The Artist loan exhibition –
Laurie Lee,
Self Portrait,
Gouache, c.1937, 56 x 38cm

There is a very special exhibition, thanks to Jessy Lee, of drawings and paintings by her father Laurie Lee of Cider with Rosie fame. Among those giving talks during the Fair are historian Simon Schama and the National Portrait Gallery’s Colin Wiggins.

Elizabeth Harvey Lee
Jan Both (c1615/18 – 1652),
Ponte Molle, Original etching, early1640s
20 x 27 cm

The dealers at this well-vetted fair include among others Abbott and Holder, Chris Beetles Gallery, Marcus Campbell Art Books, Martyn Gregory, Elizabeth Harvey-Lee, John Iddon Fine Art, Kevis House Gallery, Kaye Michie, Stephen Ongpin Fine Art, Crispian Riley-Smith Fine Arts, David Simon Contemporary and John Spink.

David Simon Contemporary
Peter Lloyd-Jones,
The Dance,
Ink, 30 x 21cm

Stephen Ongpin
Henri Lebasque (1865 – 1937),
A Seated Female Nude in an Interior
20 x 19cm,

Crispian Riley-Smith
attrib. Patrizi (1663 – 1744),
Marriage Scene of Dorinda and Silvio,
Red chalk, ink wash, 20 x 14cm

http://www.worksonpaperfair.com

Metalpoint Drawing

Nov12

Drawing in silver and gold: Leonardo to Jasper Johns, Room 90, British Museum, Great Russell Street, London WC1, until 6^th December 2015

Albrecht Dürer,
Dog resting, c. 1520,
silverpoint over charcoal? on pale pink prepared paper, 128 x 180mm.
© The Trustees of the British Museum

This exhibition is a joint venture with the National Gallery of Art in Washington DC and it looks at the technique of metalpoint drawing across the centuries and features around one hundred works drawn from collections around the world.

Susan Schwalb, Strata no. 407, 2005, silverpoint, 229 x 227mm. © Reproduced by permission of the artist

The technique requires a metal stylus, often of silver, which was then used to draw on a roughened preparation. The artist had to have a very clear idea of the image they wanted as it is difficult to rub out a line once drawn. The skill and attention needed was worth it as the drawings in this exhibition eloquently show.

Leonardo da Vinci,
Bust of a warrior, c. 1475,
silverpoint, on cream prepared paper, 287 x 211mm.
© The Trustees of the British Museum

Used in Italy in the 1400s but replaced by the growing popularity of chalk as a medium in the mid-16^th century, it remained popular in Northern Europe until the 17^th century. It was then discarded as a technique until the revival of interest in the Renaissance in the 19^th century and as this exhibition illustrates it is still used today.

http://www.britishmuseum.org

Eskenazi Ltd

Oct16

Transfigured Echoes: Recent Paintings by Liu Dan, Eskenazi Ltd, 10 Clifford Street, London W1, 14^th October -14^th November 2015

Liu Dan (b.1953)
Redefining Pleats of Matter
縐褶被重新確定
Ink on paper
200.0cm by 301.0cm
Signed: Jinling Liu Dan hua, (Painted by Liu Dan of Jinling [Nanjing])

This very special exhibition opens in Frieze Week and closes at the end of Asian Art in London Week. The artist Liu Dan (b.1953) is a contemporary master in the highly regarded Chinese art form – the traditional school of ink painting. These ten works, which have taken him four years to create, represent a new departure for him and are inspired by his great interest in Renaissance European drawings.

Raffaello Sanzio, called Raphael (Urbino 1483-1520 Rome)
Saint Benedict receiving Maurus and Placidus
black and red chalk, pen and brown ink, brown and grey wash, squared in black chalk, partially indented with stylus,
an added section of paper at the left of the sheet
14½ x 16¼ in. (36.8 x 41.3 cm.)

The exhibition will feature Raphael’s drawing Saint Benedict Receiving Maurus and Placidus as it was the inspiration for the artist’s large-scale work Redefining Pleats of Matter (縐褶被重新確定). There are also six works depicting scholar’s rocks, the stones that were highly prized by Chinese scholars, officials and connoisseurs for more than a thousand years.

Liu Dan (b.1953)
Taihu Rock of the Shaoyuan Garden
五
勺园太湖石
水墨􀀀本
􀀀跋：此米万􀀀勺园太湖石今存北京大学􀀀可􀀀博物􀀀乙未仲夏刘丹写于北京并􀀀
􀀀印：刘丹之印
Ink on paper
309.0cm by 199.0cm
Inscribed: Ci Mi Wanzhong Shaoyuan Taihushi jin cun Beijing daxue Saikele bowuguan yiwei zhongxia Liu Dan xie yu Beijing bing
shu. (This Taihu rock of the Shaoyuan Garden, which belonged to Mi Wanzhong, is now in the Sackler Museum, Peking University.
Written and painted by Liu Dan in Beijing in mid-summer of the yiwei year [2015].)
Artist’s seal: Liu Dan zhi yin, (Liu Dan’s seal)

On the question of difference between him and the Old Masters Liu Dan has observed: ‘I don’t think there is any difference except that they are dead and I am still alive. On the other hand, because I’m still alive, they are alive too. I don’t advocate the literati ideology, but I endorse the literati spirit. I don’t belong to a particular tradition either. I just want to keep up the artistic tradition where freedom is unrestrained.’

Liu Dan (b.1953)
Credit: Do Do Jin Min

http://www.eskenazi.co.uk

Frieze Masters 2015

Oct15

Frieze Masters 2015, The Regent’s Park, London NW1, 14^th-18^th October 2015

Jan van Kessel,
Snakes, Spiders and Caterpillars contorted to spell the
Artist’s Name, 1657,
Copper, 15x20cm.
Courtesy of Johnny van Haeften.

Now in its fourth edition this fair hosts a hundred and thirty one historical and modern galleries displaying works from across several thousand years. So whether it is antiquities, drawings, old masters, illuminated manuscripts, books, Asian art, sculpture or modern art that draws your interest, you will certainly find something to engage you here.

Collections:
Fontana Workshop
Noli Mi Tangere ,c.1560
Maiolica, 43cm diameter.
Courtesy of Bazaart Ltd

Sir Norman Rosenthal has curated a new section entitled Collections and says of it: ‘Each of these eight presentations by individual dealers, spanning millennia, contain within them germs of ideas for exhibitions that could easily take place at any of the great public institutions in the world. This section will show that it is still possible, with both knowledge and love, to put together outstanding collections of art that demonstrate the highest level of creativity in all different periods of history.’

Defendente Ferrari,
The Virgin Suckling the Child, c. 1530,
Oil on walnut wood panel, 85×58cm.
Courtesy of Sarti Gallery.

Utagawa Kuniyoshi,
Returning from the Shin Yoshiwara by Moonlight, c. 1834,
Color woodblock print, 27×38cm.
Courtesy of Sebastian Izzard LLC.

Egon Schiele,
Seated semi-nude with hat and purple stockings, 1910
Black crayon, gouache and watercolour on paper, 45×32cm.
Courtesy of Wienerroither Kohlbacher.

Head of a stylized anthropomorphic statuette
Cycladic art, c.2500BC,
White marble, 8×5cm.
Courtesy of David Ghezelbash Archéologie.

Samuel Palmer,
Going to Evening Church,1874,
Watercolour over pencil, heightened with bodycolour, 30×70cm.
Courtesy of The Fine Art Society.

friezelondon.com

Unknown artist, possibly German School, early 18th Century
The World Turn’d Upside Down
Oil on canvas: 75 x 45 in. (190.5 x 114.3 cm.)
Courtesy of the Weiss Gallery

The private Soane and an exhibition

Jul31

Sir John Soane’s Museum, 13 Lincoln’s Inn Fields, London WC2

Mrs Soane’s Morning Room ©Gareth Gardner

There can be little doubt that Sir John Soane’s Museum is one of London’s great treasures and a fascinating place to visit. Now it is even more so since for the first time in a hundred and sixty years the now fully restored private apartments on the second floor can be visited. They consist of Mrs Soane’s Morning Room, the Model Room (formerly Mrs Soane’s bedroom and converted by Soane in 1834), Soane’s bedroom and bathroom, the Oratory and Book Passage and they are a delight to behold and reveal even more about Soane and his life.

Abraham Thomas, the Museum’s Director says “It is wonderful to see Soane’s private apartments and Model Room reopen, so that they can be enjoyed by future visitors as he intended. Unseen in over 160 years, the restoration of the second floor offers an intriguing view into Regency life and will allow visitors to further explore the astonishing collection of the Museum. They also are a stunning demonstration of how a combination of in-depth research and skilled craftsmanship can return historic environments to their former glory.

View of the Model Room, recreating a watercolour of the room by C J Richardson c.1834-35 ©Gareth Gardner

Soane’s model collection was also at the heart of his endeavour to ensure his Museum was a space for learning and inspiration, and architectural models continue to have that function today. That is why we are delighted with the response we have had to our Adopt-a-Model initiative, where each of Soane’s models can be adopted for a ten-year period. The money we have raised so far towards our endowment target not only supports the future conservation of these rare artefacts, but also plays a critical role in allowing us to continue Soane’s vision of using his collection as a launch pad for creative practice and contemporary debate.”

The chimneypiece in Soane’s Bath Room ©Gareth Gardner

Access to the Private Rooms is only available through pre-booking. For more details about how to visit and to book, please see the Museum’s website: www.soane.org

Drawn from the Antique: Artists & the Classical Ideal, Sir John Soane’s Museum, until 26^th September 2015

Fialetti, Katrin Bellinger Collection

This is a wonderful loan show which traces how the sculptures of ancient Greece and Rome inspired the visual arts of the West from the Renaissance to the nineteenth century, influencing artists such as Rubens, Fuseli, Turner and Zuccaro as well connoisseurs, collectors and architects, including Soane himself.

Desflaches, Katrin Bellinger Collection

www.soane.org

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