Category Archives: Watercolours

The 2017 Summer Olympia Art & Antiques Fair

The Art & Antiques Fair Olympia, Olympia London, Hammersmith Road, London W14, 26th June – 2nd July 2017

Lady Henrietta Spencer-Churchill who will be speaking at The Art & Antiques Fair on ‘Incorporating Antiques in Design’ on Thursday 29 June at 12.30-13.30.

This is this fair’s forty-fifth year and as ever potentially offers much to its visitors. There is no doubt that change is inevitable and that emphasis and focus changes as one generation of collectors is succeeded by another. Styles of living change and what may have been our ideal does not necessarily resonate with our children and grandchildren.

It is therefore probably a sound idea to launch an Interior Design Talk Series at this year’s fair. The speakers include Henrietta Spencer Churchill, Douglas Mackie, Christopher Vane Percy, April Russel, Emma Burns from Sibyl Colefax and John Fowler, Susie Rumbold and Caroline de Cabarrus from Hotspur Design and the wide-ranging topics covered include Incorporating Antiques in Design and how to Decorate your House in a Day.

The fair’s director Mary Claire Boyd said, ‘We are excited about our new Interior Design Talk Series. There is a strong demand for advice from experts on how to incorporate art and antiques into interiors and previous designer talks have been very well attended. We are taking it to the next level this year by hosting top designers throughout the run of the fair.’ Perfect for inspiration to go out into the fair afterwards and buy!

It is also interesting to note that the number of picture dealers attending this year’s fair will be double that of last year’s. This increase is made up by new and some returning former exhibitors. The Chicago-based show, Sculptural Objects Functional Art and Design Fair (SOFA) who first showed three-dimensional contemporary art and design last year also returns.

Galerie Boccara
Sonia Delaunay.
Serpent Noir’, wool tapestry,151 x 308cm

As these changes evolve over the Fairs I wish this Olympia Fair a fair wind in its voyage to different waters.

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

Treasure Houses: The homes of the Dukes of Buccleuch and Queensberry

 

BOUGHTON

The House, its People and its Collections

By Richard, Duke of Buccleuch and Queensberry

Photographs by Fritz von der Schulenburg

Published by Caique Publishing Ltd
ISBN 978 0 9565948 5 3 
£17.95 / $21.80 / 81.41 TL 

 

 

 

BOWHILL

The House, its People and its Paintings

Introduced by Richard, Duke of Buccleuch and Queensberry

Edited by John Montagu Douglas Scott

Photographs by Fritz von der Schulenburg

Published by Caique Publishing Ltd
ISBN 978 0 9565948 2 2
£12.95 / $15.73 / 58.73 TL
 

 

DRUMLANRIG

The Castle, its People and its Paintings

By Richard, Duke of Buccleuch and Queensberry

Photographs by Fritz von der Schulenburg

Published by Caique Publishing Ltd
ISBN 978 0 9565948 4 6
£10.95 / $13.30 / 49.66 TL
Paperback, 96 pages, Second Edition
 

These three guidebooks are much more than just that as they provide a fascinating introduction to the houses and collections of the incumbent Dukes.  You will encounter Rembrandt, Canaletto, Van Dyck and El Greco, as well as family portraits by Gainsborough, Reynolds and Ramsay, There are miniatures, French and English furniture, Sèvres made for Louis XV, items commemorating Sir Walter Scott and the Duke of Monmouth, silver and a huge variety of textiles and rugs. It is an extensive and engaging collection in three very different houses, two, Bowhill and Drumlanrig, are in Scotland and then Boughton in England which the late John Cornforth once described as ‘the English Versailles’.

These books are of serious appeal to anyone interested in the fine and decorative arts, architecture and historic interiors.

http://www.bowhillhouse.co.uk

http://www.boughtonhouse.co.uk

http://www.drumlanrigcastle.co.uk

http://www.caiquepublishing.com

 

Jane Austen’s Portraits

The Mysterious Miss Austen, The Gallery, Winchester Discovery Centre, Jewry Street
Winchester, until 24th July, 2017

Jane Austen by James Andrews, watercolour, 1869
(c) Private collection, courtesy of the 19th Century Rare Book and Photograph Shop, Stevenson, Maryland.

I had of course known about Jane Austen for many years but had not actually read one of her novels until I was in my early twenties and found out what an absolute delight they are. I knew something of her life (I just passed where she stayed in Covent Garden’s Henrietta Street this morning) but it was a real delight to come and see this exhibition which marks the two hundredth anniversary of her death and which not only brings together five portraits of her under the same roof for the first time, but includes letters, items of clothing and a manuscript alternative ending to her final novel Persuasion, which was not used in the end. There are also items from both an English and an American private collection which bring the story up-to-date and the rather fine ceramic vase Jane Austen in E 17 by Grayson Perry has been loaned as well.

Installation view:
Jane Austen Pelisse coat

I found it unexpectedly moving and although as the exhibition’s title suggests she does remain somewhat mysterious I felt I had at least encountered her. It was therefore wholly appropriate to pay my respects as I bowed my head to read the inscription on the tablet set into the floor of the north aisle in nearby Winchester Cathedral, commemorating her life and burial there.

Jane Austen ledgerstone – Winchester Cathedral by John Crook

https://hampshireculturaltrust.org.uk/the-gallery-at-winchester-discovery-centre

Installation View:
Jane Austen portraits display

An update: Sir Edward Heath – at home

An update: Sir Edward Heath – at home, until 1st November 2017

The view from Sir Edward’s bedroom window

Further to my post on Sir Edward’s home in Salisbury on 28th July 2016 I thought you may well be interested to know that Sir Edward’s bedroom – now used as a meeting room – is open to the public for the first time but retains its original contents. The artworks include watercolours by Thomas Bush Hardy, Peter Greenham and a gouache attributed to Giacomo Guardi. There are also pieces of Biedermeier furniture and a small occasional table which is thought to have been made by Sir Edward’s father. As I said last year this is great place to visit.

Biedermeier secretaire cabinet

 

A small mahogany occasional table possibly made by Sir Edward’s father.

 

 

 

 

 

 

http://www.arundells.org/

Der Rosenkavalier

Harmony and Opulence: Erté and Der Rosenkavalier, Bonhams London, 101 New Bond Street, London W1, 22nd – 26th May 2017

Presentation of the Rose. Der Rosenkavalier, Act II

Featuring ninety set and costume designs for the famous 1980 Glyndebourne Opera production of Der Rosenkavalier this is a must for lovers of opera and the Russian artist Erté.

http://www.bonhams.com

Lord Weidenfeld

The Collection of The late Lord Weidenfeld GBE: A Life of Ideals and Ideas, Christie’s, 8 King Street, St James’s, London SW1, 18th May 2017

Lot 509
Bernardo Cavallino (Naples 1616–?1656)
Saint Dorothy
oil on canvas
27.7/8 x 22.7/8 in. (72 x 58 cm.)
Estimate: £150,000-200,000
© Christie’s Images Limited 2017

This is a very rare and final chance to see the private world of the publisher and philanthropist George Weidenfeld (1919-2016). He was created Baron Weidenfeld of Chelsea in 1976. He had co-founded the famous publishing firm Weidenfeld and Nicolson in 1948. It was after the War too that he started collecting and this auction reveals his many interests – Old Master paintings, 20th century works on paper, furniture, sculpture and the decorative arts. His collection of books is left to the National Library of Israel in Jerusalem.

The dining room of Lord Weidenfeld’s Bennison decorated Chelsea apartment
© Christie’s Images Limited 2017

The setting for this very personal collection was Lord Weidenfeld’s Chelsea Embankment apartment which had been wonderfully decorated for him by the famous antique dealer and decorator Geoffrey Bennison and which remained virtually unchanged for over forty years!

Lot 569
A REPOUSSÉ PARCEL-GILT COPPER BUST OF POPE URBAN VIII
WORKSHOP OF GIAN LORENZO BERNINI, ROME, MID-17TH CENTURY
30 in. high, 24 in. wide, the bust and socle
Estimate: £30,000-50,000
© Christie’s Images Limited 2017

 

Lot 577
A REGENCY BRASS-INLAID INDIAN ROSEWOOD LIBRARY TABLE
CIRCA 1810-20, ATTRIBUTED TO GILLOWS
31.1/4 in. (79 cm.) high; 76.1/2 in. (194.5 cm.) wide; 48.1/2 in. (123.5 cm.) deep
Estimate: £40,000-60,000
© Christie’s Images Limited 2017

 

Lot 582
A LARGE CHINESE BLUE AND WHITE BALUSTER VASE FITTED AS A TABLE LAMP
19TH CENTURY
The porcelain, 17.1/4 in. (44 cm.) high
Estimate: £2,000-4,000
© Christie’s Images Limited 2017

 

 

 

 

http://www.christies.com

“Chinese Nell” and friends!

Queer British Art 1861-1967, Tate Britain, Millbank, London SW1, until 1st October 2017

Solomon, Simeon 1840-1905
Sappho and Erinna in a Garden at Mytilene
1864
Watercolour on paper
330 x 381 mm
Tate. Purchased 1980


I have thought long and hard about this exhibition which marks the fiftieth anniversary of the Sexual Offences Act legislation in 1967 which meant partial decriminalisation of male homosexuality in England and Wales.

Paul Tanqueray (1905-1991)
Douglas Byng
1934
Vintage bromide print
239 x 193 mm
National Portrait Gallery
© Estate of Paul Tanqueray

Well done Tate Britain for its partnership with this year’s London Pride (Pride in London at Tate Britain, 2pm to 10pm 24th June). Given what still goes on in countries such as Chechnya we must be grateful for the passing of the act.

David Hockney
Life Painting for a Diploma
1962
Yageo Foundation
© Yageo Foundation

However, I do wonder, although admittedly progress has been made, how much things have really changed in our own multi-cultural society?  We know how differing faiths do not accept homosexuality as being right or acceptable.  Many families, whatever their ethnic background, struggle to accept a member of their family being gay. Gay people get homophobic abuse or are physically attacked for no reason other than they are “different”, even my partner and I have been hissed at in Westminster’s Edgware Road.

Angus McBean (1904-1990)
Quentin Crisp
1941
Bromide print
National Portrait Gallery (London, UK)
© Estate of Angus McBean / National Portrait Gallery, London

I recently saw a production of La Cage aux Folles at the Wimbledon Theatre.  I think the real time to celebrate acceptance and inclusion will be when LGBT people can say/sing the words from the show –

I am what I am
And what I am needs no excuses

– And know they don’t have to look over their shoulder. Impossible, or could we all work harder towards it?

John Craxton
Head of a Greek Sailor
1940
Oil on board
330 x 305 mm
London Borough of Camden
© Estate of John Craxton. All rights reserved, DACS 2016. Photo credit: London Borough of Camden

Among the exhibits in this somewhat politically correct exhibition is a monogrammed dressing gown that belonged to Noel Coward.  He was friends of Ian Fleming and his wife Ann and they both had houses on Jamaica.  In one of her letters Ann writes that Noel is referred to as “Chinese Nell” on the island *.  Need I say more?

Out
Keith Vaughan
Drawing of two men kissing
1958–73
Tate Archive
© DACS, The Estate of Keith Vaughan

 

*The Letters of Ann Fleming by Ann Fleming, Mark Amory (Editor), Collins Harvill, 1985

 

 

tate.org.uk

House of Illustration 1

Jo Brocklehurst: Nobodies and Somebodies, House of Illustration, 2 Granary Square, London N1, until 14th May 2017

Untitled
credit Estate of Jo Brocklehurst

Jo (Josephine) Blanche Brocklehurst (1935 – 2006) was both an artist and a lecturer at Central Saint Martins fashion school and this exhibition proves exactly how talented she was. Brocklehurst depicted the subculture scene of the 70s through to the 90s drawing live whether in fetish clubs, punk squats – one was near her Hampstead studio – and the performance scene, in Berlin and New York as well as London. Some of her iconic punk images are in the V&A’s collection and her works inspired designers such as Thierry Mugler and Jean Paul Gaultier.

Die Eingeborene (The Natives) for Berliner Zeitung
credit Estate of Jo Brocklehurst

Many of the works are being shown for the first time and don’t miss the documentary film which features the show’s co-curator Isabelle Bricknall and the artist Howard Tangye. It is a show that should be seen in the flesh – so to speak – because it perfectly recaptures the spirit and place of its time.

Open Tuesday-Sunday 10am-6pm. Closed Mondays.

 

houseofillustration.org.uk

THE 2017 BADA FAIR

BADA 2017, Duke of York Square, King’s Road, London SW3, 15th — 21st March 2017

Joseph Walsh (b. 1979)
Lilium I – A Unique Sculptural Form
2014
Olive Ash
325 x 215 x 74 cm
Courtesy Peter Petrou © Peter Petrou

From the moment you arrive at the BADA Fair you know that you have come to a place which will inspire and tempt you to buy pieces for your home or collection – things which you can live with and enjoy and understand why you acquired them.

An Irish George III white statuary marble and brocatelle marble chimneypiece of Neo-classical design,
Attributed to George Hill and Arthur Darley.
Courtesy of Mallett

The noted firm of Mallett’s are exhibiting there for the first time and as always provide an interesting selection to choose from.

A lantern in parcel-gilt bronze in the Gothic style.
Courtesy of Mallett

It’s hard to believe that this is the twenty-fifth BADA Fair and one feature that has always drawn interest and appreciation is the Loan Exhibition and this year’s is no exception. Entitled Samuel Prout: A Grand Tour in Watercolour it celebrates the life and work of Samuel Prout (1783-1852) from his simple beginnings to achieving the status of being ‘Painter in Water-Colours in Ordinary’ to both King George IV and Queen Victoria. His highly detailed works revealed the cities and towns of Europe to his wealthy compatriots who were once again able to do a ‘Grand Tour’ following the defeat of Napoleon. One can quite understand why his views of Venice are so popular. The exhibition has some thirty works drawn from both private and public collections and has been organised by John Spink of John Spink Fine Watercolours.

Samuel Prout (1783–1852)
Ducal Palace, Venice
Circa 1828
Watercolour with scratching out
69.8 x 101.2 cm
Courtesy John Spink © John Spink

 

www.badafair.com

Vanessa Bell & Patti Smith

Vanessa Bell (1879–1961), Dulwich Picture Gallery, Gallery Road, London SE21, until 4th June 2017

Vanessa Bell, Virginia Woolf, c. 1912, oil on board, 40 x 34 cm, National Portrait Gallery, London, NPG 5933. © National Portrait Gallery, London

Vanessa Bell,
Virginia Woolf, c. 1912,
oil on board, 40 x 34 cm,
National Portrait Gallery, London, NPG 5933.
© National Portrait Gallery, London

This exhibition celebrates the work of Vanessa Bell who, whilst regarded as a member of the Bloomsbury Group, was also very much a stand-alone artist in her own right.

Vanessa Bell, Asheham House, 1912, Oil on board, 47 x 53.5 cm, Private Collection. © The Estate of Vanessa Bell, courtesy of Henrietta Garnett. Photo credit: Photography by Matthew Hollow

Vanessa Bell,
Asheham House, 1912,
Oil on board, 47 x 53.5 cm,
Private Collection.
© The Estate of Vanessa Bell, courtesy of Henrietta Garnett. Photo credit: Photography by Matthew Hollow

The show traces her move from her earlier Impressionist-based training to her more radical approach featuring form, colour and abstraction. Often Bell gets somewhat overshadowed by the circle she lived in – Virginia Woolf (sister), Clive Bell (husband), and fellow artists Duncan Grant and Roger Fry. We see how she rejected Victorian concepts of motherhood and home-making to create a place of freedom as her work with the Omega Workshop reveals.

Vanessa Bell 1879–1961, Design for Omega Workshops Fabric, 1913, Watercolor, gouache, and graphite on paper, Image: 53.3 × 40.7 cm, Yale Center for British Art, Paul Mellon Fund. 3353 - B1992.14.2 © The Estate of Vanessa Bell, courtesy of Henrietta Garnett

Vanessa Bell 1879–1961,
Design for Omega Workshops Fabric, 1913,
Watercolor, gouache, and graphite on paper, Image: 53.3 × 40.7 cm,
Yale Center for British Art, Paul Mellon Fund. 3353 – B1992.14.2
© The Estate of Vanessa Bell, courtesy of Henrietta Garnett

Sarah Milroy, the show’s curator, says: “Unconventional in her approach to both art and life, Bell’s art embodies many of the progressive ideas that we still are grappling with today, expressing new ideas about gender roles, sexuality, personal freedom, pacifism, social and class mores and the open embrace of non-British cultures. This is the perfect moment in which to re-evaluate Bloomsbury, and Bell’s legacy within it, and we look forward to affirming her importance to a contemporary audience.”

Vanessa Bell,
The Other Room, late 1930s,
161 x 174 cm,
Private Collection,
© The Estate of Vanessa Bell, courtesy of Henrietta Garnett. Photo credit: Photography by Matthew Hollow

 

 

Brandon Camp, 1913. From top left: Julian Stephen, Daphne Olivier, Noel Olivier, Noel Olivier, Roger Fry, Vanessa Bell Photographs by Vanessa Bell and others, in Vanessa Bell’s album, Tate (TGA 9020/3) © Tate Archive, London 2016.

Brandon Camp, 1913. From top left: Julian Stephen, Daphne Olivier, Noel Olivier, Noel Olivier, Roger Fry, Vanessa Bell
Photographs by Vanessa Bell and others, in Vanessa Bell’s album, Tate (TGA 9020/3)
© Tate Archive, London 2016.

Alongside this exhibition is Legacy: Photographs by Vanessa Bell and Patti Smith (until 4th June 2017) which features photographs by the famous musician, writer and artist, Patti Smith alongside albums belonging to Vanessa Ball. In 2003 Smith had a residency at Charleston and her comments reflect her interest in the works of the Bloomsbury Group.   – “Art was a part of everyday living. Their cups and saucers were designed by themselves, their utensils, the wallpaper, tapestries. When I first came here I found it just like home […] I felt a real longing to document this place in the same manner that I document my own home because it is very much how I live: books everywhere, things that seem very humble, very sacred, a simple wooden box, a shell, a paint tube – everything has significance.”

Patti Smith, Vanessa Bell’s Library, Duncan Grant’s painting of Vanessa Bell in her Mother’s Dress, 2006, Gelatin silver print, edition of 10, 25.4 × 20.32 cm, © Patti Smith. Courtesy the artist and Robert Miller Gallery

Patti Smith,
Vanessa Bell’s Library, Duncan Grant’s painting of Vanessa Bell in her Mother’s Dress, 2006,
Gelatin silver print, edition of 10, 25.4 × 20.32 cm,
© Patti Smith. Courtesy the artist and Robert Miller Gallery

http://www.dulwichpicturegallery.org.uk