Category Archives: Works on Paper

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

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

Ancient Landscapes Portrayed

‘British Art: Ancient Landscapes’, The Salisbury Museum, The King’s House, 65 The Close, Salisbury SP1 2EN, until 3rd September 2017

Alan Sorrell (1904–1974)
Sunrise Over Stonehenge
Watercolour on Paper
The Salisbury Museum

I am really grateful to Professor Sam Smiles (Emeritus Professor of Art History at the University of Plymouth) for his deep interest in archaeology and the history of art because they are engagingly combined in this important show. There is an accompanying catalogue by him too.

Eric Ravilious (1903-1942)
The Long Man of Wilmington,1939
Watercolour
© Victoria and Albert Museum, London

Prehistory in this country is celebrated in works from the 18th century onwards to the present time. Views of Stonehenge by Thomas Hearne, Charles Marshall, Constable, Turner, Henry Moore and Henry McKnight Kauffer are found among other archaeological sites both in Wiltshire and elsewhere. William Blake, John Piper, Barbara Hepworth and Derek Jarman are among the other artists you will experience in this hugely enjoyable exhibition.

Horace Brodzky (1885-1969)
Stonehenge, 1919
Linocut

The Museum’s Marketing Officer Louise Tunnard says: “We are so fortunate to live alongside the ancient landscapes that inspired these wonderful artists, and which remain relatively unchanged since pre historic times. I am hoping that we will inspire visitors to the exhibition to walk these landscapes too and discover their enduring appeal.” I am sure that they will!

J M W Turner (1775-1851)
Stonehenge c, 1827-28
Watercolour
The Salisbury Museum

 

http://www.salisburymuseum.org.uk/

The Royal Academy’s Summer Exhibition

Summer Exhibition 2017, The Royal Academy of Arts, Burlington House, Piccadilly, London, W1, until 20th August 2017

 

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

 

Installation view of the Summer Exhibition 2017.
Photo (c) David Parry

This year’s Show is vibrant and exciting and varied across several media.  Of particular note is Yinka Shonibare’s Wind Sculpture VI in the Annenberg Courtyard which explores the notion of harnessing motion and freezing it in a moment of time.

Installation view of the Summer Exhibition 2017.
Photo (c) David Parry

Gilbert and George are showing a new large-scale work from their Beard Speak series and there are works by Phyllida Barlow, Anthony Gormley, Sean Scully, Bob and Roberta Smith and Wolfgang Tillmans – a very impressive line-up!

Installation view of the Summer Exhibition 2017.
Photo (c) David Parry

Farshoud Moussavi has curated the Architecture Gallery which celebrates architecture by focusing on construction coordination drawings which show the full complexity of a building.

Installation view of the Summer Exhibition 2017.
Photo (c) David Parry

The Charles Woolaston Award has been won by Isaac Julien for his five-screen film WESTERN UNION: Small Boats which is apparently inspired by Visconti’s The Leopard. I have to say as that is one of my favourite films I couldn’t really see the connection apart from the two films being set in Sicily, however it is well worth a look.

 

As always, the show is a real treat for art lovers and the standard remains as high as ever.

 

http://www.royalacademy.org.uk

Masterpiece London 2017 – Les Enluminures

Les Enluminures at Masterpiece London 2017, until 5th July 2017

THE “SOISSONS MISSAL”
Northeastern France (Diocese of Soissons), c. 1250-75 With 1 full-page miniature and 22 large historiated
initials by Vincent Master (active Northeast France, c.1260-90)
In Latin, illuminated manuscript on parchment
334 x 220 mm.

This firm’s specialises, under the leadership of Sandra Hindman, in manuscripts, miniatures, rings and jewellery from the Middle Ages and the Renaissance. They have garnered a colourful and rich selection of important acquisitions as these images show and one can totally understand why they number major institutions among their clients.

ROMAN OPEN-WORK HOOP “UTERE FELIX”
Roman Empire, 3rd century
Gold Weight 21.8 gr.; circumference 63.84 mm.; US size 10 5/8; UK size V

 

Histoire Ancienne jusqu’à César and Fait des Romains
In French, illuminated manuscript on parchment
With 78 miniatures by the Master of the Coronation of
Charles VI and a collaborator
France, Paris, c. 1370-80

www.lesenluminures.com

www.masterpiecefair.com

A Legacy of Beauty

JOSEPH DALTON HOOKER: A LEGACY OF BEAUTY – From Halesworth to the Himalayas, Halesworth Gallery, Steeple End, Halesworth, Suffolk IP19 8LL, 1st– 19th July 2017

Sarcococca hookeriana var.digyna by Elaine Searle (Chelsea School of Botanical Art’s course director),
watercolour and graphite, 35cm high x 25cm wide.
Common plant name: Sweet box

This is a wonderful celebration of the 19th century botanist and explorer Sir Joseph Dalton Hooker OM GCSI CB PRS  who succeeded his father as Director of Kew Gardens. The works are by the pupils and alumni of the Chelsea School of Botanical Art. Their founder and director, Helen Allen said:  “We are delighted that the Halesworth Gallery has invited us to exhibit botanical paintings of plants relating to, and named after, Sir Joseph Dalton Hooker. We are also including other plant illustrations showing this traditional art.  This is a great opportunity for our School and its alumni, many of whom now earn their living through their painting.  We plan to show visitors the tools and the progression of creating a botanical painting, which traditionally combines art and science, through the work of present and past talented Chelsea School of Botanical Art students.”

Joseph Hooker, Director of Kew Gardens, London 1865.

“The list of plants named after Sir Joseph Dalton Hooker is extensive. Many of the species are no longer the same as they were when discovered by Hooker, some are very rare and protected. Therefore, in some cases, our artists have selected the current version to paint.  We will also be showing other botanical paintings and illustrations by our alumni.”

Echiveria x hookeri by Penny Price,
watercolour, 35cm high x 24cm wide.
Common plant name: Succulent

http://www.halesworthgallery.co.uk/

http://www.chelseaschoolofbotanicalart.co.uk/

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