My Object of the Year 2016

Collector’s Cabinet by Theodor Commer (1773-1853) with 48 Wax Reliefs by Caspar Bernhard Hardy (1726-1819) for Canon Johann Wilhelm Neel (1744-1819) Cologne, ca 1795 Cherry wood, brass marquetery, wax reliefs Height 225 cm, width 145 cm, depth 62 cm Photo credit: Kunstkammer Georg Laue, Munich

Collector’s Cabinet by Theodor Commer (1773-1853)
with 48 Wax Reliefs by Caspar Bernhard Hardy (1726-1819)
for Canon Johann Wilhelm Neel (1744-1819)
Cologne, ca 1795
Cherry wood, brass marquetery, wax reliefs
Height 225 cm, width 145 cm, depth 62 cm
Photo credit: Kunstkammer Georg Laue, Munich

I am fortunate, if not a little spoilt, in that I get to see objects from all periods and in most media during the year and have the opportunity to share them with you through my blog.  I am sharing this with you and considering that I saw it at Frieze Masters in October you may well be right in thinking that perhaps this is something I would like to keep for myself.  But it is in my view far too good an item to be selfish about. Sadly, no I don’t own it.

Collector’s Cabinet by Theodor Commer (1773-1853) with 48 Wax Reliefs by Caspar Bernhard Hardy (1726-1819) for Canon Johann Wilhelm Neel (1744-1819) Cologne, ca 1795 Cherry wood, brass marquetery, wax reliefs Height 225 cm, width 145 cm, depth 62 cm Photo credit: Kunstkammer Georg Laue, Munich

Collector’s Cabinet by Theodor Commer (1773-1853)
with 48 Wax Reliefs by Caspar Bernhard Hardy (1726-1819)
for Canon Johann Wilhelm Neel (1744-1819)
Cologne, ca 1795
Cherry wood, brass marquetery, wax reliefs
Height 225 cm, width 145 cm, depth 62 cm
Photo credit: Kunstkammer Georg Laue, Munich

Many of you will recognise that this sécrétaire has the hallmarks of the Roentgen workshops at Neuwied and you would be correct as its maker Theodor Commer (1773-1853) trained there.  The sécrétaire was commissioned specially by Johann William Neel (1744-1819) – you can see his entwined inlaid initials on the roll-top front – to contain his collection of forty-eight wax reliefs by Caspar Bernhard Hardy (1726-1819).  Hardy was a cleric at Cologne Cathedral and so knew Neel.

Collector’s Cabinet by Theodor Commer (1773-1853) with 48 Wax Reliefs by Caspar Bernhard Hardy (1726-1819) for Canon Johann Wilhelm Neel (1744-1819) Cologne, ca 1795 Cherry wood, brass marquetery, wax reliefs Height 225 cm, width 145 cm, depth 62 cm Photo credit: Kunstkammer Georg Laue, Munich

Collector’s Cabinet by Theodor Commer (1773-1853)
with 48 Wax Reliefs by Caspar Bernhard Hardy (1726-1819)
for Canon Johann Wilhelm Neel (1744-1819)
Cologne, ca 1795
Cherry wood, brass marquetery, wax reliefs
Height 225 cm, width 145 cm, depth 62 cm
Photo credit: Kunstkammer Georg Laue, Munich

Hardy’s great forte was producing these framed allegorical wax portraits, often sourced from contemporary genre paintings and prints and also from porcelain figures. His works were extremely popular and sought after. Goethe collected them too and wrote of his collection “they deserve to be shown in a museum in Cologne for they clearly demonstrate that we are here in the city of Rubens, in the Lower Rhine, where colour has always dominated and exalted works of art”.

Collector’s Cabinet by Theodor Commer (1773-1853) with 48 Wax Reliefs by Caspar Bernhard Hardy (1726-1819) for Canon Johann Wilhelm Neel (1744-1819) Cologne, ca 1795 Cherry wood, brass marquetery, wax reliefs Height 225 cm, width 145 cm, depth 62 cm Photo credit: Kunstkammer Georg Laue, Munich

Collector’s Cabinet by Theodor Commer (1773-1853)
with 48 Wax Reliefs by Caspar Bernhard Hardy (1726-1819)
for Canon Johann Wilhelm Neel (1744-1819)
Cologne, ca 1795
Cherry wood, brass marquetery, wax reliefs
Height 225 cm, width 145 cm, depth 62 cm
Photo credit: Kunstkammer Georg Laue, Munich

To me this sécrétaire is a perfectly formed small museum and it is no surprise that it is being sold by the Munich based firm Kunstkammer Georg Laue who specialise in 16th – 18th century museum-quality objects that were collected for Kunst- and Wunderkammer.  This sécrétaire certainly fits that brief wonderfully well.

 

Kunstkammer Georg Laue, Schellingstraße 56, 80799 München

www.kunstkammer.com

JÖRG IMMENDORFF – Doubly Celebrated

JÖRG IMMENDORFFLIDL WORKS AND PERFORMANCES FROM THE 60s and LATE PAINTINGS AFTER HOGARTH, Michael Werner Gallery, 22 Upper Brook Street, London, W1, until 2nd July 2016

Jörg Immendorff "Laufen", 1965 Dispersion on canvas 43 1/4 x 43 1/4 inches 110 x 110 cm Courtesy Michael Werner Gallery, New York and London

Jörg Immendorff
“Laufen”, 1965
Dispersion on canvas
43 1/4 x 43 1/4 inches
110 x 110 cm
Courtesy Michael Werner Gallery, New York and London

These are the first major London exhibitions dedicated to Immendorff for twenty years.  He studied under Beuys at the Kunstakademie Düsseldorf and his early works reflect the ideas of challenging fine art traditions and political institutions as well as reflecting the anti-war sentiment of the era.

Jörg Immendorff “Untitled”, 2006 Oil on canvas 63 x 55 inches 160 x 140 cm Courtesy Michael Werner Gallery, New York and London

Jörg Immendorff
“Untitled”, 2006
Oil on canvas
63 x 55 inches
160 x 140 cm
Courtesy Michael Werner Gallery, New York and London

In the gallery’s large downstairs space are pictures dating from Immendorff’s later working life. A period when he was suffering from amyotrophic lateral sclerosis (ASL) but was still able to work with the help of assistants. They are inspired by Hogarth’s The Rake’s Progress and were part of a massive body of work which followed on from the artist being asked to create designs for Stravinsky’s The Rake’s Progress being performed at the Salzburg Festival in 1994.

 

http://www.michaelwerner.com

Mazzoleni London & Skarstedt – two exhibitions

Alighiero Boetti: Order and Disorder – Curated by Rinaldo Rossi and Corinna Turati, Mazzoleni London, 27 Albemarle Street | Mayfair, London W1, until 31st July 2015

Alighiero Boetti,  Mappa, 1979,   Embroidery,  90x130.5 cm,  Courtesy Mazzoleni London

Alighiero Boetti,
Mappa, 1979,
Embroidery, 90×130.5 cm,
Courtesy Mazzoleni London

The Italian conceptual artist Alighiero Boetti is celebrated in this special exhibition. We get a unique insight into the artist’s work and life through the art and personal artefacts that have been carefully chosen by his long-time assistant, friend and collaborator Rinaldo Rossi. It includes a recreation of Il Muro; a wall in Boetti’s flat in Rome on which he hung objects that were a source of inspiration.

Alighiero Boetti,  Smettere in  Moto 1978-79,  ballpoint pen on paper laid down on canvas, 3 panels, 100x70  cm each,  Courtesy Mazzoleni London

Alighiero Boetti,
Smettere in Moto 1978-79,
ballpoint pen on paper laid down on canvas, 3 panels, 100×70 cm each,
Courtesy Mazzoleni London

The works reflect the different stages of Boetti’s artistic oeuvre from his Arte Povera works onwards, including his maps and photographic self-portraits.

Alighiero Boetti, De Bouche a  Oreille, 1993,  embroidery on fabric, each 18 x 18 cm, Courtesy Mazzoleni  London

http://www.mazzoleniart.com

 

 

Burning, Cutting, Nailing, Skarstedt, 23 Old Bond Street, London W1, until 31st July, 2015

Installation image, Burning, Cutting, Nailing at Skarstedt, London

Installation image, Burning, Cutting, Nailing at Skarstedt, London

This show looks at how three artists Yves Klein, Lucio Fontana and Günther Uecker sought a new mode of painting by moving away from the flatness of the traditional surface to a new plane where there was light, space and movement.

Installation image, Günther Uecker, New York Dancer IV, 1965; Burning, Cutting, Nailing at Skarstedt

Installation image, Günther Uecker, New York Dancer IV, 1965; Burning, Cutting, Nailing at Skarstedt

We can experience and enjoy the blocks of colour that these artists created be they Günther Uecker’s white nail paintings, Yves Klein’s abstract ‘fire paintings’ or Lucio Fontana’s metal paintings or his red and white ‘cut’ or tagli paintings.

Installation image, Günther Uecker, Structure Field, 1962; Inseln (Island), 1964; and Untitled, 1962;  Burning, Cutting, Nailing at Skarstedt

Installation image, Günther Uecker, Structure Field, 1962; Inseln (Island), 1964; and Untitled, 1962; Burning, Cutting, Nailing at Skarstedt

http://www.skarstedt.com