Tag Archives: Lord Leighton

AT HOME: ‘Flaming June’

‘Flaming June: The Making of an Icon’, Leighton House Museum, 12 Holland Park Rd, London, W14, until 2nd April 2017

Flaming June: The Making of an Icon, installation shot at Leighton House Museum. Photo: Kevin Moran. Courtesy: Leighton House Museum

Flaming June: The Making of an Icon, installation shot at Leighton House Museum.
Photo: Kevin Moran. Courtesy: Leighton House Museum

What an exciting exhibition this is! Leighton’s iconic painting Flaming June has come back to the house where it was painted and not only that it is reunited with the other works that Leighton included in what was to be his last showing of work at the Royal Academy’s Summer Exhibition because he died in January 1896.

The original installation in Frederic Leighton's Studio, by Bedford Lemere, 1 April 1895. ©Historic England Archive. Image Courtesy of Leighton House Museum

The original installation in Frederic Leighton’s Studio, by Bedford Lemere, 1 April 1895.
©Historic England Archive. Image Courtesy of Leighton House Museum

If that were not enough on its own we are even more spoilt because it is being shown alongside other works (thanks to loans from private collections and the Metropolitan Museum of Art) that he showed at that year’s Summer Exhibition.

Frederic, Lord Leighton (1830-96), was one of the leading artists of his day and between 1878 and his death was President of the Royal Academy. Although not particularly well received at the exhibition Flaming June has become justly famous – its history is fascinating as this exhibition reveals – and is on loan from the Ponce Museum of Art in Puerto Rico.

Flaming June: The Making of an Icon, installation shot at Leighton House Museum. Photo: Kevin Moran. Courtesy: Leighton House Museum

Flaming June: The Making of an Icon, installation shot at Leighton House Museum.
Photo: Kevin Moran. Courtesy: Leighton House Museum

Thanks to the April 1895 photograph showing Flaming June and it’s fellow works before they were submitted to the Royal Academy it has been possible to give now an idea of what visitors on a studio open day would have seen.

Leighton House’s senior curator, Daniel Robbins, sums it up saying: “I am delighted that over 125 years on we can reunite these five paintings created by Leighton in the home and studio he cherished. This exhibition will be a chance for visitors to look more closely into this final body of work with Flaming June as its centrepiece and consider afresh Leighton’s achievements as an artist. I am extremely grateful to those who have loaned the works to us for the exhibition and to those who helped us track down the paintings held in private collections.”

Flaming June: The Making of an Icon, installation shot at Leighton House Museum. Photo: Kevin Moran. Courtesy: Leighton House Museum

Flaming June: The Making of an Icon, installation shot at Leighton House Museum.
Photo: Kevin Moran. Courtesy: Leighton House Museum

 

Open daily except Tuesdays, 10am – 5.30pm but check for opening times over the holiday period.

http://www.rbkc.gov.uk/FlamingJune

From Freud to Van Dyck

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

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

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)

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

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

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

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

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)

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)

The Lanigan Collection – a generous gift

Pre-Raphaelites on Paper: Victorian Drawings from the Lanigan Collection, Leighton House Museum 12 Holland Park Road, London W14, until 29th May 2016

Frederick Sandys, King Pelles Daughter Bearing the Vessel of the Sangreal, 1861. Promised Gift from the Lanigan Collection ® NGC

Frederick Sandys,
King Pelles Daughter Bearing the Vessel of the Sangreal, 1861.
Promised Gift from the Lanigan Collection
® NGC

There is still time to see this remarkable collection of drawings and sketches which includes, portraits, allegories, religious and literary scenes and landscapes.  Some are preparatory studies for works by painters such as Holman Hunt and Burne-Jones.

Frederic Leighton, Study of Iphigenia for Cymon and Iphigenia, 1883, Promised Gift from the Lanigan Collection ® NGC

Frederic Leighton,
Study of Iphigenia for Cymon and Iphigenia, 1883,
Promised Gift from the Lanigan Collection
® NGC

This collection which adorns the walls of the Museum’s rooms, with the exception of Lord Leighton’s studio, has been put together by the Canadian collector Dr. Dennis T. Lanigan over a thirty-year period. In recent times Lanigan has given or promised much of the collection to the National Gallery of Canada.  A very generous gift indeed.

Edward Burne-Jones, Study for The Wedding Feast of Sir Degrevaunt (for William Morris Red House),1860 ® NGC

Edward Burne-Jones,
Study for The Wedding Feast of Sir Degrevaunt (for William Morris Red House),1860
® NGC

http://www.leightonhouse.co.uk

The Duchess – II

The Duchess – Property & Precious Objects from the Estate of Mary, Duchess of Roxburghe, Sotheby’s, 34-35 New Bond Street, London W1, 27th – 28th May 2015

Mary Crewe-Milnes before her marriage to the Duke of Roxburghe, age 19, wearing the Cartier diamond ring (Lot 662)

Mary Crewe-Milnes before her marriage to the Duke of Roxburghe, age 19, wearing the Cartier diamond ring (Lot 662)

In my previous blog I gave some of the story of Mary Roxburghe’s life and showed views of West Horsley Place. This wonderful, historic house has not been fully used for many decades and so now restoration is an urgent issue as Bamber Gascoigne explains: “West Horsley Place played an integral part in my aunt Mary Roxburghe’s fascinating life. It was completely unexpected by me that I would be heir to her estate. She had expressed that, given the work required to restore the house, she expected I would sell it. But having spent many memorable times with my aunt here, and knowing how special the house was to her and her family, together with my wife I decided to take up the challenge of carrying out the essential work to the house to ensure that it can withstand what may lie ahead over the course of its future, and continue to stand as a monument of its remarkable past.

Lot 224 GLYN PHILPOT, R.A. 1884-1937 PORTRAIT OF MARGARET (PEGGY) CREWE-MILNES, MARCHIONESS OF CREWE Signed and dated 1917 oil on canvas 120 by 79cm. 47 by 31in. Estimate : £10,000-15,000

Lot 224
GLYN PHILPOT, R.A.
1884-1937
PORTRAIT OF MARGARET (PEGGY) CREWE-MILNES, MARCHIONESS OF CREWE
Signed and dated 1917
oil on canvas
120 by 79cm. 47 by 31in.
Estimate : £10,000-15,000

“The history of West Horsley Place dates back as far as the 11th century, and the 16th century reconstruction of the house hosted notable guests including Henry the XVII. It also carries the legend of Sir Walter Raleigh’s embalmed head being buried in the garden from the time his wife and son lived there, and the house was also the depository for the famed papers of Sir Edward Nicholas, Secretary of State to Charles I, which are now largely among the Egerton manuscripts in the British Museum. With this and the other literary associations of the house in mind, my aunt left Trinity College Cambridge their choice of books from the three miles of book shelves to their library.”

Below is a small selection of some of the lots being auctioned. Sadly while none of them will be a “starter for ten” there will be many lots of an affordable nature.

Lot 466 A GEORGE V SILVER BISCUIT SERVER, H.H. PLANTE, LONDON, 1935 31cm., 12 1/8 in. wide 1648gr., 52oz. 19dwt. Estimate: £500-700 This was a Wedding Present (24th October 1935), described as 'Biscuit Toaster', given by the Princess Royal and Countess of Harewood, and the Earl of Harewood

Lot 466
A GEORGE V SILVER BISCUIT SERVER, H.H. PLANTE, LONDON, 1935
31cm., 12 1/8 in. wide
1648gr., 52oz. 19dwt.
Estimate: £500-700
This was a Wedding Present (24th October 1935), described as ‘Biscuit Toaster’, given by the Princess Royal and Countess of Harewood, and the Earl of Harewood

 

Lot 51 AN AXMINSTER CARPET, ENGLAND Approximately 800 by 432cm; 26ft 3in., 14ft 1in. circa 1765/80 Estimate: £50,000-80,000 Formerly in the Red Drawing Room and then later the North Drawing Room at Crewe House, London

Lot 51
AN AXMINSTER CARPET, ENGLAND
Approximately 800 by 432cm; 26ft 3in., 14ft 1in.
circa 1765/80
Estimate: £50,000-80,000
Formerly in the Red Drawing Room and then later the North Drawing Room at Crewe House, London

 

Lot 349 A SET OF NINE GEORGE III BLUE AND WHITE PAINTED ARMCHAIRS, AND ONE SIDE CHAIRCIRCA 1775, IN THE MANNER OF MAYHEW & INCE Estimate: £15,000-25,000 Although thought to have been commissioned or purchased for Crewe Hall in the 18th century several of them appear in a 1934 drawing of the State Drawing Room at Crewe House, London.

Lot 349
A SET OF NINE GEORGE III BLUE AND WHITE PAINTED ARMCHAIRS, AND
ONE SIDE CHAIRCIRCA 1775, IN THE MANNER OF MAYHEW & INCE
Estimate: £15,000-25,000
Although thought to have been commissioned or purchased for Crewe Hall in the 18th century several of them appear in a 1934 drawing of the State Drawing Room at Crewe House, London.

 

Lot 662 DIAMOND RING, CARTIER, 1930S set with two pear-shaped diamonds weighing 2.31 and 2.34 carats respectively, further accented with two marquise-shaped diamonds, size L, signed Cartier London, case stamped Cartier Paris. ESTIMATE 8,000-12,000 GBP

Lot 662
DIAMOND RING, CARTIER, 1930S
set with two pear-shaped diamonds weighing 2.31 and 2.34 carats respectively, further
accented with two marquise-shaped diamonds, size L, signed Cartier London, case
stamped Cartier Paris.
ESTIMATE 8,000-12,000 GBP

 

Lot 519 A CHRISTMAS PRESENT FROM JAMES DE ROTHSCHILD A GOLD-MOUNTED LACQUE BURGAUTÉ VASE, MADE BY LAVABRE FOR CARTIER PARIS, 1926 12.8 cm., 5 in., high Estimate: £2,500-3,500 This was a Christmas present in 1926 from Baron James de Rothschild (1878-1957) of Waddesdon Manor.

Lot 519
A CHRISTMAS PRESENT FROM JAMES DE ROTHSCHILD
A GOLD-MOUNTED LACQUE BURGAUTÉ VASE, MADE BY LAVABRE FOR
CARTIER PARIS, 1926
12.8 cm., 5 in., high
Estimate: £2,500-3,500
This was a Christmas present in 1926 from Baron James de Rothschild (1878-1957) of Waddesdon Manor.

Frederic, Lord Leighton Study for Flaming June ESTIMATE 40,000 - 60,000 This the only known head study for one of the most famous 19th century pictures. It used to hang in an ante-room to the Duchess's bedroom and was last publicly seen in an art magazine in 1895. It will be auctioned in London on 15th July, 2015

Frederic, Lord Leighton
Study for Flaming June
ESTIMATE 40,000 – 60,000
This the only known head study for one of the most famous 19th century pictures. It used to hang in an ante-room to the Duchess’s bedroom and was last publicly seen in an art magazine in 1895. It will be auctioned in London on 15th July, 2015

 

 

http://www.sothebys.com

The Duchess – I

The Duchess – Property & Precious Objects from the Estate of Mary, Duchess of Roxburghe, Sotheby’s, 34-35 New Bond Street, London W1, 27th – 28th May 2015

A View of West Horsley Place

A View of West Horsley Place

This is a remarkable sale in that it reveals a way of life that has now vanished. The story is told through the seven hundred lots that make up this auction. Mary, Duchess of Roxburghe (1915-2014) was born into one of the great families; her father was Marquess of Crewe and her mother was Peggy Primrose, who was the daughter of the Earl of Rosebery, a British Prime Minister, and his heiress wife Hannah de Rothschild.

A View of the Drawing Room. This elegant room had not been used for about fifty years and workmen were needed to prise open the shutters which had warped.

A View of the Drawing Room.
This elegant room had not been used for about fifty years and workmen were needed to prise open the shutters which had warped.

Mary Roxburghe, who was named for her godmother Queen Mary and whose husband George V was her godfather, was brought up in the glittering social world of her parents. Their London house was Crewe House in Curzon Street and they also had Crewe Hall in Cheshire. She became engaged to the Duke of Roxburghe at the age of 19, a fact celebrated by a ball at Crewe House and attended by the King and Queen at which the Crewe china and glass, featured in this sale, was used. The 1935 wedding was deemed worthy of being screened in cinemas across the land. The Duke and Duchess travelled extensively – some of the Duchess’s Cartier luggage is in the sale – and she spent part of World War II in the Middle East to be close to the Duke.

A View of the Morning Room, showing a table setting, the Axminster Carpet (Lot 51) and a male servant's livery.

A View of the Morning Room, showing a table setting, the Axminster Carpet (Lot 51) and a male servant’s livery.

However after the war one day as she was sitting at breakfast with the Duke the butler presented her, on a silver salver (naturally), with her divorce papers. After a rather fraught period a settlement was reached and Mary Roxburghe then divided her time between her apartment in London and her parents country home West Horsley Place. The Crewe’s had bought the house in the 1930s after disposing of their other properties following the death of their son and heir. The house contains a melange of items from these other houses, although larger family pictures had also been sold and so when Mary inherited the house in 1973 it became a repository for her things too.

The Duchess's Bedroom, with a silver-plated breakfast-in-bed tray by Asprey & Co Ltd (£200-£300) on the bed.

The Duchess’s Bedroom, with a silver-plated breakfast-in-bed tray by Asprey & Co Ltd (£200-£300) on the bed.

What a great selection there is; footmen’s livery, Coronation robes, paintings, furniture, silver, porcelain, jewellery and Objects of Vertu. All combine to be an integral part of a fascinating story that combines social and historical threads into a whole and tells the story of Mary Roxburghe’s life.

http://www.sothebys.com

 

In the following second blog I will include a comment from Bamber Gascoigne, the Duchess’s heir, who is selling these items to help secure the future of this house and show a small selection of items on offer.