The Artist Depicted!

Portrait of the Artist, The Queen’s Gallery, Buckingham Palace, London SW1, until 17th April 2017

Daniel Mytens, A Self-Portrait, c.1630 Royal Collection Trust /© Her Majesty Queen Elizabeth II 2016.

Daniel Mytens,
A Self-Portrait, c.1630
Royal Collection Trust /© Her Majesty Queen Elizabeth II 2016.

This extensive exhibition encompasses portraits of artists from the reign of Charles I to the present day. A whole variety of disciplines have been used in creating these works of art, including Hockney’s 2013 self-portrait created on an iPad.  It was a gift to Her Majesty The Queen to mark his receiving the Order of Merit.

Giovanni Battista Cipriani, Bartolozzi Sleeping,c.1770 Royal Collection Trust /© Her Majesty Queen Elizabeth II 2016.

Giovanni Battista Cipriani,
Bartolozzi Sleeping,c.1770
Royal Collection Trust /© Her Majesty Queen Elizabeth II 2016.

Several portraits were in the collection of Charles I such as the Self-Portrait as the Allegory of Painting (La Pittura) (c.1638–9) by Artemisia Gentileschi.  The Rembrandt portrait was acquired by George IV. Dating from the 1950s are the reciprocal portraits of HRH The Duke of Edinburgh and Edward Seago.

HRH The Duke of Edinburgh, Seago Painting, 1956-57 © HRH The Duke of Edinburgh

HRH The Duke of Edinburgh,
Seago Painting, 1956-57
© HRH The Duke of Edinburgh

Displayed in their entirety for the first time are the 224 miniatures created by the Italian artist Giuseppe Macpherson for Lord Cowper in the 1760s who presented them to George III.  They depict the artists’ self-portraits hung in the Vasari Corridor of the Galleria degli Uffizi in Florence and which are the most important such group in the world.

Attributed to Francesco Melzi, Leonardo da Vinci, c.1515-18 Royal Collection Trust /© Her Majesty Queen Elizabeth II 2016.

Attributed to Francesco Melzi,
Leonardo da Vinci, c.1515-18
Royal Collection Trust /© Her Majesty Queen Elizabeth II 2016.

I can only give a taste of what awaits you in this exhibition but I feel sure you will want to visit more than once – so don’t forget your ticket allows you free re-admission for a year if you ask them to treat your ticket purchase as a donation.

Johann Michael Wittmer, Raphael's First Sketch of the 'Madonna della Sedia', 1853 Royal Collection Trust /© Her Majesty Queen Elizabeth II 2016.

Johann Michael Wittmer,
Raphael’s First Sketch of the ‘Madonna della Sedia’, 1853
Royal Collection Trust /© Her Majesty Queen Elizabeth II 2016.

 

Lucian Freud, Self-Portrait: Reflection, 1996 Royal Collection Trust /© Her Majesty Queen Elizabeth II 2016.

Lucian Freud,
Self-Portrait: Reflection, 1996
Royal Collection Trust /© Her Majesty Queen Elizabeth II 2016.

 

http://www.royalcollection.org.uk

Brian Sewell

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

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 19th and 20th 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

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

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

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

‘A Poetic Eye’

John Craxton ‘A Poetic Eye: A life in art from Cranborne Chase to Crete’, Salisbury Museum, The King’s House, 65 The Close, Salisbury SP1, until 7th May 2016

John Craxton working on Pastoral for P.W., 1948 Photograph by Felix Man

John Craxton working on Pastoral for P.W., 1948
Photograph by Felix Man

Curated by Ian Collins, Craxton’s art executor, the exhibition tells the story of this exciting artist, a friend of Freud, whose work developed from the dark, brooding paintings and drawings he created during the war period on Cranborne Chase to the bright works that celebrated his love of Crete and the way of life there. It is a revelatory and well-deserved remembrance of a talented and characterful artist.

 

http://www.salisburymuseum.org.uk

Deborah, Duchess of Devonshire, Sotheby’s London, 2nd March 2016

Deborah, Duchess of Devonshire: The Last of the Mitford Sisters, Sotheby’s London, 34-35 New Bond Street, London W1, 2ndMarch 2016

Lot 111 - David Dawson DEBORAH, DOWAGER DUCHESS OF DEVONSHIRE AND 'SKEWBALD MARE', 2004 Estimate 400 — 600 Chromogenic print. Signed, dated and titled ‘Lucian’s Studio’ in black felt tip pen on the reverse. Mounted and framed. sheet: 20.3 x 25.3 cm, 8 x 10 in.; image: 19 x 21.5 cm, 7 ½ x 8 ½ in

Lot 111 – David Dawson
DEBORAH, DOWAGER DUCHESS OF DEVONSHIRE AND ‘SKEWBALD MARE’, 2004
Estimate 400 — 600
Chromogenic print. Signed, dated and titled ‘Lucian’s Studio’ in black felt tip pen on the reverse. Mounted and framed.
sheet: 20.3 x 25.3 cm, 8 x 10 in.; image: 19 x 21.5 cm, 7 ½ x 8 ½ in

A lady of great, presence, elegance and taste and very much to my mind an archetypal Duchess.  One can, through her writings, understand why she was so respected and admired.  Now following her death in 2014 some of her personal belongings come to what I am sure will be a memorable and nostalgic auction.

The Old Vicarage, Edensor (c) Sotheby's

The Old Vicarage, Edensor
(c) Sotheby’s

Her family have said:  “Our mother was very clear about how things should be organised following her death. She left precise instructions for a large number of personal legacies and specific bequests to the Chatsworth House Trust, and the remainder of her possessions she left to us. Given the kind of person she was, and the rich and varied life she led, there are more belongings than we can together accommodate. We are keeping items that are particularly precious to us, but we have made the decision to consign the remainder to Sotheby’s. Our mother was always fascinated by the auction process, so we feel sure she would be delighted at the prospect of this sale and would be very happy to know that some of her possessions were to go to new homes where they will be cherished and enjoyed.”

The Old Vicarage, Edensor (c) Sotheby's

The Old Vicarage, Edensor
(c) Sotheby’s

In the words of David MacDonald, the specialist in charge of the sale, “This auction paints a vivid picture of Deborah, Duchess of Devonshire, featuring mementoes, objects and pictures that tell the story of her remarkable life. A friend to many of the people who shaped her generation, she herself was a writer, an entrepreneur, a patron of the arts, and a much-admired beauty who also had the knack of absorbing the influences of other designers and decorators to develop her own style. The objects with which she chose to surround herself in her final home, the Old Vicarage at Edensor, were often moving, funny, or both, and usually had marvellous stories attached. The items in this sale capture the very essence of this endlessly captivating woman.”

The Old Vicarage, Edensor (c) Sotheby's

The Old Vicarage, Edensor
(c) Sotheby’s

Henry Wyndham, Chairman of Sotheby’s Europe commented: “What is particularly wonderful about the sale is not only the sense one gets of the personal taste of Deborah, Duchess of Devonshire, but also of the value she placed on these objects that she chose to take with her from Chatsworth to the ‘Old Vic’. Together they form a rich collage that tells a remarkable story. I am sure the Duchess would have been quietly amused by this auction, and would undoubtedly have enjoyed correcting our cataloguers on the breed or species of animal which feature in many of her pictures. She would also have enjoyed telling the stories her possessions carry with them, as many of the lots have been ‘touched’ by the great and the good of the 20th century, among whose number Deborah, Duchess of Devonshire must certainly be counted.”

The Old Vicarage, Edensor (c) Sotheby's

The Old Vicarage, Edensor
(c) Sotheby’s

Even without the above comments the picture one gets from the lots in the catalogue is of a person of style, wit and character – and I respectfully suggest one of the last of her kind.

Lot 433 - Gem set and diamond brooch, late 19th century Estimate 1,000 — 1,500 Designed as a bumblebee, set with circular-cut diamonds, the body and head accented with a cabochon ruby and a circular-cut emerald, with sapphire eyes.

Lot 433 – Gem set and diamond brooch, late 19th century
Estimate 1,000 — 1,500
Designed as a bumblebee, set with circular-cut diamonds, the body and head accented with a cabochon ruby and a circular-cut emerald, with sapphire eyes.

http://www.sothebys.com

The Old Vicarage, Edensor (c) Sotheby's

The Old Vicarage, Edensor
(c) Sotheby’s

 

The Old Vicarage, Edensor (c) Sotheby's

The Old Vicarage, Edensor
(c) Sotheby’s

 

The Old Vicarage, Edensor (c) Sotheby's

The Old Vicarage, Edensor
(c) Sotheby’s

 

 

 

 

 

 

 

 

 

 

Lot 47 - Her Grace's Collection of Elvis Presley Ephemera Estimate 500 — 1,000 comprising: An E.P.E. Official Product Telemania limited edition novelty 'Singing and Dancing Telephone' (C) 1996, cased Two key-rings A small printed circular box Two plastic bags from Graceland An 'Easy Come Easy Go' record, published Camden Records, 1972, now moulded into a bowl A simulated 'Elvis' 1 dollar note Five Elvis fridge magnets A 'Tiny Tomes / Elvis The Legend' miniature book Two Elvis button fridge magnets Two small tins of breath mints A printed fabric hanging 'Graceland' from the Andy Warhol Collection produced by Andrew Martin Elvis Presley's Graceland, The Ultimate Graceland Tour DVD, Elvis Presley Foundation 2007 'The King' printed porcelain mug A Franklin Mint wristwatch hung with charms, cased A tin of Elvis Presley playing cards Two further packs of playing cards Two RCA cassettes 'Amazing Grace - His Greatest Sacred Performance' A portable 'Legends' ashtray A 'Legends' lady's compact mirror Two German magazines with accompanying DVD free gift A tin sign printed 'He Dared to Rock July, 5, 1954, That's All Right' Five Christmas Tree Elvis inspired decorations A polychrome resin Elvis and surfboard ornament A 'Bradford Exchange' King of Rock and Roll ornament A painted ceramic wall plaque by Janice Raynor, A Ms Understood Prod. 2007, titled That's Alright Mama, exhibited Elvis's Teddy Has Left The Building, Newtown NSW, Australia A Zadig & Voltaire printed navy long sleeve t-shirt 'Love Forever Elvis', size large A knitted British new wool Elvis Presley scarf by Jean Birch-Leonard A Wrebbit 350 piece 3-D jigsaw puzzle of Graceland A modern The King birthday card and plain Born to Rock postcard A 'Grow The King' expandable toy Alf Burnell, three quarter length portrait of Elvis Presley, acrylic on canvas A pair of Mexican Elvis bottle top pendant evening earrings An E.P.E. cardboard cut-out, (almost life-size) of 'The King' Mann, May, Special Collector's Edition, Elvis and the Colonel, Drake Pub. Ltd. New York, 1977 Keogh, Pamela Clarke, Elvis Presley, The Man. The Life. The Legend., Simon & Schuster, London, 2004 Presley, Lisa Marie (fwd), Elvis Presley's Graceland, Official Guidebook, E.P.E. Graceland, rev. ed. 2009 An E.P.E. 2011 Official Elvis Calendar BMG records presentation disc set, framed and glazed, Presented to The Duchess of Devonshire / In recognition for her continued support of Elvis Presley from BMG records and The Day Team at Chatsworth Five Elvis Presley records Two Boxed sets of CD compilations, one with commemorative 'Collectable Stamps' A vintage Elvis Presley pocket knife printed 'Elvis Presley King of Rock n' Roll 1935-1977' Three modern photographic prints of Elvis Presley (two the same image) An RCA 7" of The Wonder of You and Mama Liked the Roses, 1974 An Elvis / Summer Festival / Las Vegas Hilton / Complimentary Menu Hand, A (ed.) Elvis Monthly, no. 5, 5th Year, 1964 Four modern photographic prints by Alfred Wertheimer; Going Home; Elvis Sings to the Hound Dog; A-Frame; Grilled Cheese 20 Cents, published by the New York Times, each signed l/l in ink by A. Wertheimer

Lot 47 – Her Grace’s Collection of Elvis Presley Ephemera
Estimate 500 — 1,000
comprising:
An E.P.E. Official Product Telemania limited edition novelty ‘Singing and Dancing Telephone’ (C) 1996, cased
Two key-rings
A small printed circular box
Two plastic bags from Graceland
An ‘Easy Come Easy Go’ record, published Camden Records, 1972, now moulded into a bowl
A simulated ‘Elvis’ 1 dollar note
Five Elvis fridge magnets
A ‘Tiny Tomes / Elvis The Legend’ miniature book
Two Elvis button fridge magnets
Two small tins of breath mints
A printed fabric hanging ‘Graceland’ from the Andy Warhol Collection produced by Andrew Martin
Elvis Presley’s Graceland, The Ultimate Graceland Tour DVD, Elvis Presley Foundation 2007
‘The King’ printed porcelain mug
A Franklin Mint wristwatch hung with charms, cased
A tin of Elvis Presley playing cards
Two further packs of playing cards
Two RCA cassettes ‘Amazing Grace – His Greatest Sacred Performance’
A portable ‘Legends’ ashtray
A ‘Legends’ lady’s compact mirror
Two German magazines with accompanying DVD free gift
A tin sign printed ‘He Dared to Rock July, 5, 1954, That’s All Right’
Five Christmas Tree Elvis inspired decorations
A polychrome resin Elvis and surfboard ornament
A ‘Bradford Exchange’ King of Rock and Roll ornament
A painted ceramic wall plaque by Janice Raynor, A Ms Understood Prod. 2007, titled That’s Alright Mama, exhibited Elvis’s Teddy Has Left The Building, Newtown NSW, Australia
A Zadig & Voltaire printed navy long sleeve t-shirt ‘Love Forever Elvis’, size large
A knitted British new wool Elvis Presley scarf by Jean Birch-Leonard
A Wrebbit 350 piece 3-D jigsaw puzzle of Graceland
A modern The King birthday card and plain Born to Rock postcard
A ‘Grow The King’ expandable toy
Alf Burnell, three quarter length portrait of Elvis Presley, acrylic on canvas
A pair of Mexican Elvis bottle top pendant evening earrings
An E.P.E. cardboard cut-out, (almost life-size) of ‘The King’
Mann, May, Special Collector’s Edition, Elvis and the Colonel, Drake Pub. Ltd. New York, 1977
Keogh, Pamela Clarke, Elvis Presley, The Man. The Life. The Legend., Simon & Schuster, London, 2004
Presley, Lisa Marie (fwd), Elvis Presley’s Graceland, Official Guidebook, E.P.E. Graceland, rev. ed. 2009
An E.P.E. 2011 Official Elvis Calendar
BMG records presentation disc set, framed and glazed, Presented to The Duchess of Devonshire / In recognition for her continued support of Elvis Presley from BMG records and The Day Team at Chatsworth
Five Elvis Presley records
Two Boxed sets of CD compilations, one with commemorative ‘Collectable Stamps’
A vintage Elvis Presley pocket knife printed ‘Elvis Presley King of Rock n’ Roll 1935-1977′
Three modern photographic prints of Elvis Presley (two the same image)
An RCA 7″ of The Wonder of You and Mama Liked the Roses, 1974
An Elvis / Summer Festival / Las Vegas Hilton / Complimentary Menu
Hand, A (ed.) Elvis Monthly, no. 5, 5th Year, 1964
Four modern photographic prints by Alfred Wertheimer; Going Home; Elvis Sings to the Hound Dog; A-Frame; Grilled Cheese 20 Cents, published by the New York Times, each signed l/l in ink by A. Wertheimer

Lucian Freud

Girl – Lucian Freud, Ordovas, 25 Savile Row, London W1, until 1st August 2015

Girl -­ Lucian Freud installation view,  photography by Mike Bruce  / The Lucian Freud Archive / Bridgeman Images

Girl -­ Lucian Freud installation view,
photography by Mike Bruce / The Lucian Freud Archive / Bridgeman Images

This is an exquisite exhibition of four small paintings and a selection of archival material and photographs. The subject is Lady Caroline Blackwood; the artist Lucian Freud; the connection is they married in 1953.

Lucian Freud,  Girl in Bed, 1952  © The Lucian Freud Archive / Bridgeman Images

Lucian Freud,
Girl in Bed, 1952
© The Lucian Freud Archive / Bridgeman Images

Caroline was 18 when they first met in 1949 at a ball and although Freud was separated from his first wife Kitty they were still married.   Caroline braved her mother’s (Maureen Dufferin and Ava) disapproval and moved in with Freud at his Paddington studio. He painted her between 1950 and 1956 and while these works are today thought to be tender depictions, at the time he was criticised for making her look older than her years.

Lucian Freud,  Girl by the Sea, 1956 © The Lucian Freud Archive / Bridgeman Images

Lucian Freud,
Girl by the Sea, 1956
© The Lucian Freud Archive / Bridgeman Images

In 1952 Caroline and Lucian eloped to Paris and lived there for a year and then in 1953 they married at the Chelsea Register Office on London’s Kings Road.  However the marriage was to be short-lived as Freud’s gambling and reckless behaviour led to its collapse. She moved to New York to study acting and became a well-known author but the bond between them lasted until her death in 1996.

Lucian Freud,  The Sisters, circa 1950 © The Lucian Freud Archive / Bridgeman Images

Lucian Freud,
The Sisters, circa 1950
© The Lucian Freud Archive / Bridgeman Images

Two of the paintings on show Girl in Bed and Girl Reading were both painted in 1952 while Girl by the Sea, 1956, was the last painting Freud did of Caroline and in fact he just finished it before their break-up.  Recently completed research has revealed that it was painted in Pedregalejo near Malaga, Spain. What added to Caroline’s beauty were her big blue-green eyes and the fourth painting (The Sisters, 1950) in the exhibition eloquently depicts one of them.

Lucian Freud,  Girl Reading, 1952 © The Lucian Freud Archive / Bridgeman Images

Lucian Freud,
Girl Reading, 1952
© The Lucian Freud Archive / Bridgeman Images

Try not to miss this!

 

Girl ­- Lucian Freud installation view,  photography by Mike Bruce / The Lucian Freud Archive / Bridgeman Images

Girl ­- Lucian Freud installation view,
photography by Mike Bruce / The Lucian Freud Archive / Bridgeman Images

http://www.ordovasart.com