La Serenissima

VENICE -An Exhibition of Paintings, Drawings & Prints, The Fine Art Society Plc, 148 New Bond Street, London W, until 29th July 2015

FRANCESCO GUARDI (attributed artist) Venice 1712 – 1793 Venice: The Grand Canal, looking South-West from the Church of the Scalzi to the Fondamenta della Croce, with the Church of San Simeone Piccolo Oil on canvas | 23 " x 37 ! in (60.6 x 94.4 cm) Courtesy of Charles Beddington Ltd

FRANCESCO GUARDI (attributed artist)
Venice 1712 – 1793
Venice: The Grand Canal, looking South-West from the Church of the
Scalzi to the Fondamenta della Croce, with the Church of San Simeone
Piccolo
Oil on canvas | 23 ” x 37 ! in (60.6 x 94.4 cm)
Courtesy of Charles Beddington Ltd

This exhibition which was part of the successful London Art Week brings a delightful selection of works that celebrate four centuries of art depicting this sublime city. The Fine Art Society, which is London’s oldest commercial gallery, has joined forces with New York’s Hill-Stone Inc and Old Master and Canaletto specialist Charles Beddington to bring us this hugely enjoyable show.

JAMES MCNEILL WHISTLER 1834-1903 The Two Doorways, 1879-1880 Etching and drypoint | 8 x 11 1/2 inches (20.2 x 29.2 cm) Courtesy of The Fine Art Society Plc

JAMES MCNEILL WHISTLER
1834-1903
The Two Doorways, 1879-1880
Etching and drypoint | 8 x 11 1/2 inches (20.2 x 29.2 cm)
Courtesy of The Fine Art Society Plc

 

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GIUSEPPE BORSATO Venice 1771 – 1849 Set Design for Rossini’s Opera “Semiramide”, Act 1, Scene 13, Teatro La Fenice, Venice, 1823 Brown ink and wash on off-white paper, signed ‘Borsato’ lower right; inscribed on the mount 'Scena eseguita nel Gran Teatro la Fenice l'anno 1832/ per l'Opera Semiramide' in upper right corner numbered ’10.’ 6 x 8 " in (15.2 x 22.6 cm)  Courtesy of Charles Beddington Ltd

GIUSEPPE BORSATO
Venice 1771 – 1849
Set Design for Rossini’s Opera “Semiramide”, Act 1, Scene 13, Teatro La
Fenice, Venice, 1823
Brown ink and wash on off-white paper, signed ‘Borsato’ lower right; inscribed on the mount
‘Scena eseguita nel Gran Teatro la Fenice l’anno 1832/ per l’Opera Semiramide’ in upper right corner numbered ’10.’
6 x 8 ” in (15.2 x 22.6 cm)
Courtesy of Charles Beddington Ltd

 

 

 

 

 

 

 

 

 

 

 

 

 

 

CARLO GRUBACS Perast(o), Montenegro 1801 – Venice 1870 The Molo in a Rainstorm Oil on canvas, signed 'C Grubas' lower left 10 1/2 x 15 5/8 in (27 x 39.7 cm) Courtesy of Charles Beddington Ltd

CARLO GRUBACS
Perast(o), Montenegro 1801 – Venice 1870
The Molo in a Rainstorm
Oil on canvas, signed ‘C Grubas’ lower left
10 1/2 x 15 5/8 in (27 x 39.7 cm)
Courtesy of Charles Beddington Ltd

 

GIOVANNI MIGLIARA Alessandria 1785 – 1837 Milan Corridor leading to a Loggia Oil on Canvas, signed verso 'G Migliara' Diameter 3 ! inches (8cm) Courtesy of Charles Beddington Ltd

GIOVANNI MIGLIARA
Alessandria 1785 – 1837 Milan
Corridor leading to a Loggia
Oil on Canvas, signed verso ‘G Migliara’
Diameter 3 ! inches (8cm)
Courtesy of Charles Beddington Ltd

The Fine Art Society

TIM POMEROY – Recent Stone Carvings, The Fine Art Society, 148 New Bond Street, London W1, until 27th November 2014

Tim Pomeroy, Pine Cone, 2014, Marble, 60 cm diameter, courtesy of The Fine Art Society

Tim Pomeroy, Pine Cone, 2014, Marble, 60 cm diameter, courtesy of The Fine Art Society

One can easily appreciate why Tim Pomeroy is highly-regarded and sought-after as a stone carver when one sees this exhibition of recent works. A native Scot, his works are often inspired by archaeological sites in Scotland, especially Neolithic and Bronze Age ones. They are executed in a variety of stones such as slate, granite, sandstone and marble.

Tim Pomeroy, Campion, 2014, Belgian Blue marble, 56 x 20 cm, courtesy of The Fine Art Society

Tim Pomeroy, Campion, 2014, Belgian Blue marble, 56 x 20 cm, courtesy of The Fine Art Society

Pine cones, seed heads and other natural forms as well as man-made everyday objects such as the humble screw can provide a subject too. He sees it as “finding a language to address the gods or spirits that accompany us as we travel through this life”.

It certainly seems to work.

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