Enfilade

Master Drawings New York, 2015

Posted in Art Market, exhibitions by Editor on January 20, 2015

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Aert Schouman (Dordrecht 1710–1792 The Hague), A Cockerel Crowing, pencil, pen and ink and watercolour and gum arabic, heightened with white, signed ‘A. Schouman. ad.f’ in pen and brown ink, 171 x 191 mm, Provenance: Lord Fairhaven. Offered by Crispian Riley-Smith Fine Arts Ltd. and on view during Master Drawings New York 2015 at Shepherd / W & K Galleries.

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Press release (26 November 2014) as edited to highlight the eighteenth-century offerings:

Master Drawings New York, 2015
New York, 24–31 January 2015

The 2015 edition of Master Drawings in New York promises to be the best ever. More than thirty of the world’s leading dealers are coming to New York City to offer for sale master art works in pencil, pen and ink, chalk and charcoal, as well as oil on paper sketches and watercolours, created by iconic artists working in the 16th to 21st centuries. Each exhibition is hosted by an expert specialist and many works on offer are newly discovered or have not been seen on the market in decades, if at all.

In addition, Margot Gordon and Crispian Riley-Smith, co-founders of Master Drawings in New York, are delighted to announce that John Marciari, the new head of the Department of Drawings and Prints at the Morgan Library & Museum in New York, will provide the introduction for the 2015 brochure.

Highlights at the 2015 edition include ….

Joshua Reynolds, Dionysius Aeropagites. oil on canvas, 30 x 25 inches, ca. 1772

Joshua Reynolds, Dionysius Aeropagites. oil on canvas, 30 x 25 inches, ca. 1772

• A major rediscovered masterpiece by Sir Joshua Reynolds, listed as missing since 1905, and a star attraction at the exhibition of London gallery LOWELL LIBSON LTD. “Dionysius Aeropagites has only been known from an 18th-century engraving,” according to Libson. It depicts Reynolds’s favorite model, a street mender from York, George White. The painting perfectly communicates Reynolds’s ambitions as a history painter shortly after the founding of the Royal Academy.” Painted in emulation of an Italian old master, the powerful head was published shortly after its completion and given the title identifying the sitter as a follower of St. Paul. Libson is also featuring works by William Blake, John Singleton Copley, Thomas Jones, Samuel Palmer, Simeon Solomon and a fascinating group of British portrait drawings of the 1830s and 1840s depicting Queen Victoria, Talleyrand, Chopin and Paganini—plus Sir Thomas Lawrence’s portrait of the Duke of Wellington’s nieces and J.M.W. Turner’s Alpine tour watercolor, The Val d’Aosta.

• A small group of noteworthy David Cox watercolours MARTYN GREGORY is bringing to New York includes a very large one that is completely fresh to the market. Gregory says it is interesting as it is made on several sheets of the ‘Scotch’ paper Cox used later in his career, which he had carefully pieced together to make a much larger sheet. It is a fascinating watercolour which shows Cox working on grand scale, mastering one of his favourite subjects: Betwys-y-Coed in North Wales. Gregory is also showing 18th- and 19th-century British watercolours including Richard Parkes Bonington’s The Ruins of Chateau d’Harcourt near Lillebonne, a pencil and watercolour dating to 1821-22 when Bonington made his first tour of Normandy; a 1793 watercolour by British artist William Alexander showing Chinese Barges of the first British embassy preparing to pass under a bridge, led in 1792-4 by Lord Macartney; and a highly detailed wash drawing, John Hood’s The East Indiaman Essex in Three Positions.

• London specialist STEPHEN ONGPIN FINE ART always manages to acquire new-to-the-market works by the most iconic names in fine art including Edgar Degas, Thomas Gainsborough, Adolph Gottlieb, Paul Klee, Henri Matisse, Edvard Munch, Paul Signac, Alfred Sisley, Wayne Thiebaud, and Odilon Redon. This year’s exhibition won’t disappoint as Ongpin is showing Gainsborough’s Travellers Passing Through A Village, Klee’s Night impression of a Southern Town, Degas’s A Seated Young Woman Plaiting her Hair, Matisse’s Standing Female Nude, Munch’s Rocks on the Edge of a Sea, Paul Signac’s Still Life with a Bowl of Fruit, Wayne Thiebaud’s Ice Cream Cone, and Redon’s A Face in the Window.

• New exhibitor PRPH RARE BOOKS is offering an album of 70 uncensored 16th-century drawings after Michelangelo’s Last Judgment in the Sistine Chapel. The original figures depict genitalia and other ‘lewd’ elements which were later censored and painted over at the Church’s direction. These were generally unknown until the restoration of the work in 1980–84. They are bound in 18th-century calf and were in the collection of Count Leopold Cicognara (1767–1834), the leading Italian art historian of his time. PRPH is also showing a highly important complete set of 50 engraved fortune telling cards (Northern Italy 1465) by the Master of the ‘Mantegna’ Tarocchi—E-series, rebound in 18th-century cartonnato.

• London dealer GUY PEPPIATT brings over wonderful British works including artworks by one of the most important British topographical artists of the late 18th century, Edward Dayes, whose Carlsbrooke Castle Isle of Wight, dating to 1788, is featured at MDNY. Also featured is a William Callow R.W.S. watercolour A Spring Day at Florence from San Miniato, dating to 1882, and Thomas Rowlandson’s pen, ink and watercolour,The Mid-day Rest.

• PIA GALLO is offering a Salvator Rosa (1615–1673) Study for the Figure of Scylla in pen ink and wash that is a study for the painting Glaucus and Scylla at the Brussels Musee des Beaux Arts. The drawing was once owned by Queen Christina of Sweden. Also showing splendid, hand-painted, fan-shaped gouaches with views of the Gulf of Naples that were meant to be folding fans. Fans and hand screens—predominantly as a fashion accessory—became popular in Europe from the seventeenth century onwards. These two individual fans are made from natural vellum, hand-painted by an anonymous artist. The fans here are not folded nor are they mounted and date from probably around 1800. They show Romantic views of the most frequently visited sights in the Bay of Naples by travelers on the Grand Tour. Villa di Pompejo (Villa of Diomedes). Gouache on natural vellum. Veduta del Sepolcro della Sacerdotessa Mammia a Pompejano.

• CRISPIAN RILEY-SMITH of London has titled his exhibition, Flights of Fancy: Birds and Animals by Aert Schouman and his Contemporaries in 18th-century Holland. On view are six Aert Schouman watercolours, including five from the collection of the late Lord Fairhaven, and four watercolours by Abraham Meertens—plus master drawings by Bandini, Benso Hackert, Zuccarelli and Van Goyen.

• MARGOT GORDON FINE ARTS is staging a show titled Five Centuries of Faces and Figures.

• MIA WEINER is showing a selection of important works such as Gaetano Gandolfi’s Studies of Two Angels, preparatory for the flanking angels in the 1780 altarpiece Immaculate Conception in S.M. Lambarun Coeli, Bologna. She also offers a charming red chalk drawing by a student of the Carracci closest in technique to Annibale, drawing a fellow student or perhaps himself as he works from model sheets of facial features made by Agostino. Plus Filippo Lauri’s Allegorical Figures Frolicking in the Flowers in gouache, Jan Van Kessel’s watercolour of Butterfly, Moth, Rose and Spring of Gooseberries, Salvator Rosa’s Study of a River God for The Dream of Aeneas, a study for the same figure in a painting at the Metropolitan Museum. A number of 19th-century landscape oil sketches and watercolours by Northern European and Italian artists such as Carl Friedrich Heinrich Werner’s A Beautiful Water Carrier, which Weiner says is a stunning example of the artist’s work, and Daniel Israel’s large scale Portrait of a Bearded Man, as strong as any German sheet of the period.

• MIREILLE MOSLER is showing artworks spanning five centuries including works by Zacharias Blijhooft, Pieter Holsteyn II, Francois Bonvin, John Constable, Jules Bastien-Lepage, Willem van den Berg, Leo Gestel, Jan Sluyters, Jan Toorop and Jacobus van Looy. The earliest 17th-century drawings exhibited are a group of 15 small animals and insects that once belonged to a larger album in the possession of the Earl of Arundel (1585–1648) known as ‘The Collector Earl’. John Constable’s 1810 ‘En plein air’ East Bergholt depicts the surroundings where he grew up. A Francois Bonvin Study for Le Couvreur tombe dating to 1877 is a recently rediscovered study of a now lost important Salon painting of the same year.

Founded in 2006 as a way to draw upon and buttress the presence of collectors and museum officials during the important January art-buying events, including the Old Master auctions and The Winter Antiques Show, Master Drawings in New York has become an important part of the winter art scene in its own right, attracting the most influential dealers not only in New York but in England, France, Italy, Germany, and Spain who each stage a themed exhibition in more than two dozen Upper East Side galleries between East 63rd and 93rd Streets. Master Drawings in New York has received critical acclaim for orchestrating a showcase for fine art works that cut across the full range of styles, centuries, mediums and genres, and for providing greater accessibility to fine art at price points that range from several thousand dollars to several million.

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Note (added 4 February 2015) — A press release recapping the 2015 event is available here»

London’s Guildhall Art Gallery Reopens with New Installations

Posted in museums by Editor on January 20, 2015

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The London Guildhall, photo from Wikimedia Commons, 2014.

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From Chloé Nelkin Consulting:

Guildhall Art Gallery has undergone a transformational rehang for the first time in 15 years [opening Friday, 16 January 2015]. Many of the works have never been on show before. In the Victorian display alone, 70% of works represent a completely new curatorial selection; through imaginative use of space, the overall number of paintings on show has been doubled.

This £600,000 renovation project will improve visitor experience with a new state-of-the-art lighting system and more flexible exhibition spaces. As well as more paintings and new lighting, the choice of Aesthetic Movement green as the new wall colour enhances the period feel of the space and the impact of the individual artworks.

The new thematic rehang comprises a radical redisplay of the Victorian Gallery as well as sections on ‘City of London: Plenty and Progress’, ‘Picturing London: 400 Years’, and ‘Landscapes of Sir Matthew Smith’.

By introducing focused thematic displays on everyday subjects such as the home, work and leisure the rehang challenges preconceptions about Victorian art being ‘dated’ and actively seeks to engage modern viewers. The paintings highlight how many aspects of our lives today originate in the Victorian times, for example outdoor recreation such as sports and public parks, affordable home decoration, or office work. The rehang of the Victorian works also demonstrates how the approach to fine art fundamentally changed in the 19th century, with artists turning to the depiction of contemporary life as their main inspiration.

Julia Dudkiewicz, Principal Curator of Guildhall Art Gallery, says “The rehang has been a labour of love and it has been a great privilege to work with such outstanding and internationally significant collections. The Guildhall Art Gallery is a real hidden gem in the heart of the City. It was one of the first public galleries in London, predating Tate Britain by 15 years, and today houses one of the largest and best collections of Victorian art in the world.”

Guildhall Art Gallery, housed in a purpose-built space designed by Richard Gilbert Scott, showcases the extensive art treasures of the City of London Corporation, spanning 400 years of collecting and numbering some 4,500 works. The new ‘City of London: Plenty and Progress’ display will offer an introduction to the City of London Corporation, exploring the often controversial themes of money, commerce and capitalism, with a combination of contemporary and historic works by artists as diverse as William Hogarth, William Logsdail, Ken Howard, and Mark Titchner.

David Pearson, the City of London’s Director of Culture, Heritage and Libraries, said: “As the relaunch is progressing, everyone in the City of London Corporation has been amazed and delighted with the ongoing results. The new colour scheme, and the paintings being seen for the first time in many years, will really transform the display of a collection which is a key part of City heritage. Whether you are an old friend of the Gallery, or have not been before, make sure you come to see it!”

The rehang has been conceived and developed by Julia Dudkiewicz, working with Exhibitions Curator Katty Pearce. The new interpretation and branding has been developed in close collaboration with Crescent Lodge Design, and aims to enhance creative learning opportunities at the Gallery, by introducing original ‘icon’ designs, text panels and new captions.

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Guildhall Art Gallery, relaunch, 2014. ©Sam Roberts for the Guildhall Art Gallery. Pictured is John Singleton Copley’s Defeat of the Floating Batteries at Gibraltar, with General Sir George Eliott on horseback pointing to the battle between the British and the Spanish land and sea forces, 1783–1791.

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From the Guildhall Art Gallery:

In 1670, the Court of Aldermen commissioned twenty-two paintings to hang in their newly restored Guildhall. These were portraits of the Fire Judges; men who had been appointed to assess compensation claims after the Great Fire of London in 1666. The Corporation of London’s art collection grew from this initial commission and now numbers approximately 4,500 works of art. Twenty of the Fire Judges’ portraits were damaged in December 1940 when the gallery was bombed during a World War II air raid. Two survived, and you can see the portrait of Sir Hugh Wyndham on display in the galleries today.

The Corporation continued to commission and purchase early portraits of royalty and individual benefactors of the City of London. Surviving works include portraits of William III and Queen Mary (1690) by the Dutch painter Jan van der Vaardt and portraits of George II and Queen Caroline (1727) by Jervas. The collections have since been shaped by bequests from individuals, as described below, as well as acquisitions of new material. The Gallery’s first Director, the dynamic Sir Alfred Temple, developed its popular collection of Victorian paintings. Crowds gathered to see Temple’s groundbreaking loan exhibitions, filling Guildhall Yard and forming a queue “reaching… almost to the Bank of England.” Since the Second World War, the Gallery has concentrated on expanding its unique collection of London pictures. . .

Search the collection here»