Category: Exhibitions
Art and war
July 21 2011
Picture: Museum of the Confederacy
Here's a strangely fascinating new online exhibition from the Museum of the Confederacy in Richmond, Virginia. It shows 31 paintings all by Conrad Wise Chapman, a Confederate soldier during the American Civil War, and his father John Gadsby Chapman. Of this picture, showing one of the first submarines used in war, Conrad Chapman wrote:
The inventor of this boat, a mane named Hunley, can be seen... it was at first thought would [sic] be very effective; twice it went out on its mission of destruction, but on both occasions returned with all the crew dead. After this had happened the second time, someone painted on it the word 'Coffin'.
I must say, I hadn't heard of the Museum of the Confederacy before. It's interesting to read their founding statement on their website:
The clothes, the arms, the money, the belongings of the Confederate soldier, and the women whose loyal enthusiasm kept him in the field, are properly objects of historical interest. The glory, the hardships, the heroism of the war were a noble heritage for our children. To keep green such memories and to commemorate such virtues, it is our purpose to gather together and preserve in the Executive Mansion of the Confederacy the sacred relics of those glorious days. We appeal to our sisters throughout the South to help us secure these invaluable mementoes before it’s too late.
So nothing about slavery then...
Tudor portrait set at NPG
July 14 2011
Picture: NPG
A rare and important set of royal portraits will go on display for the first time in 36 years at the National Portrait Gallery, London from 19th July-4th December. The Hornby Castle set of portraits runs from William the Conqueror to Mary I, including this nicely hump-backed Richard III. They aren't masterpieces, but are a nice example of the Tudor fashion for 'corridor portraits'.
Last chance to see 'Finding Van Dyck'
July 13 2011
Picture: Bowes Museum
Our exhibition 'Finding Van Dyck' closes today, so now is your last chance to come and see a number of potential Van Dyck discoveries. One of them is this dirty and over-painted Portrait of a Lady in a White Dress, which belongs to the Bowes Museum. It was long thought to be a copy, even perhaps a 19thC one. But is it in fact an original by Van Dyck?
I think it could be. The picture shows how condition issues can lead to an attribution being questioned. We've been asked to help restore the painting, so I guess we'll soon know for sure whether it is by Van Dyck or not...
Salvator Mundi - National Gallery statement
July 13 2011
Picture: Robert Simon/Tim Nighswander
Here's the statement from the National Gallery on the Salvator Mundi:
The painting Salvator Mundi will be shown at The National Gallery, London, exhibition: Leonardo da Vinci: Painter of the Court of Milan from 9 November 2011 – 5 February 2012.
Leonardo is known to have painted the Salvator Mundi – an image of Christ holding a globe, with his right hand raised in blessing. The version in a private collection in New York was shown after cleaning to the Director of the National Gallery and to the Curator of the exhibition as well as to other scholars in the field. We felt that it would be of great interest to include this painting in the exhibition as a new discovery. It will be presented as the work of Leonardo, and this will obviously be an important opportunity to test this new attribution by direct comparison with works universally accepted as Leonardo’s. A separate press release on the Salvator Mundi is issued by the owner.
I can't immediately think of another major gallery that has included a newly discovered work found by a dealer in a blockbuster exhibition. It is a bold step by the National and its director, Nicholas Penny. Museums in some other countries, such as France, would probably recoil in horror. Personally, I cannot applaud the National enough for including the picture in the exhibition. It is a fitting recognition of the role that we dealers, and their discoveries, can play in advancing art history.
Jonathan Jones in the Guardian has, typically, the best piece on the story here.
First image of newly found Leonardo
July 9 2011
Picture: Robert Simon/Tim Nighswander
Here's the first post-conservation photo of Salvator Mundi, the newly discovered Leonardo painting. Lost for centuries, it was bought in the US in the mid-2000s by the art dealer Alex Parish.
The picture will be included in the National Gallery's new Leonardo exhibition. But after speculation over the $200m asking price, which would conflict with the National's strict rules on loaned paintings, the owners have said the picture is now not for sale.
It's difficult to judge from the photo, but I can see no reason why it shouldn't be by Leonardo, as the scholars now say. The hand in particular seems very Leonardo like. The only question I suppose is the condition, given the thinness in the face. I can't wait to see it. What an incredible discovery by Alex Parish.
'I would have liked to have been Poussin...'
July 1 2011
Picture: Dulwich Picture Gallery
So says Cy Twombly, the subject of a new exhibition at the Dulwich Picture Gallery, 'Twombly and Poussin: Arcadian Painters' (until 25th Sept). The show has good reviews so far: The Guardian gives it 4/5. See a selection of exhibits here.
Perks of being an art dealer no. 42
June 30 2011
Picture: BG
Apologies for the lack of blogging lately - it's been quite busy at the Masterpiece fair.Â
Today was the sort of day where you think - 'how lucky I am to be an art dealer'. First, we saw an ultra-rare acquisition at the gallery. Then my colleague Emma Rutherford sold two pictures at the fair (so that's Emma 3 - Bendor & Philip, 0), and we had what we call in the trade 'meaningful conversations' with other potential clients. But really, if you're an art evangelist like me, it's just nice to talk about pictures with people, whether they buy them or not. And today there was plenty of talking.
Finally, in the evening we had a charity gala in aid of Clic Sargent. There were cocktails, celebrities, a band fronted by F1 team boss Eddie Jordan (he's in the funny shirt, above, playing the spoons), and a silent auction with various enticing lots. One of them was a ride in the two seater Spitfire seen in the photo. And the winning bidder was... me!
There are few things I'm more obsessed with than art, but Spitfires are one of them. So although it was (gulp) not cheap, I'm now rather tragically excited. I was so keen to secure the lot that, as the clock ticked down, I inadvertently bid against myself. Which was a bit stupid, but as the auctioneer said, it's all for a good cause...
Now I just need to sell every painting on our stand to help pay for it. And I also need to check the small print - I'm assuming that 'a ride in a two-seater Spitfire' means it actually takes off...
Swedes acquire Elizabeth I
June 28 2011
Picture: Bonhams
The National Museum in Stockholm has acquired this portrait miniature of Elizabeth I by Hilliard. It surfaced last year at Bonhams in London, where it made £40,800 (inc. premium).
The Swedes' acquisition of Elizabeth I marks a historical irony. In the early 1560s, the very mad king Erik XIV of Sweden tried desperately to marry her. He sent her his portrait by Steven van Herwijck [Gripsholm Castle], and had his ambassadors shower the populace of London with gold coins in a bid to win popular support. That plan didn't work, because the coins turned out to be fake. Erik was later deposed, and poisoned by a bowl of pea soup.
Only in Sweden?
June 28 2011
Picture: National Museum Stockholm. 'Kneeling nun, recto', by Martin van Meytens (detail).
Whilst looking at the National Museum of Sweden's website for the Elizabeth I story below, I came across the page for an exhibition there called 'Lust & Vice'.
The exhibition:
...shows examples of how sexuality, virtue and sin have been depicted in art since the 16th century – from an age when the Church preached that sexual contact was only permitted within wedlock to today’s questioning of who erotic art is created for. A total of 200 works are on show from the museum’s own collections, a mix of paintings, drawings, sculptures and applied art. You can also see a genuine chastity belt!
The exhibition includes paintings of women showing their naked bottoms.
Great!
There's also a rather disturbing photo called 'Alone in a Brown Room', by Annika von Hausswolf. It depicts a bloke on a chair with his trousers lowered, and his hand in a naughty place. You could click here to see it, but I don't recommend you do. You will though, won't you... Who ever knew that wallpaper could be such a turn on?
Art? Dance? Or in-flight entertainment?
June 27 2011
You decide. From the US pavilion at the Venice Biennale.
Check out the itchy bum routine about 1m30 in.
More on the Van Dyck debate
June 27 2011
Picture: Philip Mould Ltd (detail)
The Antiques Trade Gazette has a good summary of the debate over the Van Dyck study we bought at the Chatsworth Attic Sale.
To recap, we bought the study catalogued as 'Circle of Rubens'. We, and a number of experts, say it is by Van Dyck. Sotheby's, and their own experts (who haven't seen the picture), say it isn't.
Speaking to the ATG, Sotheby's said that the picture was 'short on quality and uncharacteristic for a Van Dyck.' The quality point is moot. Look for yourself at the face, see how animated it is, and remember that this was intended to be no more than a rapidly painted sketch, for later reference in a finished work. But I readily agree that it is uncharacteristic.
It is uncharacteristic because nobody has properly studied Van Dyck's use of studies before. According to the 2004 Van Dyck catalogue raisonne, only 3 studies are listed from between Van Dyck's departure to Italy in 1621 and his death in 1641. This is so patently an under-estimate that we cannot use the 'characteristic' argument when judging potential Van Dyck studies. Instead, we have to look at all the available evidence with open eyes...
Below is my fuller discussion of the picture.
An art dealer's weekend
June 26 2011
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Museum conservators, look away now...
This weekend we're setting up for 'Masterpiece'. Millions of pounds worth of art is being shuffled hither thither, as the carpenters, painters, cleaners and dealers put the finishing touches to what promises to be a fine fair. It's dusty, nosiy and exceedingly hot. But I love installing exhibitions and displays, from hanging the pictures to setting the lights. I guess it's the frustrated curator in me.
In this photo you can see our full-length portrait of Lady Frances Montagu, waiting to be hung. Behind me a clock specialist is setting the time on his stock, producing a delightfully somnolent sound. At the end of the corridor a two seater Spitfire has been wheeled into position (it's yours for £2m...).Â
A new $200m Leonardo discovery?
June 25 2011
Picture: ARTnews
In the June edition of ARTnews, Milton Esterow has what could be the discovery story of the decade (or even the century?).
Salvator Mundi, above, was discovered in an estate sale in the US. Now, it will be included in the forthcoming Leonardo exhibition at the National Gallery in London. The only illustration so far available is the murky black and white photograph taken before conservation.
The picture belongs to a group of Old Master dealers, including Robert Simon, and reportedly has a $200m asking price.
It has long been known that there was a lost Leonardo of this subject. One, perhaps this one, belonged to Charles I. Here is a rival claimant to be the original. But, if right, what an astonishing thing Robert Simon has found. It proves what I have often said, that (like it or not) we art dealers are often at the coalface of art history, offering up new discoveries for discussion, acceptance or rejection. Such discoveries are the propellant by which art history advances. Full credit to Nicholas Penny and the staff at the National Gallery for including it in their exhibition.
The picture was apparently discovered 'about six or seven years ago'. Now, I started working for Philip Mould in May 2005. So if it was bought before then, phew, that's fine. If after, I guess I missed the Sleeper to end all Sleepers. You can see why these sort of stories keep me awake at night...
Read the full fascinating details here. Doubtless it won't be long till this is picked up by the world's press...
A Holy Family reunion
June 24 2011
Picture: Philip Mould Ltd
Plug alert - here's a bit of news from our exhibition at Philip Mould Ltd, Finding Van Dyck (closes 13th July).
The small picture on the left is Van Dyck's study for the Head of St Joseph, which was used in his larger composition of The Holy Family, on the right. The study was previously unknown, and appeared in December 2009 in a London saleroom catalogued as 'Circle of Van Dyck/Head study of a Man'. But, having established that it related to a known Van Dyck, we were confident, despite layers of dirt and old varnish , that it was 'right' (as we say in the trade), and bought it.
The version of The Holy Family on display here is on loan from Manchester Art Gallery. Like many of Van Dyck's religious and classical compositions, it was painted partly by Van Dyck and partly by his studio assistants. For example, the cherubs upper right are finely executed, while the blue drapery around the Virgin is rather stiff and heavy.
The head of St Joseph in The Holy Family was also painted by a studio hand. While it follows Van Dyck's original study closely, it lacks the vitality of an original head by Van Dyck. Not a great deal is known about Van Dyck's use of studies, and for a long time they were disregarded by scholars. But as more and more are discovered, it becomes evident that, like his one-time master Rubens, Van Dyck made wide use of head studies, both for his own reference when composing large pictures, and for his assistants to follow.
The study and the finished Holy Family have now been reunited for (presumably) the first time since they were painted in Van Dyck's studio in Antwerp, in about 1630.
Gainsborough goes to Holland?
June 24 2011
Picture: De Telegraaf
A museum in Holland is trying to buy this exquisite landscape by the young Thomas Gainsborough. They need to raise EUR 378,000, and have 90% of the funds already. If you're so minded, donate to the Rijksmueum Twenthe here.
Forests, Rocks, Torrents
June 21 2011
Picture: National Gallery
What a strange thrill one gets from seeing an exhibition before anyone else. Thanks to this blog, I blagged my way into the 'press preview' today for the National Gallery's new show, 'Forests, Rocks, Torrents: Norwegian and Swiss Landscapes from the Lunde Collection' (22nd June - 18th September). It features 45 rarely seen works by artists such as the Norwegian Johan Christian Dahl (1788-1857) and the Swiss Alexandre Calame (1810-1864).
The show's curators gave the press a guided tour of the exhibits. Everyone paid attention, save Brian Sewell, who wandered off on his own. As I'm slightly in awe of Sewell, I tried to imagine his august thoughts as he scampered from picture to picture.
Forests, Rocks, Torrents is certainly worth going to see. The prevailing view is that 19th century landscapes are deeply unfashionable. And since this show is filled predominantly with views of rocks, then you might think it's about as dull as you can get.
But far from it. The artists' quest for realism draws you into each picture, marvelling at the depiction of frothing water, distant glaciers and the odd cow.
By the end of the exhibition, however, you get a sense of how exhausting it must have been - both physically and intellectually - to painstakingly portray an exact representation of, say, a cascade of rocks, and why the next generation of artists, seeing that the faithful depiction of nature could not be bettered, decided that there was no point, and sought instead to paint mere 'impressions'. And, well, thank goodness they did...
Catalogue for sale here.
New exhibition at the Liechtenstein museum
June 20 2011
Picture: Liechtenstein Museum
The Hohenbuchau Collection of Dutch and Flemish old masters has gone on display in its entirety for the first time at the Liechtenstein Museum. Amongst the Baroque gems is this portrait of a monk by Rubens, which is interesting to compare with the Portrait of a Carmelite Monk of a similar period about to be sold by Sotheby's.
The latter picture, long attributed to Rubens, is now being sold as a Van Dyck. As you can see from the catalogue note here, the picture was traditionally called 'Rubens' Confessor', and has a plausible provenance going back to Rubens himself. I'm looking forward to seeing it in the flesh - and if I'm feeling brave and am prepared to back up my earlier hunch that it might in fact be by Rubens, I'll let you know here...
By the way, in case you didn't know, the Liechtenstein Museum is not in Liechtenstein, but in Vienna. A long time ago, I was skiing in Switzerland, not far from Liechenstein. Feeling cultural, I thought I would drive down to the small principality to look at their fine collection. A couple of hours later a friendly tourist official in Vaduz (the capital of Liechtenstein) told me that no, the Liechtenstein Museum is in Austria. But the curious thing was the shock on his face, as if anybody could be so stupid to think it wouldn't be...
John Martin exhibition
June 17 2011
Picture: Tate Britain
The first exhibition devoted to the audacious artist John Martin (1789-1854) will open at the Millennium Gallery in Sheffield on June 22nd. Closes September 4th. More here.
The Empire Strikes Back
June 16 2011
Picture: Philip Mould Ltd
In The Times and on the BBC’s Today programme yesterday morning was news of one of the recent Van Dyck discoveries included in our exhibition ‘Finding Van Dyck’. The story was later picked up in a rather muddled piece by Channel 4 news.
The picture, Study of the Head of a Woman (above), was bought at the Chatsworth ‘Attic Sale’ handled by Sotheby’s. It was catalogued as ‘Circle of Rubens’. Briefly, here’s just three reasons why I think the study is by Van Dyck.
- The same head appears in two larger compositions by Van Dyck, both painted in about 1630; Achilles Among the Daughters of Lycomedes (Schonborn Collection), and Adoration of the Shepherds (Church of Our Lady, Dendermonde).
- In the Achilles painting, the woman’s head is used in the lower centre, and has been rotated slightly for the figure looking up at Achilles. In the Adoration picture, the study has been inverted, and used for the shepherdess looking down at Christ. (I would illustrate both, but don't yet have permission to reproduce them online).
- In both of the above pictures, the heads follow the study closely, even down to details such as the highlight on the top lip, and the shadows in the cheek.
We are left, therefore, with two plausible options – either it is a copy after the Achilles or Adoration pictures. Or it was made by Van Dyck in preparation for those pictures.
We can immediately rule out option 1, that it is a copy. Not only is it too impulsive, animated and well painted to be by a copyist (or even a studio assistant), it is also at a different angle and with different hair, thus ruling out the possibility that it was painted after either of the larger works.
In response to inquiries from the BBC and Channel 4, Sotheby’s issued the following statement:
Sotheby’s carefully considered the painting when cataloguing it for sale, and reject the recent attribution to Van Dyck. Six out of seven of the world’s leading specialists in this field whom Sotheby’s has consulted also categorically reject the attribution to Van Dyck (the only one supporting the Van Dyck attribution being the same specialist Philip Mould consulted). The overwhelming weight of scholarly opinion – consistent with Sotheby’s original cataloguing – is that the painting is by an anonymous Flemish artist working in the 17th century, ultimately inspired by Peter Paul Rubens.
But here’s three curious things: [more below]
Triptych re-united at last
June 15 2011
Picture: Telegraph
An epic triptych by Jan van Belkamp showing Lady Anne Clifford and her family has gone on display at Abbot Hall in Kendal, Cumbria.
The Lakeland Trust bought the picture in 1981. But until now the central section has been in store because they couldn't get it through the door. Eventually, somebody worked out that they could get it through a window, so the three sections are now hanging together. More details here.
