Category: Exhibitions
On the first Director of the National Gallery
August 4 2011
Picture: BBC
Here's a nifty slideshow about Sir Charles Eastlake, the first director of the National Gallery. It coincides with a new exhibition on Eastlake at the gallery, curated by Susanna Avery-Quash. She has just published Eastlake's travel diaries for the Walpole Society.
PS - doesn't London look nicer with cobbles?
The Walpole Society hits 100
August 2 2011
Picture: Philip Mould Ltd
There was a pleasant do at the National Gallery last week to celebrate the Walpole Society's 100th birthday. The Society publishes, in weighty annual volumes, essential evidence on British art history (most famously the notebooks of George Vertue). If you're not a member, do consider joining. For just £45 a year you get their handsome volumes, and much else besides.
To underline how useful the Society's work is to someone like me, the most recent publication (of Charles Eastlake's travel journals) came in handy for our recent Van Dyck exhibition. Eastlake (1793-1865) was the first director of the National Gallery, and a great connoisseur. Plop onto my desk two days before the catalogue went to press fell Eastlake's notebooks - which revealed that he had seen our newly discovered portrait (above) in Paris on 25th August 1860 in the Rothschild's collection: "Van Dyck - A Girl - whole length - holding her white gown (dark under sleeves) in left hand - fan in rt - [[about]] 2 - 8 w - 3 - 5h." Good timing, eh?
There is a new small exhibition at the National showing how Eastlake used to go on shopping trips in Europe, and how difficult it was to be sure in those days that the 'Giotto' on offer really was a Giotto. Worth a visit.
How the Leonardo show was put together
July 29 2011
Richard Dorment has the story behind the loan negotiations in The Telegraph.
Sewell on 'Twombly & Poussin'
July 28 2011
Picture: Dulwich Picture Gallery
Perhaps inevitably, he doesn't like it:
Poussin has nothing in common with this charlatan and is abused by this silly exhibition and the overblown and extended conceit on which it rests
As ever, though, it's worth a read.
Met's McQueen exhibition open till midnight
July 28 2011
Picture: Metropolitan Museum
A bit off-beam this one (and a chance to publish a cool photo)... but it's interesting to note that, for the first time ever, the Met Museum has extended their opening hours until midnight. It's for their exhibition on Alexander McQueen's dresses.
Leonardo's two 'Virgin of the Rocks' to be displayed together
July 27 2011
Picture: Louvre, Paris (left), National Gallery, London (right)
They are rightly calling it a 'historic collaboration': later this year, both versions of Leonardo's Virgin of the Rocks will be displayed together in the National Gallery's Leonardo exhibition. This will be the first time this has happened. In return, London's Leonardo 'cartoon' for Virgin and Child with Saint Anne and John the Baptist will be sent to Paris to hang alongside the Louvre's Virgin and Child with Saint Anne.
What a great coup the National has pulled off - many congratulations to the staff there. If you haven't booked your tickets yet, you can do so here.
Poussin attack - Leonardo exhibition at risk?
July 25 2011
Interesting story in the Independent yesterday about the Poussin attack at the National Gallery - now there are concerns that the loan of Leonardo's Lady with an Ermine could be at risk. The Czartoryski Trust, which owns the picture, is in negotiations with the gallery:
Olga Jaros, who took over as chairman of the foundation, confirmed that a decision had yet to be made, and that a contract has yet to be signed with the National Gallery. "In the light of what happened last weekend at the National Gallery, I have informed the foundation what has happened. We are still in negotiations."
Even before Saturday's attack, concerns had been voiced over the painting's hectic schedule. It is at present on loan to the Palacio Real in Madrid for an exhibition of Polish art treasures. It is then scheduled to visit Berlin before travelling to London.
Obviously, there's a significant difference in risk between a Leonardo in a reinforced glass box, and an un-glazed Poussin. So I hope the Leonardo lenders don't overreact.
The most worrying aspect, however, is the news that buget cuts have led to a reduction in security guards at the National Gallery, with some having to monitor two rooms. This, if true, is cause for concern - really the protection of the paintings is the National Gallery's number one duty. But I'm afraid that, having seen some of the guards at work, and the ease with which the Poussin was vandalised, a more thorough security overhaul is required.
David Packwood at Art History Today also discusses the problem here.
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...
