Category: Research
Rubens Head Studies Text out in March
January 9 2021
Picture: @VeroVdK
Posted by Adam Busiakiewicz:
Véronique Van de Kerckhof of the Rubenianum in Antwerp has shared news that the upcoming volumes of the Corpus Rubenianum Ludwig Burchard will be published in March of this year. These two volumes will be examining Rubens's head studies, and will surely make for fascinating reading!
By the way, the Rubenianum website is well worth exploring if you're a fan of seventeenth century Flemish art.
Christie's Halt Archive Enquiries
January 8 2021
Picture: Christie's
Posted by Adam Busiakiewicz:
A reader has been in touch, alongside a post made by @MulraineArt on Twitter in December, that the Christie's Archives is no longer responding to requests from researchers.
The Christie's Archives has provided an incredibly valuable service to researchers over the years. The service was particularly useful when it came to identifying old stencil marks on the back of paintings (pictured). In hindsight, it is rather remarkable that they provided this service free of charge for so long. But, it seems that the virus crisis has finally put an end to that.
To provide a short example of my own experience, I had emailed the department in May 2020 and received an auto-reply explaining that staff had been furloughed. A few days later I then received a message that staff were working remotely from home without access to materials.
A reader who had emailed the department in December was told that the member of staff who used to deal with archive enquiries has now left the company. The Department has been closed to outside enquiries since 2nd November 2020.
One wonders whether a subscription or pay-as-you-go system might help the problem of funding resources, if it is indeed money that is the issue.
Update - Christie's have supplied the following comment:
As a courtesy Christie’s has previously supplied complimentary archival information for the purposes of research. However, with regret, the archives team has had to be reduced and can now only serve the needs of our own specialist teams.
El Greco Attribution Controversy
January 5 2021
Picture: The Art Newspaper
Posted by Adam Busiakiewicz:
A reader has kindly drawn my attention to an article published by The Art Newspaper.
The piece revolves around the attribution of the above painting of Christ Carrying the Cross in a private collection which was recently announced as being by El Greco by the Centre d’Art d’Època Moderna (CAEM) at the University of Lleida, Catalonia. However, the El Greco scholar Fernando Marías Franco of the Universidad Autónoma de Madrid disagrees.
Marías Franco is quoted as saying:
Although I have only seen the pictures in El País and on Twitter, the painting is doubtful [as an autograph work by El Greco]. It looks reworked and restored—the mouth is terrible, so are the cross, hands and signature.
As it happens, the painting was researched and reattributed with the help of Carmen Garrido Pérez, the former director of technical documentation at the Museo Nacional del Prado in Madrid. Pérez, who was employed by the Centre, died last month. Their work has pointed towards a possible mention in an 1614 inventory of El Greco's assets made by his son after his death, however this loose link has been criticised.
It seems that the picture hangs in the balance, as the Centre are addressing the many criticisms brought by Marías Franco. Watch this space.
New Book: Provenance Research Today
January 5 2021
Picture: Lund Humphries
Posted by Adam Busiakiewicz:
Here is a recent publication that might interest some readers.
Provenance Research Today was edited by Arthur Tompkins and published last month by Lund Humphries.
As the blurb explains:
Covering key aspects of provenance research for the international art market, this accessible publication explores a range of themes including challenges and best practice to considerations specific to Nazi looted art and the trade in illicit antiquities.
Provenance research is a crucial component of any art-market transaction. Without a provenance it is often difficult to establish a work’s authenticity, its true value or who has legal title. Whether buying, selling or simply maintaining an artwork in either a private or a public collection, the days when a blind eye could be turned to the history (or the lack of a known history) of a work have long gone. Proper, thorough and effective provenance research is the minimum required and demanded in today’s art world – a world that is increasingly recognising the need for greater and more effective self-regulation in the face of fakes, forgeries and challenges to ownership or authenticity that are now commonplace.
Here's a slightly more in-depth look by the Art-Crime blog.
New Joslyn Art Museum Book
December 30 2020
Picture: Joslyn Art Museum
Posted by Adam Busiakiewicz:
The Joslyn Art Museum in Omaha, Nebraska, has published a new book on their collection of European Art. The collection features a rather impressive collection of paintings, including works by Rembrandt, Veronese, Titian, El Greco and Claude. This new publication was edited by the museum's curator Dr Taylor J Acosta and features contributions from other scholars and experts.
In anticipation of this post, Bendor and I exchanged a few thoughts about this rather nice portrait currently catalogued as 'Unknown Artist (Flemish, 17th century)'. Bendor had cautiously suggested Erasmus Quellinus, who had worked alongside Rubens and knew his manner intimately. The portrait had formerly appeared as a Van Dyck in Eric Larsen's very flawed 1988 catalogue raisonné of the artist. It definitely looks as if some name might be given to it! Here's the painting's entry on the RKD.
For those who haven't heard of the collection, the museum's website features a rather comprehensive list of their European paintings highlights online.
Renaissance Toe Phenomenon in BMJ
December 14 2020
Picture: BMJ
Posted by Adam Busiakiewicz:
The prestigious BMJ (formerly known as the British Medical Journal) have published a curious article by François Sellal MD. on the so-called Babinski sign in Renaissance Paintings.
The 'Babinski' toe phenomenon is an officially recognised phenomenon in the medical profession that happens to new-borns whose pyramidal tract is not fully developed at birth. This can cause the toes of new-born babies to be raised upwards. It seems that this phenomenon has been observed in many Renaissance paintings.
Sellal's article concludes in his results that:
An unquestionable upgoing toe was apparent in 90 (30%) of the 302 paintings. The Babinski sign was present in more than 60% of Christ Child paintings by Rogier van der Weyden, Hans Memling, Martin Schongauer, and Matthias Grünewald. A bilateral Babinski sign was observed in three paintings. Stimulation of the sole was noted in 48/90 (53%) paintings and was always present in paintings by Andrea del Verrocchio, Leonardo da Vinci, and Giorgione. No association existed between the presence of the Babinski sign and the period during which the painter was active.
The article's author muses on whether this was an attempt by artists to bring greater realism to their infant figures, rather than simply idealising them. Or alternatively, and which corresponds to my own thoughts, was this simply a mannerist stylistic choice?
I suppose this is a rather fun piece for Christmas, especially for medical researchers who've had quite a lot on their plate this year. However, and as I often remind myself, paintings are not photographs. Thus, we must always exert some caution.
Sassoferrato Cleaned and Upgraded in Frankfurt
December 10 2020
Picture: Städel Museum
Posted by Adam Busiakiewicz:
The Städel Museum in Frankfurt have posted a blog about a recently upgraded Sassoferrato in their collection. The Maria Immaculata in the picture above had been languishing in the museum's storerooms for decades until it was decided that the painting should be cleaned. The blog contains lots of interesting details regarding the painter's studio process and examines other known versions of the picture.
Advancing Women Artists (AWA) to Close
December 9 2020
Picture: AWA
Posted by Adam Busiakiewicz:
The Wall Street Journal has reported on the sad news that the not-for-profit organisation Advancing Women Artists is set to close.
The project was begun in 2009 after receiving a sizeable donation by philanthropist Jane Fortune. Its purpose was to fund research into and restoration projects for the works of female artists from history. It seems that despite the best efforts of the organisation they have been unable to find a donor to secure their future.
This news is rather surprising and sad, particularly as our own age is currently relishing in the opportunity to readdress the lives and works of formerly underappreciated women artists. The popularity of the Artemisia exhibition in London is a fine example of that.
Columbia University are Hiring!
December 9 2020
Picture: columbia.edu
Posted by Adam Busiakiewicz:
Columbia University in NY are looking to hire an Assistant Professor in Northern European Art History, ca. 1400-1700.
No details of salary are given,* although the job specs require a PhD. Applications must be in by 5th January 2021.
Good luck if you're applying!
* - This means you can demand your price, surely?!
John Trevor Hayes (1929-2005) Archive Online
December 8 2020
Picture: NPG
Posted by Adam Busiakiewicz:
The Paul Mellon Centre has announced that it has catalogued the archive of the late John Trevor Hayes (1929-2005). Hayes was Director of the National Portrait Gallery between the years 1974-1994 and was a leading scholar on the work of Thomas Gainsborough. His archival collection of correspondence, notes, images and text drafts will be of great interest to anyone concerned with Gainsborough but also the likes artists such as Graham Sutherland.
The archive has been catalogued and uploaded to their website where you can search through the lists of documents with ease.
Velázquez in the Burlington Magazine
December 8 2020
Picture: The Burlington Magazine
Posted by Adam Busiakiewicz:
Readers of The Burlington Magazine are in for a treat this month. The most recent edition of the publication includes an article on a newly discovered painting of the Immaculate Conception by Diego Velázquez. The work's reappraisal was decided after the painting was cleaned. The image above shows the painting before and after treatment. Peter Cherry's article also includes details regarding another picture of the Education of the Virgin catalogued 'Attributed to Velázquez' in the collection of Yale Art Gallery.
Hiscox Online Art Trade Rerpot (pt.2)
December 3 2020
Picture: Hiscox
Posted by Adam Busiakiewicz:
The insurance company Hiscox have published the second part of their 2020 Online Trade Report. The report is absolutely free to read.
Some of the most interesting facts contained within:
- A majority of millennial and new buyers have expressed increased confidence in buying art online since the COVID crisis.
- Eight out of ten new buyers have purchased art works online between March and September 2020.
- More than 55% of buyers have purchased art through online auctions, compared with 37% last year.
- Over two-thirds of respondents expressed that Instagram was their social media platform of choice for art.
DNA Found on Leonardo Drawings
November 27 2020
Posted by Adam Busiakiewicz:
The brave world of art science marches ever onwards. Artnews.com has reported on findings made by Guadalupe Piñar a microbiologist at the University of Natural Resources and Life Sciences of Vienna. Piñar has been leading a study on harvesting genetic material from old master drawings including works by Leonardo.
The scientist is quoted as saying:
Until now, it had always been thought that fungi were dominant in microbial communities that colonized cultural heritage objects made on paper or with paper support... results showed a relatively high contamination with human DNA and a surprising dominance of bacteria over fungi.
A curious thought that contested attributions may be settled one day by DNA samples. But, I can't believe we're quite there yet!
Petition to Rethink Preventions to Extend Research Time and Funding
November 25 2020
Picture: BL
Posted by Adam Busiakiewicz:
A petition has been signed by over one thousand academics to encourage UK Research and Innovation (UKRI) not to prevent extending time or funding for research students. The ongoing virus crisis has affected many researchers, including art historians, who haven't been able to visit libraries or research materials during lockdown. Many universities had given extensions over the summer, but continued lockdown measures have now increased the pressure on researchers in all fields.
As it happens, my doctoral research too has been affected by the closures of archives and libraries. There is nothing more frustrating than being disconnected from ones materials during the final year! I recognise that I'm incredibly fortunate to have received nothing but support from my university and supervisor. However, not everyone is so lucky.
Art & the Country House
November 21 2020
Picture: @PaulMellonCentr
Posted by Adam Busiakiewicz:
The Paul Mellon Centre for Studies in British Art have launched an outstanding new online platform called Art & The Country House. The site offers films, essays, documents and catalogues relating to the themes of British country house art collections. This includes several important private collections, which is always very exciting to delve into.
The volume and scope of the material offered is staggering and I really can't wait to get entirely lost in the various articles and catalogues of paintings.
Just imagine if the majority of the big collections signed up to a platform like this? A rather utopian dream perhaps, but a beautiful one nonetheless.
Pre-war Provenance of Christie's Ghirlandaio
November 19 2020
Picture: Christie's & Muzeum Pałacu Króla Jana III w Wilanowie
Posted by Adam Busiakiewicz:
A reader from Poland has sent through some interesting articles that shed light on the Pre-war provenance of the Salvator Mundi by Domenico Ghirlandaio that is coming up in Christie's Evening Sale in December.
It turns out that the painting had been in a Polish collection before the war. A website published by the Muzeum Pałacu Króla Jana III in Wilanowie, Poland, shows that the work was included in an 1940 exhibition of old masters from Polish collections held at European Art Galleries Inc. NYC where it was photographed (right).
Another article shows a photograph featuring Count Jerzy Potocki, the Polish Ambassador in Washington and S. Maurice Solomon, owner of European Art Galleries Inc. standing in front of the very same painting.
Although the lender of the work was not published, it has been suggested that the owner had been the Counts Potocki of Łańcut. The most valuable pictures in the Potocki collection were seemingly transferred to Austria and Switzerland in 1944. There is no further information yet on what happened to the work in the intervening period. The painting was presumed lost until now.
The provenance Christie's has supplied mentions that the work had been purchased in Paris during 1955 by the present owners family, and had previously been with an A L Nicholson. No wartime provenance is supplied.
Christie's have been informed and are conducting a full review before making a comment.
Update - Christie's have updated the work's provenance in their online catalogue note. It includes the following addition:
Schachna Maurice Solomon, London, by 1931, with his International Art Galleries Ltd., by whom taken to New York by circa 1937, with his European Art Galleries Inc., until at least 1940.
Update 2 - I've cast my eyes over a letter from the Polish Ministry for Culture and National Heritage regarding their thoughts on the picture's provenance. Their verdict is that the paintings were brought to New York in 1940 in order to be sold to benefit the Polish Pavilion at the 1939 New York World Exhibition. The ownership of the works rested with the Standing Committee and not the Polish State. Thus, the Salvator Mundi is not considered a war time loss.
Lecture: Lost Treasures of Strawberry Hill
November 17 2020
Posted by Adam Busiakiewicz:
Strawberry Hill, the former home of the connoisseur Sir Horace Walpole, are broadcasting a lecture on Thursday evening (19th November 2020) on their brilliant 2018 exhibition The Lost Treasures of Strawberry Hill. The talk will be given by the exhibition's co-curator Silvia Davoli, and will surely feature many of the great paintings that were reunited in this marvellous neo-Gothic interior.
The lecture costs £8 for guests but is free for members and patrons of Strawberry Hill.
Exhibition Catalogue: Paintings on Stone
November 13 2020
Picture: Hirmer Verlag
Posted by Adam Busiakiewicz:
I've spotted on Instagram (via. @bastianeclercy) that although the Saint Louis Art Museum's upcoming exhibition Paintings on Stone has been delayed till 2022, their 320 page exhibition catalogue is printed and available for purchase.
As the publisher's blurb describes:
Painting on Stone: Science and the Sacred 1530–1800
Paintings on Stone: Science and the Sacred examines a fascinating tradition long overlooked by art historians – stone surfaces used to create stunning portraits, mythological scenes, and sacred images. Written by an international team of scholars, the catalogue reveals the significance of these paintings, their complex meanings, and their technical virtuosity.
The catalogue is available to order through the publisher Hirmer Verlag.
The cover features a late sixteenth century painting on Lapis Lazuli by Giuseppe Cesari. The picture was acquired by the Saint Louis Museum of Art in 2000.
Book Release: America and the Art of Flanders
November 12 2020
Picture: Penn State University Press
Posted by Adam Busiakiewicz:
Penn State University Press and the Frick Collection have recently published a book entitled America and the Art of Flanders. The volume contains a collection of essays related to the American taste for collecting Flemish art in the nineteenth and twentieth centuries. Many AHN favourites including Rubens and Van Dyck are featured within.
The table of contents, to whet the appetite, is as follows:
Part 1. The Early Years: The Formation of America’s Taste for Flemish Painting
1. Before Modern Connoisseurship: Robert Gilmor, Jr.’s, Quest for Flemish Paintings in the Early Republic - Lance Humphries
2. Collecting the Art of Flanders in Antebellum New York - Margaret R. Laster
3. The American Van Dyck - Adam Eaker
4. A Family Affair: Bruegel and Sons in America - Louisa Wood Ruby
Part 2. The Gilded Age and Beyond
5. In Search of Major Masters: Boston’s History of Collecting Flemish Baroque Painting - Ronni Baer
6. “Never a Dull Picture”: John Graver Johnson Collects Flemish Art - Esmée Quodbach
7. Creating an Acquired Taste for Flemish Paintings: The Advice of W. R. Valentiner and Others - Dennis P. Weller
8. Collecting Seventeenth-Century Flemish Paintings in the Midwest - George S. Keyes
Part 3. The Twentieth and Twenty-First Centuries: The Dissemination of Flemish Art Across America
9. From Personal Treasures to Public Gifts: The Flemish Painting Collection at the National Gallery of Art - Alexandra Libby
10. Collecting Rubens in America - Marjorie E. Wieseman
11. “It Is a Great Painting for a Museum”: Collecting Flemish Paintings in Southern California - Anne T. Woollett
The Frick Collection have already posted recordings of a series of lectures presented on the subject in 2016. All videos are available to watch on YouTube.
Shelley Portrait on Long-Term Loan to Eton College
November 11 2020
Picture: Eton College
Posted by Adam Busiakiewicz:
The collections department of Eton College have posted a blog concerning the recent acquisition of archival documents relating to the nineteenth century artist Joseph Severn (1793-1873).
As part of this acquisition is the announcement of the long-term loan of the above painting Shelley Composing ‘Prometheus Unbound’ in the Baths of Caracalla (1844-45). Severn produced some of the most iconic images of the poet and this version was commissioned by the Shelley's son Percy. The documents will be available for consultation when the college's library and archival services re-open after lockdown.
