We are involved in the following events
15 February 2016
We are delighted to be sponsoring a small, fascinating exhibition at the Morgan Library in New York: Pierre-Jean Mariette and the Art of Collecting Drawings. The focused show examines the collecting career of Mariette and his distinctive methods of presenting the drawings he owned. Mariette amassed over nine thousand sheets during his lifetime which he displayed principally in characteristic blue mounts. Despite his importance as a collector and connoisseur, he has never before been the subject of an exhibition in the United States.
21 January 2016
We will be showing recent discoveries and acquisitions in our annual New York exhibition from Friday 22 January until 30 January.
9 December 2015
We are delighted to have supported the catalogue of the Tate’s current exhibition: Artist and Empire: Facing Britain’s Imperial Past. The show offers an important opportunity to assess the ways in which artists from the sixteenth century to the present day responded to Britain’s imperial legacy. The catalogue, edited by Alison Smith, David Blayney Brown and Carol Jacobi, offers fresh interpretations of familiar images and brings together an intriguing and provocative range of material. We are delighted to have been able to support the publication of this ground-breaking catalogue.
1 December 2015
We are just putting the final touches to our 2016 catalogue and getting ready for our annual exhibition of recent acquisitions in New York. It was great to see our important study by George Stubbs of The Legs of a Draughthorse featured in The Financial Times on Saturday. This finely executed study is an exceptionally rare autograph drawing by George Stubbs and appears to be the only animal drawing by him to have been on the market since 1947. As Judy Egerton noted in her Catalogue Raisonné in 2007: ‘The greatest gap in our knowledge of Stubbs’s working methods lies in the unaccountable disappearance of almost all of his drawings.’ There is a large body of evidence to suggest that Stubbs made drawings throughout his career and a number of discreet groups of studies survive relating to his anatomical projects. Indeed Basil Taylor calculated that no fewer than ‘575 drawings on separate sheets or in sketchbooks’ were sold in Stubbs’s studio sale in 1807. This is the first drawing from the 1807 sale to be identified; as such it is not only important evidence of the kind of graphic material that is currently missing from Stubbs’s oeuvre but a beautiful sheet demonstrating the full power of Stubbs as a draughtsman.
28 October 2015
Monographic exhibitions are always thrilling, giving an opportunity to view a critical mass of works by a single artist and offering the possibility to iron out questions of style, chronology and attribution. We are delighted to be sponsoring the Royal Academy’s Liotard exhibition, which is an important case in point. The show includes 74 works from across the artist’s career, with a significant concentration of pastels from the artists two London periods (1753-54 and 1773). Many of the most scintillating pastels are from private collections and have little or no exhibition history and are a treat to see. This kind of exhibition rewards repeated viewing and rumination and we look forward to living with Liotard over the next few months.
30 September 2015
We are delighted to be one of the sponsors of the Royal Academy’s latest exhibition: ‘Jean-Etienne Liotard 1702-1789’ which opens on the 24th October. Liotard was born in Geneva but travelled widely; he trained in Paris, visited: Italy, Constantinople, Jassy (in present day Romania), Vienna, London and the Netherlands. This peripatetic life in part reflected the conventional demands of a court painter and in part a result of his relationship with wealthy British travellers. He met William Ponsonby, Viscount Duncannon in (later 2nd Earl of Bessborough) in Italy and travels with him, and John Montagu, 4th Earl of Sandwich to the Levant. Liotard spent two periods in London; firstly in 1753-4 when he established a profitable and successful portrait practice and secondly in 1773 when he exhibited at the Royal Academy and organised a sale of his collection at Christie’s. Liotard’s British connections were important and professionally sustaining. His relationship with the 2nd Earl of Bessborough continued throughout his life and the exhibition contains a number of works from the Bessborough collection including the charming portrait of Frederick Ponsonby, which Liotard showed at the Royal Academy in 1773.
9 September 2015
We recently donated a series of sketchbooks by James Nasmyth to the Scottish National Gallery. The material offers a fascinating insight into the life and work of the Scottish artist and engineer James Nasmyth. Nasmyth was the son of the Edinburgh landscape and portrait painter Alexander Nasmyth. He was taught to draw by his father and rapidly gained great proficiency. From an early age he had a strong interest in engineering and at the age of seventeen constructed a steam engine to grind the colours for his father. In 1821 Nasmyth became a student at the Edinburgh School of Arts and financed himself by making illustrations for the lectures at the Edinburgh Mechanics Institute. Having completed his studies he moved to London in 1829 to work for the innovative engineer Henry Maudslay and in 1834, moved to Manchester to set up his own engineering business making steam engines and machine tools. This firm was later to become the famous Bridgewater Foundry. Nasmyth’s most important invention was the Steam Hammer, which was first developed in 1839 to help make intricate parts for Brunel’s Great Britain.
We are pleased to be sponsoring a new show opening at the Ashmolean Museum highlighting the work of the Irish artist Adam Buck (1759-1833). Whilst Buck may not be a household name, he was an imaginative and unusual painter, whose greatest works deserve to be better known. We recently sold a spectacular portrait of The nine youngest children of Richard Bagot, Bishop of Bath and Wells to the Morgan Library and Museum in New York. The drawing, which was executed by Buck towards the end of his career in 1825, is one of his masterpieces displaying a refined neo-classicism which places him amongst European practitioners such as Christian Købke and François-Xavier Fabre.
3 July 2015
Amidst the flurry of Waterloo commemorations it is worth remembering that the defeat of Napoleon represented a major cultural watershed; for 18 years Britain had been at war with France and the sense of relief at a tyrant having been vanquished must have been enormous. Some years ago we sold this brilliant drawing by Thomas Rowlandson of Little Nap Horner or Bonaparte meeting his Old friend on his arrival at St Helena. Rowlandson shows the fallen emperor, incarcerated on a small island in the South Atlantic, greeted by the devil who hands him a pick and a shovel. Rowlandson revels in the idea of the once great man tortured by his failure and contemplating his own mortality.
We are gearing up for Masterpiece, which opens with the preview next Wednesday. One of the most impressive, if diminutive, pictures we will be exhibiting is a beautiful, vigorously worked sky study by John Constable. Measuring only 7cm by 11cm, oil studies made on this very small size are rare in Constable’s oeuvre and its scale probably accounts for the very careful but bold drawing with the brush. Before Constable moved to Hampstead permanently in 1827 he rented a house for the summer there almost annually from 1819; initially for the health of his wife and children. He soon came to appreciate the elevated and picturesquely situated village for its artistic potential as well as for its convenience to his London house in Charlotte Street:
27 May 2015
We are delighted to be supporting the forthcoming show at the Courtauld Gallery new Gilbert and Ildiko Butler Drawings Gallery: Jonathan Richardson by himself. Curated by Susan Owens and accompanied by an important new catalogue, this show will offer a fascinating and rare opportunity to see a concentrated group of self-portrait drawings by one of the most important figures of early eighteenth-century British art: Jonathan Richardson.
11 May 2015
4 May 2015
We visited Cambridge last week and were delighted to see James Pryde’s The Death Bed of 1913 hanging amongst a splendid group of early twentieth-century British paintings. Originally owned by Gloria Vanderbilt Whitney, The Death Bed is part of a series of 12 paintings collectively entitled: The Human Comedy, and was purchased by the Fitzwilliam museum from us last year. These monumental, atmospheric works appear as a succession of stage-sets for an unspecified tragedy of which The Death Bed and the final work of the series The Grave (Tate Gallery, London) appear as the most poignant and emotionally concentrated. The grand baroque canvas looked particularly striking in the gallery in Cambridge.
Just before TEFAF we went to Haarlem, to the opening of an exhibition at the Teylers Museum: Drawn From the Antique: Artists & The Classical Ideal. This tightly argued show explores the way artists from the sixteenth to nineteenth centuries worked from the antique. As Adriano Aymonino explains in his outstanding essay in the catalogue, drawing from the antique constituted one of the central planks of art education. One of the first activities of any young artist, particularly an artist trained in one of the art academies of Europe, was to draw from the ideal examples of classical antiquity, usually in the form of casts and models. The show provides a fascinating opportunity to reconsider this fundamental activity in shifting contexts from Baccio Bandinelli to the mid-nineteenth century.