Printer Friendly

Around the Galleries: In London modern British art gets a strong showing, while across the pond New York offers UP Velazquez on cardinal virtues, and Daguerre before daguerreotypes.

London Art Fair returns (22-26 January) with more than 100 galleries from the UK and overseas combining to present the best of modern and contemporary British art. This year, the fair has partnered with Southampton City Art Gallery to present a special exhibition of works from the museum's collection, including a number that reveal the city's effect on the imagination of the British avant-garde. C.R.W. Nevinson passed through during the First World War, on his way to the Western Front; he found at the port a hive of industry that he translated into the bold, futurist diagonals of wooden blocks and metal cranes in his Loading Timber at Southampton Docks (1917).

In the fair's main section, Osborne Samuel presents one of David Bomberg's Spanish landscapes, painted shortly after the artist had settled with his family in Ronda in Andalucia in the mid 1930s. Despite personal hardship, Bomberg was enamoured of the town, which, perched precariously atop a cliff-face overlooking the deep El Tajo gorge, gave 'an extraordinary view of the amphitheatre of mountains by which it is surrounded'. Strokes of mauve and magenta harry one another on this canvas, giving a typically Bombergian sense of perspective at once unfolding and collapsing before one's eyes. Other works on offer by modern British stalwarts include a late Graham Sutherland gouache at Christopher Kingzett Fine Art, in which balletic grasshoppers dart across a luminous green ground, and a recent Frank Auerbach portrait of David Landau at Castlegate House Gallery. At the Scottish Gallery there is a presentation of works by Pat Douthwaite, ranging from pastels and charcoals to large-scale oils--the latter include her wickedly sardonic Happiness is Green Shield Stamps (1969; Fig. 1).

Contemporary work at the fair encompasses a more international group of artists, including the playfully dystopian 'Life Boxes' of the Russian artist Marina Alexeeva at Shtager Gallery. The fair's 'Photoso' project, now in its 14th edition, is this year curated by writer and galleries and photography expert Laura Noble, who has selected 10 women photographers over the age of 50 for an exhibition entitled 'Occupying the Void'. In the 'Platform' section, launched in 2019, Candida Stevens has curated a selection of galleries and artists, with a focus on textiles; her own gallery brings a group of 20 newly commissioned works by Alice Kettle, which incorporate stitching by women from Sindh in Pakistan, with whom the artist collaborated for the Karachi Biennale last year.

Elsewhere in London, long-established dealer H. Blairman & Sons has recently moved. Built in 1706,15 Queen Anne's Gate was once occupied by the painter Frances Reynolds, sister of Joshua, and later by the founder of Country Life, Edward Hudson, who commissioned restorations to the interior from Edwin Lutyens in 1908. It will now be home to Blairman's array of furniture and fine art from the 18th to early 20th centuries. Condo London --an annual venture that sees 17 London-based spaces hosting 36 overseas galleries--returns from 11 January-8 February; look out for the photographs of Los Angeles-based Paul Mpagi Sepuya at Modern Art, in collaboration with Team Gallery from New York. Sladmore Gallery has an exhibition of some 100 animal sculptures by early 20th-century artists including Bugatti, Degas, Pompon and Sandoz (until 24 January). Finally, other fairs in London to look out for include the Mayfair Antiques & Fine Art Fair (9-12 January, at the Marriott Hotel Grosvenor Square) and the London Antique Rug & Textile Art Fair in Battersea Park from 21-26 January.

In New York, The Winter Show is at the Park Avenue Armory from 24 January2 February. This year 70 dealers present works from antiquity to the present. The loan exhibition sees the art historian Philippe de Montebello and the architect Peter Marino pick out masterpieces from the vast holdings of the Hispanic Society Museum & Library in Washington Heights; they include Velazquez's portrait of the keen-eyed Camillo Astalli in full cardinal's garb, having recently been elevated to the rank of cardinal-nephew by Pope Innocent X.

The fair's main offering is eclectic. Newcomer Koopman Rare Art, from London, offers a commemorative gold box made in Paris in 1789 in recognition of American Independence and decorated with exquisite watercolour miniatures by Jacques-Felix Vienot. Other decorative works on offer include a carved moonstone Tiffany brooch, at A La Vieille Russie, and a 62cm-high enamelled copper ewer, designed by Jules Dieterle for Sevres in 1849, at Michele Beiny. Throckmorton Fine Art has pre-Columbian artefacts, including a Mayan hacha--a stone marker used in the ritual ball game--representing a shaman (Fig. 2).

Among the paintings on display are a rose-tinted view of the Tuileries garden by Victor Gabriel Gilbert (1847-1933; at Thomas Colville) and a rustic English scene of travellers halting at an inn by the 19th-century 'artist-coachman' John Frederick Herring. A highlight, at Jonathan Boos, is Stuart Davis's Music Hall (1930). With its fresh pastel colours, and cartoon-like, angular rendering of a street corner in Paris, the painting seems to embody the bold confidence of the jazz age, while glancing ahead to Pop.

A host of pop-up exhibitions takes place along Madison Avenue for Master Drawings New York (25 January-i February), the dealer-led event that sees international and local galleries combine to celebrate works on paper from the 14th century onward. Les Enluminures brings an early 15th-century manuscript page with a musical score for a mass and a miniature by the Venetian Cristoforo Cortese. Hans P. Kraus offers one of Louis Daguerre's dessins-fumees ('smoke drawings') --these early experiments, before the invention of the daguerreotype, incorporated smoke and soot into traditional printmaking procedures to heighten the tonal effects, as in this fantaisie of a ruined gothic cloister (Fig. 3). Finally, Guy Peppiatt, exhibiting at Arader Galleries, brings a panoramic watercolour sketch by the Scottish painter David Roberts, depicting a Moroccan street market before the medieval city walls of Tetouan.

Caption: Fig. 1. Happiness is Green Shield Stamps, 1969, Pat Douthwaite (1934-2002), oil and collage on board, 120 x90cm. The Scottish Gallery at London Art Fair

Caption: Fig. 3. Fantaisie, ruined cloister, c. 1827, Louis Daguerre (1787-1851), dessin-fumee, 7.9x6.1cm. Hans P. Kraus at Master Drawings New York

Caption: Fig. 2. Hacha of a shaman, 600-900 AD, Mayan, hardstone, ht 21,6cm. Throckmorton Fine Art at The Winter Show, New York
COPYRIGHT 2020 Apollo Magazine Ltd.
No portion of this article can be reproduced without the express written permission from the copyright holder.
Copyright 2020 Gale, Cengage Learning. All rights reserved.

Article Details
Printer friendly Cite/link Email Feedback
Author:Reilly, Samuel
Publication:Apollo
Geographic Code:1U2NY
Date:Jan 1, 2020
Words:1040
Previous Article:Collectors' Focus Followers of Van Eyck.
Next Article:Art Business Dealers as curators.
Topics:

Terms of use | Privacy policy | Copyright © 2020 Farlex, Inc. | Feedback | For webmasters