Dorothy Mahoney (1902-1984),
Walled Garden Amongst Kentish Orchards, early 1950s.
A Hanging Garden
The Royal Academy of Art is celebrating its 250th Anniversary and to commemorate this, Susannah Lovis Jewellers and Liss Llewellyn are collaborating upon an exhibition of their respective floral collections. This display, entitled ‘A Hanging Garden’, will showcase works by Modern British Artists alongside the Mayfair jewellers stunning collection of antique pieces. The exhibition will run from the 22nd June – 31st August 2018, and shall also work in parallel with Mathilde Nivet’s summer installation in the Burlington Arcade, based around the theme of an English garden.
The art on display will range from formal arrangements in oil through to preparatory studies for larger compositions, and will feature the work of figures such as Winifred Knights, Evelyn Dunbar, Charles Mahoney, as well as former President of the Royal Academy, Sir Thomas Monnington. From the loose, bravura application of paint through to examples of acute scientific scrutiny, this display will feature a mere sample of the great variety of style and technique that can be found within this branch of twentieth-century British art. Supporting this will be a selection of botanically inspired jewellery from throughout the ages; remarkable examples of craftsmanship that continue to stand the test of time. From a 1950s hand-crafted gold pierced openwork onyx brooch to a Victorian floral diamond necklace – the trends and styles of different eras are inherently reflected in the design of all the jewellery at Susannah Lovis.
Owner Susannah Lovis stated: “We are absolutely thrilled to be supporting Liss Llewellyn Fine Arts in this exhibition. The stunning works on display will serve as a perfect blend of modern and vintage; acting as a fine balance to our antique Jewellery collection.”
Barbara Jones (1912-1978), Hot Air Balloon.
A New Focus on Great British Art
By Carol Lewis
Investors in their thirties and forties are pushing up the prices of works of lesser known 20th century British artists.
At a recent Cheffins auction in Cambridge a painting by Winifred Nicholson, a colourist who died in 1981, sold for £44,000 - more than twice its estimate. Brett Tryner, a valuer at the auction house, says: “In the past we have looked to Europe for contemporary art investment, to Picasso, Monet and Renoir. Apart from a few artists such as Francis Bacon, Barbara Hepworth or David Hockney, Bristish artists have been relatively neglected. Now we are getting more people who want to invest in paintings. Modern art appeals, but they can’t afford a Hepworth. They have £2,000 or £5,000 so they are spending it on other contemporary Britons.”
The artists chosen include those featured in the V&A’s Recording Britain project, set up to record lives and landscapes during the Second World War. Enid Marx, a painter and textile designer, and Barbara Jones, who painted Hot Air Balloon (right), were part of the scheme.
“In 2016 we sold a lithograph by Enid Marx for £650. Last year an identical one from the same series sold for £4,400,” Mr Tryner says.
Young collectors also favour artists featured at the popular shows such as the Royal Academy’s Summer Exhibition, including the painter Ken Howard, or the likes of Winifred Knights and Dora Carrington, who featured at smaller galleries. Evelyn Dunbar, the artist and illustrator, became popular after an expert on the BBC’s Antique Roadshow described one of her unknown works as a masterpiece. “There has been a snowball effect,” Mr Tryner says.
Le Musée d’Art et d’Histoire d’Orange, France, has restored its collection of pictures by Albert de Belleroche and renovated the galleries in which they hang..
The last two rooms on the second floor of the museum present paintings and prints by Albert de Belleroche and Frank Brangwyn donated to the museum by his son, Count William de Belleroche, in 1940. The collection consists of over 500 works by the two artists.
Albert de Belleroche was born in 1864 and entered Carolus Duran’s studio in 1882. It was here that he met the painter John Sargent Singer. De Belleroche frequented the Parisian cafés where he met Emile Zola, Oscar Wilde, Renoir and Toulouse-Lautrec. In 1900 he discovered the medium of lithography which was to become an essential means of expression for him.
Hilda Carline (1889–1950), Portrait of Gilbert Spencer, c.1927.
are delighted to announce that
we now represent the estate of Gilbert Spencer.
Gilbert Spencer was a British painter, muralist, illustrator, teacher and writer, whose career spanned more than six-decades. He was appreciated during his own lifetime as one of the leading artists of his generation, and counted among his patrons some of the most influential art collectors of his day, including Lady Ottoline Morrell, Sir Joseph Duveen, Vita Sackville-West and Henry Lamb. His reputation, however, has since suffered from neglect, largely as a result of being overshadowed by his more famous brother, Stanley Spencer. Through their communal up bringing and Slade School training, the work of the two brothers is clearly united by a common thread – manifest in their devotion to accurate observation, intense sincerity and impeccable technique. Less interested than Stanley in the drama of human passion, however, the novelty of Gilbert’s work lies in his fascination with landscape, and in the incidents of everyday life in rural England. He was an accomplished portraitist, painting prominent figures, rural and urban workers as well as family and friends. He also produced some of the most poignant artistic images to come out of the two world wars.
Designed by Japanese architect Kengo Kuma, V&A Dundee, Scotland’s first design museum, will feature permanent galleries of Scottish design, as well as an ambitious international programme of changing exhibitions showcasing the very best of design from around the world.
LISS LLEWELLYN FINE ART &
NEIL JENNINGS FINE ART
THE ENGLISH PUB
TO V&A DUNDEE MUSEUM
OCEAN LINERS: SPEED & STYLE
V&A Dundee, Scotland’s first design museum, will open to the public on Saturday, 15 September 2018.
It will be the only V&A museum in the world outside London: an international centre for design, a place of inspiration, discovery and learning. Visitors to V&A Dundee will experience the remarkable story of design past, present and future, and the vital contribution design makes to all our lives.
Designed by internationally acclaimed Japanese architect Kengo Kuma, V&A Dundee stands at the centre of the £1 billion transformation of the Dundee waterfront, once part of the city’s docklands. With its complex geometry, inspired by the dramatic cliffs along the east coast of Scotland, it stretches out into the River Tay – a new landmark reconnecting the city with its historic waterfront, and a major new cultural development for Scotland and the UK.
The new museum will feature permanent galleries of Scottish design, as well as an ambitious international programme of changing exhibitions showcasing the very best of design from around the world, new design commissions, fast-changing installations by emerging designers and creative projects developed through our learning programme for all our audiences.
The new museum enables V&A’s most ambitious exhibitions to be shared more widely across the UK. The opening exhibition Ocean Liners: Speed and Style, supported by players of People’s Postcode Lottery and investment managers Baillie Gifford, will explore the designs behind a mode of transport that came to represent the status of nations and the aspirations of millions. The show, organised by the V&A and the Peabody Essex Museum in Salem, Massachusetts, is the first to explore the design and cultural impact of the ocean liner on an international scale. It will re-imagine the golden age of ocean travel and explore all aspects of ship design from the remarkable engineering, architecture and interiors to the opulent fashion and lifestyle on board. Further exhibition announcements will be made ahead of the museum’s opening.
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‘The high point of Edward Bawden’s career as a muralist was achieved in the series of three murals – two for the Orient Line and one for the Festival of Britain – painted in the late 1940s and early 1950s, when his skill, wit and sheer inventiveness were at their peak. These three murals – English Garden Delights, The English Pub and English Country Life – were united not only by their format but also by subject matter; both Colin Anderson and the organisers of the Festival set out to celebrate Britishness and to rejoice unashamedly in the fact that despite the depredations of war the country was once again reasserting its historic virtues, life and culture.’ (Petyon Skipwith, British Murals & Decorative Painting 1920-1960, Sansom & Co, p. 245).
Edward Bawden, The English Pub Mural for the SS Oronsay, 1949-51,
Oil on 11 panels, 69 ¼ x 212 ¼ in. (176 x 539 cm).
© The Estate of Edward Bawden. Reproduced courtesy Neil Jennings Fine Art and Liss Llewellyn Fine Art.