Sewell's art collection to be sold
June 16 2016
Picture: Christie's
I've been meaning to note that the late Brian Sewell's art collection will be sold at Christie's later this year, in September. The catalogue is not yet published, but Christie's press release says there'll be some 200 lots, including the above Matthias Stomer, estimated at £400,000-£600,000.
Update - discussing the sale in The Guardian, Jonathan Jones says that art critics shouldn't buy art:
I wouldn’t collect, even if I had the money. I think it is morally dubious for art critics to be collectors. But if I did I would only buy art that dates from before 1800. Make of that what you will.
Update II - a reader writes:
On the matter of ethics and art critics, a couple of things strike me. The first is that I'm immediately reminded of the tale of Henry Geldzahler barging his way into Robert Hughes' New York flat back in the earlier days of Hughes's US tenure and demanding to view Hughes' art collection, before declaring, upon being informed that there wasn't a collection to view, "Well then! Somebody in here is certainly going to die poor!" The second is that I think, and have thought for some while, that there's a book to be written on the ethics of both art critics and public art institutions in the post-war to the contemporary periods - though it will take somebody with nerves of steel to write it. I get the impression that a lot of what goes on makes Sewell's collection look like pretty small beer, if that.
I found Jones' musings on what the 20th century works in Sewell's collection tells us about his critical judgements interesting, though perhaps not particularly enlightening. Fow what it's worth, I think Sewell is fair game on this front - I remember him writing of his enjoyment of the Kenneth Clark exhibition at the Tate owing to the fact that he thought it vindicated his view that Clark was a terrible phony with iffy taste. And it would be foolish to argue that a collection is in no way an expression of the likings and tastes of the collector. But beyond that, I think it's all a bit of a stretch. Apart from the fact - which Jones concedes - that the top rank artists of the 20th Century were almost certainly beyond Sewell's pocket, I don't think it necessarily follows that collectors invariably collect what they consider, in purely analytical terms, to be "great" art. I see no reason why this should not apply to critics as much as the next person. There are surely many reasons why one can be drawn to art and they range far beyond appreciation for technical or innovative aspects. I enjoy the work of Laura Knight (some of it...). I would be very happy to live with her work and to see it every day. I came away from the recent major Laura Knight exhibition absolutely convinced that her reputation was being oversold and that she was by no measure an artist of the first-rank - even by the standards of British art of the first half of the 20th century. But so what? I'm not convinced that these two instincts are mutually exclusive. I very much like the work of Thomas Hart Benton. I'd collect it if I could afford it. I would not, were somebody mad enough to pay me to write on the subject, argue for a moment that Benton was one of the great artists of the 20th Century. I appreciate his work because it evokes, powerfully and quite poignantly, a particular time and place in history (See also: Grant Wood etc). This appeals to my historical interests. It's a question of art as artefact. I wouldn't be surprised if at least some of Sewell's acquisitions were made with a similar outlook. The irony is that Jones has written himself (with regard to Lowry) that "art is a witness to history... The trouble is, the art world – that silly term says it all, as if art were another world – lacks a vocabulary to praise art for its historical and human significance. Art has to be praised as art, and artists glamorised as geniuses."
Regular late openings at Tate?
June 16 2016
Regular readers will know that I've often advocated regular late night openings in museums. So I was glad to see The Times calling for the same in an editorial earlier this week, in response to the suggestion by Sir Nicholas Serota that parts of the new Tate Modern extension could stay open till late at night. I've always found it frustrating that museum hours don't suit most working people.
At the Prado in Madrid, where I was yesterday, you can go every weekday evening till 8pm. Although there's a charge for entry before 6pm, it's free thereafter.
Unknown Lucian Freud self-portrait
June 16 2016
Picture: Lucian Freud Archive
A previously unknown self-portrait by Lucian Freud (archive) has gone on display at the National Portrait Gallery in London. A new exhibition will explore the NPG's recently acquired Freud archive, which features a range of letters and sketches. More here at the NPG's website.
Sleeper Alert!
June 16 2016
Picture: Ferri-Drouot
The above painting made €1.56m (hammer) against an estimate of €6k-€8k in Paris last week. The 'Judgement of Paris' was catalogued as 'Workshop of Rubens', but a number of trade buyers thought it was the real deal. It's painted in oil on panel. Having seen some high-res photos (as far as one can judge these things from photos) I agree - it is probably 'right', and must be Rubens' study for the painting in the National Gallery in London. It was underbid by a London dealer. I don't know who bought it. At close to €2m with commissions I suppose the picture more or less made its money. All will depend on condition.
The National Gallery picture follows the sketch very clossely, but Rubens has altered the angle of Paris' leg. Look closely at the NG painting, however, and you can see that underneath the green background paint, the original position of Paris' leg is still visible - which matches the newly discovered sketch. Until now, the only evidence of Rubens' sketch for the NG painting has been a copy in the Gemaldegalerie in Dresden. You can read more about the genesis of the NG painting here in the 'National Gallery Technical Bulletin' (although I don't personally agree with all their conclusions).
I missed the auction in Paris entirely. My eye has been completely off the ball of late - too tied up with telly, which can be all consuming.
In fact, I haven't done very well with my Judgements of Paris this year. Some months ago I underbid a good, previously unknown studio version of the NG painting, which came up for sale in Antwerp. I thought that probably there were a number of areas that Rubens might have touched up himself. The painting was later flipped into a sale in Dorotheum in Vienna, and made a smooth profit of about €700k. That picture must have been made working from the newly discovered study, for it follows the original position of Paris' leg.
Anyway, thanks to these new discoveries we have a much more complete view of how Rubens tackled this subject. It's an example of how the marketplace can help advance art historical understanding.
Update - the Antiques Trade Gazette reports that the French auction house sent a photo of the painting to the Rubenianum in Antwerp before the sale. Their response was apparently that it was neither an autograph nor a studio work:
Cabinet Turquin’s Eric Turquin told ATG that they had studied and researched the work for three months before the auction and felt it was “a real workshop painting, that is of the period and something done under the direction of the master with or without his participation”.
The expert also said they made an enquiry and sent a photograph of the painting to the research centre in Antwerp, The Rubenianum, but the centre did not think it was either by Rubens or from his studio.
Queueing for the Prado
June 16 2016
Picture: BG
I was in the wonderful Prado yesterday, looking at some pictures for my new BBC4 series. The queue to get in went half way round the block. You had first to join one line to buy a ticket, and then another one (much shorter) to get through security (x-ray machines and body scanners). All of this is perfectly understandable. But it makes me realise how lucky we are in Britain just to be able to walk straight into our museums. With funding uncertain, and security an ever present issue, can it last?
Update - a reader writes:
I write you about your opinion to get into the Prado museum. You can buy the tickets online to don't make the main queue. About the second line, it's only one minute long more or less. You may know that there is not any similar experience to see a painting through any glass as it occurs in almost every picture gallery. It is a honor to have some of the most important European paintings and enjoy them in such priceless way.
Voiceover
June 16 2016
Picture: Canongate Studios
You know that awkward feeling when you hear a recording of your own voice, and think 'I don't sound like that'? Well magnify that times a hundred when you have to do a voiceover session. You have to watch yourself on a screen in front of you, and then when a large red light comes on, read the relevant lines from a script. It's all rather unnerving. Here I am doing 'the VO' (as it's called in telly land) for an episode of 'Fake or Fortune?', which will be out soon.
Sooke on Rubens' 'Lot and his Daughters'
June 16 2016
Video: Christie's
Alistair Sooke has made a short film for Christie's on their forthcoming £20m-£30m Rubens, 'Lot and his Daughters'.
Christie's London 'Classic Week'
June 16 2016
Video: Christie's
Christie's makeover for 'old' art continues. Very good, I think.
Apologies (ctd.)
June 13 2016
Picture: BG
I am so sorry for the abject lack of blogging lately - I've been too tied up with our new series for BBC4. I'm just back from Burssels and Antwerp (where we said hello to Rubens, above), and tomorrow am heading to Madrid.
By the way, Belgium is one of my new favourite places. I never really explored it properly before. But the sheer density of great art, architecture and history is fascinating.
Beit collection picture back at auction
June 9 2016
Picture: Christie's
Christie's July Old Master auction catalogues have gone online. I'll look at these in more detail soon, but I noticed that one of the Beit Collection pictures has been re-offered for sale. Last year, a number of Beit pictures, once owned by the late Sir Alfred Beit, and house in Russborough Hall in Ireland, were withdrawn at the last minute after an outcry in Ireland. Now, a Rubens sketch, Venus Supplicating Jupiter, is to be sold at £1.2m-£1.8m.
Since last year, a number of Beit pictures have been secured for continued public display in Ireland.
Update - there are two other Beit pictures in the sale, two Guardis, lots 38 and 39.
Update II - the National Trust for Ireland, An Taisce, has loudly condemned the sale, and called for the three pictures to be withdrawn (again). They say that the export licence might not be valid. More here.
Apologies...
June 8 2016
Sorry for the radio silence - again. I'm off to Europe for a few days filming.
Peter Shaffer (1926-2016)
June 7 2016
Video: Orion Pictures
I was sorry to read that Peter Shaffer, the British writer of 'Amadeus' and 'Equus', had died. I have seen the film of 'Amadeus' many times - above is part of the great opening sequence with F. Murray Abraham - and was also lucky enough to see David Suchet play Salieri at The Old Vic.
Brexit and the Art Market
June 6 2016
Picture: Apollo Magazine
In a few weeks here in the UK (on June 23rd) we'll be having a referendum on whether we should remain in the European Union. I'm a fervent 'Remainer', and will be voting for the status quo. I won't bore you with my views on the matter (at least, not yet), but want to point you instead to two articles in the latest Apollo Magazine, where two art market experts set out their case for Remain and Leave. Pierre Valentin, one of the world's leading art market lawyers, is for Remain (and makes, it seems to me, a largely unanswerable case) while the dealer Frank Partridge argues for Brexit.
From this dealer's point of view, being part of the EU, and thus being able to buy, sell and transport works of art across Europe with relative ease, is an absolute necessity. What are your views, from an art market perspective? (And of course I realise there are other more important perspectives).
Update - a reader writes:
Regarding the toxic EU debate I wholeheartedly agree with you that 'being part of the EU, and thus being able to buy, sell and transport works of art across Europe with relative ease, is an absolute necessity'. But surely this doesn't necessitate our continuing membership of the EU, but just our continuing membership of the European Single Market, which are two separate entities?
If we follow the EEA/ EFTA route and continue to participate in the Single Market, I fail to see how leaving the EU would have any effect on the art market.
First, I'm not so convinced the 26 remaining EU countries, all of whom will have an independent veto over any post-Brexit deal, will want to allow us all the benefits of continued free trade and access to the single market, without us 'paying in'. And if we do strike a deal to stay in the single market, which will inevitably come with strings attached like free movement as well as continuing financial commitments, then what really is the point of leaving. We will lose any ability to help shape any future EU policies that might impact on the art market. Finally, as far as the art market is concerned, can we be so sure that protectionist elements within the remaining EU will not want to seek to limit the ability of the UK's art market to operate within their countries (I'm thinking especially France)? There are too many uncertainties for us to take the Brexit risk.
Update II - an economist writes:
Your concern about Brexit focuses on the sale and movement of art. The movement of art will continue because it is in everyone's interest whether inside the EU or separate from the EU for it to continue. Goods flow in a Common Market but labour doesn't. The major impact on the art world will be the flow of talented people. When work permits and residence visas are required it will impair the movement of curators, gallery staff, museum directors and their working spouses or partners, conservators, and all manner of talent. And the availability of health and educational benefits for British citizens seeking to study art history and conservation or work in the EU and vice versa will be severely affected. The EU has its costs but Britain has become accustomed to its advantages.
Another reader writes:
I can't conceive of my vote being swayed primarily by my business interests as an art dealer. Having grown up under the EU I am exhilarated to finally have the chance to take back control of our own laws and our own borders. Uncontrolled immigration is the number one factor for me - anywhere near the current rate is totally unsustainable in terms of the NHS, schools, housing and culture. It will be a challenge even post-Brexit to regain control but the alternative is no-control and that is a prospect that far outweighs any short-term personal financial interests for me.
While another adds, in exasperation:
Even my favourite art blog is talking about Brexit and Remain with a bias…! there is no escaping it. HELP!
Update III - I'm informed, however, that there may be a silver lining for me personally if the vote goes for 'Leave':
Brexit might benefit you and your property value as well.
If Leave win then Scotland [where AHN lives] will leave the UK and promptly rejoin the EU which will be a great boost to the Scottish economy as those companies and institutions that want to be in the EU flick north. A great demand for prime Edinburgh property will occur and a demand for appropriate art to fill the offices. You win personally with either result. What a world.
New Rubens discovery in Russia
June 6 2016
Picture: Hermitage Museum
A painting long called a copy of a Rubens, has been restored and put on display in the Hermitage in St Petersburg as a work by the master himself (reports The Art Newspaper). The painting had been in storage for over 80 years. The subject is the Resurrection of Christ, from about 1610-11. You can zoom into the photograph here, though it's not possible to determine the quality of the painting from the images available. Rubens painted the same subject with very similar figures - and the Christ inverted - in a Triptych now in Antwerp Cathedral.
'Wrecked beyond repair'?
June 6 2016
Video: The Fitzwilliam Museum
The Fitzwilliam Museum has restored and put back on display Sebastiano del Piombo's 'Adoration of the Shepherds'. It had been in storage for many years, and was considered unfit for exhibition - indeed, deemed 'wrecked beyond repair'. As you can see in the film above, the picture is in a very damaged state, due to a restorer in the 18th century having the bright idea of transferring it from panel to canvas. As is often the case, those who have done the most damage to paintings have been those charged with the preservation.
But now, however, conservation methods are better than ever. The work was done at the Hamilton Kerr Institute in Cambridge - which rightfully has legendary status in the art world - under the leadership of Rupert Featherstone. I was lucky enough to see the painting as the work was being done. Don't be too terrified by the 'stripped down' photographs - although the painting looks at first sight like a complete wreck, actually there was enough to begin a restoration, and as Featherstone explains most of the really crucial areas of the picture were relatively intact. A copy in France allowed most of the losses to be recreated. Featherstone also discusses whether the painting should have been restored in the first place, since many might say that would have been better to leave it in its damaged state. But personally I think the museum was right to embark on the project - surely it would be wrong to let the people who damaged the painting have the last word.
PS - don't adjust your set, the sound quality in the video is terrible.
Les inondations
June 6 2016
A Montargis, les oeuvres d'art du musée Girodet abîmées
Video: France 3
The Louvre looks to be safe, but the Chateau de Chambord has been flooded (drone footage here), and so have the store rooms of the Musée Girodet in Montargis. In the video above, staff can be seem gamely trying to wash the mud from various paintings. More here.
Update - There was no damage at the Chateau de Chambord - they tell me via Twitter - and it is open again. Splendide.
Living still life
June 3 2016
Video: You Tube
A large still life made of real flowers has been put up outside the National Gallery. Amazing. More here.
Framing news!
June 3 2016
Picture: Peter Schade
AHN likes to keep an eye on all things framing - which is so often an area ignored by art history. Nowadays, the wonders of the web and social media means we can bypass all those closely cropped photos in books which chop off frames, which are such an essential part of how pictures were displayed and even conceived.
In the National Gallery, the head of framing Peter Schade continues to work framing wonders, and his latest project has been to put Murillo's St John the Baptist with a Lamb in a more appropriate Spanish 17th Century frame, top. You can see the rather dull frame that used to hang on the painting above. Here is Peter's Twitter feed, where he posts photos of his progress.
Meanwhile, another museum in the US has re-framed its prized Caravaggio, this time in a modern replica of a period frame. The Cleveland Museum of Art commissioned Paul Mitchell Ltd to designed and make a new frame (above) for its Crucifixion of St Andrew. You can read more about the process here on Paul's website. I love the fact that US museums still come to London, home to a number of world-class framers, to get this kind of thing done.
Finally, there's a two day framing conference coming up in London on 5th & 6th October at the Wallace Collection. It's being organised by Lynne Roberts (who has the excellent Frame Blog here) and Gerry Alabone of Tate. The conference is all about auricular style frames of the 17th Century, of which an example is below, around a copy of Van Dyck's Self-Portrait with a Sunflower at Ham House. More here.
Flemish drawings at the Scottish National Gallery
June 2 2016
Picture: NGS, Jacob Jordaens, 'Head of an Old Woman'
It's a bumper time for lovers of Flemish drawing at the moment - as I mentioned earlier, there's a show at the V&A on until November, and opening soon here in Edinburgh is 'Rubens & Company - Flemish drawings from the Scottish National Gallery'. Says the Gallery's website:
The Scottish National Gallery has a fine collection of Flemish paintings, including famous works by Peter Paul Rubens and Anthony van Dyck. The Print Room houses some 35,000 works on paper which, due to their fragility and sensitivity to light, can only be displayed for short periods of time and are therefore little-known.*
Rubens & Company highlights an outstanding selection of the Gallery’s Flemish drawings of the seventeenth century. Masterpieces by Rubens, the towering figure of the Flemish Baroque, are shown alongside famous works by Jordaens and Van Dyck and accompanied by works by less prominent artists such as Jan Cossiers, Abraham van Diepenbeeck and Cornelis Schut, which have rarely, in some cases never, been displayed before. Many of them are preparatory drawings or studies which offer a fascinating insight into the function of drawings as well as studio practice. Rubens & Company celebrates these artists and invites our visitors to discover and enjoy their skill in the art of drawing.
The exhibition is accompanied by a beautifully illustrated catalogue, providing a lively panorama of Flemish draughtsmanship in the seventeenth century, its subjects and techniques.
The show opens 18th June, until 28th August. Come to Edinburgh!
*Note to the Scottish National Gallery - none of your drawings by Rubens and Van Dyck are illustrated on your website.
Louvre clossed - at risk of flooding
June 2 2016
Video: YouTube
There are fears in France, which has been hit by severe flooding, that the Seine might burst its banks. The river has been steadily rising for three days - you wouldn't get a Bateau Mouche under the Ponte Des Invalides (above) today. Paris has had its wettest May in 150 years.
The Louvre will be closed tomorrow as staff begin to evacuate works from the underground store rooms. The Musée D'Orsay has also been closed as a precaution. More here.
A new store for the Louvre, some 200km north of Paris, is due to open in 2018.
