In ART

London Art Week aims to offer the very best paintings, drawings, sculpture and objects dating from Antiquity to the Twenty-First Century. This summer, London Art Week has launched a new online platform, to augment the experience of in-gallery exhibitions, talks and shared scholarly values.

Weiss Gallery

Weiss Gallery presents Tender Moments: Children in Old Master Portraits. Child portraiture sometimes runs the risk of being too cloying and sentimental. Yet in old master painting, there is an added poignancy when one considers that all too often these children wouldn’t survive to adulthood. Lineage took on a loaded significance. These child portraits, loaded with parental hopes and dreams, now more than ever have a relevance today as we wonder what lies in store for the next generation.

William Larkin (London c. 1585 - London 1619), A Noble Baby, c. 1615. Oil on panel

William Larkin (London c. 1585 – London 1619), A Noble Baby, c. 1615. Oil on panel


Cornelius Johnson [van Ceulen] (London 1593 - Middelburg 1661), An Unknown Young Dutch Girl, 1643. Oil on canvas, 64.7 × 52.9 cm

Cornelius Johnson [van Ceulen] (London 1593 – Middelburg 1661), An Unknown Young Dutch Girl, 1643. Oil on canvas, 64.7 × 52.9 cm

Johann Kerseboom (Solingen [?] - London 1708), Two Children, said to be Emily and Robert Cecil, c. 1690. Oil on canvas, 74.5 × 71 cm

Johann Kerseboom (Solingen [?] – London 1708), Two Children, said to be Emily and Robert Cecil, c. 1690. Oil on canvas, 74.5 × 71 cm

Galerie Canesso

Among the ten pictures presented in the exhibition Caravaggism and Tenebrism in Seventeenth-Century Italy, Galerie Canesso focuses on three highlights: Francesco Rustici’s Salome with the Head of John the Baptist, the Morra Players by Pietro Ricchi, and the Martyrdom of Saint Euphemia by Francesco Cairo, one of the leading figures of Lombard Seicento art, appreciated for his mordant expressionism. The three works provide formidable examples of Caravaggesque painting in Italy roughly between 1625 and 1635. The adoption of strong chiaroscuro greatly contributes to the theatrical qualities of these original compositions, each conceived as a true performance.

Pietro Ricchi, (Lucca, 1606 – Udine), 1675Morra Players. Oil on canvas, 76 x 111 cm. © Galerie Canesso Paris

Pietro Ricchi, (Lucca, 1606 – Udine), 1675Morra Players. Oil on canvas, 76 x 111 cm. © Galerie Canesso Paris


Francesco Cairo, (Milan, 1607 – 1665), The Martyrdom of Saint Euphemia. Oil on canvas, 192,5 x 223 cm. © Galerie Canesso Paris

Francesco Cairo, (Milan, 1607 – 1665), The Martyrdom of Saint Euphemia. Oil on canvas, 192,5 x 223 cm. © Galerie Canesso Paris


Francesco Rustici, called « Il Rustichino », (Siena, 1592 – 1626), Salome with the Head of John the Baptist. Oil on canvas, 237, 5 x 161 cm. © Galerie Canesso Paris

Francesco Rustici, called « Il Rustichino », (Siena, 1592 – 1626), Salome with the Head of John the Baptist. Oil on canvas, 237, 5 x 161 cm. © Galerie Canesso Paris

Bottegantica

Bottegantica would like to dedicate the exhibition, From Giovanni Boldini to Giacoma Balla: Travels Between Two Centuries, to the most famous Italian artists in the world who lived and worked around Europe between the end of the nineteenth century and the first three decades of the twentieth century. Almost twenty artworks are exhibited, some of which for the first time. Among these artists, Giovanni Boldini, Antonio Mancini, Angelo Morbelli, John William Godward, Mariano Fortuny, Paul Cesar Helleu, Giacomo Balla and more.

The project aims to express the particular historical period of 1845-1934, during which Italian art – after years of oblivion – was developed internationally as a promoter of new and original expressive languages capable of influencing successive generations of artists. With this exhibition, the gallery offers opportunity to retrace and relive the Italian art history, born from the comparison and fruitful dialogue between artistic personalities of different cultural tradition.

Angelo Morbelli (Alessandria 1853 - Milan 1919), The telegram, 1915. Oil on canvas, 42.5 × 68.5 cm

Angelo Morbelli (Alessandria 1853 – Milan 1919), The telegram, 1915. Oil on canvas, 42.5 × 68.5 cm


Carlo Bossoli (Lugano 1815 - Turin 1884), The cathedral of Palermo, 1845. Tempera on paper, 59 × 89 cm

Carlo Bossoli (Lugano 1815 – Turin 1884), The cathedral of Palermo, 1845. Tempera on paper, 59 × 89 cm

Colnaghi

The gallery presents The Golden Age of Spanish Modern Art which offers a re-evaluation of Spanish painting at the turn of the 20th century, presenting exquisite and innovative works by Spanish artists, particularly from Catalan, who trained in the academies of Barcelona and spent most of their working lives in Paris.

Joaquim Sunyer (Sitges 1874 - Sitges 1956), Paris Cabarete Scene, 1904. Pastel, 620 × 470 mm

Joaquim Sunyer (Sitges 1874 – Sitges 1956), Paris Cabarete Scene, 1904. Pastel, 620 × 470 mm


Joaquim Mir (Barcelona 1873 - Barcelona 1940), Miravet, c. 1929 – 1930. Oil on canvas, 86 × 112 cm

Joaquim Mir (Barcelona 1873 – Barcelona 1940), Miravet, c. 1929 – 1930. Oil on canvas, 86 × 112 cm

Ben Elwes Fine Art

Ben Elwes Fine Art presents a selection of paintings across six centuries that reflect the Anglo-American nature of the gallery. The exhibition focuses the spotlight on women artists often missing from the art-historical canon, as well as on art of the anti-slavery movement, together with a selection of Old and Modern Masters. Five women artists dating from the early 19th century to the 1950s are featured in Ben Elwes Fine Art’s virtual exhibition.

Louis de Caullery (c. 1580 - 1621), The Siege of Troy with Aeneas fleeing whilst carrying his Father, c. 1610. Oil on panel, 53 × 73.5 cm

Louis de Caullery (c. 1580 – 1621), The Siege of Troy with Aeneas fleeing whilst carrying his Father, c. 1610. Oil on panel, 53 × 73.5 cm


Jean-Victor Bertin (Paris 1767 - Paris 1842), Italianate landscape with herdsmen watering at a stream, with a town beyond, 1826. Oil on canvas, 47 × 61.6 cm

Jean-Victor Bertin (Paris 1767 – Paris 1842), Italianate landscape with herdsmen watering at a stream, with a town beyond, 1826. Oil on canvas, 47 × 61.6 cm


Anthony Claesz the Younger (Amsterdam c. 1607/8 - 1649), Lillies, roses, tulips, carnations, snake's head fritillaries, a daffodil and other flowers in a glass vase, with insects and shells on a ledge, 1632. Oil on panel, 87.4 × 64.3 cm

Anthony Claesz the Younger (Amsterdam c. 1607/8 – 1649), Lillies, roses, tulips, carnations, snake’s head fritillaries, a daffodil and other flowers in a glass vase, with insects and shells on a ledge, 1632. Oil on panel, 87.4 × 64.3 cm

Lullo • Pampoulides

Lullo • Pampoulides presents In Silent Conversation, Portraits from the 16th to the 20th centuries. Portraits represent a significant category within artists’ production and a particularly poignant subject to collect and live with. Portraits, in particular personal, intimate and familiar ones, which are very different from state and official portraits that convey the status of the sitter more than his or her true self, are multilayered conversations, that is, they allow us to establish an eternal dialogue that is constantly renewed between the artist and the sitter; but also between ourselves and the sitter, and even between the different portraits possibly hanging on our walls. Meeting the gaze of these characters from the past, each with their own story and looking into their eyes through the filter of the artist’s style and virtuosity offers, in times like these, a new, meaningful interpretation.

Johann Heinrich Schönfeld (Biberach an der Riß 1609 - Augusburg 1684), Study of a Bearded Man, bust-length, wearing an armour, c. 1650s. Oil on canvas, 61 × 49 cm

Johann Heinrich Schönfeld (Biberach an der Riß 1609 – Augusburg 1684), Study of a Bearded Man, bust-length, wearing an armour, c. 1650s. Oil on canvas, 61 × 49 cm


Francesco Paolo Michetti (Tocco da Casauria 1851 - Francavilla al Mare 1929), "Aligi", study from the "Daughter of Jorio", c. 1888-1895. Pastel and mixed media on paper, 700 × 500 mm

Francesco Paolo Michetti (Tocco da Casauria 1851 – Francavilla al Mare 1929), “Aligi”, study from the “Daughter of Jorio”, c. 1888-1895. Pastel and mixed media on paper, 700 × 500 mm

 

Luciano Ceschia (Tarcento 1926 - Udine 1991), Testa Urlante, 1961. Terracotta and black paint, Height: 32 cm, From base: 39,5 cm

Luciano Ceschia (Tarcento 1926 – Udine 1991), Testa Urlante, 1961. Terracotta and black paint, Height: 32 cm, From base: 39,5 cm

Mireille Mosler Ltd.

Mireille Mosler Ltd. is participating in London Art Week with an eclectic mix of European art from the turn of the twentieth century in Fin de siècle: melancholy, hope and nature. The earliest work in the exhibition is Shadrach, Meshach and Abednego in the Fiery Furnac from 1863 by the last artist to join the Pre-Raphaelite Brotherhood: Simeon Solomon (1840-1905). Attracted to men in defiance of the law, at the height of his career, Solomon was arrested for indecent exposure in a public bathroom. After his incarceration, Solomon lost his place amongst the Pre-Raphaelites, eventually dying in destitute. This early watercolour is one of Solomon’s most important contributions to Pre-Raphaelite art. It was last shown in London in 2006 in the exhibition Love Revealed: Simeon Solomon and the Pre-Raphaelites at the Jewish Museum of Art.

Simeon Solomon (London 1840 - London 1905), Shadrach, Meshach and Abednego in the Fiery Furnace, October 1863. Watercolour on paper, 330 × 228 mm

Simeon Solomon (London 1840 – London 1905), Shadrach, Meshach and Abednego in the Fiery Furnace, October 1863. Watercolour on paper, 330 × 228 mm

Karen Taylor

Karen Taylor presents British Women Artists 1780-1890. The work of women artists provides us with an important counterbalance in art history and its gradual emergence into the mainstream is to be celebrated. Often working privately, female artists drew and painted but much of their work has not received the attention bestowed upon their male counterparts. Women and women artists were an integral part of a period of great historical change and their achievements deserve greater recognition.

Alice Mary Chambers (Harlow, Essex 1854/5 - after 1913), Portrait of a Woman, c. 1890. Red chalk on wove paper, 418 × 350 mm

Alice Mary Chambers (Harlow, Essex 1854/5 – after 1913), Portrait of a Woman, c. 1890. Red chalk on wove paper, 418 × 350 mm


Ann Baring (1758 - 1804), Hilly landscape with cattle watering and rustics on donkeys, 1789. Watercolour over pencil on laid paper, watermarked with the Strasburg Lily, 348 × 479 mm

Ann Baring (1758 – 1804), Hilly landscape with cattle watering and rustics on donkeys, 1789. Watercolour over pencil on laid paper, watermarked with the Strasburg Lily, 348 × 479 mm


Margaret Lilias 'Maggie' Sumner (1859 - 1919), A sketchbook of pencil drawings of the Lake District, 1875. Pencil with pen and black ink around border, 108 × 138 mm. and smaller

Margaret Lilias ‘Maggie’ Sumner (1859 – 1919), A sketchbook of pencil drawings of the Lake District, 1875. Pencil with pen and black ink around border, 108 × 138 mm. and smaller

Sladmore Gallery

Over the last decade the Sladmore Gallery has loaned over a hundred sculptures to important museum exhibitions throughout the world. These artworks were chosen from their own private collection, from within the gallery’s inventory and from supportive collectors. For the first time, during London Art Week, a selection of these major works is shown together with a summary of each museum exhibition they graced. Whilst the sculptures contrast in subject, artist and date, they all have been carefully selected by independent curators outside of the gallery to engage and inspire their viewers.

Auguste Rodin (France 1840 - 1917), The Burghers of Calais, 1884-1889. Bronze, Height: 48 cm. [highest in set] POA

Auguste Rodin (France 1840 – 1917), The Burghers of Calais, 1884-1889. Bronze, Height: 48 cm. [highest in set] POA


Antoine-Louis Barye (France 1796-1875), Turkish Horse no. 2, c. 1857. Bronze, Height: 29 cm

Antoine-Louis Barye (France 1796-1875), Turkish Horse no. 2, c. 1857. Bronze, Height: 29 cm


Joseph Bernard (France 1866 - 1931). Femme à l'enfant, 1914-1925. Bronze, Height: 179 cm

Joseph Bernard (France 1866 – 1931). Femme à l’enfant, 1914-1925. Bronze, Height: 179 cm

Walter Padovani’s Gallery

Walter Padovani’s gallery presents a selection of works that touch on a variety of subjects, but can be defined by the theme of the sacred and the profane. The allegories of Justice and Peace are represented both by a terracotta bozzetto by Canova’s favourite pupil, Rinaldo Rinaldi (1793-1873) and by two figures in bronze by Francesco Righetti (1748-1819), from models by the Genoese sculptor Francesco Maria Ravaschio (1743-1820). In both these cases the sculptors make use of iconographical attributes to identify their personifications, Rinaldi being the more didactic whilst Ravaschio eschews the usual sword and scales to represent Justice preferring to make use of the Lictors’ fasces.

Rinaldo Rinaldi (Padua 1793 - Rome 1873), Justice and Peace Embracing, 1845. Terracotta, 56 cm

Rinaldo Rinaldi (Padua 1793 – Rome 1873), Justice and Peace Embracing, 1845. Terracotta, 56 cm


Francesco Righetti (1749 - 1819), Peace, Justice, 1719. Two bronze figures resting on a black marble base, Overall height: Peace: 32.5 cm. (12.79 in.); Justice: 32 cm

Francesco Righetti (1749 – 1819), Peace, Justice, 1719. Two bronze figures resting on a black marble base, Overall height: Peace: 32.5 cm. (12.79 in.); Justice: 32 cm

The above descriptions are sourced from the galleries’ press releases.


London Art Week ends on July 10, 2020.

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