ART IN THE ROW


by the Master of Perspective in Nuremberg, and dated 1565. This is one of the first works in Northern Europe to use perspective and geometric polyhedral in its decoration. On public view for the first time since 1883, it testified to the interaction between art and science. Nearby, Benappi Fine Art


© Marcus Peel


"Visitors were able to discover art not seen in public for decades and sometimes centuries, and ‘new’ galleries they may have never noticed before"


was sensationally published in 1774 as Letters to His son on the Art of Becoming a Man of the World and a Gentleman. Their perceived immorality ensured continual reprints, making it one of the most enduring books of the eighteenth century. The painting is priced at £700,000. Fashion was the focus in Silk


and Finery: Dress in Art 1700-1900 at Didier Aaron and included an enchanting drawing by Charles- Francois-Pierre de la Traverse (1726-1787) of a Woman Holding a Flute, a design for a theatre costume for the performance given in honour of the marriage in Madrid, 1764, of the Infanta Maria-Louisa de Bourbon to the Archduke Leopold of Habsburg-Lorraine. From a number of recently discovered drawings, this is the first direct evidence of the artist’s involvement in the performance, and allows the modern viewer to visualise the theatrical performances of some of the most fashionable actors of the mid-C18th. Sam Fogg


devoted an


(R) Lullo Pampoulides - Federico Jehuda Pollock, known as Gino Parin (1876-1944) Fanny Tedeschi in Purple and black


(B) Malingue, Olivier Malingue - Jean Dubuffet, Le Margrave, 1970 - LAW19S


exhibition to Medieval art in England from the 6th to 16th centuries when the country was a hotbed for artists, while Lullo Pampoulides in Cork Street, focussed on the Insatiable Desire of collecting paintings, sculptures and drawings. Down Bond Street, James


Mackinnon specialised in 18th to 20th century British and European paintings and drawings, while Bonhams held their Old Master auctions. Olivier Malingue’s exhibition ‘Abstract or Not’ includes some of the best known modern masters and Brun Fine Art presented a collection of sculptures covering several centuries, and Antonacci Lapiccirella Fine Art showed mainly Italian art from private collections. Trinity Fine Art and Georg Laue Kunstkamer Ltd showing one of the highlights of London Art Week - The Renaissance Casket from Newbattle Abbey, made


exhibited a marble bust by Lorenzo Bartolini from circa 1823 depicting the Ideal Portrait of Beatrice; Burzio displayed fine antiques and works of art; Daniel Katz Gallery’s show titled Expressive Souls and Ariadne Gallery upstairs shone a light on form and function in antiquity. While Ben Elwes Fine Art’s centrepiece was a beautiful sculpted white marble portrait relief roundel of Jenny Lind from c1866 (the Swedish Nightingale, featured in The Greatest Showman) by American artist Margaret Foley (c1827-1877). Landscapes by 19th century


Swiss, German and Norwegian painters were the subject of From Fjord to Forest at John Mitchell Fine Paintings, depicting fords and lakes, forests and woodland, glaciers and valleys. The exhibition will include plein air oil studies and formal studio paintings; many were intended to be sold to benefit the Asbjorn Lunde Foundation in New York. London Art Week didn’t just


focus on Mayfair but also covered St James’s. Highlights there were a rare oil painting by Samuel Palmer (1805-81) at Guy Peppiatt Fine Art with an asking price of £1.95 million and another major rediscovery of a watercolour by John Frederick ‘Spanish’ Lewis at Karen Taylor Fine Art. S Franses staged the exhibition The Lost Tapestries of Charles I, including a large-scale tapestry, the last on the market from a series of nine depicting Vulcan and Venus, commissioned c1620 by Charles I, when Prince of Wales.


For more: www.londonartweek.co.uk


SAVILE ROW STYLE MAGAZINE


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