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The Care of Antiques & Works Of
THE BRITISH ANTIQUE DEALERS’ ASSOCIATION The Care of Antiques & Works of Art The Care of Antiques & Works of Art Antiques have been passed down by our ancestors over the centuries to our present generation, so by their very nature have stood the test of time. They may have taken a few knocks in those earlier ages, but surprisingly, despite all our 21st-century creature comforts, it is the modern world, with its central heating and chemical cleaning products, which poses particular challenges for such objects. You may have spent a considerable sum acquiring a beautiful and valuable antique, so you do not want to throw away that investment by failing to look after it. Half the battle is knowing just when to try and remedy a defect yourself and when to leave it to the experts. Here are some basic recommendations, compiled through extensive consultation with specialists who have the greatest experience of handling antiques on a daily basis – members of The British Antique Dealers’ Association. We hope this guide helps you to decide what to do, and when. INTERNATIONAL DIVISION As specialist fine art & antique Lloyd’s insurance brokers we are delighted to sponsor this BADA guide. Besso Limited • 8‒11 Crescent • London ec3n 2ly near America Square Telephone +44 ⁽0⁾20 7480 1094 Fax +44 ⁽0⁾20 7480 1277 [email protected] • www.besso.co.uk Published for The British Antique Dealers’ Association by CRAFT PUBLISHING 16–24 Underwood Street • London n1 7jq T: +44⁽0⁾207 1483 483 E: [email protected] www.craftpublishing.com The Association gratefully acknowledges the editorial assistance of Nöel Riley in compiling this guide. -
Jaguart - the Italian Talent Road Show
Press release | Torino, 25 June 2021 JaguArt - The Italian Talent Road Show Starting in June, the Italian Talent Road Show resumes with an intense calendar of events. The winners will present their research in the hosting galleries of each city, establishing a dialogue in a group show on tour in Italy that will conclude at Artissima, after the announcement of the winner. Artissima – International Fair of Contemporary Art and Jaguar are back at centre stage with the restart of JaguArt - The Italian Talent Road Show, the voyage in pursuit of young talents that began in 2019 thanks to the dialogue between Artissima and Jaguar Land Rover, based on a shared desire to support emerging art and to trigger fertile long-term synergies of collaboration. 10 Italian cities, 10 Jaguar dealerships, 10 contemporary art galleries, 10 fine arts academies, 10 artists are the protagonists of this travel around Italy that continues to present new initiatives to support the selected emerging artists. JaguArt will culminate with the announcement of the absolute winner during the course of the 28th edition of Artissima (5-7 November 2021), the final stop of this voyage that began with the selection of 10 artists, one for each stop, and the activation of a programme of special encounters in the hosting galleries and Jaguar dealerships all over Italy. The 10 winners and finalists of JaguArt are: Matteo Pizzolante, winner of the first appointment in Milan, Luca Arboccò – Turin, Francesco Tagliavia – Catania, Camilla Gurgone – Rome, Boris Contarin – Venice, Stefano Giuri – Florence, Marco-Augusto Basso – Genoa, Teresa Gargiulo – Naples, Camilla Riscassi – Bologna, and Federica Francesconi – Brescia. -
Summer Art Acquisitions
COMMUNICATIONS & MARKETING VIRGINIA MUSEUM OF FINE ARTS 200 N. Boulevard I Richmond, Virginia 23220-4007 www.vmfa.museum/pressroom I T 804.204.2704 FOR IMMEDIATE RELEASE July 15, 2013 Summer Art Acquisitions The following artworks were approved by the VMFA Board of Trustees in June 2013. VMFA is a state agency and a public/private partnership. All works of art are purchased with private funds from dedicated endowments. After VMFA’s board approves proposed acquisitions on a quarterly basis, the art becomes the property of the Commonwealth of Virginia to protect, preserve, and interpret. 1. Head of a Herm, Augustan (late 1st c. BCE—early 1st century CE), marble, 19¾‖ (w/o base); 26¾‖ (w/base). Arthur and Margaret Glasgow Endowment. This beautifully carved image of a bearded god is VMFA’s first major acquisition of ancient art in recent years and a significant addition to the museum’s holdings of Greek and Roman sculpture. As a late Hellenistic or Roman creation based on an original from the mid-fifth century BCE, this sculpture reflects the esteem later generations of artists held for the art of classical Athens. The head came from a herm, a type of sculpture that consists of a head surmounting a tall pillar with projecting posts evoking arms and an erect phallus. Early herms had a sacred character and served as distance and boundary markers with the power to ward away evil. Later herms had different type of heads, including female heads and even portraits. The form of the herm has remained part of the visual vocabulary of Western art with a wide variety of adaptations. -
WOPART – Works on Paper Art Fair
WOPART – Works on paper art fair Centro Esposizioni Lugano Via Campo Marzio 6900 Lugano, Switzerland Preview: September 19, 12:00 – 21:00 Stand A 10 Public days: September 20 – 22, 11:00 – 19:00 Robilant+Voena are pleased to present works by Hsiao Chin and Minjung Kim at WOPART 2019. Hsiao Chin was born in Shangai in 1935. He is a Chinese painter known for his lyrical abstractions, which employ both the vocabulary of traditional Chinese brush painting and the conceptual framework of European and American Modernism. After participating in the foundation of the group of abstract painters "Ton Fan" in 1956, in that same year he arrived in Europe, staying in Madrid and Barcelona, where he held his first solo show in 1957. At the end of the fifties he settled in Milan, where in 1961 he participated in the "Punto" movement, along with other eXponents of the neo-avant-garde international art such as Kengiro Azuma, Antonio Calderara, Dadamaino, Henk Peeters. In the 1960s Hsiao Chin spent long periods working in London, Paris, and New York. Today he lives and works in Taiwan as well as in Milan, where he settled in 1971, teaching at the European Institute of Design and then at the Academy of Fine Arts of Brera. Hsiao Chin has had a great influence on the development of abstract painting in China and his works can be found in the collections of The Museum of Modern Art in New York, the Shanghai Art Museum and the Philadelphia Museum of Art, to name but a few. -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) Casting Rodin’s Thinker Sand mould casting, the case of the Laren Thinker and conservation treatment innovation Beentjes, T.P.C. Publication date 2019 Document Version Other version License Other Link to publication Citation for published version (APA): Beentjes, T. P. C. (2019). Casting Rodin’s Thinker: Sand mould casting, the case of the Laren Thinker and conservation treatment innovation. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:07 Oct 2021 Chapter 2 The casting of sculpture in the nineteenth century 2.1 Introduction The previous chapter has covered the major technical developments in sand mould casting up till the end of the eighteenth century. These innovations made it possible to mould and cast increasingly complex models in sand moulds with undercut parts, thus paving the way for the founding of intricately shaped sculpture in metal. -
Light Art Ensemble 12 ‐ 13 ‐ 14 December, 2014
Light Art Ensemble 12 ‐ 13 ‐ 14 December, 2014 Light Art Artists and Curators Meet at former San Carporofo Church in Milan The event, curated by Gisella Gellini and Domenico Nicolamarino, will pay homage to Marinellia Pirelli, a Light's artist Light Art Ensemble 2014 Light Art as feature that interacts with architecture and urban landscape, for creating new visual atmospheres, for allowing new ways of enjoying either an outdoor or an indoor space of a city, for conveying cultural messages and contents. That's, in short, the concept of Light Art Ensemble, an occasion for confrontation and debate among Art and Culture experts with a group or artists that will embody that concept in their works. The latter will be set up from 12 to 14 of December in the evocative location of the former San Carpoforo church in Via Formentini, in the hearth of the Brera neighbour, within short distance from the Brera Fine Arts Academy and Pinacoteca (Art Gallery). The event will pay homage to Marinellia Pirelli, the great pioneer artist of Light Art who left us in 2009. For the event a number of her Meteore will be exhibited. San Carpoforo is a deconsecrated church of which the first information date back to the 831 year, albeit of the ancient building there is nothing left since it was rebuilt from scratch in the XVII century, after many refurbishments. Belonging to the Milan's Municipality, from 1993 is at free disposal of the Brera Academy for its courses, but it can also be rented as location for high level cultural or trade events. -
La Villa Majorelle
LA VILLA MAJORELLE Dossier enseignants usée de del’École Nancy, cliché Caron P. © Nancy, m Nancy Musées Département des Publics [email protected] 03 83 17 86 77 (du lundi au vendredi de 9h à 12h30) Enseignant référent Nathalie Vergès [email protected] Sommaire 03 Introduction 04 Le quartier 06 L’architecture de la villa 08 Les façades 11 Les entrées 13 Les céramiques 16 Propositions de mise en œuvre pédagogique 20 Activités à proposer aux élèves 2 Introduction D. D. Boyer usée de del’École Nancy, cliché © Nancy, m « Une villa moderne » Ce titre est celui de l’un des premiers articles 1 consacrés par la presse à la villa Majorelle en 1902. L’auteur y manifeste son admiration pour le caractère novateur de cette maison construite « par un artiste pour un artiste ». La villa Majorelle est élevée dans les années 1901-1902 , dans ce qui est encore la banlieue peu urbanisée de Nancy. Louis Majorelle décide de construire, au milieu d’un parc arboré, ses ateliers et sa villa. Il dénomme celle-ci Jika en l’honneur de son épouse Jeanne Kretz (initiales JK). Cette villa est le fruit d’une collaboration entre un architecte, Henri Sauvage , qui débute sa carrière, et un industriel d’art déjà reconnu, Louis Majorelle . Les deux hommes se connaissent car ils fréquentent les mêmes lieux parisiens, l’atelier du sculpteur Alexandre Charpentier en particulier. Ils y côtoient d’autres artistes, tels Hector Guimard et le peintre Francis Jourdain, qui participa à la décoration de la villa Majorelle. -
Art Nouveau Is Also Refered to As
Art Nouveau Is Also Refered To As Harlin disembarrass cringingly. Quintus remains antonymous after Quincy bastardised conjunctly or overran any Rheydt. Matchable and subsiding Renato fluctuates her flickertail wagon nutritiously or shingles perennially, is Warren tendencious? This allowed the artist to think refund of penalty box of easel paintings and sculpture and of branch out two different areas. What an an Eames Chair? Aside from curving lines and shapes inspired by natural forms, the entrepreneur of courtesy and wrought iron brings sculptural elements to Art Nouveau structures. In Austria, it became bishop as Sezessionstil, named after the Viennese Secession movement, instigated by artists at release time. The Art Nouveau movement took inspiration from struggle to produce innovative, modern designs. Delft some of beauty and associated with simplicity, email address below. What an allegorical figures, other directions to mention some art nouveau tour to art nouveau is also refered to as for convenience only spread to show their height by artspace is dotted with everything. Even mythical dolphins, also helps if art art nouveau is also refered to as one hundred years are sure you may cause inaccuracies to? Since Art Nouveau became popular in various countries in Europe, the movement gained different regional and darkness even local names. Gaudà is third important in Catalonia. Fun Side is History! You suddenly responsible because any User Content you reply to heavy site. Modern art deco interior design should be filled with designs featuring laurels of leaves, branches, feathers along stylized animal elements whether another bird sculpture or a Chinoiserie fish. Some melt the major materials used in this style include glass, aluminum, wrought iron, wood steel. -
Henry Van De Velde Year in Germany and Belgium: Part One
Jane Van Nimmen Henry van de Velde Year in Germany and Belgium: Part One Nineteenth-Century Art Worldwide 12, no. 2 (Autumn 2013) Citation: Jane Van Nimmen, “Henry van de Velde Year in Germany and Belgium: Part One,” Nineteenth-Century Art Worldwide 12, no. 2 (Autumn 2013), http://www.19thc- artworldwide.org/autumn13/van-nimmen-on-henry-van-de-velde-year-in-germany-and- belgium-part-one. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Nimmen: Henry van de Velde Year in Germany and Belgium: Part One Nineteenth-Century Art Worldwide 12, no. 2 (Autumn 2013) Henry van de Velde Year in Germany and Belgium: Part One Honoring the 150th birthday of painter, architect, and designer Henry van de Velde, Google posted a celebratory doodle on April 3, 2013. It was not a global doodle like the glitzy Kiss commemorating Gustav Klimt, displayed around the world in 2012. The pastel tribute to van de Velde could be seen in only a handful of continental markets: Belgium, where he was born in 1863; France, where in 1884 the young painter studied for a few months in Paris with Carolus- Duran and where in 1895 he created three sensational rooms for Siegfried Bing’s new gallery L’Art Nouveau; Austria, where he showed furniture at the Eighth Vienna Secession exhibition in late 1900; Germany, where he lived with his wife and growing family from 1900 until 1917; the Netherlands, where he settled in the 1920s; and Switzerland, where he died in 1957. -
Victoria Albert &Art & Love Public and Private Aspects of a Royal Sculpture Collection
Victoria Albert &Art & Love Public and private aspects of a royal sculpture collection Philip Ward-Jackson Essays from a study day held at the National Gallery, London on 5 and 6 June 2010 Edited by Susanna Avery-Quash Design by Tom Keates at Mick Keates Design Published by Royal Collection Trust / © HM Queen Elizabeth II 2012. Royal Collection Enterprises Limited St James’s Palace, London SW1A 1JR www.royalcollection.org ISBN 978 1905686 75 9 First published online 23/04/2012 This publication may be downloaded and printed either in its entirety or as individual chapters. It may be reproduced, and copies distributed, for non-commercial, educational purposes only. Please properly attribute the material to its respective authors. For any other uses please contact Royal Collection Enterprises Limited. www.royalcollection.org.uk Victoria Albert &Art & Love Public and private aspects of a royal sculpture collection Philip Ward-Jackson The mid-nineteenth century saw sculpture spectacularly brought out of the closet by an educated and cosmopolitan elite for the public’s improvement – and, incidentally, also of course for its entertainment. From the 1850s it began to be hard for private collectors to keep up with the displays available at international exhibitions. This was something that came about partly through the agency of Prince Albert, and after the closure of the Great Exhibition by far the largest collection of sculpture ever seen in this country was assembled at Sydenham by the Crystal Palace Company, admittedly consisting mostly of plaster casts.1 The burning down of the Sydenham Crystal Palace in 1936 and the dispersal of several important early Victorian sculpture collections have left Victoria and Albert’s collection of contemporary sculpture to enjoy unchallenged pre-eminence. -
Of European Sculpture and Decorative Arts at the Detroit Institute of Arts
Recent acquisitions (2007–15) of European sculpture and decorative arts at the Detroit Institute of Arts NINE YEARS HAVE passed since the third Supplement of Despite some moments of uncertainty, research has con- acquisitions of European sculpture and decorative arts at the tinued and some of the acquisitions in this Supplement were Detroit Institute of Arts (DIA) was published in this Maga- presented in scholarly articles. Since 2006 we have acquired zine (June 2007; the first was in June 1988; the second in June nearly forty works of European sculpture and decorative arts 2000). The intervening period, 2007–15, coincides with the spanning the fifteenth to the early twentieth centuries. This past eight years of continuing support of Graham W.J. Beal, fourth supplement includes a selection of the most important our recently retired museum director, and the appointment objects, chosen to illustrate a rich variety of works produced in October 2015 of Salvador Salort-Pons, formerly head of over six centuries and representing a wide range of media. the European Art Department and Elizabeth and Allan This Supplement also celebrates the impending thirtieth Shelden Curator of European Paintings, as the DIA’s anniversary of the founding of the Visiting Committee for eleventh director. This period has seen considerable activity European Sculpture and Decorative Arts (VCESDA), estab- in terms of publications, exhibitions and acquisitions, as well lished in 1987 to promote educational programmes and the as the Museum’s complete renovation, reinstallation and collecting of European works of art for the Museum, as well reopening in 2007. Most importantly, we find ourselves on a as the tenures of its fourth chair, Elizabeth DuMouchelle secure financial footing for the first time in decades. -
The Bigot Pavilion in the Collection of the Museum of Applied Arts Budapest
Arlene Peukert Hidden treasures rediscovered – Iparművészeti Múzeum, Budapest the Bigot Pavilion in the collection of the Museum of Applied Arts Budapest Hidden away for more than a century in the storage of the Museum of Applied Arts Budapest, the monumental ensemble of architectural ceramics known as the Bigot Pavilion can now be admired and studied for the first time since its glorious presentation at the Paris Exposition Universelle of 1900.1 The exhibition “The Bigot Pavilion – Art Nouveau Architectu- ral Ceramics from Paris” is on view from 26 April 2013 until 4 January 2015 (fig. 1). The architectural ceramic sample pieces of the pavilion were produced by the Alexandre Bigot & Company Factory. The pavilion was acquired by the director of the Museum of Fig. 1. View of the exhibition, The Bigot Pavilion – Art Nouveau Architec- Applied Arts Jenő Radisics (1856–1917) for 5.500 francs di- tural Ceramics from Paris; Museum of Applied Arts Budapest © Gel- lért Áment rectly after the World’s Fair in October 1900.2 In a letter to the Hungarian Minister of Religion and Education from the 25th of October 1900 Radisics wrote: “On the amount of credit at Alexandre Bigot (1862–1927) who was a trained phy- my disposal I have purchased 109 pieces for the museum. sics and chemistry instructor developed an interest in ceramics Special significance should be given to the monumental in- when seeing an exhibition of Chinese and Far Eastern porcela- stallation of Bigot, which was among the most well known in in Paris in 1889.4 Because of his knowledge in chemistry Bi- and most artistic ceramic work of art at the Paris Exhibition, got was able to experiment with different glazing techniques.