Publications Forthcoming Surreal Encounters: a superb overview of surrealist art. Collecting the Marvellous Ten essays will explore the different origins, historical contexts and creative Dawn Ades, Richard Calvocoressi, urges behind these collections. Artworks, Désirée de Chair, Elizabeth Cowling, perhaps more than anything else that one Hubertus Gaßner, Annabelle Görgen, can acquire, are objects of desire and surre- Keith Hartley, Saskia van Kampen-Prein alist artworks even more so. The sheer and Antony Penrose quality of the works acquired (and, in the case of the Pietzsches, still being acquired) 300 X 245MM | 240PP | JUNE 2016 220 COLOUR ILLUSTRATIONS is astonishing and, while passionate about 978 1 906270 97 1 | £30 PAPER their private visions, all the collectors have been mindful of contributing something to This book will bring together over 160 of Joan Eardley A Sense of Place the public good. the finest surrealist artworks by legendary The collections complement each other artists including Salvador Dalí, Max Ernst, to an extraordinary degree and allow us René Magritte, Joan Miró and Man Ray. to follow some of the artists’ careers from The works hail from the four renowned and beginning to end. By uniting them, exciting extraordinary private collections of Edward new juxtapositions emerge along with a James, Roland Penrose, Gabrielle Keiller and fuller and richer picture of the surrealist Ulla and Heiner Pietzsch, and together offer movement as a whole. LEONOR FINI 1907–1996 SURREAL ENCOUNTERS collecting the marvellous 79 Leonor Fini, Due Donne (Two Women), 1939 the u lla anD heiner Pietzsch c ollection, b erlin 80 Leonor Fini, The Alcove, c.1939 the eDwarD James f ounDation JOAN MIRÓ 1893–1983 Joan Eardley: A Sense of Place of the fishing village of Catterline, just south of Aberdeen, with its leaden skies Patrick Elliott and wild sea. These two contrasting 113 Joan Miró, Flêche transperant fumée (Smoking, Piercing Arrow), 1926 the u lla anD heiner Pietzsch c ollection, b erlin 114 Joan Miró, Peinture (Painting), 1925 240 X 275MM | 120PP | NOVEMBER 2016 strands are the focus of this book, which the u lla anD heiner Pietzsch c ollection, b erlin 120 COLOUR ILLUSTRATIONS looks in detail at her working process. It 978 1 911054 02 3 | £19.95 PAPER If there is one item in the Gabrielle Keiller collection Like most private collections formed over a long draws on a remarkable archive of sketches which could be said to sum it up that item would have period of time, this collection underwent various to be Marcel Duchamp’s La Boîte-en-valise, 1935–41 mutations. Many things, once acquired, remained, but [pl.55]. I say this for two reasons. The first has to do with others were sold and replaced as Keiller’s priorities or the history of twentieth-century art: Duchamp is the vital circumstances altered. Of those which she bequeathed link between the three dominant strands in the collection to the Scottish National Gallery of Modern Art, the first – Dada, Surrealism and the work of Eduardo Paolozzi – was bought in 1959 – a tiny oil by the ‘Douanier’ Henri animating the first, intervening in the second, influencing Rousseau titled La Statue de Diane au parc of about 1909 the third. The second has to do with the character of [pl.147] – and the last nearly thirty years later – several the collection: La Boîte-en-valise was conceived on an quirkish dada and surrealist relics, including Duchamp’s intimate scale to suit the private connoisseur and was 1922 The Non-Dada [fig.59] bought in 1987, and a small Joan Eardley’s career lasted barely fifteen and photographs which remains largely tailor-made to offer a private view of the things packed cut-out by Roberto Matta of about 1938 bought the away so neatly and ingeniously inside its leather-bound following year. The dynamic of her taste is revealed when carrying case. For, like the samples of the travelling we look more closely at the bills of sale, many of which, journeyman, the replicas of his works that Duchamp fortunately, survive. A critical turning point came in 1960 made for the Boîte are all miniatures. Ideally the contents when Keiller went to Venice. Hitherto she had shown have to be unpacked slowly and meticulously in the little interest in modern art but had collected Old Master privacy of one’s home; and once one has folded out the paintings, antique furniture and period silver, pottery and mock museum display, the retrospective Duchamp has porcelain; six months before she bought the Rousseau staged can only be examined properly by one or two mentioned above she bought a small panel depicting a people at the same time. The experience is both like female saint by the early Netherlandish painter Gerard putting on a toy theatre production and going through a David. But on this particular trip to Venice she visited years: she died in 1963, aged just forty-two. unknown and unpublished. It also features portfolio of prints. Peggy Guggenheim’s magnificent collection of surrealist The connection between La Boîte-en-valise and the and abstract expressionist art and was introduced to Keiller collection as a whole resides in this element of the work of Paolozzi then on show in the Biennale. intimacy, for despite the presence of a number of larger These experiences reinforced each other and within a works it is mainly a collection of portable, private-scale few years her collection had begun to take a radically things – modestly proportioned paintings and collages, different course. The David was sold off. So were a misty drawings and prints, hand-sized objets, manuscripts and late landscape by Camille Corot and a tiny portrait of a rare books. Like Duchamp’s La Boîte-en-valise – which woman by Auguste Renoir. So too were three drawings was his selection from within his entire oeuvre – it by the nineteenth-century illustrator Constantin Guys displays an idiosyncratic taste and vision, and expects which had been bought in 1959 at the same moment as During that time she concentrated on many works from public and private collec- the spectator to come close – ideally to touch and hold the Rousseau. But the Rousseau itself was allowed to and browse. Keiller herself loved to browse among her stay: the painter of The Dream, 1910 (Museum of Modern treasures. Perceiving my covetous looks when I visited Art, New York) was one of the all-time heroes of the her once she proposed that we ‘play with Duchamp’s box’. surrealist movement and owning a Rousseau, if one was Fig.52 | Max Ernst, Max Ernst For the next half-hour we were totally engrossed, and she committed to Surrealism, was tantamount to living with montrant à une jeune fille la tête de son père (Max Ernst Showing a admitted that she quite often unpacked and repacked it one’s household god. Young Girl the Head of his Father), on her own, as excited as a child at last permitted to play Among the earliest purchases to reflect Keiller’s 1926/7 two very different themes: the extraordi- tions, allowing the viewer to trace specific with a precious doll’s house. conversion to strictly contemporary art was Richard [detail of pl.66] elizabeth CowlinG narily candid paintings of children in the developments between the photographs, GABRIELLE KEILLER COLLECTS Townhead area of Glasgow; and paintings the drawings and the finished paintings. 218 Gabrielle Keiller | 219 2 3 Rubens & Company: Flemish Cornelis Schut. Many of the works are Drawings from the Scottish preparatory drawings or studies which offer DAUBIGNY a fascinating insight into the processKnown of today for his atmospheric views National Gallery of the River Oise, Daubigny was a pioneer of these revered artists. modern landscape painting and an important IMPRESSIONISM AND DAUBIGNYAND An introductory essay complementsprecursor ofa French Impressionism. Although Christian Tico Seifert commercially highly successful he was often IMPRESSIONISM catalogue of the twenty-eight workscriticised which for his broad, sketch-like handling 245 X 220MM | 80PP | JUNE 2016 and unembellished view of nature, and will feature in the exhibition held atwas the dubbed the leader of ‘the school of the 60 COLOUR ILLUSTRATIONS impression’. As a result he drew the attention Scottish National Gallery, each discussedof the next generation of artists, among them 978 1 906270 98 8 | £14.95 PAPER Claude Monet and Vincent van Gogh, who in depth and accompanied by detailedwere inspired by Daubigny’s frank naturalism, bold compositions and technical innovations. This book presents a selection of catalogue information. Many of theTheirs works was an artistic dialogue which spanned outstanding Flemish drawings from the featured have not been displayed forthirty years, from the early 1860s to the end of Van Gogh’s short life. collection of the National Galleries of decades and have never before been illus- Scotland. Masters such as Rubens, Van trated in colour. The book is a captivating Dyck and Jordaens feature alongside resource for exhibition visitors, academics lesser-known artists including David and anyone with an interest in drawing or galleries of scotland national Teniers the Younger, Jan Cossiers and Flemish art. Rubens & Company Flemish Drawings from the Scottish National Gallery Daubigny and Impressionism compositions and technical innovations. Theirs was an artistic dialogue which Frances Fowle spanned thirty years, from the early 1860s 200 X 225MM | 36PP | JUNE 2016 to the end of Van Gogh’s short life. 22 COLOUR ILLUSTRATIONS 978 1 911054 00 9 | £7.95 PAPER 13 Charles François Daubigny Moonrise at Auvers, also known as The Return of the Flock, 1877 Oil on canvas, 106.5 × 188 cm The Montreal Museum of Fine Arts Known today for his atmospheric views of the River Oise, Daubigny was a pioneer of modern landscape painting and an important precursor of French Impressionism.