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arts &

ARTS & Collections

CollectIOns www.artsandcollections.com

T h e m a g a z i n e o f a r t a n d c u lt u r e

www.artsANDcollections.com VOLUME 1 2018

P R E S E N T I N G s o t h e b y ’ s d i a m o n d s : t h e ne w b o n d street reta i l s a l o n Collections Cover 3.17 Cover.indd 1

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FROM THE HEART OF THE SWISS ALPS Artisan carpentry is still practiced in the idyllic Simmental valley of Switzerland. Our pride in masterful craftsmanship is reflected in each custom kitchen we deliver. We find our inspiration in the raw beauty of the local landscape with its majestic mountains and untouched valleys. Whether our kitchens are installed in a modern penthouse or a cosy chalet, our customers witness our passion to make their individual design dreams come true with a unique kitchen. Zbären kitchens are made from the best quality materials and manufactured with a combination of first class craftsmanship and our state-of-the-art machinery. Our workshop in the heart of the Swiss Alps delivers custom-made kitchens to homes across the world.

Visit one of our showrooms in Bern or SaanenmĂśser www.zbaeren.ch | +41 (0)33 744 33 77

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Contents

images © shutterstock; sotheby’s diamonds; erik madigan heck; 123rf

features 18

the method behind the master

24

The Masters of Dutch Golden Age Painting

The Metropolitan Museum of Art casts a spell of wonder and intrigue with the largest Michelangelo retrospective to date.

An exhibition at the Hermitage Amsterdam museum will highlight the vast success of 17th century Dutch art.

28

discovering modigliani

40

10 Reasons to Visit France

46

A Modern Investment: Southeast Asian Art

48

art in our communities

50

bangkok: city of culture

59

Seeing Red: 70 Years of Ferrari

62

high jewellery on bond street

69

artistic rebirth

72

quite the impression

77

a time for indulgence

Cover: © photo by Erik Madigan Heck, courtesy of Sotheby’s Diamonds. Turn to page 62 to read about Sotheby’s Diamonds and the newly opened Bond Street salon. Pictured: the Arc Ring.

Tate Modern’s new exhibition will highlight the work of one of the most famously tormented artists of the 20th century.

Not many locations around the globe encapsulate the utter diversity of landscapes and cultural experiences that France can.

A treasure trove for contemporary art, southeast Asia is beginning to thrive in the global art market.

62

Rena DeSisto and Allen Blevins from Bank of America give Arts & Collections some insight into their Art in Our Communities project.

Explore the thriving Thai city of Bangkok with Arts & Collections.

Explore 70 years of flawless Ferrari designs, with each automobile encapsulating the perfect balance between elegance and speed.

Sotheby’s sparkling new venture—Sotheby’s Diamonds—is turning heads with its exquisite designs and craftsmanship.

40

After the Middle Ages, a period of cultural decline and stagnation, the Renaissance brought with it a newfound interest in the achievements of the Classical world.

Arts & Collections explores the movement responsible for one of the biggest shifts in the art landscape to date.

With the rise of technology, few need a watch anymore—so why are we still so enthralled by them?

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Regulars 14

HAPPENINGS

33

investing in wine

34

AUCTION HIGHLIGHTS

39

TREASURES

Bringing you a mix of the high-minded, eccentric, regal, random and unmissable events as we look ahead through 2018. As one of the top performing asset classes over the last 20 years, wine can be a lucrative investment. The record-breaking, the eclectic and the unique; we bring you the latest from the world’s most renowned auction houses. Our series highlights a single item of artistry or craftsmanship that is both rare and exquisite.

64  the art of collecting

The treasures stored within Chatsworth House reveal the Cavendish family’s long-lasting tradition of collecting and their ambition to keep the manor’s magic alive.

80  WHERE TO SPEND IT

From hybrid supercars to the finest vinyl players on sale today, Arts & Collections explores some of the world’s top luxury items.

images © montblanc; chatsworth house trust; Courtesy michael werner gallery, new york and london

14 64

80 6 CollectionS www.artsandcollections.com

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Alexandre Chappuis, company CEO, has reaffirmed his indefectible willingness and commitment to preserve the identity of the brands which are an integral part of the family business, by offering exceptional skin care treatments formulated in adherence with Swiss traditions and know-how.

Cellcosmet and Cellmen Skin Care

Cosmeceutical Excellence “Made in Switzerland” by Cellap Laboratoire Created by Cellap Laboratoire, the Cellcosmet and Cellmen cosmeceutical ranges offer exceptional products inspired by the latest scientific findings in biomedical research, an area renowned for its high-calibre technologies.

Inspired by 30 years of research, the R&D department’s multidisciplinary team has developed targeted skin care ranges made up of treatments that respect the intrinsic qualities of male and female skin while taking into account their biological age.

In the R&D department of Cellap Laboratoire, each cosmeceutical formulation is the result of an extremely exacting brief in line with the latest scientific research. This means that only the very best active ingredients, with scientifically proven effects and capabilities, are selected by the experts at Cellap Laboratoire to formulate the Cellcosmet & Cellmen skin care treatments.

Although specialised in cellular cosmetology, Cellap Laboratoire’s team of scientists has not shied away from using extracts of plant or marine origin. As a result, Cellap Laboratoire is one of the few laboratories in the world to have mastered both cyto and phyto technologies and can use them separately or in conjunction in a single formulation to increase the subsequent results on the skin.

The CellControl™ Method The active stabilised bio-integral cells obtained through this exclusive procedure developed by Cellap Laboratoire are recognised for their intensely revitalising and anti-aging properties. They explain the 30 years of success of the Cellcosmet and Cellmen skin care treatments. These treatments are now distributed in more than 30 different countries worldwide.

www.cellcosmet.com

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Cellular high-precision

For the Eye Area

CellUltra Eye Serum-XT Anti-fatigue cellular concentrate www.cellcosmet.com

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Artists that know how to . . .

capture your attention < Susan Mains

< Melanie Blomgren

Heidi Berger >

Tracey > Williams

A gallery with life, colour and movement. An impressive collection of Barbadian and Caribbean art. Over 300 exhibits, constantly replenished. artgallerycaribbean.com . facebook.com/artgallerycaribbean (246) 419 0858 . artgallerycaribbean@caribsurf.com Speightstown, St. Peter, Barbados. Mon - Fri 10am â&#x20AC;&#x201C; 4pm; Sat 10am â&#x20AC;&#x201C; 2pm

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DamsonMedia Publisher & CEO Kevin J. Harrington Editor Annalisa D’Alessio Sub Editor Kayley Loveridge Art Editor Friyan Mehta

Arts & Collections has partnered with over 120 of the world’s finest luxury and boutique hotels to provide the highest quality coverage of global art and cultural events, as well as auctions of interest and the latest developments in the global art market. It is this blend of interesting and informative editorial that is most appealing to guests at these premier hotels, who have a great interest in admiring and purchasing fine art and collectables.

Staff Writer Phoebe Ollerearnshaw Editorial Assistant Maria Mellor Production Director Joanna Harrington Production Coordinator Chloe Adegoke

Arts & Collections’ dedicated website, artsandcollections.com, features detailed information on each of the 120 luxury hotels promoting the publication in their exclusive rooms and suites.

Office Coordinator Adam Linard-Stevens

images: © christie’s; 123rf; national gallery of art; tate modern; modigliani

Editorial OFFICE Arts & Collections Suite 2 143 Caledonian Road London N1 0SL United Kingdom Telephone: 020 7870 9090 editorial@damsonmedia.com www.damsonmedia.com CHICAGO OFFICE Arts & Collections 730 N. Franklin St. Suite 604, Chicago, IL 60654, USA The opinions expressed in this magazine should not be considered official opinions of The Publisher or Editor. The Publisher reserves the right to accept or reject all editorial or advertising matter. The Publisher assumes no responsibility for unsolicited manuscripts, photographs or artwork. IMAGES are sent at the owners’ risk and the Publisher takes no responsibility for loss.

© 2018 Damson Media All rights reserved. Reproduction in whole or in part of any text, photograph or illustration without prior written permission from the Publisher is strictly prohibited. Printed in the UK.

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All of the exclusive previews, reviews and expert commentary pieces that appear in the pages of Arts & Collections are also available to view on artsandcollections.com. In addition, the website provides a directory of upcoming auctions by Sotheby’s and other top auction houses, plus exhibitions and popular cultural events, keeping visitors fully informed, as well as providing a comprehensive resource area for collectors and connoisseurs.

Arts & Collections is published quarterly and is available on subscription for €40 (Europe) or €45 (worldwide) per annum including post and packaging. Please email editorial@damsonmedia.com for further details regarding subscriptions.

It Figures... 150 drawings

and other works of art will make up Michelangelo: Divine Draftsman and Designer exhibition at the MoMA New York. Pages 18-21

35years

The age at which Amedeo Modigliani, a celebrated Italian Avant-garde artist, passed away in Paris. Pages 28-31

$5.5m The Rockefeller Emerald recently sold for this amount at a Christie’s auction in New York. Pages 34-39

$332 million Asian Art Week at Christie’s New York totalled this record-breaking amount. Pages 46-47

1401 1875

marks the start of the Renaissance, a period of artistic and cultural rebirth. Pages 69-70

the year Monet, one of the most celebrated impressionists, painted his masterpiece Woman With a Parasol. Pages 72-75

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The longevity of art

Editorial

The recent record-breaking sale of a particular masterpiece demonstrates how powerfully timeless art really is

Below: Camille Pissarro The Boulevard Montmartre at Night, 1897 Oil on canvas 53.3 x 64.8 cm.

Above: Leonardo da Vinci Salvator Mundi, c.1500 Oil on panel 45 x 66 cm.

Images: © The national gallery london, christie’s

I

t all happened in the space of about 19 minutes. Christie’s, one of the world’s most renowned auction houses, recently sold a one-of-a-kind Leonardo da Vinci painting for $450 million (£342 million) in just 19 minutes. Considered one of the last works by the Renaissance master still in private hands, Salvator Mundi (c.1500) was the undisputed star of an extremely dramatic and fast-paced art sale. The painting, which fetched a mere £45 at a Sotheby’s auction in 1958, depicts Christ in a royal blue gown holding his right hand up in benediction. This tells us one thing loud and clear: art is timeless. True art lovers are as dedicated as ever. The global interest in Salvator Mundi saw an impressive audience of at least 1,000 art collectors, dealers, advisors, journalists and onlookers. Thousands more tuned in via the auction house’s live stream service. Tens of thousands more flocked to view the painting during one of its public exhibitions in

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London, San Francisco, New York and Hong Kong. The attention and excitement from the public for this work of art was overwhelmingly heartening; the sale was appropriately labelled a ‘great moment for the art market’ (read all about it on page 34). In this issue of Arts & Collections, we also delve into the business of investment—focusing on art and fine wine. Turn to page 46 to read about the southeast Asian art market, and flick to page 33 to learn about the many ways to spot excellent potential in wine acquisition. Our regular feature with Bank of America’s Rena de Sisto (page 48) concentrates on the importance of sharing art and the responsibility that big corporations have in keeping it alive and accessible to the public. Finally, unearth artistic and cultural hotspots in Bangkok (page 50) with our recurring travel feature and let us whisk you away on a journey to discovering the dreamy impressionist movement (page 72). •

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Happenings // events

Happenings Bringing you a mix of the high-minded, eccentric, regal, random and unmissable events as we look ahead through 2018 By Phoebe Ollerearnshaw

London’s National Gallery is currently housing what Edward Burne-Jones named ‘the finest picture in the world’, the Arnolfini Portrait (1434) by Jan van Eyck. In its exhibition, Reflections: Van Eyck and the Pre-Raphaelites, the gallery will divulge how the painting served as inspiration for the forging of the Pre-Raphaelite Brotherhood. A distinctive feature in van Eyck’s portrait that resonated with the preRaphaelites is the convex mirror; a vital characteristic in Pre-Raphaelite artwork. The device was adapted to convey aspects of reflection, distortion and even more abstract ideas of psychological drama. The display unites steadfast pieces from the National Gallery with those from the Tate and other museums. The pre-Raphaelites were a group of young artists and writers founded in London in 1848. Feeling disenchanted with the Royal Academy’s artistic approach and the widespread painting genre of the era, they leant towards late medieval and early Renaissance styles that came ‘before Raphael’. While the focus of their art was mainly religious, they also explored modern social problems, whilst depicting characters from poetry and literature. The Arnolfini Portrait inspired future masters such as Dante Gabriel Rossetti (1828-1882) and Sir John Everett Millais (1829-1896) to consider colour and technique as a way of imparting symbolic meaning into their craft. The exhibition is on show from 2 October 2017 until 2 April 2018.

Left: Mark Gertler Still Life with Self-Portrait, 1918 Oil on canvas 50.8 × 40.6 cm Leeds Museums and Galleries (Temple Newsam).

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Images: © Leeds Museums and Galleries (Leeds Art Gallery) U.K. / Bridgeman Images

Rousing the Pre-Raphaelites

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Events // happenings

The Upside-down Until 28 February 2018, an exhibition is being held to showcase the work of Georg Baselitz at the Michael Werner Gallery, New York. Baselitz is considered to be one of the most important artists of post-war Germany and this subversive collection undoubtedly displays a full view of his unique style. In the 70s, Baselitz was famous for his upside-down images, with which he aimed to ‘liberate representation from content’. Indeed, these paintings become less about the subject they portray and more about what the artist had to say about them. Also on display will be several of Baselitz’s charcoal drawings. In pure abstraction, these drawings have been known to be highly controversial and incredibly provocative. Look closely and you may be able to see that they are portraits, some named after his muses such as Serge (1990) and Adolf (1991). This exhibition also offers an insight into the artist’s later years, with his development of motifs. Right: Georg Baselitz Untitled, 1991 Gouache, pastel, watercolour on paper 100 x 70 cm.

Images: © Courtesy michael werner gallery, new york and london; shutterstock

Impressionist Art at the National Gallery

Above: Edgar Degas The Dance Class, c.1873 Oil on Canvas 47.6 x 62.2 cm.

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A new Edgar Degas exhibit opened at the National Galley in September 2017. This impressive collection of drawings, paintings and pastels has rarely been viewed—until now. The display is an invaluable opportunity for art aficionados to see works by the leading French impressionist. The pieces have been loaned from the Burrell Collection—it is the first time this group of pastels has been shown outside Scotland since they were acquired for the collection. Marking the centenary of Degas’ death, the show provides visitors with the opportunity to view examples of the artist’s innovation through his favourite subjects: dancers and Parisian life. The collection includes the 1874 painting The Rehearsal that features several ballet dancers practising while the painter watches in a voyeuristic fashion from the corner of the room. Degas is widely hailed as a prominent impressionist, however, he is known to have hated the term, preferring to be called a realist. He continuously experimented with different materials, hence the variety of art he produced from sketches to sculptures. The four oil paintings, 13 pastels and three drawings from the Burrell Collection are being shown alongside pieces from the National Gallery’s own collection and selected loans from other sources to represent a wide span of his accomplishments. The event is taking place at the National Gallery thanks to the Burrell Collection Bill, which received royal assent in 2014, meaning that pieces from the collection can be loaned even overseas. Paintings from the Degas collection made their international debut in Melbourne, Australia last year. Admission is free to the National Gallery and the exhibition Drawn in Colour: Degas from the Burrell is taking place from 20 September 2017 until 7 May 2018.

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Happenings // events

John Piper and 20th Century Art

Above: John Piper Construction, c.1934-1937 Oil paint, zinc, wood, glass and dowelling on canvas on plywood 1006 x 1159 mm Tate. Purchased 1968.

An exhibition of John Piper’s work is currently being shown at Tate Liverpool, celebrating one of the most significant artists of the 20th century. It aims to examine Piper’s role in British Modernism while displaying his innovative work in a variety of mediums. Piper was born in Surrey in 1903. From a young age he would travel by bike around the countryside, painting and sketching local landmarks and landscapes. He produced work in a great variety of styles during his life and is renowned in the art world for his skill in a number of disciplines—from collage to stained glass. Piper was a key war painter during World War Two. He used bomb-damaged landscapes and churches for inspiration and would often travel to cities just days after a bombing to sketch the ruins. He explored several techniques in his work; the beginning of his career was characterised by abstract elements, but he soon moved towards Naturalism. He found romanticism in his subjects and crafted a recognisable but reinterpreted construction. Tate Liverpool contains a display of work from the Tate collection. It is one of four Tate galleries—one of two outside of London. Tate Liverpool prides itself on not only its wide range of permanent fixtures, but also its ever-changing programme of collections. Claude Monet, Pablo Picasso and Andy Warhol have all been featured in past exhibitions. The exhibition is open at Tate Liverpool from 17 November 2017 until 18 March 2018.

Real is real

Images: © the piper estate; beaux Arts London

London’s Beaux Arts invites visitors to consider the ways in which the concept of reality has been pursued over the last century, in an illuminating new retrospective. The Poetry of the Real—showing from 30 November until 3 March 2018—sets out to unveil the importance of interpreting the ordinary happenings of everyday life. It brings into focus a group of artists who—operating with diverse contexts and mediums—confront the idea of reality and wish to make poetry from it. Those appearing in the display include Alex Augustus, Chris Stevens, David Hockney, Philip Harris, Richard Barrett, Ray Richardson and Walter Sickert. The featured artists tackle the concept of reality in very separate ways. In an interview, Chris Stevens famously stated that reality is ‘trying to make something that is about my world. A painting cannot be a pretty picture. That’s what the history of art teaches us’. This differs from Alex Augustus’ stance. He uses ‘the real’ as an almost active component of his work: ‘I am interested in the patterns of people’s lives, in the spaces they occupy, in the symbolism and iconography that they surround themselves with’. A common thread that flows through the collection is that each artist began their creative journey by seeing what was in front of them and worked to look beyond it. Right: David Hockney Doll Boy, 1960 Oil and pencil on panel 75 x 60 cm.

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Images: © the museum of modern art, new york. gift of mr. and mrs. david rockefeller; 2017 artists rights society (ARS), new york / adagp paris

Events // happenings

MoMA in Paris From 10 October 2017, the Fondation Louis Vuitton is hosting a remarkable exhibition presenting works from New York’s Museum of Modern Art (MoMA). The display—Being Modern: MoMA in Paris— will house artwork that has been acquired by the prestigious institution since its founding in 1929. A wondrous spectrum of genres and movements will be covered within the exhibit, from Pop Art to Minimalism. Combined, these works will create an overall vision of MoMA’s renovation project, which is charted for completion in 2019. A range of mediums—such as sculpture, photography, painting and installation—will

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also take centre stage, providing attendees with a more versatile experience. Spanning four floors of the Fondation Louis Vuitton’s quirky Frank Gehry-designed building, the exhibition will finally capture the MoMA’s prized collection. They have held this impressive assortment with a firm grasp for many years, much to the detriment of other global establishments. ‘It’s a unique opportunity to tell the story of how the museum’s unparalleled holdings were assembled both in and outside of New York,’ says MoMA director Glenn Lowry. Iconic artists will be included in the show, with the likes of Paul Cézanne, Edward Hopper, Henri Matisse, René

Above: Paul Signac Opus 217. Against the Enamel of a Background Rhythmic with Beats and Angles, Tones, and Tints, Portrait of M. Félix Fénéon in 1890, 1890 Oil on canvas 73.5 x 92.5 cm.

Magritte, Pablo Picasso, Marcel Duchamp and Andy Warhol drawing the majority of the attention. The Parisian setting poses as a swanky alternative ‘home’ to these works which may have otherwise been put away in storage during the MoMA’s renovation. It could be argued that the change of location offers a more dynamic viewpoint on some of the art in the collection. •

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COLLECTIONS // Art

The Method

Behind the Master The Metropolitan Museum of Art casts a spell of wonder and intrigue with the largest Michelangelo retrospective to date

images: © Courtesy of The Metropolitan Museum of Art; her majesty queen elizabeth ii 2017

By Phoebe Ollerearnshaw

Above: Michelangelo Buonarroti Archers Shooting at a Herm,1530-33 Drawing, red chalk 21.9 x 32.3 cm ROYAL COLLECTION TRUST / © HER MAJESTY QUEEN ELIZABETH II 2017 www.royalcollection.org.

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Art // COLLECTIONS

images: © Courtesy of The Metropolitan Museum of Art; her majesty queen elizabeth ii 2017

T

he Metropolitan Museum of Art in New York has recently announced the opening of its once-in-a-lifetime exhibition, Michelangelo: Divine Draftsman and Designer, running from 13 November 2017 until 12 February 2018. This astounding retrospective celebrating the work of Michelangelo Buonarroti (14751564) has been made possible with the loan of masterpieces from 54 museums and galleries across America and Europe. Approximately 150 of Michelangelo’s drawings will be on show along with his earliest recorded painting, The Torment of Saint Anthony (c.1487-1488), three marble sculptures and his wooden architectural model for a chapel vault. These pieces will sit beside the museum’s own collection which includes Studies for the Libyan Sibyl (c.1510-1511) and Design for the Tomb of Pope Julius II della Rovere (c.1505). Complementary works from other artists will also run alongside for a comparative effect. Born in Tuscany during the High Renaissance period, Michelangelo took to the craft of drawing and painting from an early age. At 13 years old, he was taught the art of fresco painting whilst working in Renaissance painter Domenico Ghirlandaio’s studio in Florence. The term ‘fresco’ refers to the technique of painting murals with water-based pigments on freshly-laid wet lime plaster so that colours blend and fix into place once the plaster has dried. Michelangelo used this technique throughout his career, most notably on largescale projects such as the ceiling of the Sistine Chapel (which was completed in 1512). In his frescoes, Michelangelo depicted his subjects with clarity in true Florentine tradition. As a teen, Michelangelo joined the court of Lorenzo de’ Medici to explore his keen interest in human anatomy. He participated in public dissections during this time using bodies from cemeteries. Some of his preliminary sketches exemplify this interest, revealing figures drawn with a clear anatomical awareness. His ability to depict flawless nude figures with realistic depth is often credited to his extended knowledge of this science. References to biological forms are a recurring theme within Michelangelo’s art, often masked behind his meticulously arranged scenes. In 2010, an image of a dissected brain was found ingeniously hidden in the neck of God in Separation of Light from Darkness (1512) in the Sistine Chapel. This amalgamation of the image of God with a human brain indicates

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that Michelangelo was at the forefront of social change. While church restrictions were stringent, Michelangelo was promoting the idea that faith and science are compatible with one another. It wasn’t long before Michelangelo began branching out into other mediums such as sculpture—which he favoured above other forms of art. He sculpted two of his bestknown works before he reached the age of 30: Pietà (1499) and David (c.1501-1504). While he primarily considered himself to be a sculptor, it is undeniable that his frescoes and

Above: Michelangelo Buonarroti Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a Small Sketch for a Seated Figure (verso), c.1510-11 Red chalk, with accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso) 28.9 x 21.4 cm The Metropolitan Museum of Art, purchase, Joseph Pulitzer Bequest, 1924.

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images: © Courtesy of The Metropolitan Museum of Art

COLLECTIONS // Art

Above: Michelangelo Buonarroti Unfinished Cartoon for a Madonna and Child, 1525-30 Drawing, black and red chalk, white gouache, brush and brown wash 54.1 x 39.6 cm Casa Buonarroti, Florence.

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Art // COLLECTIONS

architectural designs are some of the most revered works in the world. Whether he was designing murals or elaborate sculptures, much of Michelangelo’s work concentrated on figures and physical representations of the soul. Michelangelo’s relationship with the handsome Tommaso dei Cavalieri—a young man from a respected patrician family— is a key point of interest within the Met’s exhibition. Astounded by Cavalieri’s beauty and distinguished appearance upon their first meeting, the pair continued a lifelong relationship. It is difficult to discern whether their association was platonic or erotic; what is certain is that their relationship had a deep impact on Michelangelo’s art. He shared multiple sonnets, drawings and letters with Cavalieri—some of which will be on show within the exhibit. Approximately 600 preliminary sketches by Michelangelo have been recovered from his 77-year-long career. The Metropolitan Museum of Art will be displaying a considerable proportion of them, each unveiling surprising revelations about the artist’s methods. Michelangelo is said to have used sketches to map out his larger paintings, experimenting with different character positions and stances. Hugo Chapman, curator of Italian drawings at the British Museum, made a fascinating revelation in his lecture, Michelangelo Drawings: The Artist Revealed. He confirmed that the artist was notoriously private about his sketches and reportedly sent letters to his studio in Florence asking for them to be burned. Michelangelo did not wish to divulge details of his artistic process and feared the plagiarism of opposing artists. ‘Keeping things away from other artists is key to his make-up,’ explained Chapman. Michelangelo’s reputation led to commissions that extended far beyond frescoes and sculptures. The innovator worked on several impressive architectural projects throughout Italy during his lifetime. Having no real architectural training, he decided to work using his own method of design. Michelangelo’s contributions to significant landmarks such as the Capitoline Hill in Rome allowed him to play with perspectives; a trick he picked up working with other mediums. Each development involved distinct characteristics of the designer’s style. In his analysis of Michelangelo, Chapman highlighted how he used his sketches as a means of communication to map out his architectural ideas to relevant

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patrons. Although these smaller excerpts may seem unfinished or fragmentary, they are extremely telling of his thought process. Plans of such projects will be available to view within the exhibition. These also include models he used to represent his proposals. During the height of the Renaissance, there was a marriage between themes of Catholicism and Greek mythology in art. Michelangelo was a pioneer of this merge, displaying obvious influences within his work. The Last Judgment (c.1535-1541), covering the altar wall of the Sistine Chapel, illustrates the final judgment of God on all humankind. Amongst the Christian effigies, there is a contrasting cast of characters including the Greek mythological creature Minos—the judge of the dead in the underworld. A detailed and fully illustrated catalogue by Carmen C. Bambach will appear in the exhibition. In it are several engaging essays by leading Michelangelo scholars that map his career and discuss his techniques and achievements. New and insightful details

are provided to mark recently discovered components of his creative process. A number of educational programmes will run in tandem to the project, most notably the Met Live Arts performances of La Dolce Morte, based on Michelangelo’s love poems. According to Chapman, Michelangelo’s sketches should be observed with ‘a kind of forensic detail’. Under such scrutiny, they are just as poignant and striking as his finished products—these sketches present the opportunity to discover the method behind the master. • » Michelangelo: Divine Draftsman and Designer will run from 13 November 2017 until 12 February 2018 at the Metropolitan Museum of Art. For more information, visit metmuseum.org

Below: Michelangelo Buonarroti Portrait of Andrea Quaratesi, 1532 Drawing, black chalk 41.1 x 29.2 cm The British Museum, London.

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Luxury close to nature Dr Irena Eris is the brand created by Irena Eris, doctor of pharmacy. For years it has been treasured by Poles and associated with the very essence of good taste and style. The world of the Dr Irena Eris brand consists of more than just topquality, safe and effective luxury cosmetics. It also includes professional individualised care personified by the Dr Irena Eris Skin Care Institutes, and care for balanced relaxation in the form of three luxury Spa Hotels at Wzgórza Dylewskie, in Krynica-Zdrój and in Polanica-Zdrój. Dr Irena Eris SPA Hotels have achieved an iconic status in the Polish SPA market. Their history started 20 years ago in Krynica-Zdrój. This is where the Dr Irena Eris brand began to develop its signature concept of a holistic approach to beauty by opening its first hotel rooted in the vision of, and demand for, a place that would provide comfort and relaxation combined with professional skin care and wellness treatments. Today, three extensions and modernisations later, the facility in KrynicaZdrój offers 60 rooms and suites, a modern, spacious SPA Centre featuring a swimming pool, a sauna complex (a Finnish sauna, a steam bath and a caldarium), 3 Jacuzzis (including 1 outdoor Jacuzzi on the terrace), and fitness studios (cardio gym). The hotel’s major asset is its location in a quiet valley nestled at the foot of Jaworzyna Krynicka, with a splendid view of the

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mountain range which the guests can admire from their rooms, the restaurant and the bar with an adjacent terrace, as well as the swimming pool. Two decades ago, the Hotel opened its door to its first guests, offering comfort and relaxation combined with comprehensive wellness therapy. The unique concept of providing care for the body and soul was considered highly innovative in those days. Even then, the Hotel already offered its guests a luxury SPA Centre and an attractive package of professional skin care treatments available at the Dr Irena Eris Skin Care Institute. It spurred the development of the SPA holiday trend, which had only just emerged in Poland. The experience, understanding and insight into the needs of the guests from that time laid the foundation for a brand new, original concept of the second Dr Irena Eris SPA Hotel in Wzgórza Dylewskie, including a villa complex, which was a revolutionary solution at the time. The facility gained instant popularity, contributing to a rapid growth in the Polish SPA holiday market and a change in Poles’ choice of leisure activities. It also made the charming West Masuria region known as Wzgórza Dylewskie widely popular. The pristine grounds of a landscape park provide a natural enticement for leisure-time physical activities. Horse riding, jogging or cross-country skiing in winter are but a few of the countless attractions the SPA Hotel offers.

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The concept of yet another luxury Dr Irena Eris SPA Hotel, built in Polanica-Zdrój two years ago, was inspired and informed by the combined experience of managing the first two Hotels. Located in the heart of the health resort, the facility perfectly blends with the atmosphere of Polanica. Rooms with stylish interiors and meticulous attention to detail create an unforgettable ambience. But it is the high quality service perfected over the years that is by far the greatest strength of Dr Irena Eris SPA Hotels, which makes guests feel happy with their stay and look forward to their next visit to their favourite place. The value of the brand depends on customers’ perceptions reflected in the feedback they share in social media or post on international travel advice portals. One of the opinion leaders is the TripAdvisor site, which already has nearly 1,000 reviews and ratings of Dr Irena Eris SPA Hotels. In view of the favourable reviews posted by guests from Poland and other countries, all Dr Irena Eris SPA Hotels have been granted multiple Travelers’ Choice awards and a Certificate of Excellence. “A beautiful location and excellent service. I definitely recommend it.”—is just one of the many user posts shown on TripAdvisor’s pages.

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COLLECTIONS // arT

The Masters of

Dutch Golden Age Painting An exhibition at the Hermitage Amsterdam museum will highlight the vast success of 17th century Dutch art By Annalisa D’Alessio

Above: Gerrit Berckheyde View of Amsterdam City Hall, 1670 State Hermitage Museum, St Petersburg.

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aRT // COLLECTIONS

IMAGES: © State Hermitage Museum, St Petersburg

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uring the Dutch Golden Age, a period spanning the 17th century, the Dutch nation flourished, leading the development of European art—among many other things—and triggering a boom in the production of artwork. Dutch Golden Age painting thrived during this time; it is said that around seven million works of art were produced throughout this period. Out of these, around 1.3 million were created in the 20 years after 1640 alone. Dutch Golden Age art reflects many characteristics of the Baroque style, though it fails to show the idealisation of subjects and love of splendor typical of the exuberant movement. In fact, most of the work created during this time demonstrates the attributes of Realism— especially in the depiction of light and shadow—which it inherited from Early Netherlandish painting. Art during this time was not the domain of the rich: even the poor could find the money to purchase a print. At the beginning of the century, art training was still predominantly undertaken through the somewhat medieval system of apprenticeship to a master. Workshops tended to be small in the Netherlands, with their size often restricted by the guild. Paintings—or rather, what was portrayed in them—were divided into a hierarchy and some were considered more prestigious than others. Historical and portrait paintings enjoyed high standings on this ‘ranking of genres’, while landscapes and still lifes held a much lower status. A distinguishing characteristic of the time (when compared to earlier European work), is the small amount of religious portrayals and depictions. In fact, the period in itself is famous for drawings of peasant life, landscapes, townscapes, flowers, maritime scenes and still lifes. Even though Dutch artists concentrated on these ‘inferior’ categories, by no means did they reject the concept of hierarchy altogether. Well-known masters from this epoch, including Johannes Vermeer, Rembrandt van Rijn and Frans Hals, created pieces that now occupy pride of place in prestigious museums worldwide. However, it wasn’t until the 18th century that wealthy collectors around Europe and the

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rest of the world recognised the true worth of their art. During that time, the demand for Dutch masterpieces grew—especially in Russia. Tsar Peter the Great began forming his modest collection with the acquisition of Russia’s first Rembrandt, David and Jonathan (1642), when he was just 25. When Catherine the Great became Empress of Russia in 1792, she acquired works from a number of private collections from around western Europe and created an impressive art gallery in order to appear an enlightened monarch to her subjects. This caused a shift in opinion and a growing respect for the masters of the Low Countries, ultimately leading to increased international investment into Dutch art.

Above: Rembrandt van Rijn Flora, 1634 State Hermitage Museum, St Petersburg.

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From 7 October 2017 until 27 May 2018, the Hermitage Amsterdam will be an unmissable destination for lovers of Dutch Golden Age art. For the first time ever, the museum will hold an exhibition devoted to the artistic gems of the State Hermitage museum in St Petersburg: its collection of 17th century Dutch paintings. The display, which will showcase an impressive selection of 63 works by 50 different artists, will seek to highlight the Russian Tsar’s love of Dutch Masters and explore the way these masterpieces found their way to Russia. It will feature portraits by Rembrandt, Gerrit Adriaensz Berckheyde, Ferdinand Bol, Gerard ter Borch, Gerard Dou, Govert Flinck, Jan van Goyen and other gifted painters who held a prominent role at the time. Most of these works, which will be exhibited in their original period frames, have not been seen in the Netherlands since their acquisition for the Russian collection. The exhibit will also widely cover Dutch Golden Age painting—spanning from 1650 and 1670—which will be represented by no less than 37 works. World-famous highlights on display will include Rembrandt’s Flora (1634) and Young Woman with Earrings (1657), one of Frans Hals’ male portraits and Bartholomeus van der Helst’s Nieuwmarkt in Amsterdam (1666). The vast success of 17th century Dutch painting somewhat overshadowed and overpowered the work of ensuing artists. It is argued that until Vincent van Gogh, no 18th or 19th century Dutch painter became well known outside of the Netherlands, or quite measured up to the fame and fortune of the Dutch masters. •

IMAGES: © State Hermitage Museum, St Petersburg

» Dutch Masters from the Hermitage will be on show in the Nieuwe Keizersgracht wing of the Hermitage Amsterdam from 7 October 2017 until 27 May 2018. For more information, visit hermitage.nl

Above: Paulus Potter Punishment of a Hunter, c.1647 State Hermitage Museum, St Petersburg. Right: Willem Claesz Breakfast with a Crab, 1648 State Hermitage Museum, St Petersburg.

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Life Style Art

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COLLECTIONS // arT

Discovering

Modigliani

Tate Modern’s new exhibition will highlight the work of one of the most famously tormented artists of the 20th century, a visionary who transcended the boundaries of art at the time By Annalisa D’Alessio

Above: Amedeo Modigliani Nude, 1917 Oil paint on canvas 890 x 1460 mm Private Collection.

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aRT // COLLECTIONS

IMAGES: ©Statens Museum for Kunst, Copenhagen; tate modern

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redited with modernising two of the most common themes in art history—the portrait and the nude—Amedeo Modigliani is still, to this day, one of the most famous Avant-garde artists of the 20th century. Tormented by ill health for the majority of his life, the Italian painter and sculptor is among the many visionaries that found little fame during their lifetime. Modigliani was born in Livorno, a city in the western coast of Tuscany. He was interested in art and poetry since a very young age, a passion that his family supported as much as their modest lifestyle allowed. While suffering from typhoid fever at the age of 14, he told his mother he wanted to become a painter. A year later he gave up schooling to study drawing with Guglielmo Micheli and soon left for Florence to focus on the art of figure drawing at the Scuola Libera di Nudo. It wasn’t until he moved to Paris in 1906 that Modigliani began experimenting with different artistic styles. His portraits and nudes became characterised by the elongation of physical features. While in the French capital, he came into contact with artists such as Pablo Picasso and Constantin Brâncusi—two figures that had a deep impact on his work. Although his oeuvre includes paintings and drawings, Modigliani also devoted himself to sculpting from 1909 to 1914. While his personal artistic style was not closely associated with any particular movement or ‘ism’ of the 20th century, his work did take on some elements of Cubism, juxtaposing them with hints of non-western and African art. Perhaps one of the most interesting and tormented artists of the 20th century, Modigliani’s works were not well received during his time. They did, as is often the case, achieve greater popularity after his untimely death and sold for high prices at various art auctions and events thereafter. Modigliani passed away in Paris in 1920 aged 35 after a short battle with tubercular meningitis. From 23 November until 2 April, Tate Modern in London will stage the most comprehensive Modigliani exhibition ever held in the U.K. The show will bring together a stunning variety of the artist’s best works, including his famous nude paintings, portraits and sculptures. Taking a look at the experimentation that shaped his career,

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Above: Amadeo Modigliani Self-Portrait as Pierrot, 1915 Oil paint on cardboard 430 x 270 mm Statens Museum for Kunst, Copenhagen.

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COLLECTIONS // arT

Above: Amadeo Modigliani Jeanne Hébuterne, 1919 Oil paint on canvas 914 x 730 mm The Metropolitan Museum of Art, New York.

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aRT // COLLECTIONS

various representations of people—such as Young Woman of the People (1918) and Boy with a Blue Jacket (1919)—which he painted while he was in the south of France during a moment of particularly poor health. Concluding with some depictions of Modigliani’s nearest and dearest, the exhibition will bring visitors full circle through to the turbulent end of the artist’s life. Other highlights of the retrospective comprise of Modigliani’s sculptures, including a substantial group of his Heads made before the First World War. Visitors will discover lesser-known but radical and thought-provoking works of art as well as representations of some of his closest influencers; namely Picasso, Brâncusi and his partner Jeanne Hébuterne with whom he had a child. The exhibition, which was made possible with the help of Bank of America, also boasts a pioneering collaboration with HTC Vive, bringing art and technology together to create a stunning experience. This exhibit will allow art lovers visiting the Tate Modern to be

transported to the heart of 20th century Paris using the latest virtual technology. Modigliani remains a dramatically fascinating artist, his legacy intertwined with the romanticism of the typical bohemian artist. Countless films and biographies have been produced on the subject of his life, all focusing on the artist who lived a truly passionate, decadent and self-destructive lifestyle. • » Modigliani will run from 23 November 2017 until 2 April 2018 at Tate Modern. For more information, visit tate.org.uk

Below: Amedeo Modigliani Reclining Nude, 1919 Oil paint on canvas 724 x 1165 mm Museum of Modern Art, New York.

IMAGES: © Museum of Modern Art, New York; tate modern

the retrospective will include 100 rarelyexhibited paintings, almost 40 of which have never been seen before in the country. The display will also bring together the largest ever group of nudes shown in the U.K., including Nude (1917) and Reclining Nude (c.1919). These explicit depictions, which led to the police censoring his only solo exhibition in his lifetime at Berthe Weill’s gallery in 1917, are arguably the artist’s most recognisable works. The exhibition will begin with Modigliani’s arrival in Paris, a period of time during which he experimented with different elements of pop culture and drew inspiration from the art of Cézanne, Toulouse-Lautrec and Picasso. Early canvases, such as Bust of a Young Woman (1908) and The Beggar of Livorno (1909) demonstrate the artist on his way to developing his own distinctive visual language. The display will also consider the role of women in Modigliani’s work, including famed editor and writer Beatrice Hastings—a pivotal figure in the cultural landscape of the time. It will continue with

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Fine Wine // Collections

Investing in Wine As one of the top performing asset classes over the last 20 years, wine can be a lucrative investment By Tom Allaway There is, however, an element of risk to buying en primeur. Buyers are essentially committing to wine that hasn’t fully matured yet. Most experts concur that in order to reap the most out of an investment, buyers should aim to set aside about £10,000. It’s important to keep in mind that while returns are not guaranteed, wine is a valuable commodity and sales are often profitable. Buy wines that have provenance associated with them and choose only vintages that have a truly global secondary demand. In a lot of cases, buying smaller amounts of high quality wine will generate a greater return than a large amount of low quality wine.

Storing wine

W

ine investment can be a tricky venture—specialists advise to spend with caution in order to reap the rewards.

IMAGES: © SHUTTERSTOCK, 123rf

Where to buy Before thinking about expenditure and investment returns, consider where to procure your wine. Finding a reputable wine merchant is imperative. Bordeaux, France is one of the most lucrative investment regions in the world, with its wine well-known for a history of high investment returns at auction. Beyond Bordeaux, the super-Tuscan winemaking estate in Italy produces a number of innovative and highly revered wines which are some of the most valuable investment products in the country. Australian wine is also fast becoming a more prominent and favourable alternative to Old World wines for investors. Wine is now the third largest export after metals and wheat in Australia.

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Sommelier Jason Yapp of the wine specialists Yapp Brothers is part of a loose coalition of outstanding independent wine merchants. These include brands such as Adnams, Berry Bros. & Rudd, Lea & Sandeman and Tanners. Merchants like these are highly reputable in the industry and serve as a good place to begin research.

Storing wine appropriately will become a vital component of the investment process. This will help investors maintain a high-profit margin on their collection. Once bought, always store wine in a bonded warehouse. Bonded warehouses are often owned by wine merchants who will have a high level of knowledge when it comes to wine storage. When checking the facilities of a bonded warehouse, ensure that it has temperature control and is fully insured. Avoid storing wine in homemade wine cellars as the reliability of the purchase—and therefore profitability—will likely decrease. 

What to buy and how much Uncovering which wine regions may be the most lucrative, in terms of investment returns, will give buyers a clear and defined list of potential options. Traditionally, wine is bought en primeur. With this method, the most recent vintage of a wine is sold by the producer to a merchant and then onto the customer whilst still in the barrel and young. It is then later delivered in bottles. This process can take a minimum of two to three years, so it is important to consider the longevity of the investment early on. For this route, concentrate on wines from Bordeaux.

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auction highlights // news

Auction

Highlights The record-breaking, the eclectic and the unique; we bring you the latest from the world’s most renowned auction houses By Annalisa D’Alessio

Rare Leonardo da Vinci painting Salvator Mundi (c.1500) sold at a Christie’s New York auction on 15 November for an astounding $450.3 million. The work shattered world records, almost doubling the price of any painting ever sold at auction, despite circulating doubts about its authenticity. Russian billionaire Dmitry Rybolovlev, who sold the painting, had bought it in a private sale back in 2013 for $127.5 million. Auctioneer and global president of Christie’s, Jussi Pylkkanen opened the sale at $75 million. The fervent bidding saw offers leaping to $450 million, and was complete in just 19 minutes. The auction room, filled with over 1,000 art collectors, dealers and journalists erupted in cheers when the hammer closed the sale. The 500-year-old painting, presumed lost until it resurfaced in 2005, depicts Jesus Christ dressed in a Renaissance gown holding a crystal sphere in his left hand whilst holding his right up in benediction. It is thought that almost 30,000 people viewed the piece during its pre-sale tour through Hong Kong, London and San Francisco in free public exhibitions held by Christie’s. A video made by the auction house shows the reactions of those who visited the painting during its pre-sale tour. Among them were celebrities like Leonardo DiCaprio and Patti Smith. Salvator Mundi—which translates to ‘saviour of the world’ in Latin—is among fewer than 20 paintings by the revered ‘grand master’ known to exist. According to Christie's in New York, the work of art was acquired by Abu Dhabi's department of culture and tourism. It will be available for public view at the newly established Louvre in Abu Dhabi. 

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IMAGES © christie’s

Salvator Mundi

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news // auction highlights

IMAGES © christie’s

German Expressionism Hölle der Vögel (Bird’s Hell) (1937-38) recently achieved a record price for German artist Max Beckmann when it sold for £36 million at a Christie’s auction. The vividly coloured painting follows the Germanic artistic style of portraying allegorical scenes, juxtaposing them with Classicism and mythology. This masterpiece is one of Beckmann’s most prominent anti-Nazi statements; it mirrors much of the violence, oppression and terror that characterised the National Socialist regime at the time. Much like Picasso’s Guernica (1937), this work of art has become a universal symbol of humanity—transcending the political climate during which it was created. Painted with vigorous brush strokes and garish colours, Hölle der Vögel catapults the viewer into a world where monstrous creatures take part in a ritual of torture. Adrien Meyer, international director of impressionist and modern art at Christie’s New York remarked that the sale of such a historically prominent work demonstrates the auction house’s ability to ‘lead with masterpieces that resonate on the international market’. 

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auction highlights // news

Painting with white lines

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IMAGES: © sotheby’s

Bild mit Weissen Linien (Painting with White Lines) (1913), one of the most vibrant works by Russian artist Wassily Kandinsky, recently sold at auction for £33 million. The painting, which was initially estimated to fetch around £23 million, was one of the undisputed highlights of Sotheby’s Impressionist and Modern Art sale in London. The sum was the second auction record for Kandinsky at the Sotheby’s sale—it also set a new record price for the abstract artist. The oil painting, which was a result of the artist’s stay in the Bavarian Alps in 1908, was first shown at the Royal Albert Hall in 1910. Another painting by Kandinsky—Murnau - Landschaft mit grünem Haus (1909)—sold for £21 million on the same night, just six lots before. Along with Figuren auf 3 Quadraten (1947), the Russian artist’s auction total for the evening rose to an impressive £54.4 million. Helena Newman, global co-head of Sotheby’s impressionist and modern art department, said: ‘To have three landmarks in the development of 20th century art by Kandinsky, Miró and Giacometti come to the market in a single sale tonight was momentous. These key works stand as turning points in the history of art.’ 

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auction highlights // news

Emerald treasure

A Historic Racecar Michael Schumacher’s Ferrari, the Monaco Grand Prix-winning F2001 racecar, sold for a staggering $7.5 million at a recent Sotheby’s auction in New York. The world record sale for a modern-era Formula One car was achieved after a tense sixminute battle between eight bidders. A momentous occasion curated by RM Sotheby’s, Michael Schumacher’s Ferrari is the first vehicle that has been offered at a Sotheby’s art auction. Initially estimated at $4 million, the racecar is best known for helping the famous German sportsman to his fourth Formula 1

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World Championship title. Other highlights of the sale, which covered contemporary art, included the Jerome & Ellen Stern Collection, Warhol’s Mao, Lichtenstein’s Female Head and Louise Bourgeois’ Spider IV. Presenting an impressive 70 lots spanning 65 years, the evening saw a successful 96 percent sell-through rate—a 12 percent increase from the same time last year—as well as the largest group of works by female artists in a Sotheby’s contemporary art evening auction. In addition to Michael Schumacher’s Ferrari, the art sale also broke other notable records, including one for Bourgeois’ wall-mounted spider and for a painting by American pop artist Robert Indiana. 

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IMAGES © sotheby’s; christie’s

A new auction world record has been set for an emerald per carat. The Rockefeller Emerald, which was sold on behalf of a private collector, fetched in excess of $5.5 million at a Christie’s sale in New York—this is equal to a staggering $305,000 per carat. The 18.04-carat diamond was initially estimated to fetch between $4-6 million. Harry Winston’s CFO, Robert Scott, bought the precious stone with instructions from Nayla Hayek—chief executive of the designer jeweller—to bring it home ‘at any price’. John D. Rockefeller Junior, the only son of the Standard Oil founder after whom he was named, originally bought the emerald in 1930. It became the centrepiece of an opulent brooch for his wife, Abby Aldrich Rockefeller. After she died, the stones were separated into five equal parts and the emerald was given to her youngest son—David Rockefeller. It was jeweller and family friend Raymond Yard who, on Rockefeller’s instructions, set the emerald on a platinum ring flanked by diamonds. It has remained that way until today. After the sale, Hayek commented: ‘Harry Winston is immensely proud to own the finest emerald in the world which once belonged to one of America’s most important dynasties.’ 

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news // auction highlights

Treasures Our series highlights a single item of artistry or craftsmanship that is both rare and exquisite

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mongst the luxurious assortment of the Prince of Prussia’s personal collection is the Elector of Brandenburg’s 66-point stag cup. The German parcel-gilt drinking cup designed in the form of a stag was made around 1696. The history of this piece originates from a 17th century story in which a stag—thought to be supernatural by local woodsmen—was shot by Friedrich III, Elector of Brandenburg (1657-1713). The creation of this cup is believed to be inspired by a design by Baroque sculptor and architect of works to the electoral court, Andreas Schlüter. The cup, which was estimated to fetch around £250,000-£350,000 at auction, actually sold for £2.28 million at a Sotheby’s sale in London. •

IMAGES © sotheby’s

Pop Art ‘Selfie’ One of Andy Warhol’s first self-portraits has sold for £6 million at a Sotheby’s sale in London. The work appeared at auction for the very first time, some 30 years after the pop artist’s untimely death in 1987. Warhol’s Self-Portrait (1963-64) is especially significant. As an artist who was most famous for his portrayals of stars like Marilyn Monroe, Jackie Kennedy and Elizabeth Taylor, this particular work represents the moment he stepped out from behind the camera and into the spotlight. Based on the first image in a strip of photo booth pictures taken at a New York dime store, Self-Portrait is—effectively—Warhol’s very first modern-day ‘selfie’. James Sevier, senior specialist of contemporary art at Sotheby’s commented: ‘In the age of Instagram, Warhol’s fabled prediction that “in the future, everyone will be world-famous for 15 minutes” has never felt more prophetic. The artist’s self-portraits…have never felt more relevant to contemporary culture. This is a work of immense historical importance that marks the watershed moment when Warhol joined the canon of the greatest self-portraitists.’ 

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culture // TOURISM

10 Reasons to Visit

France

Not many locations around the globe encapsulate the utter diversity of landscapes and cultural experiences that France can By Phoebe Ollerearnshaw

1

Versailles

Situated approximately 12 miles away from Paris, the originally conservative village of Versailles was urbanised by Louis XIV during his reign. Since then, its unique octagonal squares, wide avenues, majestic churches and gourmet markets have made it a must-see destination for holidaymakers. Our top pick: Versailles Palace Versailles Palace was transformed by Louis XIV from his father’s hunting lodge into the monument of grandeur it is today. The impressive manor oozes bourgeois affluence with expansive halls, intricate mouldings and embellished carvings. The château itself sits astride the royal stables and impressive garden space. Exclusive events are held at the estate each year, ranging from masquerade balls to art exhibitions and concerts.

2

Carcassonne

Bursting with medieval charm, Carcassonne’s old walled town— better known as la Cité—has earned the city a shining reputation. Miss the crowds and visit in autumn or spring to fully appreciate the benefits of its charisma. Our top pick: Comtal Castle To walk on la Cité’s ramparts you must enter the Comtal Castle. Built on a rocky hilltop in the 12th century, its spiked turrets and battlements look as though they belong in a children’s fairytale book.

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TOURISM // culture

Facing Page [top-bottom]: The stunning gardens at Versailles Palace. The jutting spires and turrets of Carcassonne’s Comtal Castle.

Left: The city of Lyon from across the Saône River. Below: A view of Mont Saint-Michel’s towering abbey and surrounding architecture.

3

Lyon

Whether it’s Michelin star dining or more modest bouchon-style restaurants, Lyon caters to all manner of tastes. Being France’s third-largest city, many now regard it as the ‘new Paris’. From open-air markets, architectural sites and leafy countryside, Lyon is a wonder to behold. Our top pick: Musée des Beaux-Arts While there is ample choice of interesting museums to choose from in Lyon, the Musée des Beaux-Arts brags of some of France’s finest antiquities, paintings and sculptures. Works by Claude Monet, Henri Matisse and Pablo Picasso co-exist within this gallery’s permanent collections.

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Normandy

IMAGES: © shutterstock

Normandy has played a central role in European history. Sprawled across France’s northwestern corner, the region is praised for its cliff-lined shores and green inland spaces. A visit to the Bayeux Tapestry or D-Day beaches will satisfy history enthusiasts and curious tourists alike. Our top pick: Mont Saint-Michel Mont Saint-Michel is a stunning island just off the coast of Normandy. It is marvelled for its iconic abbey with spires that jut out dramatically, as though directly from the sea itself.

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5

The Loire Valley

Centrally poised along the Loire river and its tributaries, this province has a lot to offer. With quality gastronomy and world-class wine production, you may get lost in its charm. Most people spend time roaming the vast fortresses or regional vineyards, famed for their crisp dry white wines. Our top pick: Chenonceau Castle Possibly the most famous of the region, this castle offers a mix of late Gothic and Renaissance architecture. Once home to Queen Catherine de’ Medici, the vast fortress is certainly worth viewing. Right: A view of the historic Chenonceau Castle from the edge of the formal gardens to the west of the residence.

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Bordeaux

With almost half the city being Unesco-listed, Bordeaux is currently the largest urban World Heritage site today. Its vast student population and high number of annual visitors make it a vibrant and dynamic city. Trendy wine bars and food joints—along with a plethora of museums—culminate to establish Bordeaux as a fantastic destination for all ages. Our top pick: the Cité du Vin Sensory exhibits are encased in a contemporarily designed building at the Cité du Vin. The museum delves into the intricacies of the wine world, covering everything from cultivation to production and taste. The tour even finishes with a complimentary glass. Right: Bordeaux’s modern wine museum—Cité du Vin.

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TOURISM // culture

7

Chamonix

Chamonix has assuredly set itself apart as the region for thrill-seekers and scenery. Aside from the lively bars and exciting ski tracks, there is also a huge amount of history to the area. For a rest from the slopes, visit the Crystal Museum; it has an array of crystals, rocks and minerals dating back centuries from the nearby mountains. Our top pick: Aiguille du Midi This lookout spot beside the shadow of Mont Blanc’s ridges makes for the perfect viewing experience. Remember to bring a camera—although pictures practically take themselves here. Left: A public walkway looking over the jutting peaks of Mont Blanc.

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Provence

Upon hearing the word ‘Provence’, images of olive tree groves and vast fields of lavender, rolling hills and dusky evenings are usually conjured. In this respect, Provence delivers on all counts. This is the region of iconic landscapes captured by Paul Cézanne and Vincent Van Gogh—try your best not to be entranced by its beauty. Our top pick: old town Nice Nice’s old town, with winding streets and beautiful market squares, is a perfect retreat. Lined with delis, restaurants and boutiques, it’s not difficult to while away the hours in this laid-back setting.

Left: The bay of Nice’s old town.

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Alsace

The historical region of Alsace borders Switzerland to the south and Germany to the east. It is often commended for having its own unique identity, language, history and architecture. Culture buffs will want to visit its fine arts museum in Strasbourg which is filled with paintings from old masters of the area. Our top pick: Strasbourg’s Notre-Dame Cathedral Completed in 1439, the leering gargoyles and 142-metre spire make the Notre-Dame Cathedral an impressive sight to behold. The elaborate stained glass and ancient clock are exquisitely crafted. Right: A view of the colourful city of Colmar in Alsace, France.

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PARIS

No list of France would be complete without a mention of its glittering capital. It’s not hard to grasp why it is referred to as the ‘city of love’; with romantic pathways through the Palace of Fontainebleau and scores of couples perched by the Seine. Parisians are synonymous with style so, fittingly, the city is bursting with boutiques and fashionable bistros. Art aficionados are spoilt for choice between the Centre du Pompidou, Musée d’Orsay and other countless galleries that are peppered throughout the city. Our top pick: the Louvre The Louvre is the world’s most visited museum—and for good reason. With three wings showcasing 35,000 works of art, any less than a day’s visit would be a travesty. Antiquities from the Mesopotamian, Egyptian and Grecian eras all feature within its vast exhibits. The world’s greatest masterpieces call this space home; Leonardo da Vinci’s Mona Lisa (1503) being the most notable. But don’t be fooled into thinking this is the only wonder within these walls; decades of western art’s chef-d’oeuvres are waiting for visitors to marvel at them. Due to the bustling nature of the Louvre, advanced planning is essential—avoid bank holidays for a more enjoyable experience. • Right [top-bottom]: The Louvre, Paris. One of the world’s most famous museums. The Eiffer Tower, located on the Champ de Mars in Paris, France.

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Finest Arabian Luxury at the doorstep of Fez Medina 19th century Moorish palace renovated by the finest architects and artists of the country offering 26 Luxury suites, 6 rooms, 450sqm Oriental spa, 2 Restaurants and a panoramic lounge bar with breathtaking views of the largest pedestrian city in the world. The architectural heritage of the palace combined to the attention to detail and inner hospitality of the site holders has turned Palais Faraj Suites & Spa into an iconic place for travellers in search of a genuine and refined experience.

Bab Ziat - Fez Medina - Morocco Tel : +212 535 63 53 56 Fax : +212 535 74 10 26 Email: sales@palaisfaraj.com Website: www.PalaisFaraj.com Palais Faraj.indd 1

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Investment // art

A Modern Investment:

Southeast Asian Art A treasure trove for contemporary art, southeast Asia is beginning to thrive in the global art market By Kayley Loveridge

modern southeast Asian art market has seen a 20 to 30 percent growth; auction house Christie’s has reported record spending in the Asian art category in the first half of 2017 alone. The opening of art institutions including the National Gallery in Singapore—home to the largest collection of southeast Asian art in the world—has helped elevate the region’s place in the global arts scene. Art from the area is particularly palatable for first-time buyers looking to build their collection and invest in the lucrative Asian art market. With such a young history, works from the region are more affordable

Above: Charles Henry Cazalet Malay Huts, MacPherson Bridge, 1856 Watercolour and pencil on paper 34 x 73 cm Collection of National Gallery Singapore.

than art from its more mature Chinese counterpart, but they boast similar patriotic and cultural values. A piece with weighted historical significance is more likely to yield profitable returns at auction. With southeast Asian art, specialists recommend investing in 20th century works—particularly those created by deceased artists of the era.

images: © National gallery singapore

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n recent years, contemporary art from southeast Asia has seen a robust return in auction sales worldwide. Our Soldiers Led Under Prince Diponegoro (1979) by Indonesian painter S. Sudjojono, fetched a staggering HK$58.36 million ($7.53 million) back in 2014 at a Sotheby’s auction. In 2010, Bali Life (1974) by esteemed artist Lee Man Fong went under the hammer for $3.24 million at Sotheby’s Hong Kong. The collector base for southeast Asian art is slowly reaching the international market and this shift from domestic to international sales is, in part, responsible for its surge in popularity. Over the last decade, the

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art // Investment

Novice investors should look inward toward artists such as Vietnamese painter Le Pho or masters of the revered Nanyang Academy of Fine Arts in Singapore, founded by Lim Hak Tai. The school boasts some of the most sought-after artists of the region including pioneers of modern southeast Asian art, Chinese natives Cheong Soo Pieng, Chen Chong Swee and Chen Wen Hsi. Wen Hsi made his mark in the industry when the famous painting Two Gibbons Amidst Vines (undated)—one of his various paintings of gibbons—was printed on the back of the Singaporean $50-dollar note while Lady (undated) by Soo Pieng sold for HK$1,875,000 at an auction in 2015. The word ‘Nanyang’ is a Chinese term that typically refers to Chinese immigrants in southeast Asia. The Nanyang style was

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practiced by migrant Chinese painters in Singapore and would go on to leave an indelible mark on Singaporean art history. Many of these first generation Nanyang artists were looking for ways to establish their identity in a foreign country and the lands of southeast Asia provided major inspiration to them. Parallels can be drawn between traditional Chinese painting techniques—including ink brush painting, calligraphy and water colour— and southeast Asian art, which has helped to propel its position in the Asian art market. While profitable returns in art from the region can be hard to predict, this young market allows for an accessible entry into the broader, more established Asian art scene—a goal for any new investor. •

Above {l-r]: Le Pho Harmony in Green: The Two Sisters, c.1938 Gouache on silk 54 x 45 cm Collection of National Gallery Singapore. Chen Wen Hsi Playful Gibbons, c.1980s Chinese ink on paper 175.5 x 95 cm Gift of the artist Collection of National Gallery Singapore.

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culture // art investment

Art in Our Communities Rena DeSisto and Allen Blevins from Bank of America give Arts & Collections some insight into their Art in Our Communities project

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that have requested to be a part of it. ‘After probably five or six shows and word started to get out and so forth, the requests starting coming in to us, and the rest is kind of history.’ She adds: ‘Now we are travelling more than 12 shows a year, which is probably more than any museum does. The challenge now is to keep up with the demand; we also don’t want to fatigue the art in terms of handling and subjecting it to different environments.’ Bank of America’s organisers process the requests for exhibitions cyclically, usually booking them 12 to 24 months in advance. Art establishments may wish to appeal for this assistance for a number of reasons. ‘If we have situations

Above: The Museum of Photographic Art, San Diego, USA, showing: Beaumont and Nancy Newhall: The Art of Collecting. Image by Smart Destinations, Flickr, 2005.

images © 2017 Andrew Wyeth/ DACS; flickr

ince its inception in 2008, Bank of America has used its Art in Our Communities scheme to reach out to non-profit museums and galleries, helping to boost their revenue and recognition. More specifically, the project allows organisations in need to borrow entire exhibitions or grouped pieces from the bank’s exclusive art collection at no cost. The scheme’s success has resulted in the loaning of more than 120 exhibitions to museums around the globe, offering the public the opportunity to experience some of the most profound artworks in all their glory. Arts & Collections spoke with the bank’s global arts and culture executive, Rena DeSisto, and art and heritage director, Allen Blevins, to gain a better understanding of how the scheme was developed. ‘We were just looking at the art collection and what was the best way to use it. […] Basically, putting on our “good corporate citizen hat”, the question became: “How do we use this best?” […] Many companies, ours included, had from time to time lent a piece or two or three to a show—the curator would know that we had something or enquire if we had something we would lend them. But we wanted to do something more robust than that, and we knew that we had the ability to pull together complete shows. We also decided that if this was going to be a community resource, it needed to be at no cost to the end user—i.e. the non-profit museum,’ DeSisto explains. Describing the offset of the programme as a ‘slow start’, DeSisto divulged how the project has gradually blossomed into a valuable resource, with a list of institutions

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ART INVESTMENT // culture

where museums have had a gap in their schedule or an exhibition has cancelled for whatever reason, we have been able to work with them at very short notice to get an exhibition to them to fill that gap,’ Blevins explains. ‘Typically, it works on a cycle. Museums reach out directly to us or there’s a link on our arts and culture website where museums can contact us.’ Art in Our Communities has been praised for its admirable objectives and the considerable scale by which it has been orchestrated. ‘I think other companies do lend pieces here and there but I’m quite certain that nobody does what we are doing with this collection,’ DeSisto stipulates. The benefits for the museums involved in the project are immeasurable, especially for those whose budgets are more modest. ‘By providing a museum with an exhibition at no cost, or funding the conservation of a cultural treasure, [the programme can] free up money that those institutions can devote to other priorities,’ Blevins adds. But Bank of America goes further than simply lending their artwork—in fact, they go above and beyond to support their collaborators. Blevins describes how the bank aims to ‘provide the museums with complete didactic information’ down to the labels that they put on the wall. ‘We even provide them with educational materials to use at their discretion. We also encourage the museums to embrace the exhibitions and create their own outreach and educational programming,’ he says. The bank fully subsidises their loans, covering every aspect from shipping and crating works to the insurance of the artefacts. As part of the bank’s mission to aid local communities, they also sponsor and fund the resources for a number of learning programmes for youths. This includes publications and workshops to educate young minds on the arts and other related topics. ‘I look at art as having several social impacts. One of them is education. More broadly: when you look at art and learn about art, you are learning about history, you are learning about other cultures, you are learning about philosophy— sometimes you even learn about science. For instance, if you were to look at The Gross Clinic by Thomas Eakins, it’s a fairly

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bloody look at an operation in the early 1800s—before people understood things about germs,’ DeSisto says. ‘I think that art is a window into pretty much everything that affects humanity—that’s how I look at it. I also look at it as—in this crazy world that we live in—a cultural understanding tool,’ she adds. Identifying the power of art to unify and spread salient social messages, Bank of America has thoughtfully curated collections that seek to bridge a gap between cultures and shine a light on different ways of living. Their group of shows on Mexican diversity is a prime example of this. Manuel Carrillo: My Beloved Mexico—exhibiting next year at McNay Art Museum in Austin, Texas— is one such example. This exhibition illustrates the Mexican way of life through expressive photographs, emphasising the experience of their traditions through a native artist’s eyes. DeSisto hopes that the Art in Our Communities programme will encourage a general change in attitudes—especially in the way we consume art. ‘The change that I would like to see is that more and more people are seeing the arts and feeling comfortable with the arts and understanding that it’s for everyone—it’s not a highfalutin kind of endeavour.’ She also hopes that fellow corporations will follow Bank of America’s lead by investing

Above: N. C. Wyeth (1882-1945) The Gnomes Bowling, 1921 Endpaper illustration, Rip Van Winkle (Washington Irving, 1918) Oil on canvas Bank of America Collection.

‘I think that art is a window into pretty much everything that affects humanity— that’s how I look at it’ —Rena DeSisto, global arts and culture executive at Bank of America in this vital sector: ‘I would also like to see corporate support of the arts around the world become more robust,’ she concludes. Bank of America looks forward to an active schedule of rotating exhibitions in the upcoming year. Samples from the lineup include Andy Warhol Unscreened at Wits University Museum of Arts in Johannesburg, South Africa, The Wyeths: Three Generations at the Portland Art Museum, Oregon, United States and Beaumont and Nancy Newhall: The Art of Collecting at the Museum of Photographic Arts in San Diego, United States. •

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ART // TOURISM

Bangkok:

City of Culture Explore the thriving Thai city of Bangkok with Arts & Collections By Maria Mellor

Above: Entrance to Wat Pho temple—a hugely popular and ornate attraction in Bangkok, Thailand.

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TOURISM // ART

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hailand is a known travel destination for both gap year backpackers and luxury high-fliers alike. With stretches of gorgeous white sand beaches and a tropical climate Britain can only dream of having, the country offers travellers an immersive experience. Tourists can choose to explore both the rural and urban aspects of the country; Thailand’s mix of busy cities and rugged forests provides a spectrum of southeast Asian life. Thailand’s flourishing capital of Bangkok has a wealth of culture to explore. The modern and traditional sensibilities so intrinsic to Thai culture are crammed together in one space; a silhouette of city skyscrapers overlooking ancient temples. While Bangkok has a reputation for being unsavoury, wild and clamorous thanks to a rather limited representation in the media, Thai culture itself actually has a unique beauty. Buddhism is the most prevalent religion in the country with the faith reflected in the traditions and architecture dotted throughout the city. There are incredible temples sitting by the Chao Phraya river and thousands of Buddha statues scattered throughout the capital city. The multi-cultural mix of people in Bangkok make the city the fantastically

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eclectic jumble it is today. Food, festivals and fantastic landmarks together make Bangkok a first-rate city of culture.

Above: A view of the city at twilight from Lumphini Park in Bangkok, Thailand.

Landmarks Bangkok is home to some of the most beautiful temples and ancient buildings in the world; one of the most popular being the Wat Pho temple—or ‘Temple of the Reclining Buddha’. The temple complex is hugely popular with tourists and is famed for being the oldest and largest in Bangkok; its buildings feature classic ornate Thai decorations. The famous Reclining Buddha is the largest Buddha statue in Thailand at over 150 feet long. The Grand Palace in the heart of Bangkok is an enchanting sight with its tall gold spires and impressive buildings. It has been the official residence of the Kings of Siam (and later, Thailand) since 1782. Official events and royal functions are still held in some of the many buildings that make up the Grand Palace. Situated on the banks of the Chao Phraya river, the Grand Palace is one of the most popular tourist attractions in Thailand. Wat Arun is a perfect example of extraordinary Thai architecture. This ‘Temple of Dawn’ is distinctive with its intricate prang (spires), which give onlookers the impression

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ART // TOURISM

that it has risen from the ground at the banks of the river. Extensive restoration work has been completed recently to return the prang to their former glory. Wat Benchamabophit—also known as the ‘Marble Temple’—is widely considered to be one of Thailand’s most exquisite houses of worship. With white walls and a redstepped roof, the architectural symmetry of the building makes this a national treasure. 52 Buddha statues are on display, each depicting different Mudras (symbolic hand gestures). An image of the temple can be found on the reverse of the five-baht coin—a piece of Thai currency.

Food The epitome of Thai food can be found on the streets of Bangkok. The city is known for its numerous street vendors selling delicious pan-Asian food, and you can find everything from Thailand’s famous curries to its pad kee mao (‘drunken noodles’) dish, popular with

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the town’s party-goers. Yaowarat—otherwise known as Chinatown—is a sought-out foodie destination; head here for a great variety of freshly-prepared traditional dishes.

Above: Wat Benchamabophit—the ‘Marble Temple’—with its famous red roof in Bangkok, Thailand.

Museums

contemporary ways throughout the museum. Each room of the museum showcases a different part of Thailand’s history, allowing visitors to immerse themselves in the many facets associated with the culture. The presentation of the multiple exhibits in this museum is what people find most interesting, with televised broadcasts showcasing the evolution of Thai TV and a life-size reconstruction of the ‘Bangkok Café’ from the 60s.

Bangkok houses numerous museums where tourists are invited to learn about Thailand and the rich history of its capital city. The Bangkok National Museum is located in the former grounds of the 18th century Wang Na Palace and is home to the largest collection of Thai art and artefacts in the country. The museum displays permanent exhibitions showcasing Thai history from the prehistory period to the Bangkok period. Delve into Thailand’s opulent past and explore a vast array of sculptures, gold treasures, costumes, textiles and musical instruments. The Museum of Siam attempts to answer the question, ‘What does being Thai mean?’ This question is emblazoned in red in its reception area and is explored in a variety of

Festivals Anyone who has visited Bangkok will say that it feels like a perpetual party with its loud, vibrant atmosphere. However, during certain times of the year, celebrations intensify in the form of the city’s famous festivals. Residents

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ART // TOURISM

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Getting out of the city If you’re looking to get away from the busy city, consider exploring the nearby areas of natural beauty Thailand has to offer. Erawan Falls is just a few hours’ drive away from central Bangkok and is guaranteed to provide an experience to remember. Situated in Erawan National Park, the seven-tiered waterfall is a great place for hiking, exploring and swimming. The ponds that make up part of the falls are a perfect—and safe—place to take a dip. Go during the April Songkran festival for a water fight even more intense than the one in the city. South of Bangkok lies the Phetchaburi province. Phetchaburi is one of the oldest settlements in Thailand and provides visitors a traditional view of Bangkok without the interruption of modern life. Hat Cha-am is a tourist favourite with a two-kilometre beach and plenty of food vendors right by the sea. Cha-am was originally a fishing village— evident in the amazing seafood you can find there.

Above: The mystical Erawan Falls where tourists go to swim. Located just outside of Bangkok in Erawan National Park.

You can’t go to Phetchaburi without visiting Tham Khao Luang—climb down the steps into a vast cave framed with stalagmites and stalactites. Inside, find hundreds of Buddha statues and relics hidden beneath a natural opening in the top of the cave where sunlight pours through. For those who prefer not to travel far out of the city, Bangkok has a charming park in its very centre. Lumphini Park is an open public space with trees, playgrounds and a lake. The park is popular with joggers, and visitors can rent boats to sail on the lake. Lumphini is a rare patch of green in Bangkok where visitors can go for a picnic or simply get away from the bustling city. 

IMAGES: © SHUTTERSTOCK

show their free spirits at the Thai New Year water festival, Songkran, which takes place in April. For a full week, festival-goers take part in a wild water fight. While most people welcome getting drenched during the hottest week of the year, businesspeople and tourists often get targeted and caught unaware. Loy Krathong is a more delicate and restful festival that takes place on the night of the first full moon in November. Thai people send small, decorated floats made of leaves, flowers and candles out into bodies of water. It’s a symbolic offering to the gods to let go of grudges and anger. It can be watched from various points throughout the city for a bewitching spectacle. Every autumn the International Festival of Dance & Music in Bangkok brings well-loved shows and displays from across the world. From West Side Story to the Lithuanian National Symphony Orchestra, there is a diverse array of performances representing different countries ready to entertain the crowds.

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The Art of Travel

Exsus has been creating bespoke luxury holidays and honeymoons since 1998, each one tailor-made and featuring the very best hotels and experiences in incredible destinations around the world.

Cities don’t come more buzzing or colourful than Bangkok: a fast-paced and eccentric metropolis where serene temples and world-class galleries stand alongside glittering skyscrapers. With Exsus, you can enjoy the cultural heartbeat of Bangkok staying on the banks of the Chao Phraya River at The Siam. This elegant hotel is not only a luxurious, stylish retreat, and an oasis of calm in the centre of the bustling city, but is a gallery as well. It is the perfect showcase for the impressive personal art collection of one of its owners - who happens to be one of Thailand’s most popular rock stars. The interiors are full of oriental artworks and antiques, leading to private pools and leafy courtyards, and you can also stay in the characterful Connie’s Cottage, named after antique collector Connie Mangksau, who brought the century-old teak house downriver from Ayutthaya. As well as being home to River City, Asia’s premier arts and antiques hub, you can also visit the

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Bangkok Art and Culture Centre (BACC), which has nine floors of contemporary art, and you can watch artists at work in studios and private galleries around the city. You can even see exhibitions by both local and international artists onboard privately-owned ferries on the Chao Phraya River as you travel between the piers. After soaking up the sights and sounds of Bangkok, why not consider exploring more of Thailand’s Golden Triangle? Head to the rainforests of Chiang Rai in the north for a deluxe glamping experience at the Four Season Tented Camp, or enjoy paradise on an idyllic island in the south at the Six Senses Yao Noi.

A holiday to Bangkok, staying at The Siam for 7 nights including flights, costs from £1,644pp*. Visit exsus.com or call their Travel Experts on 020 7563 1303 to plan your tailor-made holiday. *T&C’s apply.

20/11/2017 12:03


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06/11/2017 14:11


Classic Cars // COLLECTIONS

Seeing Red:

70 Years of Ferrari Explore 70 years of flawless Ferrari designs, with each automobile encapsulating the perfect balance between elegance and speed

IMAGES: © The Petersen Automotive Museum

By Phoebe Ollerearnshaw

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Above: Seeing Red: 70 Years of Ferrari showcased at the Petersen Automotive Museum Ferrari 250 LM, 1965.

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COLLECTIONS // Classic Cars

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o applaud the 70-year anniversary of Ferrari, one of the most iconic automobile manufacturers ever known, the Petersen Automotive Museum is hosting an exhibition in its honour. Seeing Red: 70 years of Ferrari—running 29 April 2017 until 2018—will showcase the finest of Ferrari’s creations, all presented in their trademark shade of red, emphasising the colour’s connection to the brand. Founded by Enzo Ferrari in 1939, the company earned a stellar reputation through the production of advanced racing sports cars and peak performance Formula 1 vehicles. With 5,000 championed races under its belt, the brand is suitably renowned for impeccable precision and groundbreaking design. Since its opening in 2015, the Petersen Automotive Museum has become one of the greatest curators of all things motorised, and this new display doesn’t disappoint. Boasting 25 separate gallery spaces, the museum is the ideal stage for audiences to marvel at 10 of Ferrari’s most praised models. The retrospective is a feast for the eyes, with glistening motors and sleek bodywork—each vehicle unique in its own right. The show begins with the genesis model, progressing through each era in the Italian master’s long career, eventually leading to their more recent hypercar. ‘Seeing that rosso corsa paint and the beautiful curves of the bodywork is always enough to make your heart skip a beat,’ said Bruce Meyer, chairman of the Petersen’s board of directors. ‘Seeing Red will be one of the most significant gatherings of Ferraris in the world and I’m so pleased to be able to share it with the public in our gallery.’ Heading the event is the 1963 Ferrari 250 GTO, one of only 39 ever made and considered to be one of the most desired collectable cars in the world. The last auctioned version was sold for a record breaking $38 million at a Bonham’s auction in California in 2014—making it one of the most expensive cars in history. Perhaps one of the most significant examples within the exhibit is the 1947 Ferrari 125 S. This was the first car to officially wear Ferrari’s emblem—the black horse emblazoned upon a yellow shield. The 125 S was a particularly successful racecar, winning six out of 13 races that it took part in. With a curved shell and streamlined aesthetic, this groundbreaking car paved the way for other future models to progress. For the first few decades, Ferrari kept its vehicular recipe consistent; a warm leather

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interior fuelled by a 12-cylinder engine up front. Joining the 125 S are various other tournament winners such as the 1958 250 Testa Rossa and the 1965 250 LM, that won Le Mans that same year. The rest of the gallery reveals other beautiful models, both modern and classic, all divulging blatant characteristics of Ferrari’s flair. As time advanced, so did Ferrari’s automotive designs, with a new focus on speed and agility. They sparred with the concept of the ‘super car’ by modifying its suitability for the road. With the inclusion of advanced materials like carbon fibre, Kevlar and Lexan, the weight of the vehicle was kept low and the speed high. This evolution is highlighted within the exhibit, as we are finally drawn to the 2014 LaFerrari; a limited production hybrid sports car. Terry Karges, executive director of the museum, said: ‘This new exhibit is another example of how the Petersen views cars as art, and nothing is more appropriate than red

Above: Upward opening swan doors ensure easy entry and exit. Ferrari, LaFerrari, 2014. Below: The interior is adorned with plush red leather features. Ferrari, LaFerrari, 2014.

Ferrari models.’ He added, ‘We’re confident this exhibit will help us continue our success and really get people talking and learning about Ferrari.’ Since their conception, Ferrari’s prancing horses have been synonymous with innovative style and remarkable engineering. The Petersen Automotive Museum’s tribute to the awe-inspiring brand only builds anticipation for the undoubtedly revolutionary designs that are yet to come. • » Seeing Red: 70 Years of Ferrari is showing at the Bruce Meyer Family Gallery, Petersen Automotive Museum, Los Angeles, from 29 April 2017 until 29 April 2018

www.artsandcollections.com

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Over 100 classic cars in stock. But seeing is believing.

Hexagon Classics focuses on the rarest and most collectable classic cars in the world. And Ferrari is a brand close to our hearts. We dealt with the Ferrari Factory – and Enzo Ferrari himself – back in 1972 when Hexagon purchased an F1 and a Daytona. We continue to be devotees of the brand and offer some of the best classic Ferraris to be found anywhere. Established in 1963, Hexagon Chairman, Paul Michaels oversees a highly experienced and motivated sales team specializing in Ferrari.

If you have something specific in mind we are only too happy to use our considerable connections to find what you’re looking for. Our featured car: A 1961 Ferrari 250 short wheel base California ‘Spyder’ One of just 55 built. Known history from new. It was the actual Geneva show car and was sold on the stand. Subsequently exported to the USA where it spent most of it life. It returned to the UK in 2006.

Over 100 cars on display at our London showroom 82-92 Great North Road London N2 0NL. Main switchboard: 020 8348 5151 l Please visit www.hexagonclassics.com to find out more l

HEXAGON CLASSICS

since 1963

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We are actively seeking similar cars to purchase - contact Peter Smith: +44 (0)7900 244744

For Sales: Call Jonathan Franklin 07522 911911 or Jonathan Ostroff 07801 629270

11/10/2017 16:17


COLLECTIONS // FINE JEWELLERY

High Jewellery

on Bond Street Sotheby’s sparkling new venture—Sotheby’s Diamonds—is turning heads with its exquisite designs and craftsmanship By Annalisa D’Alessio

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n the last few decades, the jewellery industry has experienced a surge in creativity and innovation not seen since the Belle Époque. A dramatic growth in demand for bespoke pieces, an increase in interest in rare and vividly coloured stones and the advances in manufacturing technology are only a few of the factors behind the explosion that allowed a new generation of designers and artistic jewellers to burgeon. Sotheby’s— one of the world’s most renowned dealers of decorative art, real estate, jewellery and collectables—has recently expanded beyond its traditional auction business with a sparkling new division. This comes a century after it opened its doors in London’s iconic Bond Street. Sotheby’s Diamonds, a pioneering new venture, presents unique and precious high jewellery. These modern paragons are the result of the most desirable diamonds, cutting-edge design and remarkable craftsmanship—their aesthetic is linear, architectural and contemporary but with an air of poetry and sensuality. Each creation is inspired by the auction house’s expertise: from art, architecture and sculpture to nobility, great women of style and—of course— the diamond itself. Every masterful piece and collection flawlessly showcases the magnificence of diamonds. The opening of Sotheby’s Diamonds’ new London Salon in Bond Street was celebrated with the commission of a set of photographs by renowned photographer Erik Madigan

Above [l-r]: Cerise Ricci Ring. A joyful burst of cherry hues surround and highlight a 3.04-carat round brilliant-cut, H colour, VS2 diamond. Set in 18-carat rose gold. Spinel Principessa Earrings. Each centring a round brilliant-cut diamond, the pair totalling 2.74 carats, in a surround of pavé-set spinels, white diamonds and pink diamonds, suspended from red spinel drops. Mounted in 18-carat rose gold and platinum.

Crown Riviere Necklace. A contemporary interpretation of the classic 19th century riviere necklace. Set with round brilliant-cut diamonds totalling 44.37 carats, accented with ruby baguettes which are linked to the stream of diamonds by a rubber loop. Set in platinum.

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Heck. In his pictures, Heck—who is a regular contributor to magazines like The New York Times, Vanity Fair, TIME and Harper’s Bazaar—captured the essence of art’s great masters while showcasing the opulence and elegance of the jewels.

IMAGES: © SOTHEBY’S diamonds; erik madigan heck

Design and craftsmanship As is common in high jewellery, Sotheby’s Diamonds begins creating its sparkling masterpieces with a hand-drawn sketch; a form of art in its own right. The vision of the gouache—the final hand-painted design of the jeweller—is a time-honoured tradition of high jewellery, still practiced by other prestigious brands such as Boucheron and Van Cleef & Arpels. As technology marches

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forward, these artefacts created with uniqueness and personality will continue to capture the hearts of discerning buyers.

Ethical diamonds Sotheby’s Diamonds jewels are made by hand by highly skilled experts, dedicated to achieving unrivalled finesse and refinement of exquisite details, including meticulous pavé setting, reverse setting and immaculately calibrated stones. The lightness of settings and silhouettes are made possible with the latest technological advancements and innovations. This type of high jewellery proudly combines new high-tech processes with age-old artisanal craft skills—a merry combination that

Above: A model showcasing Sotheby’s Diamonds’ Dew Drop Earrings. Each Dew Drop earring centred on a D colour, Internally Flawless, Type IIa pear-shaped diamond, suspended from a cabochon emerald, totalling 10.11 carats, framed in pavé-set diamonds. Set in platinum. Photo © by Erik Madigan Heck.

makes Sotheby’s Diamonds jewels a true success. Sotheby’s, as an SEC-listed company, is required to conduct enquiries into its supply chain—all their jewels are created with diamonds purchased from legitimate sources that bear no involvement with funding of conflict and in keeping with current United Nations parameters and resolutions. •

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COLLECTIONS // Style and Design

The Art of

Collecting

The treasures stored within Chatsworth House reveal the Cavendish family’s long-lasting tradition of collecting and their ambition to keep the manor’s magic alive

IMAGES: © Devonshire Collection

By Phoebe Ollerearnshaw

Above: Chatsworth House has been home to the Cavendish family since 1549.

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Style and Design // COLLECTIONS

IMAGES: © Thomas Loof; chatsworth

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ixteen generations of the Cavendish family have occupied Chatsworth House and—over the centuries— nurtured the estate’s art collection and architecture. The iconic landmark is nestled in some of Derbyshire’s most beautiful countryside. It stands on the east bank of the River Derwent and backs into extensive woodlands, rocky hills and steadily rising moors of heather. At present, the 12th Duke and Duchess of Devonshire live in the stately home. The pair work closely with the Chatsworth House Trust to preserve its contents and 737 hectares of surrounding landscape. The ‘master plan’ of the trust is to restore the weathered façades of the Baroque house, whilst improving visitor routes by enabling wheelchair access on all floors. Carvings and stonework will be repaired along with

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the interiors of the house. This £32.7 million restoration scheme began in 2005; it is one of the most ambitious projects undertaken by the estate since 1828. The plan will also create additional room for future contemporary art displays—a particular interest of the Duke’s. The house embodies a number of imaginative quirks and details commissioned by its various inhabitants over the years. One such example is a secret door that leads to the manor’s gallery level, which is disguised by the spines of false books. Consenting Adults by Abel N Willing and Minor Rodents by Aygood-Mausser are among the most notable volumes on the shelf. Aside from the manor’s striking aesthetic— which is juxtaposed with the scenic backdrop—Chatsworth embraces some of the most exquisite artefacts in the country.

Above: Chatsworth’s state bedroom, adorned with traditional paintings and elegant flourishes.

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up the idea for the most recent exposé, House Style: Five Centuries of Fashion at Chatsworth. The retrospective ran from 25 March until 22 October 2017 and uncovered the history, intricate beauty and bewildering grace of the characters that lived in the lavish manor. Six years of planning resulted in the most extensive exhibition to grace the halls of Chatsworth—nearly every room in the large manor house was occupied with precious, historic items. Attendees were amazed by the valuable outfits that ranged from stylish couture and livery to coronation robes. This brought to life the most illustrious and influential members of the Cavendish family, demonstrating the power of their fashion statements. It painted a timeline from the founding of the house in 1552 to the vibrant 90s. Icons featured within the exhibit included Bess of Hardwick, a key influencer during the 16th century; the Duchess of Devonshire, Georgiana Cavendish, who was known as the ‘empress of fashion’, and Adele Astaire, the relative and dance partner of Fred Astaire. At a glance, Chatsworth House poses as a historic beacon of heritage—a place untouched by time. But, under closer inspection, one can see the lasting effect of modern influence and the grand initiatives aimed at reviving the estate. •

Above: A view of Chatsworth’s library, housing books collected over the past 400 years.

IMAGES: © Photo by Thomas Loof, Chatsworth

These range from Elizabethan needlework and dazzling jewellery to old master drawings and 21st century sculptures. The assortment of treasures reflects the tradition of collecting that has been sustained by generations of the Cavendish family, upholding their ancestral legacy. Chatsworth’s Devonshire Collection brings together an eclectic medley of the family’s tastes and interests spanning over 400 years. In fact, it is one of the largest and most significant private collections in Britain. Portraiture makes up a large proportion of the artwork, with family members and historical figures being immortalised in paint. There is a delightful contrast between classic and modern styles. Rembrandt van Rijn’s oil on panel painting, A Man in Oriental Costume (c.1639), couldn’t be more contrary to the stark simplicity of Michael CraigMartin’s Digital Portrait of Lady Burlington (c.2011). This interplay of contemporary and traditional artistic methods injects an essence of lightheartedness into the display. Offerings from other prolific painters such as Thomas Gainsborough, John Singer Sargent and Lucian Freud are also present. Intricate family heirlooms of sparkling jewels and breathtaking metalwork are another point of interest for visitors. Guests can marvel at the Duchess Louise’s diamond coronet; set with rows of cushion-shaped diamonds forming the lotus design. The stunning diadem was commissioned in 1893, a year after the Duchess’ marriage to the 8th Duke of Devonshire. The Duchess was admired for her style and the magnificent jewellery she wore. Chatsworth’s mixture of silvery also helps to communicate the story of the household’s occupants. A number of intriguing items can be viewed within the collection including a cucumber slicer, Fabergé snuff box and perfume burner. These help to form a more accurate depiction of the Cavendish family’s curious tendencies. Aside from being a destination for history lovers, Chatsworth House also plays host to a busy schedule of cultural events throughout the year. Major holidays such as Halloween, Bonfire Night and Christmas see the manor arrange performance acts and artisanal crafts for guests’ amusement. Similarly, the mansion has accommodated some of the U.K.’s most impressive exhibitions to date. Lady Laura Burlington— wife to the heir of the estate—conjured

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art // collections

Artistic Rebirth After the Middle Ages, a period of cultural decline and stagnation, the Renaissance brought with it a newfound interest in the achievements of the Classical world By Annalisa D’Alessio

images: © 123rf; SHUTTERSTOCK

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lourishing in the 14th century, the Renaissance movement owes its rapid growth to political stability, cosmopolitanism, economic prosperity and the increasing sophistication of society. Influencing everything from art and architecture to music, politics and literature, this revival of Classical values is widely considered to be a bridge in time between the Middle Ages and modern history. The conceptual basis of the movement was its own adapted version of humanism, which was attained through the rediscovery of Greek philosophy. During this

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time, education blossomed, with academies allowing scholars to conduct more research into the culture of the antique world. This shift is believed to have started in Florence, the capital of the Italian region of Tuscany. Some historians pinpoint 1401 as the year the Renaissance period began—which coincides with the time Lorenzo Ghiberti and Filippo Brunelleschi competed for the contract to build the now-famous bronze doors of Florence Cathedral’s Baptistery. Ghiberti won the contract, but Brunelleschi then went on to engineer the Duomo’s terracotta-tiled dome.

Above: A panoramic view of the Italian city of Florence, which many consider to be the birthplace of the Renaissance movement.

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collections // art

Above: Jan van Eyck The Crucifixion; The Last Judgment, c.1440 Oil on canvas, transferred from wood 56.5 x 19.7 cm.

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During the Renaissance, art and money went hand in hand. Famous artists of the time—including Michelangelo, Raphael, Botticelli, Donatello and Titian—relied on wealthy patrons to commission their masterpieces. Influential individuals such as the Medici family of Florence, the Sforza family of Milan and various religious figures greatly shaped the artistic landscape of that time. Back then, artists hailed from all backgrounds and social classes; they began as apprentices and moved on to professional guilds where they worked under the tutelage of masters. In terms of paintings, one of the movement’s distinguishing features was the newfound development of highly realistic linear

perspectives. Artists began experimenting with new techniques, studying shadows, light and human anatomy—as famously seen in Leonardo da Vinci’s Vitruvian Man (c.1490). Da Vinci, described by many as the true archetype of the ‘Renaissance Man’, effectively demonstrated all of the values linked to this distinct style through his famous art, writings and scientific discoveries. His most notable works include the Mona Lisa (150305), The Virgin of the Rocks (1485) and The Last Supper (1495-98). These masterpieces clearly showcase the artist’s ability to capture light, shadow and the physical relationship between figures and the landscape around them. Art during the Renaissance period simply sought to capture the experience of the individual and the beauty—and mystery— of the natural world. In architecture, buildings once again featured the Roman orders of columns; Tuscan, Ionic, Doric, Corinthian and Composite. This architectural style, which immediately followed the Gothic period, placed a great emphasis on symmetry, geometry and proportion. Renaissance structures all exhibit traits such as pilasters, lintels, semicircular arches, vaults and domes. Florence remained the ‘capital’ of this cultural and artistic shift until the 16th century, after which its influence moved to other Italian cities such as Rome and Venice—a period known as the High Renaissance. Some of its notions also translated to different parts of Europe, introducing the Northern Renaissance—a movement that didn’t quite follow the same principles of humanism as its Italian counterpart. Some of the most notable artists of this time, Albrecht Dürer and Jan van Eyck, created masterpieces like The Crucifixion; The Last Judgment (c.1440) and Melencolia I (1514). These famous works are now housed in the world’s most prestigious institutions. By the late 1500s, the Mannerist style— known for its intellectual sophistication and artificial qualities—developed in direct opposition to High Renaissance art and its idealised naturalism. This new movement spread from Rome and Florence and became the dominant style in Europe. The Renaissance continued to be glorified, however, much like it is today. In fact, 16th century art historian Giorgio Vasari, author of Lives of the Most Eminent Painters, Sculptors and Architects, described this romantic period as the ‘culmination’ of all Italian art. •

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Quite the Impression Arts & Collections explores the movement responsible for one of the biggest shifts in the art landscape to date By Kayley Loveridge

Above: Camille Pissarro View from Louveciennes, 1869 Oil on canvas 52.7 x 81.9 cm.

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IMAGES: © The National Gallery, London

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he first inklings of what would become known as the impressionist movement began in France in the early 1860s with Édouard Manet—the collective’s ‘founding father’. Manet’s work was rejected for display at Paris’ annual art show—the official exhibition supported by the French government—at the Paris Salon in 1863. His work was deemed to be a radical breakaway from the conservative realist painting style of the time, but the rejection of his painting—along with thousands of others—caused a public outcry and pushed Emperor Napoleon III to initiate the Salon des Refusés. This exhibition was especially curated to display the works of those that had been rejected at the Paris Salon. Manet, a little-known artist who hadn’t yet sold many of his paintings, would become a major source of influence for young artists such as Claude Monet, Edgar Degas and Camille Pissarro. In 1870, Monet and Pissarro fled to London to escape the Franco-Prussian war. It was in London that these young painters met affluent art dealer, Paul Durand-Ruel who would turn the likes

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of Manet, Monet, Degas and Pissarro from artistic rejects into celebrities of the art world. Durand-Ruel took quite a shine to these men—despite negative reviews and harsh opposition stacking up against them. In his memoirs, he mused: ‘All my efforts were thwarted by the violent campaign mounted against Manet, Monet, Renoir, Sisley, Degas and Puvis de Chavannes.’ He added that he and his clients were ‘attacked and reviled by upholders of the academy and old doctrines, by the most established art critics, by the entire press and by most of my colleagues’. Upon their return to France after the war, the painters formed the Anonymous Society of Painters, Sculptors and Printmakers. The society hosted an

Above [l-r]: Camille Pissarro The Boulevard Montmartre at Night, 1897 Oil on canvas 53.3 x 64.8 cm. Claude Monet Woman with a Parasol - Madame Monet and Her Son, 1875 Oil on canvas 100 x 81 cm.

‘I work constantly, constantly at grips with nature’ —Claude Monet in a letter to Paul Durand-Ruel, May 1918

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works came from nature, everyday rural life and illustrations of the middle and lower classes who were once considered unfit for serious paintings. Radical for his time, Manet was one of the first artists of his era to depict men and women together in an equal setting—he often made women the subject of prominence within his paintings. This is particularly evident in Manet’s famous Music in the Tuileries Gardens (1862). While the vast majority of the subjects in the scene are men—wearing mostly dark attire—the subjects who draw attention to the eye are the two fashionably dressed women in pale yellow gowns, wearing bright blue bonnets. Scientific discoveries and new inventions during the 19th century had a profound impact on the development of the impressionist style. The impressionists had learned that what the mind understands and what the eye perceives—a culmination of light and colour and not clear and defined images—are separate experiences. The

Below: Camille Pissarro The Avenue, Sydenham, 1871 Oil on canvas 48 x 73 cm.

IMAGES: © The National Gallery, London

independent exhibition in Paris in 1874 to display their paintings, and it was here that art critic Louis Leroy—who had happened upon Monet’s Impression, Sunrise (1872)—famously coined the term ‘impressionist’. In a review titled ‘The Exhibition of the Impressionists’ in French magazine Le Charivari, Leroy wrote, ‘Impression—I was certain of it. I was just telling myself that, since I was impressed, there had to be some impression to it… and what freedom, what ease of workmanship! Wallpaper in its embryonic state is more finished than that seascape.’ The term Impressionism refers to the capturing of the sensory effect of a scene. Those who had adopted this new style had moved away from Realism and the fine, intricate brushstrokes that depicted history and Biblical scenes. They instead moved towards painting moments with short, quick and deliberate brushstrokes and unblended bold colours which sought to capture the fleeting effects of light upon subjects. Inspiration for these

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introduction of the camera helped the likes of Monet study movements and alternative perspectives by capturing off-focus and blurred photographs. In 1840, brightly coloured synthetic paint in portable tubes replaced powdered paint and revolutionised the way impressionist artists worked. Artists found that painting outside meant that they could render the quality and momentary nature of light and produce non-distinguished portrayals of shadow, form and movement en plein air (in open air). Many of Monet’s paintings—including Woman with a Parasol (1875) and The Water Lily Pond (1899)—were produced under the employment of this technique. In contrast, Pissarro’s enthusiastic paintings would depict the renovated city of Paris. Baron Haussmann, the emperor’s prefect, had rebuilt the city to be safer, cleaner and more metropolitan between 1853 and 1870. Wide boulevards, grand buildings, railways and public gardens

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were an abundant source of inspiration ‘I paint what I see, and not for Pissarro, as what others like to see’ seen in his worldrenowned painting —Édouard Manet The Avenue, Sydenham (1871). Although Degas is recognized as an important figure among the impressionist collective, his paintings focus mainly on the human body and—in particular—the female form. His works, like Dancers at Rest (1884-1885), tend to be voyeuristic in nature and photographic in capture; often cropped unconventionally with subjects not entirely in the frame. The impressionist movement was an important one. Radically changing not just the conservative style of painting at the time, Impressionism also brought to Below: Édouard Manet the forefront the lives of the lower classes. Music in the Tuileries Gardens, 1862 This style would go on to propagate the Oil on canvas Avant-garde movement. • 76 x 119 cm.

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All of Karinaâ&#x20AC;&#x2122;s jewellery is hand-made, truly personal and unique. Crafted to complement your own style and personality, every piece is of excellent value and superior quality. Karina works from design ideas, personality traits, personal stories and other information to design and craft the perfect piece of jewellery for you or your loved one. Karina is passionate about gems and jewellery. Her jewelleryâ&#x20AC;&#x2122;s excellent make and sophisticated design with an emphasis on originality is a point of pride. The choice of colour and the attention to detail allow Karina Mar tus to impar t the delight of luxury in to each and every creation. A pleasure to admire but even more of a pleasure to wear.

www.karinamartus.com

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FINE WATCHES // Collections

A Time for IMAGES: © shutterstock

Indulgence

Timepieces are no longer a necessity of the modern world. With the rise of technology, few need a watch anymore—so why are we still so enthralled by them?

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By Tom Allaway

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Collections // FINE WATCHES

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uying a luxury watch is an indulgence that brings with it a notion of exclusivity and—at times—extravagance. While some may opt for a limited edition design, for others a one-of-a-kind timepiece is the only route. Crafting your own unique creation takes time and consideration. George Bamford, founder of the Bamford Watch Department, has expressed his company’s vision of a truly custom-made watch: ‘If you can imagine it, we can create it for you.’ Bamford states that a custom-made watch should be ‘something [customers] would want to use for the rest of their lives.’ The company mainly works with luxury brands such as Rolex and Audemars Piguet— producers that may be considered massmarket. But with the Bamford Watch Company, customers can combine their favourite features from various luxury timepieces for something grand, complex and entirely unique. The Bamford Watch Company offers a special service in their customisation: military-grade Physical Vapour Deposition (PVD). PVD is a diamond-hard black coating that covers the timepiece. This option allows the buyer to choose a more understated design rather than the glitz of rose quartz or platinum. What could one of these unique designs be worth? A custom-made Rolex Cosmograph Daytona fetched $51,469 at a Christie’s sale in Hong Kong in 2010. The piece took many of Christie’s collaborators by surprise—luxury timepieces are cemented in their value and impact and, therefore, lavish in price. One master watchmaker, Vacheron Constantin—previously known to have manufactured the most complicated pocket watch ever made—now gives buyers the power to create a watch from scratch online. Customers are given the ability to choose the watch’s custom case, bezel, flanks, crown, dial type, strap, folding clasp and engraving. Many of these features are offered in a palladium, pink gold or titanium finish. The straps are also available in various materials—including crocodile, black or brown skin—while dial types are obtainable in a range of sapphires. This method of creation allows for an instant digital image of what the watch will look like once finished. But is this true customisation,

when consumers are only offered a series of pre-selected options? Maybe not. While this method may yield something opulent and eclectic, it may not be a piece as distinct as one produced by a master watchmaker. For those with an appreciation and taste for modernity, customised Apple Watches are also becoming a popular choice. Jewellery designers such as Swarovski offer the option of plating these smart watches in 18-carat rose gold and 24-carat gold or engraving them with precious crystals. Some horologists even offer an ‘upgrading’ service for customers who wish to ‘upgrade’ their luxury timepiece. Titan watches have had many one-off requests over the years. One of their affluent clients requested a 24-carat gold skull be carved onto an $18,000 Audemars Piguet royal oak watch face. Additional modifications may include sprinkling colourful layers of powdered enamel onto the surface of the watch. This technique can require dozens of firings in a kiln, transforming the coloured grains of enamel into a shiny porcelain watch face. The uniqueness in style along

Above: A Swiss-manufactured Rolex watch. A 1965-edition Rolex sold for £230,000 at a Lockdales auction in October 2017—it was estimated to fetch just £8,000.

with the chance to own a one-of-a-kind piece stands justified to many. Luxury brands including Bamford also offer a warranty post-customisation. While these examples may seem peculiar to some, there’s a strong sense of sentimentality associated with owning such a timepiece. Consumers can now reshape their watch and change its colour pigments and dials. Perhaps that is why people are so enthralled by timepieces and the opportunity to customise them; much like the nature of time itself, the watches are always moving forward with them. 

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Advice on How to Protect your Art & Collections... “Since 1887 we have been looking after the UK jewellery trade and its customers. You could say that protecting precious possessions is in our company DNA!” If you are privileged to own a high value home, art, antiques or precious jewellery, you’ll want to protect them in the best way possible. Perhaps your home is filled with bespoke furniture, collections of art, antiques, watches or precious jewellery...As reports of rising UK crime figures continue to fill our screens it is clear that expertly arranged home, contents and personal jewellery insurance is without doubt the only choice if you are to safely protect the things you love. Many people think that a policy providing automatic cover up to certain levels for your home and contents is sufficient. This is not always the case and it is always best that you discuss your insurance needs with an expert to determine the level of cover you actually need.

...with Neil McFarlane, Managing Director of T H March, Chartered Insurance Brokers

Think about this; when insuring your precious items were you asked for a valuation certificate from your jeweller? Was the exact colour, cut and clarity of your gemstones identified? For repair or replacement – will you be able to go back to your OWN jeweller (particularly important for bespoke designer pieces)? Will your claim be settled quickly, efficiently and like for like? Are you covered if you travel abroad?

There is no substitute for obtaining advice from an insurance professional to ensure that not only are the amounts you need to insure for discussed with you, but also to ensure that the policy offered will provide the cover you need. Insuring for the correct values and having the correct cover in the first place will help avoid unnecessary stress if you need to make a claim. We are famous for insuring jewellery and we work in partnership with all the major UK jewellery professional trade organisations (we are their brokers!) I am proud to be able to say that many thousands of jewellers and their customers choose us to help protect not only their jewellery, but also their homes, businesses, health, finances, travel and much more. Since this company was established back in 1887 by Thomas H March, the son of a diamond merchant, we have amassed a wealth of knowledge and experience when it comes to insuring precious things and I am proud to say that more than 130 years on, T H March is still the number one choice for jewellers and their customers – in more ways than one!

Have you had the opportunity to discuss your requirements in depth with a professional who understands the needs of customers with precious belongings?

To learn more please visit: www.thmarch.co.uk or call us on 01822 855 555

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COLLECTABLES // WHERE TO SPEND IT

Where to

SPEND IT

From hybrid supercars to the finest vinyl players on sale today, Arts & Collections explores some of the world’s top luxury items By Tom Allaway

THE HYBRID SOLUTION Ferrari brings to the market its first ever F1-derived hybrid solution: the LaFerrari. Built with the innovative HY-KERS system, the limited production hybrid has an electric motor that produces over 150CV. Ferrari’s ambitious project— which is built like a spaceship and drives like a dream—is believed to be such an important milestone for the luxury car manufacturer that it has been named directly after the Ferrari brand. The LaFerrari supercar won’t be forgotten for a long time to come. auto.ferrari.com

MUSIC’S FINEST

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TIMELESS The Montblanc Heritage Chronométrie Limited Edition watch is unique in both its precision and its performance. Featuring eight timepieces, the Chronométrie range stuns with its sheer attention to detail and its beautifully elegant design equipped with an alligator skin strap. This is a timepiece for collectors—those looking for a watch with luxurious intricacies should look no further. Tell the time like no other with this limited edition design. montblanc.com

IMAGES © LAFERRARI; LINN; MONTBLANC HERITAGE COLLECTION

Take a trip back in time where vinyl records were truly collectable and where the crisp sound they produced would wash right over you. The Klimax LP12 is the pinnacle of vinyl reproduction. With incredible dynamics and a beautifully made build and finish, this vinyl player first came onto the market in the 80s. It has since undergone several updates and redesigns and is ever-improving— even now. With new software updates, this piece of kit is for the buyer who still appreciates the joys of having records to hand. There’s no sound quite like it. linn.co.uk

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WHERE TO SPEND IT // COLLECTABLES

IMAGES © L/UNIFORMS; MIKIMOTO; HARVEY NICHOLS PRESS, BUGATTI NINIETTE; TENUTA TERRE NERE

WHITE AMBER

PINK & PROUD

THE BLACK SOUTH SEA

L/UNIFORM’s new pink leather range proves that the bright colour can go with just about anything if it looks this good. Whether you are looking for a carry-all tote bag, a glamorous suitcase, a glass case, a card holder, a day pouch, a satchel or simply a glamorous vanity case—this is the collection for you. Designed for both women and men, these vivacious designs intend to stand out from the crowd. luniform.com

The pearl encased in the distinctive and striking Rhapsody Ring from Mikimoto is cultured from the depths of the Black South Sea. The ring is comprised of precious platinum metal fashioned around a 0.62-carat diamond. If you’re looking for an accessory that can make a statement and is unique in design—this is the ring for you. mikimoto.co.uk

Creed presents its newest addition to the Les Royales Exclusives Collection: White Amber. Paying homage to golden amber—a precious resinous ingredient that is considered a prized treasure—this fruity and floral fragrance marks the sixth addition to the collection since 2009. Each of the enticing scents are created by master perfumer Olivier Creed and featured in handcrafted glass bottles made by centuries-old Parisian glassmaker, Pochet. creedfragrances.co.uk

SHOWMANSHIP AT SEA

FINE WINE

Advanced materials—such as carbon—combined with Bugatti’s signature design traits come together to make the next generation of sports yachts. The Bugatti Niniette 66 features an open deck for the pinnacle sea lounging experience; you’ll find both a jacuzzi and a fire pit installed for your leisure. Below deck, a polished and modern interior will greet you, paying a subtle tribute to Bugatti’s automotive heritage while cocooning you in soft leathers and polished carbon metals. bugattininiette.com

Calderara Sottana is a single vineyard red wine produced only from vines of roughly 100 years old. It contains and displays the widest spectrum of flavours, bouquets and nuances. Floral and spicy, leathery and aromatic, it delivers a wonderful filling sensation on the palate, yet stepping lightly. tenutaterrenere.com

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Citizenship by Investment Achieving the pinnacle of mobility

Welcome to the investment immigration era, where freedom of movement, social benefits, better tax planning and tranquility of mind are all being made accessible in exchange for simple and lawful qualifying investments. Global mobility and international migration has become a reality to people who had never even considered that living in another country or moving their assets abroad was possible. But what exactly does ‘mobility’ mean? How can it be attained? Why can it be attractive for an individual or a family? Mobility generally refers to three concepts: mobility of individuals, mobility of assets and mobility of companies. Obtaining the flexibility and the freedom to move individuals, assets and companies, together or individually, are the key reasons to look into investment immigration opportunities. The advantages of obtaining a second or alternative citizenship are diverse. Obtaining citizenship from one of the most popular Citizenship Investment Programs (CIPs), such as Cyprus, Malta, St. Kitts & Nevis, Antigua & Barbuda, Dominica and Grenada unlocks major investment and business opportunities. Moreover, these options can offer an enormous relief to families looking to relocate to a safer country, or for families who are wishing

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to secure a ‘Plan B’ in the event their country of residence becomes unsafe. CIPs can also allow easier access to the Schengen area and countries such as the UK, Canada, Singapore, Hong Kong, New Zealand, etc., for business and/ or leisure, and also offers a chance for families to benefit from better healthcare and education systems, or may ease registrations to prestigious schools with long waiting lists. In many cases the full potential of citizenship programs is best achieved when coupled with another immigration option. There are endless possible combinations of mobility options providing benefits greater than the sum of their parts. One example is the combination of a CIP’s passport and the Thailand Elite Program’s visa which enables individuals to establish a legal residency in Thailand for up to 20 years without being a tax resident in Thailand or anywhere else in the world.

Such a combination not only provides a greater freedom of movement and investment, but allows for more efficient tax planning potentially providing savings of far more than the total amount invested. In 1861, the renowned American poet Ralph Waldo Emerson stated: “Nations have lost their old omnipotence; the patriotic tie does not hold. Nations are getting obsolete, we go and live where we will. Steam has enabled them to choose what law they live under. Money makes a place for them.” Although the age of steam has come and gone, we most definitely are at the heart of the age of global mobility, with the Citizenship by Investment Programs leading the way and allowing individuals from anywhere on the globe to become citizens of foreign countries, and to improve their quality of life.

Your passport to mobility With over 15 offices worldwide including Hong Kong, Bangkok, Ho Chi Minh City, Yangon, Montreal, Miami and various Caribbean countries, Harvey Law Group has an extensive team that can provide exceptional support to a diverse global clientele. For more on our Citizenship by Investment Program services, please contact us or scan the QR code. HK : +852 2116 1333 BKK : +66 2 670 1848 VN : +848 3910 7055 / 7056 Email : contact@harveylawcorporation.com

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Photo: Krisztina.Kerekes

A declaration of love made out of gems, pearls, gold and silver. Each jewel bouquet is unique, designed and handcrafted in our small goldsmith studio in Vienna – according to the wishes of our customers.

THE JEWEL FLOWERS VIENNA www.thejewelflowers.com Contact and sale: Goldsmith studio ”Der grosse Baer“ Tuchlauben 17 im Hof, 1010 Vienna, Austria Phone +43 1 532 12 32, www.dergrossebaer.com

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Arts & Collections: Volume 1, 2018  
Arts & Collections: Volume 1, 2018