February 10, 2010 | After months of anticipation, Masterpiece London, the new art and antiques fair from the organizers of the prestigious 75-year-old Grosvenor House Fair, received the permissions necessary to confirm that it will take place on 24-29 June 2010 at the Chelsea Barracks.
In spite of the bureaucratic quagmires and delays that these permissions took, those in the know have bet strongly on Grosvenor House's royal ties to see it through. Last June, Prince Charles succeeded in stopping plans to have the site, owned by the royal family of Qatar, turned into a steel-and-glass modern development. What more approvable use, then, of the historic site than the new venue for the most strictly vetted of London's art and antiques shows?
Planning permissions aside—can this show deliver the goods with only months to pull it off?
January 27, 2010 | On the heels of its seventy-fifth anniversary last June, the Grosvenor House Art and Antiques Fair announced that it would close. Only time will tell how its absence will shift the balance of European fairs in 2010. In the meantime, Europe's organizers unveil their plans for the coming year.
Held at the same time as the Winter Antiques Show in New York, the Brussels Antiques and Fine Arts Fair (BRAFA) is too often overlooked by Americans. Now in its fifty-fifth year, BRAFA features 130 top-tier dealers with 60 percent of them coming from Belgium. Among the rest are exhibitors from Hungary, Portugal, and Spain who are not always seen in London or Paris, as well as Hicham Aboutaam of Phoenix Ancient Art, the sole American dealer there in 2010. Recently, the show has also featured dealers from Canada, China, and Russia. According to Aboutaam, the growing internationalism of attendees and exhibitors are good indicators of the fair's significance.
BRAFA-Brussels Antiques and Fine Arts Fair · Through January 31 · www.brafa.be
December 24, 2009 | Keeping winter doldrums at bay during Europe's darkest days, the Sun King lights up London and Versailles; the Magi gleam with baroque opulence in Basel; the stars illuminate the Vatican; and Dionysian ecstasies fire up Berlin.
A sumptuous Cucci cabinet on offer at Christie's creates a splashy finale to the auction season.
As 2009 draws to a close, the indisputable star of December's European decorative arts sales in London is the so-called Cucci cabinet that was sold by the March family at Christie's on December 10. This tour de force of 1665 to 1675, attributed to the Italian-born ébéniste Domenico Cucci and the French Gobelins workshops, first commands the eye with the bold sculptural figures representing the seasons (attributed to Cucci's cousin Philippe Caffieri the elder) that support its stand. Closer inspection reveals the exquisite craftsmanship of its execution throughout: colorful pietre dure panels by the grand-ducal workshops in Florence, marquetry in rich veneers and engraved pewter, deftly rendered internal compartments, and refined gilt-bronze mounts surmounting it. One of only three cabinets now known by or attributed to the master, its appearance in a public sale is significant.
November 12, 2009 | Moctezuma
The British Museum inaugurates a fall blockbuster season with a sweeping exhibition on the last Aztec ruler.
Anticipating the 2010 bicentennial of Mexican independence and the centennial of the Mexican Revolution, the British Museum completes its four-part series on great rulers with the first major show devoted to the Aztec emperor Moctezuma II. That the museum has chosen to use the spelling Moctezuma, which more closely approximates the ruler's name in his native Nahuatl tongue, instead of the more familiar Montezuma, right away proclaims its intention to reach beneath hackneyed stereotypes.
Most radically, the exhibition and its catalogue challenge the widely held notion that the ruling lord (Huey Tlatoani), who had been elected to this semidivine status in 1502, and whose formidable military prowess allowed him to consolidate the Aztec state, complacently ceded his nation to the Spanish, for which betrayal his own people stoned him to death. Presented alongside depictions of this account, are two manuscript images of the 1560s attributed to Aztec artists in the service of the Spanish. They portray Moctezuma with a rope around his neck and shackled as he was led to be hung.
These dual representations open up more questions about this elusive personality than they answer, calling into question the "truth" of the accounts. This investigation into one of history's most enigmatic personalities presents an aesthetically stunning array of Aztec, colonial, and European objects and artworks, some newly excavated. A dramatic turquoise mask; a stone box bearing Moctezuma's name-glyph; his coronation stone; fragments of his palace; ceremonial weaponry, and elaborate works in gold illustrate the heights of Aztec craftsmanship. Enconchados (oil-on-panel paintings inlaid with mother-of-pearl) vividly depict Hernán Cortés's 1519 landing and conquest, while subsequent Aztec codices offer a native interpretation of these events. European portraits present a romanticized view of Moctezuma. Repurposed artifacts, such as an Aztec serpent sculpture later inverted to form a baptismal font, bear witness to the hybrid creations that arose from this cataclysmic clash of two cultures, as encapsulated in the biography of a single man.
Moctezuma: Aztec Ruler · British Museum, London · to January 24, 2010 · www.british museum.org
The Victoria and Albert Museum reexamines India's maharajas from the eighteenth century through the end of British occupation.
The Victoria and Albert Museum opens its fall show, Maharaja: The Splendour of India's Royal Courts, on October 10, just days after London's auctions of Indian art (October 6 at Christie's and 7 at Sotheby's). The more than 250 objects on view include many first-time loans to the United Kingdom from India's royal collections: silver and gilded thrones, gem-encrusted weapons, sumptuous ceremonial paintings and portraits as well as, from the last years of British occupation, extravagant Indian commissions from Western firms such as Rolls Royce, Cartier, and Van Cleef and Arpels. Dripping magnificence, the show and its hefty catalogue nevertheless reach beneath the sparkle to present a new assessment of the evolution of Indian rule from the height of the maharajas' powers in the eighteenth century until the end of British occupation in 1947
The curators draw out the nuanced subcategories of rulers, whose powers fluctuated over time and across the Indian subcontinent. In particular, they reassess the period after the collapse of Mughal rule in 1739 not as one merely of fragmentation and turmoil, but as an era in which powerful new states emerged. The glamorous Anglo-Indian aesthetic that developed as these rival entities gradually came under the authority of the English East India Company is studied as evidence of how India's rulers incorporated Western notions of hierarchy and ceremony into their own. Under outright British rule from 1876 to 1947, the last maharajas are examined as patrons whose lavish commissions often drove fashion in the West as much as in the East. This visually opulent exhibition offers up an insightful exploration of power and its manifestations in India.
Maharaja: The Splendour of India's Royal Courts · Victoria and Albert Museum, London · October 10 through January 17, 2010 · www.vam.ac.uk
September 29, 2009 | The month offers a last chance to catch some of summer's notable exhibitions: Islamic ornament in Frankfurt; baroque splendor in Florence; and Dufy ceramics in Ghent. Europe's big event in September is the Twenty-sixth Biennale in Florence.
The Museum für Angewandte Kunst Frankfurt gets philosophical about the meaning of ornament.
In a small but insightful temporary exhibition of approximately forty objects set into its new permanent display of Islamic applied arts, the Museum für Angewandte Kunst Frankfurt compares and contrasts Western versus Islamic concepts of the term ornament. James Trilling's statement that "Ornament is decoration in which the visual pleasure of form significantly outweighs the communicative value of content" (Ornament: A Modern Perspective [Seattle, 2003]) is used to summarize the Western attitude of ornament as surface decoration with no intrinsic meaning, or value. By contrast, the show points out that the Arab world has no equivalent translation of the word ornament, although the Muslim avoidance of depicting human forms led to an art replete in patterns. Exquisite Persian artifacts—ceramics, bronze works, and richly decorated manuscripts from the museum's collection—offer another interpretation in which pattern, repetition, abstraction, and transmutation playfully inspire intense observation.
The show suggests that ornament should be interpreted as "an intrinsic part of the artistic language of a culture that cannot be measured by European standards."
by Émile Jacques Ruhlmann (1879-1933), 1926. Macassar ebony, amaranth, and ivory. Metropolitan Museum of Art. By Cynthia Drayton» View All