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Friday, March 27, 2009

Easter Tapestries Return to St. John the Divine

Easter Tapestries Return to St. John the Divine

The Cathedral Church of St. John the Divine has hoisted into place two poignant — and quite beautiful — reminders of the suffering and penance that always precede rebirth in the Christian liturgical calendar.

On Monday, members of the cathedral’s Textile Conservation Laboratory raised two of the 12 Barberini tapestries in St. John’s collection, “The Crucifixion” and “Agony in the Garden,” into the arches of the north and south transept for display during the Easter season.

It is the first time either of these tableaux have been on public view since the devastating fire in 2001 that heavily damaged the north transept and two other Barberini tapestries.

“We’re remembering the agony and the crucifixion first — and, in a way, we’ve had that, too,” said the Very Rev. Dr. James A. Kowalski, dean of the cathedral, which is the seat of the Episcopal Diocese of New York.

“It’s been a long journey until we got to this point.” The cathedral was rededicated last year after seven years of recovery, restoration, conservation and cleaning.

“We’re very lucky to have a treasury of art that can be used as this art was intended,” Dean Kowalski said — that is, to tell stories appropriate to the liturgical season of Lent, which began on Ash Wednesday (Feb. 25 this year) and will end on Holy Saturday (April 11), the day before Easter.

Though the tapestries were made by Giovanni Francesco Romanelli in the mid-1600s, they take their name from Cardinal Barberini, who commissioned them for Pope Urban VIII, his uncle. The pope died just as the set was being finished.

The tapestries were presented to the cathedral in 1891. When “The Crucifixion” was unrolled on Monday, perhaps the most striking sensation was the vividness of the blue in Mary’s robe and the red in John’s.

Details around the borders also popped out, like the bees symbolizing the Barberini family. Marlene Eidelheit, director of the textile laboratory, emphasized that she and her colleagues were as conservative as possible in their intervention, which included cleaning, interstitial weaving, spot patching and overall reinforcement. “We don’t do restoration,” she said. “We make sure it’s healthier and stronger.”

Coincidentally, as the 16-foot-high tapestries were raised into position, James Wetzel, a Juilliard senior who is the cathedral’s current organ scholar, was performing the weekly demonstration of the Aeolian-Skinner great organ.

After he finished Bach’s Fugue in A minor, he played an ethereal — almost elegaic — improvisational piece to accompany the tapestry raising. Acknowledging Lent, he based it on the hymn “40 Days and 40 Nights.”

Taken From NYTimes.com

Saturday, March 21, 2009

Quilt Show Honors State's Anniversary

Quilt Show Honors State's Anniversary

The Milwaukie Center, 5440 S.E. Kellogg Creek Drive, will host its 15th annual quilt show from 9 a.m. to 5 p.m. Friday and 9 a.m. to 4 p.m. Saturday. The exhibit theme is "My Oregon," in honor of the 150th anniversary of statehood.

The Milwaukie Center, 5440 S.E. Kellogg Creek Drive, will host its 15th annual quilt show from 9 a.m. to 5 p.m. Friday and 9 a.m. to 4 p.m. Saturday.

The exhibit theme is "My Oregon," in honor of the 150th anniversary of statehood. Quilts from the community range from vintage hand-quilted to current machine-made quilts. In the past, an average of 100 to 160 quilts have been entered.

A raffle will be held for a "Tapestry Rose Our Way" quilt, created by the center's quilting team, which adapted its own version of the standard Tapestry Rose pattern. Tickets are $1 or six for $5 and are available at the center's gift shop.

On Friday, there will be a suggested $3 donation and on Saturday admission is $3. You may purchase lunch either day. Sponsors are Sellwood Landing, Clackamas Federal Credit Union, Mill End Store and Friends of the Milwaukie Center. For information, call 503-653-8100.

-- Thelma Savage

Taken From OregonLive.com

Monday, March 16, 2009

European Decorative Arts Sales in New York Offer Fresh to the Market Private Collections in April

European Decorative Arts Sales in New York Offer Fresh to the Market Private Collections in April

NEW YORK, NY The month of April at Christie’s New York presents three sales of European Decorative Arts, which will bring fresh to the market works from the 17th century to the modern day, from several private collections and museums.

With a range of price points featured in each sale, collectors will find one-of-a-kind examples of furniture, sculpture, ceramics, tapestries, clocks and decorative works of art varying from the scholarly to the fantastic, and the austere to the ornate.

Important English Furniture, Clocks and Ceramics – April 7

Three estates lead the English Furniture, Clocks and Ceramics sale on April 7 — The Collection of Professor and Mrs. Clifford Ambrose Truesdell, Property from the Estate of Mr. & Mrs. Gordon T. Southam, and The Property of a Private Canadian Collector.

The Collection of Professor and Mrs. Clifford Ambrose Truesdell

Professor and Mrs. Clifford Ambrose Truesdell were a delightfully eccentric couple who shared an appreciation for the classics, music and art. Their diverse collection of Italian, Dutch and Flemish furniture was founded on connoisseurship and their story is one of passion, intellectual stimulation, and a love of beautiful objects. Works from the collection will be offered in the April 7th as well as the April and May sales of European Furniture.

Clifford Ambrose Truesdell III devoted his career to the advancement of rational mechanics, and his professional experience spanned from MIT and the Naval Research Laboratory to Indiana University and Johns Hopkins University.

Together with his wife, the Truesdells were a true “Renaissance couple” in every sense of the term. Their artistic interests ranged from Baroque music and fine silver to European paintings and Italian architecture, and these tastes shone through in the impressive works of art they lived with in their Palladian-style Baltimore home, Il Palazzetto.

The Truesdell English Furniture collection is comprised of 30 lots and is highlighted by a George II mahogany and silk damask four-poster bed, circa 1740 (estimate: $200,000-300,000).

This magnificent state bed was purchased by the Truesdells in the 1960s, shortly after it was removed from Brympton D’Evercy, the beautiful manor house in Somerset, England where the bed had been since the 18th century.

With its damask-covered cornice emblazed with the Fane family crest, the bed is a rare survivor from the early George II period and has been attributed to Giles Grendey, the celebrated London furniture maker.

Other English furniture highlights from the Truesdell collection include a George II giltwood mirror, circa 1735 (estimate: $50,000-80,000); two pairs of George III giltwood open armchairs attributed to John Linnell, circa 1765 (each estimate:

$150,000-250,000); a pair of George II gilt-gesso two-light girandole mirrors, circa 1725 (estimate: $120,000-180,000); and a pair of George II giltwood console tables, circa 1740 (estimate: $100,000-150,000).

Property from the Estate of Mr. & Mrs. Gordon T. Southam, Vancouver, Canada

The marriage of Jean MacMillan to Gordon Southam in 1941 united two of Canada’s top-tier families as well as the forestry and newspaper industries. The Southams enjoyed a life-long romance and an enduring partnership in which they traveled regularly to London and New York on collecting trips.

The Southam Collection is comprised of over 80 works and highlights include a Queen Anne walnut oval stool with floral needlework, whose pair is illustrated in Masterpieces of English Furniture and Clocks, (estimate: $30,000-50,000); a Queen Anne walnut settee, circa 1710 (estimate: $70,000-100,000); and a George I walnut chest-of-drawers, circa 1730 (estimate: $70,000-100,000).

Property of a Private Canadian Collector

A private collection from a Toronto country home consists of 60 works of furniture and paintings, with estimates ranging from $800 to $30,000, and several works offered for no reserve.

Top lots include a George IV mahogany secretaire breakfront bookcase, circa 1825 (estimate: $20,000-30,000), and a pair of George III satinwood, rosewood and marquetry commodes (estimate: $80,000-120,000).

Examples of various owner highlights in the April 7th sale are a George III giltwood side table with scagliola top, attributed to Thomas Chippendale, circa 1770 (estimate: $100,000-150,000), and a George III ormolu-mounted Wedgwood, Derby biscuit porcelain and white marble mantel clock by Vulliamy, the royal clockmaker (estimate: $40,000-60,000), and a George III ormolumounted mahogany commode attributed to Wright and Elwick, circa 1765, supplied to one of Britain’s great country houses, Wentworth Woodhouse (estimate: $30,000-50,000).

European Furniture, Works of Art, Sculpture and Tapestries – April 16

The European Furniture, Works of Art, Sculpture and Tapestries sale on April 16th will feature over 40 works from the Truesdell collection. A leading highlight is a Dutch eglomisé collector’s cabinet on stand (estimate: $40,000-60,000).

The eglomisé panels depict scenes from Roman myths and would open to reveal items of curiosity or objects of vertú. Surprises continue to unfold behind the two central doors which open to display the technical virtuosity of the cabinet-maker.

Its use of mirrors create the illusion of two complete houses whose inlaid facades slide to reveal further secret drawers for the rarest, or most secret of treasures.

Among the other highlights in the European Furniture offered in the Truesdell collection is an Italian silvered wood console, Rome, late 17th/ early 18th century. It appears to grow almost organically from a lushly carved foliate spray and is an early precursor to the natural forms that inspired the Rococo (estimate: $30,000-50,000).

A pair of North Italian giltwood torcheres, circa 1750 (estimate: $20,000-40,000), with their bold scrolling forms illustrate the asymmetry emblematic of this style.

In addition to the Truesdell collection, The European Furniture, Works of Art, Sculpture and Tapestries sale on April 16th offers unique objects such as collector’s cabinets, vivid tapestries, extravagant giltwood from the 18th century, as well as 19th and 20th century examples inspired by many stylistic eras. This diverse array assures there is something for every taste and budget.

The sale features a dozen tapestries, dating from the mid 16th century to the 18th century, which encompass many genres — armorial, mille fleurs, historical and mythological.

A Franco-Flemish millefleurs tapestry (estimate: $40,000-60,000) whose stylized, large scale flowers would be equally at home in both traditional and modern homes while a Flemish mythological game park tapestry, late 16th/ early 17th century, sold to benefit the acquisition funds of Carnegie Museum of Art in Pittsburgh, depicts the god of Music, Orpheus sleeping amongst vividly woven exotic animals (estimate: $30,000-50,000).

Works by the famed French design atelier Jansen and other furniture commissioned by interior decorators are also included in the auction. Among the group is an elegant pair of French ormolu-mounted black lacquer two-tier etageres by Jansen (estimate: $6,000-9,000).

An impressive pair of marble-veneered and ebonized wood bookcases designed by Renzo Mongiardino, circa 1987, were part of the spectacular custom furnishings made for the library in the Park Avenue apartment of the New York financier and philanthropist Peter Jay Sharp (estimate: $25,000-40,000). They are certain to make an equally strong impact with collectors of this highly sought after, legendary designer.

19th Century Furniture, Sculpture, Works of Art and Ceramics – April 21

The 19th Century Furniture, Sculpture, Works of Art and Ceramics sale on April 21st opens with a choice selection of European ceramics and glass, highlighted by a unique pair of Mintons pâte-sur-pâte vases by the master craftsman Louis Solon.

The pair titled 'The Key to Hearts' depicts maidens toying with putti enclosed within heart-shaped cages, (estimate: $150,000-200,000) and relates directly to a similar pair which achieved over $200,000 on the 21st of October 2008.

The Continental porcelain selection features a number of massive vases in both the Sevres and Vienna styles. A monumental Sevres style ivory-ground centerbowl stands over 137.8 cm. high (estimate $100,000 - 150,000); and three pairs of Vienna style vases in the $20,000-50,000 range feature finely painted classical and mythological vignettes.

This group is rounded out by 24 Vienna style sumptuous portrait plates depicting King Ludwig's gallery of Bavarian beauties from the Twinight Collection (estimate: $30,000-50,000).

Two charming studies of hounds on Berlin (K.P.M.) porcelain, dated 1888, immortalize the Prince and Princess of Battenberg’s favorite dogs named Wat and Basco (estimate: $5,000-7,000).

The Princess was Queen Victoria’s beloved youngest daughter Beatrice and by tradition, these plaques were passed by descent to the present owner from a member of the family in service at Windsor Castle.

Other unusual works in the majolica and palissy ware section include: a Mintons fish-form teapot and cover (estimate: $8,000-12,000) and a George Jones cobalt-blue ground garden seat (estimate: $6,000-8,000).

Recently deaccessioned from the Fine Arts Museums of San Francisco and sold to benefit the Acquisition Fund, a magnificent ormolu-mounted black and gilt-lacquered commode (estimate: $70,000-100,000) and its companion sécretaire (estimate: $50,000-70,000) are among the highlights of the afternoon session of Furniture, Sculpture and Works of Art.

These faithful reproductions are after the models by J.H. Riesener commissioned in 1783 by Marie Antoinette for her cabinet intérieur at Saint-Cloud. The originals, now at the Metropolitan Museum of Art, are considered to be the jewel in the crown of Riesener’s oeuvre.

Although the maker of these excellent copies remains a mystery, the quality of craftsmanship, while undoubtedly 19th century, is an homage to Riesener's mastery in the 18th century.

A group of European carved ivory works of art from the estate of J. Irwin and Xenia S. Miller, are led by two grand scale German carved ivory tankards ornately carved with mythological figures (estimate: $30,000-50,000 each).

Three dozen lots from a Mid-Atlantic private collection are offered at no reserve, and include a rare group of four Continental ‘jewelled’ ivory figures, each with a mechanical accoutrement, that exhibit exceptional ingenuity in their decoration and craftsmanship (estimate: $6,000-8,000 each).

Taken From ArtDaily.org

Friday, March 13, 2009

The Bayeux Tapestry, Napoleon and the Nazis

The Bayeux Tapestry, Napoleon and the Nazis

University of Leicester

The Bayeux Tapestry is an 11th century Norman interpretation of the Battle of Hastings in 1066 and one of the many mysteries surrounding it is why this iconic eleventh-century source has been so coveted by modern dictators.

Dr Carola Hicks, a former fellow of Newnham College, Cambridge, lecturer in Art History at Cambridge, and a prolific author of many books on medieval history and art history, will be pondering this question in a public lecture to take place at the University of Leicester on Wednesday 18th March at 6pm.

Dr Hicks will discuss the way in which the story told by the Tapestry was appropriated by later regimes, who sought to reinterpret the past in the light of contemporary political and military goals.

Her research has taken her to the archives of the Nazi regime, including personal letters from Himmler showing that he coveted the Tapestry as a key piece of evidence to link contemporary Nazi ideology with the Viking past (and the conquest of the British Isles).

Napoleon too realised its propaganda value in support of his own military ambitions against the English people.

Dr Joanna Story, Senior Lecturer in Early Medieval History, and co-organiser of the Medieval Research Centres public lecture series commented: “The past is (as any student of history, archaeology or literature knows well) constantly being re-interpreted and reshaped, often to fit modern political or cultural objectives. In her lecture Dr Hicks will show us how one of the most iconic, recognisable pieces of medieval story-telling, was coveted by dictators in the modern era.”

Dr Carola Hicks is an expert in the reception and (re)-interpretation of medieval sources, buildings and objects in later centuries. Two of her most recent books include The Kings Glass (2007 – abridged for Radio 4) and The Bayeux Tapestry: The Life Story of a Masterpiece (2006), which reveals the mystery, secrets and continuing fascination of the 70m tapestry, worked nearly 1000 years ago and still a vibrant example of pictorial storytelling.

Dr Hicks groundbreaking book on the Bayeux Tapestry explores the way in which generations of people have interpreted this iconic object in the centuries after the eleventh-century Norman Conquest of Anglo-Saxon England. The Tapestry tells a pro-Norman version of the events that led up to Duke Williams victory against the Anglo-Saxon armies in 1066.

The lecture is open to all comers, and is particularly recommended for undergraduate and graduate students of History, Archaeology and English who are interested in the ways in which the past is shaped, reshaped and retold – often for nefarious political motives.

The Medieval Research Centre is a forum for all students and staff at the University of Leicester whose work focuses on the sources and interpretation of the Middle Ages (School of Historical Studies, School of Archaeology and Ancient History, School of English).

http://www.le.ac.uk/arts/medieval/

The activities of the MRC include the annual series of Public Lectures, of which this lecture is a part, as well as a research seminar series. The final lecture in the 2009 series, The Matter of Fulk: Romance and History in Fourteenth Century England? will be given by Professor Ralph Hanna, of the University of Oxford, on Wednesday 6th May.

Dr Carola Hickss talk,The Bayeux Tapestry, Napoleon and the Nazis will take place at the University of Leicester Attenborough Lecture Theatre 2 (Film Theatre) on Wednesday 18th March 2009, 6.00pm. It is open to the public and free of charge.

Taken From InLoughBorough.com

Monday, March 9, 2009

'Creation Story' Evolves On Fabric

'Creation Story' Evolves On Fabric

Artist tells nearly forgotten past in distinctive process

By Dorothy Shinn
Beacon Journal art & architecture critic

Today, many of us will sit glued to our TV sets as we wait to see on whom the Oscars will be bestowed, and to which among all the stories told the golden statue will be awarded.

We all have stories, some from our childhood, some from adulthood and some from our old age. Many of them are even good enough to write down. But not all of us have the focus and talent to make those stories into works of art, nor do we all realize that stories don't always get told in books or at the movies.

Sometimes stories get told in paint, line and figure. And sometimes stories, magnificent stories, get told in the unique and unmatched way one individual puts odd, old and unconventional materials together.

The Akron Art Museum is displaying the work of such a talent in an exhibit that reveals the focus, energy and sense of mission needed to compose memories into incredible, three-dimensional, multimedia narratives that have thrilled art lovers since the early 1980s.

Through April 5, the museum is exhibiting Along Water Street: New Work by Aminah Brenda Lynn Robinson, a mixed-media ''creation story'' pieced together from 1984 to 2007, based on tales she'd heard from her Uncle Alvin from the time she could first remember (at age 3 in 1943) until his death in 1990.

Organized by the Columbus Museum of Art, the exhibit reflects Robinson's memories of now-lost neighborhoods in Columbus along the Scioto River, as well as the universal themes of migration, community and family reminiscences.

She has stitched these stories together with others and her own belief in evolution, using her distinctive layering process, combining rags, buttons, shells and other found objects with her own drawings and paintings on handmade paper.

The Akron Art Museum, the site of Robinson's first solo museum show in 1987, is the first stop on the four-museum tour (all in Ohio) of this exhibit, which consists of 12 rag paintings, one watercolor and a form unique to Robinson that she calls ''RagGonNon,'' or artwork that just ''keeps on ragging on and on.''

The RagGonNon in this exhibit is a 60-foot-long cloth and mixed-media work encrusted with buttons, beads, men's ties, sashes and scarves, handmade dolls and spirit packets, and at least one long skinny item that closely resembles a shed snakeskin.

These pieces take years to research, assemble and create, because they continue to evolve in response to others' responses to them. This particular RagGonNon began in 1984 and expresses themes of creation, discovery, acceptance and community.

The exhibit reconstructs the history of the largely forgotten Columbus neighborhood called Water Street.

Uncle Alvin was Alvin Frederick Zimmerman, Aminah's mother's oldest sibling and only brother. His memories were in turn based on the stories he heard from his great-uncle Bill Taylor, who owned a bait shop on Water Street in an area that is now in the heart of downtown Columbus.

This area along the Scioto River was inundated during the Flood of 1913, the same flood that destroyed the Ohio & Erie Canal, one of the worst natural disasters in Ohio's history.

''In 1938, Water Street was renamed Marconi Boulevard, and after that the Water Street community was completely forgotten,'' said Allison Tillinger Schmid, Akron Art Museum assistant curator.

''Uncle Alvin's stories are combined with stories she looked up in the Columbus Library, plus stories that are more urban folklore. Uncle Alvin told stories of Native Americans greeting Africans in the 1200s in a place called Chipo Village. She couldn't find any reference to that village existing in the Ohio Valley area, but she uses it anyway.

''She goes back and forth in time, using a technique called Sankofa, which means looking to the past in order to move forward.''

Robinson's RagGonNon has the mixture of observation and oral history similar to that found in the Bayeux Tapestry, where closely examined vignettes lie cheek by jowl with lavishly embroidered fancies. For Robinson, however, Water Street is no fancy, but a metaphor for the larger story of African-Americans migrating to and from the Ohio Valley.

Her memories, her knowledge of and loyalty to her community and appreciation of the past have driven her to record these stories in a way that causes all of us to want to listen, to remember, to put down and pass on our own stories.

That, of course, is only one aspect of our attraction to this work. Visitors interested in working with fabric have been particularly responsive to this exhibit, as have those who are intrigued by artworks made up of unconventional materials.

The watercolor and the rag paintings have been framed, whereas the RagGonNon has been ''skied,'' hung in one continuous course above them.

Just as there are many layers of materials, methods and perspectives in her work, there are many ways of appreciating it.

Students from Akron's Miller South School for the Visual and Performing Arts, for instance, have borrowed Robinson's RagGonNon format to create their own project, One South High: Collaborative Works by Miller South Students Inspired by the Art of Aminah Brenda Lynn Robinson, which is on display in the Akron museum's Mary S. and David C. Corbin Foundation Gallery through March 22.

These youngsters and others who want to discuss Robinson's work will be able to do so in person when she gives a free lecture from 2 to 3 p.m. March 22 at the museum, along with the Columbus Museum of Art's Carole Genshaft and the Akron museum's Barbara Tannenbaum.

In an interview last year with Genshaft, Robinson explained the RagGonNon in this show.

''The white cloth with stitching that begins this RagGonNon is a Memory Map that has not yet been fully designed, but the voices are beginning to take shape, crossing all the boundaries of the universe,'' Robinson said. ''The voices of humanity are being shaped by God. I have tried to show the migratory flux of people going back and forth in time and the evolution of these communities.

''I show the people nestled in the Ohio Valley peering out as if to reach out to a new dawn, a new beginning.

''It is also about the system of Black Laws that made African-Americans invisible, even though we helped to build the country. . . . I have also included the Farmlands, Mount Vernon Avenue and the communities. From all these places, the ancestors' voices emerge, and they are still emerging.''

In addition to the extensive amount of work that focuses on Columbus, Robinson has created other narrative series based on the people and places she has visited, such as her residencies in Kenya, Senegal, Egypt, Israel and Chile, and more recently, Italy and Peru.

Her work reflects not only the formal training she received at the Columbus Art School (now the Columbus College of Art and Design), but also the traditional skills — papermaking, needlework — passed down to her by the elders of her family.

Robinson was a 2004 recipient of the prestigious MacArthur Fellowship, the so-called Genius Grant. The Columbus Museum of Art is developing a permanent center devoted to the study of her work.

Western Reserve PBS, in collaboration with the Akron Art Museum, has produced a documentary about Robinson that includes insightful interviews with the artist, who talks about the stories and experiences behind her works, as well as the teachers and students who created the Miller South project.

The program is available at http://www.westernreservepublicmedia.org and is being played continuously in the Akron museum's video box, along with a video on photographer Edward Weston.

''One's life does not begin with oneself,'' Robinson says at the beginning of her video. ''I stand on their shoulders, their stories, their gifts, and they allow me to continue the work.''


Dorothy Shinn writes about art and architecture for the Akron Beacon Journal. Send information to her at the Akron Beacon Journal, P.O. Box 640, Akron, OH 44309-0640 or dtgshinn@neo.rr.com.

Taken From Ohio.com