The London art market

Ritenuta una delle opere più alte mai collocate su un altare romagnolo nel Cinquecento, la pala di Lugo
di Girolamo Marchesi eseguita nel 1528 per la chiesa dei padri conventuali di San Francesco, sarà
elemento centrale dell’incontro tenuto da Raffaella Zama per l’Università per Adulti di Lugo in
collaborazione con il Liceo “G. Ricci Curbastro”.
L’autrice di studi già confluiti in una monografia sull’artista, ripercorrerà in effetti la storia di due
distinti dipinti realizzati per la medesima chiesa e traccerà le vicende che portarono alla perdita
dell’uno e alle infinite peregrinazioni dell’altro.
Sarà occasione per approfondire la singolare figura di Girolamo Marchesi, tale da confondere la critica
e convincerla che la sua produzione fosse il frutto dell’attività di due distinti artisti. Complice una
virata stilistica rapidissima avvenuta nel segno di Raffaello.
Nell’anno che celebra il cinquecentenario della morte di Raffaello, sarà l’occasione per conoscere un
esempio di precoce assimilazione dei testi figurativi del ‘divin pittore’ ed osservare come la
contaminazione nei territori periferici avvenisse per mano di autori locali, ma che locali non erano
affatto.

1. Una nueva era. Las exposiciones de Arte Español y panorama general de la situación.
2. Pintores en torno al 1900. Ricardo Montes – Ricardo Baroja –Eliseo Meifrén – Josep Cusachs – Gustavo Bacarisas – Otros artistas-
3. Dibujantes en Londres. Pere Ynglada – Joan Llaverías – Joaquim Xaudaró – Olegari Junyent - Joan Vila -Francisco Sáenz –Roberto Domingo – Lorenzo Brunet
4. Aires de modernidad. Mariano Andreu, Néstor, Laura Albeniz e Ismael Smith.
5. El retrato y la pintura regionalista. José Ramón Zaragoza – José María López Mezquita – José Garnelo - Julio Romero de Torres -Pablo Béjar- Adelardo Covarsi -Moya del Pino - Eugenio Hermoso – Pilar Montaner – Ignacio Zuloaga.
6. Artistas en torno la primera guerra mundial. Amalio Fernández - Francisco Sancha -Miguel Mackinlay - Luis Bagaria - Juan de Echevarría – Josep María Sert - Josep Simont - Gustavo de Maeztu – Josep Porta -
7. Periodo de entreguerras. Álvarez de Sotomayor – Pablo Picasso – Rafael Forns – Evaristo Valle – Ricardo Marín – Pere Pruna – Llorens Artigas- Josep María Gol- Castro Gil- Beltrán Masses – Nicanor Piñole – Salvador Dalí– Joan Miró -otros artistas-
8. Guerra civil y exilio. Gregorio Prieto – José María de Ucelay – Emilio Grau Sala – Joan Colom – Ferrán Callicó – Joan Rebull.
9. La posguerra. El suicidio de Sonia Araquistaín – Pedro Bueno – Antonio Clavé – Guillermo Bestard -- William Sánchez de Piña Hepper – Celso Lagar

Bibliografía.

Artistas citados.

II.EXPOSICIONES DE PINTURA ESPAÑOLA EN EL SIGLO XIX.
La exposición Universal de 1851. 
1. La Exposición Internacional de Londres de 1862
2. La Exposición de Dublín de 1865.
3. La exposición de la Spanish Gallery en las Cavendish  Rooms. (1869)
4. First Annual International Exhibition de 1871
5. La fallida exposición española de Earl´s Court de 1889.
6. La exposición de Arte Español en la New Gallery  en 1895.
7. La exposición de  la “Spanish Fine Art Society” de 1898.
8. Marchantes  de cuadros y  galerías.
9. Coleccionistas de pintura española en Londres.

III. ARTISTAS  ESPAÑOLES EN LONDRES  (1800-1866). Proyectos y tentativas 
1.-Los precedentes. 
Pedro de Moya- José Bejes - El Marqués de Ureña –  Bartolomé Sureda-  Pedro Lazo de la Vega.
2.-Primeros Exiliados.
Luis Eusebi – José María Cardano – El Duque de Rivas- José Balaca y Carrión - María Francisca de Braganza –  El general carlista Juan de Montenegro y Marentes – 
3.-Diplómaticos y pensionados.
Ángel de Villalobos Febrer y la School of Design de Angus Fletcher-Joaquín Antonio Curtoys de Anduaga-  Doroteo Bachiller - Pedro Pérez de Castro –
4.-La conexión andaluza de David Roberts.
Gutiérrez de la Vega -José María Escacena y Daza - El viaje a Londres de Jenaro Pérez Villamil en 1841.
5.-Londres a mediados de siglo
Pelegrí Clavé -  Philip Hermogenes Calderón- Vicente Urrabieta -  José Vallejo - El exilio del político y pintor Fernando Garrido. Eugenio de Ochoa  - Felipe Villamil.     
6. El  exilio del pintor y tenor Cosme Algarra  (1851-1857). Impulsor de la acuarela en España.
Biografía – Afición por la música- La conquista de Granada- Un pintor en las islas británicas – Regreso a España
7.--Artistas en torno a  la exposición de Londres de 1862.
Fernando Garrido –  Felipe Villamil - Eugenio de Ochoa -Antonio Gisbert – Rafael Benjumea -El cisógrafo Antonio Capo – Eduardo Gimeno – Martín Rico - Rafael Merry del Val - El dentista y pintor Antonio Rotondo-  Los hermanos Serafín y Teodoro  Avendaño - Edmond Noel Gaulon

Un estudio global sobre las relaciones de los artistas españoles en Londres, Así como otras cuestiones sobre la recepción e intercambio del arte entre España y las islas británicas.

Works of Art recovered for Polish Collections thanks to
activity of Andrzej Stanisław Ciechanowiecki – hunter
of Polonicas in the West

Andrzej Stanisław Ciechanowiecki, collector, marchand and patron of
the arts, was born on the 28th of September 1924 in Warsaw. In 1961 he settled in London, and in the years 1961–1995, as a prominent and influential marchand, he run three galleries, respectively: Mallet at Bourdon House, Heim Gallery and Old Masters Gallery. While living and working in London, he has been collecting works of art connected with Poland in the name of the E. Hutten-Czapski’s motto: „Monumentis Patriae naufragio ereptis”.
From his private collection he founded the Ciechanowiecki Family Collection Foundation at the Royal Castle in Warsaw in 1984. Foundation’s collection consists of art works that were looted from Poland during the Second World War and evacuated by the owners to secure the family treasures in the wartime, or art objects dispersed in the West since the 19th century or earlier. Worth mentioning are paintings from the King of Poland – Stanisław August Poniatowski’s Collection: Portrait of Urszula Zamoyska and Portait of Izabela Poniatowska by M. Bacciarelli; Jesus among the Doctors attributed
to L. Bramer and Landscape with shepherds by P-M. Gault de Saint-Germain. Other objects connected with the King are his Portrait by M. Bacciarelli, the brooch – gem with the King’s portrait made from sapphire, engraved by J. Regulski, and decorated with diamonds by J. Martin in 1787.
Other art works, now in the Foundation’s Collection recovered in the West, are those from Potocki Family Collection in Łańcut Castle (e.g: Portrait of Adam Kazimierz Czartoryski in the red coat, 1793, by É-L. Vigée-Le Brun), from Czartoryski Family Collection, Andrzej Mniszech Collection and many other family collections. Among art works recovered by Ciechanowiecki are important objects looted during the Second World War by the Nazis: Resurection by B. Bruyn (stolen from Wawel, donated by Ciechanowiecki to the same museum), Venus and Cupid by J. Massys (stolen from Xavery Pusłowski Collection, donated by Ciechanowiecki to Jagiellonian University Museum), Arabesque Polish Carpet (stolen from Czartoryski Museum).
Thanks to his extensive contacts Ciechanowiecki was able to control the market of Polonicas in the second half of the 20th century and recover
important art works for Polish Collections.

1.- Londres  ante la dicotomía París-Roma.
2.-El león dormido. El despertar.
3.-La percepción del arte británico bajo la perspectiva española. 
4.-Pintores británicos en España.
5.-Cuadros de historia.
6.-Influencias de los artistas británicos en España.
7.- Influencia del arte británico en los pintores españoles en Inglaterra.
8.- La labor de los diplomáticos y coleccionistas británicos en España.
9.-Un mercado de pinturas en España para turistas.
10.-La recepción del arte español en Inglaterra.
11.- Tipología de los artistas: exiliados, diplomáticos y pensionados.
12.-En busca de un mercado.
13.- ¿Una escuela de pintores  españoles enLondres?

Un estudio global sobre las relaciones de los artistas españoles en Londres, Así como otras cuestiones sobre la recepción e intercambio del arte entre España y las islas británicas.

Recently identified by the editors as the Rua Nova dos Mercadores, the principal commercial and financial street in Renaissance Lisbon, two sixteenth-century paintings, acquired by Dante Gabriel Rossetti in 1866, form the starting point for this portrait of a global city in the early modern period. Focusing on unpublished objects, and incorporating newly discovered documents and inventories that allow novel interpretations of the Rua Nova and the goods for sale on it, these essays offer a compelling and original study of a metropolis whose reach once spanned four continents.

In his popular and successful essay Reflections on British Painting, an elderly Roger Fry—who died in September 1934, the same year of this essay’s publication—criticised the art-historical use of a concept closely related to nationalism: patriotism.1 For Fry the critical appreciation of works of art should be detached from geographical allegiances and instead devoted ‘towards an ideal end’ that had ‘nothing to do with the boundaries between nations.’ Fry also minimised the historical importance of British art, declaring it ‘a minor school.’2 According to Fry, British artists failed to recognise a higher purpose in their art and thus produced works that merely satisfied their immediate contemporaries instead of serving ‘posterity and mankind at large.’3 Their formal choices—which tended towards the linear and generally showed an absence of the plastic awareness and sculptural qualities of other European art, especially Italian—were also considered by Fry to be a serious limitation. Fry’s remarks concerning patriotism in art were directed against the aggressive political nationalism of the 1930s, but the ideas behind them had long been debated.

A segnare l'esordio espositivo segantiniano sulla scena anglosassone è la presenza della tela "Shepherd housing the sheep at night" all'International Exhibition di Glasgow del 1888 1 , cui segue, nello stesso anno, la partecipazione all'Italian Exhibition che vede l'artista presentarsi al pubblico londinese con dieci dipinti e ben quattordici tra disegni e pastelli 2 . Sostenuto dalla Grubicy's Picture Gallery cui si deve la curatela di un catalogo a complemento di quello ufficiale 3 , l'artista arcense si aggiudica una parete della prima delle tre sale assegnate alla scuola lombarda, condivisa anche con Angelo Morbelli e destinata a ospitare una selezione rappresentativa della sua più recente produzione (fig. 1). L'apertura della sezione pittorica è affidata al dipinto Ave Maria (St. Moritz, Museo Segantini) seguito da "A study in Light and Shade" (Contrasto di luce, Bruxelles, Musées Royaux des Beaux-Arts del Belgique) e "The Drinking Trough" (Vacca bruna all'abbeveratorio, Milano, Galleria d'Arte Moderna); all'interno del ricco nucleo grafico spicca il foglio "Tethered" (Praga, Národní Galerie), tratto dal più noto quadro Alla stanga da poco acquistato dal Governo italiano, e il suggestivo "Herd Moving-Moonlight" (Effetto di luna, Rouen, Musée des Beaux-Arts) parte della serie di pastelli eseguiti a crayon Conté che non mancherà di richiamare l'interesse del pubblico londinese 4 .

Reputation management is a contemporary offshoot of public relations, but reputation has long had economic currency in British culture. Less well studied is the way commercial reputation consolidated around ideas of the brand. This case study of the London career of the Swiss‐born artist Angelica Kauffman (1741‐1807) examines the development of the ‘Angelica' brand: from stage‐managed debut, studio establishment and performance, and self‐promotion through self‐portraiture to market positioning, diffusion lines and pricing strategy. It tests the success of Kauffman's efforts by examining critical reception, consumer response and, finally, damage limitation, concluding that the Angelica brand was the painter's cleverest creation.