{"id":5537,"date":"2022-03-29T00:00:00","date_gmt":"2022-03-28T22:00:00","guid":{"rendered":"https:\/\/c01.purpledshub.com\/homesantiques\/?post_type=purple_issue&p=5537"},"modified":"2022-05-06T15:09:29","modified_gmt":"2022-05-06T13:09:29","slug":"the-month-may","status":"publish","type":"post","link":"https:\/\/c01.purpledshub.com\/homesantiques\/2022\/03\/29\/the-month-may\/","title":{"rendered":"The Month: May"},"content":{"rendered":"\n

May<\/span><\/h2>\n\n

Exhibitions at Waddesdon, Dulwich Picture Gallery, The Wallace Collection and Long & Ryle, the return of Battersea Spring Fair and Glyndebourne, an art and design sale at Cheffins, plus bonbonni\u00e9res<\/em><\/em><\/p>\n\n

EDITED BY CAROLINE WHEATER & RACHEL NOTT<\/p>\n\n

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THE ANTIQUE<\/span><\/strong><\/h5>\n\n

Enamel Bonbonni\u00e9res<\/h4>\n\n
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Two Bilston enamel bird bonbonni\u00e9res \u2013a bullfinch and a canary \u2013 went for \u00a3715 at Woolley & Wallis in 2017. <\/figcaption><\/figure><\/div>\n\n

People have always loved novelty, and enamel bonbonni\u00e9res are no exception. These small boxes were designed to hold sweetmeats or candies to sweeten the breath, and were often presented as little gifts. Made of copper and beautifully handdecorated with enamel paints, they came in forms inspired by domestic life, including apples, lemons, gherkins, birds and dogs (spaniels and pugs, especially). A cottage industry grew up around their production in the Midlands \u2013 particularly Birmingham, Bilston and south Staffordshire, where a skilled workforce of local craftsmen and Huguenot metal workers thrived. The golden era for hand-painted enamel bonbonni\u00e9res was between 1750 and 1830, after which they petered out as fashions moved on. At auction, Georgian bonbonni\u00e9res can fetch anything between \u00a3200 and \u00a31,000, depending on quality and rarity. They are not signed or stamped, and fakes do exist, but a specialist will be able to spot whether they are the real thing or a cunning copy.<\/p>\n\n

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Modelled as a juicy apple, a large south Staffordshire bonbonni\u00e9re made \u00a3260 at Woolley & Wallis in 2021.<\/figcaption><\/figure><\/div>\n\n

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THE EXHIBITIONS<\/span><\/strong><\/h5>\n\n

Reframed: The Woman in the Window<\/h4>\n\n

4th May \u2013 4th September, Dulwich Picture Gallery<\/em><\/p>\n\n

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Smokin Jo, window (1995) by Wolfgang Tillmans;<\/figcaption><\/figure><\/div>\n<\/div>\n\n\n\n
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Tom Hunter\u2019s Woman Reading a Possession Order (1997) from the series \u2018Persons Unknown\u2019<\/figcaption><\/figure><\/div>\n<\/div>\n<\/div>\n\n
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Simran Janjua, Dadi\u2019s Love, 2020.<\/figcaption><\/figure><\/div>\n\n
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Pablo Picasso, La Femme \u00e0 la fen\u00eatre (Woman at the Window), 1952;<\/figcaption><\/figure><\/div>\n\n\n\n

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Rembrandt\u2019s Girl at a Window (1645), which inspired this exhibition at Dulwich Picture Gallery.<\/figcaption><\/figure>\n\n\n\n

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From Rembrandt to Rossetti, artists have long used the motif of a woman at a window to elicit a response from the viewer. In this exhibition at Dulwich Picture Gallery, visitors will be able to admire over 50 works in the form of sculpture, painting, print, photography, film and installation art. Themes of visibility and issues around gender will be explored, as well as the relationship between the artist and their muse. \u2018This show will allow visitors to explore a powerful motif across geographic boundaries and time periods to discover why the \u2018woman in the window\u2019 has been so important to different cultures at different times,\u2019 says curator Dr Jennifer Sliwka (King\u2019s College London). \u2018It will provide insight into the ways artists have taken up the device of the window as a kind of \u2018portal\u2019 between two realms: the real and the imagined, the sacred and the profane, between this life and the afterlife or between the public and the private.\u2019 Key works to look out for include Louise Bourgeois\u2019 My <\/em>Blue <\/em>Sky <\/em>(1989\u20132003), David Hockney\u2019s The <\/em>Tower <\/em>Had <\/em>One <\/em>Window <\/em>(1969) and Dulwich Picture Gallery\u2019s own Girl <\/em>at <\/em>a <\/em>Window <\/em>(1645) by Rembrandt, which was the catalyst for this exhibition. dulwichpicturegallery.org.uk<\/a><\/strong><\/p>\n\n

Inspiring Walt Disney: The Animation of French Decorative Arts<\/h4>\n\n

Until 16th October, The Wallace Collection<\/em><\/p>\n\n

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Concept art for Disney\u2019s Beauty and the Beast (1991) by Peter J. Hall. Images opposite page clockwise from left: Courtesy the artist Tom Hunter; \u00a9 Wolfgang Tillmans, courtesy Maureen Paley, London; \u00a9 Succession Picasso\/DACS, London 2021. Photo: Tate; Dulwich Picture Gallery, London; \u00a9 Simran Janjua. This page: \u00a9 Disney<\/figcaption><\/figure><\/div>\n\n

This spring, in collaboration with the Metropolitan Museum of Art in New York, The Wallace Collection in London is presenting the enchanting vision of Disney from a surprisingly fresh perspective. Walt Disney the man was fascinated by France and its culture, and many of the artists working on his muchloved films were influenced by 18th-century French artworks and decorative antiques. By positioning illustrations by Disney artists beside fine furniture and porcelain at The Wallace Collection, visitors will be able to instantly connect the wit, humour and ingenuity of French rococo decorative arts with some well-known animations. Artists of the rococo era aimed to breathe new life into inanimate objects, and this is precisely what Disney sought to do in his films, witnessed in particular in Cinderella <\/em>and Beauty <\/em>and <\/em>the <\/em>Beast. <\/em>Over 120 pieces of artwork from the productions will be on display, alongside 30 18th-century paintings, including Fragonard\u2019s The <\/em>Swing, <\/em>which influenced Beauty <\/em>and <\/em>the <\/em>Beast, <\/em>Tangled <\/em>and Frozen, <\/em>and will be freshly revealed after conservation works. wallacecollection.org<\/a><\/strong><\/p>\n\n

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The Paleoethnobotanist and Other Lives<\/h4>\n\n

4th May \u2013 1st June, Long & Ryle Gallery<\/em><\/p>\n\n

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Interior with Mary Fedden & Owl (2021), Lottie Cole, in watercolour and gouache.<\/figcaption><\/figure><\/div>\n\n

Fans of Lottie Cole\u2019s vibrantly painted interiors and domestic scenes will want to catch her month-long solo show at Long & Ryle. Whether the settings are real or imagined, Lottie pervades each painting with atmosphere and dynamism and, with regard to her roomscapes, you get a real sense that she not only knows exactly who the owner is (one of them being a paleoethnobotanist for a living), but has also fleshed out their life and interests. The end result is like a modern conversation piece. In each of her previous solo shows she has followed a different theme, from City Streets & Architectural Settings to the interiors of the Bloomsbury Group \u2013 and, most recently, the imagined homes of Art Collectors who have a deep understanding and appreciation of women painters. longandryle.com<\/a><\/strong><\/p>\n\n

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Alice\u2019s Wonderlands <\/h4>\n\n

Until <\/em>30th <\/em>October, <\/em>Waddesdon <\/em>Manor <\/em><\/p>\n\n

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A stereoscopic autochrome plate of Alice de Rothschild\u2019s sitting room at Waddesdon Manor c1910. <\/figcaption><\/figure><\/div>\n\n

Waddesdon Manor, the awe-inspiring chateau in Buckinghamshire, was built by Ferdinand de Rothschild (1839\u20131898) \u2013 but his sister Alice (1847\u20131922), who lived alongside him, has largely been consigned to the shadows of the past\u2026 until now. This year marks the centenary of her death, and Waddesdon is celebrating her life with a programme of exhibitions and displays. Alice inherited Waddesdon after her brother\u2019s death, and built a life around collecting (especially Renaissance and 18th-century art) and gardening. Displays throughout the manor will showcase Alice\u2019s contributions to the collection, and part of her sitting room has been recreated so visitors can see how it looked around 1910. This is where Alice gathered her favourite objects, such as a chest of drawers by Jean-Henri Riesener, S\u00e8vres porcelain and a 17th-century Savonnerie carpet \u2013 originally commissioned by Louis XIV for the Long Gallery at the Louvre \u2013 which has been in storage for nearly 30 years. waddesdon.org.uk<\/a><\/strong><\/p>\n\n

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THE FESTIVAL<\/span><\/strong><\/h5>\n\n

Glyndebourne (plus 70 years of its programme book)<\/h4>\n\n

21st May \u2013 28th August<\/em><\/p>\n\n