V&A ACQUIRE RARE OTTOMAN EMPIRE JADE TANKARD

A RARE JADE TANKARD INLAID WITH GOLD AND STUDDED WITH RUBIES AND EMERALDS HAS BEEN ACQUIRED BY THE V&A. THE TANKARD WAS ORIGINALLY MADE FOR AN OTTOMAN SULTAN IN THE LATE 16th CENTURY, IN THE IMPERIAL CAPITAL OF ISTANBUL. A LIMITED NUMBER OF THESE OBJECTS WERE PRODUCED AND THIS IS THE FIRST EXAMPLE TO ENTER A BRITISH NATIONAL COLLECTION. THE TANKARD WAS OFFERED TO THE V&A PARTLY THROUGH THE ACCEPTANCE IN LIEU (AIL) SCHEME. THE ART FUND GAVE £220,000 TOWARDS TO PURCHASE, WHICH INCLUDED A CONTRIBUTION FROM THE WOLFSON FOUNDATION. IT COST A TOTAL OF £477,500. THE TANKARD IS A SPECTACULAR EXAMPLE OF HOW THE OTTOMAN COURT BORROWED FORMS FROM EVERYDAY LIFE AND TURNED THEM INTO STUNNING LUXURY ITEMS. ITS SHAPE IS BASED ON THE INDIGENOUS DRINKING VESSELS USED IN A VARIETY OF BEVERAGES INCLUDING BOZA, THE FERMENTED MILLET DRINK STILL POPULAR IN ANATOLIA AND THE BALKANS. HOWEVER, INSTEAD OF WOOD OR LEATHER, IT IS MADE FROM JADE, WHICH HAD TO BE IMPORTED AT HIGH COST, OVER A GREAT DISTANCE FROM CENTRAL ASIA. BY THE 1560s, THE OTTOMAN EMPIRE WAS ONE OF THE WORLD'S GREAT POWERS, AND THE SULTANS WHO RULED IN THE FOLLOWING DECADES NO LONGER FELT THE NEED TO BORROW ARTISTIC IDEAS FROM THEIR RIVALS. INSTEAD, THEY CELEBRATED THEIR REGIONAL SUPREMACY BY ADOPTING LOCAL FORMS AND RECREATING THEM IN LUXURY MATERIALS FOR USE IN COURT. THIS PARTICULAR TANKARD HAS A DISTINCTIVE FORM, POT-BELLIED IN FRONT AND FLAT AT THE BACK, WHICH SUGGESTS IT HAD A LEATHER PROTOTYPE. IT IS DECORATED WITH A GOLD WIRE INLAY AND GEMSTONE SETTINGS, ARRANGED IN A PATTERN OF FLORAL SPRAYS, WITH A VASE MOTIF ON THE FRONT. IT WAS THE CUSTOM TO SET OBJECTS OF ALL KINDS WITH RUBIES AND OTHER GEMSTONES TO MARK THEM OUT AS COURT OBJECTS. AROUND 1800, THE TANKARD WAS FURTHER EMBELLISHED WITH GOLD FITTINGS IN THE ROCOCO STYLE, CONSISTING OF GEMSET GOLD MOUNTS AROUND THE FOOT, THE RIM AND THE LID AND THE DISTINCTIVE CURVED HANDLE. SIR MARK JONES, DIRECTOR OF THE V&A SAID: 'THIS TANKARD IS A SPLENDID EXAMPLE OF OTTOMAN ART. THERE IS NOTHING LIKE IT IN THE V&A OR ANY OTHER COLLECTION IN BRITAIN.'

CONTROVERSIAL ARTWORK DAMAGED BY ASSAILANT

POLICE QUESTIONED WITNESSES ON MONDAY IN THEIR SEARCH FOR A MAN WHO TOOK A HAMMER TO A CONTROVERSIAL PHOTOGRAPH OF A CRUCIFIX BATHED IN URINE AT AN ART EXHIBITION IN AN AVIGNON MUSEUM. THE MODERN ART MUSEUM, THE COLLECTION LAMBERT, IN SOUTHERN FRANCE, SAID AN ASSAILANT DESTROYED THE PHOTOGRAPH BY AMERICAN ARTIST ANDRES SERRANO, 'IMMERSION (PISS CHRIST)' ON SUNDAY AND APPARENTLY ACCIDENTALLY DAMAGED ANOTHER OF THE ARTIST'S WORKS WHILE STRUGGLING WITH A GUARD. IT WAS NOT IMMEDIATELY CLEAR WHETHER THE ASSAILANT WAS PART OF A DEMONSTRATION A DAY EARLIER BY A RIGHT-WING GROUP DENOUNCING THE 1987 PHOTOGRAPH AS BLASPHEMOUS AND DEMANDING ITS REMOVAL FROM THE EXHIBITION, ENTITLED 'I BELIEVE IN MIRACLES'. ACCORDING TO POLICE, CITING WITNESSES, TWO PEOPLE TRIED TO ENTER THE MUSEUM LATE SUNDAY MORNING CARRYING A CAN OF SPRAY PAINT AND A CHISEL IN THEIR JACKETS. THE GUARD REMOVED THE OBJECTS, JUST AS A THIRD PERSON TOOK A HAMMER TO 'IMMERSION'. THE ATTACKER STRUGGLED WITH A GUARD, BUT HELPED BY AN ACCOMPLICE, MANAGED TO ESCAPE, POLICE SAID. IN THE STRUGGLE, HE APPARENTLY DAMAGED ANOTHER WORK, 'THE CHURCH (SISTER JEANNE-MYRIAM)', WHICH SHOWS A NUN PRAYING. THE MUSEUM'S DOORS WERE SHUT MONDAY FOR ITS WEEKLY CLOSING. HOWEVER, IT SAID IT WILL REOPEN TUESDAY WITH THE DESTROYED WORKS ON DISPLAY SO THAT THE PUBLIC CAN VIEW THE DAMAGE. THE MUSEUM CLOSED EARLY SUNDAY BECAUSE OF PROTEST OF THE PROTEST. SERRANO MADE THE CONTROVERSIAL WORK BY PLACING A CRUCIFIX IN URINE AND BLOOD, AND IT HAD DRAWN CRITICISM IN THE PAST FROM SOME CHRISTIAN GROUPS. YOUNG FAR-RIGHT CHRISTIAN ACTIVISTS FROM THE GENERAL ALLIANCE AGAINST RACISM AND FOR THE RESPECT OF THE FRENCH AND CHRISTIAN IDENTITY IS THE COLLECTION LAMBERT TO COURT WEDNESDAY TO TRY TO HAVE THE CRUCIFIX PHOTOGRAPH REMOVED FROM THE EXHIBIT. THE GROUP DENOUNCED THE PHOTOGRAPH ON ITS WEBSITE, SAYING IT 'INSULTS AND INJURES CHRISTIANS AT THE HEART OF THEIR FAITH'. THE EXHIBIT OPENED 12.DECEMBER.2010 AND IS TO RUN UNTIL 8.MAY.

MFA, BOSTON, DISCOVERS PROVENANCE OF 17th CENTURY TAPESTRIES

PROVENANCE RESEARCH CONDUCTED BY THE MUSEUM OF FINE ARTS, BOSTON (MFA), HAS RESULTED IN NEW DISCOVERIES ABOUT THE HISTORY OF OWNERSHIP OF FOUR 17th CENTURY TAPESTRIES IN THE MFA's COLLECTION. THE MUSEUM's RESEARCH REVEALED THAT THE TAPESTRIES, GIVEN TO THE MFA IN THE 1950s BY EUGENE GARBATY, A GERMAN JEWISH ART COLLECTOR AND REFUGEE, HAD BEEN INCLUDED IN A FORCED SALE IN 1935 OF THE STOCK OF THE ART DEALER MARGRAF & CO IN BERLIN, A FIRM RUN BY JAKOB AND ROSA OPPENHEIMER. THE MFA CONTACTED THE OPPENHEIMER HEIRS IN 2010 TO INFORM THEM OF THE DISCOVERY AND TO BEGIN SETTLEMENT DISCUSSIONS, WHICH CONCLUDED RECENTLY. THE FOUR TAPESTRIES (EACH MEASURING APPROXIMATELY 222 x 48 INCHES) WERE PART OF A LARGER SERIES THAT DEPICTED THE LIFE AND ACHIEVEMENTS OF POPE URBAN VIII. THE ENTIRE SERIES, BEGUN IN 1663 AND FINISHED IN 1679, WAS COMMISSIONED AFTER THE POPE'S DEATH BY HIS NEPHEW, CARDINAL FRANCESCO BARBERINI. THE TAPESTRIES HUNG IN THE BARBERINI PALACE IN ROME UNTIL THE END OF THE 19th CENTURY, WHEN THE SERIES WAS DISASSEMBLED AND SOLD. ORIGINALLY, THERE WERE 34 TAPESTRIES MADE OUT OF COLOURFUL WOOL AND SILK. AMONG THEM WERE 10 LARGER NARRATIVE PANELS, OF WHICH NINE ARE NOW IN THE VATICAN MUSEUM IN ROME, AND ONE IS IN THE MUSEES ROYAUX D'ART ET HISTOIRE IN BRUSSELS. THE SERIES ALSO INCLUDES 10 HORIZONTAL BORDER PANELS, CALLED FRIEZES, AND 14 VERTICAL BORDER PANELS, KNOWN AS PILASTERS. BY 1928, EIGHT OF THE PILASTERS FROM THE SERIES, INCLUDING THE FOUR AT THE MFA, WERE OWNED BY MARGRAF IN BERLIN. IN 1933, THE OPPENHEIMERS, WHO WERE JEWISH, FLED GERMANY TO AVOID NAZI PERSECUTION AND RELOCATED TO FRANCE. IN THEIR ABSENCE, THEY WERE FORCED OUT OF THEIR MANAGEMENT ROLES AT MAGRAF AND WERE FORBIDDEN FROM PERFORMING ANY LEGAL TRANSACTIONS FOR THE COMPANY. AS A WELL-KNOWN JEWISH BUSINESS, MARGRAF WAS DISSOLVED BY THE NAZI REGIME, ITS GALLERY STOCK SOLD OFF QUICKLY AND AT LOW PRICES IN A SERIES OF AUCTION HELD IN BERLIN IN 1935. THE EIGHT BARBERINI TAPESTRIES WERE INCLUDED IN THE MARGRAF LIQUIDATION SALE HELD AT THE AUCTION HOUSE PAUL GRAUPE ON 26-27.APRIL.1935. DISCOVERY OF THIS INFORMATION BY VICTORIA REED, THE MFA's MONICA S SADLER CURATOR FOR PROVENANCE, HELPED TO DETERMINE THAT THE TAPESTRIES WERE INCLUDED IN THE FORCED SALE, FROM WHICH THE OPPENHEIMERS WERE UNABLE TO REALIZE THE PROCEEDS. THE MUSEUM THEN CONTACTED THEIR HEIRS. JAKOB AND ROSA OPPENHEIMER LOST THEIR LIVES BEFORE THE END OF WORLD WAR II. AFTER THE WAR, THE BUSINESS SHARES IN MARGRAF WERE LEGALLY TRANSFERRED TO THEIR HEIRS, BUT ALMOST NONE OF THE GALLERY'S ARTWORK WAS RECOVERED.

ISABELLA STEWART GARDNER MUSEUM LAUNCHES NEW WEBSITE

THE ISABELLA STEWART GARDNER MUSEUM, BOSTON, ANNOUNCED THE LAUNCH OF A NEWLY DESIGNED EXPLORATORY WEBSITE. IN ADDITION TO STRUCTURAL AND NAVIGATIONAL IMPROVEMENTS, THE MUSEUM'S NEW WEBSITE AIMS TO ENGAGE ONLINE VISITORS WITH MEANINGFUL EXPLORATIONS THAT REFLECT THE UNIQUE, MULTI-SENSORY EXPERIENCES OF A PHYSICAL VISIT TO THE GARDNER MUSEUM AND ITS INTERIOR COURTYARD AND GALLERIES. THE SITE'S LANDING PAGE, ORGANIZED AROUND THE HISTORIC GALLERIES AND FLOORS OF THE MUSEUM, SHOWCASES A MOSAIC OF IMAGES LEADING TO A SELECTION OF ALMOST 300 OBJECTS OF ART, WHICH CAN BE UNDERSTOOD THROUGH TRADITIONAL AND HISTORIC MATERIAL. THE DESIGN FOR THE SITE DIMINISHES THE CONCEPT OF A TRADITIONAL HOMEPAGE BY INVITING VISITORS TO VIRTUALLY EXPLORE THE GALLERIES AND COLLECTION: TO LISTEN TO AUDIO; TO READ ARCHIVAL EXCERPTS; TO LOOK CLOSELY AT WORKS OF ART; AND TO DISCOVER DIFFERENT PERSPECTIVES ON THE COLLECTION OR NEW WORKS BY VISITING CONTEMPORARY ARTISTS. THIS EXPLORATION IMPROVES ACCESSIBILITY TO THE GARDNER MUSEUM'S COLLECTION AND ENCOURAGES CONNECTIONS ACROSS MUSEUM DEPARTMENTS, PROGRAMS AND MEDIA THROUGH A USER-DRIVEN PATH THAT PROVIDES A PERSONALIZED WEB EXPERIENCE. THE NEW WEBSITE AT www.gardnermuseum.org WAS LAUNCHED ON 8.MARCH FOR A QUIET PHASE, FOLLOWING A YEAR OF CONCEPTUAL PLANNING AND DESIGN WORK WITH AWARD-WINNING WEB DESIGN FIRM TENDER CREATIVE, BASED IN NEW YORK. IN THE WEEKS SINCE ITS LAUNCH, www.gardnermuseum.org HAS SEEN AN INCREASE IN DAILY PAGE VIEWS OF ALMOST 100%.

WOMAN ATTACKS GAUGUIN PAINTING AT NATIONAL GALLERY OF ART

A WOMAN ACCUSED OF POUNDING ON A PAINTING BY PAUL GAUGUIN AND TRYING TO RIP IT FROM A WALL AT THE NATIONAL GALLERY OF ART TOLD POLICE THE POST-IMPRESSIONIST ARTIST WAS EVIL AND THE PAINTING SHOULD BE BURNED, COURT DOCUMENTS SHOW. SUSAN BURNS, OF ARLINGTON VA, HAS BEEN CHARGED WITH ATTEMPTED SECOND-DEGREE THEFT AND DESTRUCTION OF PROPERTY FOLLOWING THE ATTACK FRIDAY. SHE WAS BEING HELD WITHOUT BAIL PENDING A MENTAL HEALTH HEARING TUESDAY. THE GAUGUIN PAINTING 'TWO TAHITIAN WOMEN', VALUED AT AN ESTIMATED $80 MILLION, WAS NOT DAMAGED AND WILL GO BACK ON VIEW, THE NATIONAL GALLERY SAID IN A STATEMENT. THE PICTURE IS ON LOAN FROM THE METROPOLITAN MUSEUM OF ART IN NEW YORK FOR AN EXHIBIT TITLED 'GAUGUIN: MAKER OF MYTH'. THE PAINTING DEPICTS TWO WOMEN STANDING NEXT TO EACH OTHER, ONE WITH BOTH BREASTS EXPOSED AND THE OTHER WITH ONE BREAST SHOWING. ACCORDING TO CHARGING DOCUMENTS, AN INVESTIGATOR TOLD BURNS HER RIGHTS AND ASKED WHY SHE HAD TRIED TO REMOVE THE PAINTING. 'I FEEL THAT GAUGUIN IS EVIL. HE HAS NUDITY AND IS BAD FOR CHILDREN. HE HAS TWO WOMEN IN THE PAINTING AND IT'S VERY HOMOSEXUAL. I WAS TRYING TO REMOVE IT. I THINK IT SHOULD BE BURNED', ACCORDING TO THE DOCUMENTS. BURNS ALSO SAID: 'I AM FROM THE AMERICAN CIA AND I HAVE A RADIO IN MY HEAD. I AM GOING TO KILL YOU.' BURNS' ATTORNEY, SHARON WEATHERS, DECLINED TO COMMENT MONDAY. BURNS APPROACHED THE PAINTING AROUND 4.45p FRIDAY, GRABBED THE FRAME AND PULLED THE BOTTOM PART OFF THE WALL, CAUSING SCREWS TO FALL TO THE FLOOR, ACCORDING TO THE WITNESSES. SHE THEN BEGAN BANGING ON THE MIDDLE OF THE PAINTING WITH HER FIST. BURNS WAS QUICKLY APPREHENDED BY THE MUSEUM'S FEDERAL PROTECTION SERVICES OFFICERS. THE PAINTING WAS PROTECTED BY A TRANSPARENT PLASTIC SHIELD. IT WAS THE FIRST DOCUMENTED CASE OF SOMEONE TRYING TO DEFACE A PAINTING AT THE GALLERY SINCE THE 1970s, SPOKESWOMAN DEBORAH ZISKA SAID. SHE SAID THE GALLERY'S SECURITY PROCEDURES WORKED. BURNS HAS BEEN ARRESTED SEVERAL TIMES. SHE SERVED SIX MONTHS IN JAIL AFTER A 2006 CONVICTION FOR ASSAULT AND BATTERY ON A POLICE OFFICER. IN 2002, SHE WAS CONVICTED OF MISDEMEANOR TRESPASSING. SHE HAS ALSO BEEN CHARGED WITH DISORDERLY CONDUCT, OBSTRUCTION OF JUSTICE, VANDALISM AND A SEPARATE ASSAULT ON A POLICE OFFICER, BUT PROSECUTORS DECLINED TO PURSUE THOSE CASES, VIRGINIA COURT RECORDS SHOW.

RUSSIAN ARTIST CREATES PEARL-ENCRUSTED PAINTING FOR THE QUEEN

A RUSSIAN ARTIST IN SERBIA HAS SPENT A SMALL PERSONAL FORTUNE OVER A THOUSAND PEARLS FOR A RELIGIOUS PAINTING HE HAS MADE FOR QUEEN ELIZABETH II. CLAD IN EMBROIDERED ROBES, ADAM AND EVE SIT IN THRONES ON A SUSPENDED GARDEN OF EDEN IN ANATOLY PASTYREV'S PAINTING, WHICH IS CROWNED BY A RUSSIAN ORTHODOX ICON AND PEARL-ENCRUSTED THROWOUT. 'THE BRITISH MONARCHY IN PARTICULAR HAS BEEN THE BASTION OF MODERN CIVILIZATION WHICH HAS CENTURIES-OLD TRADITIONS COMING FROM CHRISTIANITY', PASTYREV TOLD REUTERS ON SUNDAY AT HIS HOME IN TAIGA FOREST ENCIRCLING KRASNOYARSK, SOME 3,300km EAST OF MOSCOW. PASTYREV NOW WANTS TO GIVE THE PAINTING, CALLED 'GLORIFICATION OF THE LORD', TO THE BRITISH MONARCH AS A TRIBUTE TO HER TITLE AS SUPREME GOVERNOR OF THE CHURCH OF ENGLAND. THE BULLDOZER OPERATOR-TURNED-ARTIST SPENT MONTHS WORKING ON THE PAINTING, WHICH HAS 1,360 NATURAL PEARLS HE BOUGHT IN MOSCOW FOR A HANDSOME SUM OF 500,000 RUBLES (£10,947). 'THE BRITISH ROYAL COURT IS THE OLDEST, MOST POWERFUL AND MOST INFLUENTIAL', SAID PASTYREV, WHO WAS A FERVENT COMMUNIST IN SOVIET DAYS. HE IS NOW LOOKING FOR A WAY TO GIVE THE PAINTING, WHICH MEASURES ONE METER BY 1.4 METERS LONG AND IS PEARL-ENCRUSTED ALONG ITS OUTLINE, THROUGH-OUT THE GARDEN AND ON THE BUBBLE-LIKE CLOUDS, TO BUCKINGHAM PALACE. BUT PASTYREV WANTS TO WAIT WHILE THE 'HAT' SURROUNDING PRINCE WILLIAM'S MARRIAGE TO KATE MIDDLETON ON 29.APRIL DIES DOWN BEFORE ATTEMPTING TO GET HIS ARTWORK TO THE BRITISH MONARCH. 'I AM THRILLED BY THIS EVENT...I HAVE NOTHING BUT RESPECT FOR THE YOUNG PRINCE WILLIAM', HE SAID.

ISABELLA STEWART GARDNER MUSEUM RESTORES TAPESTRY ROOM TO FORMER GLORY

FOR THE FIRST TIME SINCE IT OPENED IN 1914, THE ISABELLA STEWART GARDNER MUSEUM'S 4,000 SQUARE FOOT TAPESTRY ROOM IS BEING RESTORED TO ITS ORIGINAL GLORY AND WILL ONCE AGAIN TAKE ITS PLACE AS ONE OF THE NATION'S GREAT TAPESTRY HALLS. THE RESTORATION OF THE BELOVED SPACE WILL RETURN THE TAPESTRY ROOM TO ITS ORIGINAL CONFIGURATION FOR ITS FIRST TIME SINCE A TEMPORARY STAGE, CHAIRS, AND OTHER MODERN ELEMENTS WERE ADDED TO ACCOMMODATE FORMAL CONCERTS IN THE EARLY 1970s. HISTORICALLY, THE TAPESTRY ROOM HAS BEEN A GALLERY AND HOME TO MANY OF THE MUSEUM'S PROGRAMS, INCLUDING THE POPULAR SUNDAY CONCERT SERIES. NOW, AS PART OF THE GARDNER MUSEUM'S EXTENSION AND PRESERVATION PROJECT, THE MUSEUM'S WORLD CLASS CONCERTS WILL BE RELOCATED TO AN INTIMATE NEW PERFORMANCE HALL IN THE RENZO PIANO-DESIGNED ADDITION, AND THE GARDNER WILL BE ABLE TO RESTORE THE SPACE TO ITS HISTORIC APPEARANCE, ENABLING VISITORS TO SEE AND ENJOY THE TAPESTRY ROOM FOR THE FIRST TIME IN NEARLY 40 YEARS. NO EVENT PROGRAMMING IS SCHEDULED FOR 2011 IN THE TAPESTRY ROOM; PROGRAMMING WILL RESUME IN 2012 IN THE NEW WING AND THE GALLERY WILL REMAIN OPEN UNTIL THEN SO THAT VISITORS CAN VIEW THE CONSERVATION AND PRESERVATION WORK TAKING PLACE. THE REINSTALLED TAPESTRY ROOM WILL BE HIGHLIGHTED AS PART OF THE MUSEUM'S GRAND OPENING FOR ITS NEW WING IN JANUARY 2012. 'ONE OF THE MOST IMPORTANT GOALS OF THE NEW WING IS THE RELOCATION OF PROGRAMMING WHICH HAS OUTGROWN THE HISTORIC GALLERIES', SAYS ANNE HAWLEY, THE NORMA JEAN CALDERWOOD DIRECTOR OF THE ISABELLA STEWART GARDNER MUSEUM. 'THE TAPESTRY ROOM IS PERHAPS THE MOST DRAMATIC EXAMPLE OF THAT AS IT HAD BECOME THE HUB OF THE MUSEUM'S LARGEST AND MOST POPULAR PROGRAMMING AND HAD LOST ITS FOCUS AS A GALLERY. THIS EFFORT RETURNS THE SPACE INTO A BEAUTIFUL GALLERY FOR VIEWING TAPESTRIES, SOMETHING AN ENTIRE GENERATION OF VISITORS HAS NOT EXPERIENCED.' THE NEW 70,000 SQUARE FOOT WING DESIGNED BY RENZO PIANO INCLUDES PURPOSE-BUILT SPACES FOR MANY OF THE ACTIVITIES FORMALLY HELD IN THE TAPESTRY ROOM, SUCH AS LECTURES, VISITOR ORIENTATION AND THE SUNDAY CONCERT SERIES. WHILE OCCASIONAL SMALLER MUSICAL PERFORMANCES AND TALKS WILL CONTINUE IN THE REINSTALLED SPACE, THE TAPESTRY ROOM WILL SERVE PRIMARILY AS A GRAND GALLERY FOR VIEWING TAPESTRIES AND OTHER WORKS OF ART. CURATORIAL AND CONVERSATION STAFFS HAVE PLANNED THE PRESERVATION AND RE-INSTALLATION OF THE TAPESTRY ROOM BASED ON HISTORIC PHOTOGRAPHS FROM THE MUSEUM'S ARCHIVES, WHICH WERE TAKEN IN 1915, 1916, AND 1926 BY PHOTOGRAPHER T.E. MARR AND SON. THE PHOTOGRAPHS REVEAL A PIANO PLACED IN FRONT OF THE LATE 14th CENTURY FRENCH FIREPLACE AND AN ARRANGEMENT OF FURNITURE AND OBJECTS IN THE CENTER OF THE GALLERY. CONSERVATION TREATMENT WILL ENCOMPASS CLEANING, RESTORATION AND RE-INSTALLATION OF MANY PARTS OF THE GALLERY, INCLUDING ITS MERCER-TILED FLOORS AND FRENCH MEDIEVAL STONE FIREPLACE, SELECT ART AND FURNITURE OBJECTS, AND NEW LIGHTING. THE HISTORIC ARRANGEMENT OF FURNITURE IN THE CENTER OF THE GALLERY AND OTHER VIGNETTES AROUND THE WINDOWS AS DEPICTED IN EARLY PHOTOGRAPHS ALSO WILL BE RESTORED. TWO OF THE MOST STRIKING AREAS WILL BE THE CONSERVATION OF THE MASSIVE FIREPLACE AND THE PAINTING OF THE ARCHANGEL MICHAEL BY PEDRO GARCIA DE BENABARRE THAT HANGS ABOVE IT, AND AN ARRANGEMENT OF TEN SIDE CHAIRS UPHOLSTERED IN 18th CENTURY NETHERLANDISH PAINTED LEATHER THAT WILL BE RE-INSTALLED AROUND A 17th CENTURY DUTCH TABLE IN THE CENTER OF THE GALLERY. ADDITIONALLY, LIGHTING UPGRADES WILL ENHANCE THE GALLERY'S HISTORIC ATMOSPHERE, REDUCE HARMFUL LIGHT ON THE COLLECTION AND IMPROVE VISIBILITY. EIGHTEEN TEXTILE PROJECTS ARE INCLUDE IN THE ROOM REFURBISHMENT PLANS. THEY INCLUDE CONSERVING ORIGINAL TEXTILES, RE-UPHOLSTERING FURNITURE, AND REPLACING MISSING, DAMAGED OR INAPPROPRIATE FURNISHING TEXTILES. TWO TAPESTRIES WILL BE REINSTATED TO THEIR ORIGINAL 1926 POSITIONS.

PUBLIC ART FUND PRESENTS ROB PRUITT'S THE ANDY MONUMENT

PUBLIC ART FUND PRESENTS ROB PRUITT'S THE ANDY MONUMENT, 30.MARCH-2.OCTOBER, AT THE NORTHWEST CORNER OF UNION SQUARE. THE MONUMENT TO ANDY WARHOL, THE FATHER OF POP ART AND ONE OF NEW YORK'S ENDURING CULTURAL ICONS IS INSTALLED JUST OUTSIDE THE BUILDING THAT HOUSED WARHOL'S 'FACTORY' FOR MORE THAN TEN YEARS IN THE 1970s AND EARLY 1980s, AND JUST DOWN THE STREET FROM AN EARLIER 'FACTORY' SITE. 'WE ARE THRILLED TO BE COLLABORATING WITH ROB, WHOSE WORK HAS EXACTLY THE SPIRIT OF GENEROSITY AND ENGAGEMENT THAT LENDS ITSELF SO WELL TO PUBLIC ART', SAID NICKOLAS BAUME, PUBLIC ART FUND DIRECTOR AND CHIEF CURATOR. 'INSPIRED BY WARHOL AND HIS STORY, ROB MOVED TO NEW YORK AS A YOUNG MAN AND EVEN MET WARHOL WHEN HE VISITED THE 'FACTORY' TO INTERVIEW FOR A JOB. ROB'S MEMORY OF THE ARTIST THAT DAY FORMED THE VISION FOR THIS SCULPTURE, AND I THINK THAT PERSONAL CONNECTION WILL RESONATE WITH MANY WHO COME TO VISIT, JUST AS IT DOES WITH ME.' PRUITT ENVISIONS THE MONUMENT AS A PILGRIMAGE SITE THAT EMBODIES THE SPIRIT OF WARHOL AND THE DOWNTOWN CULTURAL MOVEMENT. 'EVERY DAY A THOUSAND MORE KIDS COME TO NEW YORK PROPELLED BY HIS LEGACY. AND EVEN IF THE DECADES PASS AND WARHOL'S LEGACY BECOMES FURTHER DISTANT, THERE IS A DIRECT LINK TO HIM, LIKE THIS PILGRIMAGE, COMING HERE TO MAKE IT BIG, TO BE AN ARTIST', SAID PRUITT. 'LIKE OSCAR WILDE'S GRAVE AT PERE LACHAISE, THERE SHOULD BE A DESTINATION IN NEW YORK TO MARK THE JOURNEY. I THINK SOMETHING NEEDS TO BE IN THE STREETS OF NEW YORK, SOMETHING YOU COULD VISIT AT 4:30 IN THE MORNING.' ADAPTING THE VISUAL LANGUAGE OF FORMAL STATUARY, LIKE THE NEARBY MONUMENTS TO GANDHI, LINCOLN AND WASHINGTON, THE SEVEN FOOT TALL FIGURE STANDS ATOP A CONCRETE PEDESTAL, ITS CHROMED SURFACE REFLECTING THE SURROUNDING NEIGHBORHOOD WHERE WARHOL WORKED FOR MUCH OF HIS LIFE: MAX's KANSAS CITY, A FAVORITE WARHOL HANGOUT, ONCE STOOD NEARBY, INTERVIEW MAGAZINE WAS LAUNCHED IN THE NEIGHBORHOOD, AND VALERIE SOLANAS ATTEMPTED HER ASSASSINATION OF WARHOL HERE.

GETTY MUSEUM RETURNS WORLD WAR II LOOTED PAINTING

THE J PAUL GETTY MUSEUM HAS AGREED TO RETURN A 370 YEAR OLD PAINTING THAT ONCE BELONGED TO AN ART DEALER WHO FLED HOLLAND WHEN THE NAZIS INVADED IN 1940. JACQUES GOUDSTIKKER WAS THE NETHERLANDS' BIGGEST ART DEALER IN THE 1930s. HE WAS FLEEING THE NAZIS WITH HIS WIFE AND YOUNG SON AT THE BEGINNING OF WORLD WAR II WHEN HE FELL THROUGH A TRAP DOOR ON AN OUTBOUND SHIP AND DIED. HIS COLLECTION WAS LOOTED, WITH SOME WORKS CLAIMED BY HITLER CHIEF DEPUTY HERMANN GOERING. GOUDSTIKKER'S DAUGHTER-IN-LAW, MAREI VON SAHER, HAS SPENT YEARS TRYING TO TRACK DOWN THE WORKS. HER SUCCESSES HAVE BEEN ON TOUR AROUND THE COUNTRY IN AN EXHIBITION THAT ENDS TUESDAY IN SAN FRANSISCO AND FEATURED 45 RECOVERED PIECES FROM THE COLLECTION. THE GETTY BOUGHT THE 1640 PIETER MOLIJN PAINTING TITLED 'LANDSCAPE WITH COTTAGE AND FIGURES' IN GOOD FAITH AT A 1972 AUCTION, THE MUSEUM SAID. THE MUSEUM DID NOT DISCLOSE THE PURCHASE PRICE AND HAS NEVER DISPLAYED THE PAINTING. 'WORKING IN COOPERATION WITH REPRESENTATIVES OF THE GOUDSTIKKER HEIRS, THE GETTY'S RESEARCH REVEALED THAT THE PAINTING WAS IN GOUDSTIKKER'S INVENTORY AT THE TIME OF THE INVASION IN 1940, AND THAT IT WAS NEVER RESTITUTED AFTER WORLD WAR II', ACCORDING TO A WRITTEN STATEMENT FROM THE MUSEUM. 'BASED ON IT'S FINDINGS, THE GETTY CONCLUDED THAT THE PAINTING SHOULD BE TRANSFERRED TO THE HEIRS.' AT LEAST FOUR OTHER MUSEUMS IN THE UNITED STATES AND CANADA HAVE WORKS FROM THE COLLECTION, AND FAMILY ATTORNEY LAWRENCE KAYE SAID HE HOPES THEY WILL FOLLOW GETTY'S LEAD. ABOUT 1,000 OF GOUDSTIKKER'S 1,400 PAINTINGS REMAIN UNACCOUNTED FOR, HE SAID. 'IT IS ALWAYS ENCOURAGING TO SEE AN IMPORTANT CULTURAL INSTITUTION LIKE THE GETTY MUSEUM DECIDE TO DO THE RIGHT THING FOR HOLOCAUST VICTIMS AND THEIR HEIRS', VON SAHER, OF GREENWICH, CONN, SAID IN A STATEMENT TO THE LOS ANGELES TIMES.

'THE VIRGIN AND CHILD WITH REPENTANT SINNERS' COMFIRMED AS AN ORIGINAL VAN DYCK

'THE VIRGIN AND CHILD WITH REPENTANT SINNERS' WAS NOT A COPY OF VAN DYCK AND DID NOT DESERVE TO BE IN THE BASEMENT OF THE SAN FERNANDO ROYAL ACADEMY OF FINE ARTS IN MADRID. IT WAS A GENUINE VAN DYCK FROM 1625, THE INSTITUTION TOOK IT OUT OF STORAGE RECENTLY AFTER MANY YEARS. THE WORK WAS INCLUDED IN THE 1964 INVENTORY OF THE ACADEMY AS 'AN OLD COPY OF VAN DYCK'. ONCE THE PAINTING WAS CLEANED AND RESTORED, THE AUTHENTICITY OF THE WORK OF ART HAS BEEN CONFIRMED ACCORDING TO THE PRESS RELEASE. THE DIRECTOR OF THE ACADEMY, ANTONIO BONET CORREA, APPEARED BEFORE THE PRESS TO PRESENT THE WORK WITH THE TEACHER AND RESEARCHER OF HISTORY OF ART AND FORMER CURATOR OF THE MUSEO DEL PRADO, MATIAS DIAZ PADRON. THE ATTRIBUTION TO VAN DYCK IS 'NO LONGER IN DOUBT', SAID THE ROYAL ACADEMY. 'THE VIRGIN AND CHILD WITH REPENTANT SINNERS' DEPICTS THE VIRGIN MARY WITH THE BABY JESUS IN HER ARMS WATCHED BY MARY MAGDALENE, KING DAVID AND THE PRODIGAL SON. THE PICTURE IS AN EXAMPLE OF THE CATHOLIC EMPHASIS PLACED ON THE SACRAMENT OF PENANCE. ACCORDING TO THE ACADEMY OF SAN FERNANDO, 'THE HIGH QUALITY OF HIS STYLE AND TECHNIQUE ALLOWS US TO CLASSIFY THE WORK IN THE ITALIAN PERIOD OF VAN DYCK. THIS COUPLED WITH THE PROXIMITY OF THE DOCUMENTS CITED, LEAVES NO DOUBT ABOUT HIS AUTHORSHIP.' THE PAINTING IS PART OF THE EXHIBITION 'ECHOES OF VAN DYCK', WHICH OPENS IN MURCIA, SPAIN, FROM 1.APRIL TO 8.MAY AND WILL BE IN MADRID FROM 16.MAY TO 26.JUNE.

ART FUND SAVES TWO COLLECTIONS FOR THE NATION

THE ART FUND ANNOUNCED THAT BOTH THE FROME HOARD OF ROMAN COINS AND THE IRON AGE HOARD OF GOLD TORQUES, OR NECK ORNAMENTS, UNCOVERED NEAR STIRLING IN SCOTLAND HAVE BEEN SECURED FOR THE UK PUBLIC WITH SIGNIFICANT ASSISTANCE FROM THE ART FUND AND THE NATIONAL HERITAGE MEMORIAL FUND. THE MUSEUM OF SOMERSET TAKES POSSESSION OF THE £320,250 FROME HOARD AND FURTHER FUNDS OF OVER £100,000 TOWARDS ITS CONSERVATION FOLLOWING THE ANNOUNCEMENT OF THE £294,026 GRANT FROM THE NHMF. THE GOOD NEWS FOLLOWS AN INTENSIVE FUNDRAISING CAMPAIGN WHICH THE ART FUND KICK-STARTED WITH A GRANT OF £40,250 TO HELP RAISE THE FUNDS NEEDED FOR THE EXTRAORDINARY FIND OF OVER 52,000 SILVER AND BRONZE COINS. MEMBERS OF THE PUBLIC GENEROUSLY DONATED £13,657 TOWARDS THE APPEAL THAT WERE MATCH-FUNDED WITH A FURTHER £10,000. AT THE SAME TIME THE NATIONAL MUSEUM OF SCOTLAND ADDS FOUR STUNNING IRON AGE GOLD TORQUES, DATED BETWEEN THE 1st AND 3rd CENTURY BC, TO ITS COLLECTION. THE ART FUND GAVE A GRANT OF £10,000 TOWARDS THE £462,000 NEEDED FOR THE TORQUES. OTHER FUNDS DONATED INCLUDED £154,000 FROM THE NATIONAL HERITAGE MEMORIAL FUND, £123,000 FROM THE NATIONAL MUSEUMS SCOTLAND AND £85,000 FROM THE SCOTTISH GOVERNMENT. ART FUND DIRECTOR, STEPHEN DEUCHAR SAID: 'WE ARE ABSOLUTELY THRILLED THAT NOT ONE BUT TWO WONDERFUL HOARDS OF TREASURE HAVE BEEN ADDED TO COLLECTIONS AT OPPOSITE ENDS OF THE UK. BOTH THE ROMAN COINS IN SOMERSET AND TORQUES IN SCOTLAND ARE GOING TO ABSOLUTELY THE RIGHT PLACES WHERE GENERATIONS CAN LEARN, ENJOY AND BE INSPIRED BY THEM, AND EXPERTS CAN CARRY OUT VITAL RESEARCH. IN THE CASE OF THE FROME COINS IT IS VERY MUCH THANKS TO THE GENEROSITY OF MEMBERS OF THE PUBLIC THAT WE WERE ABLE TO DOUBLE DONATIONS THROUGH OUR MATCH-FUNDING APPEAL. I'D ALSO LIKE TO THANK THE NATIONAL HERITAGE MEMORIAL FUND FOR HELPING TO MAKE THESE ACQUISITIONS POSSIBLE. THIS IS AN EXAMPLE OF HOW PRIVATE AND PUBLIC FUNDS COME TOGETHER TO SAVE IMPORTANT HERITAGE ITEMS.'

KEITH HARING ARTWORK DONATED TO LOS ANGELES GAY & LESBIAN CENTER

A COMPLETE SERIES OF 10 SILKSCREENS BY ICONIC GAY ARTIST KEITH HARING HAS BEEN DONATED TO A GAY AND LESBIAN CENTER IN LOS ANGELES BY TYLER CASSITY, CO-OWNER OF THE HOLLYWOOD FOREVER CEMETERY. THE APOCALYPSE SERIES IN ON EXHIBIT IN THE ADVOCATE & GOCHIS GALLERIES UNTIL 30.MARCH. 'HARING'S WORK IS SO ICONIC; WE'RE HONORED TO RECEIVE AND EXHIBIT THIS SERIES', SAID JON IMPARATO, DIRECTOR OF THE CENTER'S CULTURAL ARTS PROGRAM. 'IT'S RARE TO HAVE A COMPLETE HARING SERIES TOGETHER LIKE THIS; WE'RE THRILLED THAT PEOPLE WILL HAVE THE OPPORTUNITY TO SEE ALL 10 SILKSCREENS IN OUR GALLERIES.' IT'S FITTING THAT A SERIES CREATED BY HARING, WHO ESTABLISHED A FOUNDATION TO SUPPORT AIDS ORGANIZATIONS AND CHILDREN'S PROGRAMS, HAS BEEN DONATED TO THE CENTER, A LEADER IN HIV CARE AS WELL AS SERVICES FOR LGBT YOUTH. 'I HOPE AND BELIEVE KEITH HARING WOULD BE PLEASED THAT HIS PASSIONATE VISION HAS FOUND A HOME AT THE CENTER', CASSITY SAID. THE LA GAY & LESBIAN CENTER PROVIDES A BROAD ARRAY OF SERVICES FOR THE LESBIAN, GAY, BISEXUAL AND TRANSGENDERED COMMUNITY, WELCOMING NEARLY A QUARTER MILLION CLIENT VISITS FROM ETHNICALLY DIVERSE YOUTH AND ADULTS EACH YEAR. THROUGH ITS JEFFREY GOODMAN SPECIAL CARE CLINIC AND ON-SITE PHARMACY, THE CENTER OFFERS FREE AND LOW-COST HEALTH, MENTAL HEALTH, HIV/AIDS MEDICAL CARE AND HIV/STD TESTING AND PREVENTION. THE CENTER ALSO OFFERS LEGAL, SOCIAL, CULTURAL AND EDUCATIONAL SERVICES, WITH UNIQUE PROGRAMS FOR SENIORS, FAMILIES AND YOUTH, INCLUDING A 24-BED TRANSITIONAL LIVING PROGRAM FOR HOMELESS YOUTH.

BONHAMS TO SELL RARE PAINTING OF WW2 BOMB STORE BY DAVID BOMBERG

A POWERFUL PAINTING OF A STAFFORDSHIRE BOMB STORE BY THE ARTIST DAVID BOMBERG WILL BE OFFERED BY BONHAMS, LONDON, IN THE 20th CENTURY BRITISH ART SALE ON 9.MARCH. THE STUNNING PAINTING IS ESTIMATED TO SELL FOR £80,000 – 120,000. AS WORLD WAR II BROKE OUT IN EUROPE, BOMBERG FELT A PRESSING NEED TO CONTRIBUTE IN SOME WAY AND REPEATEDLY SUGGESTED THAT ARTISTS BE EMPLOYED TO DEPICT AND DOCUMENT THE HISTORIC EVENTS. TO HIS SATISFACTION, IN 1939 IT WAS ANNOUNCED THAT A WAR ARTIST'S ADVISORY COMMITTEE (WACC) WAS SET UP FOR EXACTLY THAT PURPOSE. FOLLOWING ALMOST FOUR YEARS OF INACTIVITY AND ALMOST 300 APPLICATIONS FOR TEACHING POSTS, BOMBERG'S REQUEST TO PARTICIPATE IN THE CAUSE WAS FINALLY ACCEPTED. IN 1943, HE WAS SENT TO BURTON ON TRENT IN STAFFORDSHIRE WHERE HE SPENT TWO WEEKS, NINETY FEET BELOW GROUND IN LONG DISUSED GYPSUM MINES. HERE, ALMOST TEN THOUSAND TONS OF BOMBS WERE STORED IN ANTICIPATION OF FUTURE AIR RAIDS ON GERMAN CITIES. BOMBERG WORK FEVERISHLY AND WHEN HE RAN OUT OF CANVAS, HE WORKED ON GREASEPROOF PAPER. OWING TO CENSORSHIP AND SECRECY, ALL HIS SKETCHES HAD TO BE STORED AT THE DEPOT OVERNIGHT AND HE COULD NOT DISCUSS THE PROJECT WITH ANYONE. THERE IS SPONTANEITY TO THE SURFACE, IN BOMBERG'S ANIMATED STROKES AND DASHES OF COLOUR. UNLIKE MANY OF HIS BOMB STORE WORKS, THIS IS SOMEWHAT 'EASY TO READ', PERHAPS A NOD TO THE WACC's PREFERENCE FOR CLARITY IN WORKS BY COMMISSIONED ARTISTS. HOWEVER, THERE IS NO PROPAGANDA HERE AND THE ARTIST PORTRAYS THE CHAMBER AND RACKS OF BOMBS IN A WAY THAT THE VIEWER IS IN NO UNCERTAIN TERMS OF ITS PURPOSE, TO HOLD INSTRUMENTS OF WAR. BOMBERG HAD BEEN NERVOUS WHILST IN THE STORES AND JUSTIFIABLY SO, AS JUST A YEAR LATER ON 27.NOVEMBER.1944, THERE WAS A MASSIVE EXPLOSION THAT COULD BE FELT AS FAR AWAY AS ROME, KILLING 68 MEN AND 200 CATTLE. CAUSED BY SAFELY NEGLIGENCE, THE TERRIBLE ACCIDENT WAS COVERED UP FOR YEARS. NOT ONLY CAN THE PRESENT WORK BE SEEN AS A POWERFUL PAINTING BY BOMBERG EXECUTED IN DIFFICULT CONDITIONS, IT IS A HISTORICAL DOCUMENT OF A PLACE NOW DESTROYED AND A REVEALING INSIGHT INTO THE ATROCITIES OF WAR.

BONHAMS TO SELL NEWLY DISCOVERED SICKERT PAINTING

A PREVIOUSLY UNKNOWN PAINTING BY WALTER SICKERT, ENTITLED THE BLIND SEA CAPTAIN, IN ONE OF THE HIGHLIGHTS OF THE 20th CENTURY BRITISH ART SALE AT BONHAM'S, NEW BOND STREET, LONDON ON 9.MARCH. THE PAINTING, WHICH IS ESTIMATED TO SELL FOR £40,000 – 60,000, IS FROM A PRIVATE COLLECTION, INHERITED BY THE VENDOR FROM HER GRANDFATHER. THE ART HISTORIAN WENDY BARON, WHO HAS DEVOTED HER LIFE TO STUDYING THE WORKS OF WALTER SICKERT, WAS ASTOUNDED TO FIND A PAINTING BY THE ARTIST THAT SHE HAD NEVER SEEN. SICKERT IS CONSIDERED A PROMINENT FIGURE IN THE TRANSITION FROM IMPRESSIONISM TO MODERNISM, AND AN IMPORTANT INFLUENCE ON DISTINCTIVELY BRITISH STYLES OF AVANT GARDE ART IN THE 20th CENTURY. NOTORIOUS FOR HIS PAINTINGS OF NUDES, FOUR OF THEM CONTROVERSIALLY ENTITLED, THE CAMDEN TOWN MURDER, AFTER A WELL PUBLICIZED AND GRUESOME MURDER OF A PROSTITUTE IN 1907, CERTAINLY GAINED SICKERT ATTENTION AND HE BECAME A PROMINENT MEMBER OF THE CAMDEN TOWN GROUP OF ARTISTS. THE BLIND SEA CAPTAIN IS FAR MORE SENTIMENTAL IN THEME, BUT IN THE OUTBREAK OF WORLD WAR ONE IT WOULD HAVE BEEN AN APPROPRIATE SUBJECT FOR SICKERT. THE PICTURE ITSELF IS THOUGHT TO HAVE BEEN PAINTED DURING THE SUMMER OF 1914 IN DIEPPE AND IS TYPICAL OF SICKERT'S PROFICIENCY AS A MASTER OF MOOD AND ALLUSION. WENDY BARON NOTES IN HER ARTICLE IN THE BONHAMS MAGAZINE, SICKERT HAS CREATED 'AN IMAGINARY GLIMPSE INTO THE LIVES OF A MAN BROKEN BY BLINDNESS WHO, BUT FOR THE DEVOTION OF HIS OLD MOTHER OR WIFE, WOULD BE DESTINED FOR THE WORKHOUSE.' AN UNFINISHED SKETCH IN OIL ON CANVAS, DATED 1912, KNOWN AS THE OLD SOLDIER HAS BEEN EXTENSIVELY CATALOGED AND HAD PREVIOUSLY BEEN THOUGHT TO BE THE SUM OF SICKERT'S WORK ON THE SUBJECT. HOWEVER, BARON COMMENT: 'UNTIL THE BLIND SEA CAPTAIN EMERGED FROM A PRIVATE COLLECTION IN SCOTLAND A FEW MONTHS AGO, I HAD FOUND NOTHING DURING 58 YEARS SPENT STUDYING SICKERT'S PAINTINGS TO SUGGEST THAT HE EVER RETURNED TO THIS SUBJECT...ITS REDISCOVERY IS THUS ESPECIALLY EXCITING.'

ST LOUIS ART MUSEUM TRIES TO PROTECT EGYPTIAN MASK FROM SEIZURE

THE ST LOUIS ART MUSEUM HAS FILED A FEDERAL LAWSUIT TO TRY TO KEEP A 3,200 YEAR OLD MUMMY MASK THAT EGYPT WANTS RETURNED, CLAIMING IT WAS STOLEN NEARLY TWO DECADES AGO. THE MUSEUM CLAIMS THE EGYPTIAN GOVERNMENT IS TRYING TO SEIZE THE 20 INCH LONG FUNERAL MASK OF KA-NEFER-NEFER AND RETURN IT TO EGYPT. BUT THE MUSEUM SAYS IT HAS LEGAL RIGHTS TO THE MASK IT PURCHASED FROM A NEW YORK ART DEALER FOR $499,000 IN 1998. EGYPT OFFICIALS HAVE CLAIMED THE MASK WAS STOLEN IN THE EARLY 1990s FROM A STORAGE ROOM NEAR A PYRAMID. THE SUIT, FILED IN FEDERAL COURT IN ST LOUIS ON TUESDAY, CLAIMS THERE IS NO PROOF THE MASK WAS EVER STOLEN. IT ALSO CLAIMS THAT THE STATUE OF LIMITATIONS HAS EXPIRED FOR ANY SEIZURE.

JOHNSON MEADE PAINTING ON ROAD TO AUTHENTICATION

RETIRED ARMY SENIOR SERGEANT, VICTOR HAZON HALL SAYS THAT HE HAS FOUND A SIGNED PAINTING WORTH MILLIONS OF DOLLARS AT A LOCAL FLEA MARKET. HE BLAMES CORRUPTION WITHIN THE ART WORLD FOR THE FACT THAT ART GALLERIES FAMILIAR WITH THE WORK OF THE ARTIST, MARTIN JOHNSON MEADE, REFUSE TO AUTHENTICATE THE FIND. HE HAS SUBMITTED THE PAINTING TO A WELL KNOWN ART RESTORATION AND CONSERVATION CENTER IN ATLANTA, GA, WHO CONFIRMED THAT IT IS AN ORIGINAL OIL PAINTING AND THAT SEVERAL FEATURES OF THE WORK ARE CONSISTENT WITH WORKS KNOWN TO HAVE BEEN CREATED BY JOHNSON HEADE. THE PAINTING IN QUESTION IS THE EPITOME OF PRE-RAPHAEL WORKS AND SHOWS THE INFLUENCE OF JOHN RUSKIN THROUGHOUT. IT IS UNQUESTIONABLY A MASTERPIECE WITH HISTORICAL CONNECTION TO THE AUDUBON SOCIETY'S 'THE SEASIDE FINCH'. HALL SAYS THAT THIS MAY BE THE GREATEST OF ALL JOHNSON HEADE'S WORKS, YET IT IS STAGNATED BY A FICKLE AUTHENTICATION SYSTEM WITH NO OBJECTIVITY. THE WORK IS SIGNED AND THERE IS A COMPARATIVE SIGNATURE CIRCA 1900 AVAILABLE. HE SAYS THAT A FEW LARGE GALLERIES HAVE ASKED HIM TO SEND ALL HIS RESEARCH SUPPORTING THE POSITION THAT THE WORK IS JOHNSON MEADE'S. HOWEVER, ONCE THEY RECEIVED HIS RESEARCH, THEY COULD NOT BE REACHED. HE BELIEVES THEY ARE PRACTICING A BIT OF DECEPTION IN THE HOPE THAT THIS WORK WILL BE PUT ON THE MARKET AGAIN AT SOME FUTURE DATE AT A BARGAIN PRICE. MANY PEOPLE DREAM OF FINDING TREASURE AND WORK TOWARD THAT GOAL. IT IS QUITE DISAPPOINTING WHEN ONCE ACTUALLY FINDS A TREASURE, ONLY TO BE STIFLED BY THE CORRUPTION OF A TROUBLED ART WORLD WITH MANY PROBLEMS. 'THIS IS AN AMERICAN DISGRACE AND CERTAINLY NOT THE AMERICAN WAY. THERE WAS A TIME IN THIS COUNTRY WHEN VIRTUE WAS BETTER THAN GOLD, BUT IT NOW APPEARS TO BE ABOUT EGOS AND GREED', HALL SAID IN AN INTERVIEW. HALL PLANS TO CONTINUE PUBLISHING ARTICLES AND KEEPING THE PRESS INFORMED ABOUT THE STATUS FOR THE STUNNING JOHNSON HEADE MASTERPIECE, POSSIBLY HIS GREATEST WORK OF A NOW EXTINCT SPECIES THAT NOW SEEMS TO BE CAUGHT IN A WEB OF SILENCE. HALL, AS WELL AS MANY HE HAS SPOKEN WITH ON THIS TOPIC, IS UNDER THE IMPRESSION THAT 'DEALING WITH OLD MASTERS IN THE ART WORLD IS A WORLD FOR SPECIAL PEOPLE IN AMERICA'.

RESTORATION AT CHICHESTER CATHEDRAL TO BEGIN

CHICHESTER CATHEDRAL RESTORATION & DEVELOPMENT TRUST ANNOUNCED RECENTLY THE ARRIVAL OF CONSERVATORS TO SAVE THE TUDOR PAINTINGS IN CHICHESTER CATHEDRAL. FOLLOWING A NATIONAL APPEAL TO RAISE £250,000 TO SAVE THE TUDOR PAINTINGS BY LAMBERT BARNARD IN CHICHESTER CATHEDRAL THE WORK HAS NOW BEGUN. ALISON GODFRY, DIRECTOR OF THE CHICHESTER CATHEDRAL RESTORATION & DEVELOPMENT TRUST SAID: 'SO FAR WE HAVE MANAGED TO RAISE £202,000 TOWARDS THE PROJECT. HOWEVER, THE PAINTINGS ARE IN SUCH A CRITICAL CONDITION THAT IT WAS NOT POSSIBLE TO WAIT ANY LONGER BEFORE THE STABILIZATION COULD COMMENCE. WE ARE DELIGHTED THAT THE APPOINTED CONSERVATORS, THE HAMILTON KERR INSTITUTE (PART OF THE FITZWILLIAM MUSEUM, CAMBRIDGE) JOINED US ON 11.JANUARY TO BEGIN THIS VITAL WORK. THE PAINTINGS, OF INTERNATIONAL SIGNIFICANCE, FEATURED ON THE BBC2 CULTURE SHOW IN OCTOBER 2010 AND THIS REALLY HELPED US RAISE THE MONEY. WE JUST HOPE THAT VISITORS, HISTORIANS AND ART ENTHUSIASTS WILL NOW HELP US WITH THIS FINAL AMOUNT THAT WE DESPERATELY NEED.' 'THE WORK THAT IS BEING CARRIED OUT IS CRITICAL AND WILL PREVENT ANY FURTHER DETERIORATION FOR THE TIME BEING. THE PAINTINGS ARE COMPLETELY UNIQUE, NOTHING LIKE THEM SURVIVES IN EITHER THIS COUNTRY OR EUROPE. IT IS OUR RESPONSIBILITY TO LOOK AFTER THEM AND MAKE SURE THEY SURVIVE FOR FURTHER GENERATIONS', SHE ADDED. THE CATHEDRAL IS OPEN EVERY DAY AND THERE IS NO ADMISSION CHARGE. FOR FURTHER INFORMATION ABOUT THE SERVICES AND RESTORATION VISIT www.chichestercathedral.org.uk

SINGER LAREN HAS RODIN'S THINKER RESTORED

SINGER LAREN HAS RESTORED THE THINKER BY AUGUSTE RODIN. THE WORK WAS CARRIED OUT BY THE UNIVERSITY OF AMSTERDAM'S DEPARTMENT OF CONSERVATION AND RESTORATION IN THE ALELIERGEBOUW (THE RIJKSMUSEUM'S NEW CONSERVATION STUDIO) IN THE DUTCH CAPITAL. THE RESTORATION AIMED TO RECOVER THE EXTERNAL APPEARANCE OF THE SERIOUSLY DAMAGED SCULPTURE. RODIN'S THE THINKER, ALONG WITH SIX OTHER BRONZE STATUES, WAS STOLEN FROM THE SCULPTURE GARDEN OF SINGER LAREN ON 17.JANUARY.2007. IT WAS RECOVERED TWO DAYS LATER MUCH WORSE FOR THE WEAR. A COMMITTEE OF EXTERNAL EXPERTS DELIBERATED ON THE FUTURE OF THE THINKER AND CONCLUDED THAT THE STATUE WAS WELL WORTH RESTORING SO THAT IT COULD REGAIN ITS SYMBOLIC VALUE FOR THE COLLECTION OF SINGER LAREN. THE COMMITTEE RECOMMENDED THAT THE THINKER BE SUBJECT TO A RESPONSIBLE AND SUPERVISED REVERSIBLE RESTORATION WITH AS FEW INTERVENTIONS AS POSSIBLE. IN THE RESTORATION PROCESS, QUESTIONS INTO THE SCULPTURE'S ORIGINAL HISTORY AND SHAPE, THE ETHICS OF RESTORATION AND THE MATERIALS USED WERE CRUCIAL AND WEIGHED CONSTANTLY IN THE DECISION-MAKING. A COMMITTEE OF EXPERTS SUPERVISED THE RESTORATION PROCESS. NOW, THE RESTORED STATUE WILL OCCUPY A PLACE IN THE PERMANENT COLLECTION OF THE MUSEUM, AND ITS HISTORY WILL BE PROFILED IN ITS PRESENTATION.

SOTHEBY'S TO SELL AI WEIWEI'S SUNFLOWER SEEDS

CHINESE ARTIST AI WEIWEI GENERATED HEADLINES AROUND THE WORLD WHEN HE INSTALLED 100 MILLION CERAMIC SUNFLOWERS IN THE TATE MUSEUM IN LONDON. THE EXHIBIT, WHICH STARTED LAST OCTOBER, INITIALLY WAS OPEN TO FOR GUESTS TO FROLIC THROUGH THE SEEDS. SHORTLY AFTER IT OPENED HEALTH CONCERNS ABOUT DUST LED THE MUSEUM TO RESTRICT ACCESS TO THE EXHIBIT. BUT IF YOU WANT TO RUN YOUR HANDS THROUGH THE SEEDS, YOU WILL SOON BE ABLE TO BUY A 100-KILOGRAM PILE OF SEEDS AT SOTHEBY'S IN LONDON ON 15.FEBRUARY. THE FIRST PILE OF SEEDS CARRIES AN ESTIMATE OF £80,000 to £120,000. EACH PORCELAIN SUNFLOWER SEED WAS INDIVIDUALLY HAND MADE AND PAINTED BY SPECIALISTS WORKING IN SMALL-SCALE WORKSHOPS IN THE CHINESE CITY OF JINGDESHEN. THE SOTHEBY'S LISTING SUGGESTS THAT THE PIECE CAN BE INSTALLED EITHER IN A MOUND OR SMOOTHED OUT INTO A CARPET-LIKE EXPERIENCE. THERE WILL BE A TOTAL OF TEN LOTS SOLD FROM THE WORK.

SOTHEBY'S PRESENTS PABLO PICASSO'S LA LECTURE BEFORE AUCTION

A SENSUAL 1932 PORTRAIT BY PABLO PICASSO OF HIS YOUNG MISTRESS MARIE-THERESE WALTER WHICH CAPTURES HIS ROMANTIC OBSESSION WITH HER WENT ON DISPLAY RECENTLY AT SOTHEBY'S IN PARIS, AHEAD OF ITS AUCTION NEXT MONTH. IT WAS THE FIRST PUBLIC SHOWING IN EUROPE IN SOME 80 YEARS OF 'LA LECTURE', OR 'READING', AN EROTIC AND BRIGHTLY COLOURED DEPICTION OF THE VOLUPTUOUS MARIE-THERESE SLEEPING NUDE IN AN ARMCHAIR, HER HEAD THROWN BACK AND AN OPEN BOOK IN HER LAP. PAINTED IN BRIGHT YELLOW, GREEN AND RED OILS AT THE HEIGHT OF WHAT ART EXPERTS CALL PICASSO'S 'LOVESTRUCK' PERIOD, IT WILL BE THE STAR OFFERING AT AN UPCOMING SALE OF IMPRESSIONIST AND MODERN ART BY SOTHEBY'S LONDON. EXPERTS SAY THE PAINTING COULD FETCH BETWEEN $19-29 MILLION AFTER ANOTHER PICASSO PORTRAIT OF MARIE-THERESE, 'NUDE, GREEN LEAVES AND BUST', WAS SOLD BY CHRISTIE'S, NEW YORK, FOR $106 MILLION IN 2010, AN ALL TIME RECORD FOR AN ART AUCTION. 'IN THE EARLY 1930s HE WAS VERY LYRICALLY IN LOVE AND REFLECTED THAT IN THESE GORGEOUS COLOURS, AND LOVELY COMPOSITION', PHILIP HOOK, DIRECTOR OF IMPRESSIONIST AND MODERN PICTURE DEPARTMENT AT SOTHEBY'S IN LONDON TOLD REUTERS IN A RECENT INTERVIEW. 'THIS PERIOD IS JUST ABOUT THE MOST DESIRABLE OF ALL PICASSO'S PERIODS, CERTAINLY IN MARKET TERMS', HE SAID. MARIE-THERESE WAS ONE OF A SERIES OF LOVERS AND MUSES WHO INSPIRED PICASSO THROUGHOUT HIS PROLIFIC EIGHT-DECADE CAREER. SHE FIRST CAUGHT HIS EYE IN 1927, AGED JUST 17, AS SHE WAS COMING OUT OF THE PARIS METRO ON HER BACK FROM A SHOPPING TRIP. PICASSO, IN HIS MID-FORTIES, WAS IMMEDIATELY SMITTEN. MARIE-THERESE LATER SAID HE TOOK HER BY THE ARM AND SAID: 'I AM PICASSO. YOU AND I ARE GOING TO GREAT THINGS TOGETHER.' ALTHOUGH STILL MARRIED TO HIS FIRST WIFE, RUSSIAN DANCER OLGA KHOKHLOVA, PICASSO BEGAN A COVERT AFFAIR WITH MARIE-THERESE, WHO LATER GAVE BIRTH TO THEIR DAUGHTER, MAYA OR MARIA DE LA CONCEPCION.