Thursday, 28 April 2011

M/M Interview with Alberto Milani

Image of Alberto Milani provided to Manner of Man Magazine/Welldressed for exclusive use and cannot be reproduced without written authorisation. All rights reserved.


This exclusive interview with Alberto Milani, CEO of Buccellati Americas was conducted by Nicola Linza and Cristoffer Neljesjö in New York during April 2011


Interview with Alberto Milani CEO Buccellati


How would you describe your personal style?

I'm a father and a husband who tends to replace my absence with unlimited love.

I'm a runner who switched from full distance to half marathons.

I'm a loyal friend to a very selected group of people some of which share my love for Greenwich, CT.

I'm a wine enthusiast and a good driver of sport cars.

I both ski and swim with somewhat of an elegance.


Buccellati is a legendary firm with renowned quality. How do decide on new pieces?

Unlike many firms that rely on hired designers, the House of Buccellati preserves the tradition of the Italian "bottega" or studio, where Gianmaria and his son Andrea conceive and create their own designs. They both usually tend to unconscious images, sensations, colors and scents.

Volumetric effects, details of thousands of elements from their daily lives come to their minds when they are designing.  Womens' impalpable appeal plays a great role on the unconscious and often dominates it.

In some other cases a stone could be the source of inspiration. Its shape, cut and color are subtle components that provoke an emotion and drives a pencil to freely glide on the paper.


Exclusivity is a natural for a brand such as Buccellati. How do you maintain your collectors and new buyers while retaining the exclusivity?

Our core values have been reconfirmed in recent years by some prestigious events. After the Buccellati exhibition held at the Smithsonian Museum in Washington, in September 2008 the Kremlin Museums in Moscow housed a retrospective exhibition devoted to the creative work of Mario and Gianmaria. 150 exhibits from museums and private collections have been admired by more than 115,000 visitors during the four consecutive months of this event.

In February 2010 we have been honored with the first prize of the Confindustria Awards for Excellence as the company that best represents the "Made in Italy in the world" Direct quote from organization: " In the course of the years Buccellati has spread its creations worldwide, always combining wonderful craftsmanship and excellence which are typical of the Italian tradition."

Both collectors and new buyers share and appreciate all of the above.


What is your favorite accessory?

In the last winter, one of the most challenging ones, a cashmere scarf from my wife Alessandra was my inseparable companion.

All year long, Buccellati silver cuff links are my signature on white tailor made Italian shirts and a dark blue tie.

On a more technical point of view, portable memory devices and smart phones are becoming more than accessories, mandatory extensions of
our body.


How do you describe your management style?

Scientific, persistent and passionate.

Asking questions takes me to background research in order to construct my thesis. Testing and analyzing the results are the delicate steps where humility and persistence are key factors. Passion then drives me to draw the right conclusion and gives me the motivation to try again when what I had believed was only partially true.

I always encourage my team to never give up, but always with a solid reporting system before trying again. The enthusiasm of leading an Italian brand is a source of pride and passion that intertwines with my past and shares the same values. I'm genuinely interested in the well-being of my team more than the task at hand. When the team spirit is high we all play better if the right direction is clear.


If you could have your portrait done by any painter living or deceased who would it be? And where would it hang?

I would prefer a portrait taken by Cecil Stoughton who was President John F. Kennedy's White House photographer. His pictures created the aura that later came to be called Camelot. I remember as a child the picture with Caroline and John John around the president's desk as he sang and clapped in delight.
In that picture there are most of my values as a man.

If I could have it done it would not be on a wall, but rather among my most private memories.


You can hand select one item from Buccellati, either new or from the history of the firm, what would it be? And why?

Mario Buccellati during the 1920's reproduced eight Roman silver masterworks, known as The Boscoreale Treasure, that were found during the excavations at Pompeii. He studied the details and proportions and used the same technique as those used by the Roman silversmiths. They go beyond the concept of reproduction and become evidence of the close links between past and present.

The above interview with Alberto Milani 2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

Wednesday, 27 April 2011

M/M Edwardian Era


Special thanks to Jacek Rafal Tatko

Tuesday, 26 April 2011

M/M Moments of Absolute Clarity #3

an exclusive series produced by Lalle Johnson

Image: taken by Lalle Johnson exclusively for Manner of Man Magazine/Welldressed and cannot be reproduced without written authorisation. All rights reserved.

2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

Monday, 25 April 2011

Thursday, 21 April 2011

M/M Italian Panel Painting in the Duecento & Trecento


















Review by Nicola Linza

The middle of the thirteenth century spearheaded a proliferation of panel painting in Italy and soon afterward began a grand transformation of existing painted crosses, altar frontals, and monumental panels of the Virgin and Child. Italian Panel Painting in The Duecento and Trecento published by Yale University Press brings together various approaches to panel painting of the thirteenth and fourteenth centuries.

As a significant period of Italian artistic achievement that has received less attention than the Renaissance this scholarly volume highlights the development of new types of panel painting, particularly various forms of altarpieces, lunette-shaped panels for architectural settings, small-scale panels for personal devotion, and painted chests for private homes.

An international gathering of important art historians, curators and conservators discuss specific types of panel paintings, and examine local traditions, individual artistic solutions, patronage, production, use, iconography, as well as the relationship of panel painting to other art forms. The volume fully addresses liturgy, aesthetics, the perception and function of religious imagery, and style like no other to date. This is a required acquisition for any important art library, and a must have for the serious aficionado of Italian artistic achievement.

Wednesday, 20 April 2011

M/M Jean-Claude Biver CEO of Hublot presents Voilà le petit mot du jour

Image of Jean-Claude Biver provided by Hublot to Manner of Man Magazine/Welldressed for exclusive use and cannot be reproduced without authorisation. All rights reserved.

Written by Jean-Claude Biver for Manner of Man Magazine.

Voilà le petit mot du jour:

Just went through a tour of our manufacture with some visitors

Realized one more time how important it is to have its own manufacture

Not just because it provides you with production capacity, or production autonomy

The major asset of a manufacture is that it gives you independence in your creativity

You can develop your own ideas and have them realized and later on produced in quantities

While when you don't have these production capacities, you have to buy from third part

And then you buy their creativity and not yours

Our manufacture through gives innovation, creativity, substance and authenticity to the brand

Finally one can say that a manufacture gives value to the product and that's what our customers need and want from us

Value for today and tomorrow

Jean-Claude Biver

2011 © Manner of Man Magazine. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

Tuesday, 19 April 2011

M/M Moments of Absolute Clarity #2

an exclusive series produced by Lalle Johnson

Image: taken by Lalle Johnson exclusively for Manner of Man Magazine/Welldressed and cannot be reproduced without written authorisation. All rights reserved.

2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher. 

M/M WINSTON CHURCHILL CANVAS PAINTED DURING A CRITICAL WINDOW IN HISTORY TO BE OFFERED FOR THE FIRST TIME AT AUCTION BY CHRISTIE’S IN MAY

Image provided by Christie's London. Reproduced with permission of Curtis Brown Ltd, London on behalf of the Sir Winston Churchill Archive Trust and may not be reproduced wtihout written authorisation. All rights reserved.

Offered for the first time at auction, Christie‟s announce the sale of Villa on the Nivelle, 1945, by Sir Winston Churchill, O.M., R.A. (1874-1965) in London on 26 May 2011 (estimate: £200,000-300,000). Churchill executed this work during a critical window in history: between the British general election on the 5 July - resulting from the coalition government‟s resignation following the triumphant defeat of Nazi Germany in May 1945 - and the announcement of the result on 26 July, which heralded Labour‟s unexpected victory. Blissfully unaware of the pending outcome, the heroic wartime Prime Minister and his wife Clementine took a short holiday in the Basque region of France, at the Château de Bordaberry. Inspired by the beauty of his surroundings and persuaded by his companions in France, this painting marks only the second time that Churchill had picked up a paintbrush since the start of World War II. The existence of the remarkable photograph, illustrated above, documenting Churchill working on this canvas is extremely rare and highly evocative.

At this time, in stark contrast with the enveloping warmth and tranquility captured in this idyllic image, Japan‟s 59th Army - which was formed on 15 June under the Japanese 15th Area Army – was in the midst of a desperate final defence effort against potential landings of Allied forces in the San‟yo region of western Honshū during „Operation Downfall‟. They were officially demobilised after Japan surrendered on 15 August, 1945.

Philip Harley Director, Head of 20th Century British & Irish Art, Christie’s London: “This important work by Sir Winston Churchill provides the global market with the extraordinary combination of a great British picture in excellent original condition and a highly desirable palette, by a highly sought after artist who was one of the most famous historical figures of 20th century British politics, dating to a critical window in history when the immediate political future of post-war Britain was in the balance. The existence of the photograph documenting the Prime Minister, as artist, at work on the painting is exceedingly rare. Taken through the grasses, its composition suggests that the viewer is privy to a very private moment of this great man, whose passion for painting is well recorded.” Rachel Hidderley, Christie’s International Specialist and Director, 20th Century British Art: “The market for Churchill is consistently strong and extremely international due to the enduring appeal of his style, decorative choice of subjects and his political significance. Due to the greater historical context of this very figurative work, its multifaceted appeal will undoubtedly reach beyond the broad band of existing collectors.”

Having been painted during a brief „pause‟ in British politics, caused by the number of votes which had to be gathered from British citizens serving in the forces overseas, the eventual Labour victory was finally declared on 26 July whilst Churchill was at the Potsdam conference with Truman and Stalin. Due to the heroic status of Churchill as one of the greatest statesmen of the 20th century and Britain‟s great wartime Prime Minister, this result came as a shock to the whole world.

The guests of Brigadier-General Brutinel, other members of the party alongside the Churchills at Château de Bordaberry included Mr. Bryce Nairn, British Consul in Bordeaux and his wife Margaret, who had been a professional painter before their marriage. It was Margaret who encouraged Churchill to paint again, for only the second time since the war had begun. They went on to paint together at St Jean-de-Luz, at Hendaye and on the river Nivelle where the current work was executed. Churchill‟s daughter Mary Soames notes in her book, Winston Churchill His Life as a Painter, that her father was very focused on this painting and sat for so long that he was struck by a bout of indigestion. He did not paint imagined or composite scenes, instead always depicting real locations which resulted in very evocative works which not only captured an actual place at a specific moment, but continue to hold relevance in the present day, conjuring memories of one‟s own relaxing holidays and travels, filled with the warm glowing light of summer sun.

Sir Winston Churchill started to paint at the relatively late age of 40, it was personal pastime which was to play an increasingly important role in his life; providing him with inner serenity in times of unrest and driving away periods of depression which he referred to as „Black Dog.‟ In the celebratory January 1946 issue of Life Magazine, in which the present lot is featured, he stated that “There is no subject on which I feel more humble or yet at the same time more natural”, “it is a delightful amusement to myself.” “When I get to heaven I intend to spend a considerable portion of my first million years in painting and so get to the bottom of the subject.”

In M. Soames book Winston Churchill His Life as a Painter, London, 1990, Winston Churchill is recorded as painting only one picture in almost five years during the war in Europe. Following the ten day conference of Roosevelt and Churchill and their closest military and political advisers at Casablanca in Morocco in January 1943, Churchill persuaded Roosevelt to accompany him on a short visit to Marrakech where he painted A view of Marrakech, with the tower of Katoubia mosque. He later gave this to Roosevelt as a memento.

Monday, 18 April 2011

M/M Interview with Matthew White

Image of Matthew White provided to Manner of Man Magazine/Welldressed for exclusive use and cannot be reproduced without written authorisation. All rights reserved.

This exclusive interview with designer Matthew White, Chairman of Save Venice was conducted by Nicola Linza and Cristoffer Neljesjö of Manner of Man Magazine in New York April 2011.

Interview with Matthew White, Chairman, Save Venice.

How did you come into your role as chairman of Save Venice?

I’ve been on the board of Save Venice for more than a decade. It all started with me first falling in love with Venice long ago, and later, in the late 1990’s I attended a Save Venice gala in Venice. It was an incredible experience. When I returned I decided I would throw a big masked ball which we hosted at our house in San Marino, California. The party was an amazing success, people flew in from all over the world - Elton John, John Loring, designers, artists, jetsetters, they all came. This event raised lots of money and launched the California Chapter of Save Venice. After that I was invited to be on the board and have been active ever since. I didn’t expect to become Chairman of Save Venice, but it’s a position that I am honored to hold. I hope I do a good job.

Can you explain the mission of Save Venice?

Save Venice is an American non-profit, we’ve been around for forty years. Our mission is to protect the artistic heritage of Venice by raising funds to restore art and monuments in that astonishing city. Not many people know that Venice has the highest concentration of historic buildings in the world. Many of those buildings still hold great works of art that remain in situ after many centuries. Besides restoration, we are involved in educational efforts through our lecture series and publications. Our board includes illustrious scholars and art historians so I am very fortunate to be surrounded by great minds on the topic of Venice, her history and her art.

What is your primary goal as chairman?

My main goal is to increase awareness of the world treasure that Venice clearly is, and to encourage my fellow citizens of the world to help us insure that these treasures are protected for future generations.

Is there a project that stands out currently?

We have many projects going on at any given time, but currently there are two that are real stand-outs. One is the Church of San Sebastiano. The interior of this church is filled with paintings and frescoes by the Renaissance master Paolo Veronese. It is a treasure trove of great art and we hope to restore all the artworks inside as well as the building itself. Our other big project is the Sala dell’Albergo which is the most important historic room within the Accademia Galleries. It holds an enormous Titian and has the most beautiful 15th century carved wooden ceiling in all of Venice. We will also be bringing back two paintings that were created for this space centuries ago, they’ve been in storage for more than a hundred years! I love both of these projects because they are perfect examples of what we do: they involve the restoration of art, architecture and historic interiors, three things I am very passionate about.

How does your role as a designer integrate with your work with Save Venice?

Save Venice is a natural fit for me as a designer because of the sheer beauty of that city. I simply can’t get enough of it. But my love affair goes beyond mere visuals, it’s much deeper than that. I can’t really explain why an American guy with not a drop of Italian blood would have this deep connection to a Venice. It’s a mystery, but that is part of the magic. Venice is a mysterious city. I recently wrote a book called Italy of my Dreams about how Italy and Venice have influenced my personal style. This is not just a mild interest for me, it’s a deep passion.

The above interview with Matthew White 2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher. -

Friday, 15 April 2011

M/M David Adler, Architect (1882-1949)


















Review by Nicola Linza

David Adler (1882-1949) was one of the most important architects in the United States, during a period known as that of the 'great American house.' Adler's works--which range in date from 1911 to 1949--were truly American, offering an enormous range of stylistic expression on the exteriors and a simpler definition of interiors than traditional European models allowed.

This important book features seventeen homes and one private club designed by Adler, all of which are beautifully reproduced in full-color with newly commissioned photographs by the firm of Hedrich Blessing. Highlights of this volume include the Stuart-style country house in the manner of Sir Christopher Wren, built for Mr. and Mrs. Richard T. Crane in Ipswich, Massachusetts; the Celia Tobin Clark residence, in Hillsborough, California, in which Adler used English half-timber construction; and the William McCormick Blair House, built in Lake Bluff, Illinois, a Colonial New England farm house that constituted a new experiment for Adler.

The book also presents examples of Adler's interior designs, that respond to the demands of modern life, by featuring both the use of new materials and historical elements or furniture acquired during his European travels.

This volume is a strong compliment to the original, David Adler: The Architect and His Work by Richard Pratt and Ezra Stoller. I am in a good position to comment on the matter, as I have both volumes in my library. I have referenced the original often for my own research, and work. I now find this volume a brilliant addition, creating a full and comprehensive view on David Adler's career. This book adds vivid color to his work, via the images, and a fresh, up-to-date and well researched perspective on his life, career, and impact on timeless American architecture.

As the general public unfortunately were force-fed the failures of Modernism, and then had to endure the hideous Deconstructivist anti-architecture that followed during the 20th century, this book is a highly recommended return to intellectual, and aesthetic, sanity. The traditional and classcial architect will, of course, find it mandatory. And the serious architectural theorist, academic and student (who has the intelligence and confidence to think independently) interested in history and honest architecture, that lasts, will find it a must have reference.

Thursday, 14 April 2011

M/M Moments of Absolute Clarity #1

an exclusive series produced by Lalle Johnson






















Image: Self-portrait, Portobello Hotel, Notting Hill, London taken by Lalle Johnson exclusively for Manner of Man Magazine/Welldressed and cannot be reproduced without written authorisation. All rights reserved.

2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

M/M A RARE GLIMPSE INTO A PRIVATE IRISH TREASURE TROVE Works of Art from the Collection of the late Dr. Tony Ryan (1936-2007)

Images provided to Manner of Man Magazine by Christie's London and may not be reproduced without written authorisation. All rights reserved.

A RARE GLIMPSE INTO A PRIVATE IRISH TREASURE TROVE:

Important Douglas Hamilton Portrait amongst Works Offered from the Collection of the late Dr. Tony Ryan, from Lyons Demesne, at Christie’s London in July


Christie's London is pleased to announce the sale of Lyons Demesne: Works of Art from the Collection of the late Dr. Tony Ryan (1936-2007), from Lyons Demesne, County Kildare, Ireland, on 14 July. Comprising a relatively small selection of works from the collection, this auction will provide collectors and institutions around the world with a rare glimpse into the private Irish treasure trove assembled by Dr. Tony Ryan; a connoisseur who was one of Ireland’s biggest philanthropists, supporters of the arts and the renowned businessman who co-founded Ryanair.

Featuring over 400 lots of European Fine and Decorative Arts spanning the 18th, 19th and 20th centuries, highlights include an important full length portrait in pastel of Arthur Hill, 2nd Marquess of Downshire (1753-1801) by Hugh Douglas Hamilton, R.H.A., 1736-1801 (estimate: £200,000-300,000), illustrated above; a pair of George III giltwood and painted satinwood console tables in the manner of Thomas Chippendale the Younger (estimate: £50,000-80,000); a Louis XV Gobelins tapestry, by Claude Audran (estimate: £30,000-50,000) and a white marble sculpture of Love Awakened by Giovanni Battista Lombardi, Rome, circa 1870 (estimate: £30,000-50,000). A selection of highlights will be on view in a special pre-sale exhibition in the Village at Lyons Celbridge, located on the Lyons estate from 20-22 May. With estimates ranging from £300 to £300,000, the sale is expected to realise in excess of £2million.

Orlando Rock, Deputy Chairman, Christie's Europe: “It is a privilege to be offering a small selection of works from the superb Irish collection of Dr. Tony Ryan. Dr. Ryan’s nurturing vision and commitment to restoring and regenerating Lyons Demesne and its surrounding estate and village is an inspiration to us all.”

Dr. Ryan was born in Thurles, County Tipperary, in 1936. With transport ‘in the family blood’, Dr. Ryan’s professional enterprises included founding Guinness Peat Aviation in 1975 and co-founding Ryanair in 1986. As air travel continues to evolve, Dr. Ryan’s abiding cultural legacy at Lyons Demesne will live on as an integral part of Ireland’s heritage in the architectural treasure that he so lovingly restored. Lyons was commissioned by Nicholas Lawless, 1st Lord Cloncurry from the architect Oliver Grace in 1797, with subsequent remodelling just a few years later by Richard Morrison for Valentine Lawless, 2nd Lord Cloncurry; as part of the remodelling the principal rooms were adorned with beautiful murals by the Italian landscape artist Gaspare Gabrielli, who had married Cloncurry’s maid. Lyons was owned by the Lawless family until the mid-20th century. It was then acquired by the University College Dublin for whom it served as an agricultural research facility, until purchased by Dr. Ryan in 1996. The restoration – ‘the largest, most ambitious and exhaustive programme of restoration ever undertaken in a private capacity in the history of the Irish State’ – received the Europa Nostra and Institut International des Châteaux Historiques joint award for refurbishment in 2001. Dr. Ryan’s passion for racing and thoroughbred horses led to the creation of the great stud at Lyons. His vision and celebration of skilled craftsmanship is reflected in the quality of the works to be offered from the collection, which are set to embark on the next chapter in their history when they sell at Christie’s London in July.

Amongst the highlights in the sale is a portrait by Hugh Douglas Hamilton, R.H.A., 1736-1801, the most distinguished pastellist from the Dublin Society Schools and a successful portraitist in Dublin, London and Rome, who brought the popularity of full length portraits in pastel to a new height. Arthur Hill, 2nd Marquess of Downshire (1753-1801) dates to 1785-90 and is one of the finest examples of the artist’s work on this large scale (estimate: £200,000-300,000), illustrated page 1 center. The sitter was a Privy Councillor of England and Ireland, whose seat was Hillsborough Castle, County Down.

M/M Monsieur Hubert de Givenchy

Wednesday, 13 April 2011

M/M: A MAN

“A man who does not think for himself does not think at all.” - Oscar Wilde

Image provided to Manner of Man Magazine/Welldressed by Eduard Dressler for exclusive use and cannot be reproduced without written authorisation. All rights reserved.

Tuesday, 12 April 2011

M/M Fra Angelico (Metropolitan Museum of Arts Series)


















Image courtesy of the author. All rights reserved.

Review by Nicola Linza
 
This beautiful book, published in conjunction with the first major exhibition of Fra Angelico's work since the cinquecentenary exhibition of 1955 in Florence, features more than seventy paintings, drawings, and manuscript illuminations covering all periods of the artist's career, from round 1410 to 1455. Also included are fifty selected works by his assistants and closest followers.

Fra Angelico ("the angelic friar"; ca. 1390/95-1455) was one of Renaissance Florence's leading painters. In addition to his celebrated altarpieces and frescos in Florence, Fiesole, Cortona, Perugia, and Rome, Fra Angelico also completed many masterpieces on a small scale. His predella panels, the small narrative scenes included beneath large altarpieces, are among the most innovative creations in fifteenth century Florence, while his images of the Virgin and Child still retain the inspirational immediacy and presence that first secured the artist's reputation as the premier painter of his age.

This book is an up-to-date, and comprehensive, look at the sublime works of one of Renaissance Italy's greatest masters. Research undertaken in the last fifty years now allows scholars to reconstruct a more historically reliable biography of Fra Angelico that goes beyond the legends and traditions to establish his position not only as one of the greatest masters of the fifteenth century, but also as one of the most intellectually accomplished painters who ever lived.


M/M La Belle et La Bête by Sam Scott Schiavo



Video from La Belle et La Bête- Forbidden Love by Sam Scott Schiavo provided to Manner of Man Magazine by Sam Scott Schiavo and may not be reproduced without written authorisation. All rights reserved.

M/M Sam Scott Schiavo: Non era soltanto intelligente ...era un genio.

Image from La Belle et La Bête- Forbidden Love by Sam Scott Schiavo provided to Manner of Man Magazine by Sam Scott Schiavo and may not be reproduced without written authorisation. All rights reserved.

Oxxford Clothes - Made in the USA

Monday, 11 April 2011

M/M The Cham Museum: Beauty and Heritage at Risk


Images of Cham Museum by Nathan Lauer provided to Manner of Man Magazine for exclusive use and may not be reproduced without written authorisation. All rights reserved.

The Cham Museum:
Beauty and Heritage at Risk

by Nathan Lauer

The Kingdom of Champa, which flourished in central Vietnam from around the 7th to the 15th century, was the home of art and architecture unlike that found anywhere else. Drawing on influences from their Hindu-Buddhist religion as well as from Indonesia and the Khmer Empire, the Cham created a unique art tradition remarkable for its richness and individuality.

As Vietnam continues to grow and to become an increasingly important player on the world stage, the world will take greater notice of the art history of the Cham as well as other aspects of Vietnamese art and history. Now is the time to pay increased attention to conservation, preservation, and display both in order to encourage international appreciation for the works of the Cham as well as for the sake of the art itself.

One of four UNESCO World Heritage Sites in Vietnam, the Cham Museum is also one of the biggest tourist attractions in the central region. Housed in a wonderful example of early 20th century architecture, it provides the visitor with the rare opportunity to survey one of the most beautiful art traditions of the region, if not the world. It is also a tradition underrepresented in most of the world’s museums, which only enhances its status as a must see destination for anyone visiting Vietnam.

Most of the collection to be seen at the museum is in the form of Hindu – Buddhist sculpture in sandstone. Dating primarily to between the 8th and 14th century, these pieces represent the single greatest assemblage of Cham art in any museum in the world. Unfortunately, many of them are in crisis. Stone is not the indestructible material it seems to be, and erosion by wind and water, biological agents, mineral salts, and pollution all play a part in slowly turning it into the dirt and sand we see around us. Normally this takes a great amount of time, but recent increases in industrial activity, traffic, and tourism are combining to accelerate this process.

Sandstone is comparatively porous by its nature and has a matrix that is usually base or a little alkaline. This makes it somewhat soft, which is the very reason for its use in art. It is easy to carve, yet can hold detail. Some types are also able to achieve a certain degree of polish. Yet the very factors that made sandstone preferable for use by the Cham and other cultures make it particularly susceptible to damage, and the detail of sculpture can be easily lost. Following is a list of specific environmental hazards affecting the collection of the Cham Museum.

- Moisture: Moisture, whether directly in the form of rain or indirectly in the form of humidity, is the father of most of the hazards to sandstone art. Rain mechanically removes surface material and weakens the subsurface structure of the stone. Due to pollution, it is also acidic. Runoff brings with it mineral salts. The presence of general humidity and moisture encourage the growth of biologically erosive agents.

- Fungi and Lichens: These are particularly troublesome in a tropical area such as Vietnam. Both mechanically penetrate the rock with a pseudo root system (thallus and hyphae), and produce acidic compounds to assist in this.

- Bacteria: Autotrophic, heterotrophic, and cyano bacterium all have the potential to cause great harm to sandstone. They produce acidic compounds, and because of their small size, can penetrate deeply into the stone. As they form colonies, they expand and contract depending on environmental conditions, which mechanically weaken the stone and can cause cracking.

- Salts: Borne by air or water, nitrates and sulfates can contaminate stone. As the crystals form, they inherently expand, mechanically disrupting the matrix of sandstone. Sulfate salts also further increase the hydration of the stone.

- Pollution: Whether airborne or in the form of acid rain, pollutants cause both aesthetic and integral problems in sandstone sculpture. Sulfur and nitrogen oxides as well as carbon dioxide all form acidic compounds, particularly in the presence of humidity and moisture.

- Human touch: Beyond the mechanical erosion that repeated touching causes, human touch leaves behind acids, salts, and oils that stain and damage the surface of stone.

Each piece is different and has been exposed differently to the various hazards listed above. Because of this, the treatment of specific pieces will have to be considered individually by someone knowledgeable in the area of conservation. That being said, there are a number of relatively inexpensive actions that can be performed immediately to halt or slow the damage to the collection.

Moisture needs to be controlled. Displayed outside on the grounds of the museum are a number of valuable pieces that are essentially rotting away due to the combination of rain, organic infection, and pollution. Because the interior of the museum is already overcrowded and bringing them inside would no doubt be impractical, they need to be sheltered in some other fashion.

For the statues not attached to the building, small and inexpensive gazebo-like structures could be built in traditional style and at little cost. These would protect from the rain and much of the pollution, though the statues would still have to be cleaned and protected using other means. Anything that is on the ground needs to be displayed on pedestals to protect from runoff and other hazards.

There are also a number of architectural elements being stored outside. These should be warehoused elsewhere to protect them until a solution for their display is found.

Many statues have been attached to the building near doors as architectural decoration. These are subject to not only the rain, but runoff as well and they show increased damage because of it. These should be moved, or at least lifted from the ground and provided shelter from the rain. Moisture is also a problem inside of the museum. Not only can one see walls that are growing algae, but close inspection will note that some statues are soaked during the rainy season, and many more exhibit organic growth.

The presence of this moisture is due to both the climate and to flaws in the building. The humidity of the climate can’t be controlled, but we can avoid its affects uses various methods of cleaning and the use of specific coatings as needed. This should be determined with the assistance of someone experienced with conservation principles and techniques.

The moisture caused by leaks within the building ought to be controlled as soon as possible. From what can be readily seen, this is primarily a matter of fixing the roof and preventing water from flowing within the walls of the building. However, for pieces that are set within the walls, removing them and displaying them on pedestals instead should be strongly considered. It also may be less expensive in the short term than working on the building, depending on the nature of the structural problems.

There are some pieces being held in glass or acrylic display cases. These cases are not sealed, and sometimes the humidity collects to the point that one cannot see inside because of the condensation that develops. If they are made of acrylic, glass would be preferable, as acrylic is slightly moisture permeable. If the cases are made of glass, they need to be dried and desiccants added to absorb any remaining moisture. The regular maintenance of the desiccant used should prevent this problem in the future. It would be very inexpensive, and anhydrous calcium sulfate might be a good choice as it quite safe and easy to use and recycle.

Possibly more dangerous than moisture to the interior pieces is the matter of human contact. A number of pieces, including some of the most famous, are noticeably smoothed and oiled due to human contact. Tourists and tour guides alike regularly handle pieces, and even climb them. The damage we can see now will eventually get much worse, and some relics that currently appear unharmed will soon start to show damage as well.

Because of this, the handling of the Cham relics by tourists and tour guides needs to be curtailed. The signs used to warn against touching objects are virtually invisible, and new ones are needed. Security staff needs to be made aware of the importance of this. Tour guides have to be informed of this directly as well.

Part of the problem is also a matter of a certain degree of overcrowding. The collection of the museum is vast, and the display could easily be trimmed both to the benefit of the pieces and of the viewer. So many pieces in one place can be confusing to the eye. The trouble would be what to do with the pieces removed from display. It may be possible to create a program to increase the loaning of pieces to other museums, either in the West or elsewhere in Asia. This would not only take care of part of the storage problem, but provide “advertising” for both the Cham Museum as well as for Vietnam as a whole.

Built in 1915, the building was designed by the French using Cham influence to compliment the collection. Given the climate, the history of the last 60 years, and rapid development it is remarkable that the building still exists. The size and extent of the collection that the Museum holds is evidence of the dedication of the Vietnamese to the maintenance of their history and culture, a fact which should be noted when considering the difficulties presented in this article. While the tropical climate has combined with more recent socio-economic developments to present these problems, the fact that the Cham Museum has continued to exist for almost 100 years is an accomplishment worthy of respect, not to mention a visit to admire the remarkable artifacts within.



Famous Recumbant Vishnu/Birth of Brahma, second half 7th century, light touch damage



Corner detail, pedestal of main shrine from Dong Duong, 9th-10th century, more evidence of handling Winged adorant architectural element undocumented or labeled, circa 10th century



Ganesh, 8th century, one of the more famous pieces with obvious handling evidence

Also by Nathan Lauer
Guest Editorial: The West and The Loss of Primacy

The above article and related images by Nathan Lauer © Nathan Lauer provided to Manner of Man Magazine. All rights reserved. Reproduction is strictly prohibited without written permission from the author and publisher.

Sunday, 10 April 2011

Friday, 8 April 2011

M/M STUBBS MASTERPIECE TO BE OFFERED AT CHRISTIE’S IN JULY

Image of George Stubbs (1724-1806,) Gimcrack on Newmarket Heath, with a Trainer, a Stable-Lad, and a Jockey, 40in. x 76¼in. (101.6 x 193.6 cm,.) Estimate: in excess of £20 million, © Christie’s Images Limited 2011 provided to Manner of Man Magazine and cannot be reproduced without written authorisation. All rights reserved.  
 
Christie’s announce that they will offer for sale one of George Stubbs’ most important works at the Old Master and British Paintings Evening Sale on 5 July 2011 in London.

Gimcrack on Newmarket Heath, with a Trainer, a Stable-Lad, and a Jockey by George Stubbs (1724-1806) is a true masterpiece of both British art and sporting painting, portraying Gimcrack, one of the most popular and admired of all 18th century racehorses. It is offered from the Woolavington Collection, one of the finest private collections of Sporting Art, and is expected to realise in excess of £20 million.

John Stainton, Senior Director of British Pictures, Christie’s: “This is a truly exceptional example of 18th century painting which holds immense importance on many levels - as an Old Master picture, as a great masterpiece of British Art, and as one of the finest sporting pictures ever painted. It is a great privilege for us to be able to work with this painting and to offer it at auction. Stubbs is an artist admired and collected by individuals and institutions from all around the world, and we look forward to presenting the opportunity for clients to acquire one of his greatest works at Christie’s on 5 July.”

Richard Knight, International co-head of Old Master and 19th Century Art at Christie’s: “Painted the year before James Christie oversaw our company’s first auction, the sale of this masterpiece will be a cornerstone moment in the history of Christie’s. It is telling that as a result of the global nature of the 21st century art market, Stubbs, a very British artist, is set to join a small and select group who represent the most valuable old master artists ever sold, placing him alongside Raphael, Rubens, Rembrandt, and Turner.”

George Stubbs (1724-1806) is often celebrated as the greatest artist-scientist since Leonardo. His early career was spent working as a portrait painter, first in his native Liverpool, and subsequently in York. Having briefly visited Rome in 1754, Stubbs spent 18 months in a farmhouse in Lincolnshire dissecting and drawing horses in preparation for the publication of his famous book The Anatomy of the Horse. His striking depictions of animals are true to science and he held an ability to portray the magnificence of beasts in paint with complete accuracy and with no compromise to sentimentality. His exceptional talent earned the artist the patronage of many important aristocrats, particularly those involved in horseracing, the ‘sport of Kings’.

Gimcrack on Newmarket Heath, with a Trainer, a Stable-Lad, and a Jockey (40in. x 76¼in. (101.6 x 193.6 cm.) was executed in 1765 having been commissioned by the horse’s owner, Frederick St. John, 2nd Viscount Bolingbroke, who led an extravagant lifestyle pursuing his main interests of racing and gambling. Gimcrack was one of the most popular and admired of all 18th century racehorses. Although he was small, he had great stamina and won an impressive 28 of his 36 races, finishing unplaced only once.

The painting shows Gimcrack twice: in the background he is seen winning a ‘trial’ by some distance, and in the foreground he is depicted with his trainer and jockey, a stable-lad rubbing him down. Gimcrack is portrayed with the full magnificence of the artist’s talent; anatomical perfection with even his veins shown pulsing through his skin. A secondary, autograph version of the painting was owned by Lord Grosvenor (a subsequent owner of Gimcrack) and is now in the collection of the Jockey Club, Newmarket.

The painting is making its third appearance at Christie’s. Sold by the Bolingbroke family in 1943, it was bought by Walter Hutchinson, founder of the National Gallery of British Sports and Pastimes, before being sold again at Christie’s in 1951 when it made £12,600 and entered the Woolavington Collection. One of the greatest collections of Sporting Art in the world, the core of the Woolavington Collection was formed at the end of the 19th and the early 20th century by Lord Woolavington, a whisky magnate, philanthropist, and successful racehorse owner. The collection also includes other paintings by Stubbs, as well as exceptional works by Marshall, Ferneley, Herring and Munnings.

Thursday, 7 April 2011

M/M Great French Paintings from the Clark: Barbizon through Impressionism

Image provided to Manner of Man Magazine by Skira Rizzoli. Great French Paintings from the Clark, copyright Skira Rizzoli, 2011. All rights reserved.

GREAT FRENCH PAINTINGS FROM THE CLARK
Barbizon through Impressionism
In Association with the Sterling and Francine Clark Art Institute, Williamstown, Massachusetts
With essays by James A. Ganz and Richard R. Brettell

Skira Rizzoli is proud to publish, in association with the Sterling and Francine Clark Art Institute, this exquisite volume devoted to a distinguished collection of European paintings, including an extraordinary group of French Impressionist works.

This full-color catalogue accompanies an international tour that features more than 70 of the most important nineteenth-century European paintings from the Clark collection, including masterpieces by Monet, Pissarro, Sisley, Morisot, Manet, Degas, and Renoir. Earlier works by Corot and Millet are also included, as well as academic paintings by artists such as Gérôme and Bouguereau.
Insightful essays by leading scholars of nineteenth-century European art are illustrated with archival imagery and superb works from other areas of the Clark collection, such as Dürer, Piero della Francesca, Rodin and Sargent. James A. Ganz offers a biographical introduction to Sterling Clark, a self-trained connoisseur and heir to the Singer sewing machine fortune, who with his French-born wife, Francine, amassed one of the most important collections in the United States. Richard R. Brettell discusses Clark in the context of other earlytwentieth-century collectors such as Albert Barnes, Henry Clay Frick, and Duncan Phillips.

Reproducing works ranging from the atmospheric naturalist landscapes of the Barbizon school to the bold experiments of Post-impressionism, this remarkably researched and illustrated volume makes a significant contribution to the study of the originality and diversity of nineteenth-century art.

About the Authors: James A. Ganz is Curator of the Achenbach Foundation for Graphic Arts at the Fine Arts Museums of San Francisco, and former Manton Curator of Prints, Drawings, and Photographs at the Clark.

Richard R. Brettell is Professor of Aesthetic Studies at the University of Texas at Dallas. He is a former director of the Dallas Museum of Art and is the author of numerous books on nineteenth-century European painting.
Great French Paintings from the Clark: Barbizon through Impressionism

EXHIBITION INFORMATION

Palazzo Reale, Milan / March 2 – June 19, 2011
Musée des impressionnismes, Giverny / July 13 – October 31, 2011
CaixaForum, Barcelona / November 18, 2011 – February 12, 2012
Kimbell Art Museum, Fort Worth / March 4 – June 17, 2012
Royal Academy of Arts, London / July 7 – September 23, 2012
Museum of Fine Arts, Montreal / October 8, 2012 – January 20, 2013
Additional venues in Asia / 2013 – 2014

M/M Interview with Patrick Reynolds

This exclusive interview with Patrick Reynolds, grandson of tobacco company founder R.J. Reynolds, was conducted by Nicola Linza and Cristoffer Neljesjö in Los Angeles during April, 2011 and is only available in print edition.
 

Wednesday, 6 April 2011

M/M Richard Serra Drawing: A Retrospective at Metropolitan Museum of Art

17 Richard Serra, out-of-round X, 1999, Paintstick on handmade Hiromi paper, 79 ½ x 79 inches, Private Collection. © Richard Serra. Photo: Rob McKeever. Image provided to Manner of Man Magazine by the Metropolitan Museum of Art, New York and may not be reproduced without written authorisation. All rights reserved.

Richard Serra’s First Retrospective Exhibition of Drawings
Opens at Metropolitan Museum on April 13

The first retrospective of the drawings of American contemporary artist Richard Serra will be on view at The Metropolitan Museum of Art from April 13, 2011 through August 28, 2011. Richard Serra Drawing: A Retrospective traces the crucial role that drawing has played in Richard Serra's work for more than 40 years. Although Serra is well known for his large-scale and site-specific sculptures, his work has also changed the practice of drawing. This major exhibition will show how Serra's work has expanded the definition of drawing through innovative techniques, unusual media, monumental scale, and carefully conceived relationships to surrounding spaces. Featured will be 50 works from the 1970s to the present, including many loans from important European and American collections, as well as a new large-scale work completed specifically for this presentation.

The exhibition is made possible in part by the Jane and Robert Carroll Fund.

It was organized by the Menil Collection, Houston.Richard Serra Drawing: A Retrospective follows the artist's investigation of drawing as an activity both independent from and linked to his sculptural practice. The exhibition begins with his drawings from the early 1970s, when he drew primarily on paper with ink, charcoal, lithographic crayon, and black paintstick—a crayon comprised of a mixture of pigment, oil, and wax. Over time, his drawings increased in scale and evolved into autonomous works of art that challenged the notion of drawing as preparatory work.

In the mid-1970s, Serra made the first of his monumentally scaled Installation Drawings, some of which extend from floor to ceiling and are 10 to 20 feet wide. To make works such as Pacific Judson Murphy (1978), the artist attached Belgian linen directly to the wall and covered the entire surface with black paintstick. The Installation Drawings marked a radical shift, altering conceptions of what a drawing is and how it can interact with architecture. Serra's drawings of this period control the space of entire rooms and alter perceptions of spatial relationships.

Serra has written of these drawings, "By the nature of their weight, shape, location, flatness, and delineation along their edges, the black canvases enabled me to define spaces within a given architectural enclosure. The weight of the drawing derives not only from the number of layers of paintstick but mainly from the particular shape of the drawing."

In his drawings since the 1980s, Serra has continued to invent new techniques and to explore a variety of surface effects, primarily on paper. In 1989, Serra made a series of large diptychs. Several of the titles of these drawings—such as No Mandatory Patriotism and The United States Government Destroys Art—express the artist's reaction to the removal and disassembly of his sculpture Tilted Arc, which was commissioned as a permanent work for New York City's Federal Plaza. The exhibition will also include works from several of Serra's drawing series made in the 1990s, such as Deadweights (1991), Weight and Measure (1994), Rounds (1996-97), and out-of-rounds (1999-2000).

In Serra's recent drawings, such as the Solids series (2007-2008), the accumulation of black paintstick on paper is extremely dense and nearly the entire surface of the paper is covered in a layer of viscous pigment. To make these drawings, Serra often pours melted paintstick onto the floor and then lays the paper on top of the pigment. The paintstick is transferred to the sheet by pressing a hard marking tool onto the back of the paper.

As part of the retrospective, Serra will create a site-specific installation drawing for the Metropolitan's presentation. The exhibition will also feature a new drawing series from 2010 titled Elevational Weights.

Complementing the drawings will be a presentation of the artist's sketchbooks and four films made by the artist in 1968: Hand Catching Lead, Hand Lead Fulcrum, Hands Scraping, and Hands Tied.

Richard Serra (b. 1939, San Francisco, California) studied at the University of California, Berkeley, and the University of California, Santa Barbara, graduating with a BA in English literature. Serra then received an MFA from Yale University in 1964 and had one of his first New York exhibitions at the Leo Castelli Warehouse, in 1967. His work has been the subject of major exhibitions at the Stedelijk Museum, Amsterdam (1977), Musée national d'art moderne, Centre Pompidou, Paris (1983), The Museum of Modern Art, New York (1986 and 2007), Serpentine Gallery, London (1992), Museo Nacional Centro de Arte Reina Sofia, Madrid (1992), The Drawing Center, New York (1994), Dia: Chelsea, New York (1997), Guggenheim Bilbao (2005), and the Grand Palais, Paris (2008), among other museums.

Serra has received numerous awards and accolades for his artistic achievements. He is a member of the American Academy of Arts and Sciences and has received honorary doctorates from Yale University and other universities. In 2008 he was named a Commander of the Order of Arts and Letters of the French Academy and was decorated with the Order of the Arts and Letters of Spain. He received the Praemium Imperiale for Sculpture from the Japan Art Association in 1994, the Orden Pour le mérite für Wissenschaften und Künste in 2002, and the Prince of Asturias Award for the Arts in 2010.

Richard Serra Drawing: A Retrospective is curated by Bernice Rose, Chief Curator, Menil Drawing Institute and Study Center; Michelle White, Associate Curator, The Menil Collection; and Gary Garrels, Elise S. Haas Senior Curator Painting and Sculpture, San Francisco Museum of Modern Art. The presentation of the exhibition at the Metropolitan is coordinated by Magdalena Dabrowski, Special Consultant in the Museum's Department of Nineteenth-Century, Modern, and Contemporary Art. The 176-page exhibition catalogue features 160 illustrations and essays by Bernice Rose, Michelle White, Gary Garrels, and Magdalena Dabrowski, as well as contributions by Richard Shiff, the Effie Marie Cain Regents Chair in Art at the University of Texas at Austin; and Lizzie Borden, a Los Angeles-based filmmaker and writer. Also included in the catalogue are: Serra's Notes on Drawings; an illustrated chronology related to the artist's drawing production; a selected exhibition history; and a selected bibliography. The catalogue is published by The Menil Collection and distributed by Yale University Press. It will be available for sale in the Met's book shops ($50, hardcover; $40, paperback).

The Metropolitan will present a number of educational programs in conjunction with the exhibition, including a conversation with Richard Serra, Magdalena Dabrowski, and Lynne Cooke, Deputy Director for Conservation, Research and Publicity at the Museo Reina Sofia, on May 18 at 6 p.m. (tickets: $25). On May 24 and May 26 at 2 p.m., the Museum will screen a video of a two-part conversation between Richard Serra and Charlie Rose, which originally aired on the Charlie Rose Show in 2007. In addition, the Museum will offer gallery talks with Magdalena Dabrowski on April 21, May 10, May 24, June 14, and June 29 at 11 a.m.

After its presentation at the Metropolitan, Richard Serra Drawing: A Retrospective will travel to the San Francisco Museum of Modern Art (October 15, 2011 – January 16, 2012) and The Menil Collection, Houston (March 2 – June 10, 2012).

The exhibition also will be featured on the Museum's website at www.metmuseum.org.

M/M Il fiore delle Mille e una Notte






















Image provided to Manner of Man Magazine/Welldressed by Gianni Battistoni for exclusive use and cannot be reproduced without written authorisation. All rights reserved.

Friday, 1 April 2011

M/M Interview with Mario Buatta

This exclusive interview with legendary interior designer Mario Buatta was conducted by Nicola Linza and Cristoffer Neljesjö in New York during March 2011 and is only available in print edition.