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Philip Mould & Company are at Masterpiece 2019 Stand A3

Wed Jun 26, 2019


We are delighted to announce that Philip Mould & Company are exhibiting again at the Masterpiece Art Fair again this year on Stand A3. We are bringing with us some truly spectacular works dating from the Tudor and Jacobean periods, through to Sir Anthony Van Dyck's arrival in England, the long eighteenth century right up to the 20th century represented by artists such as Vanessa Bell, Sir Cedric Lockwood Morris, David Jagger, Gerald Leslie Brockhurst, Christopher Wood and Ambrose McEvoy. We will of course be exhibiting some spectacular Portrait Miniatures as well including a work of enormous rarity and significance to the canon of Western art; the first known portrait of a black subject painted in miniature by a female artist, Giovanna Garzoni. For all fair opening times and related information click here. Philip Mould will be giving a number of exhibitor talks as well as part of the Fair's educational lecture series. For times see here. We look forward to welcoming you again. For all price enquiries please contact the gallery.

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SIR ANTHONY VAN DYCK (1599-1641) Portrait of a Young Girl in a White Apron c.1630 - One of our central pieces at Masterpiece this year

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Zaga Christ - An Identity Long Forgotten

This portrait by Giovanna Garzoni (1600-1670) is the earliest known European portrait miniature to depict a black sitter. It is, as such, an object of great historical importance and represents a moment all too rare in the European history of the early modern period: one in which an African sitter is treated by a (female) artist in almost exactly the same terms as a European. Black subjects are rare in western art of this date, and their appearance is usually limited to peripheries. It was not uncommon, for instance, for a wealthy aristocrat to be shown with his or her black servant, or for one of the three Magi in paintings of the Adoration of the Kings to be black.[1] But there are very few instances of black sitters being depicted as individualised people rather than generic types. Even in the case of portraits, the sitters are most frequently presented as exotic anomalies. Here, however, the sitter is shown in the fashionable dress of the courts of Europe in this period. He is sober and dignified and looks calmly out at the viewer. His features are individualised and have been rendered with great sensitivity. But for the fact of his race, one would assume him to be a high-ranking courtier. It will be exhibited for the first time attached to its recently discovered attribution on our stand (A3) this year.


[1] P. H. D. Kaplan, ‘Italy 1490-1700’ in D. Bindman and H. L. Gates, jr. (eds.), The Image of the Black in Western Art: From the “Age of Discovery” to the Age of Abolition (Massachusetts and London, 5 vols., 2010-2015, iii, part 1), pp. 93-191.