For this talk Sacha Llewellyn (Independent Researcher and Curator, and Director, Liss Llewellyn Fine Art), Tania Sutton (Director, Osborne Samuel), Anthony Crichton-Stuart (Director, Agnews), Marco Fabio Apolloni (Director, Laocoon Gallery) and Ellie Smith (Research and Content Editor, Philip Mould & Company) will, together, examine how our perception of women artists has changed and how we are finally championing them. During the discussion, there will be a special focus on female artists over the last 100 years, and in particular the early to mid-20th century.
Exhibition Review | Smithsonian Magazine
A new show at London's Philip Mould & Company features works by Levina Teerlinc, Vanessa Bell and Clara Birnberg
Spotlighting 500 Years of Women in British Art | by Meilan Solly
To commemorate the 150th anniversary of the death of Charles Dickens, the Post Office has published a set of six stamps.
They feature five engravings from his book A Christmas Carol and a miniature portrait of the author from the same period as the book was written.
The highest value stamp features the 'lost portrait' of Charles Dickens, depicting the literary star at the age of 31. The painting was lost for more than 130 years, and recently turned up in a box of trinkets in South Africa.
Art dealers Philip Mould and Company formally re-identified the portrait and it now resides in the Charles Dickens Museum, London.
The Week in Pictures | The Times
View the opening of Pioneers: 500 Years of Women in British Art in The Times 'The Week in Pictures'.
The present work offers a compelling introduction to former Archbishop of Canterbury Rowan Williams. Executed on an ancient piece of bog oak, The White Druid of the Gorsedd of Bards serves as a smaller companion piece to The Master of Magdalene (cat.56) [ex no.39] that brings into focus Williams's contemplative visage and captures what Wadsworth describes as his "mystical, mythical, wise presence".
Inspired by techniques derived from Late Antique Egyptian communities, Wadsworth has applied layers of clear wax with oil paint suspended in between, so that the image rests beneath the surface, seemingly within the prehistoric wood itself. The shadows combine with the blackened oak they are painted upon, and cloudy wax evokes the mists of the Welsh valleys; a celebration of Williams's heritage.
Natalie Grueninger speaks with Emma Rutherford about Tudor portrait miniatures.
Listen to the podcast here.
This month, London Art Week (LAW) uses the digital platform it launched over the summer to run Art History in Focus. The event combines online discourse with exhibitions and objects on offer in galleries (and on gallery websites), putting the spotlight on two major themes: women artists and framing.
Philip Mould & Company offers one of the major tributes to female artists with its exhibition Pioneers: 500 Years of Women in British Art.
It offers an assortment of miniatures and portraits, from a c.1550 portrait of King Edward VI attributed to Tudor artistLevina Teerlinc (1510-76) to a c.1952 self-portrait by Vanessa Bell (1879-1961).
Other familiar names such as Mary Beale and Dod Procter are also on offer and prices range from £2000-120,000.
Chaired by Dr Emily Guerry (University of Kent)
Clare Sheridan originally took to sculpture as a means of release and escape from personal crisis. In this film, Lawrence Hendra explores her portrait of Gandhi, which demonstrates not only her skill as a sculptor, but her extraordinary ability to integrate with individuals from utterly opposing walks of life. The present work is currently on display at Philip Mould & Company as part of our exhibition, Pioneers: 500 Years of Women in British Art.