The Art Collection
THE TOWNHOUSE | 2025
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Introduction Alongside beautiful diamond jewellery, 7 Carlos Place is home to an ever-changing selection of critically acclaimed art and antiques – all curated by Jessica, led by her distinctive eye for design. As with her jewellery collections, Jessica has the remarkable ability to create something unique by mixing the old and new. The interior of the space sees walls and floors covered with contemporary art, coupled with objets, and antiques which span centuries. The art collection at Jessica McCormack is not just a backdrop to the jewellery and an intrinsic part of the environment of the House, it plays an active part in the London art community and gives our jewellery collectors a different experience of art and design.
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Entrance Hall
1. The Haas Brothers b.1984, USA ‘Hex Candelabra’, 2013, brass tiles over wood, with slumped, fused glass shades. Commissioned for the townhouse, this Joshua-tree-inspired light was the beginning of a relationship with Jessica that led to their jewellery collaboration.
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2. Daniela Edburg b. 1975, USA ‘Parasites and Perishables’, 2012, digital print with file ink on paper 20 pieces. Inspired by European portraiture, Edburg inserts crocheted perishables into the hands of her sitters, bringing absurdity and a touch of the macabre.
3. Andreas Blank b. 1986, Norway ‘Untitled’, 2018, carved stones (serpentinite and basalt). Deceptively realistic, these sculptures imitate everyday objects but surprise you with their substantial weight.
4. Rick Owens b. 1961, USA
‘Half Box Chair', 2011, petrified wood.
Designer Owens brings a strength of form to furniture in the same way he does to his creations in the world of fashion.
5. Attributed to Francois-Xavier Fabre b. 1766-1837, France ‘Portrait of a Young Man’ c.1800 oil on canvas. The beautifully painted collar and cravat of this young gentleman show him to be a person of standing in 19th century French society.
6. Shiva Ahmadi b.1975, Iran ‘Mesh’, 2018, watercolour on paper. Painted in the style of Persian miniatures, the scene portrays the violence of the Iranian regime the artist witnessed as a child.
Entrance Hall
7. Mike Silva b. 1970, Sweden ‘Jason Smoking', 2020 oil on linen. A quietly observed intimate moment is captured with special attention paid to the play of light.
8. Frida Orupabo b. 1986, Norway ‘Untitled’, 2018, collage with paper pins 6
mounted on aluminium. Having been a social worker, Orupabo addresses the struggles of race and the issues of being a woman in her jointed collages.
9. Zanele Muholi b. 1972, South Africa ‘Misiwe IV, Biljmer, Amsterdam’, 2017, gelatin silver print. One of a huge series of self portraits, this work explores identity, race and the politics of representation.
10. Martyn Cross b. 1975, England ‘Telluric Symphony’, 2022, oil on canvas. Bringing together anthropomorphic forms and landscape history, Cross creates a personal vision steeped in English tradition and eclectic influences.
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11. Carrie Mae Weems b. 1953, USA Four works from the 'Kitchen Table Series', 2003. Weems is centre stage in this series of fictional dramas, imagining scenes from women’s lives around her table. The whole series can be seen across Jessica McCormack at Carlos Place and Sloane Street.
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Ground Floor
12. David Wiseman b. 1981, USA ‘Collage’, 2013, illuminated sculpture with bronze,
porcelain
and
crystal
components. Jessica worked closely with designer David Wiseman to choose elements from his sculptural vocabulary to complement the architecture of the house.
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13. Edward Weston b. 1886-1958, USA 'Nude, New York', 1941, gelatin silver contact print. Weston photographs his wife sleeping in the heat when they visited the city, soft light falling over her body.
14. Edward Weston b. 1886-1958, USA 'Charis', 1935, gelatin silver contact print. Weston pictures his wife in repose, detailing
her skin and flesh, her hand
making the image rather surreal.
Ground Floor
15. Daniel Silver b. 1977, London ‘Standing Man’, 2013, portoro marble. Silver often carves monumental figures appearing from stone, and this small figure
looks
to
archaeology
and
psychology for its inspiration.
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16. Māori Hand Club, New Zealand ‘Kotiate’, c.1870-80, carved wood. There is
extraordinary
carving
ceremonial Māori weapon.
on
this
17. Ndidi Emefiele b. 1987, Nigeria ‘'Untitled (pool side)', 2023, acrylic, compact disk, paper collage and sequin trim on archival paper. Emerging from grief, Emefiele addresses healing and fellowship in her richly layered collage, evoking the culture of her heritage.
18. Basil Beattie b.1935, England 'A Touching Sight', 2013, oil on canvas. Suggestions of door-like openings hint at the artist’s inner life, portals in a personal language of form in paint.
19. Basil Beattie b. 1935, England 'One Way', 1997, oil on canvas.
20. 'Tekoteko' Storehouse (Pataka) Gable Finial Maori, New Zealand Late 18th / early 19th century, wood, metal, paua shell (haliotis iris)
21. Frank Bowling b.1934, British Guiana 11
'Midwinterstump', 2012, acrylic paint and acrylic gel on canvas. Lyrical abstraction and exploration of the possibilities of paint suggest water and light around a central form.
22. Anton Gruss 1902-1875, Bohemia, now Czech Republic ‘Portrait of a Woman in a Red Turban’, 1844, oil on panel. One of the only known works of a black woman from the Habsburg Empire, this exquisite painting is rare, an expression of the appeal of foreign peoples.
Ground Floor
23. Roberto Rida b. 1947, Italy Opaline, glass and steel 1950s glass mounted cabinet on stand. The original 1950s cabinet has been augmented with blue glass and elegant legs.
24. Musede Knife Kota tribe, Gabon, Central Africa 19th century, metal 11
25. Anwar Jalal Shemza b. 1928, India, d. 1985, England 'Composition in Orange and Green on Brown', 1962, oil on canvas on hardboard. Exploring Modernism through the lens of Islamic and Western aesthetics, Shemza developed a personal pattern.
language
extracted
from
26. Markus Amm b. 1969, Germany 'Untitled', 2019, oil on gesso board. Layers of pigment express the time taken over each painting, considering how we look at art and colour.
27. Masaaki Yamada (1929-2010, Japan) 'Work C.p 162', 1963 work on paper The middle portion of Yamada’s career concentrated on stripes, crosses and grids, creating a fundamental sense of evenness.
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Main Stairs 28. Gottfried Lindauer b. 1839, Bohemia, present day, Czech Republic, d.1926, New Zealand ‘Tuhoto Ariki, Māori High Priest’, c. 18851890,
oil
on
canvas
mounted
on
cardboard. Lindauer moved to New Zealand and became a master of portraying the Māori people, their tattoos and costumes.
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29. Teodora Axente b. 1884, Romania 'The Dwarf Sings’, 2022, oil on panel. This surreal subject questions the human desire to reshape oneself, the character looking agonised whist singing.
30. Circle of Sebastian Bourdon "The Holy Family with St Elizabeth the infant St. John the Baptist," mid 17th century, oil on canvas
31. Nathaniel Mary Quinn b. 1977, USA ‘The
Funeral’,
2017,
black
charcoal,
gouache, soft pastel, oil pastel, oil paint, paint stick, acrylic gold powder on Coventry Vellum paper. Although
it
looks
like
collage,
this
fragmented portrait is made with various paint
and
pastel
techniques,
not
attachments of paper.
32. Ndidi Emefiele b. 1987, Nigeria ‘Sail Me Down Deep River’, 2020 collage and acrylic on canvas.
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As Emefiele mourns the loss of her sister, she paints this haunting portrait of their continued
journey
together
full
of
personal symbolism and tragedy.
33. Araminta Blue b. 1990, Cyprus 'Not There', 2022, oil on canvas. Blue’s visceral depiction of an intimate moment of womanhood is as suggestive in its omissions as in its detail.
34. Nick Cave b. 1959, USA ‘Bird Soundsuit’, 2010, found vintage knit material, metal flowers, vintage ceramic birds, hot pads, armature and mannequin. Trained dancer Cave’s Soundsuits jingle when they move and are designed to be performative, covered with items like those his mother collected from thrift stores.
35. Ceremonial Fish Paddle, Solomon Islands, Oceania Second half of nineteenth century, wood inlaid with shell 16
36. Italian Renaissance Revival, Library Armchair, c. 1860, carved walnut with upholstery
Main Stairs
37. Pair of tin lion heads c. 1880.
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38. Frida Orupabo b. 1986, Norway ‘Woman II’, 2022, framed collage with paper pins. Orupabo explores identity, using collage to address issues of race and gender relations, abuse, power, strength and resistance.
39. Klara Kristalova b. 1967, Czechoslovakia ‘R’, 2016, glazed stoneware relief. Living in a forest in Sweden, Kristalova creates
dream-like
animals
and
figures,
plants
sometimes-disturbing,
bringing
together
in
a
always-surprising
fairytale world.
40. Frank Walter 1926- 2009, Antigua ‘Sea and Flamboyant Tree’ c.1980, oil on card. 18
Self taught, Walter painted from his vivid imagination, interest in science and delight in nature, on whatever materials he had to hand.
41. Frank Walter 1926- 2009, Antigua ‘Untitled (Green sea green land dark sky)’ oil on pressed fibre with Masonite backing
42. Frank Walter 1926- 2009, Antigua ‘Abstract Science: Molecule’, oil on board
43. Frank Walter 1926- 2009, Antigua 'Untitled (Coconut Tree)', oil on biocomposite material with Masonite
44. Frank Walter 1926- 2009, Antigua ‘Rabbi’ oil on photographic paper
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Main Stairs
45. Frank Walter 1926- 2009, Antigua Untitled (Figure Against Bright Orange,) undated, oil and graphite on card
46. The Haas Brothers b. 1984, USA ‘Poor Unfortunate Soul table lamp’, 2013, bronze with glass globe. This sea-flower lamp is inspired by a song from the film of ‘The Little Mermaid’.
47. Probably by Rudolf Linder 1849 — 1928, Switzerland, Black Forest Bear Seat c. 1900 carved wood
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First Floor
48. Frank Bowling b. 1934, British Guiana ‘Serpentine', 1982, acrylic on canvas Exploring light on water through paint, iridescent colour dances over the multilayered surface.
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49. Studio Wieki Somers b. 1976, The Netherlands 'Big Frozen' from the Frozen in Time Collection, 2010 glass, silk flowers, resin and UV top coat
50. Robert and Reinold Brendel Didactic Flower, late nineteenth century Hand painted papier mache, paper and wood on turned wood stands
1st Floor
51. Francis Upritchard b. 1976, New Zealand ‘Toe Picker’, 2011, modeling material, foil, wire and paint. Upritchard’s mysterious figures are reminiscent of medieval sculpture and yet deeply personal, this one featuring a gesture typical in her family.
52. Filippo Caramazza b.1972 ‘Untitled’, 2009, oil on linen. 22
A Russian underworld character has Marx, Engles, Lenin and Stalin tattooed on his chest so he could not be shot there – typical of Caramazza’s dark humour.
53. Thomas J Price b. 1981, England ‘Network’, 2012, bronze. An imagined man holds his phone in the ultimate 21st century gesture, combining the present with a history of classical sculpture,
at
contemplative.
once
heroic
and
54. Katy Moran b. 1975, England 'You be your nature, I'll be mine 7', 2025, acrylic on canvas. Whilst suggesting land and sea, Moran’s work is a record of intangible sensation through experimental abstraction.
55. Kanak Ceremonial Axe, New Caledonia, Oceania 19th century
56. Bowl Hawaii, United States, North America, 19th century, Royal Koa wood
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57. Neckrest with Four Long-Nosed Ancestral Spirit Figures, Coastal Sepik or Ramu River, Papua New Guinea, Oceania 19th century, carved wood
58. Japan, Asia, 19th century - Edo period Bokuto, wood doctor's sword in tagayasan (Bombay blackwood) in the shape of peas
59. Kapkap Pendant New Ireland, Papua New Guinea, Oceania 9th century, bivalve shell and patterned tortoiseshell disk attached with fibe
1st Floor
60. Yam Mask and Headdress Arapesh/ Bukie, Papua New Guinea, Oceania, early 20th century, wood, pigments and woven fibre
61. Francesca Dimattio b.1981, USA ‘Dejeuner ll’, 2013, glaze and enamel on porcelain - 10 pieces
62. Charles Weddepohl, 1902 — 1976, The Netherlands Life-Size terracotta
Terracotta
Head
c.1947
63. 'Tiki' figure from a House Post 'Pataka' Maori, New Zealand, 19th
century,
wood,
halitosis
shell
(abalone shell)
64. Richard Slee b. 1946, England ‘Camp Fire’, 2012, glazed earthenware (ceramic), on wooden support. Slee creates unique and perfect ceramic sculptures that mimic real objects with cartoon-like humour.
65. Henry Étienne Dumaige, 1930 – 1988, France Patinated bronze
1st Floor
66. Wen Wu b. 1978, China ‘Celestial Library’, 2024, oil on canvas A graceful, neo-realistic portrait bridging East and West, depicts the artist’s devotion to literature.
67. Cristofano Allori 1577 – 1621, Italy ‘Head of a Girl’, Late 16th century, oil on 24
canvas. In this mannerist painting, the girl’s animated expression is caught, the light capturing her features and the pearls.
68. Joseph Walsh b. 1979, Ireland ‘Enignum Sculptural Shelf’, 2012, olive ash. Walsh’s mastery of wood has a fluid grace that is unsurpassed and this shelf flows down the wall like a liquid ribbon, bending as if to bring the two rooms together.
69. Marble figure of a lady with cherub, 19th century
70. Pair of Narwhal Tusks from the Arctic Waters c. 1900s
71. Pair of carved gilded candlesticks 18th century wood
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1st Floor
72. Stanley Whitney b. 1946, USA ‘Tiger Lil’, 2016, oil on linen. Whitney has worked with squares of colour in a similar format for decades, with endless variations, evoking music and personal memories with celebration of colour.
73. Maori Treasure Box, Wakahuia Poverty Bay, North Island, New Zealand Early 19th century, wood, pigments and wax
74. ‘Mere Patuki,’ Hand Club Maori New Zealand, late 18th to 19th century, whalebone
75. Wari Haru, Ceremonial Baton Malaita people, Solomon Islands, Oceania 19th century, stone head covered with vegetable
fibre
on
wooden
stick,
encrusted with mother-of-pearl.
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76. Bugle Flute, 'Pu Turino,’ Maori, New Zealand 18th century, wood
77. Marionette Figure, Maori, New Zealand Mid 19th century, carved wood
Keretao
1st Floor
78. Ancient Stone-Carved Mask Middle Sepik River area of Papua New Guinea, Oceania late 19th century, Pre-contact carved wood with glossy patina
79. Sara Flynn b. 1971, Ireland
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‘Ice White Pressed Vessel’ thrown, slab constructed,
pressed
and
altered
porcelain
80. Camille Henrot b. 1978, France ‘Overlapping Figures’, 2011, bronze, plaster, bricks and wood. One of a series inspired by the ancient Asian Oxus civilisation, Henrot balances solid bronze on a precarious wedge of plaster reflecting the uncertainty of our society.
81. Feminine Figure Murik Lakes and the coastal region of the Sepik River, Papua New Guinea, Oceania Late 19th or early 20th century, wood, fibre, red ochre, black and lime pigments
82. Thomas J Price b. 1981, England ‘Untitled (Icon 5)’, 2017, 24ct gold leafed aluminium composite, Italian slate base on quartzite plinth. The connotations of gold are unexpected yet
reminiscent
of
ancient
Egyptian
statues and also contemporary ‘bling’ culture.
83. Bird Head Club ' Poro Wa Ramaru' Kanak, New Caledonia, Oceania 19th century, wood
84. Battle-Hammer Club, ‘Totokia’ or ‘Ituki’ Fiji, Polynesia, Oceania c.1800, carved and incised wood
85. Pair of American eagle walllights
86. German Rococo Mirror, Carved wood and parcel-gilt, First half eighteenth century
87. French console Walnut with red marble top, 17th century
88. Pedro Reyes b. 1972, Mexico 'Janus,' 2017, Carrara marble. A Modernist form is inspired by the twofaced Roman god: arms crossed, facing in either direction.
1st Floor
89. Coco de Mer, Seychelles, Africa, Indian Ocean 19th century Bi-lobed coconut, Lodoicea Maldivica with silver
90. Ceremonial Paddle, 'Hoe' with Tiki Spirit Face Maori, New Zealand c. 1850 Carved and incised wood and eye inserts of Victorian red sealing wax and shell fragment
91. Kader Attia b. 1970, France ‘Untitled, Mirror Mask’, 2014, wooden mask, mirror. Attia is fascinated with concepts of repair, here taking a found African mask and ‘repairing’ it with elements of mirror that reflect back at the viewer.
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92. War Canoe Prow Maori, New Zealand, pre-1830, carved wood
93. Female Ancestor Figure, New Georgia Islands, Soloman islands, Melanesia, Oceania 19th century, wood
94. Male Figure 'Moai Tangata' Rapa Nui, Easter Island, Oceania Carved
wood,
bone,
obsidian,
19th
century
95. Robert and Reinold Brendel, Didactic Flower Late nineteenth century, hand painted papier mache, paper and wood on turned wood stand
96. Figurative Staff Humboldt Bay or Inland Lake Sentani, Northwest New Guinea, Oceania Late 19th century, carved wood with bead necklaces
1st Floor
97. Flute Mask, Guam River, Papua New Guinea, Oceania
98. Steffen Dam Glass Jelly Fish, 2011
99. Comb Fipa, Tanzania, East Africa, First half 20th century, Carved wood
100. Coco-de-Mer Seychelles, Africa, Indian Ocean 19th century bi-lobed coconut, Lodoicea Maldivica
101. Okuyi Mask, Punu people, Gabon, Central Africa Late 19th/early 20th century wood with pigment
102. Comb, doe
1st Floor
103. Andaman kriss handle Andaman Islands, Indonesia 19th century stone
104. 'Jovo' - Thale, Miniature Door Kanak, New Caledonia, Oceania 19th century, wood 29
105. Two Masks, Africa, 1920s ebony
106. Coco-de-Mer Seychelles, Africa, Indian Ocean 19th century bi-lobed coconut, Lodoicea Maldivica
107. Figure in the Form of a Teka Digging Stick Maori, New Zealand 19th century, carved wood
108. Comb, 'Duafe' Akan, Ghana, Africa First half of 20th century, carved wood
109. Ceremonial Comb New Britain, Melanesia, Oceania First half 20th century, Carved, incised and pigmented bamboo
110. Table Cabinet, Lima, Peru, South America 18th century, tortoiseshell inlaid with mother of pearl
111. Agnieszka Kurant b. 1978, Poland ‘A.A.I (System’s Negative) No. 1’, 2015, aluminium Kurant is fascinated by the systems of our world, natural, economic, social and digital and here she has taken a cast of an anthill, exposing their labyrinthine world.
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Green Stairs
112. Gregor Hildebrandt b. 1974, Germany ‘Die Robe – Bauhaus (classic gentleman)’, 2009, cassette tapes on jet ink print. Hildebrandt uses cassette tape of music from the movie ‘Eve’ to craft the pattern on the Jeanne Moreau’s coat, thus encapsulating sound in two dimensions.
113. Edward Weston 1886 - 1958, USA ‘Cabbage
Leaf’,
1931,
gelatin
silver
contact print. Weston treated the humble cabbage with reverence that had not been seen before, capturing every nuance of its form.
114. Edward Weston 1886 - 1958, USA ‘Pepper no. 30’, 1930, gelatin silver contact print. The pepper takes on the curves of the female nude, yet is still a vegetable, becoming monumental and sculptural with the light captured falling upon it.
115. Harry Callahan 1912 – 1999, USA 'Eleanor, Chicago,' 1947, gelatin silver contact print. The perfect creases of a bottom are abstracted to an almost unrecognisable cross, tiny and delicate.
116. Harry Callahan 1912 – 1999, USA 'Weed Against Sky, Detroit,' 1948, gelatin silver enlargement print. A fragment of plant life echoes the human body, perfectly illustrating the artist’s open minded attitude to subjects.
Green Stairs
117. Studio Job (Job Smeets and Nynke Tynagel) Pair of Inlaid Pedestals from the ‘Perished Collection’, 2006/2007. Macassar Ebony inlaid with Bird's Eye Maple Laser-cut inlaid skeletons play with simultaneous innocence and violence.
118. 'Kotiate Paraoa,’ Club Maori, New Zealand Early 19th century, whalebone, shell
119. Yam Mask, Abelam people, Papua New Guinea, Oceania Early to mid 20th century, Lygodium vine, negwa
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120. Daniela Edburg b. 1975, USA 'Desayuno con Tetas,' 2012, digital print with file ink on paper. A pair of crocheted breasts sit on a dish like cakes, humorous and macabre, recalling historic still lives.
121. Anonymous, Boro Early to mid 20th century, indigo dyed cotton. Cloth was repurposed and reused by the poor
in
Japan,
sometimes
through
generations, producing richly layered textiles that appeal to the western aesthetic.
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Bridal Floor
122. Araminta Blue b. 1990, Cyprus ‘Interior’, 2020, oil on canvas. Blue creates a fragile, imagined space with suggestions of figures as an escape from reality.
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123. Heidi Bucher 1926-1993, Switzerland 'Anna With Herself' 1976 textile, latex, pigments, mother-of-pearl pigments. Bucher envelopes a piece of lingerie in a quilt in an autobiographical examination of motherhood and memory.
124. 12 Alina Szapocznikow (b. 1926, Poland, d.1973 France) 'Sculpture - Lampe Vlll', 1970 coloured polyester resin, electrical wiring and metal Moulding her own body, the artist tackles difficult themes of internment and illness in her work while celebrating the female body in this sensual illuminated sculpture.
125. Carrie Mae Weems b. 1953, USA Two works from the 'Kitchen Table Series', 2003. Weems is centre stage in this series of fictional dramas, imagining scenes from women’s lives around her table. The whole series can be seen across Jessica McCormack at Carlos Place and Sloane Street.
Bridal Floor
126. Francesca Dimattio b. 1981, USA ‘Star Caryatid’, 2019, glaze on porcelain. Dimattio sculpts with clay using historical references, here a Greek-style pillar in female form, with balloon and cushion shapes in place of head and feet.
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127. Man Ray 1890-1976, France 'Nusch Eluard, Nue', 1935, Gelatin silver. The solarisation technique outlines the form of this artist, model and performer, creating a bold graphic line.
128. Sally Mann b. 1951, USA ‘Virginia
#42’,
2004
gelatin
silver
enlargement print with varnish. Mann is best known for her intimate images of family life and here her daughter’s face is enlarged and takes on a sculptural form with luminous light on her freckles.
129. Heidi Bucher 1926-1993, Switzerland 'Untitled (Object from the Borg)’, c. 1978 textile, latex, mother-of-pearl pigments. A ghostly figure emerges from Bucher’s basement studio, shimmering with delicate mother-of-pearl.
130. Man Ray b. 1890, USA, d. 1976, France ‘Dora Maar’, 1936, gelatin silver print on matte surface paper. Man
Ray
created
this
tiny
surreal
photograph of face and hands, picturing the artist who was a lover and muse to Picasso.
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Bridal Floor
131. Laurie Simmons b. 1949, USA ‘The Love Doll / Day 36 (Geisha Tattoo)’, 2011, Fuji matte print. Simmons made a series featuring a Japanese
sex
doll,
and
when
she
discovered her assistant had a geisha tattoo, she made a final piece of the real woman with the doll.
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132. Louise Bourgeois, b. 1911, France, d. 2010, USA ‘Figure qui Apporte du Pain’, 1950, bronze and stainless steel. Bourgeois created this sculpture, originally in wood, as part of a series of totem-like pieces
that
she
imagined
as
her
companions in the studio.
133. Tapa Cloth, Siapo Samoa, Oceania early
20th
century,
barkcloth
with
pigments. Abstract patterns inspired by nature are painted on to the textile made from fine beaten bark, worn by a woman and used for exchange in wedding ceremonies.
134.Märta-Måås Fjetterstrom 1873-1941, Sweden 'Flower Patch', 1930s, wool and linen flatweave.
134.Märta-Måås Fjetterstrom 1873-1941, Sweden ''Flower Patch', 1930s, wool and linen flatweave. This
innovative
textile
designer
introduced a modern and cosmopolitan spirit to the tradition-bound craft
135. Anonymous ‘Barramundi and Kangaroo,’ Australia, 1st quarter 20th century, bark and pigments. Prominent creatures in Aboriginal art, they convey spiritual connectedness to the rivers and land.
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Bridal Floor
136. Kay WalkingStick, b. 1935, USA, 'Wallowa
Mountains
Winter
Memory',
2003, charcoal on paper. The American landscape and the designs of Native American peoples combine to unify the physical and spiritual worlds.
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137. Curly Barrgupu ‘Two Mimi Spirit Men,’ Northern Australia, c. 1960, pigment on bark. Aboriginal paintings capture the stories and spirits of the ancestors in intricate symbolic patterning.
Bridal snug
138.Hans Op de Beeck (b. 1969, Belgium) 'Garden,' 2004 graphite on paper This
thoughtful
imagined
landscape
delivers a moment of wonder and silence, the human imprint on time and space.
139. Erwin Blumenfeld (b.1897 Germany, d. 1969 Rome) 'Wet
Veil,'
c.1937,
gelatin
silver
enlargement print An early pioneer of fashion photography, Blumenfeld
used
experimental
techniques to explore the female nude.
140. Clément Serneels (1912 – 1991, Belgium) ‘Portrait of a Mohutu Woman,' c.1938/39 oil on panel. The focus is on the fine features of this Congolese woman, possibly a Hutu, whilst the fabric is painted more fluidly.
141. Celia Paul (b. 1959, India) ‘Rodin,' 2022, oil on canvas With the same intimacy that Paul paints her London family, she celebrates the famous sculptor, bathed in sunlight.
142. Bill Brandt (b. 1904 Germany, d. 1983 England) ‘Nude,’ East Sussex Coast,' 1959, gelatin silver print Setting the female nude in a dramatic beach
landscape
contrast
gives
monumentality.
with it
accentuated a
sculptural
143. Bill Brandt (b. 1904 Germany, d. 1983 England) Nude,’ East Sussex Coast,' 1957, gelatin silver print
144. Joseph Walsh, b. 1979, Ireland ‘Enignum IV Sculptural Chain,’ 2011, olive ash, copper, and white oil Walsh masterfully bends wood into this sinuous seat, copper secreted in the interior space.
7 Carlos Place | London | W1K 3AR 020 7491 999