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R.M. Galvez Feature | Elite Equestrian Mar 2017

Ricardo Martinez Galvez featured in the recent Elite Equestrian Magazine March issue of 2017.

Visit R.M Galvez’s Artist Page

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Estate Sale | Abbott, Marshall Kittredge | Myopia Songs & Waltzes With Winchester and Hamilton Chat

RARE — One of 100 Copies
Abbott, Marshall Kittredge | Myopia Songs & Waltzes With Winchester and Hamilton Chat
Cambridge: Printed at the Riverside Press for Private Distribution, [October], 1897.

First edition, number 41 of 100 copies. Color frontispiece and 30 additional full-page photos including polo and golf. xii, 168, [1] pp. 1 vols. 4to. RARE — One of 100 Copies. Red cloth, inset illustration on upper cover, leather spine label, t.e.g. Spine sunned, some toning to label, generally very good with some rubbing. Bookplate of St. Paul’s School and blindstamp on title page.

Estate Sale | 1895 Myopia Polo Team Photograph

1895 Myopia Polo Team Photograph
Myopia Polo Team 1895: Contemporary copy of the original photograph in its lettered mat.
Hamilton, MA: Ca. 1895

The photo shows the four-man team, mounted and holding their mallets, on the Myopia field, goal just visible at the left. 1 vols. 4.25 x 4.75 inches, mounted. The photograph is in overall fine condition, the backing board chipped and repaired. Bent, American Polo, p. 59 et seq.

Of all the New England polo clubs, notes Bent, the Myopia Club at Hamilton, some 25 miles from Boston, is the best known and has the greatest polo history. Founded as a hunt club in 1882, it added polo in 1888, and in 1895, the year of this picture, played its first senior championship, defeating in the final match the Rockaway team at Brooklyn, NY. The Myopia team was composed of R.L. Agassiz, F.B. Fay, R.G. Shaw 2nd, and A.P. Gardner, all of whom appear in the photograph. Agassiz and Shaw, reports Bent, stood for many years “at or near the top of all the players in this country.”

Estate Sale | Set of 8 Polo Enameled Drinking Glasses

Set of 8 Polo Enameled Drinking Glasses
Amber hand-blown glass with enameled and transfer decoration of polo players on horseback in various positions.
Scarce

Sir Alfred James Munnings – Portrait of a Gentleman on a Bay Horse in a Park with a Church beyond

Sir Alfred J. Munnings “Portrait of a Gentleman on a Bay Horse in a Park with a Church beyond”
Sir Alfred James Munnings P.R.A., R.W.S. (1878-1959)
Portrait of a Gentleman on a Bay Horse in a Park with a Church beyond
Oil on canvas
Signed ‘A.J. MUNNINGS’ lower right
28 x 30 inches (72.4 x 77.5 cm)

Provenance:
Mrs. Cynthia Cary, by 1935 and by descent to Guy Fairfax Cary JR

Elm Court, the Bellevue Avenue home of the family for four generations, was furnished during the early years of the 20th century by Mrs. Cary with taste and discernment, in a style reminiscent of the distinguished English homes of the eighteenth and nineteenth centuries. The ambiance was well suited to the period of the disciplines, mores and manners of her youth. Cynthia Cary was of the generation in Newport that emerged from the gilded age, possessing the self-assurance and comfortable confidence in their way of life inherent in the maturity that results from prior generations of wealth and privilege. Her life was one of quiet luxury surrounded by her friends that included Janet Auchincloss and Mary Whitehouse. After her death, Guy Cary continued to live a contented life at Elm Court which remained as it had been for years.  Amongst the paintings within Elm Court was an Alfred Munnings, Portrait of a Gentleman on a Bay Horse.

In this painting Munnings captured the essence of elegance and grandeur of life for the English aristocracy in the pre-World War II period. The gentleman is apparently an accomplished horseman and sits with confidence astride an elegant bay horse in a parkland landscape with imposing walls to the right and a village church in the distance. He elegantly removes his top hat as he acknowledges the viewer and engages directly with a distant audience as he rides past. It is rare for Munnings to feature his subjects looking out of the canvas as they usually look straight ahead as they ride across the scene.

The unusual gesture of holding his hat as he rides past the viewer can be traced to earlier equestrian painters such as John Ferneley Senior whose portait of Mr. George Marriott shows the sitter jumping a fence in the hunting field and holding his top hat in his right hand as he acknowledges the viewer. It has been suggested that the formal attire of the sitter may be an indication that this was a portrait commemorating a successful equestrian competition – most likely dressage judging by the double reins, long stirrups, long trousers as well as the gait of the horse. The sitter is therefore possibly acknowledging the judges at the beginning or end of his performance.

Although the identity of the sitter remains unknown at present, it is thought to have been a commissioned work. The fluid and confident brushstrokes are typical of his commissioned works in the late 1920s and early 1930s. The portrait was acquired by Cynthia Burden (1884-1966), née Hon. Cynthia Burke Roche, daughter of the 3rd Baron Fermoy, probably directly from the artist on one of her trips back to England and is first recorded in her inventory in 1935 in their house in Long Island. The connection between the Burden family and Munnings had extended back into the 1920s when Munnings had painted Cynthia’s mother-in-law Mrs Burden in 1924 on his visit to Long Island. He mentions in his biography, ‘There were Mr. and Mrs. Burden of Syosset, the house which was occupied by the Prince of Wales during the international polo. Dear Mrs. Burden possessed a bay horse – an old favourite. I liked Mrs. Burden and her sixteen-year-old friend, the bay. What is more, her home was perfection, and she had the right taste and was the right sort, so the picture turned out well.’ (A.J. Munnings, The Second Burst, Bungay, 1951, p. 169). Cynthia Burden later married Mr. Guy Fairfax Cary, Sr.

It is interesting to note that Mrs. Guy Fairfax Cary owned another elegant equestrian portrait by Sir Henry Raeburn (1756-1823) entitled George Harley Drummond (1783-1855). Painted circa 1808-9 it depicts Mr. Drummond of Stanmore, Middlesex and Drumotchty, dressed in riding clothes, standing beside his grazing bay horse, his left arm upon the saddle and holding a hunting whip in his right hand. She gifted the painting to The Metropolitan Museum of Art, New York, in 1949 in memory of her mother Mrs. Burke Roche.

View Sir Alfred J. Munnings Artist Page

Travel by ENTREE | Jeanne Chisholm offers Rare Estate Jewelry from Winston and CZ Guest

Travel by ENTREE

Palm Beach’s Jeanne Chisholm offers rare estate jewelry from Winston and CZ Guest
by WTOMICKI

In our opinion, the dazzling Jeanne Chisholm has the finest gallery in America for polo and sporting arts. Established in 1979, the Chisholm Gallery, located at Wellington outside Palm Beach, simply has no equal for bronzes, paintings, estate silver and jewelry and historically important polo art and memorabilia.

Lovers of fine things will surely be interested in the fact that Jeanne is currently offering estate jewelry from the collection of Winston and CZ Guest. Winston Guest was a top-ranked polo player who was an international champion in the 1930s. His wife, “C. Z.”, was an American stage actress, author, columnist, horsewoman, fashion designer, and socialite who achieved great fame as a fashion icon.

Chisholm Gallery Feature | Eldorado Polo Magazine 2017 | 60th Anniversary

Chisholm Gallery featured in Eldorado Polo Magazine 2017 – 60th Anniversary

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Jeanne Chisholm & Chisholm Gallery featured in IPC Magazine 2017

Jeanne Chisholm & Chisholm Gallery featured in IPC Magazine 2017

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View Jeanne Chisholm’s Artist Page

Judy Nordquist | The Making of the Escape Ibn Navarrone – D Life-size Bronze

Arabian Horse World Magazine article on the Life-size bronzes that was commissioned by the Crown Prince of Ajman in United Arab Emirates.

View Judy Nordquist’s Artist Page

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Vanessa Somers Vreeland’s Mosaic: By Prof. Giandomenico Spinola Expert on the Vatican Asaroton, Vatican Museums, Rome

“Asaroton 2000”

“Asaroton 2000” Inspiration derived from the Ancient Roman Mosaic called Asaroton meaning unswept floor, Second Century A.D. 75 x 55 inches (1.7 x 1.4 meters)

Vanessa Somers Vreeland’s Mosaic: Asaroton 2,000
By Prof. Giandomenico Spinola
Expert on the Vatican Asaroton, Vatican Museums, Rome

The story of the “Asaroton Oikos,” the Unswept Floor, is very ancient. First mentioned by Pliny (Nat. Hist. XXXVI 184) who noted that this work was made for a mosaic pavement by Sosos, a well-known mosaic artist [in
the 2nd Century B.C.]

The fame of the Asaroton was astounding, due to the effect of its three-dimensionality (with shadows faithfully depicted), and as a work of beauty. The Romans copied it various times, including the Asaroton signed by Heraclitus, in our own Vatican Museum, and another version of it in the Museum of Aquileia. As in the original from Pergamon, these ancient Roman copies are works of technical virtuosity, made with tesserae (mosaic pieces) that are particularly small and carefully cut. In the Vatican Asaroton this comes down to nearly a million tesserae per square metre. Everything that was brought to the table in the Greco-Roman world can be found translated into rubbish on the unswept floor: fish bones, antennae of crustaceans, clam shells, chicken bones and feet, fruit skins and kernels, and so on. In the Vatican mosaic only the mouse is alive in this dead “tableau vivant,” while the theatrical masks, placed on one side of the floor, represent the entertainment. The value of such an art work is also in its allegories.

Pitagora said it was never necessary to clean up the fallen bits of food during a banquet, as they were destined for departed ancestors. It was a tradition to leave this detritus on the floor—at least until the guests had left—so as not to anger the dead.

There were always theatrics at a banquet: a traditional ceremony of poems, dances, plays. These receptions demonstrated the luxury and power of the host: with food brought in from foreign parts; expensive and highly exotic. The banquet represented in the Asaroton is exaggerated and ironic: imaginary rubbish, trash that doesn’t pollute or smell.

The precious and brilliant mosaic work of Vanessa Somers Vreeland represents a version just as artistic and ironic as the other Asaroton, naturally represented in a contemporary key. Instead of luxury she substituted modern technology. Instead of the contents there is often – though not only – its container. We should have entered into the era when garbage is sorted by categories, but our garbage is only theoretically recyclable; and here is our floor, our Earth, covered with empty cans, bottles and utensils from the kitchen and table. Our poor mouse doesn’t have much for his banquet. Vanessa Somers Vreeland’s mosaics are artistic masterpieces. They are also, perhaps, in her heart a satirical denunciation of what and how much we consume as well as what and how much detritus we leave for posterity.

View Vanessa Somers Vreeland’s Artist Page