Newton Smith Limbird Fielding, “A Dog chasing a Snipe
Newton Smith Limbird Fielding (1799-1856), “A Dog chasing a Snipe,” Inscribed lower centre: Newton Fielding 1839. Watercolour over pencil heightened with bodycolour, 10.1 by 16 cm., 4 by 6 ¼ in.; Guy Peppiatt Fine Art

London Art Week
December 1-8, 2023
More than 50 fine art dealers offering digital and in-gallery exhibitions and events, including the 2023 LAW Symposium.

Exhibitions and sales will take place online and in galleries across central London, offering Renaissance and Old Master rarities, modern and contemporary paintings, drawings, sculptures, and rare furniture, books, and manuscripts.

The 2023 LAW Symposium, The Art of Conservation – Preservation, Restoration, and Framing, takes place on Tuesday, December 5th, at the recently reopened National Portrait Gallery. In partnership with The Burlington Magazine, there will be three panel talks with leading curators, conservators, and LAW experts.

Sorolla, "Children in the Sea," 1908; Colnaghi
Sorolla, “Children in the Sea,” 1908; Colnaghi
Henriette Vaillant, "Bust-length study of a man in profile," 1930, pastel on paper, 470 x 450 mm; Elliott Fine Art
Henriette Vaillant, “Bust-length study of a man in profile,” 1930, pastel on paper, 470 x 450 mm; Elliott Fine Art

More from the organizers:

Marie Auguste Lauzet, "Still Life of Fish / Ingredients for a Bouillabaisse"
Marie Auguste Lauzet (1863-1898), “Still Life of Fish / Ingredients for a Bouillabaisse,” Dedicated “a L’excellent ami Paul Guigou | A Lauzet 82”, Oil on Canvas, 622 x 790mm; Dominic Fine Art

On “Still Life of Fish / Ingredients for a Bouillabaisse”

The Marseille-born Auguste Lauzet was one of the few mourners at Vincent van Gogh’s funeral and is mentioned in 16 of his letters sent between December 1889 and Vincent’s death in July 1890. Theo van Gogh suggested that the two artists share a studio in Paris. He also told him of Lauzet’s intentions to visit him in Provence. Lauzet never managed to visit Vincent at the asylum at Saint Remy (a letter from Theo suggests he couldn’t afford the trip) but he was among the first to see the visionary landscapes he painted there and was particularly taken by one with “a little thicket of dark trees against a crescent moon.”

“I hope that Mr. Lauzet will come, I very much want to make his acquaintance. I trust in his opinion when he says that it’s Provence…” Vincent to Theo van Gogh, 1st February 1890

London Art Fair - View of the piazza del Quirinale in Rome
Oswald Achenbach (Düsseldorf, 1827-1905), “View of the piazza del Quirinale in Rome,” Oil on the original canvas cm. 136 x 193,5., Signed and dated bottom left: “Osw. Achenbach 1892”; Paolo Antonacci

On “View of the Piazza del Quirinale in Rome”

Caecilie Achenbach, Berlin, 1911.
Private collection, Lindau.
From 1983 on permanent loan to the Düsseldorf Kunstmuseum, inv. n. 1983/82.

Exhibitions: Andreas und Oswald Achenbach. Das “A und O der Landschaft,” Kunstmuseum Düsseldorf 1997/98, ill. p. 128/129, sch. p. 221.
There is a preparatory drawing for this view in the Kunstakademie Düsseldorf inv. n. C54.274.

The painting, shown here for the first time on the market, comes from an illustrious German family who had left it on permanent loan to the Kunstmuseum in Düsseldorf, in whose rooms it was displayed from 1983 onwards.

Oswald Achenbach was one of the leading German painters of his day and a prominent member, along with his brother Andreas, of the so-called “Düsseldorf school.” He traveled to Italy on eight separate occasions and his fondness for the peninsula grew with each one of his trips, the first in 1845 and the last in 1895. His trip in 1850 had a major impact on his work because while in Rome he met up with Arnold Böcklin (1827–1901) and Anselm Feuerbach (1829–80), both of whom he had known during his student days in Düsseldorf.

Achenbach developed a new way of looking at Italy, succeeding in combining an interest in the realistic portrayal of architecture and the landscape with an intense handling of light.

His reputation and his success went from strength to strength between 1860 and 1890. He focused on Italian views, thus meeting the growing demand from his clientele. He was a member of the Academies of Düsseldorf, St. Petersburg, Rotterdam, and Vienna. He painted pictures intended for both the national and international markets, showing his work in Berlin, Vienna, New York, Chicago, and Cincinnati. He was represented in New York by the Galerie Goupil of Paris, which had opened a branch in the city in 1848.

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