ARTFULLY DRESSED: Women in the Art World
ARTFULLY DRESSED
Women in the Art World Portraits by Carla van de Puttelaar
Volume III: Auctioneers & Specialists 5
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ARTFULLY DRESSED: Women in the Art World
Unless stated otherwise, copyright in this catalogue (including content and design) is owned by Carla van de Puttelaar and The Weiss Gallery. All images Š 2018 Carla van de Puttelaar You may not reproduce, adapt, modify, communicate to the public, reproduce or otherwise use any part of this catalogue without the express written permission from Carla van de Puttelaar and The Weiss Gallery. All rights reserved. 2
ARTFULLY DRESSED: Women in the Art World
CONTENTS Alexandra Baker, 109 Lauren Carlucci, 111 Georgina Eliot, 113 Georgina Hilton, 115 Louisa Howard, 117 Martine Lambrechtsen, 119 Flavia Lefebvre D’Ovidio, 121 Elvire de Maintenant, 123 Maja Markovic, 125 Jonquil O’Reilly, 127 Sandra Romito, 129 Manja Rottink, 131 Clementine Sinclair, 133 Lucy Speelman, 135 Chloe Stead, 137 Talita Teves, 139 Albertine Verlinde, 141
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AUCTIONEERS & SPECIALISTS 107
Exhibited at The Weiss Ga"ery (16 - 31 May 2018)
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Alexandra Baker Alexandra spent most of her childhood abroad (Poland, Japan, Sri Lanka) on her parents’ diplomatic postings. It was in Tokyo aged eight that she first saw a Monet exhibition and was enraptured. Could you tell us something about your role in the art world? My role at Christie’s is as Global Business Director for Private Sales in Old Master Paintings & Drawings, Russian, Victorian and 19th Century Art, and it’s as diverse as the departments I work with. My job is to ensure the infrastructure of a Private Sale operates like a beautifully oiled machine. The joy of my job lies in the works of art that I come across and the incredible people I work with. What did you enjoy about being a part of this project? I work with amazing women – funny, inspiring and intelligent, and I love the idea of celebrating them in an exhibition. Whilst I am not keen on being photographed, this project had a relevance that bypasses vanity. Being shot by Carla had a strange meditative quality to it. Do you have a favourite artist? Not favourite but favourites, among others: Cranach the Elder, Marlene Dumas, Jacob Ruisdael, Bridget Riley, Eric Ravilious. And I would deeply like to own a Grayson Perry ceramic and a David Hockney Yorkshire Landscape. What is your earliest memory involving art? I have a strange Kaleidoscopic memory of being in my mother’s ceramic teacher’s workshop in Warsaw. I was probably about three. We still have some of the pots my mother made – deep primary blue, yellow and red pots with lids that don’t quite fit. I also have profound memories of brass-rubbing in cold English churches with my father – watching the ghostly negative image appear felt miraculous. Do you have any special thoughts about the position of women in the art world? We are in a time of change. There are many more women in positions of authority than when I started in the art world seventeen years ago but, in parallel to many industries, we have a way to go. Personally, I have always been supported by my peers and would always wish to do the same – regardless of gender. What are you wearing, and is there a story behind it? I am wearing a dress bought in Portobello in 1998 that has been a constant partner in crime. I expect I will still be wearing it in my seventies.
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Lauren Carlucci Lauren works at Christie’s in New York as the Head of Sale Management in the Old Masters Group. Born in New York, she moved to London when she was five and lived there until moving back to New York when she was eighteen to attend the School of Visual Arts. Growing up in London enabled her to see the world, and from a young age she wanted to become a photographer, specifically a photo-journalist. She has never been one to sit still for too long. In her last semester as a senior at School of Visual Arts, she got a job interning in the Photographs department at Phillips de Pury, downtown at their 15th Street location, and fell in love with the auction world. There is a certain energy and vibrancy that she hasn’t found in other industries. The art market moves and shifts, and nothing is ever stagnant. There is a particular hustle in New York that she adores. Could you tell us something about your role in the art world? I am currently working at Christie’s in New York as the Head of Sale Management for the Old Masters Group. The Old Masters Groups comprises of Old Master Paintings, Drawings, 19th Century European Art and Russian Art. No day is the same, and I am constantly juggling many different components to help manage our numerous sales globally. The best part of working at Christie’s is the exposure to such a wide range of art works downstairs in our galleries on any given day. In April 2017, I married my best friend. We eloped down at City Hall on Worth Street on a perfect New York day. I met Joe working in the art world, and together, we spend a lot time exploring museums and galleries in New York and around the world. On a recent trip to Mexico City, we were blown away by the vast collection at the Museo Soumaya. The Art World wouldn’t mean half as much to me if it weren’t for him. What did you enjoy about being a part of this project? Old Masters are always inspiring modern art. Carla takes photographs with modern technology, but uses Old Master portraiture, light and texture as a source of inspiration. Do you have a favourite artist? Cindy Sherman. Her photographs evoke such a true sense of femininity, each a different mood or feeling. She involves the viewer in each of her photographs through costume, tension and ambiguity. What is your earliest memory involving art? It sounds silly, but when I was very little my mom used to read me the book Katie’s Picture Show (by James Mayhew). The protagonist, Katie, takes a trip to the National Portrait Gallery in London, and on her tour, jumps right into the pictures. She has tea with Madame Moitessier (Jean-AugusteDominique Ingres, 1865), takes a walk through the mud in John Constable’s ‘The Hay Wain’, 1821, and eats a banana in the jungle with a ‘Tiger In A Tropical Storm’ (Henri Rousseau, 1891). From a young age, it led me to believe that art was attainable, and alive. Growing up in London, I’d ask my mom to take me to the National Gallery every weekend, thinking I could jump right in too! Do you have any special thoughts about the position of women in the art world? I went to the School of Visual Arts in New York and graduated with a Bachelor of Fine Arts in Photography. The role of women in the art world has always interested me, contextually through my thesis on ‘The Female Gaze’ but also since leaving school and joining Phillips in 2007. I learnt there how much fight, passion and perseverance women have in a typically male dominated industry. What are you wearing, and is there a story behind it? I am wearing a dress by Self-Portrait. My husband bought it for me for a holiday party last year. I was the star on top of the tree!
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Georgina Eliot Georgina grew up in the South West and studied History of Art at Cambridge. She worked for The Landmark Trust and in the Old Master Paintings department at Christie’s, before joining Sotheby’s in 2014 as a Graduate Trainee. Georgina is also a member of a pottery studio in East London and has a particular interest in 17th-century slipware and early 20th-century studio ceramics. Could you tell us something about your role in the art world? I work in the Old Master Paintings department at Sotheby’s, where I have been cataloguing pictures for the last two and a half years. I feel very lucky to be able to say that in this position I really am learning every day, and you never know what masterpiece you might go down to the Valuations Counter to find! What did you enjoy about being a part of this project? I loved looking at all the fabric Carla had and seeing the way she worked with it. I also had the pleasure of photographing Carla herself at the end of the day, shrouded in as much drapery as Fred and I could manage! Do you have a favourite artist? I constantly update my mental ‘Desert Island Discs’ list of artworks I would love to own, but I think the longest-standing artist on there is Vermeer. What is your earliest memory involving art? For some reason I remember I was insistent on getting a postcard of ‘Saint Jerome in a rocky landscape’, attributed to the Workshop of Joachim Patinir, on my first visit to the National Gallery, aged six – I still have it. Do you have any special thoughts about the position of women in the art world? I’m glad that the days of the ‘old boys’ club’ seem to be fading more and more rapidly, and there are lots of people in the art world, both male and female, for someone like me to look up to. I feel very honoured to be a part of this exhibition and its premise. What are you wearing, and is there a story behind it? The fabrics I am wearing came from Watts of Westminster – Carla picked them out of an extraordinary array of textiles. She photographed me in the late afternoon when the light was fading, so I think she deliberately chose cooler, silvery material to pick up on this.
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Georgina Hilton Georgina was born in London and works in the Old Master Paintings department at Christie's. Earlier this year she was awarded the Young Auctioneer of the Year and is one of a handful of female auctioneers at Christie's. Georgina and Sophie Samuelson have organised a series of events for the ‘under 30s’ involved in the Old Master field. Could you tell us something about your role in the art world? I work at Christie’s in the Old Master Paintings department, and I am an Auctioneer. Whilst working here I noticed there was little interaction with other young people working for other businesses in the same field so I teamed up with Sophie who works for an Old Master dealer. Sophie and I started to arrange events with an aim to create a body of young, exciting professionals within the Old Master market. It is important to us to gather like-minded individuals who are passionate about their subject and want to assist one another in their trade. The events are often very informal and do not promote a particular company in order to keep them beneficial for all attendees. What did you enjoy about being a part of this project? It was an unusual experience being the subject for Carla’s project. We spend our days in the art world examining pictures, studying artists and considering clients. This is the first time we (women in the art world) have become the subject in question. It felt special and gave us a feeling of importance. Do you have a favourite artist? This is a question when working in the art world that you naturally get asked often, and every time I go into disarray! To study, perhaps Hieronymus Bosch and to own, a work by – I think – Botticelli. What is your earliest memory involving art? My dad worked in the antiques industry and I remember loving watching him study a work of art or object; how he told the stories of these things simply by looking at them, reading them and dating them. Do you have any special thoughts about the position of women in the art world? I am lucky to work with many inspiring women on a daily basis. There seems to be a lot of positive energy in the art world today driving equality. Carla’s project is an example of women working together to make change! What are you wearing, and is there a story behind it? My dress was designed by the Fashion House of Worth for my Grandmother in the ‘60s.
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Louisa Howard Louisa was born in London and spent time living in Buckinghamshire, Bristol, Florence and Rome, before settling in New York City a little over two years ago. She is based in Brooklyn and works at Christie’s in Manhattan as a specialist in Old Master paintings. Could you tell us something about your role in the art world? I am responsible for the cataloguing and research of pictures consigned to my department at Christie’s. I’m also involved in the appraisal of works of art and the production of our biannual auction catalogues. What did you enjoy about being a part of this project? It was wonderful to be part of the creation of a work of art, which, as a specialist in Old Masters, is a very rare occurrence for me! Do you have a favourite artist? I have a total weakness for the Florentine Mannerists, and Bronzino has long been a favourite of mine. What is your earliest memory involving art? I am the daughter of an art historian, so weekends and family holidays frequently consisted of my parents roaming museums and country houses, dragging my sister and me in tow. I don’t remember a time when art wasn’t a part of my existence. Do you have any special thoughts about the position of women in the art world? It is encouraging to see more and more women becoming involved in the art world at a higher level that we’ve ever seen before. What are you wearing, and is there a story behind it? My dress is by Maje. I first encountered the brand while running around the Marais with a my extremely chic Parisian friend, Laura. At the time, my salary wouldn’t allow me to even dream of buying a dress from there full-price, so I was utterly delighted to find this one second hand.
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Martine Lambrechtsen Martine, Deputy Director of Sotheby’s Amsterdam, joined the Old Master Paintings department in Amsterdam as a cataloguer in February 2005, having been an apprentice in the same department in 2003 – 2004. She studied History of Art and Archeology at the University of Amsterdam, specializing in Dutch 17th Century art. Her first big discovery was two small still lifes by Adriaen Coorte, sold in Amsterdam in December 2009, for over 3 million euros. In her current role in the Amsterdam office, Martine is Specialist for Old Master Paintings and works very closely with the Old Master Paintings team worldwide. Could you tell us something about your role in the art world? It was amazing being photographed by an artist like Carla, something I had never experienced before. To see her at work in creating this image was great, the way she makes use of the natural daylight, and sees beauty in just the little, normal things, is truly wonderful. Plus, it was an absolute treat to be able to wear such a magnificent gown! What did you enjoy about being a part of this project? It’s an intriguing combination of portraits of women, art and clothes: a beautiful combination and I’m very honoured to be part of it. Do you have a favourite artist? This is such a hard question, if I have to say one name, I think ultimately I will have to go with Johannes Vermeer, as his use of light is unparalleled. But the emotion that Rembrandt is able to capture in his portraits is something that moves me very much as well. What is your earliest memory involving art? My earliest memory is going to Museum de Lakenhal in Leiden (my home town) with my mother, who started her Art History studies when I was three years old. She tells me we looked at Janson’s History of Art together all the time, but in all honesty, I do not really remember that. Do you have any special thoughts about the position of women in the art world? Not really, just to say that there are a lot of great women in the art world! What are you wearing, and is there a story behind it? I am wearing a wedding dress designed by Danish-Dutch Designer Claes Iversen. No story that I know of is behind it, but the designer must have the answer to that question.
Exhibited at The Weiss Ga"ery (16 - 31 May 2018)
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Flavia Lefebvre d’Ovidio Flavia was born and raised in Rome. She moved to London to study Art History at UCL followed by a Masters at the Courtauld focusing on Medieval painting. After interning at Sotheby’s and Christie’s, she was a researcher for Charles Beddington, and ran her own business with a partner, until joining the Christie’s Old Master Painting department. In her spare time she goes to Italy as often as possible. Could you tell us something about your role in the art world? My role in the art world has modified constantly since I started, but it has always mainly involved research and conversations with colleagues, scholars, collectors. What did you enjoy about being a part of this project? This project got me and (part of) my team together in a different and fun scenario. I enjoyed being in their company, thinking about Dutch portraits while playing around with poses. Do you have a favourite artist? My ‘favourite artist’ changes constantly, however I have always had a particular love for Simone Martini. What is your earliest memory involving art? Having grown up in Rome, my earliest memories are the walks with my parents around Roman ruins, taking the abundance for granted until I grew older. Do you have any special thoughts about the position of women in the art world? The position of women in the art world has been strengthening in the last decade, although somewhat more slowly in the traditional markets. In the auction world, I have many examples to look up to and to learn from. What are you wearing, and is there a story behind it? The black and white jacket I am wearing was a present from Kim, my very dear Roman friend and fashion guru – I wear it for special occasions. Like a painting with an esteemed noble provenance, I particularly cherish this garment having come from her, and still refer to it as ‘Kim’s jacket’.
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Elvire de Maintenant Elvire was born in Paris but had the opportunity to do all her school years at the Lycée International, in which most courses were in English. She graduated from a major French business school, ESSEC, and from the École du Louvre. She was a specialist in Old Master Paintings at Christie's for twenty-one years, working in Paris – mostly finding paintings in France, and part of a knowledgeable international team. She really enjoyed these years, made of discoveries, sharing of opinions and passion, but recently felt the need to leave Christie's to have more freedom and time to work on what interests her most: attributing paintings, selling them (or not), and writing on them. Could you tell us something about your role in the art world? I recently left Christie's to become independent (I still work as a consultant there). My role is to attribute, value and sell paintings. My partner Dimitri who works in the Louvre shares my passion for art and our two children show genuine curiosity. Discovering paintings that are new to me in museums, exhibitions, auctions or fairs is probably what I like best. And seeing pictures that I know is like meeting old friends: I am thankful that they exist. What did you enjoy about being a part of this project? That the project will reveal the number and the role of women in the art world today. I think that this role has increased significantly within more recent years. Do you have a favourite artist? I have no favourite artist. I have been deeply touched by so many great works of art, even made by supposedly minor artists. What is your earliest memory involving art? My earliest memory linked to art was visiting the Hermitage Museum. Do you have any special thoughts about the position of women in the art world? Being a woman (and French!) in a rather traditional context was a challenge but I always felt integrated. When I started as a junior specialist in the Old Master Paintings Department at Christie's, nobody was impressed by my French diplomas, unknown in Christie's London. I use English daily as a working tool, but still speak with a French accent and with very Parisian and feminine values, of which I am quite proud, as most of my colleagues were well-educated Etonian men. I am optimistic about the position of women in my field: feminine qualities (pragmatism, courage, flexibility, well-controlled ego, charm) are very adapted to the art world and will be even more important in the future. What are you wearing, and is there a story behind it? I am wearing a blue dress that I bought twenty years ago for my first official dinner at the Biennale, and a feather boa which belonged to my Parisian great-grandmother, one century ago.
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Maja Markovic Originally from Serbia, Maja moved to England at the age of eight and is based in London. She studied English Literature and Art History before completing an MA in History of Art at University College, London in 2010. Her career in the arts has included curation, research, arts publishing and auction houses. Focusing on early modern Dutch and Flemish art, Maja joined the Christie’s Old Master Paintings department in London in 2014 and is a specialist Head of Day Sale. Could you tell us something about your role in the art world? I have the privilege of working with some of the finest and most fascinating old master paintings. My day-to-day entails cataloguing and researching works of both great significance and great obscurity, in preparation for our London and international auctions. What did you enjoy about being a part of this project? It was exciting to take part in something that documents women for their accomplishments and not simply their appearance, and I loved the idea of appropriating old concepts and compositions in a contemporary setting. It adds a gravity and drama that has been somewhat lost in modern portraiture. Do you have a favourite artist? I’m sure many people will find this difficult to answer, like picking a favourite child. There are countless artists by whose work I get overwhelmed, though I always have a special place for the idiosyncrasies of Geertgen tot Sint Jans, and I could stare for hours at Gerard ter Borch’s hands. And don’t even get me started on a good breakfast still life. What is your earliest memory involving art? As a child, I remember watching documentaries on ancient Egyptian art with my mother and visualising myself back in time walking through the tombs. I don’t remember the exact documentaries but I distinctly remember that sensation. Do you have any special thoughts about the position of women in the art world? Women have always been inherent to art, but it is the visibility of their influence and abilities that has been historically suppressed, and I think that’s very much changing, though more quickly in certain areas than others. Like with everything in art, it is about perception, and it’s thrilling to be able to see so many women in the arts making a difference. What are you wearing, and is there a story behind it? The red dress is vintage Valentino, which I found in a thrift shop many years ago in San Francisco. It takes inspiration from the 1920s, which I’ve always thought had great sartorial elegance.
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Jonquil O'Reilly Jonquil was born in Manchester and grew up in the Suffolk countryside. Having failed in her initial dream of becoming a farmer's wife, she studied Italian at the University of Edinburgh before stumbling by chance into a job in the Old Master department at Sotheby's ten years ago. There she found herself falling in love with paintings and in 2011 moved to New York to become a specialist with the auction house. She is now Head of Sale for Old Master Paintings at Christie's. Jonquil has a not-so-secret passion for fashion in Old Master Paintings and uses clothing as a lens through which to view paintings in an accessible way. She writes regularly on period accoutrements, covering subjects from powdered wigs to codpieces, and has given lectures on fashion at Chatsworth House, the Lobkowicz Palace and the Cleveland Museum of Art. Jonquil lives in Brooklyn with her husband Danny, a graduate student, and temporary lodger and squeaky-toy enthusiast, Whitman the Portuguese Water Dog. Could you tell us something about your role in the art world? Working in an auction house is pretty fast-paced, it can be stressful at times but is tremendous fun. You have a steady stream (and occasional torrent) of paintings coming through for research so you are constantly learning. In addition to my day-to-day, I've been working quite a lot to make our field more accessible to new audiences. The fashion and textile angle is fantastic as it's genuinely academic but is not stuffy or intimidating so it’s a great introduction to Old Masters if you're not used to them. What did you enjoy about being a part of this project? Firstly, I was honoured to have been asked. The shoot was a lot of fun, but I am convinced Whitman knew exactly what he was doing when he crashed my first pose and stole my thunder. I'm hoping his insistence at being the only male included in this project is not an anti-feminist statement. He doesn't even have a job, let alone one in art. Do you have a favourite artist? I've got several but I can get pretty obsessed with Bronzino and the way he meticulously depicts fabrics and jewels and with Velazquez, for the way he just alludes to them in a blur of strokes and makes your eye do all the work. What is your earliest memory involving art? I remember being in a National Trust home in northern England and asking my father why all the ladies in the 18th century portraits looked like pigeons. Do you have any special thoughts about the position of women in the art world? When you finally get the job you want, it's important to pull other women up with you. As a woman, you have to fight hard for positions and, with all the energy that takes, it can be easy to forget to help others to break through. When we back each other up, we are each other's secret weapons. What are you wearing, and is there a story behind it? I got married in this dress. It's by Oscar de la Renta, I found it in a vintage boutique and tried it on mostly for a joke and then fell in love with it.
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Sandra Romito Sandra studied at the Universita’ Cattolica in Milan, focusing on illuminated manuscripts of the XII – XIII centuries. After a year’s experience in the Drawing department of the Musée du Louvre, under the guidance of Regis Michel and Francoise Viatte, Sandra completed her Masters in Management of Cultural Heritage at the Scuola Normale Superiore of Pisa. She went to live in Rome, simply because it is the most beautiful city in the world, teaching Paleochristian Art. Sandra started working for the Old Master Picture Department at Christie’s in London in 2000 and apart from covering the maternity of the Head of Department in Milan for a year, she has been in London ever since. She has recently renounced the obligations of her directorship, to have the freedom to both look at paintings and look after her sick child. Could you tell us something about your role in the art world? Being a specialist at Christie’s allows me to look after paintings from when they are valued until they reach a new home: it is a beautiful journey of study and friendship in most cases. The two key facts that give me most joy are the friendships that often develop with collectors and the physical involvement with the paintings in the warehouses. What did you enjoy about being a part of this project? It was simply lovely to spend time together with Carla and also with my colleagues, and far from the office. Carla made us feel special. Do you have a favourite artist? Keeps on changing… Rembrandt is always very much up in the scale. What is your earliest memory involving art? Looking at the huge Crucifix – Croce stazionale – by a follower of Giotto in the Duomo in Verona, when going to mass with my mother (a very early memory, as I attended Mass there since I was born). Do you have any special thoughts about the position of women in the art world? It is hard, but we do not give up! What are you wearing, and is there a story behind it? The super scarf is Giorgio Armani, and in my family we call it ‘the turkey’! When I wore it to my brother’s wedding, my father said he had never seen anybody dressed like that – and not in a complimentary way! But I love it, and it is still my fluffy friend. Now, the jewels are a different story – a long story! When I finished university I did an internship in the drawing department at the Louvre. At the time the head curator of drawings was Madame Francoise Viatte, one of the most elegant women I have ever seen. She used to take me sometimes to a gallery in Paris – I think it still exists – called Naila de Mombrison, to see contemporary artists' jewels. There I tried (and I remember like it was yesterday though it is more than 20 years ago!) a necklace by Giorgio Vigna. I never forgot about it. Finally, last year I met him, he also comes from Verona and we have lots of friends in common. Since then I have acquired several jewels at a gallery in London called Elisabetta Cipriani who also represents Giorgio.
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Manja Rottink After receiving her degree in Art History at the University of Groningen with a catalogue raisonné on the Italianised Dutch painter Jacob de Heusch (1656 – 1701), Manja continued her research in Rome and Florence on Netherlandish artists in late 17th century Italy. Upon her return, she began her career with a major auction house in 2002, joining Christie’s three years later. Manja formerly headed the Old Masters & 19th Century Department in Amsterdam and oversaw many sales. She now works as an international senior specialist for London, Paris and New York. Could you tell us something about your role in the art world? I am part of a great team within Christie’s that is responsible for auctioning Old Master Paintings. In my role as an International Senior Specialist I value, source and sell old masters for our sales in London, Paris and New York. My specific area of expertise is Dutch and Flemish painting of the 16th and 17th Centuries. I am based on the Amsterdam Vondelpark and from there I go into the world to meet collectors, academics and restorers to discuss the wonders and secrets of old masters. What did you enjoy about being a part of this project? When asked to participate in this project I could only say wholeheartedly yes. A great theme. In all our diversity we share this huge passion for art and work in creative, ever-changing environments. I had a wonderful morning posing for Carla in her sun-lit studio. Warm company and beautiful clothes to change into, even though I had to hold my breath to fit them! Do you have a favourite artist? In fact I don’t, I am a bit of an omnivore and even within the old masters I have always been appreciative of many artists. I am keen on the narrative and complex composition of history scenes, the physical sensation of the paint in a late Rembrandt, but I also very much like landscape painting. I have always been interested in the historical context of old masters and their work: I am fascinated by artists travelling and sensing how their encounters with a new world, its culture and works of art have impacted them, such as the ‘Bentvueghels’ successfully rebelling against the Roman Accademia di San Luca. I do have a particular love for 17th Century oil sketches and drawings. The originality and spontaneity makes one feel so close to the artist which to me is highly attractive. What is your earliest memory involving art? I would think it’s of my parents praising my scribblings as a child as true works of art! In all honesty, I wouldn’t know whether it was books on fantastic Roman buildings and statues, my father photographing, or wandering in old castles, gardens and museums – but I remember I always loved to draw and design things as a child. Do you have any special thoughts about the position of women in the art world? Going behind the scenes in any of the Christie’s offices, it is striking how many bright and ambitious women are working in the auction business. Nonetheless, we still live in a world in which it is not always easy to combine for instance motherhood with the fast-paced and exciting life of a specialist, and I would be pleased to see more women in higher positions. What are you wearing, and is there a story behind it? Two unique pieces which were designed and shown by Claes Iversen in Paris in 2016. He very kindly lent them, and probably adjusted the last tiny imperfections a few moments before the models presented this fall-winter couture collection to the public.
Exhibited at The Weiss Ga"ery (16 - 31 May 2018)
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Clementine Sinclair Clementine studied History of Art at Pembroke College, Cambridge, before doing a Masters in Sacred Gothic Architecture at the Courtauld. She joined Christie’s as a graduate intern in Early British Pictures in 2005 and joined the Old Masters Department as a Specialist in 2007. She now heads up the Old Masters Evening sales in London and is a mother of two. Could you tell us something about your role in the art world? I have worked at Christie’s for thirteen years and currently head up the Old Masters Evening sales in London. During my time in the department, I’ve had the pleasure and privilege of helping to research and sell Rubens’ ‘Lot and His Daughters’, Rembrandt’s ‘Portrait of a man with his arms akimbo’ and Constable’s ‘Lock’. What did you enjoy about being a part of this project? I have never had my portrait taken before, it was a fun interactive experience. I look forward to seeing all the works together in the exhibition and hopefully in a catalogue. Do you have a favourite artist? It’s a difficult one to answer, but I think I would have to say Bonington, who was an absolute genius. What is your earliest memory involving art? Attending a sculpture exhibition in Salisbury Cathedral and seeing Anthony Gormley’s ‘Field for the British Isles’ (35,000 small terracotta figurines) in the cloister. Do you have any special thoughts about the position of women in the art world? I think it is a great moment for women in the art world, with changing attitudes and a raised awareness, especially the new drive to ensure that women artists, across the ages up to the present, are properly represented in museums. What are you wearing, and is there a story behind it? I am wearing a black dress, which I borrowed from my sister, and a black lace shawl.
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Lucy Speelman Lucy was born in London and is a researcher in Old Masters at Christie's. She recently graduated from the Courtauld Institute of Art with an MA in History of Art, specialising in the Italian and Northern Renaissances. Could you tell us something about your role in the art world? I'm an object intelligence researcher for the Old Masters Group at Christie's. I look for masterpieces that are not currently on the market, which involves working with catalogue raisonnés and other books, old and new, in order to help our specialists source works for auction and private sale. What did you enjoy about being a part of this project? I was fascinated by the experience of being a portrait sitter. I found it quite difficult to pose for the photos – standing still and holding a certain position, whilst trying to hide my anxiety and look relaxed, was very challenging. The process prompted me to reconsider the dynamic between artist, subject and finished work. I cannot imagine holding any pose long enough for a painted portrait! Do you have a favourite artist? The early Netherlandish masters are my favourite painters – particularly Jan van Eyck, Petrus Christus and Hugo van der Goes. The quality of their technique is unparalleled in my view; I could look at their works for hours. For prints, drawings and watercolours, it has to be Albrecht Dürer. A Dürer engraving is at the top of my wish list. What is your earliest memory involving art? I remember being lifted up by my father to see the paintings in the Mauritshuis when I was small. That, and him giving me an enormous t-shirt with Dürer’s Rhinoceros on it when I was five – it still fits! Do you have any special thoughts about the position of women in the art world? It is not the quantity of women in our industry that concerns me, it is the amount that occupy highlevel positions. I daresay Old Masters might be slightly behind the rest of the art world in this respect, but I think we are on the right track. I feel encouraged by the intelligent, self-assured women I work with every day. I feel lucky to be where I am, regardless of gender. I hope that hard work and genuine enthusiasm for our field will get me where I want to be, and that my career never finds itself in the hands of someone who thinks that gender matters. What are you wearing, and is there a story behind it? Unfortunately there isn’t much of a story behind what I’m wearing. Lace, however, reminds one of the costumes of Dutch portraiture, and when painted well, the textures can be rendered in astonishing quality, as demonstrated in the work of Frans Hals and Johannes Verspronck. It also calls to mind Vermeer’s careful lacemaker, bent over her delicate task. The earrings are borrowed from my mother – and are unfortunately not real diamonds! She has beautiful jewellery which she is kind enough to share with me on occasion!
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ARTFULLY DRESSED: Women in the Art World
Chloe Stead Chloe was born in Bristol and is a specialist in the Old Master Paintings department at Sotheby’s in London. She studied History of Art at Birmingham University, has an MA from Birkbeck College, London, and has worked at Sotheby’s for eight years. Chloe grew up in Cornwall and Somerset. When not in a museum she is happiest in a sailing boat. Could you tell us something about your role in the art world? My job at Sotheby’s is to source, research, value and sell Old Master Paintings. It’s a diverse and busy role, and I love it. My personal mission is to endeavour to open the Old Master market up to new young collectors by showing them that our world is not a stuffy closed-door niche. What did you enjoy about being a part of this project? Watching Carla in action! I don’t love having my photograph taken, but have always been a huge admirer of Carla’s photography and once I had got over my initial nerves, sitting for her was a pleasure. Do you have a favourite artist? Every day I have a new favourite. I’m fickle. What is your earliest memory involving art? My mother took me to see Howard Hodgkin at the Barbican. I was very little but I vividly remember the colours, and setting the alarms off as I got too close. Not a habit I’ve managed to rectify. Do you have any special thoughts about the position of women in the art world? I count myself lucky to work in an environment in which I have never once felt like a secondary citizen for being a woman. The wider Old Master world was, I think, historically the domain of men. To my eyes that no longer seems to be the case and I have countless magnificent female role-models in many museums, galleries and auction houses. What are you wearing, and is there a story behind it? The fabrics are from Watts of Westminster, a family run furnishings company founded here in London in 1874. They have a long history of eminent ecclesiastical and domestic commissions.
Exhibited at The Weiss Ga"ery (16 - 31 May 2018)
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ARTFULLY DRESSED: Women in the Art World
Talita Teves Talita was born in The Hague but spent several episodes of her youth in the United States where she was educated and graduated from college in 1997. Whilst studying law at Leiden University, Talita was introduced to the art auction world when she worked part-time, for what is now AAG Auctioneers. Since then, Talita has become an experienced auctioneer and skilled art specialist, as well as owner and manager of said auction house. Based in Amsterdam, AAG Auctioneers specialises in international art and antiques, operating in the higher end market with more than fifteen important sales annually, some of which are in Asia. Could you tell us something about your role in the art world? My role in the art world is to find new and welcome homes for works of art that are orphaned as a result of death, divorce or disaster suffered by their previous owners. Furthermore, I represent sellers who invest in art and wish to benefit from a re-appreciation in the market. I am constantly building on a vast network in which I entice people to come, see and buy art and antiques and I strive to obtain the highest potential price for the seller whose interest I represent. My work brings me into contact with a great variety of people in the art world such as artists and their circles, art historians, specialists, museum directors and curators, collectors and dealers. I am constantly in the presence of magnificent works of art from all walks of life and I thoroughly enjoy being surrounded by so much beauty. What did you enjoy about being a part of this project? Although I have always been a great fan of Carla’s works, to be present during the creative process was a highlight. It was very inspiring to witness how passionately she was involved with every detail of this production. Do you have a favourite artist? Too many. What is your earliest memory involving art? ‘The Banana Album’ cover by Andy Warhol for The Velvet Underground & Nico. Do you have any special thoughts about the position of women in the art world? Women in art, as anywhere else, can be just as good as men, or even better. Talent has no regard for gender. What are you wearing, and is there a story behind it? I am wearing two iconic pieces by Jan Taminiau, who is known for his luxurious and voluptuous designs. To me, it is no surprise that his clientele also consists of the Dutch royal family, for wearing his creations made me feel like a true princess! His oeuvre will be exhibited in the Centraal Museum this year and I look forward to seeing these pieces on show there.
Exhibited at The Weiss Ga"ery (16 - 31 May 2018)
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Albertine Verlinde Having joined Sotheby’s in 1979, Albertine is now the company’s Chairman in the Netherlands, working closely with leading collectors and cultural figures in the region, advising on everything from building collections, to helping identify opportunities in the market. Throughout her career, Albertine has been involved in major sales in London, New York, Geneva, St. Moritz, Monte Carlo, and elsewhere across Europe, playing a key role in Sotheby’s landmark house sales such as those of Beloeil, Thurn und Taxis in Regensburg, Baden Baden, and the Royal House of Hanover. Closer to home, she has also brought to the market several important Dutch collections, including those of F.C. Bûtot, J.R. Ritman, Unicorno, BAT Artventure, the estate of Queen Juliana of the Netherlands, the Gustave Leonardt Collection and the Morpurgo Sale. Albertine is also one of Sotheby’s Senior Auctioneers. Could you tell us something about your role in the art world? As Chairman I am in contact with collectors, professionals, institutions and work closely with my international colleagues on important business. What did you enjoy about being a part of this project? I enjoyed the professionalism, creative eye and enthusiasm of the photographer. Do you have a favourite artist? More than one, but Alexander Calder is definitely one of them. What is your earliest memory involving art? A visit to the Frans Hals Museum as a child. Do you have any special thoughts about the position of women in the art world? I see many excellent women in the art world in key positions around me in Holland. What are you wearing, and is there a story behind it? I am wearing an amazing dress by Claes Iversen. Claes is a great designer, dedicated to craftsmanship. The dress that I’m wearing is an excellent example of his luxurious use of materials and appliqués.
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The Weiss Gallery 59 Jermyn Street London SW1Y 6LX +44(0)207 409 0035 www.weissgallery.com