Dickinson is delighted to participate in the inaugural ArtCity fair. In the current climate, with online fairs and virtual exhibitions playing an increasingly important role in the art market, ArtCity combines the advanced technology of a virtual viewing room with the relaxed experience of strolling from one gallery to the next. At this year’s fair, Dickinson will be showcasing the full scope of the gallery’s expertise, with examples ranging from a Renaissance altarpiece to works by living artists.
The virtual tour, filmed by MasterArt, allows fair visitors to appreciate the scale and wall power of the works on offer, something that is simply not possible even when viewing even a high-quality photograph. The presentation will lead the visitor through four gallery rooms at Dickinson London, 58 Jermyn Street, W1.
Dickinson’s large ground floor gallery will feature Old Masters, with highlights including a recently-rediscovered Grand Tour group caricature by eminent society portraitist and Royal Academy President Sir Joshua Reynolds (1751). We will also show two atmospheric seascapes by another Grand Tour favourite, French Marine painter Claude-Joseph Vernet: The Port of Genoa (1752) and Marine Landscape (1775). Among the earlier works on view will be a sumptuous Still life with monkeys stealing fruit and a pot of pink carnations (c. 1635-40) by Frans Snyders and two compositions by Sir Peter Lely, A bacchanale with nymphs, a satyr and putti (c. mid-1640s) and A young man playing an eleven-course lute (c. 1640s).
The second floor viewing room will feature Impressionist and 19th Century paintings, among them Alfred Sisley’s atmospheric landscape L’Abreuvoir de Marly-le-Roi (c. 1875), painted near the artist’s home in the Seine valley; two figural works by Pierre-Auguste Renoir; and Jean-Léon Gérôme’s Les Baigneuses du Harem (1901), a fine example of the Academic style, against which the Impressionists positioned themselves.
In Dickinson’s Modern and Contemporary room, the gallery is showing Rudolf Stingel’s Untitled (1995), which plays with notions of value, next to Martin Kippenberger’s Das Ende des Alphabets (1989), Joe Tilson’s Conjunction 3, Byzantium (1965), and two colourful geometric compositions by Spanish Surrealist Oscar Domínguez. The adjacent gallery will focus on works on paper – with examples by artists including Juan Gris, Henri Laurens, Giorgio Morandi and Paul Klee, among others – and on the Art Brut of Jean Dubuffet, represented by three pieces in various media, including Tête en tache de moissisure (1950); this belongs to the artist’s revolutionary series of portraits created in 1950-51.
Since its foundation in 1993, Dickinson Gallery has built its reputation on scholarship and discretion. With nearly four centuries of collective expertise, and familiarity with the world’s greatest collections, Dickinson specialists are ideally situated to assist both private and museum clients with a range of services.
During ArtCity, the Dickinson team invites visitors to schedule private, virtual one-on-one meetings, for either a tour of the entire exhibition or an in-depth conversation about a specific piece.