Tag Archives: 2015

Colnaghi merges with ARTES sponsors Coll & Cortés

ARTES is delighted to announce that Jorge Coll and Nicolas Cortés of Coll & Cortés (London & Madrid) have become partners with Konrad Bernheimer of Colnaghi.

Coll & Cortés have very generously sponsored the ARTES scholarship and bursary awards since their inception in 2012 and we wish them every success in their new venture.


15-11-05-2215NE03B Jorge Coll and Nicolas Cortes.jpgNicolas Cortés & Jorge Coll


15-11-05-2215NE03A Konrad Bernheimer.jpg

 Konrad Bernheimer

The new firm will continue to trade as Colnaghi with Konrad Bernheimer remaining as Chairman, while Coll & Cortés will continue to operate in Madrid. Early next year Colnaghi will move from their current premises in Old Bond Street to a new, larger, custom-built gallery in James’s and there will be an inaugural exhibition at TEFAF Maastricht in March 2016, followed later in the year by one at their new premises. Colnaghi’s extensive library and archives, currently stored at Windmill Hill on the Waddesdon Estate in Buckinghamshire, will also move to the new 26 Bury Street building.

Coll & Cortés
Coll & Cortés was founded in 2005 by Jorge Coll and Nicolás Cortés. Launched with a gallery on Calle Justiniano in Madrid, the business expanded at the end of 2012 by opening a gallery in London’s Mayfair. Since their inception Coll & Cortés has aimed to source and sell the best examples of European paintings and sculptures, as well as arts from the Spanish-speaking world. Coll & Cortés has presented a number of exhibitions and publications focused on areas of art history that may have been overlooked, but which are rich in quality and cultural significance. Their first two exhibitions, Masters of Baroque (2005) and The Time of Painting (2007), were scholarly surveys of painting in Spain from the 16th to the 19th centuries. Their following exhibition in 2009 addressed polychrome wood sculpture and was timed to coincide with The Sacred Made Real, a seminal exhibition on the same subject held at The National Gallery in London. The Mystery of Faith presented a turning point both in the recognition of the Coll & Cortés gallery but also in the appeal – both aesthetic and commercial – of Spanish polychrome wood sculpture. Their fourth project was dedicated to the arts of the Spanish-speaking world in all its forms, from painting to sculpture, tapestries to furniture, silver to ivories. This survey was aimed not only at promoting individual works of art but also at gathering and publishing the most recent scholarly research on this highly specialised subject. Their recent publications on artists including Leone and Pompeo Leoni, Guglielmo della Porta, Pedro de Mena and Guercino were further attempts at presenting the finest objects on the market with the most up-to-date scholarship. Their current publication Granada: The Mystic Baroque is a brief study of the city’s rich cultural heritage. The first part is a survey of its many museums, churches and fraternities, as well as of the paintings and sculptures within them. The second includes detailed investigations of seventeen baroque sculptures carved by the leading Granadiño artists broadly active between 1620 and 1740. The Coll & Cortés gallery has proudly been exhibiting at The European Fine Art Fair, Maastricht, since 2012, Spring Masters, New York, since 2014, and London Art Week since 2014. The gallery also participated at Frieze Masters in 2013 and 2014.

Founded in 1760, Colnaghi is one of the most renowned and venerable art galleries in the world. A print publisher and dealer in the 18th century, Colnaghi moved to Pall Mall in 1786 becoming the destination of choice for collectors and, by the early 19th century, being appointed Printsellers to the Prince Regent, later George IV. The company’s prominent position saw them work with celebrated artists including John Constable, for whom they arranged the exhibition of ‘The Hay Wain’ at the Paris Salon in 1824 where the painting was awarded the Gold Medal. From the late 19th century, Colnaghi assumed a dominant position in the field of Old Masters, pioneering the market during the early 20th century as American millionaires acquired European masters from aristocratic collections and built the foundations of their great institutions. In 1911, the firm moved to New Bond Street, and in 1930, it oversaw the sale by The Soviet Government of some of the greatest masterpieces from The Hermitage, the bulk of which were acquired by Mr. Andrew Mellon and are now found in The National Gallery of Art, Washington. In 1940, the company moved to Old Bond Street and in 1970, Colnaghi was modernised after it was acquired by The Hon. Jacob (now Lord) Rothschild, who rejuvenated the business, appointing a number of young Directors and encouraging entrepreneurship and innovation. In 2002, Colnaghi was acquired by Konrad Bernheimer, a long established art dealer from Munich whose family had been purveyors of antiques and works of art to the Royal House of Bavaria in the 19th century. He was soon joined by Katrin Bellinger, a renowned specialist dealer of Old Master drawings. Colnaghi continues to be recognised as one of the greatest and most successful art galleries, and builds its longstanding tradition of selling works of art to international museums including, in the last 5 years, to Metropolitan Museum of Art in New York, the J. Paul Getty Museum in Los Angeles and the Princely Collections of Lichtenstein, among others.




ARTES Coll & Cortes 2015 Travel Scholarship report

Maeve O’Donnell, PhD candidate, Courtauld Institute of Art, reports on her travels sponsored by this scholarship

11738044_10104134174208549_4216571105197211521_nThe ARTES Coll y Cortes Travel Scholarship allowed me to complete archival research central to my doctoral thesis. Textual sources have been indispensable to my investigation into thirteenth- and fourteenth-century Castilian altars because many of these altars and their furnishings have been lost or disassembled. By carefully combing through primary sources — many of which have not been published in full and are hidden away in cathedral archives — I have been able to reconstruct a detailed picture of the thirteenth- and fourteenth-century altar from this kingdom. Inventories, wills, receipts, statutes, and letters both describe the objects that made up the altar at this time and point to its various usages. More than a liturgical focal point, altars were sites for the expression of the surrounding communities’ identities. This identity was reflected, for instance, by personal items bequeathed to the altar or through furnishings ornamented with political or royal symbols.

In early 2015, I spent several weeks in the archives of Burgos and Toledo cathedrals. Although I P1030659was able to find useful primary documents at these sites, my thesis would not have properly represented Castilian medieval art without close investigation into Seville cathedral’s thirteenth- and fourteenth-century altars. The ARTES Coll y Cortes Travel Scholarship allowed me to spend three weeks researching in the archive of Seville cathedral. It was especially useful to spend time looking through early modern collections of cathedral statutes in which medieval regulations are cited. The Estatutos y Constituciones de la Santa Iglesia de Sevilla, for instance, contained notes in its margins that identified the medieval sources of some of its entries. Viewing this source firsthand has allowed me to engage more critically with its usage in current scholarship. It was similarly of value to my project to read through a late fourteenth-century set of regulations for the cathedral’s original royal chapel, which described the ceremonies performed around the altar of this important royal tomb. It was also very instructive to conduct this archival research while regularly visiting the cathedral’s works of art. For instance, a striking reliquary cross in the cathedral’s collection has often been connected to documents in the archive that seem to allude to it. Reading through such documents and then visiting the work in person allowed me to appreciate the problems set forth by these textual sources.

A 090Without the help of this travel scholarship, my dissertation would have been limited to northern and central Castile and would have fallen short of capturing the full range of cultural and artistic transformations taking place in this kingdom during the thirteenth and fourteenth centuries. By comparing extant objects with contemporary descriptions found in documents from the archive of Seville cathedral, my PhD project will provide a comprehensive picture of the medieval Castilian altar and its furnishings so far missing in scholarship on medieval Iberian art.

ARTES Coll & Cortes 2015 PhD scholarship report. ‘The Apocalypse in early medieval Iberia: the function and impact of the illuminated “Beatus” ‘

A report by Ana de Oliveira Dias, PhD candidate at Durham University, on the research she is conducting with the help of her scholarship

My Ph.D focuses on the illustrated copies of Beatus of Liébana’s In Apocalypsin, generally known as the Hispanic ‘Beatus’. Alongside Isidore of Seville’s Etymologiae, Beatus’s Commentary is regarded as a fundamental work of medieval Iberia, testified by its wide and continuous dissemination in this context, from the eighth to the thirteenth century.

The New Jerusalem, Beato de Liébana, Commentarium in Apocalipsin, (codex of Fernando I and Doña Sancha), Biblioteca Nacional de España VITR./14/2/, f. 253v.

The New Jerusalem, Beato de Liébana, Commentarium in Apocalipsin, (codex of Fernando I and Doña Sancha), Biblioteca Nacional de España VITR./14/2/, f. 253v.

As well as being amongst the greatest Hispanic bibliographic treasures, the ‘Beatus’ are similarly considered to be one of the most lavishly illuminated bodies of manuscripts in the western world. My project is an ambitious and rigorous re-examination of this corpus in its historical, religious and cultural context, investigating both the production and reception of these manuscripts. Building on this solid contextualisation, my research addresses the challenging questions of the purposes and impact of the ‘Beatus’ as an illustrated text, and aims to understand how scribes, miniaturists, and readers, may have interpreted them. Hence, this analysis will provide insight into how these remarkable books may have been used more generally, and by extension, will also shed light on the impact of the Apocalypse in medieval Iberia.

I am currently starting the second year of my Ph.D in Durham University, with the sponsorship of ARTES Coll & Cortés Ph.D Scholarship. During my first year of research, I focused on the contextual aspects of the ‘Beatus’. I considered these manuscripts against the general panorama of illustrated Apocalypses, and have examined their origins, particularities, and relevance as one of the most complete Apocalypse pictorial cycles. I have also explored the context of book production in early medieval Iberia. A closer look at monastic literary culture, and library holdings, was a fundamental part of my research, which has enabled me to grasp better the significance of the ‘Beatus’ in this specific milieu, and to understand which other authors and texts were prominent for Iberian monasticism. I have also conducted primary source analysis. The study of the ‘Beatus’s colophons was the starting point, as these remarkable textual inscriptions, of unusual length and content, offer a glimpse into scribal and scriptoria practices in medieval Iberia. Most importantly, they provide precious information concerning the role of these manuscripts, and how scribes envisaged their production processes as important acts of devotion. The results of this analysis will be integrated into a chapter of my dissertation on the significance of the ‘Beatus’ in the landscape of medieval Iberian monastic culture.

The Seven angels empty the vials, Beato de Liébana, Commentarium in Apocalipsin, (codex of Fernando I and Doña Sancha), Biblioteca Nacional de España VITR./14/2/, f. 213r

The Seven angels empty the vials, Beato de Liébana, Commentarium in Apocalipsin, (codex of Fernando I and Doña Sancha), Biblioteca Nacional de España VITR./14/2/, f. 213r

I have also focused on the textual analysis of Beatus of Liébana’s In Apocalypsin. One of my main goals in engaging with a work of such rich symbolism, has been to understand how its readers may have conceptualised and interpreted the Book of Revelation, and how this may have shaped their mentality and ‘imagination’. This analysis has been conducted in parallel with an examination of the Beatus’s iconographic programme, so as to observe how these images relate, on a primary level, to both the Scriptures and the Commentary. To assess the most suitable copies for this research, I concluded my first year with the study of the Beatus families, in order to comprehend the intricate textual and iconographic kinship between these manuscripts, which has been under discussion for many decades, chiefly in works by Neuss and Sanders (1931), Klein (1976), and Williams (1994).

By and large, my first year of research was dedicated to fundamental contextual work, which has given me a solid foundation concerning the cultural and spiritual setting in which the Hispanic ‘Beatus’ were produced. Building on this knowledge, my second year will begin with a thorough and systematic analysis of the Beatus’s visual imagery, focusing on the role of symbols and allegory in these representations, so as to elucidate the possible function and meaning of these remarkable illustrated manuscripts.





The National Gallery, Sainsbury Wing Theatre

Lunchtime Talks – Free, no booking
Courses – £14/£12 concession/£10 members

October-December 2015



Francisco de Goya, The Duchess of Alba (detail), 1797. © Courtesy of The Hispanic Society of America, New York

Lunchtime talk
Thursday 29 October 
Goya & the Duchess of Alba
Marcus B. Burke
Senior Curator, Museum Department, The Hispanic Society of America, New York


Course (Sainsbury Wing Theatre)
Thursday 12 November

Fashioning identity
Tutor: Aileen Ribeiro
£14/£12 concessions/£10 members
Professor Aileen Ribeiro of the Courtauld Institute of Art explores themes of costume and national identity in Spain, England and France during the late 18th and early 19th centuries.


Lunchtime talk
Monday 16 November
The Altamira Family, Goya and Portraiture
Xavier Salomon
Chief curator, The Frick Collection, New York

Study day
Saturday 21 November
Sainsbury Wing Theatre
Subversive portraits: Goya and his legacy
Speakers: Juliet Wilson Bareau, Emma Barker, Xavier Bray, Gill Perry and Yinka Shonibare
£25/£14 concessions/£10 members and OU students
Explore portraits by Goya and other artists in the context of Napoleonic Europe, and discover why Goya has been such a key figure for modern and contemporary artists from Manet to Jake and Dinos Chapman. Held in collaboration with the Open University.

Lunchtime talk
Monday 30 November
Public faces, private views: Goya’s letters and the problem of portraiture
Sarah Symmons
Visiting Fellow, University of Essex


Monday 7 December
Goya’s patron: Manuel Godoy
Isadora Rose-de Viejo

Monday 21 December
Painted Cloth: Goya and Dress
Jacqui Ansell

The British Spanish Society Event – Emerging from the Shadows – Centenary Concert & Goya Presentation by Coro Cervantes & Dr Jacqueline Cockburn – St James’s Church, London W1U 3QY – Wed 18 November 2015 – 7.00 for 7.30pm


A British Spanish Society Event 

Wednesday 18th November 2015

“Emerging from the Shadows” Centenary Concert and Goya Presentation by Coro Cervantes and Dr Jacqueline Cockburn

St James’s Roman Catholic Church  Spanish Place, 22 George St, London W1U 3QY

7.00pm for 7.30pm performance 

As “Goya: The Portraits” opens at the National Gallery, the British-Spanish Society centenary events commence with our annual concert by the Coro Cervantes and illustrated Goya presentation by Dr Jacqueline Cockburn, once again at St James’s RC Church, Marylebone.

Event: Choral concert by Coro Cervantes and illustrated Goya presentation by Dr Jacqueline Cockburn, followed by food and drinks reception in the crypt.

Venue: St James’s Roman Catholic Church, Spanish Place, Marylebone W1U 3QY.

Tickets – which include food and drink reception
Goya Centenary Concert – Ticket BSS Member £22
Goya Centenary Concert – Ticket BSS Non Member £29

Available directly from the BSS booking page at:
British Spanish Society Booking Page – Centenary Concert & Goya Presentation



Coro Cervantes returning by popular demand to perform for the Society once again, Coro Cervantes are the UK’s only chamber choir dedicated to Hispanic and Latin America classical music, founded in 1995 by choral director Carlos Fernandez Aransay.

Francisco Jose de Goya Lucientes (1746 – 1828) much loved Spanish romantic painter and print maker, regarded as the last of the Old Masters and the first of the Moderns; our illustrated lecture will explore Goya’s life and work through his most famous self-portraits.

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Dr Jacqueline Cockburn linguist and art historian, lectured at Birbeck College for 20 years on Western European Art specialising in Spanish Art, until recently Head of Department of Art History at Westminster School and now a freelance lecturer in art.

St James’s RC Church beautiful, ornate Roman Catholic place of worship, in the English Gothic style, known for its Lady Chapel and for hosting organ recitals and religious services.

Dr Jacqueline Cockburn
“Last year’s concert and El Greco presentation was described by HE the Spanish Ambassador as, “the most enjoyable evening I have spent in London.” Please book your tickets online and join us for what promises to be memorable event to launch the Society’s Centenary Events Programme”

Why not join the BSS membership today? You can find an application form on the BSS Membership Page


Exhibition: Francisco Oller (Brooklyn & Puerto Rico)

Impressionism and the Caribbean: Francisco Oller and his Transatlantic World

Brooklyn Museum, 2 October 2015 – 3 January 2016.
Museo de Arte de Puerto Rico, opening 26 January 2016.
Curated by Richard Aste and Edward J Sullivan.
Related publication:
Edward Sullivan, From San Juan to Paris and Back: Francisco Oller and Caribbean Art in the Era of Impressionsim (Yale University Press, 2014)

Exhibition/s: Ana Maria Pacheco, Norwich, until 29 September 2015


Exhibitions extended to 29 September

NORWICH CATHEDRAL The Close, Norwich NR1 4DH North Transept Shadows of the Wanderer

CATHEDRAL OF ST JOHN THE BAPTIST Unthank Road, Norwich NR2 2PA North Aisle of the Nave Study for Requiem (John the Baptist I); The Baptistry  Study of Head (John the Baptist III) 

NORWICH CASTLE MUSEUM Castle Hill, Norwich NR1 3JU Castle Keep (balcony level) Enchanted Garden Exhibition catalogue available at all venues

Exhibitions supported by Arts Council England, Norfolk Contemporary Art Society,  Norwich University of the Arts, East Anglia Art Fund Norwich Cathedral Exhibitions Panel and The John Jarrold Trust