Galleries - November 2013

light. It is, interestingly, the first large gallery space I can think of ever having been in this part of London. Given Hay Hill were in Mayfair before is this the beginning of a movement to the north of Oxford Street parallel to that happening further east? With its arty history and strong sprinkling of arty intelligentsia Belsize Park is another London quarter still surprisingly short on art gallery spaces. Not any longer, with the opening of Sylvester Fine Art on Belsize Lane, a new gallery which represents an intriguing development in that it is working in association with Goldmark Gallery and thus has access to its vast range of stock. A mixed show in November, Bruce McLean prints among them. Goldmark itself meanwhile is celebrating Takeshi Yasuda’s 70th birthday with new work by the distinguished Japanese potter. They are also putting on an exhibition to help launch a catalogue raisonné being published this month of the work of the great post-war stained- glass maker Patrick Reyntiens (Sansom & Co). The man who mentored John Piper in this field, he then went on to become a major figure himself, though still, even now, not quite as well known as he should be. That’s surely going to change . . . Treasure Chest . . . With a Lotus 72 parked at the East End and Ana Maria Pacheco’s monumental boat full of enigmatic figures The Longest Journey moored at the West End and a basement full of the most astonishing variety of paintings, sculptures, photographs, Stone Age artefacts, historical costume and decorative arts in between, the Sainsbury Centre in Norwich has launched its latest refurbishment and re-hang (the second of which I am aware) of the wonderful Norman Foster space with splendiferous panache. Entitled Masterpieces: Art and East Anglia and mounted to celebrate the 50th anniversary of the University of East Anglia’s foundation, the show interprets its brief very liberally sometimes, the regional connections occasionally seeming more than a little on the tenuous side, but the sheer richness and brilliance wins finally. One group of objects that sticks in the memory: Emerson’s and Edis’ monumental photographs of late 19th C. rural life. On the Cover . . . Kurt Jackson’s ‘A dusting of snow, Cliveden Reach’ from his Redfern Gallery show ‘The Thames Revisited’. Opens Nov19. should mention comes from an intriguingly British direction –the directors of the Hillier Gallery and the Aberdeen Art Fair. Entitled ‘International Modern Masters and Robert Lenkiewicz’ ( The Gallery in Cork Street ) it has a strongly Russian emphasis with 12 new works by Oleg Trofimov (an artist collected by four Russian Presidents apparently), Angelika Privalihin and Russian American artist Andre Kohn among the others, as well, of course, as the charismatic artist Robert Lenkiewicz. The son of German Jewish émigrés to London, he forged an entirely independent path in Plymouth painting tramps and down-and- outs, his current reputation largely one born of force of personality! New Spaces . . . When it was first established in 2002 the Hay Hill Gallery also dealt solely in Russian art but, they then changed direction in 2007 to specialise in International and British Art. Now they have moved to a much larger and more imposing space in a former furniture showroom in Baker Street where, this month, they are showing Ukrainian painter Galyna Moskvitina’s boldly abstract ‘The Sparkles Series’, full of rippling abstract patterns of 11. GALLERIES NOVEMBER 13 from left: O live Edis (1876-1955) ‘Gilbert Leather Rook’ 1905, at Sainsbury Centre. Galyna Moskvitina ‘Sparkles Series 0716’ at Hay Hill Gallery B ruce McLean ‘Where do you Stand’ at Sylvester Fine Art. J ustin O’Brien ‘Winged Bench’ at Made Brighton. Philip Hearsey ‘Probability’ at Windsor Contemporary Art Fair. Elizabeth Akehurst ‘One After Another’ Lilford Gallery at Cambridge City Art Fair. Linda Samson ‘Bird Woman’ Skylark at Cambridge City Art Fair