Ocula Report
Close Encounters: Frieze Masters 2017
'History also feels acquirable. A Hogarth print priced at £1,200 at Andrew Edmunds Gallery, for example, felt like a bargain'
Close Encounters: Frieze Masters 2017
'History also feels acquirable. A Hogarth print priced at £1,200 at Andrew Edmunds Gallery, for example, felt like a bargain'
Frieze Masters: where a million is still money
'Unashamedly outrageous as well as wonderfully surreal is James Gillray�s 1791 caricature of William Pitt the Younger, then British prime minister, as "An Excrescence, a Fungus, alias a Toadstool upon a Dunghill". To mark the 200th anniversary of the death of this biting satirist and master of line, Andrew Edmunds is offering more than 100 of his prints, with prices from £400. This uncoloured etching and engraving is marked £2,000.'
'Unashamedly outrageous as well as wonderfully surreal is James Gillray�s 1791 caricature of William Pitt the Younger, then British prime minister, as "An Excrescence, a Fungus, alias a Toadstool upon a Dunghill". To mark the 200th anniversary of the death of this biting satirist and master of line, Andrew Edmunds is offering more than 100 of his prints, with prices from £400. This uncoloured etching and engraving is marked £2,000.'
A week of Gillray and Hogarth at the Lewis Walpole Library - Tim Clayton
'I would like to thank all those involved and especially the organizers for an absolutely fascinating few days at the Lewis Walpole Library in Farmington, Connecticut. I was invited for a very interesting and lively study day devoted to James Gillray, followed by seminars led by my old friend Sheila O’Connell and the great and immensely knowledgeable caricature dealer Andrew Edmunds.'
'I would like to thank all those involved and especially the organizers for an absolutely fascinating few days at the Lewis Walpole Library in Farmington, Connecticut. I was invited for a very interesting and lively study day devoted to James Gillray, followed by seminars led by my old friend Sheila O’Connell and the great and immensely knowledgeable caricature dealer Andrew Edmunds.'
'A review of James Gillray: The Art of Caricature'by Simon TurnerTate Britain
The curator of last year's James Gillray: The Art of Caricature, Richard Godfrey, is a print man . The give-away was that so many prints were included with different states, proofs and suchlike. The inclusion of a number of Gillray s non-satirical reproductive engravings was also a good touch. They were all in fine condition with wonderful hand-colouring and had impeccable provenances. The Tate s exhibition was organised in association with The British Museum, and the majority of the prints were borrowed from the Department of Prints and Drawings, but others were loaned from the Library of Congress, Washington (formally the Royal Collection kept at Windsor Castle), from Andrew Edmunds and a number of private collectors. That Edmunds allowed his prints to be shown is very significant. He is the dealer par excellence in the field of satirical prints. He has been in the trade for many years and more or less dominates and buys only the very best items that come on to the market. Edmunds undoubtedly has the most comprehensive private collection in the world and sure enough the exhibition included a print from it that is likely to be unique, and something I had never seen before, called Icarus (no.68), made for an abandoned project.
The curator of last year's James Gillray: The Art of Caricature, Richard Godfrey, is a print man . The give-away was that so many prints were included with different states, proofs and suchlike. The inclusion of a number of Gillray s non-satirical reproductive engravings was also a good touch. They were all in fine condition with wonderful hand-colouring and had impeccable provenances. The Tate s exhibition was organised in association with The British Museum, and the majority of the prints were borrowed from the Department of Prints and Drawings, but others were loaned from the Library of Congress, Washington (formally the Royal Collection kept at Windsor Castle), from Andrew Edmunds and a number of private collectors. That Edmunds allowed his prints to be shown is very significant. He is the dealer par excellence in the field of satirical prints. He has been in the trade for many years and more or less dominates and buys only the very best items that come on to the market. Edmunds undoubtedly has the most comprehensive private collection in the world and sure enough the exhibition included a print from it that is likely to be unique, and something I had never seen before, called Icarus (no.68), made for an abandoned project.
The grandfather of satire
William Hogarth
Martin Rowson
William Hogarth
Martin Rowson
Alternative investments
The Observer
The value of being quick on the draw
Cartoonists are now enjoying a boom and none more so than the Georgian James Gillray, John Windsor says
Leading London Gillray dealer Andrew Edmunds observed wryly: 'A new kind of collectables collector has entered the market. They're a bit like stamp collectors.'
The Observer
The value of being quick on the draw
Cartoonists are now enjoying a boom and none more so than the Georgian James Gillray, John Windsor says
Leading London Gillray dealer Andrew Edmunds observed wryly: 'A new kind of collectables collector has entered the market. They're a bit like stamp collectors.'
Culture
Shopping: Check it Out - Andrew Edmunds
'Edmunds' elegant print shop in Soho is a time capsule of Georgian London, beloved by art museums around the word. It was originally the front room of a Georgian house, and its fireplace, mantelpiece and panelled walls haven't changed since the 18th century. The prints themselves are housed in late-18th century mahogany haberdashers' drawers (one still bears the label "riding things") and a Regency portfolio stand.'
Shopping: Check it Out - Andrew Edmunds
'Edmunds' elegant print shop in Soho is a time capsule of Georgian London, beloved by art museums around the word. It was originally the front room of a Georgian house, and its fireplace, mantelpiece and panelled walls haven't changed since the 18th century. The prints themselves are housed in late-18th century mahogany haberdashers' drawers (one still bears the label "riding things") and a Regency portfolio stand.'
A time capsule of antique prints in London’s Soho
Get a Life: The Diaries of Vivienne Westwood
Vivienne Westwood
Vivienne Westwood
Representation, Heterodoxy, and Aesthetics: Essays in Honor of Ronald Paulson
On Bathos: Literature, Art, Music
Sara Crangle, Peter Nicholls
Sara Crangle, Peter Nicholls