Art appealing to eye and brain: two exhibitions near Piccadilly

THADDEUS ROPAC GALLERY, in a most elegant building on central London’s Dover Street is four minutes’ walk from Waddington Custot Gallery on Cork Street. We visited both today (the 13th of September 2022). At Thaddeus Ropac, we saw an exhibition, “City of Silence” by Wolfgang Laib (born in Germany in 1950), and at Waddington Custot, we saw “In the Studio”, a collection of works by March Avery (born 1932 in New York City).

Works in beeswax by Wolfgang Laib

Laib’s works, the best of which is a collection of objects made in beeswax that resemble towers and ziggurats, were not particularly visually appealing at first sight. Neither were his numerous minimalistic works on paper or even a set of identical model boats made in brass. It was only after reading some of the explanatory material provided by the gallery that these artworks began to become interesting. They did not become more appealing to the eye, but they began to make some kind of sense to me. For example, the beeswax towers and other objects alongside them are supposed to evoke thoughts of dwellings in the Middle East and the Towers of Silence where Zoroastrians leave corpses to be devoured by vultures. To some extent, these objects achieve the artist’s mental vision of the structures, which inspired them. However, without the explanations, Laib’s exhibition would have ‘left me cold’.

Immediately on entering Waddington Custot, Avery’s colourful, mostly figurative paintings appealed to my eyes and provided feelings of visceral satisfaction. Although it is highly likely that the paintings are manifestations of the artist’s thoughts and ideas, the viewer can get enjoyment from the artworks without knowing anything about what was going through Avery’s mind while she was creating them.   

We left Avery’s exhibition both visually and intellectually satisfied. In contrast, we felt that Laib’s works on their own without explanation were far less fulfilling than Avery’s.

Oscar Wilde, a bishop, and an art dealer

DOVER STREET RUNS north from Piccadilly, not far from The Royal Academy. It is a thoroughfare we often visit because it contains several commercial art galleries that frequently put on interesting exhibitions. One of these is the London gallery of Thaddeus Ropac. Not only does this international art dealer have good exhibitions, but the house in which the works of art are displayed, 37 Dover Street, is an artwork itsef, an architectural treasure.

The architectural historian, Nikolaus Pevsner (1908-1983), whose writing I enjoy greatly, is a little dismissive of the buildings in Dover Street with one exception. In his “London Volume 1”, which was co-authored by Bridget Cherry, he wrote of this street:

“The only house which needs special attention is Ely House (No. 37)”

This is the building that is now home to Thaddeus Ropac. Ely House was built in the 1770s by the then Bishop of Ely, Edmund Keene (1714-1781), who was appointed to that post in January 1771. According to The Dictionary of National Biography (1885-1900 edition), Keene:

“… obtained in 1772 an act of parliament for alienating from the see, in consideration of the payment of 6,500l. [i.e., £6,500] and an annuity of 200l., the ancient palace in Holborn, and for purchasing, at a cost of 5,800l., the freehold of a house in Dover Street, Piccadilly, London. The present house on that site was built by him about 1776.”

Clearly, the bishop was not short of cash; he was married to Mary (née Andrews), daughter and sole heiress of Andrews of Edmonton, once a successful linen draper in Cheapside.

The architect of Ely House was Sir Robert Taylor (1714-1788). The building remained the London residence of the Bishops of Ely until the beginning of the 20th century. In 1909, the interior of Ely House was greatly modified by the Arts & Crafts architectural firm Smith and Brewer (https://ropac.net/news/245-galerie-thaddaeus-ropac-ely-house-london/), and it became the home of The Albermarle Club. This private members’ club, founded in 1874, was open to both men and women, and was first housed at 13 Albermarle Street. Known for its liberal views on women’s rights, it was in 1895 the site of an incident that led to the first trial of one of its members, the writer Oscar Wilde (www.back2stonewall.com/2021/02/gay-lgbt-history-feb-18-oscar-wilde-accused-sodomite.html). Because of the club’s connection with proceedings that led to Wilde’s downfall, it moved to 37 Dover Street to distance itself from Albermarle Street where these unfortunate events had occurred.

During WW2, Ely House became used by The American Red Cross Interstate Club. Later, it housed a private bank. When Pevsner and Cherry published their book in 1973, the house was being used by Oxford University Press. In Spring 2017, Thaddeus Ropac announced that they would open their London gallery in Ely House.

The exterior of Ely House might not have changed much since it was constructed. A medallion on the façade depicts a bishop’s mitre. The magnificent wrought iron railings topped with several models of lions was a 19th century addition based on the lions designed for The British Museum by the sculptor Alfred Stevens (1817-1875). The interior of Ely House would now be unrecognisable to Bishop Edmund Keene apart from a few decorative features that have been preserved. Furthermore, the artworks that are so beautifully displayed in the lovely, whitewashed rooms of the former Ely House would have seemed totally alien to the long-since departed bishop. Rarely, if ever, do the artworks displayed superbly in the gallery lack in visual interest and originality. What drew us to the gallery on the 9th of November 2021 was a small, intriguing collection of creations by Marcel Duchamp (1887-1968) in one room, and several rooms containing disturbingly lifelike, but not always life-sized, sculptures by Ron Mueck, an artist born in Australia in 1958, son of German-born toymakers.

Dover Street is part of a network of Mayfair thoroughfares containing commercial art galleries. Amongst them Thaddeus Ropac has the most beautiful premises and is worth seeing not only for its artworks but also as a fine example of London’s architectural heritage.