Chained Prisoners are Brought Before a King, a scene from the Gulistan of Sa’di
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Angela Grauerholz and Cheryl Simon, Romany Eveleigh: Works on Paper: Paintings, exh. cat. (Montréal: Twin Press, Galeries Bellemare Lambert, 2017), 64-65 (color ill.), 66 (color ill.), 251.
Adriano Pedrosa, ed., Biennale Arte 2024: Foreigners Everywhere, exh. cat. (Milan: Silvana Editoriale S.p.A., 2024), 260 (color ill.), 650.
Flavia Frigeri, Romany Eveligh: One Liners, exh. cat. (Rome: Richard Saltoun Gallery, 2024), 7, 8-9 (color ill.), 44.
Montréal, Galeries Roger Bellemare et Christian Lambert, Romany Eveleigh: "Pages," Jan. 26-Mar. 16, 2013, no cat.
Montréal, Galeries Roger Bellemare et Christian Lambert, Romany Eveleigh: Works on Paper + Paintings, Mar. 10-Mar. 31, 2018, no cat. no.
Venice, 60th International Art Exhibition of La Biennale di Venezia, Stranieri Ovunque - Foreigners Everywhere, Apr. 20, 2024-Nov 24, 2024, no cat. no.
Estate of the artist; sold through Galeries Roger Bellemare et Christian Lambert, Montreal, to Richard Saltoun Gallery, London, 2021 [this and the following, email from Richard Saltoun Gallery, Jan. 31, 2025; copy in curatorial object file]; sold to private collection, New York, Oct. 2022; sold through Richard Saltoun Gallery, London, to the Art Institute of Chicago, Apr. 8, 2025.
This chair, once part of a set of twenty, was intended for dining in the gothic revival estate of Brougham Hall. Its form epitomizes the design tensions of…
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This chair, once part of a set of twenty, was intended for dining in the gothic revival estate of Brougham Hall. Its form epitomizes the design tensions of nineteenth-century England, mixing medieval gothic-style pierced tracery or window ornament with the form of a modern chair. Such a chair had no precedent in the middle ages, though its robust proportions and ornament, designed by an architect rather than furniture maker, enhanced the ambiance of the so-called Armour Hall for which it was made.
Surrounded by walls hung with armor and weapons delicately lit by candles in iron sconces, there is no wonder that dinner guests who sat in these chairs in the 1840s were besot by the gothic mood. Lampooned by some and celebrated by others, Brougham Hall was a “modern antique.” Ironically, despite their medieval overtones, these chairs commissioned for the hall were among the very first pieces of furniture to be machine-carved with the modern advantage of a steam-powered engine.
Commissioned by William Brougham and Henry Brougham, first Baron Brougham and Vaux, Brougham Hall, Westmorland, England, 1844 [one of twenty chairs Samuel Luke Pratt delivered to Lord William Brougham on August 6, 1844, according to Lord Brougham’s contemporaneous diary entry]; by descent to the Barons of Brougham and Vaux, 1868 to 1932. Probably sold Garland Smith and Co., Mount Street, London, June 21, 1932, possibly lot 929 or 930. H. Blairman and Sons, London, by 1991. Private collection, by 2017; sold to Martin Levy, London, 2017; offered to the Art Institute of Chicago, 2020.
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Centennial, plate 199
Vogue, September 2006, 663
The artist; by descent to The Irving Penn Foundation, New York, 2009; promised to the Art Institute of Chicago, 2025.
Beyond Beauty, plate 140
The artist; by descent to The Irving Penn Foundation, New York, 2009; promised to the Art Institute of Chicago, 2025.
Centennial, plate 189
Visual Dialogue, 5
Irving Penn Portraits, plate 25
Passage, 274
Issey Miyake 1988, 47
The artist; by descent to The Irving Penn Foundation, New York, 2009; promised to the Art Institute of Chicago, 2025.
Vogue, June 1994, 194-195
The artist; by descent to The Irving Penn Foundation, New York, 2009; promised to the Art Institute of Chicago, 2025.