Huge Needlework Aubusson-esque Rug By The Great Dane

In the mid-1960s, with his arthritis acting up, and after decades of designing stage sets for the London theater, Oliver Messel began designing houses on Mustique for fancy people like Princess Margaret, the hard-partying sister to Queen Elizabeth, who’d married Messel’s nephew Antony Armstrong-Jones (aka Lord Snowdon)*.

Messel bought himself a house on Barbados, and renovated it into his Caribbean fantasy show palace with his partner of 30 years, Vagn Riis-Hansen. It would seem, by my rough calculations, at least, that Riis-Hansen spent most of that time embroidering this rug.

It is nine feet wide, and ten and a half feet long, and it is gros-point, a large-stitch needlework technique, made on four panels, each 30 inches wide. The pattern is inspired by Aubusson rugs of 18th century France.

Can you just get a pattern for making an Aubusson rug? Do you have one created after your own Aubusson and counted out? [Messel designed fabrics, scarves, and at least one unproduced Donegal carpet.] Do you stencil it onto the heavy grid of fabric that is your base? Do you complete each panel, and then stitch them together? Are they ever off by a row?

It is not that I, who have been typing on a computer for thirty years, am unfamiliar with tedious, repetitive, and precise handwork. But I am at a loss to picture Messel and Riis-Hansen entertaining the international jetset while also one of them is sewing a big-ass rug for days or nights on end. I feel like I’m missing some key details about the making of this rug.

OK, for starters, it looks like it was in Messel and Riis-Hansen’s apartment in London, which was published in Architectural Digest in 1963, and presumably photographed in 1962. It does not look new. This recap article on AD calls Riis-Hansen Messel’s lover AND manager**, since the 40s. Also, he was apparently, big, and gruff, and annoyed his in-laws and Cecil Beaton, who nicknamed him The Great Dane. And he still found time to embroider a giant carpet.

In 1978 Messel died, a year after Riis-Hansen, and Armstrong-Jones got the rug. In 2017, Armstrong-Jones died, and now anyone can get the rug, if they move in the next three days.

Lot 103: A GROS-POINT NEEDLEWORK CARPET WOVEN [sic?***] BY OLIVER MESSEL’S PARTNER VAGN RIIS-HANSEN, est GBP 1500-2500, ends 24 Sept 2020 [update someone bought it for GBP1000, the opening bid.][christies.com]

[update, somewhat related: In 2012 artist Matthew Smith created an exhibition and archival intervention at Nymans, the Messel family’s house to bring Messel and Riis-Hansen’s relationship into parity with the other family stories depicted at the National Trust property. (pdf)]

*Apparently Messel did not attend the 1960 wedding because he could not bring his partner. Or maybe his partner was busy sewing a massive rug.
**Thinking of this while doing the dishes just now I remembered reading a memo from Walter Hopps in the Smithsonian archive of the 1976 Rauschenberg retrospective, saying that though the museum would cover the travel expenses of artists and their wives, they would not pay for Bob’s “friend.” [scare quotes in the original] Maybe if Messel and Riis-Hansen were traveling together in an era where their romantic relationship was literally a jailable offense, being a manager would offer all the explanation they’d ever need.
***Maybe this whole post is a misplaced over-reliance on one word, which feels inaccurate technically–does someone stitching a rug consider it weaving?–but which must reflect a received story, if not a history per se, of how this rug came to be, and why it was kept? Or maybe it’s just so obvious to anyone interested or involved that “woven” means “had woven,” and you’d have to be daft to entertain the notion that it should be considered literally? And what possibly could be going on in this, the approaching autumn of the Year of Our Lord 2020, that could possibly account for channeling this much mental space into the backstory of some knockoff Aubusson rug an ancient British playboy stashed away after cleaning out his gay uncles’ Barbadian retirement cottage? What, indeed.

Cady Noland Zillow

Before anyone gives Cy Twombly on a dog crate the crown for greatest art in real estate listing photography, please check out the listing for the former Ice House of the Vanderbilt estate that was Dowling College, which went bankrupt in 2016 and was liquidated in 2018.

That is Cady Noland’s Tower of Terror (1993-94) in all its in situ glory. Can you even imagine? A pleasant walk past the massive, aluminum group stockade on the way to campus. I guess the bench was in the shed.

Cady Noland was not consulted and does not approve of these photos, but they have been certified by Douglas Elliman. The ice house sold for $376,938. The sculpture sold for $2,207,501. [Thanks greg.org reader dg]

Previously, related: Cady Noland GOAT

Twombly’s Schifano

That painting, no, the other one: Horst at the Palazzo Franchetti-Twombly, which is not the name, I know, but [points to wristwatch emoji], 1966

The subject of precariously perched Twomblys prompted Claudio Santambrogio to email, wondering about the painting on the left in this iconic 1966 Horst photo. Surely, it’s not a Twombly.

My first check, of Google, turns up many of the times this Vogue photoshoot of the House of Franchetti-Twombly has been re-published and discussed, and absolutely none of them have a caption or credit for this painting. This shoot is legendary, but atmospheric.

It is also marketable. I have not pinned down when it happened, but there is something swirling around the web in upscale, merchy places like 1stdibs and Artsy, called The Cy Twombly Rome Portfolio. Horst’s images, made for and owned by Condé Nast, are available in limited editions in various sizes, with the “authorization” of the Horst Estate. Interestingly, though, less than half the Twombly photos feature Twombly’s paintings. This feels like a mix of adding the entire contact sheet to the shopping cart, and the Twombly Foundation flexing its vetoing muscles.

Untitled #6, aka the Horst photo formerly known as Twombly’s Richter

Anyway, there is no such compunction to publishing the photo of Twombly’s Richter (Untitled #6), or a straight-on shot of this painting (Untitled #12). None of these photos have caption or credit information (or a Nicola Del Roscio to keep them in line.)

These installation composite credits showing your five-figure, five-foot-wide limited edition print of an outtake, tho, no problem: Design Credit: Elizabeth Roberts Architecture & Design, Photo Credit: Dustin Aksland. image via: 1stdibs

Next step: the date of the photo puts a pretty tight constraint on who it could be, and so does Twombly’s circulation pattern. So it’s probably someone he knows in Rome, and likely someone he knows from his gallery at the time, Galleria la Tartaruga. Janis Kounellis made stark black on blank/white paintings around this time, but his are more expressionistic and brushy. Oh wait, Twombly and Kounellis showed together at la Tartaruga in 1961. with Mario Schifano. Who absolutely made paintings like this from 1960-61.

So this is Twombly’s Schifano, which seems to have been mentioned by no one, ever. Was it so utterly obvious that it didn’t need mentioning? Did Mario Schifano have a boyfriend who took over a foundation mighty enough to make even Google blink?

Previously, related: Cy Twombly’s Gerhard Richter
Cy Twombly Rip

Find The Twombly

Honestly, I cannot say what is more shocking to me at this point: to see a Twombly propped on a dog crate in the spare bedroom, or that someone selling an Upper East Side pre-war has not staged their apartment before putting it on the market. I am thus convinced this is an epic staging flex, the equivalent of sprinkling some hay on your Mercedes Gullwing and calling it a barn find. Or maybe it’s just an homage to the way Twombly installed his Richter. [s/o Katie via Andy]

On The Conversation

A few weeks ago I spoke with Michael Shaw for his long-running art podcast, The Conversation. And when I say long-running, I mean both he’s been doing the podcast for a long time, and holy smokes, not only did we talk a long time, he got two whole episodes out of that content. (Granted the first part *does* have “meandering” right in the description.)

Part 1: #275, Greg Allen of greg.org…meandering…

Part 2: Naked Stratification

I’m kind of on a writing crunch at the moment, but I’ll circle back to add some links to posts/topics we discussed. (Or there’s a search bar?) Thanks, Michael, and enjoy, everyone!