Cranford Collection [DVD] [Region 1] [US Import] [NTSC]

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The couple moved into the Nash house overlooking Regent’s Park in 1990. “It was a bit of a stage set,” says Muriel. “All the houses had just been done up by developers, and it was fussy. But we still loved it, and we brought up four children here.” Muriel Salem isn’t at home when I visit her Regent’s Park residence on a rain-soaked autumn day. In spite of Covid, she is in Montpellier, where an exhibition of artworks selected from her and husband Freddy’s collection is about to go on show at MO.CO – a public museum without a collection of its own. Vincent Honoré, Director of Exhibitions, Victor Secretan, Senior Curator, Anya Harrison, Curator et Rahmouna Boutayeb, Project Manager, assisted by Justine Vic Gaskell's best known work is set in a small rural town, inhabited largely by women. This is a community that runs on cooperation and gossip, at the very heart of which are the daughters of the former rector: Miss Deborah Jenkyns and her sister Miss Matty. But domestic peace is constantly threatened in the form of financial disaster, imagined burglaries, tragic accidents, and the reapparance of long-lost relatives. Read more Details Jane Austen, the Brontë sisters, Louisa May Alcott… Timeless Classics offers you a superb selection of novels that revolutionised the female universe.

Selected items are only available for delivery via the Royal Mail 48® service and other items are available for delivery using this service for a charge. Eva Langret and Muriel Salem speak with François Chantala, partner at Thomas Dane Gallery. Photo by Naomi Rea. In any year but this one, a tour of Frieze would involve tripping across the road to the white tents in Regent’s Park. This year, the fair is happening online, but as a collector who values close physical encounters with art, Salem is eschewing the digital surrogate. “I’m an old-fashioned girl,” she says as she dons a chic leopard-print raincoat. “I need to see the work in person.”

David Roberts Art Foundation – Great Britain, London

Salem owns an edition of Wantee , the work that won Prouvost the Turner Prize in 2013. “I am happy that Laure hasn’t stopped surprising us with her creativity,” she says. We bid adieu to Langret, who is late for a Zoom talk, and head a few streets over to Pippy Houldsworth Gallery. While the gallery is technically not part of the official Frieze program, Salem is keen to catch the show of the rising star painter Jadé Fadojutimi. Since 2005, works of art from the Collection have been presented in the form of temporary installations at a private house located at Gloucester Gate in Regent’s Park. This unusual setting has enabled the Collection to explore original associations between artworks. It also offers the unique challenge of how to successfully present contemporary artworks in a domestic environment, demonstrating that the experience of an artwork can be constantly renewed by rotating the works exhibited. It took 20 years to build the collection she has today. “We weren’t always welcome,” she says. “Some [dealers] refused to sell to us, or ignored us, or snubbed us. But you have to start the conversation somewhere.”

Cranford Collection’s installations are open to the public by appointment and are the setting of numerous visits by museum boards, curators, artists as well as educational programs.The star-studded film is directed by Richard Lester ( A Hard Day’s Night, Help!) and to accompany the release, the equally thrilling sequel, The Four Musketeers, has also enjoyed the same 4k treatment. It’s testimony to the quality of the work they collect, as well as their generosity in lending it out. “It’s the responsibility of a collector,” says Muriel Salem, “to look after an artist’s work, to show it, and to share it. Nearly everything in this house has been in a fabulous museum at some point.” Langret joins us on a trip to Mayfair to see the first UK solo show by American painter Dana Schutz at Thomas Dane. On the way, Salem confesses that Schutz is one of the artists she has been eyeing for the collection for years. The exhibition 00s. Collection Cranford : les années 2000 focuses on this as yet unexplored decade, which has still to be fully defined. For this reason, the works in the exhibition will be presented chronologically. A timeline will chart the key events of this period and connect them to paintings, drawings, photographs, sculptures and videos from this prestigious collection. It doesn’t take long to reach our first stop. While the physical fair is off, Frieze has decided to mount its sculpture park in Regent’s Park anyway. A s we pass an oversize green door by Gavin Turk and a playful concrete sandwich by Sarah Lucas, s he opens up about her introduction to collecting in the early 2000s, which began with the acquisition of an altered piece of Eames furniture by the Scottish sculptor Martin Boyce.

Over truffle and ricotta tortelloni, she confides, “It is often like this, but if it was really the case every single time, we would have nothing in our collection.”As we walk around, I get a feel for the collection, which is rehung every 18 months. There’s a Georg Baselitz squaring off with a wall-sized Christopher Wool. Martin Kippenberger and Albert Oehlen hang nearby. Even among this macho grouping, works by great women artists sing out. A sparkling Lynda Benglis knot holds court with Franz West, and an Alice Neel contends with Gerhard Richter. Salem practically skips as she points out how a work by Maria Lassnig, “the A ustrian radical hardcore,” speaks to a Bridget Riley, “the British Grande Dame.” This is the generation that I started collecting British art with,” she says, gesturing to the work by the YBAs. “At the time, it was all happening in London. I t was ‘Cool Britannia,’ and everyone was interested in contemporary art. Sarah Lucas, Rebecca Warren, and Gary Hume—that was my cool Britain.”