Financier, philanthropist and environmentalist Ben Goldsmith explains how environmental conservation became such an important aspect of his life and why it should be at the forefront of all philanthropists’ agendas

I am lucky enough to be raising a family on a former dairy farm in an area of low agricultural productivity, in South Somerset’s Selwood Forest. Until the Victorian era, a great mosaic woodland stretched across this landscape, from Bath to Wells and down to Frome. This was a landscape of extraordinary natural abundance and vibrancy, in large part on account of the grazing, browsing, rootling and dung of the free-roaming hardy pigs and horned cattle that were turned out by villagers into the forest. These were of course proxies for the wild boar and aurochs of an even earlier age, keystones of the forest ecosystem.

Recently, alongside two neighbours, we decided to set about reviving the lost woodland. We tore out fencing, switched to native cattle in far lower numbers, rewiggled streams and revived ghost ponds. As the field shapes have begun to dissolve into the landscape, and little patches of crab apple, hawthorn and willow have begun to emerge everywhere, the results have been both startling and magical.

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Life has poured back in; the birdsong in spring is at times overwhelming in its intensity, a string of dammed pools created by beavers along the bottom of the valley now abounds with amphibians and dragonflies, the open areas are a riot of wildflowers and tiny chirruping crickets. By comparison, the surrounding landscape seems silent, drained of colour.

Immersing myself in this transformation has brought me a greater sense of joy and meaning than anything I’ve done in my life. The natural fabric of the world, in other words that vast life support system on which we depend utterly for everything we have and everything we do, is quite simply blinking out all around us. And yet, here in Selwood, I have seen first-hand that nature rebounds with astonishing intensity and speed. All we need to do is give it the chance. In the grand scheme of things, this is not expensive to do. So why are philanthropists, large and small, not grabbing the opportunity to participate in a movement that is at the same time so vital and so rewarding? Owning land is a niche privilege which appeals to some; but participating in the restoration of nature need not be.

Just 3% or so of all the money given away philanthropically is directed towards the protection and restoration of the natural environment. Almost ten times as much is given to the arts. Happily though, modest amounts of environmental philanthropy, well directed, is capable of catalysing great change. Lisbet Rausing’s marvellous Arcadia Fund has created an Endangered Landscapes Programme, which dishes out grants of up to €5 million towards the long-term restoration and protection of Europe’s largest remaining intact landscapes. The money is geared towards piecing ecosystems back together, reintroducing missing species, and perhaps most importantly, establishing long-term local prosperity arising from richly abundant nature. It works. Great swathes of Europe are coming back to life as a result of this one programme.

Sir Christopher Hohn’s Children’s Investment Fund Foundation has made huge contributions to the Foundation for International Litigation on the Environment, as well as underwriting the spectacular growth of Client Earth. These two organisations are using the law all across the world to win key environmental battles on everything from air pollution in cities to the protection of old growth forests. Each successful case sets a precedent which makes the cost of trashing nature that much higher for companies or governments which might be tempted. This is game-changing work.

Meanwhile, the big idea of Conservation Collective, which I chair, is that people are far more likely to give their time and money towards restoring nature in the place that they love. There are now twenty locally-focused Conservation Collective foundations across the world, from Barbados to the Balearic Islands, Devon to the Dalmatian Coast. Each one of these is comprised of a dozen or more supporters who give in the thousands rather than the millions, their money strategically distributed to the most effective grassroots restoration and activist initiatives in the place that is closest to their own heart.

Read more: Kering’s Marie-Claire Daveu on the future of sustainability

Vultures are recovering from near extinction in Cyprus, new forest corridors in Sri Lanka are enabling leopards to move between protected areas and the ban on killing sea turtles in St Vincent and the Grenadines is being enforced by local monitors. The network is growing beyond our wildest imaginings, because playing a part in the dramatic recovery of nature is hugely appealing, and ultimately addictive.

Every important victory that has been secured, from the saving of the whales in the 1970s to the turning of the tide on the destruction of the ozone layer in the 1990s, has happened because of small groups of passionate, brilliant people – supported by the generosity of philanthropists large and small. Giving a small amount each month to one of these organisations is a meaningful, radical and powerfully rewarding act, one which far too few people in our society have discovered.

The three most effective things any one of us can do towards fixing this, the mother of all issues, and moving our civilisation into a new age of harmony with nature are: to vote with nature in mind; to buy stuff mindfully; and to choose a nature organisation to support with whatever regular amount you can afford. Once you start, you won’t stop. And when your children or grandchildren one day ask you what role you played in all of this, you’ll have an answer for them.

Find out more: conservation-collective.org

Can we put a price tag on nature? Valuing the carbon services of plants and animals is essential to bridging the gap between finance and conservation, says Professor Connel Fullenkamp, the leading academic working at the intersection of science and economics. Here, Fullenkamp speaks to LUX about the importance of engaging capital markets in biodiversity financing, and why necessity is the mother of invention

LUX: You have spoken profoundly about the value of natural assets.
CF: We’re bringing economics, finance, and business into an area where it really hasn’t been brought in before. We start with the approach that says these natural assets have a lot of value, but we don’t necessarily know how to put a price tag on that value. So, we start only with the things that we can find a market price for. This is because we want to speak the same language as investors and policymakers who have to keep their eye on the bottom line all the time.

When we go out and try to put a value on a natural asset, be it an elephant or a mangrove forest, we’re really thinking about this as trying to attach the lowest, believable value. We’re trying to convince people that the value is way more than that. That has got a lot of people’s attention, because it acquaints them with the tremendous value that resides in many natural assets.

LUX: Can there be a system that’s devised for transferring payments? For example, if a company destroys a coastal mangrove plantation, who does it pay for that lost value?
CF: Part of the desire behind this is to prevent the destruction from happening in the first place. But we’re living in a world in which we already have those kinds of swaps going on. So, what we’re trying to do is put an adequate value on that. We are also trying to create the impression that the contributions to things like biodiversity are worth even more. In many cases, of course, it’s the government that owns these assets, so we have to inform them what they are worth.

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For example, we were approached by the UK Environment Agency to help them value their salt marshes, given that they have diminished by 90% in the last century or so. If we can put a price tag on these things, we can help governments make the argument that, firstly, you shouldn’t destroy these things in the first place, and secondly, if you do harm these assets, there’s going to be a steep price to pay.

LUX: How hard is it to find a valuation when there are so many different factors? For example, with a salt marsh, you have to incorporate the carbon storage or the flood protection, and then the ecosystem’s biodiversity.
CF: It’s difficult to put a total valuation on most of these natural assets because it has proven to be difficult to value something like the contribution to biodiversity. It’s hard to even define what biodiversity is. Biodiversity in a desert is very different to that 1,000 or more kilometres south in rainforests.

LUX: What opportunities are there in terms of constructing a financial pathway for investors?
CF: This is something we’re very keen to create. Ideally, we’d have investors who are interested in investing in natural capital services, such as carbon sequestration, because there’s a fairly well-established market for it. These investors would like to purchase either carbon offsets or have other reasons for wanting to hold carbon credits. They would pay for certificates that would deliver the carbon credits, and then the proceeds would function like a sovereign wealth fund.

Read more: Professor Nathalie Seddon On Biodiversity And Climate Resilience

Hopefully, the main use of that money would be, of course, to establish conservation restoration programmes. This is a long pathway between the financial markets all the way to the people on the ground doing conservation restoration. But unless we create that pathway, I think we’re missing out on a huge opportunity.

LUX: Which opportunities should investors be looking towards, in terms of creating the new financial system to support this?
CF: There are two things that should create excitement. They’d be investing on the idea that these are natural resources will continue to deliver these different environmental services, like carbon sequestration. We’re betting on the recovery of those things. Also, they’re betting on the plus in which carbon will help us understand what the biodiversity benefits are, that can also then be priced. If we get good at establishing these carbon markets, we kind of wrap in these biodiversity services as a plus.

LUX: What are the main hurdles to be overcome?
CF: Governments are very reluctant to think about selling their natural assets to the private sector. And so, our first hurdle is to convince them that, no, you’re not selling the assets. We’re trying to get you to sell the services of the natural assets; in fact, governments need to retain ownership of these assets.

We have to establish a conduit that will help governments protect these assets so that they can continue to generate services and support: mainly the beauty and culture of their countries. Governments are naturally reluctant because this is a brand new thing that they’ve never seen before. The markets are sceptical for similar reasons, and because there are some less-savoury actors out there who’ve already been trying and failing with certain initiatives.

Also, there is, especially in the case of wild animals, scientific uncertainty. So many of these species are facing near extinction across the board. We don’t have time. We need people to say, okay, the science is good enough. We’re willing to believe in it and bet on it.

LUX: Are these outcomes possible?
CF: I’m optimistic. The reaction we get when we talk to people has been overwhelmingly positive. When you get the capital markets involved, you can unleash a tremendous amount of financing that can do a lot of good, hopefully for conservation and restoration.

It is hard to imagine being able to cover that biodiversity financing gap without the participation of the financial markets. So, one of the things that drives my optimism is the fact that necessity is the mother of invention. For addressing climate change, this is one of our best chances. The trick is to put everybody together and get them to work together toward this common goal.

LUX: Will there be developments in attaching more specific prices, in terms of the science around biodiversity and nature-based capital?
CF: Absolutely. I think there’s a lot of excitement in that research. In particular, for example, one of the leading seagrass researchers is very excited about our work and is writing a paper for us. Seagrass is again one of these unsung heroes of blue carbon that sequesters a tremendous amount of carbon. We still don’t know what the full extent of seagrass coverage is anywhere, because nobody’s really had the money or the gumption to go look for it. So just finding out where the seagrass is, how much it covered it can sequester and where it can be restored: those kinds of issues are the type of research that we see coming out of this in the short term.

LUX: Are there accessible ways of investing in natural capital in the way that you’ve outlined?
CF: What we’ve got in mind is a bit different from, say, the sustainability linked bonds or green bonds that we see out there. There again, I think these are they’re all great and part of the solution here. But really, when you’re investing in something like a sustainability linked or a green bond, you’re basically a bond investor. You’re hoping that the money gets put to a certain type of a purpose. And in some cases, you’re going to get some either yield pick up or yield penalty depending on the performance. But really, you’re not making a direct investment, so to speak, or a direct bet on the actual natural capital itself. You’re really not investing in environmental services. That’s to me, in my mind, that’s a really big difference here, that what we’re what we have in mind and what we’re trying to create is really an asset backed market. And the asset that is being used to back the market is the natural capital services.

Read more: Dimitri Zenghelis on Investing in the Green Transition

LUX: In an optimistic scenario, how do you see this looking in 10 years’ time with the landscape?
CF: This will be just another asset class that people have available to them to invest in and it will have certain properties. Hopefully it will be sufficiently uncorrelated with other types of market returns to make it attractive as a diversification tool, if not for its own sake, and what it represents in terms of investment in the environment. So ideally, that’s what we’d see people would say. Well, I’ve got some of my portfolio in stocks and bonds, real estate alternatives. And one of the alternatives is going to be these natural capital assets.

Connel Fullenkamp is Professor of the Practice and Director of Undergraduate Studies in the Department of Economics at Duke University 

Find out more: duke.edu

The exclusive Chelsea Barracks residential development in London aims to be the epitome of contemporary luxury living. It also draws on a wealth of traditional artisanal craft heritage, from specially designed and made oak furniture to bespoke light fittings, to forge a new historically significant landmark, as Mark C. O’Flaherty discovers

Some of the heftiest books lining the shelves of the world’s libraries are devoted to the history of London. The tale of Chelsea Barracks warrants a whole chapter of its own. It is an epic story, with handsome accents. Built as a home to Victorian infantry battalions, the original architecture stood for nearly 100 years. Since the 1960s, various plans for the site have been discussed but not materialised, but today Chelsea Barracks is a landmark again – a residential development that combines contemporary British craft with heritage inspiration. From the public artwork in the grounds to the finishings, light fittings and balustrades of the townhouses, Qatari Diar have brought together a nation of artisans.

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The ongoing story of British craft is told from numerous perspectives, and has culminated in more than just a landmark – there is also The Chelsea Barracks Collection. Under the direction of Albion Nord, the studio responsible for the overall look of the townhouse show-home interiors, an 11-piece capsule of designs has been commissioned from many of the artisans involved. Each object is handmade and represents the highest level of British craftsmanship, creating a dialogue with the Georgian squares of Belgravia. Wine glasses and tumblers echo the glassware produced in the 18th century, while the Belgravia Lamp references the Doric, Ionic and Corinthian columns of local buildings. “It is inspired by the orders of classical architecture,” explains Ottalie Stride, creative director at Albion Nord. “It has strong London connotations.”

You can see the broader strokes of the style in London-based designer Tord Boontje’s floral elements on the townhouse balconies – the wild roses, peonies and apple blossom of the British countryside, so often showcased at the nearby Chelsea Flower Show – all forged in metal by West Country Blacksmiths, based in a 17th-century workshop in Somerset. From the physicality of their creation, to the greenery of Belgravia, they connect numerous threads within the narrative of Chelsea Barracks. These aren’t things you can take home – they are home.

Boontje’s work to date has been almost exclusively for interiors, so to have his petals adorning a façade is significant. They also form a link with the landscaping outside. From one of Boontje’s balconies you have a radiant view over the perfect floral grids planted by award-winning landscape gardener Jo Thompson and landscape architect Neil Porter. This is one of the most arresting and modern green spaces in the city today.

Read more: How Andermatt Swiss Alps is drawing a new generation of visitors

The best kind of design is often site-specific, taking visual cues from and creating a dialogue with its setting. All of the artisans involved in the development studied the site, its environment and and history. Using designs by Albion Nord, the artisans at Marina Mill created for The Chelsea Barracks Collection silkscreened upholstery in a diamond pattern that references tiling inside the restored Garrison Chapel on the grounds. Other designs by Albion Nord took inspiration from the floor plan of the Royal Hospital Chelsea. As much as upholstery, Marina Mill have been weaving history, too.

Chelsea Barracks is a style and brand as well as a prestigious residential address. The Chelsea Barracks Collection incorporates many elements that link the development to history. A metal and leather pendant lantern is inspired by the flashlights used by soldiers in the first world war, while the Barracks Bench has been created in homage to the Egypt-mania that captured London society in the 18th and 19th centuries. A collection of ceramics, titled Radnor, play on the history of porcelain in the area. Silversmith Nicholas Sprimont was the founder of the Chelsea Porcelain Factory, which from the mid 1740s became the tableware maker for the royal family. “They were the first important porcelain pottery manufacturer in England, so it’s great to bring this material to life,” says Stride.

Some of the furniture created with the homes, and The Chelsea Barracks Collection, in mind – including a bench, bedside table, side table and writing desk – come from the Stride & Co workshops in West 38are beautifully crafted objects from carpenters accustomed to making only 15 to 20 pieces in a year. Each desk is made from a single piece of oak for consistency of grain. Detail is everything, and so is the story behind each piece – the side table is inspired by the British fondness for tea-drinking, which took hold in the mid 18th century. Other pieces are battalion inspired. “The Wellington Desk made by Stride & Co is inspired by a traditional campaign desk,” explains Stride. “It would have been used by officers and their staff during a military campaign. Our design here aims to retain the portability and simplicity of the original, whilst including special details such as the lion-claw feet and the Chelsea Barracks rose mark, featured on the key to both the desk and the bedside tables.”

Like Boontje, bespoke light designer Sharon Marston looked to the history of the Chelsea Flower Show before starting work. Marston’s background flags up her instinctive approach to light and materials. Her career began in jewellery and costume design, working with Bella Freud, Paul Smith and the English National Opera. She creates objects that are luminescent, ethereal and elegant. The British flora is a constant inspiration. The two Willow chandeliers she created for Chelsea Barracks evoke the weeping willow tree found in the English countryside as well as landscapes by Turner and Constable. She was also keen to emphasise the inherent Britishness of the formal properties of her pieces. “Craftmanship is at the heart of my approach,” she explains. “The artisans I work with are small cottage industries dotted around the UK, ranging from glassblowers and ceramicists to metalwork engineers. My close relationship with each is what brings the intricate detail of my work to life. There are approximately 2,000 pieces of hand-crafted decorative components made from woven bronze mesh spread across both chandeliers, taking many weeks to create.”

Many of the works carried out for Chelsea Barracks pushed the boundaries for their creators. Reedway is an engineering company involved in the nuclear, space and marine industries. The ornate balustrades they created for the residences were inspired by the work of Arts and Crafts visionary William Morris and made using high-pressure water cutting on metal, usually employed in aviation, so making something very much 21st century. Reedway also worked on artist Conrad Shawcross’s tree-like sculpture at the development, Bicameral, constructed from anodised aluminium and installed permanently in the grounds.

What the designers and artisans behind the new Chelsea Barracks have done is take the romance of a classical Georgian home and refract it through the lens of today’s style but grounded it with Victorian muscle. The method in which that style has been crafted tells a story that has depth and longevity, one that will develop for generations to come.

Restoring the past

The Victorian railings at Chelsea Barracks were given a pass when the government was requisitioning cast iron for the war effort in the 1940s. Grade II listed for more than ten years, the railings have now been restored to their original grandeur as part of the new development. The development team at Qatari Diar worked with the foundry Paterson Engineering in Scotland on what became a complex task. The original railings were moulded 150 years ago, and despite their apparent uniformity, there was no standard fitting. Each component had to be logged before removal for restoration. Back in their original place, they look magnificent. History has been refreshed and a link has been forged between the new architecture and the Victorian era that made these five hectares world famous. “They mark the border of Chelsea Barracks and pay homage to the history of the site,” explains Richard Oakes, Chief Sales and Marketing Officer Europe and Americas at Qatari Diar. “Together with the Garrison Chapel, the railings are now all that remain of the original 19th-century barracks, and their preservation and restoration has been a journey all of its own and one that we’re extremely proud of.”

Find out more: chelseabarracks.com

This article features in the Autumn 2020 Issue, hitting newsstands in October.

The Watercolour World is an ambitious online project to digitise the world’s watercolours and rescue this all-too-often overlooked but artistically and historically significant medium from being forgotten. It is creating a wealth of riches for all of us, says Michael Brooks

Fred Hohler describes the idea as “blindingly obvious” in hindsight. Having spearheaded the creation of a digital record of the United Kingdom’s oil paintings, the former diplomat soon realised his Public Catalogue Foundation had left an ‘orphan’ collection of watercolours in dark drawers, cabinets and basements across the world.

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Now, though, these paintings are emerging, blinking, into the light. The Watercolour World is a rapidly growing website that hosts digital reproductions of watercolours from around the world. Even in these early days – the site’s official launch was in January 2019 – it has become an engrossing collection. Whether you are captivated by an 1840 view of Kings Cross as a rubbish dump – the ‘Great Dustheap’ – or sailors chasing a slave ship near Zanzibar in 1876, a seemingly inexhaustible supply of riches is coming into view. “I have a new favourite about four times a day,” Hohler admits.

Watercolour is often passed over as an unimportant medium, despite the fact that Ruskin, Gainsborough, Turner and Constable all used it at various times. “The lower status of watercolour was owing to the fact that it had been invented relatively recently, had not been used by the Old Masters, and was widely used by amateurs for documentary purposes,” says Sir Charles Saumarez Smith, senior director of Blain Southern gallery, and former chief executive of the Royal Academy of Arts.

In many ways, this negative view of the medium is what makes the new collection so compelling. In the 17th century, for instance, watercolour was the military medium of choice. Before photography, painting was considered the best way to keep tabs on where the military had been, and how easy its terrain and infrastructures would be to defend. “From the time of George III, the way of making a record for the military, then the civil service overseas, and the navy, was watercolour,” Hohler says.

At Woolwich Military Academy and elsewhere, officers studied drawing and were taught how to survey a landscape and draw coasts and harbours so that the knowledge of newly gained territories could be spread amongst the military. The watercolourist Paul Sandby was among those who did the training, and the courses were clearly popular, with many accomplished amateur painters emerging from the military academies. As a result, military, government and private collections are awash with watercolour landscapes from across the world, all painted with an attention to detail.

Many of them, however, have not seen the light of day for decades, if not centuries. “Watercolour as a medium is naturally more susceptible to the effects of heat and light,” says the charity’s chief executive Andra Fitzherbert. “As a result, they tend to be hidden away in dark places or kept in albums where they’re rarely pulled out and enjoyed.”

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And that’s where The Watercolour World project comes in. Launched with the patronage of the Prince of Wales and the Duchess of Cornwall, and realised through support from the Marandi Foundation, The Watercolour World aims to collate hundreds of thousands of watercolour paintings, many of which have never been available to the public until now.

It’s a labour of love, but it will also be very useful, Hohler says. For a start, the watercolours facilitate the re-creation of lost historical artefacts. Paintings in the collection show the ancient Syrian city of Palmyra, which has been extensively destroyed by ISIS. Hohler and Fitzherbert hope that The Watercolour World will one day be useful to its regeneration. Then there are the watercolours depicting the tombs of Pharaoh Sety I. The wall paintings of these tombs were damaged by those keen to profit from exhibiting the contents and recreating the spaces for a London audience in the 19th century. Thanks to watercolours, there is a record of how they once looked, and The Watercolour World will be an invaluable resource for future archaeological research.

Just as exciting is the scientific potential of the project. Many watercolours offer a view of a world that no longer exists and are a means by which conservationists, ocean scientists, coastal engineers and geologists can reach back into the past, make sense of the present, and perhaps safeguard the future.

There is strong precedent for this. In the 1860s, the government moved the Gunditjmara, the Aboriginal people of the area, off Tower Hill, an extinct volcano in Victoria, Australia. They proceeded to clear the land’s thick vegetation for grazing. Only in the 1960s was there a move to restore the area. Fortunately, the watercolourist Eugene von Guérard had made a painting of the virgin land in 1855, a painting so detailed that the authorities could identify more than 20 species of plant to use in the restoration project.

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The vast and growing catalogue of paintings in The Watercolour World means that similar restorations might be possible in other areas. Some of the paintings are already in use in a project to catalogue changes in the British coastline over the past 250 years. Geologist and coastal engineer Robin McInnes is in the closing stages of The State of the British Coast Study, which was commissioned by The Crown Estate, the European Commission and Historic England. Using a range of sources, including paintings in The Watercolour World, McInnes has been able to discern where and when beaches have eroded, cliff lines have changed and engineering projects have made an impact on the shoreline. The results of the study will be used to aid conservation and ecological efforts. “They’ve been feeding me coastal images, many from private collections that have never been seen before. I’ve been able to use some in my study,” McInnes says. Some are from less highbrow sources, too. “Postcard companies employed some prolific watercolour artists to paint the coast.”

Another environmental application will be in surveys of glaciers. Watercolours have a strong history here. The first known depiction of a glacier, made in 1601, was Abraham Jäger’s painting of the Rofener Glacier in Austria. By the middle of the 19th century, artists were painting faithful renditions of scenes at the heads of glaciers. John Brett’s Glacier of Rosenlaui, for instance, shows the position of the glacier in 1856, as well as a detailed portrait of the erratics, the boulders at its head that had been carried by the ice. The Watercolour World’s collection includes renditions of glaciers by Horace Bénédict de Saussure, the precision of which give a marker for recent glacier retreat. “Climate change is on almost everybody’s mind right now, but in the 19th century artists and scientists were working together documenting glaciers,” says Barbara Matilsky, who curated last year’s ‘Vanishing Ice’ exhibition at the Weisman Art Museum in Minneapolis. Many of the show’s 47 artworks, dating from 1860 to 2017, showed evidence of climate change.

Using The Watercolour World as a scientific resource is a “fabulous idea”, Matilsky says. She points out that artists and scientists have long worked together to document the natural environment. In the 19th century, for instance, geologists at the Museum of Natural History in Paris commissioned artists to paint glaciers. “They wanted to show students what they look like so they could intuit from these works the processes that formed the glaciers,” Matilsky says. “Scientists were very much aware that artists were important in communicating scientific concepts.”

At the other end of Earth’s temperature scale, The Watercolour World includes dozens of paintings of volcanoes. The 1776 eruption of Vesuvius is particularly well represented, because the British diplomat Sir William Hamilton commissioned the artist Pietro Fabris to paint 54 illustrations of the volcano for his scientific studies of its geology.

Read more: Sir Rocco Forte on building his empire of luxury hotels

Fitzherbert is keen to point out that The Watercolour World will be of relevance to everyone, not just to scientists and culture professionals. All of the images have searchable location and keyword information, allowing people to explore their family history and their local area’s past. “We want to make it personal so that people can navigate through a map and find local places of interest and find family homes or where they were brought up,” she says. “People can use these paintings to reflect on their own lives.”

The Watercolour World operates a small team, equipped with a Fujitsu ScanSnap scanner, to perform the digitisation. In addition, a group of volunteers tag and categorise the images, adding their locations and all relevant data about the artist’s intentions. Only then are they uploaded onto the site.

The project has yielded unexpected gains. One is that, in some ways, the website offers something even better than a gallery viewing. The scanners provide a depth of colour and an ability to zoom in that just aren’t available in a static display. What’s more, observing the paintings on screens means they are, effectively, backlit. “You see it in an entirely different way,” Hohler says. “It’s given a brilliance to these images that you don’t otherwise get.”

Though the collection is already clocking in at 83,000 images, a queue is forming. “The wonderful thing is, as soon as you launch a project like this, it belongs to everybody,” Hohler says. Many institutions and organisations have offered their digitised collections. The Watercolour World is even receiving offers to scan private collections that have never been made public, let alone digitised. “We’ve been overwhelmed by people’s positivity and encouragement,” Fitzherbert says.

Find out more: watercolourworld.org

This article was originally published in the Summer 19 Issue

One of the world’s most famous paintings Sunflowers (1889) has been carefully investigated, explored and restored for Van Gogh and the Sunflowers: A Masterpiece Examined at the Van Gogh Museum.

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As one of five sunflower paintings by Van Gogh, it is an iconic image of nineteenth century art and an important marker in still life painting. Yet, this latest exhibition transforms our view of the work by framing the masterpiece within its wide ranging and complex history.

On display are Van Gogh’s other flower paintings (not all sunflowers), the afterlife of the painting, its far-reaching influence, but also details of its recent conservation work. Most striking are the reconstructions by Charlotte Caspers, smaller canvases which copy views of the painting, using the same materials. These zoomed in views of the dying flower heads and of Van Gogh’s signature reveal the painting’s original colours, made up of brighter reds, pale lilacs and vivid chrome yellow. Through Casper’s work alongside the museum’s conservation team we are transported back to 1889 and the work’s conception. We are also shown x-ray images of the Sunflowers, revealing an added strip of canvas at the top of the painting, which Van Gogh used to correct the placement of the vase.

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Standing in front of the painting, you are struck by the subject. Van Gogh’s obsession with the flowers evident in his precision and delicacy, each of his decisive strokes visible in the thickly painted surface. The sunflowers, which were first drawn by the artist in 1886 in the wilds around Arles, have become part of his signature, as he stated in a letter to Paul Gauguin in 1889: ‘I indeed … have taken the sunflower’. His affinity with the flower is portrayed in the masterpiece through the subtle use of varying shades of yellow and ochre, and by the way he captures the plant’s lifecycle as we see heads simultaneously opening in bloom and dying.

Rosie Ellison-Balaam

‘Van Gogh and the Sunflowers: A Masterpiece Examined’ runs until 1 September 2019 at the Van Gogh Museum, Amsterdam. For more information visit: vangoghmuseum.nl

Throughout Spring 2019, Sotheby’s will auction 75-limited edition cases from Château Mouton Rothschild to help fund restoration projects at the Palace of Versailles

Renowned French wine producer Château Mouton Rothschild  is auctioning 75 collector’s cases each featuring five vintages with labels designed by contemporary artists who have also exhibited at the Palace of Versailles, including Giuseppe Penone, Bernar Venet, Anish Kapoor, Jeff Koons and Lee Ufan. Aptly titled the “Versailles Celebration Cases”, funds raised will go towards supporting the ongoing restoration projects at the Palace.

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The auction will begin in Sotheby’s Hong Kong on 1 April, followed by London on 17 April and concluding in New York on 4 May. Successful bidders will also win an invitation to a private tasting at Château Mouton Rothschild, as well as two tickets to the Versailles Celebration Gala Dinner at the Palace of Versailles in September where ex-cellar vintages of Château Mouton Rothschild will be served.

Discover Château Mouton Rothschild’s full list of collaborating artists and labels: https://www.chateau-mouton-rothschild.com/label-art/discover-the-artwork