Enfilade

The Wallace’s History of Collecting Seminars, 2019

Posted in lectures (to attend) by Editor on February 15, 2019

From The Wallace Collection:

History of Collecting Seminars
The Wallace Collection, London, 2019

The History of Collecting seminar series was established as part of the Wallace Collection’s commitment to the research and study of the history of collections and collecting, especially in the eighteenth and nineteenth centuries in Paris and London. The seminars are free, no bookings required. To join the History of Collecting mailing list and receive updates on the future programme, please email your interest to collection@wallacecollection.org.

Monday, 25 February
Naomi Speakman (Curator of Late Medieval Europe, The British Museum), ‘Rich Treasures of Ivory Carvings’: Francis Douce’s Network, Medieval Ivories, and the Doucean Museum

Monday, 25 March
Esmée Quodbach (Assistant Director and Editor-in-Chief, Center for the History of Collecting), The Frick Collection), The Case of Leo Nardus (1868–1955): Reconstructing the Remarkable Career of a Major Yet Forgotten Dealer in Old Masters

Monday, 29 April
Giuseppe Rizzo (PhD candidate, Rupert-Karls-Universität Heidelberg, Germany), The Formation of Renaissance Taste in Early Victorian Britain: The Second Duke and Duchess of Sutherland as Collectors of Florentine Copies

Monday, 20 May
Emily Teo (PhD candidate, University of Kent and Free University of Berlin), Gotha’s Chinese Cabinet: Duke August’s Collection of East Asian Objects

Monday, 1 July (Please note the unusual date)
Frances Fowle (Professor of Nineteenth-Century Art, University of Edinburgh and Senior Curator of French Art, National Gallery of Scotland), A Woman of Taste: Mrs R. A. Workman’s Collection of Modern French Painting

Monday, 29 July
Kate Heard (Senior Curator of Prints and Drawings, Royal Collection Trust), ‘The Great Joss and His Playthings’: George IV as a Print Collector

Monday, 30 September
Isabelle Kent (Enriqueta Harris Frankfort Curatorial Assistant, The Wallace Collection), ‘The Aura of Popularity’: The Rise and Fall of Bartolomé Esteban Murillo in the Nineteenth-Century British Art Market

Monday, 28 October
Moya Carey (Curator of Islamic Collections, Chester Beatty Library, Dublin) and Mercedes Volait (research professor at CNRS, based at InVisu, INHA, Paris), Architectural Salvage from Cairo to London: The Pivotal Role of the Paris Exhibitions of 1867 and 1878

Monday, 25 November
Barbara Lasic (Lecturer in History of Art and Coordinator of Postgraduate Programmes, University of Buckingham), A ‘Fauve de la Curiosité’: The Hybrid Career of Edouard Jonas (1883–1961), Dealer and Curator

Display | Spotlight on Boilly

Posted in exhibitions, lectures (to attend) by Editor on February 14, 2019

Louis-Léopold Boilly, Les Malheurs de l’amour (The Sorrows of Love), 1790
(London: The Wallace Collection)

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Opening this month at The Wallace:

Spotlight on Boilly
The Wallace Collection, London, 29 January — 19 May 2019

Curated by Yuriko Jackall

Over the course of his varied artistic career, Louis-Léopold Boilly (1761—1845) witnessed the overthrow of the French monarchy, the revolutionary period, and the rise of Napoleon. Of the fifteen paintings once owned by Sir Richard Wallace, three remain at the Wallace Collection, depicting detailed and humorous scenes of domestic life amongst the Parisian bourgeoisie. Thanks to the generosity of Étienne Bréton and Pascal Zuber, authors of the forthcoming catalogue raisonné of Boilly’s oeuvre, the three paintings have undergone extensive restoration and will be welcomed back to the museum with a special display showcasing the renewed vibrancy of their finely jewelled colours and celebrating Boilly’s genius as a chronicler of French society.

Francesca Whitlum-Cooper, From Boudoir to Boulevard: The Revolutionary Art of Boilly
The Wallace Collection, London, 22 February 2019, 18:30

Louis-Léopold Boilly, The Dead Mouse, 1780s or 1790s (London: The Wallace Collection).

Louis-Leopold Boilly lived in extremely turbulent times. Yet, he did not merely survive this violent period: he thrived, painting the faces and places of modern Paris with humour, innovation, and startling modernity. On the eve of the UK’s first exhibition devoted to Boilly at the National Gallery—Boilly: Scenes of Parisian Life, curated Francesca Whitlum-Cooper— and to celebrate the recent conservation of the Wallace Collection’s three Boillys, this lecture by Dr Whitlum-Cooper will introduce Boilly to the public, suggesting that, half a century before the Impressionists, he was one of the first ‘painters of modern life’. The lecture will be prefaced by a brief conversation between Dr Whitlum-Cooper and the Wallace Collection’s Curator of French Paintings, Dr Yuriko Jackall, tracing Boilly’s critical fortunes in the present day. The talk will be followed by a wine reception and book signing with Dr Whitlum-Cooper of her new exhibition catalogue. Booking information is available here.

In addition, Yuriko Jackall will give a talk about the display on 21 February and 27 February, at 13:00.

The third painting by Boilly in the Wallace Collection is The Visit Returned, ca. 1789.

Exhibition | Boilly: Scenes of Parisian Life

Posted in books, catalogues, exhibitions by Editor on February 13, 2019

Opening this month at the National Gallery:

Boilly: Scenes of Parisian Life
National Gallery, London, 28 February – 19 May 2019

Curated by Francesca Whitlum-Cooper

Working in a politically turbulent Paris, Louis-Léopold Boilly (1761–1845) witnessed the French Revolution, the rise and fall of Napoleon, and the Restoration of the French Monarchy. From controversially seductive interior scenes, which saw him get into trouble with the authorities, to ‘first-of-their-kind’ everyday street scenes and clever trompe l’oeils, this exhibition shows Boilly’s daring responses to the changing political environment and art market he encountered, and highlights his sharp powers of observation and wry sense of humour.

Focusing on 20 works from a British private collection never previously displayed or published, this exhibition—the first of its kind in the UK—celebrates an artist who is little known in Britain and provides unparalleled context for our Boilly, A Girl at a Window.

The catalogue is distributed by Yale UP:

Francesca Whitlum-Cooper, Boilly: Scenes of Parisian Life (London: National Gallery Company, 2019), 96 pages, ISBN: 978-1857096439, £17 / $25.

Louis-Leopold Boilly lived a long life in the most turbulent times. From 1785 he spent half a century at the heart of the Parisian art world, throughout the turmoil of the Revolution, the rise and fall of Napoleon and the restoration of the monarchy. This first English-language publication on Boilly in over twenty years brings together portraiture, interiors on the theme of seduction, and vivid and groundbreaking scenes of raucous Parisian street life. The majority of these pictures have never been published before. The book introduces readers to Boilly’s richly detailed paintings and drawings, emphasising his technical brilliance, his acute powers of observation and his wry sense of humour, and illustrates Boilly’s daring responses to France’s changing political environment and burgeoning art market. It offers an alternative to the accepted view of Revolutionary French art as the purview of grand history painters such as Jacques-Louis David. Boilly popularised trompe l’oeil paintings—he invented the term—and by depicting daily life on the streets of Paris for the very first time, he turned the accepted hierarchies of art on their head.

Francesca Whitlum-Cooper is the Myojin-Nadar Associate Curator of Paintings, 1600–1800 at the National Gallery, London.

New Book | More Eighteenth-Century Neapolitan Staircases

Posted in books by Editor on February 11, 2019

Many Enfilade readers will already know this, but I’m sorry to report that Michael Shamansky’s Artbooks.com will soon close. Here’s an example of the discounts now available. CH

Dirk De Meyer, with a preface by Marius Grootveld, More Eighteenth-Century Neapolitan Staircases: Showpiece and Utility (Ghent: A&S Books, 2018), 130 pages, ISBN: 978-9076714523, €29, reduced from $50 to $20.

With particular attention to the work of Ferdinando Sanfelice (1675–1748), this book documents the development of the open staircase typology in Naples at the moment that it shifted from the traditional, monumental Baroque palace staircase towards the later palazzo or condominium staircase serving four, five, or more levels of apartments. These staircases are considered ‘the star(s) of the palace composition in Naples’. The book is the outcome of a master seminar in Architectural History at Ghent University. It continues an initial publication from 2017.

C O N T E N T S

• A Typological Make-over: Staircase Design in 18th-century Naples
• Palazzo Lauriano also called Capuano, c. 1730
• Palazzo Palmarice, 1719
• Double Palazzo in Via Salvator Rosa, c. 1730s
• Double Palazzo in Via Salvator Rosa, c. 1730s
• Palazzo Persico, mid 18th century
• Palazzo in Via Atri, mid or late 18th century
• Palazzo in Via Costantinopoli, mid or late 18th century

Art Markets: An Integrated Perspective

Posted in opportunities by Editor on February 9, 2019

From the program’s website:

Art Markets: An Integrated Perspective
International Thematic School
Lyon, 24–28 June 2019

Registration due by 15 March 2019

The thematic school is organized by the LARHRA and the Université Lumière Lyon 2 in collaboration with the Université Libre de Bruxelles and Erasmus University, Rotterdam. It aims to provide the research community interested in the study of art markets with an interdisciplinary theoretical approach and methodological tools in line with the most up-to-date analytical methods in order to bring out new research perspectives. About fifteen international specialists in art history, economics, law, sociology, finance, and digital humanities from all over Europe and the United States will animate it in a spirit of exchange and sharing of knowledge.

The art market is essentially a multidisciplinary object of study. While it is now a significant sector of the global economy, it has always it played a seminal role in the circulation and reception of art, and provided the context within which artists created their work. Researchers from disciplines as diverse as economics, finance, law, history, art history or sociology have contributed to a better understanding of the complexity and specificity of this market. Despite the advances made in each of these fields, research on the art market still too often suffers from a compartmentalization by disciplinary field.

The Art Markets thematic school aims to bring together the international community of researchers working on the art market and to offer participants the opportunity to better understand the scientific approaches of other disciplines. Sharing a common knowledge base and concepts is a necessary condition for developing transdisciplinary collaborations. To this end, this training offers an interdisciplinary theoretical approach and methodological tools in line with the most up-to-date analytical methods. The articulation between historical and contemporary analyses from the point of view of economics, finance, sociology, and law is particularly innovative.

Indeed, in the era of globalization and digital technology, art markets are undergoing profound changes that are leading to a reconfiguration of the modalities of interaction between actors and intermediaries. Issues related to artistic exchanges, the emergence or decline of markets, financial speculation, the concentration of actors and the role of agents in building the economic and social value of art, have accelerated the need to use robust analytical techniques to better understand these issues. But are they so new? These phenomena benefit from being re-examined in the light of their historical contexts in order to understand their logic and dynamics over time. At the same time, the analysis of contemporary art markets allows us to shed light with the advantage of hindsight on the practices, mechanisms and strategies put in place since the emergence of markets for visual arts and the first globalization from the 16th century onwards. In addition, quantitative analytical methods, data modelling and visualization have paved the way for important methodological and epistemological explorations

The training is aimed at the entire scientific community: professors-researchers, researchers, post-doctoral fellows, doctoral students, staff of research support (ITA). It should also be of interest for experts and professionals active in the art market. It is open to all participants from Master 2 level onwards, preferably in a discipline related to the study of art markets: economic history, art history, economics, finance, sociology, and law.

Contact: artmarkets2019@sciencesconf.org

This thematic school has received support from the CNRS, IDEX Lyon, Université Lumière Lyon 2, LARHRA, College académique Sciences Sociales de l’Université de Lyon.

Blanton Museum Acquires Major Spanish Colonial Art Collection

Posted in museums by Editor on February 8, 2019

Unknown artist, Rest in the Flight into Egypt, Bolivia, 18th century, oil on canvas
(Blanton Museum of Art, The University of Texas at Austin)

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Press release from the Blanton Museum of Art:

The Blanton Museum of Art at The University of Texas at Austin announced that it has acquired the esteemed collection of Roberta and Richard Huber. This world-class collection of art from the Spanish and Portuguese Americas is composed of 119 objects ranging from paintings and sculpture to furniture and silverwork—deepening the Blanton’s extensive holdings of art and objects from Latin America. The Huber Collection is one of the most distinguished private collections of Spanish and Portuguese American art and includes works from countries across modern-day Latin America including Bolivia, Brazil, Ecuador, and Peru. Developed by Roberta and Richard Huber over the past 45 years, the collection showcases artistic practices and visual culture of the socially and ethnically diverse society in the Americas between the late 1600s and the early 1800s.

Attributed to Cristóbal Lozano (Lima, Peru 1705–1776), Portrait of Rosa de Salazar y Gabiño, Countess of Monteblanco and Montemar Peru, ca. 1763, oil on canvas (Blanton Museum of Art, The University of Texas at Austin).

“My wife, Roberta, and I couldn’t have hoped for a better steward for our collection than the Blanton, an institution with a long legacy of leadership in the field of Latin American art,” said Richard Huber. “We’re thrilled for the Blanton to present the works to audiences from Austin, the rest of the country, and abroad, and for them to be used in the museum’s robust teaching program on campus and in the community.”

“We are delighted that the Blanton will be the new home of the Huber collection, an incredibly beautiful group of works, which demonstrates the height of artistic achievement of this period,” said Blanton director Simone Wicha. “This acquisition cements our commitment to the study and exhibition of art from the Spanish and Portuguese Americas, which we proudly launched in partnership with the Carl & Marilynn Thoma Art Foundation in 2016. The Huber collection will open up new possibilities for scholarship on this dynamic era of cultural exchange, supported by the unparalleled strength of UT’s Latin American studies program and the Blanton’s renowned expertise and resources in the field of Latin American art,” Wicha continued.

The Blanton began collecting art from Latin America in 1963 and since then has amassed one of the country’s largest and finest collections of Latin American art. The museum’s Latin American collection now includes 2,500 works of modern and contemporary painting, prints, drawing, conceptual art, installation, video, and sculpture, alongside its growing holdings of art of the Spanish and Portuguese Americas. In 1988, the Blanton became the first museum in the United States to establish a curatorial position devoted to modern and contemporary Latin American art.

Unknown artist, Portable Desk, Bolivia, 1751, tempera, oil, and gold on wood (Blanton Museum of Art, The University of Texas at Austin).

“The acquisition of the Huber collection furthers our leadership in the field of Latin American art as a whole,” said Beverly Adams, Blanton curator of Latin American art. “The dialogues between modern and contemporary art with historical material that have emerged in our galleries and in our research over the past few years have been illuminating. We are thrilled to continue to be stewards for the artistic and scholarly value of the art of this significant period, alongside our partners on campus at UT.”

The museum’s expanded focus on art from the colonial period encompasses collecting, researching, and exhibiting. In 2016, the Carl & Marilynn Thoma Art Foundation announced a long-term loan of works from its distinguished collection and a major grant that established a curatorship in Spanish colonial art. In partnership with LLILAS Benson Latin American Studies and Collections at UT, the Blanton launched a cross-campus interdisciplinary program to facilitate object-based teaching, research, and scholarship on visual and material culture from this period. In 2017, the Colección Patricia Phelps de Cisneros gifted a group of 83 Venezuelan works of painting, sculpture, and furniture from the period to the Blanton.

“A unique strength of UT Austin is our commitment and leadership in Latin American scholarship and art. Through world-class collections, like this, the educational benefit to students, faculty, and our community cannot be understated. We are immensely grateful for the Hubers’ vision, and we are excited about the impact this collection will provide for generations to come,” said Maurie McInnis, executive vice president and provost.

Unknown artist, Coquera (coca box), Bolivian, ca. 1730, silver (Blanton Museum of Art, The University of Texas at Austin).

The museum acquisition was funded by the university, with additional support from Judy and David Beck, Leslie and Jack Blanton, Jr., Jeanne and Michael Klein, Judy and Charles Tate, and an anonymous donor. Highlights include an early 18th-century silver coquera box (for the storage of coca leaves) from Bolivia; a gorgeous bust-sized reliquary of St. Augustine from Mexico (ca. 1650); the impressive portrait of Rosa de Salazar y Gabiño, Countess of Monteblanco and Montemar (ca. 1764–71) attributed to Peruvian Cristobal Lozano; and a sculpture of the Virgin Mary attributed to Francisco Xavier de Brito, active in Minas Gerais, Brazil, in the mid 1700s. Among the furniture is a portable desk from the 18th century, which originated at one of the famed Jesuit missions of Chiquitos, in what is now Santa Cruz, Bolivia, and a UNESCO World Heritage Site.

This fall, a selection of objects from the Huber collection will make their debut in the Blanton exhibition Painted Cloth: Fashion and Ritual in Colonial America, which is made possible by lead funding and loans from the Thoma Foundation, as well as other loans from around the world. Painted Cloth examines the social role of textiles and their visual representations in different media produced in Bolivia, Mexico, Peru, and Venezuela during the 1600s and 1700s.

Lecture | Sally Jeffery on Nicholas Hawksmoor at Castle Howard

Posted in lectures (to attend) by Editor on February 6, 2019

This talk by Sally Jeffery is part of The Gardens Trust’s Winter Lecture Season:

Sally Jeffery, Nicholas Hawksmoor and Castle Howard Gardens
The Gallery, 77 Cowcross Street, London, 6 March 2019

Architectural and garden historian Dr Sally Jeffery will discuss her recent research on Hawksmoor’s designs for Wray Wood, Castle Howard. Among documents formerly at Wilton House are four sketches for streams and rockwork attributed to Nicholas Hawksmoor (1661–1736) that have recently been identified as projects for the garden in Wray Wood, Castle Howard. This naturalistic woodland garden was much admired by early visitors, who commented on its innovative features, including a cave, an artificial stream with cascades and rockwork, and much classical sculpture inspired by Ovid. Little now survives, but using these drawings and other records, a picture of the garden can be constructed, and Hawksmoor’s role in the design can be better appreciated. Wednesday, 6 March 2019, 18:00.

New Book | Eighteenth-Century Art Worlds

Posted in books by Editor on February 4, 2019

Published this month by Bloomsbury:

Stacey Sloboda and Michael Yonan, eds., Eighteenth-Century Art Worlds: Global and Local Geographies of Art (London: Bloomsbury Visual Arts, 2019), 312 pages, ISBN: 978-1501335488, $117.

While the connected, international character of today’s art world is well known, the eighteenth century too had a global art world. Eighteenth-Century Art Worlds is the first book to attempt a map of the global art world of the eighteenth century. Fourteen essays from a distinguished group of scholars explore both cross-cultural connections and local specificities of art production and consumption in Africa, the Americas, Asia, and Europe. The result is an account of a series of interconnected and asymmetrical art worlds that were well developed in the eighteenth century.

Capturing the full material diversity of eighteenth-century art, this book considers painting and sculpture alongside far more numerous prints and decorative objects. Analyzing the role of place in the history of eighteenth-century art, it bridges the disciplines of art history and cultural geography, and draws attention away from any one place as a privileged art-historical site, while highlighting places such as Manila, Beijing, Mexico City, and London as significant points on globalized map of the eighteenth-century art world. Eighteenth-Century Art Worlds combines a broad global perspective on the history of art with careful attention to how global artistic concerns intersect with local ones, offering a framework for future studies in global art history.

Stacey Sloboda is Paul H. Tucker Professor of Art at the University of Massachusetts Boston. Michael Yonan is Associate Professor of Art History at the University of Missouri.

C O N T E N T S

List of Illustrations
Acknowledgements

1  Stacey Sloboda and Michael Yonan, Mapping Eighteenth-Century Art Worlds
2  Kristina Kleutghen, Flowering Stone: The Aesthetics and Politics of Islamic Jades at the Qing Court
3  Michele Matteini, The Market for ‘Western’ Paintings in Eighteenth-Century East Asia: A View from the Liulichang Market in Beijing
4  Timon Screech, Floating Pictures: The European Dimension to Japanese Art during the Eighteenth Century
5  Yeewan Koon, A Chinese Canton? Painting the Local in Export Art
6  J. M. Mancini, Pedro Cambón’s Asian Objects: A Transpacific Approach to Eighteenth-Century California
7  Kelly Donahue-Wallace, Making It Ours: Religious Art in Eighteenth-Century Colonial Spanish American Newspapers
8  Mari-Tere Álvarez and Charlene Villaseñor Black, Tortoiseshell and the Edge of Empire: Artistic Materials and Imperial Politics in Spain and France
9  Kristel Smentek, Other Antiquities: Ancients, Moderns, and the Challenge of China in Eighteenth-Century France
10  Hannah Williams, Drifting through the Louvre: A Local Guide to the French Academy
11  Carole Paul, The Art World of the European Grand Tour
12  Michael Yonan, The African Geographies of Angelo Soliman
13  Prita Meier, Toward an Itinerant Art History: The Swahili Coast of Eastern Africa
14  Stacey Sloboda, St. Martin’s Lane in London, Philadelphia, and Vizagapatam

List of Contributors
Bibliography
Index

At Sotheby’s | The Female Triumphant

Posted in Art Market by Editor on February 3, 2019

Press release (30 January 2019), from Sotheby’s:

The Master Paintings Evening Sale, N10007
Sotheby’s, New York, 30 January 2019

Elisabeth-Louise Vigée Le Brun, Portrait of Muhammad Dervish Khan, 1788. The painting of India’s ambassador to France sold for $7.2million, surpassing it’s high estimate of $6million.

Sale of Elisabeth-Louise Vigée Le Brun’s Portrait of Muhammad Dervish Khan establishes a new world auction record for any female artist of the pre-modern era.

Sotheby’s annual Masters Week sales series kicked off on Wednesday in New York, with 170 paintings and drawings sold across two auctions for an overall total of $67.8 million. The day began with Sir Peter Paul Rubens’s drawing of a Nude Study of Young Man with Raised Arms (Lot 15) selling for $8.2 million—a new world auction record for any drawing by the iconic artist. That result helped propel the Old Master Drawings Sale (N10006) to a $15.1 million total, which itself marks the highest total for this category in Sotheby’s history. The Master Paintings Evening Sale (N10007) included the work of groundbreaking female artists of the 16th–19th centuries and established multiple auction records, most notably for Elisabeth-Louise Vigée Le Brun, whose Portrait of Muhammad Dervish Khan (Lot 48) achieved an incredible $7.2 million—a new world auction record for any female artist of the pre-modern era.

Sotheby’s Masters Week series continued through Saturday, with online sales of Old Masters and 19th Century European Art open for bidding through 6 February. Below is a look at some of the highlights that drove the results of Wednesday’s auctions:

The Female Triumphant

To highlight this year’s Masters Week sales series, Sotheby’s assembled a group of works by female artists of the pre-Modern era, celebrating the lives and important work of these groundbreaking women. Titled The Female Triumphant, the group features major paintings, drawings and sculpture created by leading female artists from the 16th through the 19th centuries.

Angelika Kauffmann, Portrait of Three Children, Likely Lady Georgina Spencer (Later Duchess of Devonshire), Lady Henrietta Spencer, and George Viscount Althorp, ca. 1766–70, oil on canvas.

Calvine Harvey, Specialist in Sotheby’s Old Master Paintings Department in New York, commented: “The number of Old Master female artists who succeeded and are known to us today remains incredibly few: in 2018, Sotheby’s sold only 14 works by female Old Masters, compared to 1,100 male artists. It’s important to remember that the obstacles women artists of the pre-Modern era faced were substantial, and those that broke down those barriers were truly triumphant. It was therefore such a thrill to see strong prices throughout our initial offering of works from The Female Triumphant—none more so than the monumental portrait by Elisabeth-Louise Vigée Le Brun that achieved a new auction record for any work by a female artist of the pre-Modern era. With additional records established for the work Fede Galizia, Angelica Kauffmann, and Giulia Lama, the market clearly responded to the work of these groundbreaking women, including both new and established collectors.”

The initial offering of The Female Triumphant collection featured the top lot of tonight’s auction: Elisabeth-Louise Vigée Le Brun’s life-sized Portrait of Muhammad Dervish Khan, which achieved an astounding $7.2 million, a new world auction record for any female artist of the pre-modern era. Painted in the summer of 1788 and exhibited at the Salon of 1789, when political unrest had begun to boil in France, the work stands today as a symbolic testament to the relationship between Pre-Revolutionary France and India.

Fede Galizia, A Glass Compote with Peaches, Jasmine Flowers, Quinces, and a Grasshopper, oil on panel.

Works from The Female Triumphant established additional auction records for Fede Galizia, Angelika Kauffmann, and Giulia Lama. A pioneer of the still life genre, which she helped invent in the early 17th-century, Fede Galizia’s A Glass Compote with Peaches, Jasmine Flowers, Quinces, and a Grasshopper (Lot 42) achieved $2.4 million (estimate $2/3 million). Although she produced fewer than 20 refined, naturalistic still life compositions on panel, these works inspired followers in her lifetime and are now considered her most important paintings.

One of the wealthiest families in England, the young generation of Spencers likely depicted in Angelika Kauffmann’s Portrait of Three Children (Lot 52), sold for $915,000, surpassing its high estimate of $800,000. One of the most cultured and influential women of her generation, Angelika Kauffmann holds a place of particular importance in European art history as one of only two female founding members of the Royal Academy.

The full press release is available here

More information about Le Brun’s Portrait of Muhammad Dervish Khan is available here

Lecture | Susan Rather, “Constructing the American School”

Posted in lectures (to attend) by Editor on February 3, 2019

Susan Rather, “Constructing the American School”
The Smithsonian American Art Museum, Washington, D.C., 7 February 2019

The Smithsonian American Art Museum invites you to join Dr. Susan Rather, Professor of Art History at the University of Texas at Austin, for a lecture entitled “Constructing the American School” on Thursday, 7 February 2019, at 4:00pm EST at the museum.

Professor Rather is the author of The American School: Artists and Status in the Late Colonial and Early National Era (New Haven and London: Yale University Press for the Paul Mellon Centre for Studies in British Art, 2016), which was awarded the 2018 Charles C. Eldredge Prize for Distinguished Scholarship in American Art from the Smithsonian American Art Museum–in addition to winning the New England Society Book Award for Art and being short-listed for the William MB Berger Prize for British Art History.

What did it mean to be an artist in the 18th- and early-19th-century Anglophone world, and how did artists come to be regarded as professionals distinct from artisan makers? Professor Rather addresses how she came to this project and how it developed, as well as the benefits of mining even the most familiar or the slightest textual evidence. Following brief consideration of well-known painters (Copley, West, and Stuart) who successfully engineered their own legacy, the lecture focuses on the necessity, challenges, and rewards of restoring non-elite painters to the narrative of American art at its beginnings.

Those unable to attend the lecture can watch a live webcast here»