Enfilade

New Book | Burlington House

Posted in books by Editor on November 20, 2018

Available from Distributed Art Publishers (DAP) . . .

Nicholas Savage, Burlington House: The Architectural History of the Home of the Royal Academy of Arts (London: Royal Academy of Arts, 2018), 368 pages, ISBN: 978-1910350805, £60 / $75.

On Charles II’s restoration to the throne in 1660, four of his supporters were provided with plots of land in a leafy suburb of London, on which to build their extravagant town palaces. The only one to survive—built for the poet and courtier Sir John Denham (1615–1669) and now situated in the heart of Piccadilly—became the home of the Royal Academy of Arts, its exhibitions and its Schools.

This significant study charts the history of the estate through its many owners, including the 3rd Earl of Burlington (1694–1753), who gave the house not only its name but also its influential character and distinctive architecture, which remains an unparalleled example of the Palladian style in England. Nicholas Savage’s thorough research studies 350 years of social and architectural history, as well as revealing the next phase in the life of the estate, with the joining up of Burlington House and James Pennethorne’s nineteenth-century neo-classical building that was constructed in its garden. This link opens up Burlington House as never before in a breath-taking redevelopment led by Sir David Chipperfield to celebrate the institution’s 250th anniversary.

The architectural historian Nicholas Savage is former Head of Collections at the Royal Academy of Arts and co-author of Genius and Ambition: The Royal Academy of Arts, London, 1768–1918 (RA Publications, 2015).

C O N T E N T S

Preface

1  Sir John Denham
2  The Earls of Burlington and Cork
3  The Cavendish Family
4  Her Majesty’s Office of Works
5  Royal Academy of Arts

Notes
Selected Bibliography and Further Reading
Photographic Acknowledgments
Index

The French Porcelain Society Journal 7 (2018)

Posted in journal articles by Editor on November 20, 2018

Image from the front cover: Vase ‘Théricléen’, formerly with gilt-bronze handles, hard-paste porcelain, painted in enamel colours and gilt. The side of the rim bears the Sèvres factory mark for 1844 and a printed label lettered “Given by His Majesty King Louis Philippe First, King of the French, to Wm. Standish Standish, ESQ., September 1844.” 51cm high, including an ormolu base 2.8cm high (The Bowes Museum, Barnard Castle, 1995.33).

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Copies can be ordered from the Society’s website:

Diana Davis, Oliver Fairclough and John Whitehead, eds., French Porcelain in the Nineteenth Century, 1789–1918: Makers, Markets and Museums. The French Porcelain Society Journal 7 (2018), 282 pages, £20 UK, £30 overseas.

The French Porcelain Society is delighted to announce the publication of its new journal French Porcelain in the Nineteenth Century, 1789–1918: Makers, Markets and Museums.  Dedicated to the porcelain specialist Anthony du Boulay, the journal has been edited by Diana Davis, Oliver Fairclough and John Whitehead. Thirteen peer-reviewed articles, fully illustrated in colour and black and white, cover, among much else, topics such as porcelain made in the service of the French Revolution, the formation of outstanding British collections of French porcelain by George Watson-Taylor and Lady Dorothy Nevill, the influence of the historian Baron Jean-Charles Davillier, the growth of the new museums and the role of the dealer in decorative art. Towering over the whole is Alexandre Brongniart, with articles on the Expositions des Produits de l’Industrie française and his influence on the ceramics collection at the little-known Museum of Practical Geology in London’s Jermyn Street. Other contributions discuss technical advances at the Sèvres manufactory during the nineteenth century, Paris porcelain, nostalgia for ‘vieux Sèvres’ and ‘vieux Saxe’ in France, a ceramics conundrum of grand vases, a royal gift from Louis Philippe to the Standish family, and, leading into the twentieth century, the ceramics of Seraphim Soudbinine.

C O N T E N T S

• Tom Stammers, Historian, Patriot and Paragon of Taste: Baron Jean-Charles Davillier (1823–83) and the Study of Ceramics in Nineteenth-Century France
• Iris Moon, Mirabeau in Biscuit: Political Reputations and the Changing Aesthetics of Porcelain during the French Revolution
• Antoine d’Albis, Les progrès techniques à Sèvres au XIXe siècle
• Elodie Goëssant, Imitator or Connoisseur? A Study of the Sèvres Porcelain Collection of George Watson Taylor, Esq., MP (1771–1841)
• Tamara Préaud with Aileen Dawson, Alexandre Brongniart and the Expositions des Produits de l’industrie française, 1819–44
• Susan Newell, Alexandre Brongniart, Museological Muse? Reflections on Brongniart’s Influence on the Formation of the Ceramics Collection at London’s Museum of Practical Geology, c. 1850
• Howard Coutts, Louis Philippe’s Gifts of Sèvres Porcelain to the Standish Family of Duxbury Hall, Lancashire, and Cocken Hall, County Durham
• Régine de Plinval de Guillebon, De la Porcelaine fabriquée à Paris à la Porcelaine décorée à Paris Evolution pendant la première moitié du XIXe siècle
• Audrey Gay-Mazuel, Nostalgie pour le ‘vieux Sèvres’ et le ‘vieux Saxe’: Les lignes rocailles de la porcelaine de Paris au XIXe siècle
• Caroline McCaffrey-Howarth, Reclaiming Her Scandalous Past: Lady Dorothy Nevill (1826–1913) as a Collector of Sèvres Porcelain
• Diana Davis, From Private to Public: A Dihl and Guérhard ‘Sabines’ Vase
• Bet McCleod and John Whitehead, A Grand Confusion of Sèvres Vases
• Ekaterina Khmelnitskaya, Seraphin Soudbinine: From Rodin’s Assistant to Ceramic Artist

New Book | La griffe du peintre

Posted in books by Editor on November 19, 2018

From Le Seuil:

Charlotte Guichard, La griffe du peintre: La valeur de l’art, 1730–1820 (Paris: Le Seuil, 2018), 352 pages, ISBN: 978-2021402315, 31€.

Comment le nom de l’artiste est-il devenu un élément clef de la valeur symbolique et commerciale des œuvres ? La question est au cœur de cette enquête novatrice sur la signature en peinture. C’est à Paris, entre les années 1730 et 1820, que se déploie cette enquête richement illustrée, lorsque s’instaurent les institutions modernes des mondes de l’art : salons et expositions publiques, ventes aux enchères, musées. Les peintres français (Jean-Siméon Chardin en tête) se mettent à apposer leur nom sur les tableaux alors même que le nom de l’artiste devient un élément clef qui organise les écrits sur l’art : critiques, catalogues, cartouches et cartels, au point qu’un contemporain constate alors, avec dépit, que les amateurs se mettent à acheter « des noms, et non plus des œuvres ».

Mais pourquoi placer ainsi son nom sur un panneau de bois ou sur une toile ? La tradition est ancienne, et remonte à l’Antiquité. Pourtant, les peintres de l’âge des Lumières surent investir le nom de significations nouvelles. À Paris, le marché pour leurs peintures s’était élargi, avec la multiplication des ventes aux enchères, et ils ne pouvaient plus se contenter des cercles étroits de la commande princière ou celle des riches élites. Il fallait susciter le désir de consommation au moment où un premier capitalisme commercial fondé sur le luxe et sur la mode connaissait un essor sans précédent avant de s’imposer aux sociétés européennes au siècle suivant. La signature fut ce lieu, dans le tableau, où la valeur pouvait se concentrer et perdurer, où le culte de l’artiste pouvait matériellement se déposer.

Charlotte Guichard est historienne de l’art, directrice de recherche au CNRS et professeure attachée à l’École normale supérieure. Spécialiste des cultures visuelles et de l’art des Lumières, elle a publié Les Amateurs d’art à Paris au XVIIIe siècle (Champ Vallon, 2008) et Graffitis. Inscrire son nom à Rome. XVIe-XIXe siècle (Seuil, 2014).

Exhibition | De Vouet à Boucher

Posted in books, catalogues, exhibitions by Editor on November 19, 2018

Now on view at Musée des Beaux-Arts d’Orléans:

De Vouet à Boucher, au cœur de la collection de Motais de Narbonne
Musée des Beaux-Arts d’Orléans, 15 September 2018 — 13 January 2019

Curated by Olivia Voisin and Viviane Mesqui

Le musée des Beaux-Arts d’Orléans présentera du 15 septembre 2018 au 13 janvier 2019 l’intégralité de la collection d’Héléna et de Guy Motais de Narbonne dans une exposition originale plongeant au coeur de l’univers des collectionneurs : entre culture muséale et connoisseurship, les Motais de Narbonne ont rassemblé 80 tableaux des XVIIe et XVIIIe siècles, italiens et français, résolument tournés vers l’histoire.

Leur collection, qui par ses artistes et par ses sujets entre en résonnance avec la collection de peintures anciennes du musée des Beaux-Arts d’Orléans, sera montrée pour la première fois au public dans son intégralité, en dialogue avec des oeuvres de collections publiques ou privées.

Cette exposition se place sous le parrainage de Pierre Rosenberg, membre de l’Académie française et grand connaisseur de la collection Motais de Narbonne, en collaboration avec de nombreux historiens de l’art. Tout au long du parcours, le visiteur pénétrera dans l’intimité d’une collection privée vivante, rythmée par les histoires et les coups de coeur qui ont conduit à sa constitution. Les Motais de Narbonne partagent avec cette exposition non seulement l’exceptionnelle collection qu’ils ont rassemblée, mais également une part de l’histoire intime qui se tisse entre un amateur et un tableau. L’émotion, les motifs insolites et surprenants occupent ainsi une place particulière dans le coeur d’Héléna et de Guy Motais de Narbonne, stimulant leur regard et générant parfois une acquisition. De même, leur vif intérêt pour les musées, qui a joué un rôle déterminant dans la formation de leur regard et de leur goût, ponctue le parcours par des rapprochements avec des peintures qui les ont inspirés.

The press kit (dossier de presse) is available here»

Viviane Mesqui and Pierre Rosenberg, De Vouet à Boucher, au coeur de la collection Motais de Narbonne (Heule: Snoeck, 2018), 263 pages, ISBN: 978-9461614742, $50.

New Book | The Art of Armenia: An Introduction

Posted in books by Editor on November 19, 2018

From Oxford UP:

Christina Maranci, The Art of Armenia: An Introduction (Oxford University Press, 2018), 272 pages, ISBN: 978-0190269005, $40.

Though immediately recognizable in public discourse as a modern state in a political ‘hot zone’, Armenia has a material history and visual culture that reaches back to the Paleolithic era. This book presents a timely and much-needed survey of the arts of Armenia from antiquity to the early eighteenth century CE. Divided chronologically, it brings into discussion a wide range of media, including architecture, stone sculpture, works in metal, wood, and cloth, manuscript illumination, and ceramic arts. Critically, The Art of Armenia presents this material within historical and archaeological contexts, incorporating the results of specialist literature in various languages. It also positions Armenian art within a range of broader comparative contexts including, but not limited to, the ancient Mediterranean and Near East, Byzantium, the Islamic world, Yuan-dynasty China, and seventeenth-century Europe. The Art of Armenia offers students, scholars, and heritage readers of the Armenian community something long desired but never before available: a complete and authoritative introduction to three thousand years of Armenian art, archaeology, architecture, and design.

Christina Maranci is Arthur H. Dadian and Ara T. Oztemel Professor of Armenian Art at Tufts University, and a specialist on the medieval era. She has published and lectured widely, having authored three previous monographs and over seventy essays, articles, and reviews. Her work combines scholarship on the history of Armenian art and architecture with advocacy for at-risk Armenian heritage, particularly medieval monuments in the Republic of Turkey.

C O N T E N T S

Preface
Introduction

1  The Art of Ancient Armenia
2  Art of the Early Medieval Era
3  The Age of the Kingdoms
4  The Art of Armenian Cilicia
5  Greater Armenia in the Twelfth to Fifteenth Centuries
6  Art, Empire, and Diaspora (the Fifteenth to Eighteenth Centuries)
7  Postscript: Memory and Heritage

Bibliography
Index

Exhibition | Armenia!

Posted in books, catalogues, exhibitions by Editor on November 18, 2018

Altar Frontal, detail, New Julfa, 1741; gold, silver, and silk threads on silk (Mother See of Holy Etchmiadzin, Armenia; photo by Hrair Hawk Khatcherian and Lilit Khachatryan).

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Press release (20 September 2018) for the exhibition now on view at The Met:

Armenia!
The Met Fifth Avenue, New York, 22 September 2018 — 13 January 2019

Curated by Helen Evans, with C. Griffith Mann and Constance Alchermes

Armenia! explores the arts and culture of the Armenians from their conversion to Christianity in the early fourth century through their leading role on international trade routes in the 17th century. The exhibition emphasizes how Armenians developed a distinctive national identity in their homeland at the base of Mt. Ararat (widely accepted as the resting place of Noah’s Ark) and how they maintained and transformed their traditions as their communities expanded across the globe.

Kütahya Vessel, 18th century, stonepaste; polychrome painted under transparent glaze, 6.7 cm high (New York: The Metropolitan Museum of Art, 02.5.45).

More than 140 opulent gilded reliquaries, richly illuminated manuscripts, rare textiles, liturgical furnishings made of precious materials, khachkars (cross stones), church models, and printed books demonstrate Armenia’s distinctive imagery in their homeland and other major Armenian sites, from the Kingdom of Cilicia on the Mediterranean to New Julfa, in Safavid Persia. Select comparative works display Armenian interaction with other cultures. Major Armenian repositories of their culture provide almost all the works in the exhibition. Most are on view in the United States for the first time; many have not traveled for centuries.

Armenia! focuses on major Armenian centers of production from their homeland west and east. It includes images of Armenians, from self-portraits to depictions of male and female rulers, donors, theologians, and historians. Special attention is given to works by major artists such as T’oros Roslin, Sargis Pidzak, Toros Taronatsi, and Hakob of Julfa working in the Armenian homeland, the Kingdom of Cilicia, and New Julfa.

More than half of the works on display are on loan from The Republic of Armenia with the support of The Ministry of Culture. Imposing liturgical works are coming from the Mother See of Holy Etchmiadzin, the primary site of the Armenian Church. In Yerevan, the ‘Matenadaran’ Mesrop Masthots` Institute – Museum of Ancient Manuscripts is lending exceptional manuscripts, and the History Museum of Armenia is lending monumental church sculptures. The Holy See of Cilicia in Lebanon, the Armenian Patriarchate of Jerusalem, and the Armenian Mekhitarist Congregation in Venice are the other major Armenian religious communities lending exceptional works. Armenian collections lending select works are the Calouste Gulbenkian Museum in Portugal and in America, the Diocese of the Armenian Church (Eastern) (New York); the Armenian Museum of America (Boston); and the Alex and Marie Manoogian Museum (Southfield, Michigan). Additional works are coming from The Met and other American and European institutions.

Photographs of Armenian architecture and landscapes by noted Armenian-Canadian photographer Hrair Hawk Khatcherian and his assistant Lilit Khachatryan will provide context for the works in the exhibition, in the catalogue, and on the exhibition page of the website.

The exhibition was organized by Helen C. Evans, the Mary and Michael Jaharis Curator of Byzantine Art, with the support of C. Griffith Mann, the Michel David-Weill Curator in Charge, Department of Medieval Art and The Cloisters, and the assistance of Constance Alchermes, Research Assistant. Exhibition design is by Michael Langley, Exhibition Design Manager; graphics are by Chelsea Amato and Morton Lebigre, Graphic Designers; and lighting is by Clint Ross Coller and Richard Lichte, Lighting Design Managers.

The exhibition is made possible by The Hagop Kevorkian Fund. Additional support is provided by the Carnegie Corporation of New York, the Michel David-Weill Fund, the Armenian General Benevolent Union, The Giorgi Family Foundation, The Hirair and Anna Hovnanian Foundation, the Karagheusian Foundation, The Nazar and Artemis Nazarian Family, the Ruddock Foundation for the Arts, The Strauch Kulhanjian Family and The Paros Foundation, Aso O. Tavitian, and the National Endowment for the Arts.

The catalogue is distributed by Yale UP:

Helen Evans, ed., Armenia: Art, Religion, and Trade in the Middle Ages (New York: The Metropolitan Museum of Art, 2018), 352 pages, ISBN: 978-1588396600, $65.

As the first people to officially convert to Christianity, Armenians commissioned and produced astonishing religious objects. This sumptuous volume depicts and contextualizes the compelling works of art that defined the rich and complicated culture of medieval Armenians, including carvings, liturgical furnishings, beautifully illustrated manuscripts, gilded reliquaries, exquisite textiles, printed books, and more. Situated at the center of trade routes that connected the East and West during the Middle Ages, Armenia became a leading international trade partner for Seljuk, Mongol, Ottoman, and Persian overlords, while also serving as a powerful ally to Byzantium and European Crusader states. Written by a team of international scholars, with contributions from Armenian religious leaders, this book will stand as the definitive text on the art and culture of medieval Armenia.

Helen C. Evans is Mary and Michael Jaharis Curator of Byzantine Art in the Department of Medieval Art and The Cloisters at The Metropolitan Museum of Art.

Exhibition | Armenia: Art, Culture, Eternity

Posted in exhibitions, museums by Editor on November 18, 2018

Press release (25 October 2018) from the Armenian Museum of America:

Armenia: Art, Culture, Eternity
Armenian Museum of America, Watertown, Massachusetts, exhibition open from November 2018

Kütahya vessel, 18th century, polychrome fritware (Watertown, Massachusetts: Armenian Museum of America).

The Armenian Museum of America is pleased to share its vision for the future. Founded in 1971, the Museum serves as the largest repository of Armenian artifacts in the diaspora, as well as the largest ethnic museum in Massachusetts. As the Museum builds towards the future, it strives to create a stronger, more connected community through shared exploration of Armenian art and history, both for Armenians and those who are new to Armenian culture.

The Museum’s new gallery Armenia: Art, Culture, Eternity provides an overview of Armenian culture from antiquity to present-day Armenian experience here in the United States. Over fifty objects are on display, illustrating Armenia’s origins in the Asian continent, the invention of a unique Indo-European language and alphabet, the early adoption of Christianity, Armenian medieval illuminated manuscripts, interconnected trade routes, and the tragedy of the Genocide.

Armenia: Art, Culture, Eternity is the culmination of twelve months of intense research and design and represents a new level of scholarship and interpretation at the Museum. The project was made possible by the support of the Board of Trustees and was spearheaded by Executive Director Jennifer Liston Munson and architect Virginia Durruty, who worked side-by-side with Michele Kolligian, President of the Board of Trustees, on the inspired design. The gallery represents an incredible achievement and is the start of a holistic consideration of the entire Museum, which will examine everything from the building’s distinctive Brutalist architecture—including how the hard space is a meaningful metaphor for Armenia’s difficult history—to the Museum’s role in telling the modern Armenian-American cultural narrative.

Call for Essays | Forms and Genres of Book Illustration

Posted in Calls for Papers by Editor on November 18, 2018

From the Call for Essays:

Forms and Genres of Eighteenth-Century Book Illustration
Edited by Leigh G. Dillard and Christina Ionescu

Proposals due by 1 December 2018; completed chapters due in January 2020

Proposals are invited for a collection of essays designed for students and established researchers seeking an introduction to the field of eighteenth-century illustration, with special attention to its forms and genres. We invite proposals on a wide variety of topics, with particular interest in the following to fill gaps in our existing commitments:
• ballads
• broadsides
• children’s books
• criminal histories
• ephemera
• the epistolary tale
• funerary elegies
• the fantastic
• the historical romance
• literary almanacs
• literary galleries
• the philosophical tale
• songbooks

When possible, examples should be chosen from more than one national tradition. Please send 300–500 word proposals to Christina Ionescu (cionescu@mta.ca) and Leigh Dillard (leigh.dillard@ung.edu) by 1 December 2018. The deadline for the submission of completed chapters will be January 2020.

New Book | Fonthill Recovered

Posted in books by Editor on November 17, 2018

Distributed in North America by The University of Chicago Press:

Caroline Dakers, ed., Fonthill Recovered: A Cultural History (London: UCL Press, 2018) 406 pages, ISBN: 978-1787350465 (hardcover), $90 / ISBN: 978-1787350472 (paperback), $60.

Fonthill, Wiltshire, is typically associated with the writer and collector William Beckford, who built his Gothic fantasy house, Fonthill Abbey, there at the end of the eighteenth century. The collapse of the Abbey’s tower in 1825 transformed the name Fonthill into a symbol for overarching ambition and folly. But Fonthill is much more than the story of one man’s excesses, and the Abbey was only one of several important houses to be built there, all eventually consumed by fire or deliberately demolished—and all strangely forgotten by contemporary history

Fonthill Recovered draws on new research to explore the rich cultural history of this place where little remains today—a tower, a stable block, the ruins of what was once a kitchen, and an indentation in a field. The first half of the book traces the occupation of Fonthill from the Bronze Age to the twenty-first century. Some of the owners surpassed Beckford in terms of their wealth and political power—and even, in one case, their sexual proclivities. They include Charles I’s Chancellor of the Exchequer and the richest British commoner of the nineteenth century. The second half of the book consists of essays on specific topics, examining such crucial areas as the complex history of the designed landscape, the sources of the Beckfords’ wealth and their extensive art collection, and the recent appearance of the Abbey in a video game.

Caroline Dakers is professor of cultural history at Central Saint Martins and the author of several books, including Forever England and A Genius for Money. She has also curated exhibitions at the Leighton House Museum, London.

Launch of the Wentworth Woodhouse Preservation Trust

Posted in on site by Editor on November 16, 2018

From the Wentworth Woodhouse press release, via Rotherham Business News:

The Yorkshire launch of the The Wentworth Woodhouse Preservation Trust’s (WWPT) masterplan took place on Friday, 9 November 2018, with a host of civic dignitaries, local MPs, and representatives of heritage and arts experts from Yorkshire, Derbyshire, and Worksop in attendence. A New Life, the 500-page masterplan, aims to create a world-class visitor attraction with local heritage and culture exhibitions and a focus firmly on the restoration task. Visitors will be able to view heritage and culture exhibitions, explore more of the house and take ‘hard hat and Hi Viz’ tours onto the rooftop to witness restoration work as it happens. . .

For the main house, the future uses will include the main visitor attraction, commercial units, catering and luxury holiday accommodation. A café in the North Wing could be joined by a fine dining restaurant for approx 118 covers towards the East Front with private dining space within Octagonal game larder. State Bedrooms could be home to two suites for exclusive overnight accommodation to support events. A 5–6 bedroom guesthouse for holiday let and self-contained apartments for holiday let, could be created in the North and South Pavilions.

Fourteen commercial units suitable for small businesses are earmarked for the South Wing, and events space and administrative space for the Trust are also in the plans for the house. The plans for the former stable block and riding school, once palatial surroundings, include a range of visitor facilities, events space suitable for weddings, further events space in the courtyard, retail units for artisan crafts and fifteen self-contained apartments. . .

Concluding the masterplan, Sarah McLeod, CEO of WWPT, said: “Through investment, innovative thinking and an audience-focused approach, Wentworth Woodhouse will be a testament to the grit and fortitude of a region that has changed radically over the last century. It will be a beacon for learning. For new approaches to integrating heritage and business. It will be an iconic reminder of the passion, pride and power of the people who pulled together to make this happen.”

The BBC’s coverage of the masterplan is available here»

East front of Wentworth Woodhouse, in South Yorkshire, May 2015 (Photo by Andrew Rabbott, Wikimedia Commons). With construction of the east front starting around 1735, it is the longest façade (606 feet) of any country house in England.