Exhibition, Study Group, and Conference | Chinese Wallpaper

Posted in exhibitions by Editor on January 31, 2014

This posting depends upon the terrific communication channels maintained by an impressive network of people: Courtney Barnes of Style Court, Emile de Bruijn of Treasure Hunt for the National Trust, and the UCL-based project team for The East India Company at Home, 1757–1857. Anyone interested in participating should follow these links to contact the relevant parties. -CH

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From the latest East India Company at Home Newsletter (January 2014). . .

On 28 January [2014] Helen [Clifford] assisted with the Chinese Wallpaper Study Day held at the National Trust Office at Grosvenor Gardens, London. This event was organised as a means of drawing together those who are active in the Chinese Wallpaper Study Group, begun by Emile de Bruijn, to exchange information and help plan for a major international conference on the subject which we hope will be held this summer. Over 25 attendants included academics, students, curators, conservators, entrepreneurs and property managers.

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From Woburn Abbey:

Peeling Back the Years: Chinese Wallpaper at Woburn Abbey
Woburn Abbey and Gardens, Bedfordshire, opens 11 April 2014

Curated by Her Grace, The Duchess of Bedford and Lucy Johnson

hinese white male pheasant on a rock amongst tree peonies; detail from Chinese wallpaper hung in ‘His Grace’s Bedchamber’, April-May 1752 by Crompton & Spinnage

Chinese white male pheasant on a rock amongst tree peonies; detail from Chinese wallpaper hung in the 4th Duke of Bedford’s private bedchamber at Woburn Abbey, 1752 by Crompton & Spinnage

This exhibition tells the fascinating history of a decorative element with which we all live, in its most inventive and luxurious form. It begins by following one room’s story from the height of opulence in 1752 as the 4th Duke of Bedford’s private bedchamber, to its changing status as the housekeeper’s room, visitor entrance, tribute to the 4th Duke and current exhibition room.

Explore Woburn’s two distinct periods of Chinoiserie in both the house and garden. The recently discovered mid-18th-century wallpaper fragments in the family, private and State apartments were amongst the earliest Chinese wallpapers made for the European market and have not been seen since these rooms were redecorated in the late 18th and early 19th centuries. The second wave of Chinoiserie decoration in the early 19th century shows how taste and designs changed. The V&A has loaned a wallpaper photographed in Lady Ermyntrude’s sitting room in January 1884 and Endsleigh House Hotel, a wallpaper hung when Endsleigh was built as a family fishing lodge. Woburn is also collaborating with the National Trust Wallpaper Trail, and comparisons will be made with related wallpapers at Belton House, Felbrigg Hall, Ightham Moat, Penrhyn Castle, Saltram and Uppark.

A trail of artworks in the collection will show how the passion for Chinoiserie influenced the collecting taste of the Dukes of Bedford. A second trail of Chinoiserie features and Oriental plants will explain how this influence extended into the gardens, winner of the 2013 Georgian Group Architectural Award for Restoration of a Georgian Garden or Landscape.

Experience the processes which allow us to unravel a room’s history. Inventories and invoices show how these wallpapers were discovered, purchased and hung. Watch the story of the discovery, conservation and recreation of the wallpaper found in the 4th Duke’s private bedchamber unfold. See and handle materials used to make and conserve Chinese wallpapers and understand how we care for them today. Peeling Back the Years: Chinese Wallpaper at Woburn Abbey is included within the price of a standard admission ticket to Woburn Abbey and Gardens. Events for all age groups will be held throughout 2014 where visitors can meet the experts and engage in creative design.

DIA to Raise $100 Million for Its Independence

Posted in museums by Editor on January 31, 2014

For the most recent developments leading up to this announcement, Lee Rosenbaum provides useful coverage at CutureGrrl). Also, see Julia Halperin’s article at The Art Newspaper. From the DIA press release (29 January 2014)…

Detroit Institute of Arts to raise $100 Million toward Detroit’s Revitalization

As an anchor and investor in Detroit’s Midtown neighborhood, an educational resource for students and residents of Detroit, the tri-county area and all of Michigan and a provider of creative programs for numerous social service and community organizations in the City of Detroit and beyond, the Detroit Institute of Arts (DIA) is pleased to confirm its participation in the plan being facilitated by Judge Gerald Rosen, Chief Judge of the U.S. District Court for the Eastern District of Michigan, to help bring an end to the City’s bankruptcy, expand support for Detroit’s pensioners and protect the museum’s collection for the public in perpetuity. (more…)

New Book | European Paintings: Copying, Emulating and Replicating

Posted in books by Editor on January 31, 2014

A review of the May 2012 conference, which generated this collection of papers is available here. From Archetype:

Erma Hermens, ed., European Paintings, 15th–18th Century: Copying, Emulating and Replicating (London: Archetype Publications, 2014), 144 pages, ISBN: 978-1909492066, £40 / $85.

1385397273_EPCover6inchInspired by the European project Bosch & Bruegel: Four Paintings Magnified, this book contains papers which explore how art historical and technical examination of 15th- to 18th-century European paintings conducted in tandem can, not only address key subjects such as meaning, materials and manufacturing techniques, but also allow fresh perspectives on the prevailing workshop practices of copying, replicating and emulating paintings.

This book—to be published in association with CATS (Centre for Art Technological Studies and Conservation, Denmark)—will also be available for free access online from late December 2013.


Preface – Jorgen Wadum and Erma Hermens

1. Copies of Prototypes by Quentin Massys from the Workshop of his son Jan: the case of the butter Madonna – Maria Clelia Galassi

2. Emulating van Eyck: the significance of grisaille – Noëlle Streeton

3. Pieter Brueghel as a copyist after Pieter Bruegel – Christina Currie and Dominique Allart

4. An unpublished copy of Hieronymus Bosch’s Temptation of Saint Anthony – Catheline Périer-D’Ieteren

5. Two versions of a Boutsian Virgin and Child painting: questions of attribution, chronology and function – Eva de la Fuente Pedersen and Troels Filtenborg

6. A Technical Study of portraits of James VI and I attributed to John de Critz (d. 1642): Artist, workshop and copies – Caroline Rae and Aviva Burnstock

7. Calling authenticity into question: investigating the production of versions and copies in Tudor portraiture – Sophie Plender & Polly Saltmarsh

8. Materials as Markers: how useful are distinctive materials as indicators of master or copyist? – Libby Sheldon and Gabriella Macaro

9. Michiel van Mierevelt, copy master: Exploring the oeuvre of the Van Mierevelt workshop – Anita Jansen and Johanneke Verhave

10. The problem of the portrait copies painted by Rubens in Madrid, 1628–29 – Jeremy Wood

11. Assumption of the Virgin by studio of Peter Paul Rubens from the National Gallery of Art in Washington: between master’s piece and student’s copy – Julia Burdajewicz

12. After Raphael: The Hunterian Entombment copy examined in the context of copying practices in early 17th-century Rome – Helen Howard, Erma Hermens and Peter Black

13. The Strawberry Girl: repetition in Reynolds’s studio practice – Alexandra Gent, Rica Jones and Rachel Morrison

14. Joseph Booth’s chymical and mechanical paintings – David Saunders

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