Enfilade

Display | Reproducing the 18th Century: Copying French Furniture

Posted in exhibitions by Editor on April 27, 2014

Now on at The Wallace:

Reproducing the 18th Century: Copying French Furniture
The Wallace Collection, London, 10 March — 29 August 2014

Secretaire, Pierre-Antoine Foullet, c.1777

Secretaire, Pierre-Antoine Foullet, c.1777
(London: The Wallace Collection)

In the second half of the 19th century and the first decade of the 20th century, many of the best pieces of 18th-century French furniture were copied by skilled cabinet-makers in Paris and London. Rather than being dismissed as mere ‘reproductions’, these copies were of great quality and were highly prized by their owners.

In this display in the Conservation Gallery, the Wallace Collection’s desk by Pierre-Antoine Foullet (circa 1777) is compared with one such copy, kindly lent by Butchoff Antiques, enabling visitors to compare the construction techniques and finishes of two different periods of cabinet making.

Much more information is available at The Wallace Collection’s blog»

Symposium | The Collector and His Circle

Posted in conferences (to attend) by Editor on April 27, 2014

From The Seminar on Collecting and Display:

The Collector and His Circle
Institute of Historical Research and The Wallace Collection, London, 1–2 July 2014

This two-day workshop presents new research in the area of collecting and art markets in the early modern era (1700–1900). Speakers examine the mutual interests of collectors and art patrons; the client relationships between dealers and collectors; the roles of advisers, museum curators and critics; and the importance of art publications.

◊  ◊  ◊  ◊  ◊

T U E S D A Y ,  1  J U L Y  2 0 1 4
Institute of Historical Research

10.00  Registration and coffee

10.25  Welcome from Adriana Turpin, IESA/University of Warwick

10.30  The Early 18th Century

• Charles Avery, Historian of Sculpture and Independent Fine Art Consultant, ‘The sculptor Soldani and the marketing of Baldinucci’s collection of paintings’
• Christophe Guillouet, PhD candidate, Université Paris IV Sorbonne, ‘Genre painting in the circles of Parisian collectors’
• Franny Brock, PhD candidate, The University of North Carolina at Chapel Hill, ‘‘‘Chez Monsieur Huquier’’: the role of Gabriel Huquier’s collection in interactions among artists, dealers, and collectors’

12.00  The Role of the Print Market

• Donato Esposito, independent scholar, Birmingham, ‘Charles Rogers (1711–1784) and his circle’
• Lucy Peltz, Curator, 18th Century Collections, National Portrait Gallery, London,  ‘‘‘Brother Chalcographimanians’’: extra-illustration, the Sutherland Clarendon and the print market c. 1790–1840’

13.00  Lunch

14.15  The Collector and His Advisors in the Early 19th Century

• Sarah Bakkali, PhD candidate, Université Paris X Nanterre, ‘John Trumbull’s “speculative” adventure: circles of collecting between Paris and London during the French Revolution’
• Rufus Bird, Deputy Surveyor of The Queen’s Works of Art, The Royal Collections Trust, ‘The Prince and the pâtissier: François Benois’ acquisitions in Paris for the Prince Regent’
• Susanna Avery-Quash, Curator (History of Collecting), National Gallery, London, ‘John Julius Angerstein: an 18th-century London financier and his circle of art advisers’
• Rebecca Lyons, Christie’s Education, London, and PhD candidate, University of Cambridge: ‘Connoisseurship and commerce: the relationship between the Prince Regent and the 3rd Marquess of Hertford’

16.15  Coffee

16.45  Late 19th-Century Collecting

• Dora Thornton, Curator of the Waddesdon Bequest and Curator of Renaissance Europe, The British Museum, ‘Baron Ferdinand Rothschild and the Waddesdon Bequest in the British Museum: a new look’
• Elena Greer, National Gallery, London, ‘Sir Frederic Burton and his Trustees: the politics of collecting for the nation in the late nineteenth century’.

18.00  Reception

W E D N E S D A Y ,  2  J U L Y  2 0 1 4
The Wallace Collection

9.30  Registration and coffee

9.55  Welcome from Christoph Vogtherr, Director, The Wallace Collection

10.00  Jeremy Warren, Collections and Academic Director, The Wallace Collection, ‘Patrons and collectors: new acquisitions for the history of collecting at the Wallace Collection’

10.30  Curators, Antiquarians and Archaeologists

• Judy Rudoe, Curator of Nineteenth- and Twentieth-Century Collections, The British Museum, ‘The role of a remarkable curator: letters from Justus Brinckmann to Charles Hercules Read’
• Elizabeth Norton, Collaborative Doctoral Award Student, The University of Southampton and The British Museum, ‘Polished axes: viewing networks behind the construction of prehistory at the British Museum’
• Francesca de Tomasi, PhD candidate, Università di Roma Tor Vergata, ‘The archeologia mondana and its protagonists’
• Ulf  R. Hansson, Research Fellow, Department of Classics, The University of Texas at Austin, ‘Adolf Furtwängler and the culture of professional and amateur collecting in Munich around the turn of the century 1900’

12.30  Lunch and opportunity to see a display of new acquisitions for the history of collecting at the Wallace Collection

14.00  Artists and Collectors

•  Annalea Tunesi, PhD candidate, University of Leeds, ‘Stefano Bardini and Riccardo Nobili’
• Patricia de Montfort, Lecturer in History of Art, University of Glasgow, ‘Collecting women’s works: Louise Jopling, the Rothschilds and their circle’
• Annie Pfiefer, PhD candidate, Department of Comparative Literature, Yale University, “‘The American Invasion”: Henry James and the collecting of Europe’

15.30  Coffee

16.00  Keynote address: Frank Herrmann, independent scholar and author of The English as Collectors, ‘Lady Charlotte Schreiber: a truly remarkable woman’

16.30  Round table and concluding remarks

Call for Papers | Made People: The Beauty of the Body

Posted in Calls for Papers by Editor on April 27, 2014

Made People: The Beauty of the Body in Art and Cosmetics—An Academic Workshop in Two Parts

Made People I: Make-up
Freie Universität Berlin, 26–27 June 2015
Made People II: Makeover
Kunsthistorisches Institut in Florenz,Max-Planck-Institut, 20–21 November 2015

Proposals due by 31 July 2014

Since antiquity, beauty has been regarded as a work of art in which nature plays a role not so much as a holistic model and ideal but as a basic substance and an ‘assembly kit’. This concept of composite beauty bears the reservation that beauty as an entity only exists in an incomplete form in nature. It suggests that work can be performed on the human body, both to improve and to correct it. The initial hypothesis is that such work represents a concept combining artistic, cosmetic and medical practices that sees the techniques of art in a fundamental field of tension vis-à-vis the substances provided by nature.

Even more than in painting and sculpting, both of which pursued a demonstration of their autonomy and perfection in estheticizing nature in the fifteenth and sixteenth centuries, a supposed inadequacy of what nature had to offer became a lasting point of friction and even the sole legitimisation in the practice of putting on make-up or doing one’s hair and in more recent beauty surgery. While the impression of naturalness remained virulent as a measurement and an ideal, as it also  does in art that continuous to pursue imitatio, the boundary to reality simultaneously became permeable, so that beauty could literally assume the role of a second nature and the stylist could turn into an alter deus.

Designed as an interdisciplinary event, the workshop explores the norms and techniques of such an estheticizing treatment of nature in the fields of art, cosmetics and plastic surgery regarding physical beauty and the instruments and guiding principles of its creation or enhancement. In two sessions, it traces the various degrees of cosmetic and artistic treatment of and intervention in the natural body from antiquity to the present, examining its superficial make-up on the one hand and its far-reaching makeover on the other. Here, special attention is given to the techniques of estheticization, the processes of selection and synthesis as well as the modification or modelling of parts of the body with respect to both colours and shapes. Such a focus also allows for a demonstration of the violent side that the ideal of beauty bears which ultimately always entails changes to nature, a dissection of the body into beautiful individual parts and their chimera-like reassembling.

The aim of the workshop is to promote academic exchange between junior scholars and established experts. Also, with the aid of a selection of source texts and a common discussion of selected museum exhibits on site, a common thematic basis is to be developed that covers beautifying techniques of make-up and makeover and reaches beyond individual specialisation.

Junior scholars from all disciplines are invited to hand in proposals for twenty-minute contributions in German or English on the presentations and design of physical beauty between nature and art and cosmetics and medicine. Abstracts not exceeding 500 words and a brief CV are to be submitted to workshop@gemachtemenschen.net by July 31, 2014. Travel and accommodation expenses will be covered if applications for funding are accepted.

Organization
Dr. Romana Filzmoser, Universität Salzburg
Prof. Dr. Wolf-Dietrich Löhr, Freie Universität Berlin/Kunsthistorisches Institut in Florenz, Max-Planck-Institut
Julia Saviello M. A., Ludwig-Maximilians-Universität München