Historic Buildings of Armagh and Monaghan in Context
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From the Irish Georgian Society:
Conservation without Frontiers: Historic Buildings of Armagh and Monaghan in Context
Armagh and Monaghan, 25–27 June 2015
For the first time, the joint Ulster Architectural Heritage Society and Irish Georgian Society summer school will bring together students, enthusiasts and practitioners to explore, discuss and debate issues relating to our shared Irish heritage in the context of Armagh and Monaghan. A key theme of the event is conservation and regeneration for community benefit which will demonstrate the critical importance of built heritage in maintaining the distinctive qualities of the region and supporting the growth of tourism, economic development and prosperity. The summer school will provide a platform to showcase the best that both counties have to offer in terms of their history and heritage. Leaders will include well known academics, architectural historians, architects, planners, conservation and heritage officers. The support of both councils will also reinforce the positive developing relationship between them and our respective organisations. An Eventbrite payment has been set up to facilitate online bookings in euro or sterling. The summer school director is Kevin V. Mulligan, author of The Buildings of Ireland: South Ulster.
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T H U R S D A Y , 2 5 J U N E 2 0 1 5
Armagh
• Conservation Areas — the legislation and implementation
• New work and reordering: current practice in England
• Tour of cathedrals with Alistair Rowan
• Tour of Mall and Market Square with Alastair Coey
• Presentation on the work of Thomas Cooley and Francis Johnston by Judith Hill at Armagh Public Library
• Tour of Palace Demesne with Edward McParland
Speakers: Patrick Duffy, Michael O’Neill, Frederick O’Dwyer, Andrew Derrick, Marcus Patton
F R I D A Y , 2 6 J U N E 2 0 1 5
Monaghan
• Tour of Castle Leslie
• Introduction to heritage and housing
• Discussion on cross border heritage initiatives
• The Buildings of Ireland Series
• Tour of Glaslough
• Visit Lady Anne Dawson Mausoleum, Dartrey, St. Peter’s Church, Laragh and St. Macartan’s Cathedral, Monaghan
• Walking tour of Monaghan with Kevin Mulligan
• Discussion and debate at Market House, Monaghan
Speakers: Dawson Stelfox, Andrew McClelland, Alistair Rowan, Bishop Joseph Duffy
S A T U R D A Y , 2 7 J U N E 2 0 1 5
Annaghmakerrig
• Tour of Annaghmakerrig House
• Debate: Contemplating the Contemporary — Modernist vs. traditional approach to building in the historic environment in the 21st century, chaired by Frank McNally with speakers Aidan McGrath, Liam Mulligan, Nicholas Groves-Raines
• Results and viewing of student competition
• Presentation of Summer School Student Awards
• Conclusion with celebratory lunch
This course is approved for CPD by the Royal Institute of Architects of Ireland; the programme is subject to change.
Exhibition | Turner’s Wessex: Architecture and Ambition
Press release for the exhibition now on view at Salisbury:
Turner’s Wessex: Architecture and Ambition
The Salisbury Museum, 22 May — 27 September 2015
Curated by Ian Warrell
J.M.W. Turner, The Choir of Salisbury Cathedral, 1797, watercolour, 65 x 51 cm (The Salisbury Museum)
Visitors to The Salisbury Museum this summer will be treated to a highly original and fascinating exhibition on J.M.W. Turner. Newly discovered facts and a wealth of material never previously assembled together revises the traditional outline of Turner’s formative years. Turner’s Wessex: Architecture and Ambition reveals new insights into Turner’s ambitious and innovative work as a very young man and his complex relationships with extremely wealthy patrons. “We are astonished to discover that Turner began his career here in Salisbury, painting the town, its magnificent cathedral and the extraordinary Fonthill Abbey nearby,” said Adrian Green, Director of The Salisbury Museum.
Building on recent successes with Constable and Cecil Beaton exhibitions, The Salisbury Museum showcases J.M.W. Turner’s meteoric rise at the turn of the nineteenth century, working for two of England’s wealthiest men as they embarked on extravagant building projects and historical research on a very grand scale in the Wessex region.
Salisbury is likely to be a magnet for visitors throughout 2015, as across the green from the museum at Salisbury Cathedral the Magna Carta celebrates its 800th anniversary. Exceptional National Trust properties such as Stourhead will be open to visitors nearby, and 20 minutes away the ancient monument of Stonehenge continues to cast its mysterious spell.
Turner first visited Salisbury in 1795 when he was 20 years old. As his career developed, he returned to paint Stonehenge and its surrounding landscape. Set in the vast Wessex plains, his depictions of the ancient stones proves to be among his most hauntingly atmospheric works.
The first of Turner’s patrons in the Salisbury area was Sir Richard Colt Hoare, a gentleman-antiquarian who inherited the Stourhead estate in 1784. In the late 1790s when Turner was barely out of his teens, Sir Richard commissioned him to paint a series of watercolours of Salisbury and its newly restored cathedral, which was then the subject of much controversy. Wiltshire owes much to Colt Hoare for his involvement in the first archaeological survey of the landscape around Salisbury and the books he published on the history of Ancient and Modern Wiltshire.
But it was another local patron, William Beckford, described by Byron as “England’s wealthiest son,” who from 1798 gave Turner his most valuable early commissions, and engaged him to paint the gothic folly he was building at Fonthill Abbey. With characteristic bravado, Turner worked on the largest sheets of paper available, bringing all his daring experimental skill to bear, always pushing at the boundaries of technical achievement. His depictions of Beckford’s legendary tower—part of which fell down in 1800—provide a unique record of its construction. The exhibition includes a series of sketches Turner made on site, usually held in the Tate archive.
The third part of the exhibition charts Turner’s delightful work in the wider Wessex region—spanning Wiltshire, the Dorset coast, Hampshire and the Isle of Wight. It includes surprising images such as his exquisite watercolours of fish, and witty caricatures made along with other members of the Houghton Club. Many of the waterolours relate to Turner’s popular topographical views, which reached a wide audience as engraved prints and continue to do so today. The exhibition culminates in a record of the historic visit made by the French King Louis Philippe to Queen Victoria in 1844—the first visit by a French King to England in roughly 500 years.
The exhibition has been selected by the distinguished Turner scholar Ian Warrell, working in collaboration with the team at Salisbury Museum, and builds a vibrant and dramatic picture of the brilliant young artist, driven by self-belief and limitless ambition, grafting his way in a complex world. The Salisbury Museum is proud that the unmatched collection of Turner watercolours of Salisbury cathedral at the heart of the exhibition is being seen together for the first time since 1883. The exhibition offers a unique view into how Wiltshire’s great patrons provided a crucial springboard to the career of one of England’s best-loved artists.
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From Scala:
Ian Warrell, Turner’s Wessex: Architecture and Ambition (London: Scala, 2015), 208 pages, ISBN: 978-1857599305, £25/ $40.
Turner was only 20 in 1795 when he first visited Salisbury. This book focuses on the important commissions that resulted from his contact with the region, which provided the foundations for his success. Reunited here are his inventive watercolours of Salisbury Cathedral painted for Sir Richard Colt Hoare, widely dispersed since 1883. Turner’s matchless ability to depict architecture also attracted the attention of the eccentric art lover and writer, William Beckford. The problematic construction of Beckford’s legendary but short-lived neo-gothic abbey at Fonthill was uniquely recorded in Turner’s sketches and watercolours.
As his career developed, Turner repeatedly revisited an area that captivated him. His depictions of Stonehenge, in particular, proved to be among his most hauntingly atmospheric works. In this beautifully illustrated book many rarely seen works are brought together, illuminating this formative and fascinating period in Turner’s output.
Ian Warrell is an independent curator, specialising in British art of the nineteenth century. He is the author of many books on Turner, most recently Turner’s Sketchbooks.
Getty Research Institute: Art and Materiality, 2015/2016
A selection of this year’s Getty scholars working on the eighteenth century:
Getty Research Institute: Art and Materiality, 2015/2016
In the past decade, a greater attention to the art object and its materiality has enhanced the study of art history, opening new avenues of investigation. Combined with more historical methodologies, the focus on the materiality of artworks is offering profound insights into their meanings. Artists across time and space have infused materials not only with ritual and symbolic significance but also social, political, and economic functions. Art historians, increasingly in collaboration with conservators and scientists, are gaining insight into the process of art making from raw material to finished object, the chaîne opératoire, as well as the strategic deployment of materials both for their aesthetic qualities and for their power to signify. The inquiry into an artwork’s materiality raises questions about procurement, trade, value, and manufacturing on the one hand, and, on the other, about the materiality of mechanically reproduced objects or of ephemeral, durational, and conceptual works. Finally, as artworks move between cultures, their materials—whether feathers, shells, marble, or oil paint—are given new meanings, thereby accumulating additional interpretive layers.
G E T T Y S C H O L A R
Corinna Gramatke is an independent scholar based in Düsseldorf, Germany. Her research concentrates on material-technical research and written art-technological sources from Spain and Latin America of the seventeenth and eighteenth centuries.
José Sánchez Labrador’s Manuscript Paraguay natural ilustrado (1771–76): Critical and Annotated Edition of the Chapters Dealing with Art Technological Materials and Indications for the Artistic Production in the Jesuit Missions in Paracuaria during the Seventeenth and Eighteenth Century
(April–June)
Fernando Guzmán is Associate Professor at the Universidad Adolfo Ibáñez, Santiago, Chile. He specializes in Spanish colonial art.
From Polychrome Wood to White Marble: Devotional Art in Santiago de Chile during the Eighteenth and Nineteenth Centuries
(January–March)
Gabriela Siracusano is Director of the Centro de Investigación en Arte, Materia y Cultura at the Universidad Nacional de Tres de Febrero, Buenos Aires, Argentina; Career Scientific Researcher at the Consejo Nacional de Investigaciones Científicas y Técnicas in Buenos Aires; and Professor of Theory and Historiography at the Universidad de Buenos Aires. Her research concerns Andean colonial artistic production and artistic materiality.
The Bowels of the Sacred
(January–March)
P O S T D O C T O R A L F E L L O W
Noémie Etienne received her doctorate in the Department of Art History from the University of Geneva, Switzerland, and University of Paris 1 Sorbonne, France.
A Material Art History? Paintings Restoration and the Writing of Art History
(September–June)
A full list is available here»
Lecture | Christoph Vogtherr on Karoline Luise of Baden
Later this summer at The Wallace Collection:
Christoph Vogtherr | Karoline Luise of Baden: Collector and ‘Amatrice’
The Wallace Collection, London, 7 August 2015
Karoline Luise, Markgräfin (Marchioness) of Baden was one of the greatest women collectors of the eighteenth century and an accomplished amateur artist. Her collection of paintings and drawings—including works by Chardin, Boucher and Liotard—forms the nucleus of the Kunsthalle in Karlsruhe in Southern Germany. Christoph Vogtherr will discuss the collecting and interests of this fascinating figure. The Wallace Collection is embarking on a collaboration with the Kunsthalle towards an exhibition of French drawings from the Karlsruhe collection.
Friday, 7th August, 2015 at 1:00pm; admission is free.
Exhibition | Korea Mania: A Traveller’s Tale
On view in Sèvres:
Corée Mania: Roman d’un Voyageur
Cité de la Céramique, Sèvres, 21 January — 20 July 2015
Curated by Stéphanie Brouillet
Dragon Jar, Korean, 18th century (MNC28154 Sèvres – Cité de la céramique / RMN)
Cité de la céramique célébre en 2015 les Années croisées France-Corée, en organisant deux expositions: l’une patrimoniale avec Roman d’un voyageur, l’autre contemporaine à travers la présentation des œuvres de Yik-Yung Kim et Yeun-Kyung Kim.
Du 21 janvier au 20 juillet, l’exposition Roman d’un voyageur s’articule autour de la figure emblématique du diplomate Victor Collin de Plancy (1853–1922), premier consul de France en Corée qui collecta de nombreux objets et œuvres d’art coréens. L’exposition invite à un double voyage : celui vers la péninsule coréenne, au cœur de l’Extrême-Orient, à la découverte d’une culture ancienne et raffinée, et l’autre sous la forme d’une plongée dans le temps, vers le « royaume ermite » de la fin de l’époque Choson, à la fin du XIXe siècle.
De nombreuses céramiques dont certaines exceptionnelles du 1er siècle de notre ère à nos jours, dont la grande jarre à décor de dragon du XVIIIe siècle, considérée comme un chef-d’oeuvre des collections nationales conservées par l’établissement, sont présentées ainsi que du mobilier, des instruments de musique, des objets quotidiens, des photographies, des peintures, des documents d’archives qui évoquent le pays et son art de vivre.
Une journée d’étude sur le céladon, à la fois sous l’angle historique mais aussi scientifique, prévue à l’automne, viendra ponctuer cette saison coréenne à la Cité de la céramique.
Le commissariat est assuré par Stéphanie Brouillet, conservatrice du patrimoine chargée des céramiques asiatiques à Sèvres. La scénographie est confiée au designer Vincent Dupont-Rougier.
A summary in English is available from the Asia Europe Museum Network (ASEMUS):
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The catalogue is published by Loubatières:
Roman d’un Voyageur, Victor Collin de Plancy: L’histoire des Collections Coréennes en France (Carbonne: Loubatières, 2015), 263 pages, ISBN: 978-2862667195, 39€.
Victor Collin de Plancy fut le premier représentant de la France en Corée entre 1888 et 1906. Interprète puis diplomate, il se passionna pour l’histoire et l’art de ce pays resté longtemps fermé pour les Occidentaux. Désireux de le faire connaître en France, il rassembla un grand nombre d’objets—céramiques, manuscrits, livres, meubles ou costumes—dont il fit don à des institutions françaises au rang desquelles figure le Musée national de la céramique. Il fut également au cœur d’un petit groupe de voyageurs passionnés par la Corée qui, à leur tour, enrichirent les collections françaises.
A preview of the catalogue is available here»
The Burlington Magazine, May 2015
The eighteenth century in The Burlington:
The Burlington Magazine 157 (April 2015)
A R T I C L E S
• Tessa Murdoch, “Power and Plate: Sir Robert Walpole’s Silver,” pp. 318–24.
• Julius Bryant, “Queen Caroline’s Richmond Lodge by William Kent: An Architectural Model Unlocked,” pp. 325–30.
R E V I E W S
• Duncan Robinson, Review of Mark Hallet, Reynolds: Portraiture in Action (The Paul Mellon Centre for Studies in British Art, 2014), pp. 341–47. Available at The Burlington website for free.
• Stephen Lloyd, Review of Cory Korkow with Jon Seydl, British Portrait Miniatures: The Cleveland Museum of Art (D. Giles, Ltd., 2013), pp. 349–50.
• Richard Wolfe, Review of the exhibition Shifting Patterns: Pacific Barkcloth Clothing (British Museum, 2015), pp. 361–62.
• Jamie Mulherron, Review of two exhibitions: Charles de La Fosse: Le Triomphe de la Couleur (Versailles and Nantes, 2015) and Bon Boullogne (1649–1717): Un chef d’école au Grand Siècle (Dijon, 2014–15), pp. 365–67.
New Book | Ireland: Crossroads of Art and Design, 1690–1840
In connection with the exhibition now on view the Art Institute of Chicago, Yale University Press is distributing the catalogue (congratulations, Ireland, on an inspiring weekend). –CH
William Laffan and Christopher Monkhouse, eds., with Leslie Fitzpatrick, Ireland: Crossroads of Art and Design, 1690–1840 (New Haven: Yale University Press, 2015), 288 pages, ISBN: 978-0300210606, $50.
This groundbreaking book captures a period in Ireland’s history when countless foreign architects, artisans, and artists worked side by side with their native counterparts. Nearly all of the works within this remarkable volume—many of them never published before—have been drawn from North American collections. This catalogue accompanies the first exhibition to celebrate the Irish as artists, collectors, and patrons over 150 years of Ireland’s sometimes turbulent history.
Featuring the work of a wide range of artists—known and unknown—and a diverse array of media, the catalogue also includes an impressive assembly of essays by a pre-eminent group of international experts working on the art and cultural history of Ireland. Major essays discuss the subjects of the Irish landscape and tourism, Irish country houses, and Dublin’s role as a center of culture and commerce. Also included are numerous shorter essays covering a full spectrum of topics and artworks, including bookbinding, ceramics, furniture, glass, mezzotints, miniatures, musical instruments, pastels, silver, and textiles.
William Laffan is an art historian and author, and former editor of Irish Architectural and Decorative Studies: The Journal of the Irish Georgian Society. Christopher Monkhouse is the chair and Eloise W. Martin Curator, Department of European Decorative Arts, at the Art Institute of Chicago.
Exhibition | Shifting Patterns: Pacific Barkcloth Clothing
Barkcloth, kua’ula, Hawaiian Islands, Eastern Polynesia, late 18th Century
(London: The British Museum)
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Now on view at The British Museum:
Shifting Patterns: Pacific Barkcloth Clothing
The British Museum, London, 5 February — 6 December 2015
Discover a selection of textiles from the Pacific made from barkcloth. Used to wrap, drape and adorn the body in a myriad of styles and designs, these garments demonstrate the long history of barkcloth, and its ongoing relevance today.
In the islands of the Pacific, cloth made from the inner bark of trees is a distinctive art tradition. Probably brought to the region at least 5,000 years ago by some of the first human settlers, its designs reflect the histories of each island group and the creativity of the makers. Spanning the region from New Guinea in the west to Rapa Nui (Easter Island) in the east, the exhibition will show a selection of 77 garments, headdresses, masks and body adornments from the Museum’s collection. Dating from the 1700s to 2014, the pieces on display include those worn as everyday items and ceremonial costumes linked to key life cycle events such as initiation and marriage.
Barkcloth is generally made and decorated by women, but garments intended for ritual purposes may be made by men. This is particularly true in the masking traditions of Papua New Guinea. The Baining people who live on the large island of New Britain continue to make masks for day and night dances. In the exhibition, an elaborately decorated Baining mask made in the 1970s demonstrates how barkcloth can be used in dramatic three-dimensional creations.
Imported cloth and the changes brought by colonial activities across the region have had different impacts on the art form. In some locations, such as Tonga, barkcloth making never completely stopped. In others, such as Hawaii, the practice has actively been revived and Hawaiian kapa is now worn for high profile hula performances. The exhibition considers these recent developments, and shows a barkcloth dance skirt made in 2014 by Hawaiian practitioner Dalani Tanahy alongside some fine examples of early Hawaiian cloth, including a cloth with striking red and black designs thought to have been made in the late 1700s.
New arenas for cultural expression continue to emerge through barkcloth creations, as urban Pacific Island designers incorporate barkcloth elements and patterns into garments intended for the catwalk. A stunning wedding dress made by New Zealand-based Samoan designer, Paula Chan Cheuk illustrates this movement and reflects the continuing relevance of barkcloth as a flexible, resilient art tradition.
Study Day | Close-up and Personal: Eighteenth-Century Gold Boxes
In conjunction with the exhibition Close-up & Personal, The Fitzwilliam is hosting a study day in June:
Gold Boxes: Manufacture and Marketing from the 18th Century to the Present Day
A Rosalinde and Arthur Gilbert Collection Study Day
The Fitzwilliam Museum, Cambridge, 26 June 2015
Lavish and intricate gold boxes of the eighteenth century are amongst the most beautiful objects ever made. These delicate and refined miniatures contained snuff—powdered tobacco. These boxes enjoy a unique status as objects of desire. Speakers including expert auctioneers, conservators, curators, goldsmiths, and scholars will celebrate their exquisite materials and subtle significance. The day is made possible through the generosity of the Gilbert Trust for the Arts, London. £10. Booking is essential: telephone 01223 332904 or email education@fitzmuseum.cam.ac.uk.
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P R O G R A M M E
10:30 Registration and coffee
11:00 Welcome and introduction, Heike Zech, Senior Gilbert Curator, Victoria and Albert Museum
11:10 ‘Buying and Selling Gold Boxes’, Vanessa Brett, Independent Scholar, Wiltshire
11:35 ‘Swiss Automata of the Late Eighteenth and Early Nineteenth Centuries’, Julia Clarke, Independent scholar and consultant to Sotheby’s, London
12:00 ‘From London to St Petersburg: The Career of the Swiss Craftsman Jean-Pierre Ador’, Roger Smith, Independent scholar, London
12:25 ‘In a Rush: California’s Twentieth-Century Collectors of Gold Boxes’, Rosie Mills, The Rosalinde and Arthur Gilbert Foundation Associate Curator, Los Angeles County Museum of Art
12:50 Discussion
13.00 Lunch provided
14:00 ‘Attention to Detail: Case Studies’, chaired by Tessa Murdoch, Deputy Keeper, Sculpture, Metalwork, Ceramics and Glass
14:10 ‘Diamonds and Coloured Gems: What Lies Beneath’, Joanna Whalley, Gemmologist and Senior Metals Conservator Victoria and Albert Museum
14:30 ‘Micromosaics’, Heike Zech, Rosalinde and Arthur Gilbert Senior Curator, Victoria and Albert Museum
14:50 ‘Enamels’, Sheila McDonald, Enameller and Jeweller, in conversation with Mélodie Doumy, Rosalinde and Arthur Gilbert Assistant Curator, Victoria and Albert Museum
15:10 ‘Chasing Gold’, Rod Kelly, Contemporary goldsmith, Norfolk
15:30 Discussion
15:45 Tea and coffee
16:00 Study visit to Close-Up and Personal: Eighteenth-Century Gold Boxes from the Rosalinde and Arthur Gilbert Collection accompanied by the curators
16:45 Fitzwilliam Museum closes
Please be aware this programme may be subject to change.
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At the V&A’s blog, Assistant Curator Melodie Doumy also notes the following lunchtime talks at the Fitzwilliam Museum:
• ‘Snuff-taking, fashion and accessories‘ by Tessa Murdoch, 27 May 2015
• ‘François Boucher on enamelled snuffboxes: The art of adapting Rococo engravings‘ by Mélodie Doumy, 10 June 2015
• ‘Inside a Paris goldsmiths’ workshop: from design to gold box‘ by Heike Zech, 1 July 2015
Workshop | Collections in Use
From the conference website:
Collections in Use
Anatomy Lecture Theatre, King’s College London, 6 July 2015
Over the past few decades, material turns taking place across a number of disciplines have established the importance of placing objects within their broad geographical, conceptual, social and cultural contexts in order to understand the multiplicity of meanings with which they were invested within past societies. Objects are understood to have their own ‘social lives’, illustrated in the various ways in which they were exchanged, acquired, accumulated and displayed.
The history of collecting, in particular, has been a central node in discussions regarding the meanings of objects in the past, because it encompasses a range of activities within and across societies around the world. As such, scholars working on early modern material culture are amassing a great deal of knowledge regarding the precise motivations for collecting objects, how specific objects entered into collections, and which people facilitated this.
Much less is known, however, about what happened within collections, both to the objects and the people who interacted with them. In order to fully understanding the role of objects, collections and collectors within early modern society, therefore, we need to generate more discussion around this issue using the broadest possible sense of the word ‘collection’, including but not limited to: cabinets, museums, sculpture galleries, literary miscellanies, menageries, herbaria, gardens, and houses.
Collections in Use is a one-day workshop designed to bring together early modern scholars across several disciplines to showcase their work across a variety of collections: anatomical, medical, domestic, princely, antiquarian, natural historical, literary, and artistic. To book tickets and for more information, please go to the Eventbrite page.
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P R O G R A M M E
9:30 Registration and coffee
9:50 Welcome by Alice Marples and Victoria Pickering
10:00 Managing Collections: Collecting, Cataloguing, Curating
Chair: Felicity Roberts (King’s College London/British Museum)
• Bert van de Roemer (Universiteit van Amsterdam) – The Act of Assembling Objects
• Mia Jackson (Queen Mary University of London) – The Collections of the Illustres: Collections in Use in the Louvre
•Fabio Morabito (King’s College London) – In Search of His Own Signature: Luigi Cherubini’s Collection of Autographs by Other Composers
11:15 Coffee break
11:45 Experimental Collections: In, With, For
Chair: Alice Marples (King’s College London/British Library)
• Sally Osborn (University of Roehampton) – ‘To be placed with experements’: Developing Knowledge through the Collection and Use of Medical Recipes
• Helen McCormack (Glasgow School of Art) – Superb Cabinets or Splendid Anachronisms? ‘Experimental’ Collecting in Early Scientific Interiors
• Reese Arnott-Davies (Birkbeck University) – ‘Some Dark Emblem’: Visibility, Obscurity and Exhibiting Egypt at Montagu House
1:00 Lunch
2:00 Disseminating Collections: Publication and Practice
Chair: Victoria Pickering (Queen Mary University of London/Natural History Museum)
• Barbara Furlotti – Through Drawings and by Word of Mouth: Circulating Information on Antiquarian Collections in the Early Modern Period
• Isabelle Charmantier (The Linnean Society) – The Linnaean Workshop: Practices of Disseminating Botanical Knowledge
• Dominik Huenniger (University of Göttingen) – ‘Academies of Natural History’: Continental Utilisation of Collections in Eighteenth-Century Britain
3:15 Coffee break
3:45 Researching Collections: Current Methods
Chair: Martha Fleming (Reconstructing Sloane Project)
• Jed Foland (Bodleian Library) – Museums as Laboratories: Reenacting Scientific Discovery Using the Microscope
• Clare Hickman (King’s College London) – Reconsidering the Role of Botanic Gardens
• Alexandra Cook (University of Hong Kong) – Looking at the Herbarium as a Robust Scientific Object
5:00 Roundtable
Chair: Elizabeth Eger (King’s College London)
• Anne Goldgar (King’s College London)
• Alexander Marr (University of Cambridge)
• Mark Carnall (Grant Museum of Zoology)
• Lisa Skogh (Victoria and Albert Museum)
6:00 Wine reception
Enfilade 
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