Enfilade

Exhibition | In the Course of Time: 400 Years of Royal Clocks

Posted in exhibitions by Editor on May 31, 2016

Now on view at the Royal Palace in Stockholm:

In the Course of Time: 400 Years of Royal Clocks / I tiden: Kungliga klockor under 400 år
Royal Palace of Stockholm, 22 January — 25 September 2016

Marble and gold-plated bronze table clock with portrait medallions of King Gustav I, King Gustav II Adolf and King Gustav III.

Marble and gold-plated bronze table clock with portrait medallions of King Gustav I, King Gustav II Adolf and King Gustav III. Made for King Gustav III by the Swedish-born clockmaker André Hessén in Paris. Photo: Alexis Daflos/Royalcourt.se

The exhibition In Course of Time: 400 Years of Royal Clocks features more than 50 royal clocks—some of which are on show for the first time—dating from the 16th century to the present day. The exhibition marks the 70th birthday of King Carl XVI Gustaf of Sweden (30 April 2016).

Clockmaking is a precise trade, and clocks have long been seen as extremely exclusive objects. They have therefore often been designed with a great degree of artistic skill. The clock as an objet d’art is one aspect of the exhibition. With the dawn of the modern era, clocks also became useful tools for coordinating work at the palace. For example, the exhibition includes the clock that governed the palace guards’ routines during the 19th century. Today, clocks remain part of day-to-day palace life. Most of the clocks in the collections still work, continuing to perform their function centuries later as timekeepers at a number of the royal palaces.

Conference | Auricular Style: Frames

Posted in conferences (to attend) by Editor on May 31, 2016

From the conference website:

Auricular Style: Frames
The Wallace Collection, London, 5–6 October 2016

Organized by Gerry Alabone and Lynn Roberts

This two-day international conference is the first dedicated to the Auricular style, centring on one of its most significant manifestations, the picture frame. The conference aims to stimulate awareness and study of this important but neglected style by bringing together research in fine and decorative art histories. Speakers from Europe, UK, and USA will consider the origins and development of the Auricular style in different materials, including silver, wood, stucco, and leather. Papers will explore how other areas of the decorative and applied arts fed into the creation of picture frames. They will examine the influence of prints, drawings, ad the style’s dissemination between European centres in Bohemia, Germany, Italy, France, the Netherlands, and Britain. Poster presentations will be exhibited during the conference. These will be edited with the papers and published, fully illustrated, for free download on Auricular Style: Frameswhich, it is hoped, will become a hub for future related research.

Early bird registration is now open. Early bird ticket prices (including Eventbrite’s commission): £100 regular, £90 Icon members, £50 students (ID to be shown at conference). Early bird option ends and prices rise after 30 June. The theatre’s capacity is 150; therefore, early registration is recommended. No refunds will be made after 23 September. If you do not wish your email address to be included in the Delegates list, please contact the event coordinator at gdsg.events@gmail.com.

Convenors: Gerry Alabone (Tate / City and Guilds of London Art School) and Lynn Roberts (The Frame Blog) in association with the Institute of Conservation (Gilding and Decorative Surfaces Group).

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5  O C T O B E R  2 0 1 6

9.00  Registration and coffee

• On the Inception of Auricular Ornament: Paulus van Vianen’s Metamorphic Bodies and the Fleshy Frame (Allison Stielau, McGill University)
• Object Bodies, Metal Mounts and the Skins of Things (Anna Grasskamp, Heidelberg University)

Coffee

• A French Auricular? A Brief History of a Style (Marika Knowles, Harvard University)
• German Knorpelwerk: Auricular Dissemination in Prints, Woodcarving, Stucco and Painted Wall Decorations, 1620–1670 (Daniela Roberts, Würzburg University)
• The Auricular Style in Dutch Furniture (Reinier Baarsen, Leiden University / Rijksmuseum)

Lunch break

• Gilt Leather: A Creative Industry avant la lettre (Eloy Koldeweij, Cultural Heritage Agency, the Netherlands)
• Material Research on Auricular Frames in the Netherlands (Hubert Baija, Rijksmuseum)
• The Auricular Frame Depicted in Paintings (Lynn Roberts, The Frame Blog)

Tea

• Between Amsterdam, Paderborn and Rome: A Remarkable Frame in the Collections of the Louvre (Charlotte Chastel-Rousseau, Louvre)
• Dutch Auricular Woodcarving (Ada de Wit, Radboud University / Wallace Collection)

6  O C T O B E R  2 0 1 6

9.55  Welcome and introduction

• The Development of an Auricular Style in Florence (Adriana Turpin, Institut d’Études Supèrieures des Arts)
• Anthropomorphism and Zoomorphism in the Medici Picture Frames (Marilena Mosco, former Director of Palazzo Pitti)

Coffee

• Florentine Auricular Frames: Techniques and Aesthetics (Aviv Fürst, Palazzo Pitti)
• Documenting Developments in the Taste for Auricular Framing in England, 1620–1700 (Jacob Simon, National Portrait Gallery)
• Looking at Material and Visual Evidence of English Auricular Frames (Gerry Alabone, Tate / City and Guilds of London Art School)

Lunch break

• An Auricular Frame amongst the Founder’s Collection of the Ashmolean Museum (Tim Newbery and Jevon Thistlewood, Ashmolean Museum)
• Picture Galleries in Seventeenth-Century Britain (Honorary Professor Karen Hearn, University College London)
• Notes on the Revival of the Auricular Style for Picture Frames (Christopher Rowell, National Trust)

Tea

• The Auricular Today: Putting an Ear to the Ground (Steve Shriver, art+works)
• Panel discussion with all speakers (to finish at 5.00pm)