Late eighteenth-century fan showing three images of the first hydrogen balloon, flown by J. A. C. Charles and M. N. Robert in 1783. The sticks are carved Mother of Pearl (Evelyn Way Kendall Collection, National Air and Space Museum, Smithsonian Institution, WEB14851-2015).
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Press release (24 January 2017) from the National Air and Space Museum:
Clouds in a Bag: The Evelyn Way Kendall Ballooning and Early Aviation Collection
The Udvar-Hazy Center, Smithsonian National Air and Space Museum, Chantilly, Virginia, 28 January 2017 — 2018
Curated by Tom Crouch
The Smithsonian’s National Air and Space Museum opened the exhibition Clouds in a Bag: The Evelyn Way Kendall Ballooning and Early Aviation Collection on January 28 at the Steven F. Udvar-Hazy Center, in Chantilly, Virgnia. This is the first time these early aviation artifacts are on public display since the Smithsonian acquired the collection in 2014.
When the first balloon rose over the rooftops of Paris in the late 18th century, enormous crowds gathered to watch. This phenomenon spurred a new age of aeronauts dreaming of what else could fly. The excitement of this achievement was captured much like it would be today—in artwork and on memorabilia. Objects such as decorative fans, china, snuff boxes, and prints will be on display. Clouds in a Bag explores the fascination of the first balloon flights through these pieces.
“The invention of the balloon struck the men and women of the late 18th century like a thunderbolt,” said Tom Crouch, senior curator of aeronautics at the National Air and Space Museum. “After centuries of dreaming, we were airborne at last! Visitors to the exhibition will be able to share some of the excitement experienced by those who watched the first aerial travelers rise into the sky.”
The exhibition includes 51 prints, paintings and drawings, and 35 examples of 18th- and 19th-century memorabilia. This is a small portion of the collection of over 1,000 pieces in the Evelyn Way Kendall Ballooning and Early Aviation Collection, donated to the museum by the Norfolk Charitable Trust in 2014. The Norfolk Charitable Trust also supported the processing, conservation, and exhibition of the collection. Clouds in a Bag will be open through 2018.
The National Air and Space Museum building on the National Mall in Washington, D.C., is located at Sixth Street and Independence Avenue S.W. The museum’s Steven F. Udvar-Hazy Center is located in Chantilly, Virgnia, near Washington Dulles International Airport. Attendance at both buildings combined was 9 million in 2016, making it the most-visited museum in America.
Wendy Sutherland, Staging Blackness and Performing Whiteness in Eighteenth-Century German Drama (New York: Routledge, 2016), 272 pages, ISBN: 978 14094 24024, $150.
Focusing on eighteenth-century cultural productions, Wendy Sutherland examines how representations of race in philosophy, anthropology, aesthetics, drama, and court painting influenced the construction of a white bourgeois German self. Sutherland positions her work within the framework of the transatlantic slave trade, showing that slavery, colonialism, and the triangular trade between Europe, West Africa, and the Caribbean function as the global stage on which German bourgeois dramas by Friedrich Wilhelm Ziegler, Ernst Lorenz Rathlef, and Theodor Körner (and a novella by Heinrich von Kleist on which Körner’s play was based) were performed against a backdrop of philosophical and anthropological influences. Plays had an important role in educating the rising bourgeois class in morality, Sutherland argues, with fathers and daughters offered as exemplary moral figures in contrast to the depraved aristocracy. At the same time, black female protagonists in nontraditional dramas represent the boundaries of physical beauty and marriage eligibility while also complicating ideas of moral beauty embodied in the concept of the beautiful soul. Her book offers convincing evidence that the eighteenth-century German stage grappled with the representation of blackness during the Age of Goethe, even though the German states were neither colonial powers nor direct participants in the slave trade.
Wendy Sutherland is Associate Professor of German at New College of Florida.
C O N T E N T S
Race in Eighteenth-Century Germany
Slavery, Colonialism, and the Eighteenth-Century Global Stage
‘Looking at the Overlooked’: Stage Properties and the Table in Karl Lessing’s Die Mätresse (1780)
Excursus: The Court Moor and Eighteenth-Century Court Painting
The Construction of Whiteness in the Traditional German Bourgeois Drama
Race, Doubles, and Foils: Staging Blackness in Friedrich Wilhelm Ziegler’s Die Mohrinn (1801)
Race, Homosocial Desire, and the Black in Ernst Lorenz Rathlef’s Die Mohrinn zu Hamburg (1775)
Reading in the Dark? Racial Hierarchy and Miscegenation in Heinrich von Kleist’s Die Verlobung in St. Domingo (1811) and Theodor Körner’s Toni (1812)
Full Circle: The Medal in Art History
The Frick Collection, New York, 8–9 September 2017
Proposals due by 1 March 2017
An invention of the Italian Renaissance inspired by ancient coins, medals were first created to commemorate individuals and significant events. Over time and as the art form flourished across Europe, they came to be made and to function in new ways, including to celebrate the éclat of the ruling class (and ascendance of the bourgeoisie), document achievements in the arts and sciences, and serve as a resource for the study of the distant past. The study of medals—too often overlooked in narratives of western art history—illuminates the aesthetic landscape of the five centuries in which they enjoyed wide popularity and provides vital insights into the social and political history of Europe. Medalists were celebrated members of the arts community, and medal making was not an isolated practice. Artists from Pisanello to Dürer to David d’Angers designed and/or produced medals alongside their paintings, prints, and sculptures. The medal has long been held to bridge these disciplines, and recent scholarship has begun to probe the rich intersections between medals and other arts.
On the occasion of the exhibition The Pursuit of Immortality: Masterpieces from the Scher Collection of Portrait Medals—which celebrates an initial gift to The Frick from the unparalleled collection of Stephen K. and Janie Woo Scher—and in honor of Stephen Scher’s contributions to the study of medals as a collector, curator, and scholar, The Frick Collection is organizing Full Circle: The Medal in Art History. This symposium builds upon the work of Scher and others who have sought to re-center the medal in art-historical discourse and to bring this important class of object to the attention of the broader scholarly community and the public.
We invite proposals for 20-minute papers focusing on any aspect of the production, collection, and interpretation of commemorative medals made from the fifteenth to the nineteenth century that situate them in relation to a broader artistic and cultural context. We strongly encourage submissions by emerging scholars to promote future research in this field. Please send an abstract (max. 250 words) and CV by Wednesday, 1 March 2017, to the conveners:
• Aimee Ng, Associate Curator, The Frick Collection, email@example.com
• Robert Wellington, Lecturer, Centre for Art History and Art Theory, Australian National University, firstname.lastname@example.org
• Melanie Vandenbrouck, Curator of Art, Royal Museums Greenwich, MVandenbrouck@rmg.co.uk
Please include ‘The Medal in Art History: Proposal’ in the subject line.
Press release (January 2017) from The Clark:
Esther Bell has been selected to serve as the Robert and Martha Berman Lipp Senior Curator of the Clark Art Institute in Williamstown, Massachusetts. Her appointment was announced today by Olivier Meslay, Felda and Dena Hardymon Director of the Clark.
Bell currently serves as the curator in charge of European paintings at the Fine Arts Museums of San Francisco, where she has organized a number of important exhibitions, including the recent critically acclaimed The Brothers Le Nain: Painters of Seventeenth-Century France, presented in partnership with the Kimbell Art Museum, Fort Worth, Texas and the Musée du Louvre. On February 25, Bell will open Monet: The Early Years at San Francisco’s Legion of Honor, an exhibition organized by the Kimbell in collaboration with the Fine Arts Museums of San Francisco.
“Esther Bell is one of the brightest curators working today,” said Meslay. “Her creativity, intellect, and scholarship are only equaled by her passion and energy for the diverse demands of curatorial work. Esther’s international experience and her deep expertise in French paintings will be of great importance in her work here at the Clark. We are delighted to welcome her as a colleague.”
Prior to joining the staff of the Fine Arts Museums in 2014, Bell was the curator of European paintings, drawings, and sculpture at the Cincinnati Art Museum. She began her career in New York, serving as a research assistant at the Metropolitan Museum of Art and as both a research assistant and curatorial fellow at the Morgan Museum and Library. In 2015, Apollo magazine named Bell as one of the top ten curators in North America under the age of forty.
Bell received her doctorate in the history of art from the Institute of Fine Arts, New York University, with a specialization in seventeenth- and eighteenth-century European art. She earned a master’s degree from the Williams College/Clark Graduate Program in the History of Art, and a bachelor’s degree in the history of art from the University of Virginia. She completed a Fulbright Fellowship at the Musée du Louvre in 2003, and held numerous fellowships, including those at New York University and the Metropolitan Museum of Art.
“I am honored to join the Clark Art Institute at this important moment in its history,” said Bell. “I have deep admiration for the Clark’s talented staff, world-class collections, its highly regarded Research and Academic Program, and, of course, the new and beautiful campus. While it is hard to leave the outstanding program and people at the Fine Arts Museums of San Francisco after such good years, the opportunity to return to Williamstown and be a part of the excitement of the new Clark was irresistible.”
During her tenure at the Fine Arts Museums of San Francisco, Bell has been responsible for a diverse array of exhibitions, including Botticelli to Braque: Masterpieces from the National Galleries of Scotland; J.M.W. Turner: Painting Set Free; and Pierre Bonnard: Painting Arcadia. She is the co-curator for Degas, Impressionism, and the Paris Millinery Trade, currently on view at the Saint Louis Art Museum and opening in San Francisco in June 2017. At the Cincinnati Art Museum, Bell’s curatorial work included the recently completed Van Gogh: Into the Undergrowth, as well as exhibitions on Peter Paul Rubens, Jacob Ruisdael, Edgar Degas, Pierre-Auguste Renoir, and François Boucher.
An accomplished scholar and author, Bell is a member of the editorial board of Journal18, a scholarly journal focused on eighteenth-century studies. She is the author and editor of a number of publications related to the exhibitions she has organized, and is regularly published in academic journals. Bell has delivered lectures in distinguished international venues such as the University of St. Andrews, Scotland; the Musée des Beaux-Arts, Nantes; the Institut National d’Histoire de l’Art, Paris; and the Metropolitan Museum of Art, New York.
Bell currently resides in San Francisco. She will begin her work at the Clark in July 2017.
Architects Stanton Williams and Asif Khan were selected in July 2016 to design the new Museum of London; the design team also includes conservation architect Julian Harrap and landscape design consultant J&L Gibbons.
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Press release (24 January 2017) from the Museum of London:
The Museum of London’s plans for a new museum in West Smithfield were today given a major boost thanks to huge support from the City of London Corporation and the Mayor of London, who have pledged £110 million and £70 million respectively. This marks an important next step for the project, which will save one of the last remaining derelict Victorian buildings in central London and transform an area of the capital with a rich and fascinating history. The support from Sadiq Khan is the largest cultural investment made by any Mayor of London, and together with City of London Corporation’s unprecedented investment, provides a £180 million package of confirmed funding towards its approximate £250 million cost.
In addition to conserving this historically important West Smithfield site, this ambitious project will deliver significant economic and social benefits for London and Londoners. This includes traineeship opportunities across London and approximately 1,700 new jobs. Located right next to the major new transport hub to be created at Farringdon, the new museum will be ideally situated to make the most of London’s biggest infrastructure project, Crossrail, and help to turn the area into a dynamic destination. As part of a burgeoning cultural hub within the City, the new museum will aim to broaden its visitor profile and double its visitor attendance from one million to more than two million, displaying much more of its rich collection of over 6 million items, telling the 2,000-year story of London, in 8,000m2 of permanent gallery space plus 1,500m2 of temporary exhibition space.
Sadiq Khan, Mayor of London, who was touring the West Smithfield site, said: “From the outset of my Mayoralty, I pledged to make culture a core priority and I’m proud that this is the biggest ever cultural investment made by any Mayor of London to date. The world’s greatest city deserves the world’s greatest museum, which is why I’m delighted to announce £70 million of funding for the new Museum of London. This is on top of the £110m funding announced by the City of London Corporation. This major landmark project will be a jewel in our crown. It will reveal 2,000 years of fascinating London history for Londoners, visitors, and every schoolchild in the capital. It will rejuvenate West Smithfield, protecting its heritage while also creating a dynamic new public space—strengthening London’s credentials as an international powerhouse for culture.”
Mark Boleat, Chairman of the Policy and Resources Committee at the City of London Corporation, said: “It is widely recognised that the current building at London Wall does not allow the Museum to expand and flourish, and that the former market buildings are in a poor state of repair. The approval of this significant contribution makes good business sense and is a major step forward towards the creation of a new Museum of London, both iconic in design and unparalleled in the way in which it tells the capital’s vibrant history.”
Sharon Ament, Director of the Museum of London, said: “This is simply fantastic news and a great way to start 2017. The £180m funding package from the City of London Corporation and Mayor of London provides us with the perfect springboard for the fundraising drive for the new Museum of London at West Smithfield. It also shows that, like us and many others, the Mayor of London and City of London Corporation recognise the huge benefits for London that a new Museum of London at a rejuvenated West Smithfield will deliver. Working with our design team we can now move forward confidently with detailed plans for the new museum and remain firmly on target to open the new Museum in 2022.”
This funding milestone follows the appointment of the architects Stanton Williams and Asif Khan in July 2016. The design team, which also includes conservation architect Julian Harrap and landscape design consultant J&L Gibbons, is now working to turn the initial concepts into a fully formed vision for the new museum alongside the City of London Corporation and the GLA. This includes further analysis of the complex West Smithfield site, a critical piece of work that will feed into the design process. Following a full and extensive public consultation process, a planning application is expected in 2018 to enable the delivery of the new museum by 2022. Further appointments to the project team are due to be announced over the next few months.
View of Soho Square in London, from Ackermann’s Repository of Arts, 1812
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From the programme flyer:
Attingham: The London House Course, 3–9 October 2017
Applications due by 12 April 2017
The programme studies the development of the London house from the Renaissance to the present. It combines numerous visits to houses—many of them private—with a series of lectures by leading authorities. Progressing chronologically and exploring all over London, the course takes members inside grand aristocratic buildings, smaller domestic houses, artists’ studios, and the garden suburb.
Beginning in the medieval period, the course starts with a visit to the Abbot’s House at Westminster (now the Deanery). The following day is spent at Lambeth Palace and the Charterhouse. The Restoration period and eighteenth centuries are explored in Bloomsbury and Spitalfields, before we spend the following day in the aristocratic grandeur of great houses in St. James’s. Day five focuses on the artists’ houses and studios of Chelsea and Holland Park. On day six we study the Garden Suburb and consider twentieth-century domestic developments. The course concludes with an in depth study of Sir John Soane’s house and a look at the London house in the twenty-first century. Speakers include Neil Burton, Caroline Dakers, Joseph Friedman, Sarah Nichols, and Gavin Stamp. The course is directed by David Adshead.
The fee for the course is £1280. This is a non-residential course, which will include all lunches, travel by coach, admission fees, and receptions on a few evenings. All applications should be received by 12th April 2017. Candidates will be informed by 30th April 2017. For further information please consult the Attingham website or contact Rebecca Parker, email@example.com.
From the Call for Papers:
The Room Where It Happens: On the Agency of Interior Spaces
The Harvard Art Museums, Cambridge, 13–14 October 2017
Proposals due by 15 April 2017
Keynote Speaker: Louis Nelson, University of Virginia
This symposium, held in conjunction with the Harvard Art Museum’s forthcoming exhibition, The Philosophy Chamber: Art and Science in Harvard’s Teaching Cabinet, 1766–1820, seeks papers that investigate spaces of artistic, artisanal, and intellectual production throughout global history. From artist’s studios to experimental laboratories, from offices to political chambers, rooms and their contents have long impacted history and transformed their inhabitants. We invite case studies that address questions like the following: How might an assemblage of objects within a given space intersect or clash with ideological narratives? How have secret or privileged rooms, or rooms to which access is limited, served to obfuscate and facilitate the generation and dissemination of ideas? As historians and critics, how should we interpret and recreate such spaces—many of which no longer exist?
The Philosophy Chamber exhibition, on view at the Harvard Art Museums from May 19 to December 31, 2017, will explore the history and collections of one of the most unusual rooms in early America. Between 1766 and 1820, the Philosophy Chamber, a grand room adjacent to the College Library on Harvard’s Campus, was home to more than one thousand artifacts, images and specimens. Named for the discipline of Natural Philosophy, a cornerstone of the college’s Enlightenment-era curriculum that wove together astronomy, mathematics, physics, and other sciences interrogating natural objects and physical phenomena, the Philosophy Chamber served as a lecture hall, experimental lab, picture gallery and convening space. Frequented by an array of artists, scientists, travelers, and revolutionaries, the room and its collections stood at the center of artistic and scholarly life at Harvard and the New England region for more than fifty years. The exhibition considers the wide-ranging conversations, debates, and ideas that animated this grand room and the objects and architectural elements that shaped, supported or unintentionally undermined these discourses.
Potential case study ‘rooms’ include:
• Teaching cabinets
• Civic spaces
• Domestic spaces
• Toxic rooms
• Secret rooms
• Studies or offices
• Artist studios
• Classrooms or lecture halls
• Chatrooms or other digital ‘rooms’ and platforms
• Museum and gallery installations
• Train Stations
• Ruins, war-torn rooms
Due the interdisciplinary nature of this symposium, we welcome proposals from a variety of fields, including art history, architectural history, material culture studies, history, English and literature studies, American studies, anthropology, and archaeology, as well as the fine arts. To apply, please submit a 300-word abstract and two-page CV to firstname.lastname@example.org by April 15, 2017.
This new acquisition is now on view at the Palazzo Barberini:
The Painter and the Great Lord: Batoni, the Rezzonico Family, and Occasional Portraiture
Il pittore e il gran signore: Batoni, i Rezzonico e il ritratto d’occasione
Palazzo Barberini, Rome, 11 January — 23 April 2017
Prince Abbondio Rezzonico returns to Rome. In 2016 the Italian state acquired from the heirs of the Rezzonico family the striking portrait of the Senator of Rome, painted by Pompeo Batoni in 1766 on the occasion of his triumphal entry to Palazzo Senatorio on the Capitol. Abbondio Rezzonico (1742–1810), a member of a noble Venetian family and nephew of Pope Clement XIII, was appointed in 1765 to the rank of Senator—one of the most important magistracies in the city’s government. The portrait, commissioned from Pompeo Batoni (1708–1787), was celebrates this solemn occasion. The canvas will be displayed with a small group of other works illustrating the social context of the painting as well as the artist’s output. Visitors will be able to compare two portraits of Pope Clement XIII Rezzonico, one by Batoni and the other splendidly painted by his talented rival, Anton Raphael Mengs. The latter work is on loan from the Pinacoteca Nazionale of Bologna. Together with these two portraits there will be other works from the National Gallery’s collection of eighteenth-century paintings, not always on display. They include the elegant portraits of Count Soderini and Sir Henry Peirse by Batoni and the exceptional portrait of the Governor Robert Clive by Anton von Maron.
Silver huqqa set made up of five separate parts: 1) globular base, ht. 16.9 cm; 2) tobacco bowl, ht. 9 cm and 3) its cover, ht. 7 cm; 4) ring, ht. 5 cm; 5) mouthpiece, ht. 6.5 cm, North India, ca. 1750.
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Press release (18 January 2017) from Gov.UK’s Department for Culture, Media & Sport:
Culture Minister Matt Hancock has placed a temporary export bar on Clive of India’s huqqa set and flask to provide an opportunity to keep them in the country. The Mughal ruby and emerald flask and the sapphire and ruby huqqa set are both at risk of being exported from the UK unless a buyer can be found to match the asking price of £6,000,000 for the flask or £240,000 for the huqqa set.
It is believed that Robert Clive, also known as Clive of India, was presented with the flask as a gift following the Battle of Plassey. Clive was governor and commander-in-chief of India and became famous for his victory over the Nawab of Bengal during the battle in 1757. The flask itself is incredibly rare and there is no other object like it anywhere in the world, let alone in Britain. It has a silver interior and a gold exterior decorated in jade, emeralds and rubies. Clive of India also brought the huqqa set back to the UK from India. Set with white sapphires and rubies, it was part of an original collection at the imperial court in Delhi. The huqqa set is considered to be an extremely rare survival as such lavish courtly objects were often broken down for their component parts. It isn’t known how Clive of India acquired the set, but smoking was widespread in India at the time and had become popular amongst the British living there as well. In fact, the British often had themselves portrayed in paintings reclining against brocade-covered bolsters on a terrace, peacefully smoking.
Minister of State for Digital and Culture Matt Hancock said: “These treasures are not only exquisite, they provide us with a glimpse into the fascinating lifestyle and traditions of the Mughal Court and the British presence in India at the time. I hope that we are able to keep these unique artefacts in the country to learn more about this extraordinary history.”
The decision to defer the export licence follows a recommendation by the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest (RCEWA), administered by The Arts Council. The RCEWA made its recommendation on the flask on the grounds of its close connection with our history and national life, its aesthetic importance and its outstanding significance for the study of Mughal political and technical history, the consumption of wine and gift-giving in Mughal India, Clive of India and the British expansion in India. The RCEWA made its recommendation on the huqqa set on the grounds of its close connection with our history and national life and on the grounds of its outstanding significance for the study of Mughal court arts, gold and silver-smithing, jewel-setting, enamelling, and the place of tobacco in the social etiquette of early modern India and its adoption by British administrators in the later 18th century.
Sir Hayden Phillips, Chairman of the RCEWA said: “Apart from the intrinsic quality of these objects, and their outstanding importance for scholarship, the Reviewing Committee was unanimous in its recognition of their emblematic significance for our history and national life. Robert Clive was an outstanding and, indeed, controversial figure, but absolutely central to the creation of British rule in India. His statue, gazing out towards St James’s Park, stands guard at Clive Steps as they lead to the Foreign Office and The Treasury; a tellingly symbolic location for what he contributed to our history.”
The decision on the export licence application for the flask will be deferred until 17 May 2017. This may be extended until 17 November 2017 if a serious intention to raise funds to purchase it is made at the recommended price of £6,000,000 (plus VAT of £1,200,000). The decision on the export licence application for the huqqa set will be deferred until 17 April 2017. This may be extended until 17 July 2017 if a serious intention to raise funds to purchase it is made at the recommended price of £240,000 (plus VAT of £48,000). Organisations or individuals interested in purchasing the flask or huqqa set should contact the RCEWA.
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Note (added 24 February 2017) — This ban comes thirteen years after “an earlier attempt to send” the objects “from the UK to Qatar,” as reported by The Art Newspaper (February 2017), p. 10. “After the Qataris withdrew the export licence applications in 2005, they were required to keep the objects in the UK and so lent the flask and huqqa to the V&A. Last year, the museum learned that the loan agreement would not be renewed. Qatar Museums wants to display them in Doha’s Museum of Islamic Art.”
Frederick MacKenzie, The National Gallery When at Mr J. J. Angerstein’s House, Pall Mall, 1824–34, watercolour
(London: V&A, 40-1887)
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From the conference programme:
Private Collecting and Public Display: Art Markets and Museums
University of Leeds, 30–31 March 2017
Registration due by 20 March 2017
The Centre for the Study of the Art and Antiques Market at the University of Leeds is delighted to announce that registration is now open for an international two-day conference exploring the relationship between the ‘private’ and ‘public’ spheres of the art market and the museum. This interdisciplinary conference offers the opportunity to hear new research in the fields of art market studies, museum studies, and the histories of collecting. Registration information is available here. For any further information, please contact email@example.com.
T H U R S D A Y , 3 0 M A R C H 2 0 1 7
9.30 Welcome, Mark Westgarth, Director, Centre for the Study of the Art & Antiques Market, University of Leeds
9.45 I | Birth of the Museum
• Marie Tavinor (Christie’s Education, London), The ‘Potent Tate’ and the Founding of the Tate Gallery: An Insight into Taste and the Politics of Donation in Late Victorian England
• Margaraet Iacono (The Frick Collection, New York), Going Public: The Frick Collection’s Transformation from Private Home to House Museum
• Helen Glaister (Victoria & Albert Museum, London), From Buxted Park to South Kensington and Beyond: The Ionides Collection of Chinese Export Porcelain
11.00 Coffee and tea
11.30 II | Legacy through Display: From Private to Public
• Nicole Cochrane (University of Hull), Ancient Sculpture and the Narratives of Collecting: (Re)Contextualizing Museum Space
• Alison Clarke (University of Liverpool / National Gallery London), Pure Eighteenth-Century Art Unspoiled by Any Element Foreign to Its Nature: The Agnew’s Exhibitions of The Frick Fragonards
• Isobel MacDonald (University of Glasgow / The Burrell Collection), Tracing The Development of the Burrell Collection from Deed of Gift (1944) to Pollok Park, Glasgow (Present Day)
1.45 III | Dealers and Markets: Thinking of the Past, Looking towards the Future
• Pamella Guerdat (University of Neuchatel, Paris), A Heritage under Construction: René Gimpel’s (1881–1945) Roles between Private Collectors and Public Museums
• Ana Mântua (Dr Anastácio Gonçalves House Museum, Lisbon), One Man’s Choices and the Portuguese Art Market, 1925–1965
• Kerry Harker and John Wright (University of Leeds), Blurring the Boundaries: Reconsidering ‘Public’ and ‘Private’ in the Alternative Art Market Activities of Artist-Led Groups, Organisations, and Collectives
3.00 IV | Power, Influence, and Agency: A Critical Look at Private Collections Going Public
• Pier Paolo (IES Abroad Italy, Rome), From Objects of Devotion to Icons of Beauty: The Institution of the National Museum in the Vatican at the Time of the Roman Republic, 1798–99
• Verda Bingol (Istanbul Technical University), From the Cradle to the Museum: The Elgiz Collection
• Dorothy Barenscott (Independent Art Historian), Steve Wynn: Art Collecting and Exhibition, ‘Vegas Style’
4.15 Coffee and tea
4.45 Keynote Address
• Susanna Avery-Quash, Senior Research Curator (History of Collecting), National Gallery London
6.00 Drinks Reception
F R I D A Y , 3 1 M A R C H 2 0 1 7
9.40 V | The Visibility of Private Collections within the Public Arena
• Marcela Drien (Universidad Adolfo Ibáñez, Chile), Exhibiting Domestic Museums: Chilean Art Collectors at Santiago’s Exposicion Internacional of 1875
• Rasmus Kjaerboe (Ribe Art Museum, Denmark), Collecting To Be Modern: The Early Twentieth-Century Art Collections of Prince Eugen, Ernest Thiel, and Klas Fåhraeus
• Kathryn Brown (University of Loughborough), Patrimony and Patronage: Collecting and Exhibiting Contemporary Art in France
11.00 Coffee and tea
11.30 VI | Museum Quality? Deaccessioning Museums onto the Art Market
• Gareth Fletcher (Sotheby’s Institute of Art, London), But Is It Really Museum Quality? – Evaluating the Impact of Institutional Provenance within the International Art Market
• Nicola Sinclair (University of York), ‘You Have Culled One or Two Beauties But the Memorial of Art Is Gone’: How (Not) To Translate Paintings of Historical Value from Private to Public Collections and back again in Mid-Nineteenth-Century Britain
• Martin Hartung (ETH Zürich, Switzerland), A Philanthropic Legacy: The Controversial Case of DIA in New York
1.45 VII | Private Collections and Public Museums: Working across Boundaries
• Kate Beats (University of Cambridge), Cambridge’s First Museums: The Private College Collections behind the Public Museums in Cambridge
• Helen Ritchie (Fitzwilliam Museum, Cambridge), The Frua-Valsecchi Collection at The Fitzwilliam Museum: A Case Study
• Tom Boggis (Holburne Museum, Bath), Public Collection, Private House: Display of the Heveningham Furniture Collection in the Twentieth Century
3:00 Coffee and tea
3.30 Round Table Discussion
5.00 Closing Remarks