Conference | The Queen’s House and Court Culture, 1500–1750

Posted in conferences (to attend) by Editor on March 9, 2017

Adriaen van Stalbemt, A View of Greenwich, ca 1632; oil on canvas, 83.5 × 107 cm (Royal Collection Trust, 405291). More information is available here

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From Royal Museums Greenwich and the conference programme:

Queen’s House Conference 2017: European Court Culture and Greenwich Palace, 1500–1750
National Maritime Museum and the Queen’s House, Greenwich, 20–22 April 2017

Royal Museums Greenwich and the Society for Court Studies are pleased to announce a major international conference to mark the 400th anniversary year of the Queen’s House, Greenwich. Designed by Inigo Jones in 1616 and completed in 1639, this royal villa is an acknowledged masterpiece of British architecture and the only remaining building of the 16th- and 17th-century palace complex. Today the Queen’s House lies at the centre of the World Heritage Site of Maritime Greenwich.

The site as a whole is often celebrated as quintessentially ‘British’—historically, culturally and artistically. Yet the sequence of queens associated with the Queen’s House and Greenwich more generally reflect a wider orientation towards Europe—from Anne of Denmark, who commissioned the House, to Henrietta Maria of France, Catherine of Braganza and Mary of Modena—in addition to Greenwich’s transformation under the patronage of Tudor and Stuart monarchs. Located on the River Thames at the gateway to London and to England, royal residences at Greenwich served an important function in the early modern period as a cultural link with the continent, and in particular, with England’s nearest neighbours in the Low Countries and France.

Conference themes include: Royal portraiture; ‘Princely magnificence’ and the design of royal spaces (such as the division between a King’s and Queen’s sides); dynastic links between the houses of Stuart, Orange, Bourbon, Wittelsbach (Palatinate), and Portugal; the history of Greenwich Palace as a royal residence and centre of power and culture; other areas patronized by the court, such as maritime exploration, scientific advances, prints, as represented by the Royal Observatory Greenwich.

Conference organisers: Janet Dickinson (University of Oxford), Christine Riding (Royal Museums Greenwich), and Jonathan Spangler (Manchester Metropolitan University). With support from the Society for Court Studies.

For queries about the programme, please e-mail janet.dickinson@conted.ox.ac.uk. For bookings, e-mail research@rmg.co.uk. Booking information is available here.

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T H U R S D A Y ,  2 0  A P R I L  2 0 1 7

12.30  Registration

13.00  Introduction
• Jemma Field, Brunel University: Greenwich Palace and Anna of Denmark: Royal Precedence, Royal Rituals, and Political Ambition
• Karen Hearn, University College London: “‘The Queenes Picture therein’: Henrietta Maria amid Architectural Magnificence”
• Anna Whitelock, Royal Holloway, University of London: Title to be confirmed

15.00  Coffee and tea

• Christine Riding, Royal Museums Greenwich: Private Patronage, Public Display: The Armada Portraits and Tapestries, and Representations of Queenship
• Natalie Mears, Durham University: Tapestries and Paintings of the Spanish Armada: Culture and Horticulture in Elizabethan and Jacobean England
• Charlotte Bolland, National Portrait Gallery: The Armada Portrait of Elizabeth I

17.00  Keynote Lecture
• Simon Thurley, Institute of Historical Research: Defining Tudor Greenwich: Landscape, Religion, and Industry

18.00  Wine reception in the Queen’s House

F R I D A Y ,  2 1  A P R I L  2 0 1 7

• Catriona Murray, University of Edinburgh: Raising Royal Bodies: Stuart Authority and the Monumental Image
• Hannah Woodward, University of Glasgow: An Embroidered Truth? The Painted Brocades in Sixteenth-Century Portraits of Marie Of Guise
• Jessica Malay, University of Huddersfield: Building the Palaces of the North: Anne Clifford’s Antiquarian Impulse

11.00  Coffee and tea

• Maureen Meikle, Leeds Trinity University: Queen Anna and Her Architects: A Tale of Two Queen’s Houses
• Jane Spooner, Historic Royal Palaces: Framing Rubens: The Architectural Polychromy of the Banqueting House Ceiling in Context
• Anya Matthews, Old Royal Naval College: Queens, Patronesses and Goddesses: Royal Women and the Painted Hall at Greenwich, 1707–26

13.00  Lunch and tours of the site. Scaffold tours of the ceiling at the Painted Hall are available during the conference.

• Wendy Hitchmough, Historic Royal Palaces: Anna of Denmark, Inigo Jones, and the Performance of Monarchy
• Gilly Lehmann: Henry VIII’s Great Feast at Greenwich in May 1527

15.30  Refreshments

• Janet Dickinson, University of Oxford: The Tudors and the Tiltyard: Constructing Royal Authority at Greenwich
• Sara Ayres, National Portrait Gallery: Paul van Somer’s Portrait of Anne of Denmark in Hunting Costume (1617)

• 17.30  Keynote Lecture
Susan Foister, National Gallery: Holbein and Greenwich

S A T U R D A Y ,  2 2  A P R I L  2 0 1 7

• Birgitte Dedenroth-Schou: The Danish / German Influence on Anne of Denmark’s Cultural Interests
• Fabian Persson, Linnaeus University: Protestant Prize? Princess Elizabeth, Marriage Negotiations, and Dynastic Networking
• Ineke Huysman, Huygens Institute: Epistolary Power: Anglo-Dutch Affairs in the Correspondence of the Dutch and Frisian Stadtholders’ Wives, 1605–1725

11.00  Coffee and tea

• Laura-Maria Popoviciu, Government Art Collection: ‘Great Britain’s New Solomon’? A Portrait of William III by Jan van Orley
• David Taylor, National Trust: ‘Her Majesty’s Painter’: Jacob Huysmans and Catherine of Braganza

12.30  Lunch

• Michele Frederick, University of Delaware: ‘Crossing the Sea’: Gerrit van Honthorst and Portraiture at the Stuart Courts
• Julie Farguson, University of Oxford: ‘Glorious Successes at Sea’: The Artistic Patronage of Prince George of Denmark as Lord High Admiral, 1702–08
• J. D. Davies: Greenwich, the Sovereignty of the Seas, and Naval Ideology in the Restoration

15.00  Coffee and tea

• José Eloy Hortal Muñoz, Universidad Rey Juan Carlos, Madrid: The Shape of the Courtly Space at the European Royal Sites of the Seventeenth Century: Merging Court, Household, and Territory
• Jacqueline Riding, Birkbeck College, University of London: A Stuart Court at the Palace of Holyroodhouse in 1745
• Barbara Arciszewska, University of Warsaw: Claiming Grunnewitsch: Architecture of Inigo Jones and Dynastic Identity of the Hanoverians, ca. 1700



At Christie’s | Collection of Boniface de Castellane and Anna Gould

Posted in Art Market by Editor on March 9, 2017
Francesco Guardi, Piazza San Marco with the Basilica and the Campanile, ca. 1770–80, oil on canvas, 70 × 102 cm. The painting sold for $7.1million.

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Press release from Christie’s:

Boniface de Castellane and Anna Gould: ‘A Way of Life’, Sale 14636
Christie’s, Paris, 7 March 2017

On 7 March 2017, Christie’s Boniface de Castellane and Anna Gould: ‘A Way of Life’ auction [Sale 14636] realised a total of €14,266,563 / £12,342,004 / $15,155,370. These exceptional results reflect the relevant choices Boni made when furbishing his legendary Palais Rose with the most exquisite works of art.

Interior of Diane de Castellane’s Apartment (Christie’s Images Ltd, 2017).

Lionel Gosset, Head of Collection sales, Christie’s France: “Continuing Christie’s long history of offering prestigious collections at auction, we are honoured to have paid such a beautiful tribute to this important collection. Its celebrated provenance and the pristine quality of its works have attracted bidders from nineteen countries across five continents, establishing once again Christie’s France’s leadership in selling collections with success.”

Connoisseurs, collectors, and institutions, such as the Sèvres Museum (lot 145) and Lyndhurst—Anna Gould’s childhood home in the state of New York (lots 2, 6, 10, and 16)—have acquired 96% of the sale, demonstrating continued interest in high quality 18th-century pieces. The Palais Rose’s famous Boulle furniture achieved strong prices, as illustrated by the Louis XVI pair of meubles-à-hauteur-d’appui by Etienne Levasseur and Adam Weisweiler that sold for €818,500 (lot 132) and the Louis XIV console attributed to André-Charles Boulle that sold for €506,500 (lot 140). Important decorative art from the period also performed very well, as shown by the Sèvres porcelain ‘vases’ that realised €206,500 against a presale estimate of €80,000–120,000 (lot 52) and a George III clock attributed to James Cox that achieved €290,500 (lot 89). Art Déco works by Cartier where among the highlights of the sale, as the Mystery Clock achieved €686,500 against a presale estimate of €150,000–200,000 (lot 18) and the Jardin Japonais desk set achieved €1.118.500 (lot 19), a new record for an object by Cartier sold at auction. Finally, leading the sale was the magnificent View of Piazza San Marco with the Basilica and the Campanile by Francesco Guardi (lot 46), for which determined bidding resulted in a total of €6,738,500 / £5,829,476 / $7,158,309, making it the highest price achieved by far for an Old Master painting sold at auction in France over the past two decades.

The pre-sale press release from Christie’s is available here»

Emily Selter provided a brief preview of the auction and profile of the “Ultimate Paris ‘It Couple’,” for Town & Country (21 February 2017).

Exhibition | The First Jewish Americans

Posted in books, catalogues, exhibitions by Editor on March 9, 2017

Suriname map, 1718. Nieuwe Kaart van Suriname vertonende de stromen en land-streken van Suriname, Comowini, Cottica, en Marawini; Amsterdam, 1718 (Collection of Leonard L. Milberg).

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Closing on Sunday at the New-York Historical Society (the exhibition was shown at Princeton in 2016 under the title By Dawn’s Early Light: Jewish Contributions to American Culture from the Nation’s Founding to the Civil War); from the press release:

The First Jewish Americans: Freedom and Culture in the New World
Princeton University Art Museum, 13 February — 12 June 2016
New-York Historical Society, 28 October 2016 — 12 March 2017

How did Jewish settlers come to inhabit—and change—the New World? Jews in colonial America and the young United States, while only a tiny fraction of the population, significantly negotiated the freedoms offered by the new nation and contributed to the flowering of American culture. The First Jewish Americans: Freedom and Culture in the New World follows the trajectory of a people forced from their ancestral lands in Europe, as well as their homes in South America and the Caribbean, to their controversial arrival in New Amsterdam in 1654 to the unprecedented political freedoms they gained in early 19th-century New York, Philadelphia, and Charleston. In this ground-breaking exhibition, rare portraits, drawings, maps, documents, and ritual objects illuminate how 18th- and 19th-century artists, writers, activists, and more adopted American ideals while struggling to remain distinct and socially cohesive amidst the birth of a new Jewish American tradition.

Gerardus Duyckinck I, Portrait of Jacob Franks (1688–1769), oil on canvas (Bentonville, Arkansas: Crystal Bridges Museum of American Art).

The exhibition explores the origins of the Jewish diaspora and paths to the New World, Jewish life in American port cities, and the birth of American Judaism in the 18th and early 19th centuries, as well as profile prominent Jewish Americans who made an impact on early American life.

European Jews fleeing persecution and seeking ports of refuge were propelled westward to the distant shores of New World colonies, which offered hope for a new beginning until the infamous Holy Inquisition followed them across the ocean. The exhibition powerfully illustrates this experience through the 1595 autobiography of Luis de Carvajal, a ‘converso’ Jew in Mexico and the nephew of a prominent governor, who was tried by the Inquisition and denounced more than 120 other secretly practicing Jews before he was burned at the stake in 1596. The recently rediscovered documents, which had gone missing from the National Archives of Mexico more than 75 years ago, will be on view at New-York Historical by special arrangement with the Mexican government before returning to Mexico.

The Jewish community in the New World dispersed throughout the colonies in the Caribbean, creating a network built on trade, family, and religious connections. Examples of these island communities and influences featured in the exhibition include a 1718 map of the Jewish settlement in Suriname, 18th-century texts of religious services for the circumcision of slaves, and Jamaican legal documents from 1823 that argued for Jewish voting rights.

During the colonial period, Jews clustered in the cosmopolitan and commercially minded port cities of New York, Philadelphia, and Charleston, and within each city, an elaborate communal infrastructure grew that supported all aspects of Jewish life. Shearith Israel, the first Jewish congregation in colonial North America, built its home in Lower Manhattan in 1730. The congregation has loaned significant objects to the exhibition, such as a Torah scroll that was burned by British soldiers during the Revolutionary War and a rare set of Torah bells (or rimonim) designed by Myer Myers—one of colonial America’s preeminent silversmiths and an active congregation member. Also on view are six oil paintings circa 1735 of the prominent Levy-Franks family of New York, also members of the congregation. On loan from the Crystal Bridges Museum of American Art, they emulate paintings of the British aristocracy.

The Philadelphia Jewish community grew during and after the Revolutionary War, with the city serving as a refuge for patriots fleeing British-occupied New York. Some Philadelphia Jews opposed Britain’s harsh restrictions on American trade by signing the Resolution of Non-Importation made by the Citizens of Philadelphia in 1765—one of the first official protests against British mercantile policy, which is on view in the exhibit. Also featured are portrait paintings of Philadelphia merchant Barnard Gratz, a signer of the resolution who supplied American militias; and of his niece Rebecca Gratz, who in 1819 established the Female Hebrew Benevolent Society, the first Jewish lay charity in the country.

In the first decades of the 19th century, Charleston was home to more Jews than any other place in North America and became a site of cultural and religious ferment. Congregation K.K. Beth Elohim—whose elegant synagogue is depicted in an 1838 oil painting on view—was the birthplace of the Reform movement in 1824, when a group of 47 members petitioned to make worship more accessible by introducing innovations that included prayers in English. The leadership refused, so the petitioners seceded and established the Reformed Society of Israelites for Promoting True Principles of Judaism According to Its Purity and Spirit. The exhibition features the group’s 1825 prayer book and speeches promoting their initially radical position, which soon became main stream. Also on view are earlier examples of revolutions in American Judaism, such as an English translation of a Hebrew prayer book from 1766, Samuel Johnson’s English and Hebrew Grammar book from 1771, and a lunar calendar of Jewish festivals and Sabbath observance from 1806.

The exhibition also features profiles of prominent Jewish Americans of the 18th and early 19th centuries, whose writing, activism, and artistic achievements provide a window into an era of cultural vitality and change in the new Republic. Among the highlighted figures are renown artist Camille Pissarro (1830–1903), a Caribbean Jew born in St. Thomas whose 1856 landscape paintings on view capture waterfront scenes of his island home; and Louis Moreau Gottschalk (1829–1860), a New Orleans-born piano prodigy and composer who became the first classically trained American pianist to achieve international fame. Science and medicine were remarkably open to Jewish men during the 19th century. On display are books written by Jewish Americans that made major contributions to American science and medicine as those fields were developing during this period. The exhibition concludes with views of newly flourishing cities, including Cincinnati, Los Angeles, and San Francisco that became home to American Jews as they ventured westward.

The exhibit is based primarily upon loans from the Princeton University Jewish American Collection, gift of Mr. Leonard L. Milberg, Class of 1953, and Mr. Leonard L. Milberg’s personal collection.

Adam Mendelsohn, By Dawn’s Early: Light Jewish Contributions to American Culture from the Nation’s Founding to the Civil War (Princeton: Princeton University Library, 2016), 352 pages, ISBN: 978  08781  10593.

Terrific installation photographs are available at Arts Summary.




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