Enfilade

AHRC-funded Workshops | Architecture and Society, 1760–1840

Posted in Calls for Papers by Editor on July 12, 2017

After Jenkinson, View of Liverpool, 1813.

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From H-ArtHist:

Architecture and Society in an Age of Reform, 1760–1840
Liverpool, 19–20 September 2017; Bristol, 16–17 March 2018; and Birmingham, June 2018

Proposals due by 31 July 2017

We are delighted to announce the launch of a new AHRC-funded international research network on Architecture and Society in an Age of Reform, which aims to establish a dynamic, long-lasting, multi- and interdisciplinary research forum to investigate the relationship between architecture and society in the period 1760–1840. As part of the project we will be holding three workshops:

Liverpool, 19–20 September 2017
Bristol, 16–17 March 2018
Birmingham, date TBC June 2018

Each workshop will focus on the same broad set of research questions, with site visits on the first day designed to stimulate discussion on the second day. The broad sets of questions we will be exploring include:

User experience
• How can we reimagine the experience of building users?
• What can diaries, letters and literary evidence tell us?
• (How) can we use digital methods to recreate experience?

Patronage and knowledge
• How were buildings funded and what is the relationship between funding and form?
• How can we use the archival evidence resulting from patterns of patronage (legislation, subscription lists, contracts etc)?

Radical and conservative architecture
• How could and did architecture offer ways to contest, reform and reimagine society and/or maintain and strengthen existing structures?
• How can we use treatises, pattern books and other sources to identify different architectural discourses and different approaches to the use of space?

New and reimagined building types
• What do building forms tell us about contemporary understanding of their functions?
• How did architecture shape knowledge?
• How can we use surviving buildings and other non-textual sources as evidence?
• What are the most effective ways of engaging the wider public in this research?

Site Visits

The first day of each workshop will be dedicated to site visits, which are designed to stimulate new insights about the relationship between architecture and society in an Age of Reform. All travel will be arranged in advance, and network organisers will provide fact sheets for each site so that we can think about the buildings with the basic information at our fingertips.

Panel Formats

The second day of each workshop will be dedicated to focussed discussion designed to respond to the venue visits, to share ideas about the network’s key research questions, build research collaborations and identify potential research themes for future research. We will adopted a blended format designed to stimulate discussion, including the following formats:
• 5-minute speed-dating introductions to research
• spotlight sessions on local research institutions and heritage partners
• keynote papers
• roundtable discussion
• breakout

The project team invites initial expressions of interest from scholars interested in any element of the Architecture and Society research programme. If you feel you can make a significant contribution to any or all of our workshops, please send a brief summary of your research interests and career stage to the Principal Investigator (Alexandrina.Buchanan@liverpool.ac.uk) by 31 July 2017. The AHRC has generously provided funding to support a limited number of participants’ UK travel and accommodation expenses.

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New Acquisition | View of Charleston, ca. 1774

Posted in museums by Editor on July 12, 2017

Engraved by Samuel Smith, after Thomas Leitch, A View of CHARLES-TOWN, in the Capital of SOUTH CAROLINA, published in London, 3 June 1776, hand-colored line engraving (Art Museums of Colonial Williamsburg, The Friends of Colonial Williamsburg Collections Fund, 2017-287)

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Press release (11 July 2017) from Colonial Williamsburg:

A rare, historically important view of Charleston, South Carolina, showing its appearance at the time of the American Revolution was recently purchased by the Colonial Williamsburg Foundation for its collection. A View of CHARLES-TOWN, in the Capital of SOUTH CAROLINA, engraved in London by Samuel Smith after a painting by Thomas Leitch, depicts recognizable Charleston landmarks during its peak of prosperity prior to the outbreak of the war.

“Acquisition of this exceptional, pre-Revolutionary view perfectly addresses the Foundation’s core mission, particularly since it furthers our understanding of early America and its Southern colonies,” said Mitchell B. Reiss, president and CEO of Colonial Williamsburg. “I applaud our generous donors for making the purchase a reality.”

“Eighteenth-century views of American cities are relatively rare, and those of southern centers even more so,” said Ronald L. Hurst, the Foundation’s Carlisle Humelsine chief curator and vice president for collections, conservation, and museums. “At nearly three feet in width and retaining its original water coloring, this outstanding view of one of the South’s great seaports is exceptionally rare and important.”

This print, in its full original color, was engraved in 1774 after Leitch painted his scene within a year of his arrival in Charleston from London in 1773 and arranged for it to be shipped back there to be engraved for printing. Although little is known about Leitch, an advertisement that he placed in the South Carolina Gazette soliciting subscribers to assist with the cost of producing the print, and noting that he was sending the painting ‘home’ to have it engraved, confirms he came from London.

The artist rendered his painting in the Dutch panoramic style that enhanced the expanse of the coastline by increasing its width in relation to its height, forcing the viewer’s eye to move back and forth across the canvas. The image is curious, however; while earlier versions of Charleston show calm seas and dozens of merchant ships in the harbor, in this one, Leitch included only one British trading ship in the harbor. Only about six months earlier, Massachusetts traveler Josiah Quincy noted of the Charleston harbor that “the number of shipping far surpassed all I had ever seen in Boston….”

As Colonial Williamsburg’s Deputy Chief Curator Margaret Pritchard speculates, “It is possible that the notable absence of trading vessels venturing into the choppy waters of the Cooper River, under stormy skies, was intended to suggest the political tension between Charlestonians and the Mother country.” In 1773, just months before Leitch painted his view, Britain passed the Tea Act, and Charleston’s outraged citizens left the British-imported tea on the docks to rot. It was the following year in which townspeople elected delegates to the Continental Congress.

Although the print was engraved in 1774, it was not issued until 1776. Other known copies are held at the Yale University Art Gallery, the New York Public Library, and the Gibbes Museum of Art in Charleston. The original painting is in the collection of the Museum of Early Southern Decorative Arts (MESDA). The print was acquired through The Friends of Colonial Williamsburg Collections Fund, which restricts its funds for object purchases.

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Display | Hyacinthus by Tiepolo

Posted in exhibitions by Editor on July 11, 2017

Now on view at the Museo Thyssen-Bornemisza:

Hyacinthus by Tiepolo
Museo Thyssen-Bornemisza, Madrid, 23 June — 17 December 2017

In conjunction with the celebration of the Museum’s 25th anniversary and to coincide with World Pride 2017 in Madrid, the Museo Thyssen-Bornemisza is now presenting the results of the restoration and technical study of one of the most important and fascinating works in its collection and probably its greatest gay icon: The Death of Hyacinthus by Giovanni Battista Tiepolo.

Giambattista Tiepolo, The Death of Hyacinthus, ca. 1752–53 (Madrid: Museo Thyssen-Bornemisza).

Following its restoration in the Museum’s studios, the painting has now returned to its habitual location in Room 17, accompanied by a special display organised by the departments of Restoration and Old Master painting. This installation includes X-radiographs and infra-red reflectographs that show the most interesting aspects of the work undertaken, explain the methodology applied, and reveal the outstanding quality of the painting. These images are accompanied by two preparatory drawings loaned by the Staatsgalerie in Stuttgart and a video of the entire restoration process, which also explains the most important discoveries made during this restoration and study project and features interesting details from the painting.

Given the widespread interest in restoration projects of this type, with this new display the Museum is aiming to introduce visitors to the working methods used by restorers, which are essential for determining the appropriate treatments to be applied in each case and which also provide art historians with important information. Knowledge of the techniques and materials employed by artists is fundamental for deciding on the procedures to be adopted when halting the deterioration of a work of art. Furthermore, focusing on the most detailed aspects of the creation of a work also allows us to enter into the artist’s mind to some extent and that of his or her period and to understand the creative act and its context on the basis of more solid arguments.

The Death of Hyacinthus (ca.1752–53) was commissioned by Baron Wilhelm Friedrich Schaumburg-Lippe, who lived in a town near Würzburg (Germany) where Tiepolo was employed with his sons Giovanni Domenico and Lorenzo from 1750 onwards on the decoration of the residence of the new Prince-Bishop, Carl Philipp von Greiffenclau. The painting seems to have an elegiac nature as a homage to the Baron’s lover, a young Spanish musician with whom he had lived in Venice and who had died in 1751.

The painting is inspired by an episode from Ovid’s Metamorphoses (Book X, 162–219): Apollo and his lover, the young and beautiful Hyacinthus, Prince of Sparta, were competing at throwing the discus when the latter was mortally wounded when struck on the head by the discus. In the classical account Hyacinthus was killed by his own clumsiness as he threw the discus during the competition, but another version recounts that as it was thrown by Apollo, it was blown off course by Zephyrus, god of the west wind, who had been spurned by Hyacinthus in favour of Apollo. Unable to return him to life, Apollo immortalised the youth by making the hyacinth flower sprout from his blood on the ground.

Tiepolo depicts the scene on the basis of the Italian translation of Ovid’s text by Giovanni Andrea dell’Anguillara (Venice, 1561), in which the discus throwing is replaced by a tennis match, a fashionable sport among the nobility of the time. In the foreground we see the racquet and some balls cast on the ground and in the background a net that indicates the tennis court. Hyacinthus lies dying in front of the despairing Apollo, who feels responsible for the accident and whose gestures indicate the fateful outcome. Apollo had neglected his duties as a god to devote his time to his lover and Tiepolo reminds us of this by including two of his attributes: the lyre and the quiver with arrows, abandoned on the ground on the left while he shows Apollo himself as a youthful athlete with blonde hair and a laurel wreath. Behind them Hyacinthus’s father King Amyclas and his retinue watch the scene with sombre expressions. Numerous iconographical details emphasize the painting’s symbolic language, from the figure of the macaw, a symbol of courtship, to the mocking expression of the statue of Pan, protector of male sexuality, with Apollo’s hand covering his genitals and his thumb imitating the shape of an erection.

The composition of the central group was tried out in numerous preparatory sketches by both the artist and his son and assistant Giovanni Domenico. These studies play with the different positions adopted by the two principal figures, bringing them closer together or changing the poses. Other studies feature specific details that were subsequently carefully reproduced in the final version, like the figure of Hyacinthus and the depiction of the small putto in the drawings from the Staatsgalerie in Stuttgart on display in the exhibition.

The restoration of The Death of Hyacinthus has essentially focused on the complex elimination of the superimposed layers of oxidised and yellowed varnishes which had accumulated over time. Cleaning the painting has recovered its visual unity and the richness of the original palette with its vibrant, subtly nuanced colours. The architectural features and figures are now also easier to read and the original pictorial depth can once again be properly appreciated. Taking micro-samples of the pigments has provided new information on them and allowed for the materials used by the artist and their state of conservation to be analysed, while gigapixel images and macrophotographs have revealed the tiniest alterations and details of the painting. Ultraviolet and infra-red images have similarly provided valuable information on the creation of the work and the artist’s methods.

An X-radiograph of a painting shows the modifications introduced by the artist during the process of its creation. In The Death of Hyacinthus it can be seen that Tiepolo changed the position of the king, turning him to face the principal scene directly, which resulted in a modification of the folds of his clothing and the position of his arm. Behind this figure Tiepolo added a soldier and also changed the size and shape of both figures’ headwear. In the lower part of the composition it is evident that the straps of the quiver were originally longer. Unlike the other figures, the putto is not visible in the X-radiograph as it was painted with a type of pigment that can be easily penetrated by X-rays.

Tiepolo worked more confidently on the right part of the painting, locating the principal figures in a more emphatic manner and with hardly any changes. There are small modifications to the position of Hyacinthus’s arm and Apollo’s thumb, the position of which has been interpreted as an erotic reference. His knee, on which Cupid is leaning, was slightly moved, with the result that the latter’s left hand is suspended in the air. Tiepolo also changed the background motifs as the X-radiograph reveals what might be the sketch of a mountain as well as different architectural structures which he ultimately covered over with clouds or vegetation in order to create a greater sense of space.

This image reveals the preparatory drawing or study concealed by the paint layers and thus the changes introduced into the composition by the artist, some of them also visible on the Xradiograph. In this case it can be seen that the figure of Amyclas originally had a cloth headdress which was then replaced with a hat, while his right hand also reveals some corrections or changes with regard to the final position. The god Apollo appears in the preparatory drawing with some ornamental accessories such as an earring and a belt decorated with a pearl, which were subsequently covered over with brushstrokes of pigment. In addition, his left thumb was not originally superimposed over the figure of Pan as we see in the final painting and some lines of under-drawing are visible that locate Apollo’s knee in a more elevated position and in contact with Cupid’s left hand. Finally, Tiepolo made a slight change to the position of the drapery over Hyacinthus’s leg.

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New Book | Idols and Museum Pieces: The Nature of Sculpture

Posted in books by Editor on July 11, 2017

Published by De Gruyter and available from ArtBooks.com:

Caroline van Eck, ed., Idols and Museum Pieces: The Nature of Sculpture, Its Historiography, and Exhibition History, 1640–1880 (Berlin: De Gruyter, 2017), ISBN: 978 31104 06917, 50€ / $58 / £41.

The publication of Winckelmann’s Geschichte der Kunst des Altertums in 1764 is considered as the defining moment in the genesis of the modern, scientific study of sculpture. It was a formalist and secular history, concentrating on the statue as a work of art, and studying sculpture in a museum setting, abstracting from its original religious, social or political functions. Other 17th- and 18th-century authors tried to understand those functions and why statues so often excited violent reactions ranging from adoration to abuse. The collection of essays aims to be a first investigation of the questions that arise out of an awareness that the origins of the Western historiography are much more complex than may appear from the perspective of Winckelmann’s vision of the Graeco-Roman tradition.

C O N T E N T S

• Erin Downey, Sculptures in Print, The Galleria Giustiniana as Exemplar and Agent of Taste
• Frits Scholten, The Amsterdam Ivories of Francis van Bossuit: Reception and Transformation in the Eighteenth Century
• Anne Ritz-Guilbert, La sculpture comme source historique: Les dessins de la collection de François-Roger de Gaignières (1642–1715)
• Anna C. Knaap, Sculpture in Pieces: Peter Paul Rubens’s Miracles of Francis Xavier and the Visual Tradition of Broken Idols
• Stijn Bussels, Medusa’s Terror in the Amsterdam Town Hall: How to Look at Sculptures in the Dutch Golden Age
• Ruurd Halbertsma, ‘Admirari vel deridere’: Calvinistic Approaches to Classical Sculpture in the Netherlands
• Hans Christian Hönes, Allegory, Ornament, and Prehistory’s ‘Secret Influence’: D’Hancarville versus Winckelmann
• Tomas Macsotay, Baron D’Hancarville’s Recherches on the Evolution of Sculpture: Submerged Emblems and the Collective Self
• Bram van Oostveldt, ‘Ut Sculptura Theatrum’: On the Relation between Theatre and Sculpture in the Late Eighteenth Century
• Pascal Griener, Plaster versus Marble: Wilhelm and Caroline von Humboldt and the Agency of Antique Sculpture
• Caroline van Eck, How Does an Idol enter a Museum? Immersion and Aesthetic Autonomy at the Musée Charles X in the Louvre
• Cecilia Hurley, La présentation du ‘paragone’ dans les dispositifs muséaux au XIXe siècle
• Thomas Beaufils, Idoles de l’Île de Nias: Origines d’un Entichement Musèal

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Exhibition | Homage to the Grand Duke

Posted in books, catalogues, exhibitions by Editor on July 10, 2017

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Now on view at the Pitti Palace, with a catalogue published by Sillabe and available from ArtBooks.com:

Homage to the Grand Duke: Memories of Silver Plates for the Feast of St. John
Omaggio al Granduca: Memorie dei piatti d’argento per la festa di San Giovanni
Palazzo Pitti, Florence, 24 June — 24 September 2017

The precious items in the Tesoro dei Granduchi include a number of 18th-century moulds of the now lost ‘St. John’s plates’, a nostalgic echo of masterpieces of the Roman silversmith’s art in the age of the Baroque. The fifty-eight magnificent silver ewers were intended as a gift for Grand Duke Cosimo III (1642–1723) and, after him, for Gian Gastone (1671–1737), his successor on the throne of Tuscany. One ewer was presented every year on 24 June, the feast of St. John, from 1680 until the Medici dynasty became extinct in 1737.

The silver ewers—weighing some fifteen pounds (or five kg) and worth 300 Roman scudi each—were meticulously embossed and chased with scenes celebrating the most illustrious members of the House of Medici from Lorenzo the Magnificent down to the reigning Grand Dukes. It was probably the fact that the ewers depicted the unusual subject of her family’s history that prompted the Electress Palatine Anna Maria Luisa (1667–1743) to do everything in her power to safeguard them from the threat of destruction at the hands of the House of Lorraine, who succeeded the Medici on the throne of Tuscany and whose military expenditure meant that they were regularly strapped for cash.

The ewers were jealously guarded in the Wardrobe in Palazzo Vecchio, leaving the premises only from 1789 to 1791 for display in the ‘Medal Room’ in the Galleria degli Uffizi. Sent back to the Wardrobe as their popularity declined, they set off down the path to oblivion. It is only thanks to casts commissioned by the Marchese Carlo Ginori and made in his Manufactory in Doccia between 1746 and 1748 that we can appreciate at least a pale reflection of their splendour today.

Rita Balleri and Maria Sframeli, eds., Omaggio al Granduca: Memorie dei piatti d’argento per la festa di San Giovanni (Livorno: Sillabe, 2017), 328 pages, ISBN: 978 8883 479595, 35€ / $60.

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New Book | Representing Duchess Anna Amalia’s Bildung

Posted in books by Editor on July 9, 2017

From Routledge:

Christina Lindeman, Representing Duchess Anna Amalia’s Bildung: A Visual Metamorphosis in Portraiture from Political to Personal in Eighteenth-Century Germany (New York: Routledge, 2017), 210 pages, ISBN: 978 147246 7386, $150.

The cultural milieu in the ‘Age of Goethe’ of eighteenth-century Germany is given fresh context in this art historical study of the noted writers’ patroness: Anna Amalia, Duchess of Weimar-Sachsen-Eisenach. An important noblewoman and patron of the arts, Anna Amalia transformed her court into one of the most intellectually and culturally brilliant in Europe; this book reveals the full scope of her impact on the history of art of this time and place. More than just biography or a patronage study, this book closely examines the art produced by German-speaking artists and the figure of Anna Amalia herself. Her portraits demonstrate the importance of social networks that enabled her to construct scholarly, intellectual identities not only for herself, but for the region she represented. By investigating ways in which the duchess navigated within male-dominated institutions as a means of advancing her own self-cultivation—or Bildung—this book demonstrates the role accorded to women in the public sphere, cultural politics, and historical memory. Cumulatively, Christina Lindeman traces how Anna Amalia, a woman from a small German principality, was represented as an active participant in enlightened discourses. The author presents a novel and original argument concerned with how a powerful woman used art to shape her identity, how that identity changed over time, and how people around her shaped it—an approach that elucidates the power of portraiture in eighteenth- and early nineteenth-century Europe.

Christina K. Lindeman is Assistant Professor of Art History at the University of South Alabama. A scholar of eighteenth-century art and material culture, she has contributed essays to edited volumes and Source.

C O N T E N T S

List of illustrations
Acknowledgments

Introduction
1  Setting the Stage
2  Composing a Musical Portrait
3  Representing the Female Grand Tourist
4  The Scientific Lady in Naples
5  Materializing Anna Amalia’s Bildung
6  Anna Amalia’s Gedenktafel: The Making of an Icon
Conclusion

Appendix A
Appendix B
Bibliography
Index

At Sotheby’s | Canaletto Drawing Sells for £2.6million

Posted in Art Market by Editor on July 8, 2017
Canaletto, The Coronation of the Doge on the Scala dei Giganti, ca. 1763–66; pen and brown ink and three shades of grey wash, heightened with touches of white over black chalk, within original brown ink framing lines, 39 × 55 cm. The drawing sold on 5 July 2017 for £2,633,750 / $3,404,385 / €2,999,591 (meeting the low end of its presale estimate of £2,500,000–3,500,000).

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Via Art Daily (6 July 2017) . . .

Old Master and British Works on Paper, L17040
Sotheby’s, London, 5 July 2017

A superbly preserved drawing ranking among the greatest ever made by Canaletto sold for a record £2,633,750 / $3,404,385 / €2,999,591 this week at Sotheby’s London [L17040, Lot #44 ]. The price eclipsed the previous record for a work on paper by the artist (£1.9 million achieved for Campo San Giacomo di Rialto, Venice, sold at Sotheby’s in London in July 2012).

Greg Rubinstein, Worldwide Head of Old Master Drawings at Sotheby’s, said: “The record price realised today for Canaletto’s superb drawing is a fitting testimony to its importance and its quality. Nothing like it has been seen at auction. A more total expression of the essence of Canaletto’s genius as a draughtsman than this extraordinary drawing, which transports us to the very heart of 18th-century Venice, in all its glory, wit and mystery, is hard to imagine. That it was loved and cherished for so long by one of the greatest families of English cognoscenti is the final piece in the jigsaw of elements that together make this by far the most important drawing by Canaletto to have come to the market in recent decades, and one of the most illuminating and enlightening, as well as one of the most visually exciting and satisfying, that he ever made.”

Both in scale and in compositional complexity, The Coronation of the Doge on the Scala dei Giganti is one of the most ambitious of all Canaletto’s drawings. It belongs to a highly original series of twelve depictions of the ceremonies and festivals of the Doges, the Feste Ducali, conceived in the first instance as drawings, but made specifically to be engraved. Though the artist’s drawings and paintings are often very accurate renderings of specific locations, images like these of actual historical events are relatively rare in his work. In this composition, the third in the series, the Doge is being crowned at the top of the Scala dei Giganti, the grand, ceremonial staircase that forms the focus of the courtyard of the Doge’s Palace. The principal subject, though, is Venice, her life and her people.

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Call for Articles | The Unique Copy: Extra-Illustration

Posted in Calls for Papers by Editor on July 8, 2017

First page of text in an illustrated edition of A Midsummer Night’s Dream, 1908 (Folger Digital Image 81266), exhibited in the Folger’s 2010 exhibition Extending the Book: the Art of Extra-Illustration.

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Along with next year’s workshop on extra-illustration, the organizers are editing a special issue of Wolfenbütteler Notizen zur Buchgeschichte on the subject and welcome proposals (depending upon the subject, there may also still be room in the workshop schedule; contact the organizers for details). From the Call for Articles:

The Unique Copy: Extra-Illustration, Word and Image, and Print Culture
Special Issue of the Journal Wolfenbütteler Notizen zur Buchgeschichte

Edited by Christina Ionescu and Sandro Jung

Proposals due by 15 August 2017; if accepted, final articles due by 15 June 2018

Dr Christina Ionescu and Dr Sandro Jung invite proposals for a special issue of the journal Wolfenbütteler Notizen zur Buchgeschichte on the subject of extra-illustration. Contributors wishing to submit an article to this special issue should plan ahead to meet a firm deadline of June 15, 2018. The issue is scheduled to be published in 2019 and it will be the first of this journal to be made available in both print and digital formats.

Is extra-illustration an ornamental art or does it add layers of significance and nuance to the accompanying text? How does it shed light on authorship, the act of reading, book history, and print culture? How does text-image interaction manifest itself in the extra-illustrated book-object? Is extra- illustration the equivalent of grangerising or are there other means of materially expanding the text? Is it a creative act or a form of customised reproduction or reuse of print matter? Who are the artists, readers, collectors, publishers, and curators who are responsible for the creation of extra- illustrated objects?

In his study of the history, symptoms, and cure of a fatal disease caused by the unrestrained desire to possess printed works, Thomas Frognall Dibdin (1776–1847) observes that “[a] passion for a book which has any peculiarity about it,” as a result of grangerising by means of collected prints, transcriptions, or various cutouts, “or which is remarkable for its size, beauty, and condition—is indicative of a rage for unique copies, and is unquestionably a strong prevailing symptom of the Bibliomania.” Extra-illustration as a practice did not emerge during bibliomaniac Dibdin’s birth century, which witnessed the publication of James Granger’s Biographical History of England (1769) and a widespread rage for unique copies of books, nor has it been extinguished in our digital era by modern technology. Whether it manifests materially as a published work that is supplemented verbally (with interleaved or pasted autograph letters, handwritten notes, or print matter either directly or tangentially linked to its content), or visually (with additional drawings, prints, maps, watercolours, photographs, or other forms of artwork that are similarly connected to a variable degree of closeness to the text), an extra-illustrated copy is important not only for its uniqueness as an original artefact and its commercial value as a desired commodity. As emblematic of an artistic, bibliographic, and cultural practice, it sheds light on its creator, the context of its production, and the reception of a text. As a form of personalised book design, it is moreover significant as a means of creative expression, an outlet of reader empowerment, and an archival repository of historical or cultural insight. Some of the popular targets of extra-illustration through time have been the Bible, biographies, historical treatises, topographical surveys, travel narratives, and popular plays.

A plethora of monographs and special journal issues dealing with book illustration from various theoretical and (inter)disciplinary perspectives have been published in recent years, but the subfield of extra-illustration remains largely unstudied. It is important to note, however, the contribution to the field by Luisa Calè, Lucy Peltz, and Stuart Sillars, who have proposed useful and in-depth reflections on extra-illustration and grangerising as a practice. To address this gap in current scholarship, we invite papers that engage with extra-illustration through the conceptual lenses of book history, print and visual culture studies, and word and image theory. Contributions that focus on original artwork contained in extra-illustrated copies from the perspective of word and image studies are of particular interest to the co-editors, as are studies of extra-illustration as a link between text, book-object, and context, as approached through the prism of the book arts and reception theory. Other possibilities include contributions investigating extra-illustration diachronically or cross-culturally, and case studies dealing with a special copy, a collection of extra-illustrated books, or an individual collector, publisher, curator, or artist responsible for the creation of such unique artefacts.

Possible themes include but are not limited to:
• grangerising as a biblio-cultural practice
• grangerising as a form of material repurposing in relation to print culture
• grangerising as a fashionable and biblioclastic pastime
• grangerising as an act of authorship
• the Grangerite, bookscrapping, and collecting practices
• illustrative responses to the text in the form of unique infra-textual images
• marginal illustration and text-image interaction
• extra-illustration as interactive and engaged reading
• extra-illustration as emblematic of institutional/curatorial collecting practices
• extra-illustration as personalised book design
• extra-illustration as a window into history and intellectual thought
• extra-illustration as a book customisation response to mass production
• digital imports of extra-illustration as a means of expression

500-word abstracts, along with the author’s contact information and bio- bibliographical note, should be sent to the organisers (cionescu@mta.ca / prof.s.jung@gmail.com) by 15 August 2017.

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Call for Papers | Home Comforts

Posted in Calls for Papers by Editor on July 8, 2017

From the website for the project Comfort in the Country House: Physical and Emotional Comfort in the Country House, England and Sweden, c. 1680–1820:

Home Comforts: The Physical and Emotional Meanings of Home in Europe, 1650–1900
Manchester Metropolitan University, 5–6 October 2017

Proposals due by 10 July 2017

Speakers include Hannah Barker (University of Manchester), Johanna Ilmakunnas (University of Turku), and Eleanor John (Geffrye Museum)

Home is widely recognised as a place of emotional attachment, often expressed and articulated through material objects which lie at the heart of attempts to uncover what made a house into a home. One important aspect of this is the notion of comfort, both in a physical and emotional sense; yet comfort is a relative term, its fulfilment dependent upon a wide range of economic, social, cultural, environmental and psychological factors—from wealth to the weather, and from family to fashion. This conference aims to explore the wide range of ways in which ideas and ideals of comfort were expressed in and through the home; how these changed over time and space, and whether it is possible to identify a European conceptualisation of home and comfort. We welcome papers on any aspect of home and comfort in Europe from the early modern period to the present day, but we especially look for contributions that seek to address the following:
• Furnishing the home: easy chairs, bedrooms, textiles, etc.
• Emotions and comfort in the home/family
• Changing technologies of domestic comfort
• Ideal homes: design, comfort and convenience
• National or European: comparative perspectives on home and comfort
• Comfort and domestic service
• Souvenirs and heirlooms: the comforts of memory
• Comfort and cleanliness

If you would like to present a paper, please send a title and 200 word abstract to Professor Jon Stobart: j.stobart@mmu.ac.uk by 10 July 2017.

Exhibition | Sampled Lives

Posted in books, catalogues, exhibitions by Editor on July 7, 2017

Press release for the exhibition now on view at The Fitzwilliam:

Sampled Lives: Samplers from the Fitzwilliam Museum
The Fitzwilliam Museum, Cambridge, 6 May 2017 — 8 April 2018

Coloured silks and metal threads, white-work, and needle lace… Over 120 beautifully embroidered samplers—some hundreds of years old—have gone on display in Cambridge in the exhibition Sampled Lives: Samplers from the Fitzwilliam Museum. Each one meticulously stitched by a girl or young woman, the samplers and accompanying book give a glimpse of past lives: from mid-17th-century English Quakers to early 20th-century school pupils. The skill employed in making them is remarkable—works by girls as young as nine years old are shown.

Very rarely seen due to their fragility and sensitivity to the light, several samplers have been newly conserved and cleaned for the show. This will be the first time so many fine examples from The Fitzwilliam’s outstanding collection of samplers have gone on display together.

The sampler was an essential part of a young woman’s education. It showed much more than just her ability with a needle and thread—it was a stitched CV, representing her competence to run a future home, or for seeking employment where such needle skills would be to her advantage. Samplers were also a work of creativity and pride, some containing hidden messages in the symbols and images used, referring to the girls’ political or religious beliefs. Many are stitched with names and ages. In some cases it is the only surviving document to record the existence of an ordinary young woman.

As the centuries progressed the sampler also became part of exercises towards literacy. Stitched prayers and odes to charity and faith adorned the fabric alongside alphabets and numerals. The displays highlight the importance of samplers as documentary evidence of past lives, revealing their education, employment, religion, family, societal status, and needlework skills. A fully- illustrated catalogue by Carol Humphrey, Honorary Keeper of Textiles, includes new high resolution photography to reveal the intricacy of the coloured silk stitches. It explores some of the personal stories that archival and genealogic research has revealed, as well as showing the evolution of different embroidery styles. It is hoped that the exhibition and book of Sampled Lives will stimulate further research, revealing more about the hidden histories of their makers.

Carol Humphrey commented: “The samplers are a stunning example of the needlework of the past and a masterclass for anyone interested in the changing fashions and styles of embroidery over the centuries. Much has changed in the study of samplers during the last thirty years or so. Now samplers can be seen as a valid means of studying the circumstances and material culture of their makers. When researched in depth, they can reveal not only personal details about an individual girl but also provide a key to family histories. We hope that visitors will enjoy discovering more about the techniques and past lives revealed in the exhibition and the book, and that further discoveries will come to light in the future.”

Carol Humphrey, Sampled Lives: Samplers from the Fitzwilliam Museum (Cambridge: The Fitzwilliam Museum, 2017), 242 pages, ISBN: 978  1910731  079, £20.

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