New Book | Europe Divided: Huguenot Refugee Art and Culture

Posted in books by Editor on January 31, 2022

From the V&A:

Tessa Murdoch, Europe Divided: Huguenot Refugee Art and Culture (London: Victoria & Albert Museum, 2022), 320 pages, ISBN: 978-1838510121, £40 / $55.

This richly illustrated book focuses on the extraordinary international networks resulting from the diaspora of more than 200,000 refugees who left France in the late 17th century to join communities already in exile spread far and wide. Indeed, George Washington (along with 20 other presidents) was a descendant of Huguenots. First-generation Huguenot refugees included hundreds of trained artists, designers, and craftsmen. Beyond the French borders, they raised the quality of design and workshop practice, passing on skills to their apprentices, sons, godsons, cousins, and to successive generations, who continued to dominate output in the luxury trades. Although silver and silks are the best-known fields with which Huguenot settlers are associated, their significant contribution to architecture, ceramics, design, clock and watchmaking, engraving, furniture, woodwork, sculpture, portraiture, and art education provides fascinating insight into the motivation and resolve of this highly skilled diaspora. Thanks to a sophisticated network of Huguenot merchants, retailers, and bankers who financed their production, their wares reached a global market.

Tessa Murdoch is research curator of the Gilbert Collection at the V&A.


Author’s Preface

1  The Huguenot Diaspora
2  The Reception of Huguenot Artists, Craftsmen, and Designers in the British Isles
3  The Huguenots as Educators
4  Decorative Painters
5  Huguenot Architects and Engineers
6  Huguenot Metalsmiths
7  Carvers, Gilders, Cabinetmakers, and Upholsterers
8  Huguenot Sculptors in France and Beyond
9  The Taste for Porcelain and Ceramic Manufacture in Britain and Ireland
10  Huguenot Goldsmiths and Silversmiths in the British Isles, 1550–1780
11  Huguenot Watchmakers and Jewellers: The Manufacture and International Market for Luxury Goods
12  Printmakers and Sellers: Design, Ornament, and Reproductive Prints
13  Huguenots and Portraiture: Allegiance, Identity, Loyalty, and Memory

Notes & References

New Book | A Biographical Dictionary of British and Irish Engravers

Posted in books by Editor on January 31, 2022

From Yale UP:

David Alexander, A Biographical Dictionary of British and Irish Engravers, 1714–1820 (London: Paul Mellon Centre for Studies in British Art, 2022), 1120 pages, ISBN: 978-1913107215, $125.

This biographical dictionary of engravers working on copper encompasses both those who produced fine art prints, and also those who engraved book illustrations for medical, technical, and literary works, all of which played a more important part than is usually realised in spreading information in the age of Enlightenment. Some 3,000 biographical entries draw on much unpublished information, researched over four decades, notably records of apprenticeship, genealogy, insurance, and bankruptcy as well as newspaper advertisements and contemporary accounts.

This is the first reference work to cover all engravers working on copper in Britain and Ireland 1714–1820. Many biographical entries describe celebrated engravers producing ‘fine art’ prints of paintings, which spread knowledge about living and dead artists. However, this book also builds up a more complex picture of the occupation of printmaking and includes engravers, many previously unresearched, who engraved ephemeral material, such as trade cards, bank notes, and satirical prints as well as the images that spread knowledge across literary, geographical, historical, topographical, medical, and technical fields.

David Alexander is a historian and honorary keeper of British prints at the Fitzwilliam Museum, Cambridge, and a member of the editorial board of Print Quarterly.

New Book | Hawkers, Beggars, and Quacks: ‘The Cries of London’

Posted in books by Editor on January 28, 2022

A new edition of this mainstay of eighteenth-century publishing was recently released by the Bodleian Library and distributed by The University of Chicago Press:

Sean Shesgreen, Hawkers, Beggars and Quacks: Portraits from ‘The Cries of London’ (Oxford: Bodleian Library Publishing, 2021), 240 pages, ISBN: 978-1851245512, $55.

Seventy-four striking portraits of men and women on the margins of London society in the seventeenth century—including street vendors and petty criminals.

“Buy my Dish of great Eeles, Any Old Iron take money for, Twelve Pence a Peck Oysters, Buy my fat Chickens, Fair Lemons & Oranges.”

At the end of the seventeenth century, Marcellus Laroon (1653–1702) became well known for a series of drawings that illustrated London’s marginal men and women: street vendors, hustlers, and petty criminals. This set of drawings came to be known as The Cries of London after the shouts and cries vendors used to hawk their wares. Hawkers, Beggars, and Quacks presents seventy-four of Laroon’s striking portraits. Following an illustrated introduction that contextualizes The Cryes of London, each portrait is beautifully reproduced with a commentary on the individual street-seller and their trade. These commentaries provide a wealth of detail about each seller’s dress, the equipment they used to ply their trade, their own diets, and the diets of those they served. Drawing on historic material found in the British Library’s Burney Collection of English newspapers, Hawkers, Beggars and Quacks provides a fascinating insight into the men and women who made their livelihood—legally and illegally—on the streets of England’s capital.

Sean Shesgreen is emeritus professor of English and formerly a Presidential Professor at Northern Illinois University.

PhD Opportunity | The Material Culture of Saltram, 1725–1840

Posted in graduate students, opportunities by Editor on January 27, 2022

Saltram House, near Plymouth in Devon, England; in 1957 the house was donated by the Parker family to the National Trust (Photo: National Trust). More information is available here.

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From the project description:

Global Connections and Local Contexts: The Material Culture of Saltram, c.1725–1840
Applications due by 20 February 2022

The global links of country houses have attracted considerable attention in recent years, but the furore over colonialism has tended to overshadow the supply and materiality of global goods and the ways in which these artefacts were integrated into a wider array of goods of local and European provenance. Saltram, with its mix of British, European, and global objects, forms a perfect collection through which to explore these issues.

The project explores global-local interaction through the belongings and consumption practices of the Parker family in the period 1725–1840. Perhaps best known for its Robert Adam interiors and Reynolds paintings, Saltram also has a range of Asian objects, including Chinese wallpapers and porcelain, and items of high quality European furniture and porcelain, as well as a large collection of mahogany furniture made in British workshops. These combine with a varied archival collection that is especially rich in family correspondence.

The project seeks to entangle the global with the local by exploring the consumption practices and motivations of the Parker family. This will provide a better understanding of the significance of global goods as one part of the material culture of the country house, set within the context of locality, domestic space, and family relations, the broader influences of taste and fashion, and the commercial worlds of international trade and manufacturing.

The project is framed by four key research questions:
1. What was the origin of goods within the collection and what were the routes of supply through which they came to Saltram? This allows the shifting relative importance of global goods to be assessed and places the house at the centre of local, national, European and global networks of supply.
2. What were the material and behavioural contexts in which these things were displayed, used and consumed? This means: assessing where things were located in the house and garden, how were they used and by whom; and exploring the history of display.
3. How were individual and assemblages of objects linked to personal identity and how did they reflect and shape the character of the house? What motivations underpinned the consumption of these goods, and what meaning did they hold for their owners?
4. How can these tangled histories be related to visitors to include and engage local and diverse audiences? This involves understanding and evaluating audience expectations and engagement.

The student is encouraged to define their own doctoral research project within these broad parameters. The research results will inform a range of public-facing outputs at Saltram. Indeed, a core aim of the project is to identify ways to quickly embed new research findings into public programming and the student will work closely with the engagement as well as the curatorial team. The project thus has the potential to make an important contribution to how the National Trust at Saltram tells a greater variety of stories to more diverse audiences. The student will receive training from the curatorial and conservation team on object handling and the NT’s collections management system and from the engagement team on audience engagement and partnership working.

Candidate Requirements
In addition to our standard entry requirements, applicants should have:
• Masters in an appropriate discipline at merit or distinction OR equivalent experience working in the heritage sector
• Knowledge of the history/arthistory/heritage of the English country house
• Experience of undertaking research using archives or material objects
• Ability to work independently, as an effective part of a team, and with members of the public
• The student will need to be willing and able to travel between Manchester and Saltram

This opportunity includes fees funding plus an annual stipend at the Research Council minimum rate (set by UKRI), which for 2021/22 is £15,609 per annum for home and overseas applicants.

Interested applicants should contact are welcome to contact Professor Jon Stobart for an informal discussion. For application details, please consult the project description available as a PDF file here. The closing date is 20th February 2022.

New Book | The French Royal Wardrobe: The Hôtel de la Marine

Posted in books by Editor on January 26, 2022

From Rizzoli:

Jérôme Hanover and Gabriel Bauret, with photographs by Ambroise Tézenas, The French Royal Wardrobe: The Hôtel de la Marine Restored (Paris: Flammarion, 2022), 288 pages, ISBN: 978-2080261328, $85.

This volume goes behind the scenes to reveal the history and metamorphosis of the Hôtel de la Marine, a treasure of Parisian heritage.

The Hôtel de la Marine, an exemplary monument on Paris’s Place de la Concorde, is a superb architectural achievement constructed in the eighteenth century by Ange-Jacques Gabriel, the official architect of King Louis XV. The institution it housed was charged with choosing, purchasing, and maintaining all of the king’s furniture—from beds to the simplest chair—and the crown’s treasures were stored here until 1789, after which it became the site of the Ministry of the Navy for more than two hundred years. An extensive four-year restoration was completed in 2021; the building reopened to the public and features a museum, conserved apartments that highlight the tastes of the eighteenth and nineteenth centuries, an exhibition hall, a bookshop, and three restaurants. Previously unpublished photography captures the splendor and majesty of the monument.

Jérôme Hanover is a fashion and luxury journalist; he regularly writes for Vogue Paris, GQ, and Le Figaro, and contributed to Dior in Bloom (Flammarion, 2020). Gabriel Bauret is a photography historian, independent curator, and author. Ambroise Tézenas’s photographs have been published in Presidential Residences in France (Flammarion, 2021), Be My Guest (Flammarion, 2020), and Beijing: Theatre of the People (2006), which won a best European book of photography prize. His work has been exhibited across Europe and Asia.

Metropolitan Museum Journal 2021

Posted in journal articles by Editor on January 24, 2022

Sèvres royal porcelain manufactory, Potpourri vase and pair of elephant-head vases (from a garniture), ca. 1758, soft-paste porcelain; pot-pourri vase approximately 18 inches high, elephant-head vases approximately 16 inches high (New York: The Metropolitan Museum of Art, Gift of Samuel H. Kress Foundation, 1958, 58.75.89a, b; 58.75.90a, b; 58.75.91a, b). Iris Moon’s “article traces the afterlife of the Sèvres elephant garniture in the context of the French Revolution in order to explore how the politics of dispersal opened up new and contested meanings for luxury” (82).

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The 2021 issue of the Metropolitan Museum Journal is now available at The University of Chicago Press website and The Met Store. PDF’s are available for free on MetPublications.

Metropolitan Museum Journal 56 (2021)

S H I F T I N G  P E R S P E C T I V E S  O N  M U S E U M S

Philippe Auguste Hennequin (1762–1833), Portrait Drawing of Sir Sidney Smith in the Temple Prison, 1796, pen and brown ink over black chalk, 25 × 19 cm (New York: The Metropolitan Museum of Art, Purchase, Stephen A. Geiger Gift, in honor of George R. Goldner, 2015.290).

• Joanne Pillsbury, Aztecs in the Empire City: ‘The People without History’ in The Met

• Maia Nuku (Ngai Tai), ‘Te Maori’: New Precedents for Indigenous Art at The Met

• Tommaso Mozzati, The Vélez Blanco Patio and United States–Cuba Relationships in the 1950s

• Yelena Rakic, Collecting the Ancient Near East at The Met

• Iris Moon, The Sèvres Elephant Garniture and the Politics of Dispersal during the French Revolution

• Rebecca Capua, Facsimiles, Artworks, and Real Things


• Maria Harvey, Icon, Contact Relic, Souvenir: The Virgin Eleousa Micromosaic Icon at The Met

• Kristen Windmuller-Luna, Talismanic Imagery in an Ethiopian Christian Manuscript Illuminated by the Night-Heron Master

• Katherine Gazzard, Philippe Auguste Hennequin’s Portrait Drawing of Sir Sidney Smith in the Temple Prison

• Peter Mallo, Artists’ Frames in Pâte Coulante: History, Design, and Method

R E S E A R C H  N O T E

• Elizabeth Rice Mattison, A Source for Two Gilded Silver Figurines by Hans von Reutlingen

The Met Acquires Painting by Poussin on Copper

Posted in museums by Editor on January 23, 2022

Nicolas Poussin, The Agony in the Garden, 1626–27, oil on copper, 61 × 49 cm (New York: The Met, Gift of Jon and Barbara Landau, in honor of Keith Christiansen, 2021.378).

As reported by Art News (20 January 2022), The Met has recently acquired an exceptional work by Poussin on copper: Agony in the Garden (1626–27), from the collection of Barbara and Jon Landau, one of only two settled works on copper by the painter. As David Pullins notes in his catalogue entry for the piece, this is early Poussin when the artist was still working out his place within line-and-color debates, guided here particularly by the Venetian legacies of Titian and Tintoretto. The painting caught the attention of some of the most artistically attuned visitors to Rome in the seventeenth and eighteenth centuries, including the Swedish diplomat count Nicodemus Tessin; the secretary to Rome’s Accademia di San Luca, Giuseppe Ghezzi; and the director of the Académie de France à Rome, Nicolas Vleughels. The eighteenth- and nineteenth-century provenance is also interesting as the painting moved from Rome to Paris, and then on to London through the American artist John Trumbull (it was part of the Trumbull sale at Christie’s in 1797). That said, the work was—as noted in the press release—rediscovered only in 1985, when it was “heralded as a major addition to Poussin’s corpus.” CH

Exhibition | À la mode

Posted in books, catalogues, exhibitions by Editor on January 23, 2022

Installation view of the exhibition À la mode: L’art de paraître au 18e siècle at the Musée d’arts de Nantes.

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Now on view at the Musée d’arts de Nantes; see particularly the ‘Exhibition in Pictures’:

À la mode: L’art de paraître au 18e siècle
À la mode: The Art of Appearance in the 18th Century
Musée d’arts de Nantes, 26 November 2021 — 6 March 2022
Musée des Beaux-arts de Dijon, 13 May — 22 August 2022

Curated by Sophie Lévy

The exhibition À la mode: The Art of Appearance in the 18th Century juxtaposes iconic textile and pictorial items to reveal the reciprocal influences at play between the world of art and the birth of fashion in the 18th century. The exhibition brings together over 200 objects dating from the 18th century from major textile and fine art museums. Iconic paintings are displayed alongside precious textiles, never previously seen drawings, garments, and accessories, some of which have been restored especially for the exhibition.

The exhibition is a special collaboration with the Palais Galliera, musée de la Mode de la Ville de Paris, Paris Musées, and co-produced with the Musée des Beaux-arts de Dijon, which will host the exhibition from 13 May to 22 August 2022.

Chief Curator
• Sophie Lévy, Director and Curator of the Musée d’arts de Nantes

Scientific Curators
• Adeline Collange-Perugi, Curator of early art collections, Musée d’arts de Nantes
• Pascale Gorguet Ballesteros, Chief curator, 18th-Century Fashion and Dolls Department, Palais Galliera, musée de la Mode de la Ville de Paris
• Sandrine Champion-Balan, Chief curator, Collections Development Centre manager, Collections manager, head of modern collections for the curatorial team of the exhibition at the Musée des Beaux-Arts de Dijon

À la mode: L’art de paraître au 18e siècle (Ghent: Éditions Snoeck, 2021), 327 pages, ISBN: 978-9461617101, €35.

Lecture | Sarah Cohen on Sugar, Silver, and Slavery

Posted in lectures (to attend), online learning by Editor on January 22, 2022

Next month from BGC:

Sarah Cohen | Sugar, Silver, and the Bourbon Sucriers: Sweetening Slavery in 18th-Century France
The Françoise and Georges Selz Lectures on 18th- and 19th-Century French Decorative Arts and Culture
Online (Zoom), Bard Graduate Center, New York, 10 February 2022, 12.15 (ET)

Inseparable from the rise of sugar within the economies of international trade in eighteenth-century Europe was the Caribbean slave trade: in France, whose primary source of sugar for local consumption and re-export was its principal colony of Saint Domingue, the trade in enslaved persons swelled directly in tangent with the sugar business throughout the 1730s and beyond. But because all of the steps in harvesting and producing sugar, apart from some of the most elaborate refining processes, were carried out in the distant island colonies, such interdependency, to say nothing of the coerced labor it entailed, was invisible on the French dining table.

Paire de sucriers à poudre : esclaves chargés de cannes à sucre, 1730s (Paris: Musée du Louvre, photo by Daniel Arnaudet).

A startling exception to this submersion of the harsh facts of how sugar cane was harvested is found in a pair of silver sugar casters (sucriers) that depict a man and woman laboring beneath bundles of sugar cane, as if physically ‘delivering’ their sweet crystals for the elite dessert. Almost certainly made by the royal silversmith Claude II Ballin on commission for Louis-Henri, duc de Bourbon, the casters would have appeared among the duke’s many other worldly goods on display at the château of Chantilly in the 1730s. The harvesters would have been identifiable as an African woman and man through their carefully modelled physiognomies, which reflect incipient French understandings of racial type. Their bodies are cast in glistening, solid silver, while their hollowed burdens of bundled cane detach to dispense the powdered sweetener. Departing notably from typical examples of this type of luxury dispenser, whose baluster design references its placement and use on the table, rather than the sourcing of the product itself, the two large figures were also designed to occupy their own, unique place on a dessert or collation table. Cohen’s talk will explore the diverse implications of the sucriers within the context of international trade; the physical and cultural interconnections of sugar and slavery; and elite French practices of dining and festive entertainment in the early eighteenth century.

Registration is available here»

Sarah R. Cohen is Professor of Art History and Chair of the Department of Art and Art History at the University at Albany, SUNY. She is also a joint Professor in the Department of Women’s, Gender, and Sexuality Studies. Her research focuses on the body and sensory experience in art and culture from the sixteenth through eighteenth centuries, with a special emphasis on early modern France. Her books include Art, Dance and the Body in French Culture of the Ancien Régime (2000) and Enlightened Animals in Eighteenth-Century Art: Sensation, Matter, and Knowledge (2021). A third book, Picturing Animals in Early Modern Europe: Art and Soul, is forthcoming in 2022.

Online Symposium | Sea Machines

Posted in conferences (to attend), online learning by Editor on January 21, 2022

From the symposium website:

Sea Machines
Online, Daniels Faculty of Architecture, Landscape, and Design, University of Toronto, 4 February 2022

Organized by Christy Anderson and Jason Nguyen

Sea Machines is a one-day symposium (held on Zoom) that interrogates marine technology for the history and theory of architecture. From canoes and cargo ships to submarines and offshore drilling rigs, maritime vessels show how design has been employed to imagine, manoeuvre, conquer, and exploit the environments and ecosystems of the sea.

The sea has long been cast as the inverse of the habitable terracentric world. Depictions of storms, shipwrecks, and underwater monsters haunt the art and literature of coastal societies, serving as warnings to those who might venture into the blue expanse. Yet, across cultures and throughout history, humans have constructed elaborate structures to facilitate the crossing and even occupation of the ocean.

Recent scholarship in the blue humanities has shed light on the profound ways that oceans influence politics, economics, science, and culture. Aquatic environments have conditioned everything from human diets, artistic traditions, trade networks, and settlement patterns. Whereas architects and historians have studied harbours and ports, far fewer have looked at the vessels that traversed and inhabited the open water. These ‘sea machines’ signal the outer limits of a period and place’s techno-environmental imagination. What architectonic skills did designers, shipwrights, and navigators employ in the construction and operation of ocean structures? How did the forms and materials of water-based vessels speak to larger ideological and environmental forces, including those tied to colonization and slavery, capitalism, and the climate? And how might infrastructure linked to offshore extraction (e.g., fishing, pearl farming, coral and deep-sea mining, oil drilling, etc.) provide a specifically architectural way to evaluate the relationship between human and non-human entities across the land and sea divide?

Sea Machines brings together members of the Daniels Faculty and a diverse roster of internationally recognized scholars and practitioners with an interest in environmental history, technology, and design. The study of maritime spaces is timely and of wide interest for scholars and practitioners across the design disciplines, especially given the sea’s increasing precarity in the face of climate change. Ultimately, the symposium highlights the central role played by architecture in charting a future environmental and technological reality.

The event is free and open to the public. More information on the symposium and its speakers, including registration and Zoom information, is available here.


10.00  Opening Remarks by Christy Anderson and Jason Nguyen

10.30  Session 1: Infrastructure
• Keller Easterling, ISO 1161
• Carola Hein, Oil on Water: The Global Petroleumscape and the Urbanization of the Sea
• Prita Meier, Below the Waterline: Dhows and the Politics of Heritage in the African Indian Ocean

11.30  Discussion

11.50  Lunch Break

1.00  Session 2: Culture
• Niklas Maak, Phalansteries at Sea: Fourier, Le Corbusier, and the Architecture of the Cruiseship
• Meredith Martin and Gillian Weiss, Sun King at Sea
• Elliott Sturtevant, Traveling the Heat Line: The ‘Great White Fleet’ as Climatic Media

2:00  Discussion

2.20  Break

2.30  Session 3: Energy
• Sara Rich, Naufragic Architecture in the Anthropocene
• Margaret Schotte, Water vs. Wood: Desalination Machines and the Shipboard Space, c. 1695
• Larrie Ferreiro, The Evolution of the Naval Architect, 1600–2000

3.30  Discussion

4.00  Closing Remarks by Christy Anderson and Jason Nguyen

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