Conference | Auricular Style: Frames
From the conference website:
Auricular Style: Frames
The Wallace Collection, London, 5–6 October 2016
Organized by Gerry Alabone and Lynn Roberts
This two-day international conference is the first dedicated to the Auricular style, centring on one of its most significant manifestations, the picture frame. The conference aims to stimulate awareness and study of this important but neglected style by bringing together research in fine and decorative art histories. Speakers from Europe, UK, and USA will consider the origins and development of the Auricular style in different materials, including silver, wood, stucco, and leather. Papers will explore how other areas of the decorative and applied arts fed into the creation of picture frames. They will examine the influence of prints, drawings, ad the style’s dissemination between European centres in Bohemia, Germany, Italy, France, the Netherlands, and Britain. Poster presentations will be exhibited during the conference. These will be edited with the papers and published, fully illustrated, for free download on Auricular Style: Frames—which, it is hoped, will become a hub for future related research.
Early bird registration is now open. Early bird ticket prices (including Eventbrite’s commission): £100 regular, £90 Icon members, £50 students (ID to be shown at conference). Early bird option ends and prices rise after 30 June. The theatre’s capacity is 150; therefore, early registration is recommended. No refunds will be made after 23 September. If you do not wish your email address to be included in the Delegates list, please contact the event coordinator at gdsg.events@gmail.com.
Convenors: Gerry Alabone (Tate / City and Guilds of London Art School) and Lynn Roberts (The Frame Blog) in association with the Institute of Conservation (Gilding and Decorative Surfaces Group).
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5 O C T O B E R 2 0 1 6
9.00 Registration and coffee
• On the Inception of Auricular Ornament: Paulus van Vianen’s Metamorphic Bodies and the Fleshy Frame (Allison Stielau, McGill University)
• Object Bodies, Metal Mounts and the Skins of Things (Anna Grasskamp, Heidelberg University)
Coffee
• A French Auricular? A Brief History of a Style (Marika Knowles, Harvard University)
• German Knorpelwerk: Auricular Dissemination in Prints, Woodcarving, Stucco and Painted Wall Decorations, 1620–1670 (Daniela Roberts, Würzburg University)
• The Auricular Style in Dutch Furniture (Reinier Baarsen, Leiden University / Rijksmuseum)
Lunch break
• Gilt Leather: A Creative Industry avant la lettre (Eloy Koldeweij, Cultural Heritage Agency, the Netherlands)
• Material Research on Auricular Frames in the Netherlands (Hubert Baija, Rijksmuseum)
• The Auricular Frame Depicted in Paintings (Lynn Roberts, The Frame Blog)
Tea
• Between Amsterdam, Paderborn and Rome: A Remarkable Frame in the Collections of the Louvre (Charlotte Chastel-Rousseau, Louvre)
• Dutch Auricular Woodcarving (Ada de Wit, Radboud University / Wallace Collection)
6 O C T O B E R 2 0 1 6
9.55 Welcome and introduction
• The Development of an Auricular Style in Florence (Adriana Turpin, Institut d’Études Supèrieures des Arts)
• Anthropomorphism and Zoomorphism in the Medici Picture Frames (Marilena Mosco, former Director of Palazzo Pitti)
Coffee
• Florentine Auricular Frames: Techniques and Aesthetics (Aviv Fürst, Palazzo Pitti)
• Documenting Developments in the Taste for Auricular Framing in England, 1620–1700 (Jacob Simon, National Portrait Gallery)
• Looking at Material and Visual Evidence of English Auricular Frames (Gerry Alabone, Tate / City and Guilds of London Art School)
Lunch break
• An Auricular Frame amongst the Founder’s Collection of the Ashmolean Museum (Tim Newbery and Jevon Thistlewood, Ashmolean Museum)
• Picture Galleries in Seventeenth-Century Britain (Honorary Professor Karen Hearn, University College London)
• Notes on the Revival of the Auricular Style for Picture Frames (Christopher Rowell, National Trust)
Tea
• The Auricular Today: Putting an Ear to the Ground (Steve Shriver, art+works)
• Panel discussion with all speakers (to finish at 5.00pm)
Replica of the ‘Gotheborg’ for Sale
The Gothenburg III on its journey to China, October 2005
(Photo: Wikimedia Commons)
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As reported by AFP, via Art Daily (27 May 2016) . . .
The world’s largest seaworthy wooden ship of its class, a replica of a merchant vessel that sank in 1745 off the coast of Sweden for reasons still unknown, is up for sale after years on the seas. The Swedish foundation that owns the vessel Gotheborg, a replica of the 18th-century galleon from the Swedish East India Company, announced Thursday it could no longer afford the upkeep.
“This is a tough decision that we’ve been forced to make,” said Lars Malmer, chairman of the Ostindiefararen Gotheborg foundation. “We would have preferred it to continue sailing, but can confirm that the financial conditions do not exist,” he said in a statement.
The original, the East Indiaman Gotheborg, sank in 1745 within sight of its home port of Gothenburg on Sweden’s west coast after nearly completing a two-year voyage home from China. . .
The full article is available here»
Exhibition | Celebration!
Francisco de Goya, Blind Man’s Bluff (La Gallina Ciega), 1788, canvas, 269 x 350 cm
(Madrid: Museo Nacional del Prado)
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Press release for the exhibition now on view in Vienna:
Celebration! 125 Years, Anniversary Exhibition / Feste Feiern: 125 Jahre – Jubiläumsausstellung
Kunsthistorisches Museum, Wien, 8 March — 11 September 2016
Curated by Gudrun Swoboda
In 2016 the Kunsthistorisches Museum is celebrating a jubilee: 125 years ago, on October 17, 1891, Emperor Franz Joseph formally opened the new main museum on Vienna’s Ringstrasse. To celebrate this anniversary in style we are showing an important exhibition on ‘the art of celebration’ showcasing precious artworks from all the collections of the Kunsthistorisches Museum. International loans like Francisco de Goya’s La gallina ciega from the Prado in Madrid or the magnificent Yashmak designed by Shaun Leane for one of Alexander McQueen’s fashion shows from the V&A in London will enrich this magnificent show, which presents 125 groups of objects in three galleries.
The show focuses on celebrations and their history, and looks at different aspects of European festivities from the Renaissance to the French Revolution—at court (especially that of the Habsburgs) in towns and cities, and in the country. Court banquets and their opulent dishes, dancing and music form the centre of the show (Gallery VIII). The adjacent galleries look at sumptuous outdoor parties organized to celebrate coronations, weddings or birthdays but also during Carnival, popular festivals or on market days (Gallery IX), and at courtly tournaments (Gallery I).
Festivities always represent a state of exception during which every-day laws are temporarily suspended—through role-playing games and disguises that flout historical, cultural and gender differences. But what can we display of these ephemeral, long gone festivities? By turning the question on its head we arrive at a preliminary answer: we can display what remains of the day: show-pieces, props and pictorial records of these events.
For millennia something was presented or displayed during many of these celebrations, be they ecclesiastical or secular. Court festivities offered the host the opportunity to display precious show-pieces removed for this purpose from his treasury or Kunstkammer. The large two-handled rock crystal vase is such a show-piece; in 1764 it was removed from the Imperial Treasury in Vienna and transported to Frankfurt for the coronation of Joseph II. After the event these prestigious artefacts were returned to their respective depositories, only to reappear again at the next important festivity. Not a show-piece sensu stricto but nonetheless an important prop is the seventeen-metres-long tablecloth presented here to the public for the first time; Emperor Charles V commissioned it in 1527 for the banquets of the Order of the Golden Fleece. Another extraordinary prop for princely drinking parties is the 16th-century ‘trick chair’ that shackled guests until they had downed the content of a ‘welcome-glass’.
Fantastic parade armour worn at Renaissance tournaments documents exceptional creativity and imagination, and these artefacts are among the most fascinating props used as elegant disguises by the elite. Courtly festivities demanded both opulence and splendour but also extravagance—including technical extravagance. A particularly sophisticated construction that documents the innovative potential and the creative energies employed to plan and produce surprising show-effects is the mechanical breast-piece comprising springs and levers that Emperor Maximilian I commissioned for courtly tournaments. A direct hit on the shield of one’s opponent activated the mechanism, catapulting the pieces of the disintegrating shield high into the air. Hosts worked hard to surprise and enchant their guests, and the creative achievements of the court artists especially employed to plan and organize these festivities reflected back on their patrons.
Fragile sculptures made of molten sugar functioned as ephemeral table décor at banquets, and they, too, illustrate the sophistication of such costly festive creations. Contemporary Tuscan artisans have produced a number of sugar statuettes especially for this exhibition, an attempt to recreate the splendour of these centrepieces known as trionfi di tavola. But festive infrastructure also required invisible props like the 17th-century rocket-pole that bears witness to the magnificence of ephemeral baroque fireworks displays. In addition to opulent treasures and curious extravagances the exhibition includes depictions of real and imaginary festivities: from coronations to Bruegel’s boisterous peasant celebrations to the fanciful fêtes galantes of Watteau and his followers—dreamy scenes set in Arcadian parklands in which fashionable ladies and gentlemen give themselves up to dance, games and gallant conversation.
Public festivals offered a counter-draft to the strictly regulated hierarchical court festivities—especially during Carnival, a looking-glass world when the existing social order was temporarily turned upside down through exuberant partying, the donning of disguises and role reversal—one way of defusing the tensions that accumulate in every hierarchic society. A number of musical examples document that various elements of public festivals have enriched and inspired court celebrations. A perfect example of this rich interdependency is the painting of Blind Man’s Bluff by the Spanish court painter Francisco de Goya, who recorded public festivals and their entertainments in many of his compositions. Occasionally elements of a public festival are even turned into a court ceremony, and are thus constrained and controlled. One example is the Cuccagna Napoletana, which evolved out of carnival processions in Naples. The rising number of increasingly serious accidents during celebrations originally organized by the craftsmen’s guild led the ruler to assume control. Royal troops guarded a land-of- Cockayne-like structure set up in front of the royal palace until the king standing on a balcony gave the sign that gave it up for plunder, and it was stormed by the populace.
The artefacts assembled for this exhibition bear witness to the exceptional splendour and opulence of some of these festivities but they also hint at their rigid as well as fragile order. They also show that the history of celebrations includes some that never actually happened. The exhibition offers insights into the history of celebrations—mainly, but not exclusively, during the early Modern Era. Our aim is to show that throughout history festivities were always also displays, and although the installation is ‘festive’ it aims also to remind visitors of what separates us from earlier festivities: it is, of course, obvious that modern museum visitors differ greatly from the protagonists and spectators of historical feasts—but how does a modern audience see itself? The exhibition poses this question in the form of a magnificent baroque mirror: it is, in a way, a precursor of our modern selfies, and functioned in much the same way. But perhaps it can also turn into an instrument of (humorous) self reflection, for which there is more than enough cause 125 years after the formal opening of the magnificent museum building on the Ringstrasse.
The exhibition was curated by Gudrun Swoboda, curator for Baroque Painting in the Picture Gallery of the Kunsthistorisches Museum. Most of the artefacts on show come from the rich holdings of the Kunsthistorisches Museum, and some of them have never, or only very rarely, been on display. In addition, the show includes loans from a number of national and international museums such as the Victoria & Albert Museum in London, the Museo del Prado in Madrid, the Museum Boijmans Van Beuningen in Rotterdam, the Germanisches Nationalmuseum in Nuremberg, the Historisches Museum Frankfurt, the MAK—Austrian Museum for Applied Arts / Contemporary Art, the Albertina, the Österreichische Nationalbibliothek, the Hofmobiliendepot and the Musikverein in Vienna, and the Tiroler Landesmuseum. The exhibition is organized in collaboration with the Academy of Fine Arts in Vienna, who have also lent a number of important works.
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The full-length German catalogue is available from the Kunsthistorisches Museum, along with an abridged English version. A 27-page booklet with a checklist of the 126 items included in the exhibition and a brief description for each object is available to download as a PDF file here.
Sabine Haag and Gudrun Swoboda, eds., Feste Feiern (Vienna: Kunsthistorisches Museum, 2016), 320 pages, 35€.
Lecture | James Legard on Blenheim Palace
This afternoon at the Paul Mellon Centre:
James Legard, Ambitious Architecture: Rethinking the Meanings of Blenheim Palace
The Paul Mellon Centre for Studies in British Art, London, 20 May 2016
This paper seeks to recover the meanings that Blenheim Palace was originally intended to embody. It will show how Blenheim’s purposes were repeatedly reconceived in lockstep with the ever-growing social, political and dynastic ambitions of its patron, the 1st Duke of Marlborough, Queen Anne’s most favoured courtier and foremost military commander. Initially conceived as a private gift from the Queen, the building was transformed first into a ‘public monument’ to a great battle; then into a palace that was, quite literally, fit for a prince; before finally becoming a dangerous liability as Marlborough’s dizzying ascent turned to disgrace. By tracing how the duke’s architects, Sir John Vanbrugh and Nicholas Hawksmoor, reconfigured Blenheim’s formal structure and symbolic programme in response to their patron’s evolving status and aspirations, this analysis aims to bring new clarity to our understanding of Britain’s most spectacular Baroque country house.
All are welcome! However, places are limited, so if you would like to attend please book a place in advance. Friday, 20 May 2016, 12:30–2:00 pm, Seminar Room, Paul Mellon Centre.
James Legard completed a PhD in the history of architecture at the University of York in 2014, where the subject of his thesis was Vanbrugh, Blenheim Palace and the Meanings of Baroque Architecture. He is currently working for the National Gallery on a collaborative project with the Getty Research Institute to digitise early British art sales catalogues. When this project ends later this year, he will take up a recently awarded Postdoctoral Fellowship at the Paul Mellon Centre in order to prepare his thesis for publication.
Call for Papers and Posters | Synagogue and Museum
From H-ArtHist:
Synagogue and Museum: 3rd International Congress on Jewish Architecture
Technische Universität Braunschweig, 21–23 November 2016
Paper proposals due by 29 July 2016; poster proposals due by 30 September 2016
Since antiquity and especially since the destruction of the Jerusalem Temple in the year 70 CE, synagogues have become the central places of gathering of Jewish communities. They are complex, highly significant and polyvalent objects of for religious, social, economic, architectural, and artistic developments in Jewish culture. At the same time, they reflect the interdependencies with the surrounding cultures. Since the holocaust, historic synagogues also gained high importance as focal points of remembrance and education.
However, scholars were interested in the material culture(s) of Jews all over the world well before the holocaust and turned synagogues and their furnishings into a focus of their research. The documentation of synagogues as objects of cultural and historical significance started alongside with the establishment of Jewish ethnography (jüdische Volkskunde) as an academic discipline at the end of the 19th century. They became items of collecting, which were set up in exhibitions and museums. Objects from the religious and cultural practice got ‘musealised’, as well as entire synagogue furnishings and sometimes even architectural elements. After 1945, the interest in synagogues as objects of cultural history continued. Besides ritual objects and furnishings, the ’empty’ buildings of the annihilated communities became objects of interest. Historic synagogue buildings were regarded as museums, their material substance was and is restored and interpreted in different ways. The virtual and haptic reconstruction of destroyed synagogues generated another group of ‘immaterial’ exhibits.
The congress will examine the subject in a wide range of perspectives of theoretical and historical reflections. Historic and actual examples of documenting, collecting, and researching synagogues and their furnishing will shed light on the history, the presence, and the future of synagogues in and as museums. Thus, the organisers encourage scholars in the fields of art and architectural history, cultural sciences, Jewish studies, restoration and museology as well as experts in museums, collections, preservation authorities, and education programs to take part in the congress.
This call asks for papers for talks and for posters for a posters-section. It is open for young researchers as well as museums, collections and initiatives who want to present their institutions and their ongoing or future projects. The members of the international and interdisciplinary academic board and the organisers will decide on the acceptance of the papers and the posters. The publication of selected papers and posters in the book series of the Bet Tfila – Research Unit for Jewish Architecture is scheduled for 2017. The conference language is English. Provisions to refund travel expenses will depend on the approval of running applications.
To propose a paper, please send an abstract of up to 1500 characters for a lecture of 15 minutes and a short-CV of up to 500 characters in English by July 29th, 2016. To propose a poster, please send a poster (PDF-file, 5 MB max.) for the poster presentation in English by September 30th, 2016. The email address is u.knufinke@gmx.de.
The congress is organised by the Bet Tfila – Research Unit for Jewish Architecture (Braunschweig/ Jerusalem) and the Lehrstuhl für Kunstgeschichte at the Hochschule für Jüdische Studien, Heidelberg in cooperation with the Braunschweigisches Landesmuseum, Braunschweig, and the Israel Jacobson Netzwerk für jüdische Kultur und Geschichte e.V.
Conference | The Staircase in Europe, 1450–1800
From H-ArtHist:
Rencontres européennes d’architecture
L’escalier en Europe: Formes, fonctions, décors, 1450–1800
Institut national d’histoire de l’art, Paris, 9–11 June 2016
J E U D I , 9 J U I N 2 0 1 6
9.30 Accueil des participants
9.45 Introduction
10.00 Première Session: La Renaissance (1)
Président : Jean Guillaume
• Krista de Jonge (Université de Leuven), « L’escalier à la Renaissance : les anciens Pays-Bas revisités »
• Stephan Hoppe (Ludwig-Maximilians-Universität München), « New standards of social climbing. Staircases in Rennaissance Germany »
• Renate Leggatt-Hofer (Federal Monuments Authority Austria-Bundesdenkmalamt, Wien), « Imperial staircase-architecture within the residences of Ferdinand Ist (1521–1564) : Some bold experiments »
13.30 Deuxième Session: La Renaissance (2)
Président : Alexandre Gady
• Marco Rosario Nobile (Università Palermo), « Scale a chiocciola « imperiali ». Due esempi a Malta e in Sicilia »
• Fernando Marias (universidad Complutense, Madrid), « Scala in Spania en longue durée : disegno e stereotomia »
• Nunos Sensos (universidad nova de Lisboa), « L’escalier au Portugal (XVe–XVIIIe s.) »
• Pascal Julien (université de Toulouse II), « Escaliers sculptés de la Renaissance française »
V E N D R E D I , 1 0 J U I N 2 0 1 6
9.30 Troisième Session: Les temps modernes (1)
Président : Basile Baudez
• Gordon Higott (Historien de l’architecture), « Inigo Jones, Sir Christopher Wren et l’escalier en vis à jour central en Angleterre, 1616 – c.1720 »
• Konrad Ottenheym (Utrecht University), « Les escaliers monumentaux dans les palais XVIIe de la cour d’Orange »
• Richard Biegel (Faculty of Arts, Charles University, Prague), « L’escalier des temps modernes en Bohème ? »
• Daniela del Pesco (università Roma III), « Escaliers à Naples au XVIIIe siècle: les ‘scale aperte’ »
14.30 Quatrième Session: Les temps modernes (2)
Président : Emmanuel Lurin
• Christina Strück (Friedrich-Alexander Universität, Erlangen-Nurenberg), « Stagecraft and stairways. Monumental 17th- and 18th-century staircases in Germany »
• Jorge Fernandez-Santos (ETSA, Universidad San Jorge, Saragosse), « Les escaliers entre tradition et académie dans l’Espagne du XVIIIe siècle : un classicisme oblique ? »
• Stefano Piazza (Università di Palermo), « Les escaliers des palais siciliens du XVIIIe siècle »
S A M E D I , 1 1 J U I N 2 0 1 6
9.30 Cinquième Session: études de cas
Président : Pascal Julien
• Guillaume Fonkenell (Musée national de la Renaissance, Ecouen), « Ecouen. Un château d’escaliers »
• Alexandre Gady (Paris-Sorbonne, Centre Chastel), « Du bon usage du vide central. Les escaliers de Versailles »
• Paolo Corniglia (Politecnico di Torino), « Des marches qui ne portent nulle part. Le grand escalier de Juvarra au palais royal inachevé de Rivoli »
12.00 Conclusions, par Claude Mignot
Fellowship | Ornamentation and Decoration, 1680–1750
From H-ArtHist:
Ornamentation and Decoration: The Grammar of the Orders, the Rhetoric
of Opulence, the Appeal to the Eye at European Courts, 1680–1750
La Fondazione 1563 per l’Arte e la Cultura, Torino, January — December 2017
Applications due by 24 July 2016
The Study Program on the Age and the Culture of Baroque aims to promote research in this field of knowledge and to open up career opportunities to young scholars at academic and cultural institutions. Toward this end, the Foundation has launched from 2013 to 2016 a call for proposals to award fellowships on the Culture of Baroque for young Italian and foreign scholars 35 years old and younger. Now in its fourth edition, the program is currently accepting applications addressing the theme Ornamentation and Decoration: The Grammar of the Orders, the Rhetoric of Opulence, the Appeal to the Eye at European Courts, 1680–1750 (Ornamento e decorazione: La grammatica degli ordini, la retorica dell’opulenza, la piacevolezza dello sguardo nell’Europa delle Corti, 1680–1750).
Between the late 17th century and the first half of the 18th century, ornamentation and decoration become central at the Courts across Europe. The peculiar formulations of the various European Courts, that reflect individual artistic expressions and diversified trends in taste, pursue the definition of a new rhetoric: the association, implementation, and reinvention of the orders; the affirmation or complete redefinition of artistic hierarchies; a new balance between internal and external spaces; new and diff erentiated approaches to the memories of the past. The resulting subjects and shapes become characteristic in their own right and serve as models of variations on set themes that, together,
make up whole repertoires in architecture, painting and sculpture as well as in the art of jewelry and in furniture design for the Courts spaces. The centrality of the ornament takes different forms in the culture of the Baroque period, and sweeps across history, literature, philosophy, and music.
Applicants are invited to submit research proposals and original projects that, in the framework of the theme and time-frame presented here, or significant segments thereof, provide a comparative synchronic or diachronic analysis of two or more geographical centers or of limited territories.
Each of the five Fellowships will consist of an annual grant amounting to €23,000 before tax and other charges. Each Fellowship will last for one year, starting 1st January 2017 and ending 31st December 2017. It may be renewed for an additional quarter, without compensation and upon request of the Fellow, supported by the tutors opinion and subject to approval by the Foundation, that reserves the right to decide on the matter. A tutor will be appointed by the Foundation as an expert in the selected discipline, in agreement with the grantee, to support the grantee in the research activity and to evaluate the outcomes. Refunds of documented travel expenses related to the Fellowship project are envisaged for up to €1,500 per year and must be authorized in advance by the Foundation (‘mission procedure’) on a proposal by the tutor. The 2016 Notice of Competition and the online application forms are available on the Foundation’s website.
Online Resource | James Gillray: Caricaturist
James Gillray, A Cognocenti Contemplating ye Beauties of ye Antique, 1801 (London: The British Museum)
James Gillray: Caricaturist
For those of you interested in eighteenth-century caricature and particularly James Gillray, there is a new online resource: James Gillray: Caricaturist. The site includes a chronological catalogue of Gillray’s known prints, a list of major museums and archives where his work can be seen, information about him and his methods and techniques, and links to short biographical sketches of some of the people he caricatured.
The work of Jim Sherry, who has written on the modes of caricature as well as the humor of Thomas Rowlandson, the site continues to grow as Jim adds commentaries on individual Gillray prints (48 so far).
Conference | The Art Market, Collectors, and Agents
From the Seminar on Collecting and Display:
The Art Market, Collectors, and Agents: Then and Now
The Warburg Institute, London, 13 July 2016
Registration due by 11 July 2016
Organized by the Collecting and Display Seminar Group, which is based at the Institute of Historical Research in London. For booking, please email agent.candd2016@gmail.com. A further 2-day conference will take place in Paris in October 2016.
10.00 Registration and coffee
10.15 Introduction
10.30 Session I
• Annemarie Jordan Gschwend — Statesman, Art Agent and Connoisseur: Hans Kevenhüller, Imperial Ambassador at the Court of Philip II of Spain
• Taryn Marie Zarrillo — Marco Boschini and Paolo del Sera: Art Dealers, Advisors and Associates in Seicento Venice
• Michael Wenzel — Sales Strategies of Philipp Hainhofer’s Art Cabinets: The Self-Marketing of Artworks in Early Seventeenth-Century Germany
• Sandra van Ginhoven — The Business Strategies of Guilliam Forchondt’s Art Dealership in Antwerp, 1643–78
• Ulf R. Hansson — ‘An Oracle for Collectors’: Philipp von Stosch and the Collecting and Dealing in Antiquities in Early Eighteenth-Century Rome and Florence
13.00 Lunch
14.00 Session 2
• Maria Celeste Cola — Scottish Agents in Rome in the Eighteenth Century: The Case of Peter Grant
• Christine Godfroy-Gallardo — Establishing Honest Trading Relationships: The Guillaume Martin Case
• Robert Skwirblies — Edward Solly, Felice Cartoni and Their Purchases of Paintings: A ‘Milord’ and His ‘Commissioner’ Creating a Transnational Network of Dealers, ca. 1820
• Lukas Fuchsgruber — Otto Mündler, 9 rue Laval, Paris
• Lynn Catterson — The Mysterious Maurice de Bosdari, a Would-Be Agent of Stefano Borden
16.30 Tea
17.30 Session 3
• Julie Codell — Agent-Scholar Martin Birnbaum (1878–1970): Modernizing the Agent
• Nicola Foster — The Case of Uli Sigg: Collector, Agent, Advisor and Promoter of Contemporary Chinese Art
18.30 Keynote Lecture
• Sophie Raux — Mapping the Agents of the Art Market in Early Modern Europe: An Experimental Research Database
19.15 Reception
New Book | Court, Country, City: British Art and Architecture, 1660–1735
Distributed by Yale UP:
Mark Hallett, Nigel Llewellyn, and Martin Myrone, eds., Court, Country, City: British Art and Architecture, 1660–1735 (New Haven: Yale Center for British Art, 2016), 544 pages, ISBN: 978-0300214802, £55 / $85.
The late 17th and early 18th centuries saw profound changes in Britain and in its visual arts. This volume provides fresh perspectives on the art of the late Stuart and early Georgian periods, focusing on the concepts, spaces, and audiences of court, country, and city as reflected in an array of objects, materials, and places.
The essays discuss the revolutionary political and economic circumstances of the period, which not only forged a new nation-state but also provided a structural setting for artistic production and reception. Contributions from nineteen authors and the three editors cover such diverse topics as tapestry in the age of Charles II and painting in the court of Queen Anne; male friendship portraits; mezzotint and the exchange between painting and print; the interpretation of genres such as still life and marine painting; the concept of remembered places; courtly fashion and furnishing; the codification of rules for painting; and the development of aesthetic theory.
Mark Hallett is director of studies at the Paul Mellon Centre for Studies in British Art. Nigel Llewellyn is former head of research, and Martin Myrone is lead curator, pre-1800 British art, at Tate Britain.
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C O N T E N T S
Acknowledgments
Introduction
• Mark Hallett, Through Vertue’s Eyes: Looking Again at British Art and Architecture, 1660–1735
Spaces, Stages, Arenas
• Richard Stephens, The Palace of Westminster and the London Market for Pictures
• Christine Stevenson, Making Empire Visible at the Second Royal Exchange, London
• Anya Matthews, Honour, Ornament, and Frugality: The Reconstruction of London’s Livery Halls after the Great Fire
• Sebastian Edwards, Fashioning and Furnishing for Performance: The Rise and Fall of the State Bedchamber in the English Royal Palace
• Anthony Geraghty, Castle Howard and the Interpretation of English Baroque Architecture
Kings, Queens, Commanders
• Richard Johns, Antonio Verrio and the Triumph of Painting at the Restoration Court
• Matthew Hargraves, The Public Image of John Churchill, First Duke of Marlborough, 1702–1708
• Lydia Hamlett, Rupture through Realism: Sarah Churchill and Louis Laguerre’s Murals at Marlborough House
• Tabitha Barber, ‘All the World is ambitious of seeing the Picture of so Great a Queen’: Kneller’s State Portraits of Queen Anne and the Pictorial Currency of Friendship
• Claudine van Hensbergen, Public Sculpture of Queen Anne: The Minehead Commission (1715)
• David Solkin, The English Revolution and the Revolution of History Painting: The Bowles Brothers’ Life of
Charles I
Networks, Shared Practices, Communities
• Diana Dethloff, Lely, Drawing, and the Training of Artists
• Helen Pierce, ‘This Ingenious young Gent and excellent artist’: William Lodge (1649–1689) and the York Virtuosi
• Tim Batchelor, ‘Deceives in an acceptable, amusing, and praiseworthy fashion’: Still Life, Illusion, and Deception
• Jacqueline Riding, ‘As Session of Painters’: Legacy, Succession, and the Prospects for British Portraiture after Kneller
Prospects, Print, Empire
• John Bonehill, The View from the Gentleman’s Seat
• Emily Mann, Thirty Different Drafts of Guinea: A Printed Prospectus of Trade and Territory in West Africa
• Peter Moore, Dialogues in Paint and Print: Mezzotint Portraiture and Intermedial Exchange
Theory, Artwords, Periodization
• Caroline Good, A Royal Subject: William Sanderson’s Guide to Painting on the Eve of the Restoration
• Martin Myrone, Engraving’s Third Dimension
• Nigel Llewellyn, A Taxonomy for the Invisible: Categories for English Funeral Monuments
Notes on Contributors
Credits
Index
Enfilade 
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