Enfilade

Scheduled for June publication, from Yale UP:

Mark Laird, A Natural History of English Gardening, 1650–1800 (London: The Paul Mellon Centre for Studies in British Art, 2015), 464 pages, ISBN: 978-0300196368, $75.

Winner of the 2013 David R. Coffin Publication Grant, given by the Foundation for Landscape Studies.

Inspired by the pioneering naturalist Gilbert White, who viewed natural history as the common study of cultural and natural communities, Mark Laird unearths forgotten historical data to reveal the complex visual cultures of early modern gardening. Ranging from climate studies to the study of a butterfly’s life cycle, this original and fascinating book examines the scientific quest for order in nature as an offshoot of ordering the garden and field. Laird follows a broad series of chronological events—from the Little Ice Age winter of 1683 to the drought summer of the volcanic 1783—to probe the nature of gardening and husbandry, the role of amateurs in scientific disciplines, and the contribution of women as gardener-naturalists. Illustrated by a stunning wealth of visual and literary materials—paintings, engravings, poetry, essays, and letters, as well as prosaic household accounts and nursery bills—Laird fundamentally transforms our understanding of the English landscape garden as a powerful cultural expression.

Mark Laird is a historic landscape consultant and garden conservator and teaches landscape history at the Graduate School of Design, Harvard University. Previous books include The Flowering of the Landscape Garden: English Pleasure Grounds, 1720–1800 and Mrs. Delany and Her Circle.

From Ashgate:

Julia King, George Hadfield: Architect of the Federal City (Farnham: Ashgate, 2014), 282 pages, ISBN: 978-1472412744, $120.

During his lifetime, the work of architect George Hadfield (1763–1826) was highly regarded, both in England and the United States. Since his death, however, Hadfield’s contributions to architecture have slowly faded from view, and few of his buildings survive. In order to reassess Hadfield’s career and work, this book draws upon a wide selection of written and visual sources to reconstruct his life and legacy. After a general introduction, the book outline Hadfield’s early years and looks in detail at the extant major buildings in Washington, D.C. that he worked on: the Capitol, Arlington House, and Old City Hall. Hadfield’s contributions to the Capitol and other Federal buildings are fully researched and assessed for the first time, and Arlington House is  shown to have been much more influential than has been appreciated hitherto. New material is presented on City Hall, another major and unjustly neglected contribution to the architecture of Washington. The complicated interlocking circles of his family and friends, his fellow architects, and his patrons and clients, including the transatlantic connections, are also explored, revealing much about the course of his career and
American architecture in general.

Subsequent chapters and the catalogue explore the other projects that Hadfield was involved with, ranging from office buildings, jails, theatres, factories, and banks to a mausoleum and monuments. The book ends with a reassessment of Hadfield’s qualities and influence, arguing that these were greater than is often acknowledged. By offering explanations as to why his work was particularly admired by contemporaries, it is concluded that Hadfield’s architectural style has been influential from his own times to the present and has been disseminated throughout the United States.

Julia King has taught at universities in Great Britain and America. She has worked on projects in conservation, historic preservation, archives, and architectural history on both sides of the Atlantic, writing and lecturing widely on art and architectural history in both countries.

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C O N T E N T S

Introduction
1  Family and Early Life
2  Education, Training, and Early Career
3  The US Capitol
4  Federal Buildings
5  Houses in America
6  City Hall
7  Life in Washington, Public and Commercial Buildings
8  Mausoleum and Monuments
9  Legacy
10  Conclusion

Appendix
Catalogue Raisonné
Select Bibliography
Index

Available from Philip Wilson and the National Trust (with a preview at Emile de Bruijn’s Treasure Hunt). . .

Simon Swynfen Jervis and Dudley Dodd, Roman Splendour, English Arcadia: The English Taste for Pietre Dure and the Sixtus Cabinet at Stourhead (London: Philip Wilson, 2015), 304 pages, ISBN: 978-1781300244, £45.

At Stourhead in Wiltshire, the Palladian mansion contains an extraordinary Roman cabinet glittering with gilt-bronze mounts, semi-precious stones and elaborate architectural ornament. Its façade conceals over 125 more-or-less secret drawers. The cabinet was brought to Stourhead in 1740 by Henry Hoare ‘the Magnificent’, of the Hoare banking dynasty; he had purchased it in Rome as made for Pope Sixtus V, the great rebuilder, whose papacy, from 1585–90, coincided with the Spanish Armada. The superb quality of the ‘Sixtus Cabinet’ became apparent during restoration in 2006–7 and this prompted an investigation into its history.

This book commences with a comprehensive account of the insatiable English taste for Italian pietre dure, from the 16th to the 20th centuries, and follows with a survey of the Roman pietre dure industry, hitherto unjustly neglected by comparison with Florence. A description and stylistic analysis of the cabinet itself precedes a trail of detection which takes it back to Pope Sixtus’s Roman villa, and then explores its tortuous descent through the Pope’s family to sale in 1740. Henry Hoare’s grand tour and his purchase of the cabinet led to its installation in a cabinet room at Stourhead, surrounded by Old Masters and with a new pedestal of triumphal arch form, incorporating reliefs of Pope Sixtus and his Roman monuments. Later his great-nephew, Sir Richard Colt Hoare created a new cabinet room, with embellishments by Thomas Chippendale the Younger. Horace Walpole and William Beckford were among the admirers of the cabinet, the focus of this remarkably wide-ranging study of Italian and English artistry, patronage and taste.

From Ashgate:

Inge Reist, ed., British Models of Art Collecting and the American Response: Reflections Across the Pond (Aldershot: Ashgate, 2014), 282 pages, ISBN: 978-1472438065.

British Models of Art Collecting and the American Response: Reflections Across the Pond presents 14 essays by distinguished art and cultural historians. Collectively, they examine points of similarity and difference in the approaches to art collecting practiced in Britain and the United States. Unlike most of their Continental European counterparts, the English and Americans have historically been exceptionally open to collecting the art made by and for other cultures. At the same time, they developed a tradition of opening private collections to a public eager for educational and cultural advancement. Approximately half the essays examine the trends and market forces that dominated the British art collecting scene of the nineteenth century, such as the Orléans sale and the shift away from aristocratic collections to those of the new urban merchant class. The essays that focus on American collectors use biographical sketches of collectors and dealers, as well as case studies of specific transactions to demonstrate how collectors in the United States embraced and embellished on the British model to develop their own, often philanthropic approach to art collecting.

Inge Reist, PhD Columbia University, is Director of the Center for the History of Collecting, The Frick Collection and Frick Art Reference Library, New York.

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C O N T E N T S

Introduction, Inge Reist

Part I—Reflections Across the Pond
1  Pictures across the Pond: Perspectives and Retrospectives, Sir David Cannadine
2  The Revolving Door: Four Centuries of British Collecting, James Stourton

Part II—The British Model: Conversing with History
3  The Orléans Collection arrives in Britain, Jordana Pomeroy
4  James Irvine: Picture Buying in Italy for William Buchanan and Arthur Champernowne, Hugh Brigstocke
5  Aristocrats and Others: Collectors of Influence in 18th-Century England, Arthur MacGregor
6  A Decade of Change and Compromise: John Smith (1781–1855) and the Selling of Old Master Paintings in the 1830s, Julia Armstrong-Totten
7  ‘Le Goût Rothschild’: The Origins and Influences of a Collecting Style, Michael Hall
8  The 4th Marquess of Hertford and Sir Richard Wallace as Collectors: Chalk and Cheese? Or Father and Son?, Jeremy Warren
9  Collecting and Connoisseurship in England, 1840–1900: The Case of J. C. Robinson, Jonathan Conlin

Part III—Americans Embrace and Embellish the British Model
10  British Aspirations on the Chesapeake Bay: Robert Gilmor, Jr (1774–1848) of Baltimore and Collecting in the Anglo-American Community of the New Republic, Lance Humphries
11  The London Picture Trade and Knoedler & Co: Supplying Dutch Old Masters to America, 1900–1914, M. J. Ripps
12  The One That Got Away: Holbein’s Christina of Denmark and British Portraits in The Frick Collection, Ross Finocchio
13  The Long Good-bye: Heritage and Threat in Anglo-America, Neil Harris
14  Henry E. Huntington: An American Model for Collecting Art and Instituting Cultural Philanthropy, Shelley Bennett

Bibliography
Index

From Brill:

Ronit Milano, The Portrait Bust and French Cultural Politics in the Eighteenth Century (Leiden: Brill, 2015), ISBN: 978-9004276246 / E-ISBN: 978-9004276253, 125€ / $174.

In The Portrait Bust and French Cultural Politics in the Eighteenth Century, Ronit Milano probes the rich and complex aesthetic and intellectual charge of a remarkably concise art form, and explores its role as a powerful agent of epistemological change during one of the most seismic moments in French history. The pre-Revolutionary portrait bust was inextricably tied to the formation of modern selfhood and to the construction of individual identity during the Enlightenment, while positioning both sitters and viewers as part of a collective of individuals who together formed French society. In analyzing the contribution of the portrait bust to the construction of interiority and the formulation of new gender roles and political ideals, this book touches upon a set of concerns that constitute the very core of our modernity.

Ronit Milano is a faculty member in the Department of the Arts, Ben-Gurion University of the Negev, Israel. She has published several articles on the French pre-Revolutionary portrait bust and is currently writing a book on contemporary art installations in eighteenth-century sites.

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C O N T E N T S

List of Illustrations
Acknowledgments
Introduction
1  ‘He is a Philosopher’: Individual versus Collective Identity
2  Decent Exposure: Bosoms, Smiles and Maternal Delight in Female Portraits
3  Between Innocence and Disillusion: Representations of Children and Childhood
4  Transitional Identities: Family Structure, the Social Order, and Alternative Masculinities at the Dawn of Modernity
5  The Face of the Monarchy: Court Propaganda and the Portrait Bust
Conclusion
Bibliography
Index

Distributed by Yale UP:

Nicola Figgis, ed., Painting 1600–1900: Art and Architecture of Ireland (London: The Paul Mellon Centre for Studies in British Art, 2014), 600 pages, ISBN: 978-0300179200, $150.

Art and Architecture of Ireland is an authoritative and fully illustrated survey that encompasses the period from the early Middle Ages to the end of the 20th century. The five volumes explore all aspects of Irish art—from high crosses to installation art, from illuminated manuscripts to Georgian houses and Modernist churches, from tapestries and sculptures to oil paintings, photographs and video art. This monumental project provides new insights into every facet of the strength, depth and variety of Ireland’s artistic and architectural heritage.

Painting 1600–1900: Art and Architecture of Ireland
The volume is divided into two sections. The first contains thematic essays, ranging widely from exhibiting practices to the social history of Irish art, revealing how pictures were produced, acquired and traded in Ireland. The varied texts reflect the decision to be inclusive in determining ‘Irishness’—the volume considers painters born in Ireland who spent their careers abroad, as well as visiting artists to Ireland. The second section is devoted to biographical entries, largely based on W.G. Strickland’s biographies of artists (Dublin and London, 1913), but updated to include extensive recent research. More than 300 entries provide information on Irish painters of the seventeenth, eighteenth and nineteenth centuries, a critical period that saw the development of easel painting, patronage, the exploration of antiquarianism and a search for the pictorial expression of national identity. The biographies offer a rich compendium of Irish experience; while some of the artists lived with worldly success and fame, others suffered disappointment and failure. All the entries are based on original research, much of it undertaken in hitherto unexplored archives. It seems appropriate given Ireland’s economic, political and social history, that the story told by this volume is one of exodus, exchange and international endeavour.

Nicola Figgis is a lecturer at the School of Art History and Cultural Policy, University College, Dublin, specialising in 17th–19th-century Irish painting and aspects of the Grand Tour. She is co-author, with Brendan Rooney, of Irish Paintings in the National Gallery of Ireland, volume i (2002).

Distributed by Yale UP:

Paula Murphy, ed., Sculpture 1600–2000: Art and Architecture of Ireland (London: The Paul Mellon Centre for Studies in British Art, 2014), 600 pages, ISBN: 978-0300179217, $150.

Art and Architecture of Ireland is an authoritative and fully illustrated survey that encompasses the period from the early Middle Ages to the end of the 20th century. The five volumes explore all aspects of Irish art—from high crosses to installation art, from illuminated manuscripts to Georgian houses and Modernist churches, from tapestries and sculptures to oil paintings, photographs and video art. This monumental project provides new insights into every facet of the strength, depth and variety of Ireland’s artistic and architectural heritage.

Sculpture 1600–2000: Art and Architecture of Ireland 
Irish sculptors have made a significant contribution to the development of their art form both within and outside Ireland. This volume affords the unique opportunity to explore four centuries of their work. Biographies of individual artists and analytical assessments are augmented by a series of thematic
essays establishing a context for the practice of sculpture
throughout the country north and south.

Paula Murphy is associate professor at University College Dublin, where she lectures in art history, specializing in art of the modern period. She has a particular interest in sculpture and has published widely on Irish sculpture, notably Nineteenth-Century Irish Sculpture: Native Genius Reaffirmed, published by Yale University Press in 2010.

From Ashgate:

Sally Webster, The Nation’s First Monument and the Origins of the American Memorial Tradition: Liberty Enshrined (Aldersthot: Ashgate, 2015), 254 pages, ISBN: 978-1472418999, $105.

The commemorative tradition in early American art is given sustained consideration for the first time in Sally Webster’s fascinating study of public monuments and the construction of an American patronymic tradition. Until now, no attempt has been made to create a coherent early history of the carved symbolic language of American liberty and independence. Establishing as the basis of her discussion the fledgling nation’s first monument, Jean-Jacques Caffiéri’s Monument to General Richard Montgomery (commissioned in January of 1776), Webster builds on the themes of commemoration and national patrimony, ultimately positing that like its instruments of government, America drew from the Enlightenment and its reverence for the classical past. Webster’s study is grounded in the political and social worlds of New York City, moving chronologically from the 1760s to the 1790s, with a concluding chapter considering the monument, which lies just east of Ground Zero, against the backdrop of 9/11. It is an original contribution to historical scholarship in fields ranging from early American art, sculpture, New York history, and the Revolutionary era. A chapter is devoted to the exceptional role of Benjamin Franklin in the commissioning and design of the monument. Webster’s study provides a new focus on New York City as the 18th-century city in which the European tradition of public commemoration was reconstituted as monuments to liberty’s heroes.

Sally Webster is Professor of American Art, Emerita at Lehman College and the Graduate Center, CUNY.

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C O N T E N T S

List of Illustrations
Acknowledgments

Introduction
1  New York’s De Lancey Family and the Origins of the American Memorial Tradition
2  Celebrating the Repeal of the Stamp Act: New York Tributes to William Pitt and George III
3  A Memorial to General Richard Montgomery: Commemorating the Death of an American Hero
4  Benjamin Franklin and the Commission of America’s First Monument
5  New York, Pierre-Charles L’Enfant, and a Monument for America

Bibliography
Index

From Ashgate:

Andrew Graciano, ed., Exhibiting Outside the Academy, Salon and Biennial, 1775–1999: Alternative Venues for Display (Aldershot: Ashgate Publishing, 2015), 308 pages, ISBN: 978-1472428271, $120.

In recent years, there has been increasing scholarly interest in the history of museums, academies, and major exhibitions. There has been, however, little to no sustained interest in the histories of alternative exhibitions (single artwork, solo artist, artist-mounted, entrepreneurial, privately funded, ephemeral, etc.) with the notable exception of those publications that deal with situations involving major artists or those who would become so—for example J. L. David’s exhibition of Intervention of the Sabine Women (1799) and The First Impressionist Exhibition of 1874—despite the fact that these sorts of exhibitions and critical scholarship about them have become commonplace (and no less important) in the contemporary art world. The present volume uses and contextualizes eleven case studies to advance some overarching themes and commonalities among alternative exhibitions in the long modern period from the late-eighteenth to the late-twentieth centuries and beyond. These include the issue of control in the interrelation and elision of the roles of artist and curator, and the relationship of such alternative exhibitions to the dominant modes, structures of display and cultural ideology.

Andrew Graciano is Associate Professor of Art History at the
University of South Carolina.

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C O N T E N T S

List of Illustrations
Notes on Contributors
Acknowledgements

Introduction: Alternative Venues, Andrew Graciano
1  Nathaniel Hone’s 1775 Exhibition: The First Single-Artist Retrospective, Konstantinos Stefanis
2  Branding Shakespeare: Boydell’s Shakespeare Gallery and the Politics of Display, Heather McPherson
3  Fantasy and Rivalry: Jean-Baptiste Regnault’s Solo Exhibition, Paris 1800, Katie Hanson
4  Rereading ‘Court’ in the Touring Exhibition of Rembrandt Peale’s Court of Death (1820), Tanya Pohrt
5  ‘Plasmati dalle sue mani’: Canova’s Touch and the Gipsoteca of Possagno, Christina Ferando
6  Art History as Spectacle: Blockbuster Exhibitions in 1850s England, Amy M. Von Lintel
7  Merging Form and Formlessness: The 1892 Monotype Exhibition by Edgar Degas, Christine Y. Hahn
8  The Radical Work of Oskar Kokoschka and the Alternative Venues of Die Kunstschauen of 1908–1909, Vienna, Austria, Rosa J.H. Berland
9  Bringing the Boudoir into the Gallery: Florine Stettheimer’s ‘Failed’ Solo Exhibition, Karen Stock
10  Exhibiting the Museum-Function: Marcel Broodthaers and the Musée d’Art Moderne, Département des Aigles, Julian Jason Haladyn
11  Georges Adéagbo: Between Artwork and Exhibition, Kathryn M. Floyd
Epilogue: Control Issues, Andrew Graciano

Select Bibliography
Index