The Furniture History Society’s Early Career Symposium
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From The Furniture History Society, with registration at Eventbrite:
The Furniture History Society Early Career Research Symposium
The Metropolitan Museum of Art, New York, 24 January 2024
The Furniture History Society is delighted to hold its seventh Early Career Research Symposium at The Metropolitan Museum of Art in New York on Wednesday, 24th January. The symposium is part of our Early Career Development (ECD) programme and presents current research by emerging scholars in the fields of furniture history, the decorative arts, and historic interiors. The wide range of papers reflects the variety of interests among young scholars with speakers from Britain, the Czech Republic, France, Italy, and the United States. We welcome curators, dealers, academics, members of the Furniture History Society, and anyone interested in the decorative arts and the history of interiors to join us for this symposium to enjoy the fascinating medley of topics, ranging from the 1650s to the 1950s. The event is free, but it is necessary to register here on Eventbrite by midnight Sunday, 21st January to secure a place. This event is neither being recorded nor livestreamed.
The day is made possible thanks to the generous support of the Oliver Ford Trust.
p r o g r a m m e
9.30 Welcome
9.45 Morning Session A
• Cynthia Kok (Rijksmuseum, Amsterdam) Ebonyworkers in 17th-Century Amsterdam
• Bridget Griffin (The Attingham Trust, London), Crafting Connections: Mapping the Lives and Trade Networks of British and Irish Immigrant Furniture Makers in North-Eastern Port Cities of Early America
• Grace Ford-Dirks (Philadelphia Museum of Art), Exploring the Lives and Meanings of an 18th-Century Caribbean Armoire
11.15 Break
11.45 Morning Session B
• Noah Dubay (Bard Graduate Center, New York), Comfort, Convenience, and Convalescence: How the Fauteuil de Malade Changed 18th-Century France
• Geoffrey Ripart (Bard Graduate Center, New York), The Road from Rome to Paris: Sourcing Rare Marbles at the End of the Ancien Regime and the Rise of French Taste for Objets d’Art Made from Stone, 1760–1810
12.45 Lunch Break
1.45 Afternoon Session A
• Romana Mastrella (University of La Sapienza, Rome), Collecting Fireplaces
• Justine Gain (École de Louvre, Paris), When the Furniture Matches the Architecture: The Birth of French Eclecticism through the Oeuvre of Jean-Baptiste Plantar (1790–1879)
• Laura Jenkins (Courtauld Institute of Art, London) From Galerie to Ballroom: Gilbert Cuel at 1 West 57th Street
3.15 Break
3.45 Afternoon Session B
• Karolina Kourilova (Masaryk University, Brno), Design behind the Iron Curtain: Furniture Industry Development in Post-War Czechoslovakia
• Melania Andronic (University of La Sapienza, Rome), Rational Furniture: A Chair Is Made for Sitting
4.45 Closing Remarks
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Images: Detail of a fireplace, 1785, by Luigi Valadier in the Sala della Flora on the first floor of the Villa Borghese in Rome. Detail of a cabinet attributed to Herman Doomer, Amsterdam ca. 1640–50 (New York: The Met). Detail of a drawing by Jean-Baptiste Plantar in the Album d’une centaine de dessins d’architecture, Paris, ca. 1855 (held online by the Institut national d’histoire de l’art). Detail of the Galerie dorée at the Hôtel de Toulouse (now Banque de France), decorated by Robert de Cotte and Francois-Antoine Vasse, 1713–17 (photo by Guilhem Vellut).
Exhibition | Unnamed Figures: Black Presence and Absence
Rufus Hathaway, A View of Mr. Joshua Winsor’s House &c., Duxbury, Massachusetts, ca. 1793–95, oil on canvas (New York: American Folk Art Museum, gift of Ralph Esmerian, 2013.1.19). From the museum’s Instagram account, “This iconic folk painting has typically been interpreted as its eighteenth-century patron, Joshua Winsor, would have expected: as a chronicle of his wealth and property as a merchant and shipbuilder in Duxbury, Massachusetts. Usually unremarked upon is the figure of a Black woman in the lower left-hand corner of the scene. With her back to the viewer, the woman is faceless, evoking the limited details known about early African American lives. Census records provide small clues. Was she the one free person of color recorded in the Winsor household in 1790, a few years before this painting was made? Likely attending to many aspects of the Winsors’ domestic lives, this enigmatic figure was one of the many unnamed Black residents of New England whose underrecognized labor paved the way for their employers’ or enslavers’ prosperity.”
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Karen Rosenberg’s review of the exhibition recently appeared in The New York Times (21 December 2023) . . . .
Unnamed Figures: Black Presence and Absence in the Early American North
American Folk Art Museum, New York, 15 November 2023 — 24 March 2024
Flynt Center of Early New England Life, Deerfield, Massachusetts, 1 May — 4 August 2024
Curated by Emelie Gevalt, RL Watson, and Sadé Ayorinde
Unnamed Figures: Black Presence and Absence in the Early American North is on view at the American Folk Art Museum until 24 March 2024. As a corrective to histories that define slavery and anti-Black racism as a largely Southern issue, this exhibition offers a new window onto Black representation in a region that is often overlooked in narratives of early African American history.
Through 125 remarkable works including paintings, needlework, and photographs, this exhibition invites visitors to focus on figures who appear in—or are omitted from—early American images and will challenge conventional narratives that have minimized early Black histories in the North, revealing the complexities and contradictions of the region’s history between the late 1600s and early 1800s. A 300-page scholarly book with contributions from Gwendolyn DuBois Shaw, Jennifer Van Horn, and several other authors, is available for purchase.
The exhibition is co-curated by Emelie Gevalt, Curatorial Chair for Collections and Curator of Folk Art, AFAM; RL Watson, Assistant Professor of English and African American Studies, Lake Forest College; and Sadé Ayorinde, Terra Foundation Predoctoral Fellow in American Art at the Smithsonian American Art Museum. A free digital guide on Bloomberg Connects is available here.
Please be advised that this exhibition contains complex, challenging, and racist imagery.
Unnamed Figures: Black Presence and Absence in the Early American North (New York: American Folk Art Museum, 2023), 300 pages, $75.
Catalogue contributors are scholars and researchers with expertise in American art history, material culture, African American history and literature, and other related topics. The book includes a foreword by Gwendolyn DuBois Shaw and Jason Busch. Contributors include the exhibition’s curators as well as Virginia Anderson, Kelli Racine Barnes, Michael Bramwell, Christy Clark-Pujara, Anne Strachan Cross, Jill Vaum Rothschild, Jonathan Michael Square, Lea Stephenson, Jennifer Van Horn, and Gordon Wilkins.
r e l a t e d p r o g r a m m i n g
7 December 2023
Virtual Insights: Reasserting Black Presence in the Early American North
11 January 2024
BlackMass Responds to Unnamed Figures: Tour with Yusuf Hassan and Kwamé Sorrell
14 February 2024
Notes on Style: A Discussion with BlackMass on Portraiture and Personhood
23 February and 28 March 2024
‘The Picture Is Still Out There’: Reframing Black Presence in the Collections of Early American Art and Material Culture | 2024 Elizabeth and Irwin Warren Folk Art Symposium
18 March 2024
Autobiographical Landscapes: Gary Tyler in Conversation with Allison Glenn
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Note (added 4 January 2024) — The posting was updated to include Historic Deerfield as a venue.
Online Symposium | Reframing Black Presence
Left: unidentified painter, John Potter and Family, Matunuck, Rhode Island, ca. 1740, oil on wood, 31 × 64 inches (Newport Historical Society). Right: Thomas W. Commeraw, Two-Gallon Jar, New York City, ca. 1793–1819, salt-glazed stoneware with cobalt decoration, 9 inches high (Private Collection).
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From the American Folk Art Museum in New York:
‘The Picture Is Still Out There’: Reframing Black Presence in the Collections of Early American Art and Material Culture
Elizabeth and Irwin Warren Folk Art Symposium
Online, 23 February 2024 and 8 March 2024
“ … Even if I die, the picture of what I did, or knew, or saw, is still out there,” says one of Toni Morrison’s characters in her masterpiece Beloved. Reflecting on this process of Black ‘re-memory’, the symposium ‘The Picture Is Still Out There’: Reframing Black Presence in the Collections of Early American Art and Material Culture presents curatorial practices and scholarship that affirm African American presence in early American art and material culture. This two-day online symposium is organized in connection with the exhibition Unnamed Figures: Black Presence and Absence in the Early American North, on view at the American Folk Art Museum, from 15 November 2023 until 24 March 2024. Drawing inspiration from the research behind this exhibition, the symposium serves as a platform for a broader consideration of museum practices in relation to folk art, early American history, and issues of anti-Black racism.
Art scholars, museum curators, and public historians—including exhibition co-curators Emelie Gevalt, RL Watson and Sadé Ayorinde as well as Janine Boldt, Alexandra Chan, Anne Strachan Cross, Gwendolyn DuBois Shaw, Michael Hartman, Elizabeth S. Humphrey, Tiffany Momon, Marc Howard Ross, Jennifer Van Horn and Jill Vaum Rothschild—are invited to gather, share, and discuss their efforts in celebrating and reframing the early contributions of African American individuals to the field of art. Talks will consider early material culture from global and historically marginalized perspectives, acknowledging gaps in history, knowledge, and care. This virtual symposium will also present new methods of preserving, acquiring, and exhibiting that address colonialist and racist ideologies while rethinking accountability, transparency, and language choices in interpretation. This will be a unique opportunity to approach the colonial past and its continuities in museums and public institutions.
Learn more about our speakers by clicking here. A detailed schedule with speaker abstracts will be released in January. For questions, please email publicprograms@folkartmuseum.org.
f r i d a y , 2 3 f e b r u a r y
11.00 Introductory Conversation
• Jennifer Van Horn, Associate Professor of Art History and History, University of Delaware
• Gwendolyn DuBois Shaw, Class of 1940 Bicentennial Term, Associate Professor of History of Art, University of Pennsylvania
1.30 Session 1
Moderator: Anne Strachan Cross, Assistant Teaching Professor of American Art, Pennsylvania State University
• Elizabeth S. Humphrey, former Curatorial Assistant and Manager of Student Programs, Bowdoin College Museum of Art; PhD Candidate at the University of Delaware
• Michael Hartman, Jonathan Little Cohen Associate Curator of American Art Hood Museum of Art, Dartmouth College
• Janine Yorimoto Boldt, Associate Curator of American Art at The Chazen Museum of Art
Register here»
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11.00 Session 2
Moderator: Jill Vaum Rothschild, Luce Foundation Curatorial Fellow, Smithsonian American Art Museum
• Alexandra Chan, archaeologist, member of the academic advisory board of the Royall House and Slave Quarters, a National Historic Landmark and museum in Medford, Massachusetts, and author of Slavery in the Age of Reason: Archaeology at a New England Farm (2015)
• Marc Howard Ross, William Rand Kenan, Jr., Emeritus Professor of Political Science at Bryn Mawr College, and author of Slavery in the North: Forgetting History and Recovering Memory (2018), which begins with a study of the President’s House/Slavery Memorial at Independence National Historical Park in Philadelphia
• Tiffany Momon, Assistant Professor of History and Mellon Fellow at Sewanee, University of the South, founder and co-Director of Black Craftsmanship Digital Archive
1.30 Closing Conversation
• Emelie Gevalt, Curatorial Chair for Collections and Curator of Folk Art, AFAM
• RL Watson, Assistant Professor of English and African American Studies, Lake Forest College
• Sadé Ayorinde, Terra Foundation Predoctoral Fellow in American Art at the Smithsonian American Art Museum
Register here»
Conference | 76th Annual Williamsburg Antiques Forum
From Colonial Williamsburg:
76th Annual Antiques Forum: Domestic Affairs
Online and in-person, Colonial Williamsburg, 23–27 February 2024
Registration due by 1 February 2024 (virtual registration by 10 February)
From London to Nova Scotia, New England to Virginia and the Carolinas, the Mid Atlantic to the Gulf South: all make an appearance at Colonial Williamsburg’s 76th Annual Antiques Forum: Domestic Affairs. Join us as we explore fashions, furnishings, and the familial while traveling through time and space and delving into houses and histories. We will journey through public and private collections, revealing new research, revitalized spaces, and the fascinating stories that are told by objects, architecture, and interiors.
On opening day of this year’s Antiques Forum, we are joined by Tim Whittaker, former Director of The Spitalfields Trust, who introduces the visionaries and eccentrics who saved the Georgian architectural legacy of East London. Robert Leath, Executive Director of Edenton Historical Commission, then dives into four centuries of North Carolina History as he examines the story of Hayes Plantation. Chief Curator Adam Erby reveals recent discoveries from Mount Vernon, and architectural paint conservator Maeve Woolley Delph peels back the layers on the interior paint restoration of Wilton House Museum. Trevor Brandt from Americana Insights and Colonial Williamsburg’s Associate Curator of Paintings, Drawings, and Sculpture, Kate Teiken Rogers round out our visit to houses and objects as they take a deeper look at spiritual labyrinths in Pennsylvania German fraktur and portraiture of early Williamsburg residents, respectively.
On Sunday, Cynthia Cooper from the McCord Stewart Museum reveals the unlikely travels of an 18th-century dress from Virginia to Quebec City. We then travel to Mississippi as Jefferson Mansell, Historian with the Natchez National Historical Park, looks at the rise of the of the Natchez suburban estate. In the afternoon, attendees are invited to venture to the Art Museums of Colonial Williamsburg for an update on recent acquisitions in the foundation’s collection, with mini-lectures by Colonial Williamsburg’s Curator of Furniture Tara Chicirda; Senior Curator of Mechanical Arts, Metals, and Numismatics Erik Goldstein; and Curator of Costumes and Textiles Neal Hurst. Following afternoon refreshments, lectures resume in the Virginia Room of the Lodge with the Carolyn and Michael McNamara Young Scholars Series, sponsored by The Decorative Arts Trust and featuring emerging scholars Ahmauri Williams-Alford (Telfair Museum), Henry Beard (Old Salem), and Cecelia Eure (Winterthur). The Annual Forum Shields Tavern Barbecue, sponsored by Jeffrey S. Evans & Associates, concludes the day.
We explore indoors and out, above ground and below on Monday with independent scholar Errol Manners addressing “Ceramics and the Garden: Display, Delight, and Consumption,” and Drayton Hall’s Director of Archaeology Luke Pecoraro investigating Drayton Hall’s designed landscape. Colonial Williamsburg’s Director of Archaeology Jack Gary and Associate Curator of Ceramics and Glass, Angelika Kuettner then join our guest speakers on stage to discuss garden ceramics, archaeology, and historic preservation. In the afternoon attendees are invited to an open house at Custis Square to see the ongoing garden archaeology project and join Colonial Williamsburg’s Nation Builder Kurt Smith for a fascinating look at “Thomas Jefferson and English Gardens,” inspired by the visits of both men spanning different centuries. The Margaret Beck Pritchard Associate Curator of Maps and Prints, Katie McKinney, will end the day with a look at Robert Furber, his prints, and their influence on garden and floral arrangement design in the 18th century and today.
Our final day of lectures ventures to New England and the Mid-Atlantic with Historic Deerfield’s Amanda Lange looking at ceramics for the American home. Montgomery County Pennsylvania’s Daniel Hiester House is the subject of this year’s Collectors Talk, given by scholar and owner Lisa Minardi, while Matthew Skic, Curator of Exhibitions, Museum of the American Revolution, takes a look at the material world of the Forten Family of Philadelphia. Brenton Grom, Director of Connecticut’s Webb-Deane-Stevens Museum discusses how the spectacle of house museums can bring us together, and architectural historian Willie Graham gives our closing keynote highlighting remarkable discoveries during the restoration of Cloverfields, one of Tidewater Maryland’s grandest houses. A night to remember follows with live entertainment for the closing dinner.
Images from the Forum Flyer: Top Left: Detailed shot of a three-piece Court Suit, Warsaw, Poland, 1787–95, silk, linen, wool, iron, silver, gold, garnets, wood, paper (Transfer from The Valentine Museum, Richmond, VA, 2023-21,1-3). Bottom Left: Portrait of Helen M. Eddy, Joseph Whiting Stock, Springfield, Massachusetts, 1845, oil on canvas (Bequest of Abby M. O’Neill, 2018.100.3). Top Middle: Three-piece Court Suit, Warsaw, 1787–95, silk, linen, wool, iron, silver, gold, garnets, wood, paper (Transfer from The Valentine Museum, Richmond, VA, 2023-21,1-3). Bottom Middle: Hong Bowl, Jingdezhen, China, ca. 1787–88, hard-paste porcelain (Museum Purchase, The Joseph H. and June S. Hennage Fund, 2023-4). Top Right: Portrait of Major General Alexander Finley Whitaker possibly by John Bradley, New York, ca. 1835, oil on mattress ticking (Museum Purchase, Hank and Dixie Wolf in honor of Margaret Beck Pritchard and Laura Pass Barry, 2023.100.1). Bottom Right: Armchair, London, 1763–67, mahogany (Museum Purchase, 1959-351,3).
Conference | Working Wood in the 18th Century: By the Book
From Colonial Williamsburg:
Working Wood in the 18th Century: By the Book
Online and in-person, Colonial Williamsburg, 25–28 January 2024
Registration due by 1 January 2024
Printed words and images: How did 18th-century craftspeople turn them into actions and objects? How did craftspeople fill in the blanks left by what was unwritten or unillustrated? And how can the ink they left on paper inform our understanding of a past in which most craft knowledge was shared orally? Join tradespeople and scholars from Colonial Williamsburg and esteemed guest presenters as they explore woodworking by the book.
All lectures will take place in the Hennage Auditorium, at the Art Museums of Colonial Williamsburg. In-person capacity is limited and those on the waitlist will be notified via email should space become available. Virtual capacity is unlimited.
Christopher Schwarz—woodworker, author, and publisher of Lost Art Press—will open the conference with a keynote on the long historical arc of woodworking books. Later, he’ll demonstrate the low workbench illustrated by M. Hulot in L’Art du Tourneur Mécanicien (1775) to explore how the design has persisted among chairmakers up to the present. Chairmaking of a different flavor will be the focus of demonstrations by master cabinetmaker and educator Dan Faia, who will explore the structure and ornament of a high-style neoclassical chair design published by George and Alice Hepplewhite in The Cabinet-maker and Upholsterer’s Guide (1789). Colonial Williamsburg cabinetmakers Bill Pavlak and John Peeler will explore how 18th-century craftspeople could use Thomas Chippendale’s elaborate published patterns as a springboard for designing and building chairs in the ’plain and neat’ manner favored by colonial Virginia’s fashion-conscious consumers.
In the realm of architectural woodworking, Colonial Williamsburg’s joiners Brian Weldy and Peter Hudson will employ a variety of 18th-century pattern books to design and build a door, its frame, and the decorative woodwork that surrounds it. In a panel moderated by supervisor-journeyman Matt Sanbury, apprentice carpenters Harold Caldwell, Mary Lawrence Herbert, and McKinley Groves will crack open Joseph Moxon’s late 17th-century work Mechanick’s Exercises to put his lessons in carpentry to the test. Does Moxon’s writing accurately reflect the practices of carpenters?
Decorative techniques are discussed at length in period writings, though usually in an incomplete manner. Conservators Chris Swan and Sarah Towers will introduce their recent exploration into traditional silvering techniques for carved picture frames. Harpsichord makers Edward Wright and Melanie Belongia will explore decorative veneering methods that are useful for furniture and musical instruments alike. In both cases, presenters will show how the written word combined with hours of experimentation at the bench led to successful results.
In addition to bringing the techniques and designs from books to life, we’ll also explore books themselves from a variety of perspectives. Whitney L.B. Miller, author of Henry Boyd’s Freedom Bed, will share how she was inspired to turn her research on Henry Boyd—a free Black furniture maker, inventor, and abolitionist who was born into enslavement—into a book for today’s children. Colonial Williamsburg’s curator of furniture Tara Chicirda will introduce the role that pattern books and price books played in the cabinetmaker’s trade. To learn about what went into making detailed printed illustrations, master engraver Lynn Zelesnikar will demonstrate her craft while reproducing a plate from Chippendale. She and Bill Pavlak will also compare notes on how to turn the same ornamental pattern into a two-dimensional engraving or a three-dimensional wood carving. Any collection of books needs shelves, and decorative arts historian Thomas Savage will deliver our banquet keynote on the acclaimed Holmes-Edwards library bookcase, a beautifully crafted home for books with a compelling story of its own.
Conference | Women in Architecture before 1800
From the conference website:
WoArch 2024: Women as Builders, Designers, and Critics of the Built Environment before 1800
Online and in-person, Palazzo Taverna, Rome, 25–27 January 2024
Organized by Shelley Roff, Consuelo Lollobrigida, and Francesca Riccardo
We are pleased to announce the first edition of the conference series WoArch (Women in Architecture) as an international symposium entitled Women as Builders, Designers, and Critics of the Built Environment before 1800, which will take place in Rome, 25–27 January 2024. Organized by the University of Arkansas Rome Center in collaboration with the School of Architecture + Planning at the University of Texas at San Antonio, this symposium is also supported by the Women in Architecture Affiliate Group of the Society of Architectural Historians. The event will be hosted in person at the Rome Center in Palazzo Taverna, Rome, and will be live-streamed on the Rome Center YouTube channels.
For almost 30 years, the literature investigating women and the built environment before the modern era has focused on women’s patronage of architecture. This symposium is designed to open a discussion about what is missing from this conversation and yet can be found in the historical record: the roles that women of various social classes played in shaping architecture, landscapes, and cities in diverse parts of the world and the cultural and political implications of their activities. In part, the symposium calls for a re-interpretation of patronizing activities by women; and, from another point of view, it directs the spotlight toward women engaging in socio-political urban reform, creating networks of design influence, managing and participating in construction, and serving as the designer of the built environment across a broad geographic scope before modern industrialization.
For program details and speakers’ abstracts, please visit our webpage. For other queries, please write to Shelley Roff, shelley.roff@utsa.edu.
2 5 j a n u a r y | w o m e n a s b u i l d e r s a n d d e s i g n e r s
9.00 Introduction by Shelley E. Roff, Consuelo Lollobrigida, and Francesca Riccardo
9.20 Session 1: A Passion for Design
Moderator: Francesca Riccardo
• Alba Carballeira (Private Foundation, Spain), Building Knowledge: Princesse des Ursins’ Gesamtkunstwerk for Philip the V
• Rebecca Shields (Virginia Commonwealth University), Frances Stewart, the Duchess of Lennox and Richmond, and Richmond House
• Consuelo Lollobrigida (University of Arkansas Rome Center), The Influence of Borromini in Bricci’s Architectural Apprenticeship and Background
• Laura Hindelang (University of Bern), Female Architectural Agency Pre-1900: Conceptualizing Cross-Cultural Perspectives
• Izabela Kopania (Institute of Art, Polish Academy of Sciences), Dutch-British Style for Cottage Architecture: Magdalena Morska’s Aesthetic Vision of Zarzecze Village
12.30 Archive Oratorio dei Filippini
14.20 Lunch
16.00 Session 2: Women Building the City
Moderator: María Elena Díez Jorge
• Mariana de Moura (Universidade Federal de Minas Gerais, Brazil), Women and Construction Know-How: Critical Fabulations from Self-Produced Sites
• Barry Stiefel (College of Charleston), To Carry Forty Pounds of Clay: Enslaved Black Women and Children Building Trades Workers in Early America
• Elizabeth Biggs (Trinity College Dublin) and Kirsty Wright (Historic Royal Palaces), Women Shaping the Palace of Westminster, ca. 1290–1700
• Nicoletta Marconi (Università degli Studi di Roma Tor Vergata), Unsuspected Presences: Women Workers on 16th–18th Century Roman Building Sites
• Gül Kale (Carleton University, Canada), Women as Shapers of Spatial Practices in Ottoman Istanbul
2 6 j a n u a r y | c o n n e c t i n g s p h e r e s o f i n f l u e n c e
9.00 Session 3: Critical Agents of Transformation
Moderator: Alba Carballeira
• Julie Beckers (University of Leuven), Rebuilding for Observance: Architectural Changes to Santa Maria di Monteluce in Perugia post Reform, ca. 1448–1485
• Sol Pérez Martinez (ETH Zürich), Nuns Reporting the City: Convents, Urban Life, and Female Experiences of 1700s Chile
• Elena Rieger (ETH Zürich), Urban Living: Emilie von Berlepsch and the Late 18th-Century City
• Christina Contandriopoulos and Étienne Morasse-Choquette (Université du Québec à Montréal), “Woman Writing on the Art and Architecture in 18th-Century Paris
• Anne Hultzsch (ETH Zürich), Conversations at the Tea Table: Eliza Haywood and the Sites of Criticism
11.50 San Giovanni dei Fiorentini, Galleria Spada, Palazzo Falconieri
13.45 Lunch
15.30 Session 4: The Politics of Gender in Building
Moderator: Consuelo Lollobrigida
• María Elena Díez Jorge (Universidad de Granada), The Prestige of Women through Architecture in 16th-Century Spain
• Ceren Göğüş (İstanbul Kültür University), Self-Representation of Ottoman Women through Public Projects
• Jaroslaw Pietrzak (University of the National Education Commission, Krakow), Polish Abbesses as Restorers of Churches and Monasteries in the 18th Century in the Light of Monastery Chronicles
• Konrad Niemira, (Museum of Literature / Polish Academy of Sciences, Warsaw)
• Sigrid de Jong (ETH Zürich), Women as Agents of Change: Female Interventions in Parisian Architecture
18.10 Keynote Address
• Anuradha Chatterjee (Dean of the School of Design and Innovation, RV University, India), Remembering (and Forgetting) Ahilya Bai Holkar’s Architectural Legacy
2 7 j a n u a r y | m a t r o n a g e i n a n e w l i g h t
9.30 Roundtable
Moderator: Shelley Roff
• Shelley Roff (University of Texas at San Antonio), Introduction: Matronage in a New Light
• Margaret Woodhull (University of Colorado, Denver), Women and Public Buildings around the Ancient Mediterranean: Some Thoughts on What and Why They Built
• Jyoti Pandey Sharma (School of Planning and Architecture, Delhi), Invisible Patrons and Stewardship of the Faith: The Begami Masjids (Mosques built by Mughal Ladies) of the Mughal Badshahi Shahar (Imperial City) Shahjanahabad
• Alper Metin (Università di Bologna ), Women Shaping the Ottoman Capital, from Saliha to Nakşıdil Sultan, 1730–1817
• Hannah Mawdsley and Eleanor Harding (National Trust, UK), Unpicking the Evidence of Elizabeth Murray’s Role in the Expansion of Ham House
• Mercedes Simal López (Universidad de Jaén), Elizabeth Farnese, Builder of the Majesty of Philip V
• Priscilla Sonnier (University College Dublin), ‘Noble Minded Sister’: Grizelda Steevens and Dublin’s Steevens’ Hospital, 1717–1733
• Danielle Willkens (Georgia Institute of Technology), Paper Patrons: Women of the Transatlantic Design Network
10.50 Discussion
11.30 Closing Remarks
Conference | York and the Georgian City
Nathan Drake, The New Terrace Walk, York, ca. 1756, oil on canvas, 76 × 107 cm
(York Art Gallery)
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From the York Georgian Society:
York and the Georgian City: Past, Present, and Future
King’s Manor, York, 18 May 2024
Joint conference presented by the York Georgian Society and the Centre for Eighteenth-Century Studies, University of York
The aim of this conference is to re-evaluate the notion of York as a Georgian city, which was one of the founding premises of the York Georgian Society in 1939. It will examine to what extent York can be described as a ‘Georgian’ city, and whether that label is relevant or meaningful in the present day. Why not a medieval, or a Victorian city? Is ‘Georgian’ merely a paradigm for good taste?
Keynote Presentations
• Rosemary Sweet (University of Leicester), When Did York Become Georgian?
• Madeleine Pelling (historian, writer, and broadcaster), Writing on the Wall: Graffiti, Rebellion and the Making of 18th-Century Britain
Other talks will include Constance Halstead on Anne Lister, Rachel Feldberg on Jane Ewbank, Matt Jenkins on whether York is an archetypical Georgian city, and John Mee on Manchester College, York. The full programme will be posted nearer the event.
Standard ticket prices (which include morning coffee, a light lunch, afternoon tea, and a reception) are £25; with discounted rates available to students (£5) and YGS members and University of York Staff (£15). Tickets can be booked here.
Conference | Exploring the Histories of Chinese Collections in Europe
Gotha Research Centre (Das Forschungszentrum Gotha ), Universität Erfurt, Thuringia (large grey building on the left).
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From ArtHist.net:
From Cabinets to Museums: Exploring the Histories of Chinese Collections in Europe
Gotha Research Centre, University of Erfurt, 10–11 January 2024
Organized by Emily Teo
An international workshop at the Gotha Research Centre of the University of Erfurt, in cooperation with Stiftung Schloss Friedenstein Gotha
Chinese objects were acquired by European collectors for a variety of reasons: ranging from the aesthetic decoration of their residences, to using objects as a source of knowledge about foreign cultures. This workshop brings together historians and museum professionals to discuss the complex histories of Chinese collections in European contexts. Central to the workshop is the East Asian collection in Gotha. Around 1800, Duke August of Saxe-Gotha-Altenburg (1772–1822) founded the Chinese Cabinet, a rich and diverse collection of East Asian objects in Gotha’s Friedenstein Palace. Themes that will be explored include the global circulation of artwork, China-Mode in 18th-century Europe, and the practices of collecting and displaying Chinese objects in European collections. The goal of the workshop is to historicize these collections and to explore their interconnections, leading to new directions for research on East Asian collections in Europe. Registration and contact: Emily.teo@uni-erfurt.de
Shoes from the East Asian collection in Gotha, founded by Augustus, Duke of Saxe-Gotha-Altenburg as the Chinese Cabinet around 1800 (Schloss Friedenstein, inv. no. ETH14S).
w e d n e s d a y , 1 0 j a n u a r y
11.00 Tour of the Ducal Museum*
• Agnes Strehlau (Stiftung Schloss Friedenstein Gotha)
14.00 Greeting
• Martin Mulsow (Gotha Research Centre, University of Erfurt)
• Tobias Pfeifer-Helke (Stiftung Schloss Friedenstein Gotha)
14.15 Introduction
• Emily Teo (Gotha Research Centre)
14.30 Session 1 | Historical Collections
• Jean Theodore Royer (1737–1807) and His Chinese Collection: Thoughts on His Objectives and Collecting Strategies — Jan van Campen (Rijksmuseum, Amsterdam)
• Noblesse Oblige — Francois Coulon (Musée des Beaux-Arts, Rennes)
15.40 Coffee break
Object Workshop
16.15 Viewing East Asian Artefacts*
• Kerstin Volker-Saad and Agnes Strehlau (Stiftung Schloss Friedenstein Gotha)
18.00 Evening Lecture
• Traces of Guangzhou: Craftsmanship, Material (Dis)Connections and Chinesische Kabinette — Anna Grasskamp (University of Oslo)
19.00 Workshop dinner, for invited participants
t h u r s d a y , 1 1 j a n u a r y
9.30 Object Workshop
• Viewing Chinese Export Albums* — Ulrike Eydinger (Stiftung Schloss Friedenstein Gotha)
11.00 Coffee break
11.15 Session 2 | Transcultural Objects
• Gemstone Potted Landscapes: A Case Study for Exploring the 18th- and 19th-Century China-Europe Transcultural Materiality and Craftsmanship — Wen-ting Wu (National Taiwan University)
• From ’18 Stuck grose Vasen’ to ‘national wertvolles Kulturgut’: Chinese Monumental Vases and the History of Chinese Art History at the Dresden Porcelain Collection — Feng Schöneweiß (Kunsthistorisches Institut in Florenz – Max-Planck-Institut)
12.25 Lunch break
13.15 Session 3 | Chinese Architecture for European Princes
• Chinese Architecture at the Friedenstein Palace: Henri-Léonard Bertin, Herzog August von Saxe-Gotha-Altenburg and the Influence of the Drawings from l’Essai sur l’architecture chinoise (1773) — Kee Il Choi Jr (University of Zürich)
• Just for Decoration or Made for Pedagogical Purposes? Murals with Scenes from the Life of Confucius in Oranienbaum Commissioned by Duke Franz of Anhalt-Dessau (1740–1817) — Dorothee Schaab-Hanke (University of Bamberg)
• Think Big: Augustus the Strong and His Collections of Asiatica — Cordula Bischoff (Independent Researcher)
15.00 Final remarks
* Workshop presentations and the evening lecture at the Gotha Research Centre are open to the public with registration. Due to space constraints, the museum tour and object workshops are open only to workshop speakers. Object workshops will be held at the Perthes Forum, a 10-minute walk from the Gotha Research Centre.
Colloquium | Le stuc dans les grands décors en Europe
From ArtHist.net and the conference programme:
Le stuc dans les grands décors en France et en Europe, de la Renaissance à 1850
Online and in-person, Versailles, Paris, and Fontainebleau, 11–13 December 2023
L’objectif de ces journées est de faire le point sur les recherches en cours, les avancées dans les domaines de la restauration et de l’analyse scientifique, les découvertes effectuées à l’occasion de récents chantiers de restauration et définir des objets de recherches pluridisciplinaires. L’usage du stuc dans l’Antiquité et au Moyen Âge a suscité l’intérêt des historiens de l’art et des scientifiques du patrimoine français. Par contre, hormis dans la sphère provençale et languedocienne, où le milieu universitaire est particulièrement actif sur le sujet des décors, le stuc demeure un champ d’étude encore trop peu exploré en France pour la période de la Renaissance au XIXe siècle.
Pourtant, le vaste sujet du stuc connaît en Europe un certain engouement, comme en témoignent le Centro Studi per la Storia dello Stucco in Età Moderna e Contemporanea, les publications du Rijksdienst voor Cultureel Erfgoed des Pays-Bas, les colloques organisés par la Low Countries Sculpture Society et par l’université de Pardubice, en République Tchèque. La galerie Mazarin à la Bibliothèque nationale de France, la chambre de la duchesse d’Étampes, la galerie François Ier et la Porte Dorée à Fontainebleau, la galerie d’Apollon et l’appartement d’été d’Anne d’Autriche au Louvre ou encore la galerie des Glaces et le salon de Diane à Versailles sont autant de campagnes de restaurations récentes ou en cours qui concernent en partie le stuc. Elles sont l’opportunité de mettre en lumière la question du stuc dans les grands décors français en stuc, de la Renaissance au XIXe siècle.
Les trois journées d’études et de visites sont le premier évènement organisé par un nouveau groupe de recherche sur le décor en stuc dans les grandes demeures en France et en Europe de la Renaissance à 1850. L’objectif de ces journées est de faire le point sur les recherches en cours, les avancées dans les domaines de la restauration et de l’analyse scientifique, les découvertes effectuées à l’occasion de récents chantiers de restauration et définir des objets de recherches pluridisciplinaires. Langues: français et anglais.
Le colloque est retransmis en direct sur YouTube, où vous pourrez continuer à le visionner après l’événement. Il suffit de cliquer sur les liens ci-dessous.
Le lien de la chaîne YouTube: https://www.youtube.com/@GroupeStucs
1 e journée, Versailles: https://youtube.com/live/wrNoOIji2CM
2e journée, C2RMF: https://youtube.com/live/ijBg390diu0
3e journée, Fontainebleau: https://youtube.com/live/RYip3hmp164
Collaboration entre le château de Versailles, le château de Fontainebleau, le Centre de Recherche et de Restauration des Musées de France, le Laboratoire de Recherche des Monuments Historiques, le musée du Louvre, le château de Compiègne et l’association Low Countries Sculpture asbl
À l’heure actuelle, le groupe rassemble plusieurs institutions muséales, patrimoniales et scientifiques : le musée national des châteaux de Versailles et de Trianon, le musée national du château de Fontainebleau, le musée national du château de Compiègne, le musée du Louvre, la bibliothèque nationale de France, le château de Vaux-le-Vicomte, le Centre de Recherche et de Restauration des Musées de France, le Laboratoire de Recherche des Monuments Historiques, le château de Vaux-le-Vicomte et l’association Low Countries Sculpture. Le groupe espère réunir une communauté d’historiens de l’art (conservateurs et universitaires), de restaurateurs, de scientifiques du patrimoine et d’artisans s’intéressant à ce sujet qui puisse à terme élaborer des programmes de recherches cohérents et devenir une référence pour les prochains chantiers de restauration concernant des décors de stuc.
Comite d’Organisation
Lionel Arsac (château de Versailles)
Oriane Beaufils (château de Fontainebleau)
Anne Bouquillon (C2RMF)
Ann Bourges (C2RMF)
Valérie Carpentier-Vanhaverbeke (musée du Louvre)
Stéphanie Deschamps-Tan (musée du Louvre)
Jean Ducasse-Lapeyrusse (LRMH)
Étienne Guibert (château de Compiègne)
Léon Lock (The Low Countries Sculpture Society)
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Château de Versailles, auditorium, cour d’Honneur, entrée sur la gauche du Pavillon Dufour (A)
9.50 Laurent Salome (directeur, château de Versailles), Mots de bienvenue
10.00 Lionel Arsac (conservateur du patrimoine, château de Versailles), Introduction
10.20 Session 1 | Le Stuc: état de la recherche, définitions
Présidence: Geneviève Bresc-Bautier (directrice honoraire du département des Sculptures, musée du Louvre)
• Serena Quagliaroli (université de Turin), and Giulia Spoltore (Università della Svizzera italiana), A Centre for the Study of Stucco
• Giacinta Jean (SUPSI, Mendrisio), Giovanni Nicoli (SUPSI, Mendrisio), and Jana Zapletová (Palacký University, Olomouc), Form and Material of Stucco Decoration: Developing Research Projects for a Better Understanding, Conservation, and Dissemination
• Sarah Munoz (université de Lausanne), Usages et techniques du stuc en France aux XVIe et XVIIe siècles: considérations, savoir-faire et secrets d’atelier
• Cyril de Ricou (Atelier de Ricou, Paris) et Armelle Le Gendre (Atelier de Ricou, Paris), Regards croisés sur les stucs de Michel Anguier dans les appartements d’été d’Anne d’Autriche: l’apport des sources écrites et de l’analyse des matériaux
12.15 Pause déjeuner
13.45 Session 2 | Sculpteurs, stucateurs et gipiers
Présidence: Pascal Julien (université Toulouse Jean-Jaurès)
• Lionel Arsac (conservateur du patrimoine, château de Versailles), Le stuc dans les Grands Appartements de Versailles
• Magali Theron (université d’Aix-Marseille), Maîtres sculpteurs et/ou gipiers? Les auteurs des décors en gypserie à Marseille et Aix au XVIIe et début du XVIIIe siècle
15.20 Session 3 | Concevoire: modèles et transmissions
Présidence: Christine Casey (Trinity College Dublin)
• Alicia Adamczak-Gosset (Institut catholique de Paris), Le stuc en regard de la peinture: valeur iconographique et matérielle dans les décors de Jacques Sarazin et de Simon Vouet
• Léon Lock (The Low Countries Sculpture Society, Bruxelles/Mons), Le stuc dans les anciens Pays-Bas de 1650 à 1780: Réflexions sur la traduction de modèles gravés en hauts reliefs
• Giuseppe Dardanello (université de Turin), Stucco in Piedmont from the Late 17th to the mid-18th Century: Designers and Producers
• Barbara Rinn-Kupka (historienne de l’art indépendante, Cologne), French outside France: French Decoration Models in Central and Northern German Stuccowork from the 16th to the mid-18th Century
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Centre de Recherche et de Restauration des Musées de France (C2RMF), auditorium, Palais du Louvre, porte des Lions, escalier de l’Horloge
8.30 Accueil
9.00 Jean-Michel Loyer-Hascoët (directeur, C2RMF), Mots de bienvenue
9.10 Anne Bouquillon (C2RMF) et Ann Bourges (C2RMF), Introduction
9.35 Session 4 | Échanges et diffusion (I)
Présidence: Muriel Barbier (directrice du patrimoine et des collections, château de Fontainebleau)
• Oriane Beaufils (conservatrice du patrimoine, château de Fontainebleau) et Émilie Checroun (conservatrice-restauratrice, Paris), Les stucs du château de Fontainebleau: modèles, méthodes et matérialité
• Grégoire Extermann (SUPSI, Mendrisio) et Alberto Felici (SUPSI, Mendrisio), Une décoration en stuc inédite à la Villa Imperiale de Pesaro: entre Italie, empire et monarchies
11.05 Session 5 | Échanges et diffusion (II)
Présidence: Oriane Beaufils (conservatrice du patrimoine, château de Fontainebleau)
• Serena Quagliaroli (université de Turin) and Giulia Spoltore (Università della Svizzera italiana), Some Italian-French Case Studies in mid-16th-Century Rome
• Mickaël Zito (musée des beaux-arts et d’archéologie de Besançon), Des Lacs à la Toscane, sur les traces des stucateurs Portogalli
12.05 Pause déjeuner
13.00 Session 6 | Grands décors: étude de cas de restauration (I)
Présidence: Jean Ducasse-Lapeyrusse (LRMH)
• Luca Baroni (Université Ca’Foscari, Venise – directeur, lieux culturels de la région des Marches du Nord), Stucco as Political Power: The Rediscovery and Restoration of the Decorative Cycle by Federico Brandani in the Ducal Palace of Montebello, ca. 1530–63
• Jan Verbeke (conservateur-restaurateur indépendant, Gand), The Plasterer Ian Christiaen Hansche in the Refectory of Park Abbey in Heverlee: The Meticulous Conservation and Restoration of the Monumental 1679 Stucco Ceiling
• Michael Gratton (atelier Tollis, Paris), Les décors de gypseries du Grand Salon du château de Vaux-le-Vicomte, étude des techniques de mise en œuvre et restauration
15.00 Session 7 | Grands décors: étude de cas de restauration (II)
Présidence: Fabrice Goubard (LPPI, CY Cergy Paris Université)
• Corrado De Giuli Morghen (Agence d’architecture Fabrica Traceorum, Marseille), Pierrick Rodriguez (conservateur des Monuments Historiques, DRAC PACA), et Margot Morisse (conservatrice-restauratrice du patrimoine), Le maître-autel et le retable du sculpteur Christophe Veyrier de l’église Notre-Dame de Nazareth à Trets (13), un témoignage précieux du baroque provençal
• Camille Jacquot (responsable du pôle patrimoine, château de Lunéville) et Annabelle Sansalone (conservatrice-restauratrice du patrimoine, Paris), Présentation des décors en plâtre dans l’antichambre de la Reine au château de Lunéville: contexte historique et mise en œuvre de l’ouvrage
• Wijnand Freling (architecte du patrimoine, Rocaille b.v., La Haye), Preserving a Monumental 18th-Century Stucco Ceiling in the Staircase of the Senate at the Binnenhof, the Centre of Government of the Netherlands in The Hague
17.00 Discussion sur le stuc: matérialité et caractérisation des matériaux
• Fabrice Goubard (LPPI, CY Cergy Paris Université)
• Anne Bouquillon (C2RMF)
• Ann Bourgès (C2RMF)
• Jean Ducasse-Lapeyrusse (LRMH)
18.00 Visite de la Galerie Dorée de la Banque de France
Arnaud Manas (chef du service historique, Banque de France)
Max. 35 personnes, sur inscription
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Château de Fontainebleau, salle des Colonnes
11.20 Accueil café
11.45 Oriane Beaufils (conservatrice du patrimoine, château de Fontainebleau), Introduction
12.00 Session 8 | Matériaux particuliers, reproductibilité
Présidence: Guilhem Scherf (département des Sculptures, musée du Louvre)
• François Gilles (université Paris I Panthéon-Sorbonne/Musée des arts décoratifs, Paris), Usage(s) du plâtre chez les sculpteurs en ornement parisiens au XVIIIe siècle
• Étienne Guibert (conservateur du patrimoine, château de Compiègne), Le stuc, un matériau économique et pratique dans les décors néoclassiques de Compiègne
13.00 Pause déjeuner
14.15 Session 9 | Quand le stuc est omniprésent
Présidence: Eckart Marchand (The Warburg Institute, université de Londres)
• Alexia Lebeurre (université de Bordeaux), La grande manière retrouvée: le stuc-marbre dans les demeures parisiennes de la seconde moitié du XVIII e siècle
• Hugues Morisse (Lympia Architecture, Paris), Agir en diplomate. Quand le stuc s’exporte à l’étranger. Le cas de la légation de France à Belgrade dans l’entre-deux-guerres
• Johann Kräftner (architecte du patrimoine, ancien directeur, collections princières du Liechtenstein, Vienne/Vaduz), The Restoration of the Stucco in the Two Liechtenstein Palaces in Vienna
15.45 Conclusions et perspectives
• Valérie Carpentier-Vanhaverbeke (conservatrice du patrimoine, musée du Louvre)
• Stéphanie Deschamps-Tan (conservatrice en chef du patrimoine, musée du Louvre)
16.10 Réception de clôture
Conference | Scientific Objects in the Museum
From ArtHist.net:
Les objets scientifiques au musée: Comment étudier et exposer l’histoire des sciences? XVIe–XIXe siècle
Musée du Louvre, Centre Dominique-Vivant Denon, Paris, 11–13 December 2023
Rencontre organisée dans le cadre du projet «Réflexions ciblées autour de la muséologie entre la France et l’Amérique du Nord d’hier à nos jours: collections, politiques culturelles et innovations muséographiques», soutenu par l’accord France-Canada pour la coopération et les échanges dans le domaine des musées (Ministère de la Culture, France / Ministère de l’enseignement supérieur et de la recherche, France / Ministère du patrimoine canadien, Canada).
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Journée du 11 décembre ouverte au public, Centre Dominique-Vivant Denon; inscription obligatoire à centre-vivant-denon@louvre.fr. Les inscrits sont priés de se présenter munis de leur carte d’identité.
9.00 Mot de bienvenue par Françoise Mardrus (Directrice, direction des Études muséales et de l’Appui à la recherche, musée du Louvre) et Vincent Droguet (Conservateur général du patrimoine, sous-directeur des collections, Service des Musées de France), à confirmer
9.10 Présentation du déroulement des trois journées par Françoise Dalex (direction des Études muséales et de l’Appui à la recherche, musée du Louvre)
9.30 Objets d’art et de science: Points de vue de la recherche
Présidence de séance: Philippe Cordez
• Susanne Thürigen (Curator for Scientific Instruments, History of Medicine and Pharmacy, Arms and Armour, Germanisches Nationalmuseum, Nuremberg), The Behaim Globe: History and Future of a Political Instrument
• Federica Gigante (Research Associate, Faculty of Asian and Middle Eastern Studies / Oxford Centre for the History of Science, Medicine, and Technology, University of Oxford), Du cabinet de curiosités au musée d’aujourd’hui: L’histoire remarquable d’un astrolabe longtemps méconnu
• Sven Dupré (Professor of History of Art, Science and Technology / Director, Research Institute for History and Art History, Utrecht University), Glass, Conservation, and the Art of Scientific Instrument Making
• Marco Storni (Postdoctoral researcher, EOS project RENEW18, Université Libre de Bruxelles), Vers une histoire alternative de la mesure du temps: Les sabliers, XVe–XVIIIe siècle
• Omar Nasim (Professor of History of Science, University of Regensburg), Furniture History of Science: Merging Material and Visual Cultures
12.30 Pause déjeuner
14.00 Visite et présentation de la salle des objets scientifiques au musée du Louvre
15.00 Quelques collections et expositions d’objets scientifiques en Europe
Présidence de séance: Françoise Dalex
• Marta Lourenço (National Museum of Natural History and Science, MUHNAC, Portuguese Infrastructure of Scientific Collections, University of Lisbon), An Overview of the Recent Past in the Preservation and Access of Scientific Heritage: Where Are We Now?
• Rebekah Higgitt (Principal Curator of Science, National Museums, Scotland, Edinburgh), Collections and Displays of Historic Scientific Instruments in United Kingdom Museums
• Giorgio Strano (Head of Collections, Museo Galileo, Florence), Displaying the Medici and Lorena Collections of Historic Scientific Instruments at the Museo Galileo in Florence
• Dominique Bernard (maître de conférences (honoraire) en physique, Université de Rennes 1, membre de l’association Rennes en Sciences), Les instruments scientifiques et l’enseignement: Quelques exemples de l’université de Rennes
17.30 Vanessa Ferey et Jean-François Gauvin: Commentaire général et résumé de la journée
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Visites-ateliers, pour les intervenants
Musée des Arts et Métiers
10.00 Présentation de la collection Lavoisier par Marco Beretta (Professor, Department of Philosophy and Communication Studies, History of Science and Technology, Université de Bologne)
Muséum national d’Histoire Naturelle
14.00 Visite de la salle des collections de chimie avec Christine Maulay-Bailly (ingénieur d’études CNRS en analyse chimique, Responsable technique de la Chimiothèque/Extractothèque, Unité Molécules de Communication et Adaptation des Microorganismes, Museum national d’Histoire naturelle) et Brice Monnely (secrétaire Gestionnaire, Unité Molécules de Communication et Adaptation des Micro-organismes, Museum national d’Histoire naturelle)
15.00 Visite de la zoothèque avec Pierre-Yves Gagnier (délégué à l’innovation numérique, Muséum national d’Histoire naturelle)
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Visites-ateliers, pour les intervenants
Musée de la Marine, réserves de Dugny
10.00 Présentation des réserves, de la documentation, d’objets non exposés par Louise Contant (Cheffe du département des Collections), Eric Rieth (responsable de la recherche scientifique au musée national de la Marine, directeur de recherche émérite au CNRS, membre de l’Académie de Marine, spécialiste d’archéologie nautique médiévale et moderne des espaces maritimes et fluviaux), Marianne Tricoire (conservatrice du patrimoine en charge des objets scientifiques et techniques), et Léa Surrel (chargée de documentation)
Musée de la Marine, Paris, palais de Chaillot
15.00 Visite du musée par Louise Contant (Cheffe du département des Collections) et Marianne Tricoire (conservatrice du patrimoine en charge des objets scientifiques et techniques)
Enfilade 
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