Enfilade

From ArtHist.net and ICRA:

 International Catalogue Raisonné Association Annual Conference, On Paper
Royal Academy, London, 5 December 2023

Lorenzo di Credi, Study of Drapery for a Seated Figure, detail (Paris: Fondation Custodia, Collection Frits Lugt).

The International Catalogue Raisonné Association (ICRA) is pleased to host its forthcoming annual conference, titled On Paper, at The Royal Academy London on 5 December 2023. The day-long conference will present unique perspectives from leading professionals in the field on all aspects of paper—from cataloguing, curating and conservation, to materials, techniques and artists’ innovative use of paper across the centuries from Old Masters to present day. On Paper will provide deep insight into the questions and challenges posed by paper both as a support and medium. Ticket are available at eventbrite; £150 for ICRA members, £250 for non-members. Discounted tickets are available for art historians and academics; send an email to Esme at esme.constanti@icra.art for further information.

p r o g r a m m e

9.00  Registration

9.30  Welcome — Teresa Krasny (ICRA Chair)

9.35  Introduction to the Royal Academy’s Collection of Works on Paper — Annette Wickham (Curator of Works on Paper, RA, London)

9.45  A Brief History of Paper-Making — Susan Catcher (Senior Paper Conservator, V&A, London)

10.15  The Art of Cataloguing Works on Paper — Gregory Rubinstein (Head of Old Master Drawings Department, Sotheby’s, London) and Fabienne Ruppen (Assistant Curator, Kunstmuseum Basel)

11.15  Coffee and Tea

11.30  The Legacy of a Works on Paper Collector and Art Historian: Frits Lugt — Rhea Blok (Curator, Fondation Custodia, Paris)

12.00  Spotlight on Pastel — Leila Survage (Paper Conservator, Rijksmuseum, Amsterdam) with Margaret Zayer (la Maison du Pastel, Paris)

12.30  Lunch and visit to the RA’s exhibition Impressionists on Paper: From Degas to Toulouse-Lautrec

2.00  Prints: The Unique versus the Multiple
Moderator Daniel Herrmann (Curator of Modern & Contemporary Projects, The National Gallery and author of the forthcoming catalogue raisonné of Eduardo Paolozzi’s prints)
Alan Cristea (20th- and 21st-century gallerist and print dealer, London) and Kari Greve (Paper Conservator, National Museum Oslo and author of the forthcoming catalogue raisonné of Nikolai Astrup’s prints)

3.00  Pushing the Boundaries of Paper: Radical Approaches
Moderator: Yuval Etgar (author, The Ends of Collage and Vitamin C+: Collage in Contemporary Art)
Claudine Grammont (Head of Cabinet d’art graphique, Centre Pompidou, Paris) and Eric Robertson (Professor of Modern French Literary and Visual Culture, Royal Holloway, University of London)

4.00  Coffee and Tea

4.15  Rethinking the Role of Paper in an Artist’s Legacy
Moderator: Andrea Rose (art historian and editor of Leon Kossoff: Catalogue Raisonné of the Oil Paintings)
Adam Greenhalgh (lead author of the catalogue raisonné Mark Rothko: The Works on Paper and Associate Curator at the National Gallery of Art, Washington DC), Kira Kofoed (Head of Archives, Thorvaldsen Museum), and Sewon Kang (Archivist, The Easton Foundation/Louise Bourgeois Archive and Cataloguer, Louise Bourgeois: The Complete Prints & Books)

5.15  Keynote Presentation — Claudette Johnson (artist)
Currently the subject of a major exhibition, Claudette Johnson: Presence at The Courtauld Gallery (29 September 2023 — 14 January 2024), Johnson will share key insights into her practice over the past three decades.

5.45  Closing Remarks — Teresa Krasny (ICRA Chair)

From ArtHist.net:

Court Architects in Europe, ca. 1700: Johann Bernhard Fischer von Erlach and His Contemporaries
Theatermuseum im Palais Lobkowitz, Vienna, 30 November — 2 December 2023

Registration due by 27 November 2023

Scholarly research has described Johann Bernhard Fischer von Erlach (1656–1723) early on as an outstanding artistic personality and has endeavored to contour his built, drawn, and printed oeuvre, which can safely be described by his own word as ungemein (‘extraordinary’). Even if scholars have increasingly been concerned with integrating Fischer into the architectural culture of his time, it has rightly and repeatedly been emphasized that the question of his international profile still requires a broader perspective that takes into account the relationship to his contemporary ‘colleagues’ as well as structural questions. In this sense, the conference aims to examine Fischer’s activities in a broader European context by means of selected thematic fields, thus attempting to sharpen his profile. Registration requested to irina.morze@wienmuseum.at by 27 November.

Organizers
• Institute for Habsburg and Balkan Studies (IHB) der Österreichischen Akademie der Wissenschaften
• Wien Museum
• Institut für Kunstgeschichte der Universität Münster

Concept
Herbert Karner, Jens Niebaum, Andreas Nierhaus

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13.00  Welcome and Introduction

13.30  Section 1 | Architects of Great Courts: Conditions, Scope, Hierarchies
• Anna Mader-Kratky — Fischer von Erlach als kaiserlicher Oberbauinspektor und die institutionellen Rahmenbedingungen des Wiener Hofbauamtes
• Simon Thurley — Sir Christopher Wren and His Contemporaries at Court: British Royal Architects and Architecture, 1660–1714
• Benjamin Ringot — Jules Hardouin-Mansart, from Architect to Administrator: Becoming Louis XIV’s Superintendent of Royal Buildings
• Martin Olin — Architect, Courtier, Police Minister: Nicodemus Tessin the Younger in the Service of Royal Absolutism
• Konrad Ottenheym — Jacob Roman, Hofarchitekt der Oranier um 1700

17.30  Discussion

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9.00  Section 2 | Drawing and Prints: Media of Visualisation, Transfer, and Knowledge Production
• Werner Oechslin — „…das Auge zu ergötzen, und denen Künstlern zu Erfindungen Anlass zu geben…“: Fischer von Erlachs Zeichnungen für die Historische Architektur
• Jasenka Gudelj — Fischer von Erlach’s Dalmatian Connection: Drawing the Diocletian Palace in Split
• Elisabeth Kieven — Fischer von Erlach und Juvarra: Zeichnungen im Vergleich
• Kristina Deutsch — Jean Marot und die druckgraphische Architekturdarstellung zur Zeit Ludwigs XIV. in Frankreich

12.00  Lunch Break

13.30  Section 2 | Drawing and Prints, continued
• Jonas Nordin — The People beyond the Mountains: Erik Dahlbergh’s Images of Swedish Architecture and Topography
• Peter H. Jahn — „Inventées … par Mathieu Daniel Pöppelmann Premier Architecte de Sa Majesté“ – das Dresdner Zwingerstichwerk von 1729 als publizistische Statusbekundung eines Hofbaumeisters

14.40  Discussion

16.15  Section 3 | Paths to Architecture: Court Architects and Their Education around 1700
• Anna-Victoria Bognár — Das akademische Studium der Architektur in der Frühen Neuzeit. Zur Entwicklung von Studienzahlen, Studienorten und Inhalten
• Giuseppe Bonaccorso — The Roman Training of Johann Bernhard and Joseph Emanuel Fischer von Erlach between Carlo Fontana and Emissaries from European Courts
• Alexandre Gady — Becoming Jules Hardouin-Mansart, the Sun King’s First Architect

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9.00  Section 3 | Paths to Architecture, continued
• Kristoffer Neville — Nicodemus Tessin’s Autobiography
• Matthew Walker — Christopher Wren: From Science to Service
• Tommaso Manfredi — Studying Architecture in Rome between the 17th and the 18th Centuries: From Fischer von Erlach to Juvarra
• Giuseppe Dardanello — Practicing with Goldsmithing, Perspective Views, Stage Design: Filippo Juvarra Shaping His Own Visual Design Culture
• Freek Schmidt — Renewing Court Architecture in a Republic: The Professional Advancement of Pieter de Swart

13.00  Discussion

Embroidered valance celebrating the marriage of James Francis Stuart and Clementina Sobieska, 1719 (Edinburgh: National Museum of Scotland, A.1988.263 C). Part of a set of two crewel work wall hangings and four valances of white linen embroidered in coloured wool with a ‘Tree of Life’ pattern. This valance is embroidered with the cypher ‘IRCR / 1719’ under a crown within a sunflower, for ‘Jacobus Rex Clementina Regina’, referring to the marriage of James Francis Stuart and Clementina Sobieska.

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From the National Museum of Scotland:

The Scottish Interior
National Museum of Scotland, Edinburgh, 1 December 2023

A one-day conference on aspects of the Scottish interior from the 16th century to the present.

Thirty years on from the publication of Ian Gow’s defining book The Scottish Interior, this conference brings together specialists from a range of backgrounds to discuss questions of Scottishness—or lack thereof—in Scottish interiors from the 16th century to the present. Exploring a range of themes from the Renaissance to the Arts and Crafts movement via ‘Balmoralisation’, and with an interdisciplinary approach looking at patronage, collecting, architecture, and design, this event will appeal to anyone interested in Scottish history, design, and identity. The event is free, but booking is essential. Lunch and refreshments will be provided.

Armchair designed by Robert Adam for Sir Lawrence Dundas and made in Thomas Chippendale’s workshop, 1765 (Edinburgh: National Museum of Scotland, K.2002.9).

p r o g r a m m e

9.00  Arrival

9.30  First Panel
• Helen Wyld — Introduction
• Sally Rush — The Renaissance Interior in Scotland
• Michael Pearce — North-Britons: Interiors for an Anglicised Scottish Aristocracy

10.50  Tea

11.20  Second Panel
• Ian Gow — The Scottish Interior
• Stephen Jackson — The Role of Antique Furniture in the Scottish Interior
• Annette Carruthers — The Arts and Crafts Interior in Scotland

12.40  Lunch

13.50  Third Panel
• Emma Baillie — Messages in Plaster: The Work of Thomas Clayton at Blair Castle
• Calum Robertson — The Scottish Armoury
• Godfrey Evans — Hamilton Palace: The Projection of Exceptional Connoisseurship and Exalted Status by the Premier Peers of Scotland

15.10  Tea

15.40  Fourth Panel
• Mary Miers — Romantic Retreats
• Mhairi Maxwell, James Wylie, and Jonathan Faiers — Balmoralisation

16.20  Round table discussion with all speakers

Thomas Rowlandson, Breaking Up of the Blue Stocking Club, 1815, hand-colored etching
(San Marino: Huntington Library, Art Museum, and Botanical Gardens)

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Next month at The Huntington:

Correspondence and Embodiment: The Bluestocking Corpus Online
The Huntington Library, Art Museum, and Botanical Gardens, San Marino, 8–9 December 2023

Organized by Elizabeth Eger and Nicole Pohl

This conference, organized in collaboration with the Elizabeth Montagu’s Correspondence Online (EMCO) project, explores themes related to The Huntington’s Elizabeth Montagu Papers. Topics include the letter as object, historical document, linguistic artifact, as well as a carrier of objects and messages about friendship, health, the mind and body, and politics. The Huntington’s collection of Elizabeth Montagu’s extensive correspondence has provided a rich source—as well as a practical challenge—for scholars working in a variety of fields, from social and economic history to histories of medicine, aesthetics, authorial selfhood, and literary genres.

Elizabeth Robinson Montagu (1718–1800) combined many roles: pioneering Shakespeare critic, businesswoman, manager of coalmines and agricultural estates, philanthropist, and patron of artists and writers. She pivoted between several important social, political, religious, and intellectual networks. Her letters connect people, places and concepts with graphic immediacy.

In 2017, the registered charity Elizabeth Montagu Correspondence Online (EMCO) was founded to fund the digitization of her 8000 extant manuscript letters, most of which are curated by The Huntington Library. This conference will explore themes connected to the archive, the letter as object, historical document, linguistic artifact, as well as a carrier of objects and messages about friendship, health, the mind and body, and politics.

This conference is organized by Elizabeth Eger (King’s College, London) and Nicole Pohl (Oxford Brookes, Oxford). Funding is provided by The Homer Crotty Lecture Endowment and the Edward A. Mayers Fellowship Endowment.

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8.45  Registration and Coffee

9.15  Welcome by Susan Juster (The Huntington Library) and Conveners

9.30  Session 1 | A History of the Montagu Collection at The Huntington
• Vanessa Wilkie (The Huntington Library)
• Karla Nielsen (The Huntington Library)

10.00  Break

10.30  Session 2 | EMCO: The Physical Archive and Its Virtual Other
Moderator: Joanna Barker (Durham and EMCO Senior Editor)
• Alexander Roberts (Swansea University)
• Daniel Archambault (Swansea University)
• Nicole Pohl (Oxford Brookes and EMCO Editor in Chief)

Noon  Lunch

1.00  Session 3 | Gender and Knowledge
Moderator: Emily Anderson (University of Southern California)
• Rachael Scarborough King (UC Santa Barbara), Improving Letters: Self- and Literary Improvement in Women’s Epistolary Genres
• Nataliia Voloshkova, (Kazimierz Wielki University), Bluestockings and Science: Acquiring, Sharing, and Employing Knowledge, read by Nicole Pohl

2.30  Break

3.00  Session 4 | Absence and Presence
Moderator: Susan Carlile (Cal State Long Beach)
• Elizabeth Eger (King’s College London and EMCO Consultant Editor), Embodying Mind: Portraits of Elizabeth Montagu
• Felicity Nussbaum (UCLA), The Beloved Absent: The Correspondence between Elizabeth Montagu and Hester Thrale Piozzi

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8.30  Registration and Coffee

9.00  Session 5 | Embodying Language: The Letter and Creative and Critical Modes of Writing
Moderator: Nicole Pohl (Oxford Brookes)
• Betty A. Schellenberg (Simon Fraser University), Unclothed Bodies: The Problem of Enclosures in the Montagu Collection
• Mike Cousins (Historian), Keeping Track of Mrs. Montagu: Challenges in Dating Her Correspondence with Lord Lyttelton, and a Comparison with Unpublished Letter Collections of Some Other Contemporary Women Writers

10.30  Tours of the Library and Gallery

Noon  Lunch

1.00  Session 6 | Bodies in Letters, Letters as Bodies
Moderator: Dena Goodman (University of Michigan)
• Lisa Forman Cody (Claremont McKenna College), Pregnant Pauses: Reproduction in—and as—Letter Writing
• Karen Harvey (University of Birmingham), ʽWe Must Chat about Invalids’: The Lived Body in British Women’s Letters, 1730–1800

2.30  Break

3.00  Session 7 | In Sickness and in Health: Bluestocking Friendship
Moderator: Karla Nielsen (The Huntington Library)
• Anna Senkiw (Oxford Brookes), ʽSeveral Weeks Indisposition, a Little Dastardly Fever Lurking about Me, Has Hinderd My Coming to the Adelphi’: Friendship with the Garricks, in Sickness and in Health
• Helen Deutsch (UCLA), Symptomatic Correspondences, Female Complaints: Authorship, Friendship and Illness in the Montagu Letters

4.30  Concluding Remarks

From ArtHist.net:

The Backstage View: A Mundane History of Collecting, 1600–1918
Collegium Maius, Adam Mickiewicz University, Poznań, 26–27 October 2023

Organized by Michał Mencfel and Camilla Murgia

After more than half a century of intense scientific exploration, resulting in hundreds of in-depth studies, the history of collections has established itself as one of the privileged fields of research in the humanities. Various issues such as the provenance of objects in collections; ways in which these objects have been ordered, arranged, and displayed; rooms and buildings in which they have been kept and exhibited; narratives beyond objects and collections; biographies of collectors; social practices connected with collections, etc. have been versatilely investigated. Consequently, collecting—fascinating in its own right—has proved also to be a sensitive indicator of broad cultural and social phenomena connected with artistic, scientific, philosophical, societal, and political movements.

Indeed, recent research has shown how the art market has been crucial to the history of collections in specific cultural contexts that have undergone a series of exchanges and openings linking different economic elements and realities (Brill’s Studies in the History of Collecting & Art Markets). Furthermore, particular attention has been paid to both the circulation of works of art from the perspective of collecting strategies (Art Markets, Agents and Collectors: Collecting Strategies in Europe and the United States 1550–1950, ed. by Adriana Turpin and Susan Bracken, 2021), and of provenances (Study of Collecting and Provenance and the Getty Provenance Index).

Collecting, however, also relies on a great number of less noble and less sophisticated but nevertheless indispensable practices. These include negotiating with artists and dealers, observing (or escaping) the formalities, paying (or avoiding paying) customs fees, transporting and securing the collectibles, restoring and framing the pieces of art, etc. The present call for contributions aims to invite proposals for papers focusing on this everyday—somewhat down-to-earth and mundane—side of collecting. What about this background, consisting of daily actions, practical skills, and made-to-measure resolutions, that contributes to the constitution of collections and the act of collecting itself? How does this meticulous, essential and somehow ‘invisible’ infrastructure enable the purchase, conditioning, sale, and exchange of artwork?

This conference aims to explore the various aspects regarding the mundane site of the history of collecting. We intend to question the multitude of logistic, administrative, organisational, and managerial practices that contribute to the act of collecting and how they affect selling and buying artwork. We are interested in identifying and studying the elements that mark out the diverse and versatile apparatuses of collecting in specific cultural, social, and economic realities, both private and public. Changes in issues, paradigms, and availability are at the heart of our study.

Conference Organizers
Michał Mencfel (Adam Mickiewicz University), mmencfel@amu.edu.pl
Camilla Murgia (Université de Lausanne), camilla.murgia@unil.ch

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9.00  Registration

9.30  Welcome by Michał Mencfel (Adam Mickiewicz University) and Camilla Murgia (Université de Lausanne)

1000  Panel 1 | References
• Katharina Januschewski (Universität Paderborn) — Selling Italian Landscapes to the Russian Empire: Sylvester Shchedrin’s Letters from Italy (1818–30) as a Source for International Art Transport Logistics and Sales Strategies
• Malena Rotter (Gemäldegalerie Alte Meister, Kassel) — ‘I Am Gradually Acquiring the Necessary Material for a Gallery of Italian Pieces’: Landgrave William VIII of Hesse-Kassel (1682–1760) and His Italian Collection

11.10  Coffee

11.30  Panel 2 | Mundanity
• Ulrike Müller (Antwerp University and Royal Museums of Fine Arts of Belgium) and Davy Depelchin (Royal Museums of Fine Arts of Belgium) — Staging Privately-Owned Artworks: Private Collectors and the Exhibitions for Living Masters in Brussels, 1830–1860
• Maria Chiara Scuderi (University of Leicester) — Missionary Exhibitions as Mundane Sites for Private Collections: The Case of Dryad ‘Handicrafts’

12:40  Lunch

14.15  Panel 3 | Curating
• Arianna Candeago (Ca’ Foscari University Venice) — On the Art Market in Late 18th-Century Venice: Everyday Practices from the Letters of Collectors and Intermediaries
• Michelle Huang (University of St Andrews) — Curatorial Considerations and Practices behind the Acquisitions of the George Eumorfopoulos Collection of Chinese Art by the British Museum and the V&A

15.20  Coffee

15.40  Panel 4 | Practices
• Dorothee Haffner (Hochschule für Technik und Wirtschaft Berlin) — Organising and Visualising Collections: Changing Principles and Functions
• Laia Anguix-Vilches (Radboud University Nijmegen) — Women in the Backstage: Gender-Related Challenges in Institutional Collecting Practices

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9.30  Welcome by Michał Mencfel (Adam Mickiewicz University) and Camilla Murgia (Université de Lausanne)

9.45  Keynote Lecture
• Erin Thompson (City University of New York) — Backstage, Viewed from the Archives: Researching Illicit Trafficking in Cultural Property

10.45  Coffee

11.00  Panel 5 | Trading and Cataloguing
• Nadia Rizzo (Scuola Normale Superiore, Pisa) — The Unfortunate Vicissitudes of Jean Gossaert’s Malvagna Triptych
• Bénédicte Miyamoto (Université Sorbonne Nouvelle) — Auction Clerks and Paper Trails: The Bureaucracy of Collection Transfers in 18th-Century Britain
• Elizabeth Pergam (Society for the History of Collecting) — Trading Art History: Art Dealer Archives and Day-To-Day Business of Collecting

12.45  Lunch

14.30  Panel 6 | Shaping Collections
• Martyna Łukasiewicz (Adam Mickiewicz University) — Fortune and Vision: The Art Market and the Emergence of Major Art Collections in Copenhagen, 1850–1900
• Silvia Marin Barutcieff (University of Bucharest) — Collecting Art in Modern Romania: Social Circumstances and Economic Endeavors, 1881–1918

15.40  Closing Notes and Coffee

From ArtHist.net:

Matières du Décor Architectural: XVIe–XVIIIe Siècles
Université de Franche-Comté, Besançon, 19–20 October 2023

Dans la continuité du Material Turn, de nombreux travaux ont été entrepris ces dernières années afin d’envisager le décor sous l’angle de la matière, souvent en privilégiant un matériau en particulier ou certains de ses acteurs. En croisant et en mettant en perspective les résultats des recherches récentes menées sur le bois, le stuc, le marbre, le verre, la céramique ou encore le cuir en tant que revêtement mural à l’époque moderne, le présent colloque a pour ambition de renouveler ces approches, parfois cloisonnées. L’objectif de ces deux journées est de réunir des spécialistes de ces matières, en fédérant une communauté de chercheurs autour de questionnements communs qui touchent aussi bien à l’histoire des techniques, qu’à celle du décor architectural ou des transferts artistiques en Europe. Les échanges permettront de confronter les méthodologies, les sources exploitées et les résultats des différents travaux afin de dresser un bilan, mais aussi de faire émerger de nouvelles idées à partir de l’actualité des recherches en cours, en prenant aussi en compte les chantiers de restauration et le rôle des humanités numériques dans la restitution et la compréhension des différentes matières du décor. Aucune inscription n’est nécessaire.

Organisation scientifique
Sandra Bazin-Henry (Université de Franche-Comté)
Matthieu Lett (Université de Bourgogne)

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9.15  Accueil des participants

9.30  Introduction
• Sandra Bazin-Henry et Matthieu Lett, Les matières du décor à l’épreuve du projet architectural

10.00  Expérimentation des Matières entre Magnificence et Intimité
• Pascal Julien (Université Toulouse – Jean Jaurès – FRAMESPA), Une majesté d’apparat: Couleurs marmoréennes dans les édifices en France, XVIe–XVIIe siècles
• Jean-François Belhoste (École pratique des Hautes Études), Le Grand Trianon: Un laboratoire pour les techniques du décor
• Sandra Bazin-Henry (Université de Franche-Comté – Centre Lucien Febvre), «Cabinets enchantés» : Réceptacles privilégiés d’une histoire des matières et du goût à l’époque moderne

12.30  Déjeuner

13.30  Matérialité de l’Ornement
• Céline Bonnot-Diconne (2CRC, Moirans), Les «cuirs de Cordoue», un art décoratif oublié
• Damien Tellas (Sorbonne Université – La Manufacture du Patrimoine), Jean Cotelle, Charles Errard et le plafond ornemental au milieu du XVIIe siècle

15.00  Pause

15.15  Bilan, Perspectives et Actualités de la Recherche
• Matthieu Lett (Université de Bourgogne – LIR3S), Virtualiser la matière: Que peuvent les outils numériques pour l’étude du décor architectural?
• Romain Thomas (INHA – Université Paris Nanterre), Présentation du projet ANR AORUM: Analyse de l’Or et de ses Usages comme Matériau pictural en Europe occidentale aux XVIe et XVIIe siècles
• Lionel Arsac (Musée national des châteaux de Versailles et de Trianon), Présentation d’un nouveau groupe de recherche sur le stuc dans les grandes demeures françaises, XVIe–XIXe siècles

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9.00  Effets de Matières
• Nicolas Cordon (Université Paris 1 Panthéon-Sorbonne), Le blanc dans l’architecture religieuse de la première modernité
• Bérangère Poulain (Université de Genève), La couleur comme matière «agissante»: Perception et imaginaire de la peinture d’impression sur boiseries au XVIIIe siècle

10.30  Chantiers Franc-Comtois
• Christiane Roussel (Inventaire général du patrimoine), Besançon, palais Granvelle: Le décor de « tapisseries en cuir » dans l’inventaire après décès du comte de Cantecroix en 1607
• Mickaël Zito (Musée des Beaux-Arts et d’Archéologie de Besançon), Le stuc, une affaire de famille: Plongée au cœur de l’atelier des Marca, stucateurs de la Valsesia actifs en Franche-Comté, 1700–1850

12.00  Déjeuner

13.00  Chantiers Franc-Comtois 
• Matthieu Fantoni (DRAC Bourgogne-Franche-Comté), La polychromie du décor du XVIIIe siècle à l’épreuve de sa restauration: Quelques études de cas sur le territoire franc-comtois

13.45  Conclusion