Enfilade

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

From ArtHist.net:

Interiors Reconfigured: Changing Materiality and Craftsmanship in the Decorative Arts of the Middle East and North Africa, 18th–20th Centuries
Vitrocentre Romont, Switzerland, 3–4 November 2023

Organized by Francine Giese, Sarah Keller and Mercedes Volait

This  international conference is dedicated to the decorative arts of the Middle East and North Africa with a special focus on material aspects and local practices. In the course of profound changes since the 18th century, local tastes and craftmanship began to mutate under Ottoman and Western influence. The conference will address these changes and emphasise the growing importance of material-based analysis in the field of Middle Eastern and Maghrebi décors. Participation is free of charge; registration is required by 30 October 2023 at claudine.demierre@vitrocentre.ch.

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9.30  Opening Remarks
• Francine Giese (Vitrocentre Romont) and Mercedes Volait (CNRS/InVisu)

9.45  Keynote Lecture
• The Manifold Dynamics of Domestic Space and Architectural Fashion: Glimpses from Beirut, Sidon, and Cairo between the 18th and 20th Centuries — Ralph Bodenstein (German Archaeological Institute Cairo)

10.45  Coffee

11.15  Transformations
Chair: Francine Giese (Vitrocentre Romont)
• Cairene Interiors as Dynamic Spaces: The Successive Refurbishments of Manzil al-Sadat in the 19th Century — Mercedes Volait (CNRS/InVisu)
• Réorientaliser l’architecture « mauresque »: Intérieurs algériens recomposés aux XIXe et XXe siècles — Claudine Piaton (CNRS/InVisu)
• Ramsès Wissa Wassef et la rénovation de la kamariya — Leïla el-Wakil (University of Geneva)

13.00  Lunch

14.15  Materiality
Chair: Doris Behrens-Abouseif (SOAS University of London)
• A Changing Preference for Textile in Ottoman Interiors, 1705–1755 — Nazlı Songülen (Kadir Has University)
• Furnishing Fabrics: The Qalamkar Textiles in the Domestic Interiors of the Qajar, Iran — Fahimeh Ghorbani (University of Toronto)
• The Materiality of Stucco-Glass Windows in 19th-Century Egypt — Francine Giese, Sarah Keller, and Sophie Wolf (Vitrocentre Romont)
• Technical Heritage of Making Stucco and Glass Lattice Works in Iran — Amir-Hossein Karimy and Afsaneh Sobhani (Art University of Isfahan)

16.15  Coffee

16.45  Reconstructions
Chair: Sarah Keller (Vitrocentre Romont)
• František Schmoranz in Budapest: Reconstructing the Interior of the Oriental Pavilion at the 1885 National Exhibition in Budapest — Péter Nagy (Qatar Museums, Doha) and Ajla Bajramović (University of Vienna)
• The Railway Station of Bosanski Brod: A Historical and Visual Reconstruction of a Major Work of Orientalist Design in the Balkans — Maximilian Hartmuth (University of Vienna) and Malka Dizdarević (Vienna University of Technology)
• 3D Restitution of Saint-Maurice Residence in Cairo: 3D as a Tool to Monitor and Study Architectural Reuses — Vincent Baillet (Archeosciences Bordeaux)

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9.00  Nationalism, Part I
Chair: Nadia Radwan (University of Bern)
• The Reception of Glass Stucco Windows as Vernacular Element of «Turkish» Interior Decoration — Franziska Niemand (Vitrocentre Romont/University of Fribourg)
• The Bait Al-Naboodah in Sharjah, United Arab Emirates: A 19th-Century Pearl Merchant’s House between Tradition and Globalisation — Martin Nixon (Zayed University, Dubai)

10.00  Coffee

10.30  Nationalism, Part II
Chair: Ralph Bodenstein (German Archaeological Institute Cairo)
• Variations sur céramiques bleues: Concevoir l’intérieur oriental — Nadia Radwan (University of Bern)
• A Tale of Three Perspectives: Local Authenticity, Colonial Interference, and Hybridity within the Construction Methods of at-Tastīr – Moroccan Geometric Arts — El Fasiki (Craft Draft)
• Back to the Future? The 1927 ‹Arab Style› Interior of Hoda Shaarawy’s ‹House of the Egyptian Woman› as a Display of the Nation — Philipp Zobel (University of Regensburg)

12.15  Lunch

13.00  Presentation of Original Documents at Vitromusée Romont
• La Maison Tarazi: A Family-Run Furnishing Company from Beirut — Camille Tarazi (Maison Tarazi)

Next month at the Bibliotheca Hertziana, as noted at ArtHist.net:

Drawing Comparisons: Images in Comparative Anatomy, 1500–1900
In-person and online, Bibliotheca Hertziana, Villino Stroganoff, Rome, 20 October 2023

Comparison of the skeleton of a bird and a man; from Pierre Belon, Histoire de la nature des oyseaux (Paris: Guillaume Cavellat, 1555).

The history of art and the practice of anatomy have long depended upon similar acts of comparison: identifying, visualizing, and describing likenesses. This workshop investigates the role of images in developing comparative anatomy—the study of anatomy across species—in early modern Europe.

Visual or formal analysis entails a search not only for forms but for likenesses. To look closely is, in other words, to look across. Anatomy, likewise, depends upon comparison. From Leonardo to Linnaeus, early modern anatomical knowledge materialized through bodies conceived as similar. The discipline of comparative anatomy emerged, specifically, as generalizations occurred across the human/nonhuman divide. The history of the anatomical image is also a history of violence, as those anatomical procedures allowing comparison (dissection and vivisection) often proceeded through the forceful manipulation, observation and depiction of the (non)human body. Scholars from various disciplines (history of art, history of science and medicine, philosophy, fine arts, paleontology) will consider the use of images in generating comparison and in both formulating and challenging comparative anatomical knowledge.

p r o g r a m m e

10.30  Introduction
• Alejandro Nodarse (Bibliotheca Hertziana / Harvard University) A Guide to Looking Across

11.00  Session One | Drawing Order
• Martin Clayton (Royal Collection Trust, Windsor Castle), ‘Describe the Jaw of a Crocodile’: Leonardo da Vinci’s Animal Anatomies
• Katrina van Grouw (University of Cambridge) Linnaeus Organized: Illustrating Convergence in Comparative Anatomy

12.30  Lunch Break

13.30  Session Two | Languages of Likeness
• Maria Conforti (Sapienza Università di Roma), Fruits, Mushrooms, and Trees: Botanical Imagery in Early Modern Surgery and Anatomy
• Paul North (Yale University), Likeness Looks Both Ways

15.00  Coffee Break

15.30  Session Three | Violence in the Comparative
• Thomas Balfe (Courtauld Institute), Skin Deep? Visualizing Human and Animal Violence in Early Modern Still Life Painting
• Rose Marie San Juan (University College London), Anatomical Violence and the Pain of Resemblance

17.00  Pause

17.15  Roundtable Discussion

From ArtHist.net and the University of York:

Rethinking British and European Romanticisms in Transnational Dimensions, Part II
University of York, King’s Manor, 19–21 September 2023

Organized by Elisabeth Ansel, Johannes Grave, Richard Johns, Christin Neubauer, and Elizabeth Prettejohn

The event is the second part of a cooperative two-part workshop between the History of Art Departments of the University of York and the Friedrich Schiller University Jena. Considering the institution’s main research areas, the event aims to discuss the different concepts of Europe present in the art and culture of Romanticism.

In recent years, national tendencies have challenged the European idea, exemplified by the wake of Brexit and its aftermath. In this context, the question arises to what extent European and national identity concepts can be reconciled. Today’s debate between Britain and Europe still roots in the divergent notions of national identity that manifested in several European countries in the 1800s.

Therefore, the workshop addresses the relationship between visual images and constructions of nationality and questions how European Romanticism can be understood. In contrast to literary studies, investigating transnational transfer processes of Romantic movements has been a desideratum in art historical research. Considering transcultural methods, the participants will reflect national patterns of thought and Romantic identities not as fixed but as processual and hybrid phenomena within the framework of the binational exchange. Based on individual case studies, the event aims to reevaluate the complex interplay of alterity and reciprocity of the relations between cultural spaces.

Funded by University of York and Deutsche Forschungsgemeinschaft (German Research Foundation)

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9.45  Welcome and Introduction — Richard Johns

10.15  Morning Papers
• Marte Stinis (York) — ‘Sound Resounded from All the Treetops’: The Musical Landscape
• Sammi Lukic-Scott (York) — The Language of the Copy
• David Grube-Palzer (Jena) — Copy and Self-Repetition in the Age of Genius: Using the Example of Caspar David Friedrich

13.00  Lunch

14.30  Afternoon Papers
• Christin Neubauer (Jena) — Debts to German Romanticism in Joseph Noel Paton’s Luther: Dawn at Erfurt (1861)
• Miguel Angel Gaete Cáceres (York) — Johann Moritz Rugendas’ Picturesque Slavery: Denounce or Morbid Sublime Pleasure?

17.00  Evening Presentation
• Elizabeth Prettejohn (York) — Romanticism and Renaissance: Ideas for an Exhibition

18.30 Reception at King’s Manor

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10.00  Greeting

10.15  Morning Papers
• Richard Johns (York) — Further Thoughts on the Artist’s Bequest as a Romantic Phenomenon
• Elisabeth Ansel (Jena) — Heroic Femininity and the ‘Joy of Grief’ in Elizabeth Harvey’s Malvina Lamenting the Death of Oscar (1806)
• Mira Claire Zadrozny (Jena) — Emergent Pictoriality: Images of Ruins in 19th-Century France

13.00  Lunch

14.30  Afternoon Papers
• Helena Cox (York) — The Mánes Family: Bohemian Romanticism and (Inter)National Belonging
• Kayleigh Williams (York) — ‘Her Eyes Were Wild’: Transmediation of Gender and Gaze in Rossetti’s La Belle Dame Sans Merci

16.45  York Museum Garden

18.00  Evening Presentation
• Johannes Grave (Jena) — Duality and Temporality: Evocations of the Sublime in Romantic Paintings

20.00  Dinner at House of Trembling Madness

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9.15  Greeting

9.30  Morning Papers
• Johannes Rössler (Jena) — An Imagined Journey? Caspar David Friedrich and Switzerland
• Wanda Sue Warning (Jena) — Romanticising Youth: Sir Henry Raeburn’s Boy and Rabbit (1814) and the Portraiture of Anonymous Children
• Justus Hierlmeier (Jena) — Ligne et couleur in Théophile Thoré’s Des envois de Rome

12.15  Concluding Discussion

14.30  Afternoon Field Trip
• York Art Gallery
• Stroll through York

20.00  Dinner at Côte Brasserie

Carl von Zimmermann, Portrait Friedrich Ludwig von Sckell, detail, ca. 1810 (Münchner Stadtmuseum)
From the website marking the 200th anniversary of the landscape gardener’s death: www.sckell2023.de

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From ArtHist.net:

Der Gartenkünstler Friedrich Ludwig von Sckell und seine Werke: Geschichte und Aktualität
Zentralinstitut für Kunstgeschichte, Munich, 13–14 October 2023

Organized by Jost Albert and Iris Lauterbach

Registration due by 8 October 2023

Friedrich Ludwig von Sckell war der bedeutendste deutsche Gartenkünstler seiner Generation. Seine Ausbildung in Schwetzingen, in Frankreich und in England verhalf ihm zu einem internationalen Netzwerk. Als kurfürstlicher Hofgärtner und seit 1804 bayerischer Hofgartenintendant sowie in privatem Auftrag realisierte Sckell zahlreiche und bedeutende Gartenanlagen. Als weitsichtiger Stadtplaner legte er die Grundlage für die Erweiterung Münchens zur königlichen Residenzstadt. Der Englische Garten und die Umgestaltung des Nymphenburger Schlossgartens sind die Hauptwerke seiner Münchner Phase. Mit klassisch schönen „Bildern der Natur“ entwarf Sckell Landschaftsgärten, die sich durch große Dimensionen, ausgefeilte räumliche Gestaltungen und einen respektvollen Umgang mit dem Vorhandenen auszeichnen. Die Tagung nimmt das Sckell-Jubiläum zu seinem 200. Todestag zum Anlass, um neue gartenhistorische Forschungsaspekte sowie aktuelle gartendenkmalpflegerische Herausforderungen vorzustellen. Anmeldung zur Tagung bitte bis 8. Oktober 2023 unter: sckell@zikg.eu. Die Teilnahme ist kostenfrei.

Konzeption: Jost Albert und Iris Lauterbach, in Kooperation mit dem AK Historische Gärten der Deutschen Gesellschaft für Gartenkunst und Landschaftskultur (DGGL)

Partnerinstitutionen des Webauftritts www.sckell2023.de:
Natur wird Kunst: Auf den Spuren des Gartenkünstlers Friedrich Ludwig von Sckell (1750–1823)

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8.30  Anmeldung zur Tagung

9.00  Iris Lauterbach, München — Begrüßung und Einführung

9.15  Friedrich Ludwig von Sckell: Gartenkünstler, Verwalter, Organisator
Moderation: Iris Lauterbach
• Rainer Herzog, München — Friedrich Ludwig von Sckell als königlicher Beamter: Die Hofgarten-Intendanz unter organisatorischen, personellen und finanziellen Aspekten
• Gabriele Ehberger, München — Corporate Identity für die Hofgartenintendanz: Sckells Entwurf einer Gärtneruniform
• Thorsten Marr, München — Der Publikumsverkehr im Nymphenburger Garten zur Zeit Sckells
• Brigitte Huber, München — Eine Stadt im Umbruch: München 1795 bis 1825
• Heike Palm, Hannover — „Überhaupt ist diese Parthie noch zu erweitern und unter die Gruppen me[h]r Deutlichkeit zu bringen.“ Sckells Begleittexte zu seinen Entwürfen

12.30  Mittagspause

14.00  Zu Sckells Pflanzenverwendung
Moderation: Jost Albert
• Clemens Alexander Wimmer, Potsdam — Die Pflanzenverwendung Sckells in ihrer Zeit und ihre Rezeption
• Hans Joachim Klemmt, München — Sckells Baumartenwahl: Eine forstliche Einwertung aus heutiger Sicht vor dem Hintergrund des Klimawandels

15.00  Kaffeepause

15.30  Gartenkunst in der Nachfolge von Friedrich Ludwig von Sckell
• Michael Schwahn, München — Carl August Sckell und der Englische Garten in Neuburg an der Donau
• Peter Lack, Güstrow — Ein Gärtner auf Grand Tour: Die zweijährige Reise des Fritz Sckell von 1826 bis 1828
• Dietger Hagner, Rudolstadt — Wilhelmsthal bei Eisenach: Die Transformation zum Landschaftsgarten und das Wirken der Thüringer Hofgärtnerfamilie Sckell

17.00  Pause und Ortswechsel

19.00  Abendveranstaltung (Max-Joseph-Saal der Residenz)
• Bernd Schreiber, Präsident der Bayerischen Verwaltung der staatlichen Schlösser, Gärten und Seen — Begrüßung
• Jost Albert, München — Sckells Arbeitsschwerpunkte in den letzten Lebensjahren
• Iris Lauterbach, München — Der Zauberstab des Gartenkünstlers: Sckells „Methode, in der Natur zu zeichnen“
• Udo Weilacher, Freising/München — Die Landschaft von Morgen: Impulse von Sckell

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Sckells Gärten heute: Herausforderungen und Ziele der Gartendenkmalpflege
Exkursionen mit Mitarbeiter:innen der Gärtenabteilung der Bayerischen Schlösserverwaltung. Teilnahme nur für angemeldete Teilnehmer:innen der Tagung

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12.00–16.00  Mitgliederversammlung des AK Historische Gärten der Deutschen Gesellschaft für Gartenkunst und Landschaftskultur (DGGL), nicht öffentlich

19.00  Öffentliche Abendveranstaltung (Bayerische Akademie der Schönen Künste)
Vergabe des Sckell-Rings durch die Bayerische Akademie der Schönen Künste und Laudatio
Vergabe der Sckell Students Awards, Preisvergabe durch Udo Weilacher, Technische Universität München

From the conference programme:

Dressing the Interior in the Early Modern Period: Textiles in Domestic Settings
Dressing the Early Modern Network Conference
Leiden University Centre for the Arts in Society (LUCAS), 23 September 2023

Organised by Jola Pellumbi, Sara van Dijk, and Alexander Dencher

Registration due by 20 September 2023

Length of velvet, 16th century, Spanish or Italian; pile on pile cut, voided, and brocaded velvet of silk and gold metallic thread with bouclé details (New York: The Metropolitan Museum of Art, 46.156.120).

Textiles, wall and furniture coverings played an important role in dressing interiors in the early modern period. From curtains to chairs, tables and beds, a variety of textiles were needed to protect, adorn, and transform rooms, homes, and palaces. They were an important part of the dwelling as they linked the interiors together and showcased the taste and material means of the owners. Different rooms served diverse purposes, from more public spaces such as waiting rooms, reception rooms, and ballrooms, to more private rooms such as the bedroom with its antechambers. In other households, rooms had multiple functions, and in many cases the distinctions between private and public spaces were more flexible. Textiles played an important role in distinguishing and modifying these spaces while giving a glimpse of the relationships that owners had with those interiors.

While extant textiles have been frequently altered to fit new purposes denoting both their durability and the costly aspects of this medium, ledgers provide further examples of repairs and replacements. On the other hand, inventories give a more accurate picture of the changes in fashion over time. Fashions played an important role in the dressing of interiors, from certain more desirable fabrics and colours being favoured over others, while also being altered according to seasons. This conference aims to generate a discussion about the use of various textiles in early modern interiors, focusing on their function, durability, colour, texture and pattern, and how they were made to fit a specific purpose and give meaning to every room.

The conference is organised by Jola Pellumbi and Sara van Dijk of Dressing the Early Modern Network and by Alexander Dencher of Leiden University and the Rijksmuseum.

Registration is available here»

p r o g r a m m e

10.00  Registration

10.30  Welcome

10:45  Session 1 | Interior and Experience
• Dangerous Liaisons Revisited: Drapery and Dress in 18th-Century French Interiors — Mei Mei Rado (Bard Graduate Center, New York)
• Tiny Textiles: Dressing the Interiors of 18th-Century English Baby Houses — Amy Craig (Cambridge University)
• 18th-Century Global Domesticity — Valeria Viola (University of Palermo)

12.15  Lunch Break

13.00  Session 2 | Objects’ Pasts and Futures
• Reduce, Reuse, Recycle ….Restore? A Case Study of Re-Using ‘Original’ Fabrics in the Collection of the Rijksmuseum — Marjolein Koek (Rijksmuseum, Amsterdam)
• Bed of White Satin with Silk Embroidery and Bobbin Made Silver Edgings — Lena Dahrén (affiliated with Uppsala University)
• Title to be confirmed — Alexander Dencher (Rijksmuseum, Amsterdam)

14.30  Coffee and Tea

15.00  Session 3 | Materials and Materiality
• Strong Weave, Soft Texture, Crisp White: The Unravelling of Fustian in Dutch Interiors in the Early 17th Century — Sara Wieman (University of Amsterdam)
• Re-Materialising Walls through Intermedial Design: Chinese Silk and Paper Wall Hangings in 18th-Century European Interiors — Erika Riccobon (Leiden University)

16.00  Keynote Lecture
• The Seemingly Original Interior — Anna Jolly (Abegg-Stiftung, Riggisberg)

16.45  Closing Remarks

Johann Michael Ludwig Rohrer, Favorite Palace (Schloss Favorite), Rastatt (12 km north of Baden-Baden), 1710–30. Located near the primary residential palace at Rastatt, Schloss Favorite was created as a ‘porcelain palace’ for Margravine Sibylla Augusta and used mainly in the summer months for festivities including concerts and banquets. Schloss Favorite now houses the world’s largest collection of early Meissen porcelain.

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From the conference programme:

Favorite Palace: Interior Decoration and Collections
Schloss Favorite: Ausstattung und Sammlungen
In person and online, Residenzschloss Rastatt, 17–19 September 2023

Registration due by 28 August 2023

Favorite Palace in Rastatt, built between 1710 and 1729 by Margravine Sibylla Augusta of Baden-Baden (1675–1733), is the only almost unchanged Baroque ‘porcelain palace’ in Germany. This conference will present recent scientific findings on the history of the palace, its interior decoration, and its collections. A special focus will be on the chinoiserie furnishings, as well as on Asian and European ceramics. The conference aims to honor the ensemble created by the builder and collector, Sibylla Augusta, in the context of early 18th-century European art.

There is no conference fee, but advanced registration is essential (by 28 August 2023). The conference will be translated by interpreters and streamed online in German and English. Please indicate when registering whether you would like to attend in person or online. You will receive the participation link as well as information on hotels and parking spaces after registration.

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10.00–1.00  Guided tours of Favorite Palace (optional, by appointment)

1.15  Reception Desk Open

2.00  Welcome by Patricia Alberth (Geschäftsführerin der Staatlichen Schlösser und Gärten Baden-Württemberg) and Anton Schweizer (Kyushu University, Japan)

2.15  Section 1 | Chinoiseries in the Decoration and Festive Culture of Sibylla Augusta
Moderation: Anton Schweizer (Kyushu University)
• ‘Dan die Chinesisch und Japanische Kajser würden selber in vergnügteste Entzückung gesezet werden’: Zur Chinoiserie in der Favorite — Ulrike Grimm (Oberkonservatorin a. D., Karlsruhe)
• Die japanischen Textilappliken im Schlafzimmer des Erbprinzen Ludwig Georg: Kontext und Bedeutung — Anton Schweizer (Kyushu University, Japan)
• ‘China-Mode’ and Court Culture in Early 18th-Century Europe: Sibylla Augusta’s Chinese Banquet in Ettlingen in 1729 — Kristel Smentek (MIT, Cambridge, Massachusetts)
• ‘Admirable Abzeichnungen’: Herstellung, Verbreitung und Überlieferung der Stichserie zum Chinesischen Fest 1729 in Ettlingen von Johann Christian Leopold — Christian Katschmanowski (SSG)

5.45  Refreshments

7.30  Evening Lecture
• Zwischen Botschaft und Typologie: Die Bildprogramme der Decken, Wände und Textilien — Ulrike Seeger (Universität Stuttgart / Ludwig-Maximilians-Universität München)

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8.30  Reception Desk Open

9.00  Section 2 | Porcelain and Stoneware from Asia and Europe
Moderation: Ulrike Grimm (Oberkonservatorin a. D., Karlsruhe)
• Asian Art in the Collections of the Sachsen-Lauenburg Family in the Context of Inventories from Other Collections in the Czech Lands — Filip Suchomel (Regional Gallery, Liberec / UMPRUM, Prague)
• The Redwares of Sibylla Augusta of Baden-Baden and Their Global Context — Errol Manners (E & H Manners Ltd., London)
• Eine Eremitage in Blau: Ostasiatisches Porzellan, Exotismus und Weltflucht à la Chine in Schloss Favorite — Stephan Graf von der Schulenburg (Museum für Angewandte Kunst, Frankfurt)
• Meissen Porcelain in Schloss Favorite: Revisiting and Rethinking a Legendary Collection — Maureen Cassidy-Geiger (Independent Scholar and Curator, New York)

12.45  Lunch Break

2.00  Section 3 | Special Equipment Pieces in Focus
Moderation: Petra Pechaček (SSG)
• Baden-badische ‘Masquera- und Comodianten Kleyder’: Die Kostümbilder als Ausdruck fürstlichen Ranges und wirtschaftlicher Leistungskraft — Hertha Schwarz (Freie Historikerin, München)
• Mixed media und eine Welt von Bedeutungen: Die textile Ausstattung von Schloss Favorite — Birgitt Borkopp-Restle (Universität Bern)
• Licht ins Dunkel: Der böhmische Kronleuchter aus dem Schlafzimmer des Erbprinzen Ludwig Georg — Käthe Klappenbach (Kustodin a. D., SPSG, Potsdam)

5.00  Guided tour of the palace church accompanied by organ music — Sigrid Gensichen and Jürgen Ochs

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8.30  Reception Desk Open

9.00  Section 4 | The Palace and Its Collections after Sibylla Augusta
Moderation und Einführung: Sandra Eberle (SSG)
• Produkte der kurbayerischen Verwandtschaft: Ein Porzellangarten zur Hochzeit Ludwig Georgs 1755 und eine Parforcejagd aus Terracotta — Katharina Hantschmann (Bayerisches Nationalmuseum München)
• Das Straßburger Fayence-Service aus Schloss Favorite, 1748–1753 — Jacques Bastian (Antiquités Bastian, Straßburg)

10.30  Wrap-up

11.45  Shuttle to Favorite Palace

12.00  Lunch Snack at Favorite Palace

1.00  Tours of Favorite Palace (guided by speakers)