Symposium | The Power and Prestige of Collecting
From Haughton International, where one can find full speaker and lecture descriptions:
The Power and Prestige of Collecting: Private and Museum Collections and Their Survival
Haughton International Seminar
Society of Chemical Industry, 14–15 Belgrave Square, London, 28–29 June 2023
Jingdezhen (Jiangxi Province, China), The ‘Kylin’ Clock, 2nd half of the 18th century; mounts, ca.1700–1822; porcelain, gilt bronze, 112 × 81 × 37 cm (whole object) (Royal Colleciton Trust, 2867).
This year’s Haughton International Seminar will address the power and prestige of collecting. It will include a tour of the Royal Collection as well as private and museum collections, focusing on how such works of art might be presented to future generations and what lessons the past might contain to direct the future.
Cost of the two day seminar: £110. Cost of the two-day seminar with champagne reception and dinner at The Athenaeum (Wednesday, 28th June): £190. Student tickets for the two-day seminar (on production of ID): £60. Booking in advance through the website is essential due to limited numbers. Box office now open.
Copies of lectures from past seminars are available at the videos and articles section of the symposium website.
L E C T U R E S , 2 8 – 2 9 J U N E 2 0 2 3
• Private and Public Museums in China — Rose Kerr, Honorary Associate of the Needham Research Institute in Cambridge, previously Keeper of the Far Eastern Department at the Victoria and Albert Museum, 1978–2003
• One Family’s Legacy: The Treasures of Burghley House — Miranda Rock, Executive Chair of the Burghley House Preservation Trust
• The Royal Collection in the Reign of Queen Elizabeth II — Caroline de Guitaut, Deputy Surveyor of The King’s Works of Art
• Medici Porcelain — Timothy Wilson, Honorary Curator, Department of Western Art, Ashmolean Museum
• ‘… Let No Man Put Asunder’: How Much Do Collections Matter? — Timothy Schroder, FSA, Former Curator, Lecturer, and Author
• Has Collecting Really Died or Just Changed Direction? — Anna Somers Cocks OBE, Founder editor of The Art Newspaper
• The Corning Museum of Glass: Nearly 75 Years of Collecting, Research, and Inspiration — Karol Wight, President and Executive Director, The Corning Museum of Glass
• Heaven on Earth: The Phenomenon of Baroque Austrian Monasteries — Claudia Lehner-Jobst, Director, Augarten Porcelain Museum, Vienna
• ‘You, That Way; We, This Way’: Whither the Future of Public Collections in the United States? — Matthew Hargraves, Director, Wadsworth Atheneum Museum of Art
• Kings & Queens and Soup Tureens: The Evolution of the Campbell Collection — Patricia Halfpenny, Vice President Northern Ceramic Society, Curator Emerita Ceramics and Glass, Winterthur Museum
• A Prince’s Treasure: From Buckingham Palace to the Royal Pavilion, The Return of the Royal Collection to Brighton — David Beevers, FSA, Former Keeper Royal Pavilion, Brighton
• Hungry for the Past: Baroque Buffets, Ducal Desserts, and Rococo Suppers — Ivan Day, Food Historian, Museums and Country House Consultant
• The Soane Museum and What Is to Come of It? — Bruce Boucher, Director, Sir John Soane’s Museum
• A Manufactury‘s Past, Present, and Future: The Collection of Museum Schloss Fürstenberg — Christian Lechelt, Director, Museum Fürstenberg
Study Day | Women Collectors at the Turn of the 20th Century
From the conference programme:
Her Discerning Eye: Women Collectors at the Turn of the 20th Century
The National Trust and Waddesdon Manor Annual Conference
Waddesdon Manor, 28 March 2023
We are delighted to announce the programme for Her Discerning Eye: Women Collectors at the Turn of the 20th Century. The conference will be held at Waddesdon Manor on Tuesday, 28th March. Our invited speakers will be talking on Joséphine Bowes, Yolande Lyne Stephens, Charlotte Schreiber, Hannah Gubbay, Queen Alexandra, and Queen Mary. The study day was inspired by our work on Margaret Greville and Alice de Rothschild. To book a place please email enquiries@waddesdon.org.uk. The conference is free; a charge for lunch will be payable on the day (please let us know of any dietary requirements). If you have any questions please do email us: Mia.Jackson@waddesdon.org.uk and Alice.Strickland@nationaltrust.org.uk.
–Mia Jackson and Alice Strickland
P R O G R A M M E
10.30 Registration and Coffee
11.00 Session One
• Tom Stammers (Associate Professor in Modern European Cultural History, University of Durham) — Recovering Female Collectors: Paradigms and Challenges
• Lindsay Macnaughton (Lecturer, University of Buckingham) — Some Fragments from the Boweses’ Collection and the Difficulties of Singling out Joséphine’s Taste
• Laure-Aline Griffith-Jones (Independent Art Historian) — Yolande Lyne Stephens: A French Collection in Victorian England
12.30 Lunch
13.30 Session Two
• Caroline McCaffrey-Howarth (Lecturer in French and British History of Art c.1650–1900, University of Edinburgh) — Charlotte Schreiber: Becoming a Ceramics Collector
• Mia Jackson (Curator of Decorative Arts, Waddesdon Manor) and Pippa Shirley (Director of Waddesdon Manor) — Alice de Rothschild’s Dishes and Daggers
• Patricia F. Ferguson (Independent Scholar) — Shaping Ceramic Connoisseurship: Mrs. David Gubbay, ‘Collector of Genius’
15.00 Session Three
Tour of the exhibition Alice’s Wonderlands: Alice as a Collector
16.00 Final Session
• Alice Strickland (Curator, National Trust) — ‘Full of Rare China and Expensive Treasures’: The Collection of Margaret Greville at Polesden Lacey, Surrey
• Caroline de Guitaut (Deputy Surveyor of The King’s Works of Art) — Embracing the Modern and Fashionable: Queen Alexandra as Collector
• Kathryn Jones (Senior Curator of Decorative Arts, Royal Collection Trust) — ‘Quite a Creditable Collection’: Queen Mary as Collector and Curator
17.30 Closing Comments — Mia Jackson and Alice Strickland
Online Symposium | Design, Description, and Discovery in Cataloging
From the Hood Museum of Art:
Terms of Art: Design, Description, and Discovery in Cataloging
Online, Hood Museum of Art, Dartmouth, 22–24 February 2023
Institutions such as museums, libraries, and archives have a mission to preserve, interpret, and disseminate cultural heritage. In addition to new acquisitions for their collections, these institutions must also update the tools with which researchers access and study these holdings, objects, and works of art. Increasingly, stakeholders like academics, educators, and the public treat a collection’s digital representation—its metadata records—as an entry point for discovery. Paradoxically, these web-based experiences meant to expose collections to broad audiences often assume users have specialized knowledge of the terms and processes GLAM (Galleries, Libraries, Archives, and Museums) institutions use to describe their own work, making them inaccessible to the majority of visitors. Additionally, variation and evolution of language often outpaces or does not align with public understanding. For example, someone interested in 17th-century Dutch art might not know that the phrase “Dutch Golden Age” has colonialist implications and has been removed from many museums’ internal databases. The search language isn’t wrong, it’s just outmoded.
The Hood Museum of Art and Dartmouth Research Computing have organized a virtual symposium to bring together museums, libraries, and archives to discuss issues of access and ethical vocabularies in cultural heritage. The goal is to develop the debate about how the language we use to describe collections impacts the communities that create and seek out art. The organizers hope to prompt dialogue on the issues curators and researchers face in trying to maintain equitable and anti-racist progress and research. Additionally, this symposium will emphasize the role of technologists who specialize in user-centered design as critical to promoting equity in information systems. In combining subject-matter specialists and user-centered design technologists, we aim to bridge the communication gap between institutions and the publics they serve, allowing each to educate the other about how they describe collections. The symposium is free and open to all. Click here to register.
More information about each session is available here»
W E D N E S D A Y , 2 2 F E B R U A R Y 2 0 2 3
Times are Eastern Standard Time (UTC-5)
9.30 Welcome
• Ashley Offill, Associate Curator of Collections, Hood Museum of Art, Dartmouth
• Elizabeth Rice Mattison, Andrew W. Mellon Associate Curator of Academic Programming, Hood Museum of Art, Dartmouth
• John Bell, Program Director, Data Experiences and Visualizations Studio, Dartmouth
• Meredith Steinfels, Assistant Director, Digital Platforms, Media & Archives, Hood Museum of Art, Dartmouth
10.00 Reparative Archival Description at Rauner Library
• Caro Langenbucher, Processing Specialist, Rauner Special Collections Library, Dartmouth
• Joshua Shaw, Library Web and Application Developer, Digital Library Technologies Group, Dartmouth
• Richel Cuyler, Cultural Heritage Technical Developer, Dartmouth
Moderator: Peter Carini, Archivist, Rauner Special Collections Library, Dartmouth
11.00 Continuing the Conversation
This informal 30-minute Zoom session is intended to provide a space for attendees to continue the dialogue from the previous session. Participants are encouraged to connect, brainstorm, and ideate. This session will not be recorded.
12.00 The Spectacle of Bodily Difference in Georgian England: A Case Study in Describing Visual and Textual Representations of Bodily Differences in Historic Printed Materials
• Alex Kither, Curator of Printed Heritage Collections, The British Library
12.30 Case Study: Leveraging the Authority of Labels to Align Design with Diverse Audiences
• Kiersten Thamm, Collections Curator, Museum of 21st-Century Design
1.30 Trouble with the Curve: Describing and Cataloguing Ornament
• Elizabeth Saari Browne, Remote Senior Research Cataloguer, Cooper Hewitt Smithsonian Design Museum
• Adrienne Childs, Independent Scholar, Art Historian, Curator
• Rachel Jacobs, Remote Senior Research Cataloger, Cooper Hewitt Smithsonian Design Museum
• Hazel Wilkinson, Associate Professor, University of Birmingham
2.30 Continuing the Conversation
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9.30 Open Office Hours with Elizabeth Rice Mattison: Cataloguing Complex Heritage and Data
10.00 Alt Text Power Hour
• Amelia Mylvaganam, Curatorial Research Aide, The Block Museum of Art, Northwestern University
• Melanie Garcia Sympson, Curatorial Associate for Collections Information and Digital Interpretation, The Block Museum of Art, Northwestern University
11.00 Continuing the Conversation
12.00 Case Study: Tag Along with Adler
• Jessica BrodeFrank, Senior Manager of Digital Management Services, the Academy of Motion Picture Arts and Sciences; Doctoral Candidate the University of London School of Advanced Studies
12.30 Case Study: Assessing the Application of a Locally-Developed Controlled Vocabulary
• Hannah M. Jones, 2022 LEADING Fellow, Dominican House of Studies in Washington, DC
• Mark E. Phillips, Associate Dean for Digital Libraries, University of North Texas Libraries
• Hannah Tarver, Head, Digital Projects Unit, University of North Texas Libraries
• Ana Krahmer, Director, Texas Digital Newspaper Program, University of North Texas Libraries
1.30 Case Study: Casting Terms
• Milena Gallipoli, Head of Research, Museo de la Cárcova and Postdoctoral Research Fellow, Universidad Nacional de San Martín, Argentina
2.00 Case Study: The Office of Art and Archives, US House of Representatives
• Michelle Strizever, Photography and Digital Content Specialist, U.S. House of Representatives, Office of Art and Archives
• Mackenzie Miessau, Registrar, U.S. House of Representatives, Office of Art and Archives
2.30 Open Office Hours with Brinker Ferguson: 3D Documentation, Archiving, and Dissemination of Cultural Heritage Objects
F R I D A Y , 2 4 F E B R U A R Y 2 0 2 3
9.00 Designing and Curating East Asia Art in the Digital Age
• Janet Fong, Research Assistant Professor (Curating), Academy of Visual Arts, Hong Kong Baptist University
• Harald Kraemer, Curator, University of Hong Kong, University Museum and Art Gallery
• Shuo Sue Hua, Assistant Curator (Postdoc Research Fellow), University of Hong Kong, University Museum and Art Gallery
• Ying Liu, Curator (Director of Digital Archive Department), Zhejiang Art Museum (ZJAM) and Associate Director, Chinese Artists Association Print Art Committee – Zhejiang Province, China
• Zhu Yi, Ph.D. Candidate, Lingnan University
10.00 Continuing the Conversation
10.30 Roundtable and Workshop: Curationist.org
• Sharon Mizota, DEI Metadata Consultant
• Amanda Acosta, Digital Archivist, MHz Foundation
• Christina Stone, Digital Archivist, MHz Foundation
• Ravon Ruffin, Educational Programs Manager, MHz Foundation
11.30 Continuing the Conversation
12.00 Open Office Hours: Media Preservation with John Bell
12.30 Open Office Hours: Student-Led Projects and Initiatives with Ashley Offill
1.30 Terms of Art: Reflection, Dialogue, and Facilitating Change
Conference | Wastework
From the Bibliotheca Hertziana:
Wastework
Bibliotheca Hertziana – Max Planck Institute for Art History, Rome, 15–17 March 2023
Organized by Francesca Borgo and Ruth Ezra
Wastework is an international, interdisciplinary conference on the materiality, spatiality, and processing of waste in the early modern workshop. It proposes to examine acts of disposal, displacement, removal, and abeyance—in short, the getting rid of unwanted things—and the consequences these carry for the study of early modern material culture.
How did the apparent formlessness of this discarded matter—the residues, the shavings, the piles—generate new ideas for forms or find new life through changes in state engendered by slaking, burning, distilling or casting? What disposal flows led household waste—egg shells, stale bread, stove ash—to enter the space of the studio as artistic material or cleaning product? The conference will foreground waste as the material expression of practices of ordering and classification by which people adjudicated between collection and disposal, wanted and unwanted, salvation and loss. In reimagining the discarded past, we intend to test the usefulness of contemporary formulations—secondary product cycles, material fatigue, metabolic flows, sustainability, recycling—while also proposing new typologies and categories.
Wastework is organised by Francesca Borgo (St Andrews / Bibliotheca Hertziana) and Ruth Ezra (St Andrews / eikones) as part of the Lise Meitner Research Group Decay, Loss, and Conservation in Art History.
1 5 M A R C H 2 0 2 3
Site visits for conference participants
• Monte dei Cocci, led by Emlyn Dodd, Assistant Director of Archaeology, British School at Rome
• The American Academy in Rome, introduction to the Rome Sustainable Food Project
Open to the public
21.00 Artists’ talk by DOM on LA BUCA — Esplorazioni dentro il Wasteocene, in conversation with Marco Armiero, author of Wasteocene: Stories from the Global Dump (2021).
1 6 M A R C H 2 0 2 3
9.00 Francesca Borgo and Ruth Ezra — Introduction
9.30 Panel One: Environment
• Stephanie Leitzel — Color and Contamination: An Environmental Approach to the Early Modern Dyehouse
• John Gagné — Rags and Riches: The Paper Workshop’s Suppliers before Industrialization
• Jennifer Van Horn with Megan Baker — Making Paint from Stone: Unfreedom and Material Reuse in Eighteenth-Century North America
10.30 Discussion
11.15 Coffee break
11.45 Panel Two: Network and Translation
• Carlo Scapecchi — A Netherlandish Method to Recycle Wool Shearings in Sixteenth-Century Florence
• Erin O’Connor — All Batched Up: Resource Extraction and Wastework among Glassblowers
12.30 Discussion
13.00 Lunch break
14.00 Panel Three: Economies of Waste
• Sophie Pitman — Cutting Costs: The Use and Abuse of Waste in Early Modern Clothing
• Cass Turner — On Waste and the Book: Origins of the Attention Economy
• Vitale Zanchettin — Waste Made Rich: Venetian Terrazzo Flooring from Antiquity to Carlo Scarpa
15.00 Discussion
16.45 Coffee break
17.15 Keynote Lecture
• Vittoria Di Palma — Use, Value, Waste
18.00 Discussion
1 7 M A R C H 2 0 2 3
9.30 Panel One: Stories from the Workshop Floor
• Daniel Zolli — Sweeping the Workshop Floor: Donatello and the Virtue of Spazzatura
• Lisa Coulardot — Jean Hellot (1685–1766) and the Question of Waste in Dyes Laboratories and Workshops
• Marika Knowles — Pressed and Hung: Wastework in Jacques Callot’s Les grandes misères de la guerre and Abraham Bosse’s La manière de graver
10.30 Discussion
11.15 Coffee break
11.45 Panel Two: Household
• Catherine Girard — Painture: The Temporal and Emotional Labour of Stale Bread in the French Studio
• Anna Reynolds — Fluctuating Matter: Wastework in Seventeenth-Century Breakfast Still Life Paintings
12.30 Discussion
13.00 Lunch break
14.00 Panel Three: Paradoxes of Matter
• Tillmann Taape — Distilling Material Economies: Separating, Preserving, and Recovering Matter
• Justin Linds — ‘Efficacious Fermentation’: Making Value from Rot on Early Modern American Plantations
• Lucy Razzall — ‘Nothing But a Thin Painted Past-board’: Substance and Paradox in Early Modern England
• Charlett Wenig — The Hidden Colors of Bark Ash: Reanimate a Final Leftover
15.30 Discussion
16.15 Coffee break
17.00 Keynote Lecture
• Simon Werrett — Making Use and Making Art: Thrift and Waste in the Early Modern Period
17.50 Closing discussion and roundtable
Poster Image: Quiringh Gerritsz. van Brekelenkam, The Tailor’s Workshop, detail, 1661 (Amsterdam: Rijksmuseum).
Symposium | Rococo across Borders: Designers and Makers
Commode designed by Jean-François Cuvilliés, the Elder, pine partially painted and gilded, German, ca. 1735–40 (New York: The Metropolitan Museum of Art, 28.154).
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Registration now open at Eventbrite:
Rococo across Borders: Designers and Makers
In-person and live-streamed, Victoria and Albert Museum, London, 24–25 March 2023
Organized by the Furniture History Society and the French Porcelain Society, this two-day symposium on Rococo ceramics and furniture across Europe and beyond aims to examine the geographical spread of the Rococo style, the interaction between designers and makers, and the significant role played by print culture in its dissemination. It will go beyond the traditional geographical, chronological, and conceptual fields of Rococo design to explore how the style evolved throughout the long eighteenth century and to reflect on wider discussions about the historical contexts for Rococo ceramics and furniture, alongside the place of the ‘Rococo’ in museums and art historical scholarship today. Tickets: £30–142.
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10.00 Registration
10.20 Welcome and Introduction from Dame Rosalind Savill DBE, FSA, FBA, President of the French Porcelain Society
10.35 Session One | Origins and Circulation of the Rococo
Moderated by Helen Jacobsen
• Form versus Function: The Rococo Contradiction and Its Application to French Eighteenth-Century Decorative Arts — John Whitehead (Independent Scholar)
• The Diplomatic Gifts of Louis XV (working title) — Marie-Laure Buku-Pongo (Assistant Curator of Decorative Arts, The Frick Collection, New York
• From Cathay to Paris: Trade with Asia, Its Actors, and Its Influence on the Arts in Paris — Stéphane Castelluccio (Directeur de recherche au CNRS, Centre André Chastel, Paris)
• The Rococo Diaspora: Wandering Craftsmen, Objects, Patronage, and Diplomacy — Sarah Coffin (Independent Curator, Former Senior Curator, Cooper Hewitt Museum, New York)
12.40 Discussion
12.55 Lunch including ’Object in Focus Sessions’ with V&A Collections and Curators (separate tickets required)
14.25 Session Two | Virtuoso Rococo: England and the Netherlands
Moderated by David Oakey
• ‘A Peculiarity in the Lines’: Drawing and Carving ‘Rococo’ in Mid-Eighteenth-Century England — Jenny Saunt (Curatorial Research Fellow, V&A Museum, London)
• Chelsea’s Extreme Rococo: A Perspicuous Misunderstanding or a Calculated Risk — Patricia Ferguson (Independent Scholar)
• Designing or Making: On the Role of Craftsmen as Designers — Reinier Baarsen (Curator Emeritus of Decorative Arts at the Rijksmuseum)
• Rococo Silver in the Austrian Netherlands: A Virtuoso Kaleidoscope? — Wim Nys (Head of Collections and Research, DIVA Museum, Antwerp)
16.35 Discussion
16.50 Closing Remarks
18.00 Ticket holders are invited to a drinks reception, supported by Bonhams, at Montpelier St, London SW7 1HH; spaces are limited so early booking is advised.
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10.00 Registration
10.20 Welcome and Introduction from Christopher Rowell FSA, Chairman of the Furniture History Society
10.30 Session Three | Inspiration and Emulation: Ireland, Germany, and Russia
Moderated by Caroline McCaffrey-Howarth
• The Prints of Carl Pier (b. 1717): Visions and Potentialities in Southern German Rococo Design — Michael Yonan (Professor of Art History, University of California)
• Frederician Furniture in Berlin and Potsdam, ca. 1740–1775 — Henriette Graf (Curator of Furniture, Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg)
• The Englishness of Irish Rococo: The Dublin School of Stucco Workers — Conor Lucey (Associate Professor in Architectural History, University College Dublin)
• Pineau le Russe: A French Sculptor in Service to the Tsars— Turner Edwards (Collaborateur Scientifique, Musée des Arts Décoratifs, Paris)
12.40 Discussion
12.55 Lunch
14.25 Session Four | Across the Seas: China, the Americas, and back to France
Moderated by Adriana Turpin
• Persistence, Resistance, and Canadian Rococo Furniture — Philippe Halbert (Curator of American Decorative Arts at the Wadsworth Atheneum, Hartford)
• Ornaments from the Western Ocean: Rococo as a Qing Imperial Style in the Decorative Arts — Mei Mei Rado (Assistant Professor, History of Textiles, Dress, and Decorative Arts, Bard Graduate Center, New York)
• The French Rococo Style in Colonial Latin America — Dennis Carr (Virginia Steele Scott Chief Curator of American Art, Huntington Library, Art Museum, and Botanical Gardens, Los Angeles)
• Colonial Fantasy and Rococo Regressions: Porcelain in the Time of Louis-Philippe — Iris Moon (Assistant Curator of European Sculpture and Decorative Arts, Metropolitan Museum of Art, New York)
16.35 Discussion
16.50 Closing Remarks
Images: Top left to bottom right, Flower vase (cuvette Mahon), probably designed by Jean-Claude Duplessis, Sèvres Manufactory, French, soft-paste porcelain, ca. 1757–60 (New York: The Metropolitan Museum of Art, 1974.356.592); Girandole à branche de porcelaine garnie d’or, from Oeuvres de Juste-Aurèle Meissonnier, engraved by Gabriel Huquier, French, 1738–49 (New York: Cooper-Hewitt, Smithsonian Design Museum, 1921-6-212-29-b); Commode designed by Jean-François Cuvilliés, the Elder, pine partially painted and gilded, German, ca. 1735–40 (New York: The Metropolitan Museum of Art, 28.154).
Adam Smith 300 in 2023
From the press release (23 November 2022) for Adam Smith 300 . . .
The University of Glasgow is marking the 300th anniversary of pioneering Scot Adam Smith (1723–1790) with a year-long celebration of his life, work, and influence.
The tercentenary commemoration of the ‘father of economics’ includes a host of events in Scotland and around the world, designed to inspire renewed discussion about Smith’s ideas. Smith’s work has had a lasting impact on the way the world considers economics, politics, and society more broadly. The planned programme of events aims to consider how his ideas from 300 years ago can help answer some of the biggest challenges we face today.
Throughout 2023 the University of Glasgow has a raft of programmes and events that will give academics, students, and the public new insights into his life and work. Highlights include:
• Tercentenary Week (5–10 June 2023)—a week-long series of activities, including talks and exhibitions at the University of Glasgow featuring scholars from the London School of Economics, the universities of Princeton and Harvard, and the University of Cambridge.
• An on-campus and virtual exhibition of significant and rare Smith-related artifacts—including letters, first edition books, and material from the University of Glasgow’s archives.
• The Adam Smith Tercentenary Global Lecture Series, featuring internationally renowned speakers from academia, business, and public policy.
• New research into Smith’s life and writings.
• The Royal Economic Society and Scottish Economic Society Joint Conference in April, featuring global academics reflecting upon Smith’s legacy.
Other activities involve a national student competition to re-design the front cover of The Wealth of Nations, online courses for adult learners, and new programmes to introduce high school to Adam Smith and his ideas. Universities from across the world, in North and South America, Asia, Africa, Europe, and Australia will be joining in the commemorations with their own events to mark the tercentenary.
Professor Sir Anton Muscatelli, Principal and Vice Chancellor of the University of Glasgow, said: “Adam Smith is one of our most famous alumni, and he left an indelible impact on the University of Glasgow, on the fields of economics and moral philosophy, and on the wider world. His studies and writings introduced new ideas, insights, and concepts that shaped our understanding of economics today but were revolutionary in their day. To mark the tercentenary of his birth we will see academics, students, and the public discuss his continued relevance at a series of events taking place in Glasgow and across the world. I look forward to taking part in the University’s commemoration of Adam Smith as we evaluate his legacy and consider how his thoughts and ideas from 300 years ago can still help us answer the greatest challenges of today.”
Adam Smith—born in Kirkcaldy, Fife, in June 1723—started his studies at the University of Glasgow aged 14. In 1740, he was awarded the Snell Scholarship, which is still in existence today, and left to study at Oxford. In 1751, Smith returned to Glasgow as a Professor of Logic, later becoming Professor of Moral Philosophy. While at Glasgow, Smith published the first edition of The Theory of Moral Sentiments in 1759, developing upon the principles and concepts explored in his lectures. Smith’s final connection with the University came in 1787 when he assumed the prominent position of Rector. He published arguably his most famous work The Wealth of Nations in 1776 and died in 1790.
Symposium | Digging for Delftware
Plate with the Head of King James II, painted in blue, yellow, and manganese-purple on a white glaze
(Bristol Museum & Art Gallery, Na625)
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From Bristol Museums:
Digging for Delftware
Bristol Museum & Art Gallery, 27—28 February 2023
Organized by Amber Turner
Comprising over 2000 pieces of delftware, Bristol Museum has one of the largest and most important collections of in the UK. For over 100 years, Bristol was a leading manufacturer of delftware, producing objects that were exported across the globe. Bristol Museum has been working for two years on a project funded by Arts Council England to research and re-display its collection of English delftware.
In celebration of the project, this two-day symposium will bring together specialists from around the world. They will share insights into delftware from Bristol and beyond and explore the latest international research in the field of delftware studies. There will also be an opportunity to visit the new displays and to see a selection of objects from our reserve collection.
We will be joined by an array of experts including Karin Walton, Matthew Winterbottom, Ian Betts, Caroline McCaffrey-Howarth, Peter Francis, Femke Diercks, Roger Massey, David Dawson, Oliver Kent, and Amanda Lange.
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10.00 Registration, with Tea and Coffee
10.25 Welcome — Kate Newnham (Senior Curator of Visual Arts, Bristol Museum & Art Gallery)
10.30 A Century of Collecting — Karin Walton (Former Curator of Applied Art, Bristol Museum & Art Gallery)
11.05 Archaeology and Delftware: Production in Bristol — David Dawson (Former Curator of Archaeology at Bristol Museums)
11.40 Break
12.00 The Decorative Delftware Wall Tiles of Bristol — Ian Betts
12.35 Louis Lipski and the Limekiln Lane Pottery — Roger Massey (Ceramics Historian)
13.10 Lunch Break
14.15 Digging for Delftware: Bristol Museum’s Collection of Tin-glazed Earthenware — Amber Turner (Curator of Applied Art, Bristol Museum & Art Gallery)
14.50 Free-flow tour of the ceramics gallery
15.35 Tea Break
16.00 ICP Analysis of Delftware Sherds from Bristol: New Insights into Production — Kamal Badreshany (Assistant Professor, Department of Archaeology, Durham University)
16.35 Study of delftware sherds from Bristol Museum’s reserve collection
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10.00 Registration, with Tea and Coffee
10.25 Welcome — Amber Turner (Curator of Applied Art, Bristol Museum & Art Gallery)
10.30 Wincanton Delftware Pottery: Some New Discoveries — Roger Massey (Ceramics Historian)
11.10 Irish Delftware: Some Recent Discoveries — Peter Francis (Former Research Fellow, Institute of Irish Studies, Queen’s University Belfast)
11.50 Break
12.10 Dutch Delftware at the Rijksmuseum: New Research — Femke Diercks (Head of Decorative Arts, Rijksmuseum, Amsterdam)
12.50 Delftware as Historical Agents, c. 1640–1700 — Caroline McCaffrey-Howarth (Lecturer in History of Art, University of Edinburgh)
13.30 Lunch
14.30 Margaret Macfarlane’s Delftware Teawares: The Ashmolean Bequest — Matthew Winterbottom (Curator of Sculpture and Decorative Arts, Ashmolean Museum, Oxford)
15.10 Transatlantic Trade and Global Connections: English Delftware for American and Caribbean Markets — Amanda Lange (Curatorial Department Director and Curator of Historic Interiors, Historic Deerfield, Massachusetts)
15.50 Tea Break
16.10 ‘Just Arrived from Bristol’: Tin-glazed Earthenware above and below Ground in Virginia (delivered via pre-recorded talk) — Angelika Kuettner (Associate Curator of Ceramics, Colonial Williamsburg, Virginia)
16.50 Closing Remarks — Amber Turner
Thematic Route | Women as Art Promoters and Patrons at the Prado
This thematic route is one tangible result of a symposium held in March of this year, which focused on the period 1451 to 1633; a second symposium addressing the seventeenth and eighteenth centuries is scheduled for 6–7 March 2023 (see the note at the end of this posting and a separate posting).
El Prado en femenino
The Female Perspective: The Role of Women as Promoters and Patrons of the Arts at the Prado
Museo Nacional del Prado, Madrid, 14 December 2022 — 9 April 2023
Developed with Noelia García Pérez
In collaboration with the Ministry of Culture’s Institute for Women, from today (14 December 2022) until 9 April 2023 the Museo Nacional del Prado is offering a new perspective on its permanent collection through a thematic route devised with the academic supervision of Noelia García Pérez, associate professor of art history at the University of Murcia. The result is a fresh viewpoint and one that encourages us to focus on the role of women as promoters and patrons of the arts.
Among all European museums, the Prado is probably the one in which women have played the most decisive role with regard to its configuration, either as collectors and promoters or through their key contribution to its foundation and existence. Works such as Van der Weyden’s Descent from the Cross, Titian’s Charles V at the Battle of Mühlberg, the superb bronze sculptures of Philip II and Mary of Hungary commissioned from Pompeo and Leone Leoni, and The Holy Family with Saints by Rubens would not be present in the Prado’s collection without women’s involvement.
The works included in this thematic route are associated with women who were not only notable for their activities as patrons but also in the promotion of the artists who worked in their service. One particularly notable example is that of Isabel Clara Eugenia (1566–1633). The Prado houses dozens of works directly resulting from her patronage, in addition to the fact that the Museum’s close connections with Rubens is particularly allied to the promotion and dissemination of his career on the part of the Archduchess, who was governor of the Southern Netherlands. This explains why the Prado houses the largest collection of works by Rubens in the world.
The Female Perspective reflects the first edition of the symposium Key Women in the Creation of the Prado’s Collections: From Isabella I of Castile to Isabel Clara Eugenia (Protagonistas femeninas en la formación de las colecciones del Prado: De Isabel I de Castilla a Isabel Clara Eugenia), which took place in March this year and will be followed by Key Women in the Creation of the Prado’s Collections, Part II: From Elisabeth of France to Mariana of Neuburg (Protagonistas femeninas en la formación de las colecciones del Museo del Prado II: De Isabel de Borbón a Mariana de Neoburgo), to be held on 6 and 7 March 2023.
The full press release is available here»
The Female Perspective: Women Art Patrons of the Museo del Prado (Madrid: Prado, 2022), 160 pages, €10.
Symposium | Women in the Creation of the Prado’s Collections, Part II
From The Prado:
Key Women in the Creation of the Prado’s Collections, Part II: From Elisabeth of France to Mariana of Neuburg
Protagonistas femeninas en la formación de las colecciones del Museo del Prado II: De Isabel de Borbón a Mariana de Neoburgo
Museo del Prado, Madrid, 6-7 March 2023
El Museo del Prado posee dos peculiaridades que lo convierten en un modelo paradigmático para explorar, recuperar y difundir el destacado papel desempeñado por las mujeres en el ámbito del patronazgo artístico. La primera de ellas, vinculada a su creación y consolidación, nos remite a ejemplos tan significativos como el de su fundadora, Isabel de Braganza, o el de Isabel II, quien logró mantener unidas las obras que integraban el Real Museo de Pintura. La segunda de estas peculiaridades alude a la estrecha vinculación que existe entre la formación de sus colecciones y las mujeres de las casas reales europeas. Reinas, princesas, regentes y gobernadoras que, como quedó de manifiesto en la primera edición del simposio Protagonistas femeninas, celebrado en 2022, contribuyeron poderosamente, por haber aportado algunas de sus obras más valiosas, a enriquecer las colecciones que tenemos la fortuna de poder admirar aún hoy.
Para la segunda edición de este encuentro científico, cuya celebración hacemos coincidir con las vísperas del Día Internacional de la Mujer, el Museo del Prado reúne a un destacado elenco de investigadores internacionales que analizarán la promoción y agencia artística desarrollada por nuevas Protagonistas femeninas, esta vez por mujeres de una época encuadrada entre las vidas de Isabel de Borbón (1603–1644) y la de Mariana de Neoburgo (1667–1740).
En las diferentes sesiones teóricas y mesas redondas planteadas se examinarán, entre otras cuestiones, el concepto de reginalidad o queenship en la cultura visual de la Edad Moderna, la construcción de la imagen de poder femenina, la instrumentalización de arte al servicio de intereses políticos o devocionales y el papel que las mujeres desempeñaron como mediadoras artísticas y culturales, creando redes femeninas con importantes repercusiones en lo relativo al intercambio de obras y promoción de artistas.
Estas sesiones teóricas se verán complementadas con una propuesta de carácter práctico: la presentación y posterior visita al itinerario expositivo El Prado en femenino. Promotoras artísticas de las colecciones del Museo (1451–1633). Un recorrido a través de la colección permanente que nos invita a explorar nuevas narrativas, a conocer los relatos originales y sorprendentes que subyacen tras las obras comisionadas por mujeres de tan considerable repercusión histórica como María de Hungría, Juana de Austria o Isabel Clara Eugenia.
6 M A R Z O 2 0 2 3
9.00 Recogida de acreditaciones
Sesión 1. Mujeres y patronazgo artístico en el contexto de la cultura visual del Barroco
9.30 Presentación del simposio. Las mujeres de las Casas Reales (1602–1740) y la formación de las colecciones del Museo del Prado — Javier Arnaldo (Museo Nacional del Prado) y Noelia García Pérez (Universidad de Murcia)
10.00 Early Modern Women’s Patronage in a Global Context — Merry E. Wiesner (University of Wisconsin-Milwaukee)
10.45 Descanso-Café
11.30 Queenship in Early Modern World: Display, Ceremonial, Portraiture and Patronage — Elena Woodacre (University of Winchester)
12.15 Presentación del Itinerario expositivo El Prado en femenino: Promotoras artísticas de las colecciones del Museo (1541–1633) — Miguel Falomir Faus (Museo Nacional del Prado), Victor Cageao Santacruz (Museo Nacional del Prado), y Noelia García Pérez (Universidad de Murcia)
13.00 Visita libre al Itinerario
Sesión 2. Promotoras artísticas en el Museo del Prado (1602–1740)
16.30 Legado histórico-político de cuatro reinas de España en el siglo XVII (1621–1700): Proyectos realizados e inacabados — Silvia Mitchell (Purdue University)
17.30 Mesa redonda: De Isabel de Borbón a Mariana de Neoburgo: arte, política y devoción al servicio de la Casa de Austria
Modera: Mía Rodríguez Salgado (The London School of Economics and Political Science)
• Ezequiel Borgognoni (Universidad de Buenos Aires, Universidad Rey Juan Carlos)
• Gloria Martínez Leiva (Investigadora independiente)
• Cecilia Paolini (Università degli Studi di Teramo)
• Álvaro Pascual Chenel (Universidad de Valladolid)
7 M A R Z O 2 0 2 3
Sesión 3. Líneas de investigación y nuevas perspectivas de estudio
9.00 Starting the Conversation with Pictures: How Art Collecting Gave Women a Voice — Sheila Barker (University of Penssylvania/ Studio Incamminati)
9.45 Retratos y poder femenino en la cultura visual del Barroco: La construcción de la imagen Mariana de Austria
Modera: Mía Rodríguez Salgado (The London School of Economics and Political Science)
• Mercedes Llorente Molina (Universidad Jaume I)
• Patricia Manzano Rodríguez (Durham University)
10.45 Descanso-Café
11.15 Arte y devoción femenina en las colecciones del Museo del Prado en el contexto de la Contrarreforma — Benito Navarrete (Universidad de Alcalá)
12.00 Mesa redonda: Las mujeres de la Casa de Austria en las cortes europeas del Barroco
Modera: Kathleen Wilson Chevalier (American University, París)
• Katrin Keller (Austrian Academy of Sciences)
• Mathieu De Vinha (Centre de recherche du château de Versailles)
Sesión 4: Cristina de Suecia, reina, filósofa y patrona de las artes
15.30 Christina of Sweeden: Art Patron and Collector — Theresa Kutasz Christensen (Baltimore Museum of Art)
16.15 Mesa redonda: La huella de Cristina de Suecia en las colecciones del Museo del Prado
Modera: Manuel Arias (Museo Nacional del Prado)
• Beatrice Cacciotti (Università degli Studi di Roma)
• Miguel Ángel Elvira Barba (Universidad Complutense de Madrid)
• Mercedes Simal López (Universidad de Jaén)
Conference | Boiseries: Decoration and Migration
From the conference website:
Boiseries: Decoration and Migration from the Eighteenth Century to the Present
Camden Place, Chislehurst (Kent), 12–13 January 2023
Organized by Lindsay Macnaughton and Laura Jenkins
This two-day conference investigates the cultural and commercial migrations of French eighteenth-century boiseries from their places of production in Paris and the Bâtiments du Roi to the drawing rooms of Britain and the United States. It will be the first major study of boiseries in the context of transatlantic cultural history and will build on the landmark studies of panelling as architectural salvage by Bruno Pons (1995, 2001) and the late John Harris (2007). The conference will bring together international experts and emerging scholars in the fields of art, architecture, history, and museums and heritage management and will form part of a programme of events marking the 150th anniversary of the death of Napoleon III at Camden Place.
Camden Place, where the conference will be held, is an English country house whose history and interiors have been shaped by the migration of people and decoration for over 300 years. Home to Chislehurst Golf Club, the Grade II* listed building features architectural elements by the British architects George Dance the Younger (1741–1825) and James ‘Athenian’ Stuart (1713–1788), and played host to the French Imperial court after the fall of the Empire in 1870. French chimney pieces, boiseries from the eighteenth-century Château de Bercy (demolished in 1862), and heavily carved oak panelling are among the elements that make up the house’s many layers, testifying both to the eclectic tastes of its nineteenth-century occupants and to the multifaceted, and multinational, histories of many English country houses.
Organised by Dr Lindsay Macnaughton (University of Buckingham) and Laura C. Jenkins (The Courtauld Institute of Art), with support from Chislehurst Golf Club, The Chislehurst Society, The University of Buckingham, and The Society for the Study of French History.
Tickets are available here. For enquiries, please contact lindsay.macnaughton@buckingham.ac.uk or laura.jenkins@courtauld.ac.uk.
T H U R S D A Y , 1 2 J A N U A R Y 2 0 2 3
10.00 Registration
10.30 Introduction by Lindsay Macnaughton
10.45 Session 1 | The Cultural Impact of French Émigrés in Britain
Moderated by Lindsay Macnaughton
• Camden Place as a Headquarters of Bonapartism, 1870–1879 — Thomas C. Jones (Senior Lecturer, The University of Buckingham)
• The French Imperial Family in Exile: The Display of Collections in Camden Place, 1870–1880 — Rebecca Walker (Independent Scholar)
• Lord Hertford’s Room from the Château de Bercy — Félix Zorzo (Curatorial Assistant, The Wallace Collection)
12.45 Lunch
1.45 Session 2 | Moving Rooms: Markets and Merchants
Moderated by Mark Westgarth
• The Valued Fragment: Georges Hoentschel as Dealer in Historic Interiors — Ulrich Leben (Independent Scholar)
• Decorating on a Grand Scale: British Professional Decorators of the Early 20th Century — Pat Wheaton (Independent Scholar)
• Saviours or Gravediggers of Panelling? Some Thoughts on the Role of Merchants — François Gilles (PhD Candidate, Université de Versailles St-Quentin-en-Yvelines)
3.45 Tea and Coffee Break
4.15 Keynote Lecture
• The Archaeology of Camden Place: An Architectural Conundrum — Lee Prosser (Curator of Historic Buildings, Historic Royal Palaces)
5.15 Closing Remarks
6.00 Drinks Reception
F R I D A Y , 1 3 J A N U A R Y 2 0 2 3
9.30 Tours of Camden Place (Registrants)
10.00 Registration
10.30 Opening Remarks by Laura Jenkins
10.45 Session 3 | Staging the Past: Boiseries and ‘Period Rooms’
Moderated by Laura Jenkins
• History of the Paneling of the State Bedroom of the Hôtel de Chevreuse et de Luynes in Paris, 1765–2014 — Frédéric Dassas (Senior Curator, Musée du Louvre)
• The ‘Roman’ Petit Salon of the Duc d’Aumont and the 18th-Century Origins of the Period Room — Gabriel Wick (Lecturer, NYU Paris)
• ‘Un Décor Authentique et Harmonieux’: Framing and Aestheticising the Cognacq-Jay Collection — Barbara Lasic (Lecturer, Sotheby’s Institute of Art)
12.45 Lunch
1.45 Session 4 | Franco-British Collectors of Boiseries
Moderated by Helen Jacobsen
• British Duc d’Aumale: The Boiseries of Orleans House, from Twickenham to Chantilly — Mathieu Deldicque (Director, Musée Condé, Château de Chantilly)
• Contextualising the Rothschild Collection of Panelling at Waddesdon Manor (provisional title) — Mia Jackson (Curator of Decorative Arts, Waddesdon Manor)
• Uncovering Identity and a Nationalist Narrative: The Imported Interiors at Harlaxton Manor — Carter Jackson (PhD Candidate, Boston University)
3.45 Tea and Coffee Break
4.15 Session 5 | Reuse and Reinterpretation
Moderated by Caroline McCaffrey-Howarth
• Past Lives: The Mona Von Bismarck House, 34 Avenue de New York, Paris — Melany Telleen (Independent Scholar)
• Boiserie Alternatives: Wallcoverings in Glass Beads, Straw, Lacquer, Porcelain, and Feathers — Maureen Cassidy-Geiger (Independent Scholar)
5.45 Closing Remarks
6.00 Tours of Camden Place (Registrants)
Enfilade 
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