Enfilade

From ArtHist.net and the conference website:

(Re)Searching Connections: Artists’ International Social Networks, 1750–1914

Academia Belgica, Rome, 30 September — 1 October 2025

Registration due by 20 September 2025

This two-day international academic conference presents recent and ongoing research into the social networks of artists who lived, studied, and worked abroad between 1750 and 1914. Embracing a broad chronological and geographical scope, it brings together insights from various global contexts. By fostering interdisciplinary dialogue across art history, sociology, and digital humanities, and by connecting diverse methodologies and findings across specializations, we aim to deepen our understanding of the transnational social connections that ‘make’ art history.

The conference is organized by Musea Brugge in collaboration with the Academia Belgica. Free registration is available here before 20 September 2025.

t u e s d a y ,  3 0  s e p t e m b e r

10.00  Welcome — Anne van Oosterwijk (Musea Brugge)

10.05  Introduction — Cécile Evers (Academia Belgica)

10.15  Keynote Lecture
• France Nerlich (Musée d’Orsay) — Between Legacy and the Living: Artistic Dialogues in a Transnational Europe

11.15  Session 1 | Navigating National Identities
Chair: Christine Dupont (House of European History)
• Thijs Dekeukeleire (Musea Brugge) — The Writing’s on the Wall: Mentorship, Mobility, and the Bruges-Rome Artistic Network, ca. 1800
• Cécilia Hurley-Griener (École du Louvre) — Réseaux superposés: Espaces et sociabilités dans la Rome du XIXe siècle
• Julia A. Sienkewicz (Roanoke College) — Networking and the Making of a Transnational Sculptor: The Social Sites of Luigi Persico

14.15  Session 2 | Networks’ Sources
Chair: Veerle Thielemans (INHA-Institut national d’histoire de l’art)
• Virginie D’haene (Museum Plantin-Moretus) — Achieving Ideals: The Social Network behind Andries Lens’s Neoclassicism
• Lucie Montassier (Université de Poitiers) — Reconstituer les réseaux des artistes femmes: Les approches cartographiques
• Ieva Kalnača and Aija Zandersone (Latvian National Museum of Art) — Mapping a Network: Documenting Latvian and Spanish Artistic Connections in Paris, 1900–1914

16.15  Session 3 | The Studio as a Social Hub
Chair: Laura Overpelt (KNIR-Royal Netherlands Institute in Rome)
• Oriane Poret (Université Lyon 2/LARHRA) — Beasts on Loan: Global Networks and the Economy of 19th-Century Animal Art
• Marlen Schneider (Université Grenoble Alpes/LARHRA) — In the Light of Batoni’s Studio: Artistic Networks and the Circulation of Drawing Practices between Rome and German Art Academies

w e d n e s d a y ,  1  o c t o b e r

10.00  Introduction – Anne van Oosterwijk (Musea Brugge)

10.15  Keynote Lecture
• Giovanna Ceserani (Stanford University) — ‘Here in the Proper Center for Gentlemen of [t]his Profession’: Artists in 18th-Century Rome

11.15  Session 4 | From Data to Networks
Chair: Eva Geudeker (RKD-Netherlands Institute for Art History)
• Mayken Jonkman (Rijksmuseum Amsterdam) — Paris Intimates: The Role of Connections for Dutch Artists’ Success in the French Capital, 1774–1914
• Fien Messens (Ghent University and KBR-Royal Library of Belgium) — Networking over a Bowl of Onion Soup: A Data-driven Perspective on the Artist François-Joseph Navez in Rome
• Carla Mazzarelli (Università della Svizzera italiana), Gaetano Cascino (Università della Svizzera italiana and Università Roma Tre), and Luca Piccoli (Università della Svizzera italiana and Sapienza Università di Roma) — For a map of Artistic Sociability inside the Museo di Roma: 19th-Century Visiting Experiences and Networks

14.15  Session 5 | Academies as Anchor
Chair: Anne van Oosterwijk (Musea Brugge)
• Gabriel Marques (Universidade NOVA de Lisboa – FCSH) — National Academies and Artistic Communities in Rome: The Portuguese Pensioners of the 1820s–1830s
• Dominiek Dendooven (Merghelynck Museum and Yper Museum) — A Transnational Network to ‘Revive Flemish Art’: Bruges and Rouen in the 18th Century

15.45  Session 6 | Collaboration across Borders
Chair: Evelien De Wilde (Musea Brugge)
• Nina Reid (Radboud University) — The Power of the Print: International Etching Societies during the Fin-de-siècle
• Iliana Mejias-Ojajärvi (University of Helsinki) — Russian Artists’ Exhibition Activities in Helsinki, 1890–1911: Organization, Artistic Exchange, and Transnational Connections

16.45  Closing Keynote Lecture
Giovanna Capitelli (Università Roma Tre) — Transnational Sources for Studying the Cosmopolitan Art World of Early 19th-Century Rome

18.00  Reception

From ArtHist.net:

Stucco Decoration across Europe

Baldassarre Fontana and Other Travelling Stucco Artists

Online and in-person, Olomouc and Kroměříž, Czech Republic, 16–18 June 2025

Focusing on the the life and work of Baldassarre Fontana (1661–1733), this conference addresses stucco artists working across Europe in the seventeenth and early eighteenth centuries. Fontana created a number of remarkable works, particularly in the territories that are now the Czech Republic and Poland. The conference aims to present new findings pertaining to material studies within the broader context of the migration phenomenon, showcasing diverse methodological approaches and the latest techniques for studying, interpreting, restoring, preserving, and conserving stucco decorations across Europe.

The conference is organized as part of the Stucco Decoration across Europe project (STUDEC), co-financed by the European Union thanks to the Erasmus+ programme, KA220-HED – Cooperation partnerships in higher education. The conference is held under the auspices of the Swiss Embassy in the Czech Republic and the Italian Cultural Institute in Prague. Partners of the conference are Archbishopric of Olomouc and Archbishopric Château and Garden in Kroměříž.

Scientific Committee
Alberto Felici (SUPSI Mendrisio), Giacinta Jean (SUPSI Mendrisio), Martin Krummholz (Palacký University Olomouc), Ondřej Jakubec (Palacký University Olomouc), Michał Kurzej (Jagiellonian University in Cracow), Serena Quagliaroli (University of Turin), Jan Válek (Institute of Theoretical and Applied Mechanics of the Czech Academy of Sciences), Jana Zapletalová (Palacký University Olomouc)

Organising Committee
Jana Zapletalová, Martin Krummholz, Ondřej Jakubec

Organisational Assistance
Štěpánka Malíková, Jan Malý, Jiří Mikuš, Natálie Nosková, Anna Rýcová

m o n d a y ,  1 6  j u n e

8.00  Registration

9.00  Welcome and Greetings
• Marialuisa Pappalardo, Director of the Istituto Italiano di Cultura di Praga
• Lorenza Fässler Pascuzzo, Deputy head of Mission, Swiss Embassy to the Czech Republic
• Jana Zapletalová, Palacký University Olomouc

9.20  Section 1 | Baldassarre Fontana between Chiasso, Rome, and Moravia: Education, Life, Patrons, and Networking
Directed by Jana Zapletalová and Martin Krummholz
• Stefania Bianchi and Mark Bertogliati — Baldassarre Fontana: Professional Success and Patrimonial Fortune
• Federico Bulfone Gransinigh — Baldassarre Fontana in Rome: Collaborations and Apprenticeships between Hypotheses and Certainties
• Laura Facchin — Baldassarre Fontana and Ercole Ferrata’s Workshop in Rome: The Legacy of Alessandro Algardi
• Katarzyna Brzezina-Scheuerer — Hohenaschau and the Stucco Decorations in Bavaria in the Late 17th Century
• Jana Zapletalová — The Unknown Beginnings of Baldassarre Fontana’s Work in Moravia

12.15  Lunch break

14.00  Section 2 | Baldassarre Fontana in Poland: Impacts and the Art of Stucco of His Time
Directed by Matej Klemenčič and Piotr Krasny
• Michał Kurzej — Stuccoes in Bookkeeping: The Cracow Work of Baldassarre Fontana in Light of Archival Sources
• Mariusz Smoliński — Baldassarre Fontana and the Stucco Decoration of the Pawlowski Chapel in Doboszowice (Silesia)
• Martin Krummholz — Early Commissions of Santino Bussi (1664–1736): Payments to Stucco Workers in Central Europe around 1700
• Marina Dell´Omo — Stuccatori e pittori lombardi e ticinesi nell’Europa centrale, tra legami personali e rapporti con la committenza: Qualche esempio

16.15  Optional Visit: Corpus Domini Chapel in former Jesuit Convict, led by Jan Malý and Medea Uccelli

t u e s d a y ,  1 7  j u n e

8.00  Departure to Kroměříž Château

9.30  Section 3 | Baldassarre Fontana’s Stucco Decoration in the Sala Terrena, Kroměříž Château
Directed by Alberto Felici and Jana Zapletalová
• Jana Zapletalová — Brief Art Historical Introduction
• Alberto Felici and Giovanni Nicoli — Emergency Interventions
• Jan Válek, Sylwia Svorová Pawełkowicz, and Petr Kozlovcev — Materials and Manufacturing Techniques
• Sylwia Svorová Pawełkowicz and Jan Válek — Original Finishes and Subsequent Coatings
• Peter Majoroš — The Colour Conception

12.00  Lunch break / time to visit the Castle and Gardens

15.00  Departure from Kromeriz to Olomouc

16.30  Section 4 | Stucco Manufacturing Techniques and Their Conservation Issues
Directed by Giacinta Jean and Alberto Felici
• Alberto Felici, Giovanni Nicoli, and Medea Uccelli — The Cleaning of Stucco Decorations: Conservation Treatments between Historical-Aesthetic Instances and Operational Practice
• Jan Vojtěchovský and Daniela Jakubů — Stucco Decoration of the Chapel of St. Isidore in Křenov and Its Surface Treatments
• Blanka Veselá and Zuzana Wichterlová — Study of Original Stucco Techniques by Bartolomeo Muttoni and Their Polychromy in the Baroque Chapel of Kácov Castle
• Marta Caroselli, Eleonora Cigognetti, Alberto Felici, Giovanni Nicoli, and Alessia Grandoni — Consolidation of Stucco Decorations, Laboratory Tests, and Field Applications

w e d n e s d a y ,  1 8  j u n e

9.00  Section 5 | Materiality, Authenticity, and Perception of 17th- and 18th-Century Stucco Decorations
Directed by Serena Quagliaroli and Edi Guerzoni
• Serena Quagliaroli — Some Preliminary Observations on the History of Stucco Restoration: Comparing Cases from Piedmont and Eastern Europe
• Andrzej Siwek — Conservation Works on the Interior of St. Anne’s Church in Cracow in the 2nd Half of the 20th Century and Their Place in the State of Research on Fontana’s Artistic Legacy
• Daniela Russo, Marie-Claire Canepa, Annalisa Dameri, Andrea Longhi, Irene Malizia, Paola Manchinu, and Chiara Ricci — The Stucco Decoration of the Sala Verde at the Castello del Valentino: Study, Preservation, and Proposals for Conservation
• Stefania De Blasi and Edi Guerzoni — The Color of Stuccoes: Towards a History of Restoration in 1990s Piedmont from the Pinin Brambilla Barcilon Archive and the Case of the Former Santa Croce Convent in Turin
• Renata Tišlová, Zdeněk Kovářík, and Zdeňka Míchalová — Material and Technological Beginnings of Stucco Marble Art in the Czech Lands at the Turn of the 17th and 18th Centuries

12.00  Lunch break

13.30  Section 6 | Predecessors and Contemporaries of Fontana: Interactions between Stucco Workers, Architects and Other Artists
Directed by Ondřej Jakubec and Massimo Romeri
• Giuseppe Dardanello — Stuccatori luganesi to the Challenge of Painted Quadratura: Competition and Interaction between Decorative Techniques and Choices of Taste in the Decorative Worksite of Stupinigi
• Frančiška Oražem, Sara Turk Marolt, and Matej Klemenčič — From Lombard Tradition to Bavarian Innovation: The Transformation of Stucco and Altarpiece Production in Carniola in 1730s to 1750s
• Piotr Krasny — Gesamtkunstwerk, Bel Composto, or Homogenous Arrangement? On the Problems with Describing Early Modern Interior Decorations by Artists from the Region of Lake Como and Lake Lugano

14.45  Final discussion

From the conference programme:

Matters of Knowledge:

Paradigms and Practices of Conservation through the Centuries

Université de Neuchâtel, June 5–6 June 2025

Preservation and conservation, along with collecting and valuation, are pillars of any institution that holds a collection of cultural heritage. However, conservation is rarely the subject of analytical and reflexive discourse, researched in a historical perspective. Studies in museology, the history of collections, and even the history of science and technology, have offered their perspectives on why and how all kinds of material collections are preserved in institutions dedicated to conservation. Further, the professionals of these institutions are faced with their own questions about the state of their collections and the origins of the practices they execute in their daily work.

As part of the SNSF project Libraries and Museums in Switzerland (https://www.biblios-musees.ch/), a two-day conference will be held on June 5th and 6th, 2025, focusing on all these dimensions of the conservation of important collections since their founding. This event will bring together academic, scientific and professional circles, while providing an opportunity for theoretical reflection and case studies.

More information and abstracts of the papers can be found here»

t h u r s d a y ,  5  j u n e

9.45  Welcome and Introduction

10.00  Documentation and Exhibition of Museum Work
Moderator: Séverine Cattin
• Isabelle Le Pape — Exposer les coulisses du musée: Dévoilements et mises en abyme
• Julie Hochenedel — Transforming the Museum into Heritage: Photographs of Exhibition Spaces in the Louvre Museum

11.30  Coffee Break

12.00  Keynote Lecture
Moderator: Valérie Kobi
• Lauren R. Cannady — Paper Gardens: Cataloguing Change in Early Modern Botanical Thinking

13.00  Lunch Break

15.00  Practices of Conservation in a Global Perspective
Moderator: Natania Girardin
• Marie-Charlotte Lamy — The Race for the Mounted Specimen: The Art of Taxidermy in the Museum Context of the 19th Century
• Karolyna de Paula Koppke — Two Conservator-Restorers in 19th-Century Americas: Carlos Luiz Do Nascimento (1812–1876) and Vicente Huitrado (?–1890)

17.00  Exhibition Visit
Nommer les Natures: Histoire naturelle et héritage colonial at the Muséum d’Histoire Naturelle de Neuchâtel, Rue des Terreaux 14

f r i d a y ,  6  j u n e

9.15  Genius loci and Classifications
Moderator: Remo Stämpfli
• Alexandre Claude — Unchanging Materials? Preserving Stones in Early Modern European Collections
• Felicity Myrone and Ce Stevenson — Library or Print Room? New Insights into the Collecting and Care of Graphic Materials at the British Museum
• Federica Mancini — Des paradigmes et des pratiques à faire évoluer : Le cas du fonds graphique Picot-Brocard conservé au musée du Louvre

12:00  Lunch Break

13.45  Nationalism, Transculturation, and Identity Politics
Moderator: Chonja Lee
• Yuka Kadoi — From Shrine to Museum: Demonumentalising Persian Architectural Heritage
• Charlotte Rottier — The Making of a ‘Musée Belge’ Abroad? Private and State Art Collections on Display in Diplomatic Interiors, 1900–1940

15.15  Closing Remarks

From ArtHist.net:

History of Map Collecting: Vienna, Central Europe, and Beyond

University of Vienna, 12 June 2025

Organized by Silvia Tammaro and Eva Chodějovská

Organised jointly by the Vienna Center for the History of Collecting (University of Vienna, Austria) and the Moravian Library in Brno (Czech Republic), the conference will be accompanied by an exhibition on Bernard Paul Moll (1697–1780) and his map collection, formed in 18th-century Vienna and now preserved at the Moravian Library. To register, please send an email to silvia.tammaro@univie.ac.at.

p r o g r a m

9.00  Welcome and Opening
• Markus Ritter (Head of Department of Art History, University of Vienna)
• Tomáš Kubíček (Director of the Moravian Library Brno)
• Eva Chodějovská and Silvia Tammaro (Conference Organizers)

9.30  Composite Atlases
• Markus Heinz (Berlin State Library) — Collectors’ Practices: A Composite Atlas Built on an Editor’s Atlas
• Elisabeth Zeilinger (Austrian National Library, Vienna) — Aspects of Collecting in the Mirror of the Atlas Blaeu-Van der Hem
• Maretta Johnson (Atlas Van Stolk, Rotterdam/Amsterdam University) and Anne-Rieke van Schaik (Amsterdam University) — Maps as Memory Mirrors: The Construction of a Historical Narrative in the Album of Willem Luytzs van Kittensteyn (1613)

11.00  Coffee Break

11.30  A Passion for Maps: Bernard Paul Moll’s Eighteenth-Century Composite Atlas
• Eva Chodějovská and Jiří Dufka — Exhibition launch and discussion

12.00  Lunch

13.15  Collectors
• Jan Mokre (Austrian National Library, Vienna) — Map Collectors and Collections in Vienna, 17th to 19th Centuries
• Silvia Tammaro (University of Vienna) — Artaria & Co. and the Market of Maps and Art Objects
• Šárka Steinová and Filip Paulus (National Archives of the Czech Republic, Prague) — Franz Leonard Herget: Creator of the Collections of the Czech Estates Engineering School

14.45  Coffee Break

15.00  Map Collections: Between State and Private
• Martijn Storms (Leiden University Library) — The 19th-Century Private Map Collectors in the Netherlands
• Zsolt Török (ELTE Eötvös Loránd University, Budapest) — Concealed Composite Atlases: Maps in a 19th-Century Hungarian Petty Noble Art Collection
• Katie Parker (Royal Geographic Society, London) — The Map Office of the Nation: Collecting Maps at the Royal Geographical Society

16.30  Closing Discussion

17.30  Guided Tour to the Woldan Map Collection
• Petra Svatek (Austrian Academy of Sciences) — Meet at Dr.-Ignaz-Seipel-Platz, 1010 Vienna (in front of the Jesuit Church).

Located near Dessau, Schloss Mosigkau, was built by Princess Anna Wilhelmine of Anhalt-Dessau in the 1750s.

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From ArtHist.net:

Auf einen Blick mit … C. F. R. Lisiewsky. Matinée zum 300. Geburtstag

Schloss Mosigkau, Dessau-Rosslau, 15 June 2025

Registration due by 13 June 2025

2025 jährt sich der Geburtstag des Malers Christoph Friedrich Reinhold Lisiewsky (1725–1794) zum 300. Mal—Anlass, um diesen (nicht nur) für Anhalt-Dessau bedeutsamen Künstler mit einer Veranstaltung zu würdigen. Lisiewsky, der meist im Schatten von Künstlerkollegen wie Anton Graff oder Antoine Pesne steht, hat zwanzig Jahre als Hofmaler in Anhalt-Dessau gewirkt und hier zahlreiche Spuren hinter lassen. Im Schloss Mosigkau, wo im Jahr 2010 die erste Retrospektive zu Lisiewsky unter dem Titel „Teure Köpfe“ gezeigt wurde und wo sich heute eine umfangreiche Sammlung von Gemälden des Malers befindet, will die Matinee mit Fachvorträgen und einer Führung neue Blicke auf Lisiewsky und dessen Umfeld eröffnen.

Bitte melden Sie sich bis zum 13.6.2025 bei Jana Kittelmann an: jana.kittelmann@gartenreich.de. Aktuelle Informationen zur Veranstaltung finden sich unter: https://www.gartenreich.de/de/aktuelles/veranstaltungen?y=2025&m=6

p r o g r a m m

13.00  Begrüßung — Jana Kittelmann und Maria Zielke (Kulturstiftung Dessau-Wörlitz)

13.05  Grußwort — Wolfgang Savelsberg (Dessau)

13.15  Zur Einführung oder Blicken, Sichten, Sehen im Zeitalter Lisiewskys — Jana Kittelmann (KsDW)

13.30  Falten, Warzen und Triefnasen. Hässlichkeit als Programm bei den Herrenbildnissen von C.F.R. Lisiewsky — Kilian Heck (Universität Greifswald)

14.00  Pause

14.15  Lisiewsky und das ‚veristische‘ Porträt — Reimar F. Lacher (Gleimhaus Halberstadt)

14.45  Beobachtungen zur Maltechnik C.F.R. Lisiewskys als Hofmaler, Alchemist und Restaurator — Maria Zielke (KsDW)

15.00  Führung zu Gemälden Lisiewskys — Andreas Mehnert (KsDW)

ab 15.30  Ausklang auf der Schlossterrasse

Japanese, Arrival of the Europeans, first quarter of the 17th century, one of a pair of folding screens, 105 × 261 cm
(New York: The Metropolitan Museum of Art, 2015.300.109.1, .2).

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From ArtHist.net and the University of York:

The Global Baroque

European Material Culture between Conquest, Trade, and Mission, 1600–1750

King’s Manor, University of York, 10–11 July 2025

Organized by Adam Sammut and Tomasz Grusiecki

Registration due by 1 July 2025

The period of Western art history known as ‘the Baroque’ has traditionally been interpreted as a stylistic phenomenon. However, artistic production in Europe from around 1600 to 1750 was enabled by a proto-industrial world system dominated by Spain and Portugal, the Netherlands, and later Britain. As a result, material culture became entangled in networks of trade, colonial rule, and Catholic global mission stretching from Naples to Nagasaki. This conference will broaden perspectives on the Baroque, embracing its transcontinental and multi-media character. By culturally decentring Europe and with materiality a special focus, the programme will recast the continent as a constituent part of an expanding artistic world driven by war, the exploitation of ecosystems, and the first information technology revolution. Bringing together scholars and museum curators from the UK and internationally, the conference will demonstrate how objects can offer intimate insights into global histories often characterised by vast, impersonal economic forces.

Part of The British Academy Conferences 2025/26

t h u r s d a y ,  1 0  j u l y

9.00  Registration with coffee, tea, and pastries

9.40  Opening Remarks — Adam Sammut (University of York) and Tomasz Grusiecki (Boise State University)

10.00  Session 1 | Baroque Aesthetics
Chair: Adam Sammut (University of York)
• Black Beauty and the Canon: Nicolas Cordier’s Borghese Moor — Lorenzo Pericolo (Florida State University)
• Ancient Greece and the English Baroque — Matthew Walker (Queen Mary University of London)

11.20  Coffee and tea

11.50  Session 2 | New Geographies of the Low Countries
Chair: Cordula van Wyhe (University of York)
• Global Conversions: Peter Paul Rubens, King Philip IV of Spain, and the Coiners of Antwerp — Christine Göttler (University of Bern)
• Biting lines: Baroque Violence in Rembrandt’s Small Lion Hunt (1629) — Thomas Balfe (The Warburg Institute)
• A Taste for Blackness: Ebony in the Dutch Republic — Claudia Swan (Washington University in St. Louis)

13.20  Lunch break

14.20  Session 3 | Ottoman Worlds
Chair: Richard McClary (University of York)
• Style, Society, and the State: Ottoman Baroque Identities in 18th-Century Istanbul — Ünver Rüstem (Johns Hopkins University)
• Object Circulation and Networks on the Periphery of Eastern Central Europe: The Case Studies of the Ottoman Tributary States of Transylvania and Moldavia — Robert Born (Bundesinstitut für Kultur und Geschichte des östlichen Europa)

15.30  Coffee and tea

16.00  Keynote Address
• Necropastoral Worldscapes in Dutch-occupied Brazil — Angela Vanhaelen (McGill University)

18.00  Dinner at Ambiente Fossgate, by invitation

f r i d a y ,  1 1  j u l y

9.30  Coffee, tea, and pastries

10.00  Session 4 | Where is Central and Eastern Europe?
Chair: Tomasz Grusiecki (Boise State University)
• Corpisanti between Rome and the Fringes of Catholicism: A Case Study in a Centripetal Approach to Material Culture of the Late Global Baroque — Ruth Sargent Noyes (Estonian Academy of Arts)
• Black Bodies as Baroque Decorations: Objectification of Africans in the Self-Representation of Polish-Lithuanian Elites — Vital Byl (University of Bonn)

11.00  Coffee and tea

11.30  Session 5 | The Asia-Pacific and the Indian Ocean
Chair: Tara Alberts (University of York)
• Objects and Empire on the Portuguese India Run — Elsje van Kessel (University of St Andrews)
• Indian Oceanic Travels of Coco-de-mer: Mythology and Materiality — Peyvand Firouzeh (University of Sydney)
• The Transcultural Body of the Mermaid — Anna Grasskamp (University of Oslo)

13.00  Lunch break

14.00  Session 6 | Atlantic Crossings
Chair: Simon Ditchfield (University of York)
• What’s in a Name? The Low Countries and the Global Turn — Stephanie Porras (Tulane University)
• A Counter-Baroque? Iroquois Town Planning and the Early Modern Imagination — Lorenzo Gatta (University College London)
• Emptied Orbs, or, A Case Against the Global — Aaron Hyman (University of Basel)

15.30  Coffee and tea

16.00  Roundtable discussion

17.30  Wine reception

Gold Box with Hanau marks for Les Frères Toussaint, ca. 1780
(Nuremberg: Germanisches Nationalmuseum, HG13559)

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This year’s Haughton International Seminar:

Treasures: Creation, Emulation, and Imitation

The British Academy, 11 Carlton House Terrace, London, 25–26 June 2025

Each year the Haughton International Seminar draws together a group of eminent international speakers to share their knowledge and passion with an appreciative audience. This year’s seminar, Treasures: Creation, Emulation, and Imitation—dedicated to the memory of Dame Rosalind Savill—will take place in London at The British Academy on Wednesday, 25th and Thursday, 26th June.

From the earliest cave painters to the stars of today, artists have balanced invention with imitation. Imitation looks to nature—the human form or the shape of a flower—but artists also imitate each other. In some cases imitation is loose and a point of departure; in others it is exact but made as honest copies; and in yet others it is done to impersonate and to deceive. Addressing a wide range of media—including the 18th-century ‘Porcelain Fever’ of Augustus the Strong, the 19th-century Arts & Crafts movement, royal sculptural collections, gold boxes, and more—the seminar will explore the extent to which the works were creations, emulations, or imitations. More information about the 2025 seminar, along with previous years’ offerings, can be found at the event website, where one can also purchase tickets. Booking in advance is essential due to limited numbers.

p r e s e n t a t i o n s

• Adriano Aymonino — Media Transfer: Creating, Emulating, and Imitating the Antique in Early Modern Europe

• Emerson Bowyer — Canova: Sketching in Clay

• Tobias Capwell — The Helmschmids of Augsburg: German Renaissance Masters of the Art of Armour

• Angela Caròla-Perrotti — Del Vecchio, Giustiniani, Mollica, or Colonnese? A Preliminary Approach to Differentiating Vases ‘all’Etrusca’ Produced in Naples between 1800 and 1850

• Ivan Day — The Surtout de Table: From Trionfi da Tavola to Gilt Bronze

• Katharina Hantschmann — The Best Teachers: Role Models for Porcelain Production and a Virtuoso in Nymphenburg

• J. V. G Mallet and Elisa Sani — Italian Maiolica in the Rothschild Collection at Waddesdon Manor

• Jonathan Marsden — Changing Seasons: Sculptural Metamorphoses from the Royal Collection

• Roger Massey — Ingenuity and Plagiarism: The Concept of Originality in 18th-Century English Pottery and Porcelain Figures

• Stacey Pierson — Archaism as Imitation: Recreating the Past in Chinese Porcelain

• Justin Raccanello — From Imitation to Modernity: Margaret and Flavia Cantagalli and the Art Nouveau

• Linda Roth — Ceramicist Taxile Doat (1851–1938): Imitation to Innovation

• Timothy Schroder — All the Glitters is Not Gold: Perception and Deception in the World of Goldsmithery

• Heike Zech — Made in Paris? So-called poinçons de prestige on 18th-Century Goldboxes