Enfilade

From the Women’s History Network:

Telling Her Story: Women’s History, Heritage, and the Built Environment
Wrest Park, Bedfordshire, 19 March 201

Organized by Megan Leyland, Roey Sweet, and Andrew Roberts

Telling Her Story will bring together heritage professionals and academics to explore the diverse roles and experiences of women at historic sites. Whether in country houses or castles, women have played a pivotal role in shaping the built environment and in influencing the course of history. Yet, more often than not, their voices are marginalised or missing from the historical record and from interpretation at heritage sites.

This conference seeks to uncover the many and varied experiences of women at historic properties in the care of English Heritage and other heritage organisations. It aims to move beyond stock biographies of famous and extraordinary women to discover the many diverse stories of women from all walks of life, to offer new perspectives on better-known individuals and to critique narratives and interpretations which continue to be constructed principally around the experiences of men.

This conference is being jointly organised by English Heritage and the University of Leicester, and has been generously supported by the Women’s History Network Small Grant Scheme. Dr. Megan Leyland (English Heritage), Prof. Roey Sweet (University of Leicester), Dr. Andrew Roberts (English Heritage).

Tickets, £30, are available by calling our dedicated ticket sales team on +44(0) 370 333 1183. A limited number of free tickets for students / unwaged are available; to apply, please contact megan.leyland@english-heritage.org.uk with why the conference is relevant to your research, interests, or work. Tickets will be allocated on a first come first serve basis. Please note, this programme is subject to change.

P R O G R A M M E

9:30  Coffee

10:00  Welcome and Introduction

10:10  Castles and Warfare
• Rachel Delman (University of Oxford), Writing medieval women back into castle narratives
• Karen Dempsey (University of Reading), Outside the can(n)on: Telling inclusive stories of the medieval past
• Jessica Malay (University of Huddersfield), Anne Clifford’s transformation of Westmorland through the construction of households
• Emma Turnbull (University of Oxford), Remembering resistance: Female activism during the English Civil Wars

10:10  Silent Voices
• Helen Bates (University of Leicester), The truth, the whole truth and nothing but the truth? New interpretations of women at Lincoln Castle Victorian Prison
• Nigel Cavanagh (Network Archaeology), An alternative focus for industrial heritage: Women’s lives in Elsecar, ca. 1780–1870
• Kate O’Neill (RCA/ V&A), Capturing the invisible? Photography and female domestic servants in the country house, 1850–1920
• Elena Settimini (University of Leicester), Demeter’s daughters: The representation of women within a vineyard landscape

12:00  Lunch

1:00  Eighteenth-Century Female Patronage
• Ruth Larsen (University of Derby), Beyond the withdrawing room: Exploring notions of gendered spaces in the eighteenth-century country house
• Lydia Hamlett (University of Cambridge), Revealing women’s stories through mural painting, 1680–1720
• Amy Boyington (University of Cambridge), Female architectural patronage in eighteenth-century Britain

1:00  Written out of History
• Judith Phillips (Bowes Museum/ Teesside University), Mrs. Bowes’s mansion, museum, and galleries: Joséphine Bowes and The Bowes Museum
• Louise Devoy (Royal Observatory, Greenwich), Observatory life: Adding domestic history and female voices to the story of the Royal Observatory
• Eleanor Sier (Toynbee Hall), Kate Bradley (University of Kent), and Lucinda Matthews-Jones (Liverpool John Moores University), Toynbee Hall: Mother of settlements

2:15  Coffee

2:30  Connecting People, Space, and Place
• Hannah Worthen (University of Hull), Gender and the hidden histories of English landed estates
• Emma Purcell (University of Leicester), The impact of heiresses on the Montagu property network, ca. 1749–1827
• Jon Stobart (Manchester Metropolitan University), Housekeeper, correspondent and confidante: The under-told story of Mrs Hayes of Charlecote Park, ca. 1740–60

2:30  Heritage Industry Approaches
• Rachael Lennon (National Trust), Challenging histories: Women and power
• Morvern French and Stefan Sagrott (Historic Environment Scotland), Telling their stories: From warriors to witches, and everything in between
• Megan Leyland (English Heritage), Telling the story of England: Women’s history at English Heritage

4:00  Closing Discussion / Tour

Exhibitions and Posters
Exhibition material on display throughout the conference includes The Women of Wrest Park (the Wrest Park Volunteer History Group, English Heritage), Uncovering Women’s Voices in the Richmond Castle Cell Block (the Richmond Castle Cell Block Project volunteers, English Heritage), and Marble Hill Revived (English Heritage), as well as academic posters.

Please pay particular attention to the HECAA session, Imitation, Influence, and Invention in the Enlightenment, chaired by Heidi Strobel and Amber Ludwig, which takes place Wednesday morning at 8:30, and the ASECS session The 1790s, chaired by Julia Sienkewicz, scheduled for Friday afternoon at 2:00. In addition, a few spots for the American Institute for Conservation’s annual ‘Learning to Look’ workshop on Eighteenth-Century Mexican Painting, held at LACMA in connection with the exhibition Pintado en México, 1700–1790: Pinxit Mexici, have generously been reserved for Enfilade readers (please see details below and email Rebecca Rushfield at wittert@juno.com to RSVP). Finally, with more and more thematic offerings, I’ve inevitably missed material relevant to the eighteenth century; so, please don’t be bashful about noting panels omitted below. –CH

106th Annual Conference of the College Art Association
Los Angeles Convention Center, 21–24 February 2018

In 2018, CAA will return to LA for its 106th Annual Conference. The four-day event will be held at the Los Angeles Convention Center from Wednesday, February 21 through Saturday, February 24. The conference consists of over 300 presentations, panel discussions, workshops, special events, and exhibitions exploring the study, practice, and history of art and visual culture. As the best-attended international forum in the visual arts, the Annual Conference creates a community of practitioners, scholars, and the general public seeking to learn and connect. Attendees expand their professional networks, meet with potential employers, and strengthen their skills in professional-development workshops. CAA’s annual gathering facilitates networking opportunities and enables the exchange of ideas and information with colleagues from across the globe.

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Historicizing Loss in Early Modern Europe
Wednesday, 21 February, 8:30–10:00am

Chair: Julia Vazquez (Columbia University)

• Losing Battles: The Memory of Perfection in Sixteenth-Century Italy, Francesca Borgo (Getty Research Institute)
• Villalpando’s View of the Zócalo of Mexico City and the Destruction of the Viceregal Palace in 1692: History or Politics?, Luis Javier Cuesta Hernández (Universidad Iberoamericana, Mexico City)
• Wax, Fire, and the Search for an Imperishable Medium, circa 1754, Oliver Wunsch (Harvard University)

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Imitation, Influence, and Invention in the Enlightenment (HECAA)
Wednesday, 21 February, 8:30–10:00am

Chairs: Heidi A. Strobel (University of Evansville) and Amber Ludwig (Independent Scholar)

• Contextualizing Carmontelle’s Profile Pictures: A Re-examination of an Amateur Artist’s Face-books, Margot Bernstein (Columbia University)
• Invention for imitation: The Troubled Status of Macklin Bible Paintings, Naomi Billingsley (University of Manchester)
• Fashion, Subjectivity, and Sociability in the Amateur Copy: Fleury Richard à la Hortense de Beauharnais, Marina Kliger (New York University)
• Artistic Copies, Imitation, and Exchange Value: The Case of Colonial Mexico’s Academy of Art, Oscar E. Vázquez (University of Illinois at Urbana-Champaign)

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State of the Art (History): Re-Examining the Exam (AHPT)
Wednesday, 21 February, 10:30–12:00

Chairs: Karen D. Shelby (Baruch College, The City University of New York/Art History Teaching Resources) and Virginia B. Spivey (Independent Scholar/Art History Teaching Resources)

• Agency in Test Design as Motivation for Art History Students, Eleanor Moseman (Colorado State University, Department of Art and Art History)
• Assessing Applied Art History: The eBay Project, Lisa Langlois (SUNY Oswego)
• When the Projector Fails: Transforming the Slide Exam, Martha Hollander (Hofstra University)
• Breaking Binaries: The Magic Square Essay Exam, Janice Simon (University of Georgia)
• Reacting to the Past: Game Play as a Replacement for Traditional Assessment Methods, Mary Frances Zawadzki, (Texas A&M)
• One Objective, Four Ways to Meet It: Replacing High-Stakes Exams with Multi-Option Creative Projects, Cara Smulevitz (San Diego Mesa College)
• EVERY BODY: Physical Engagement and Making in Portfolio Assessments for the General Education Art History Survey, Susannah Kite Strang (Arrupe College of Loyola University Chicago)
• Synthesizing the Survey, Illustrating the Timeline: Rethinking History Assignments for Design Students, Alexa Griffith Winton (Ryerson School of Interior Design)
• Alternative Student Projects for Assessment in Art History Courses, Michele Wirt

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The French Fragment: Revolution to Fin-de-Siècle, Part I
Wednesday, 21 February, 10:30–12:00

Chairs: Emily Eastgate Brink (University of Western Australia) and Marika Knowles (Harvard University)

• Painting History in the Shadow of the Guillotine, Stephanie O’Rourke (University of St. Andrews)
• The Artist Underwhelmed by the Grandeur of Antique Monuments: Fragment and Counter-Fragment, Mark Ledbury (University of Sydney)
• Broken Guardians: The Lamassu and Fragmented Historical Vision in Nineteenth-Century France, Sarah C. Schaefer (University of Wisconsin, Milwaukee)
• Fragments and Fragmentary Vision in Nineteenth-Century Architectural Photographs, Peter Sealy (University of Toronto)

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Travel, Diplomacy, and Networks of Global Exchange in the Early Modern Period, Part I
Wednesday, 21 February, 10:30–12:00

Chair: Justina Spencer (Carleton University)

• Roots, Routes, and Resignification: The Life Changing Travels of Louis XIV Prints and Medals, Robert Wellington (Australian National University)
• ‘The Noblest Building of all the East’: The Porcelain Pagoda of Nanjing in Europe, 1665–1762, Kara Lindsey Blakley (The University of Melbourne)
• Cultivating a Global Vision from Afar: Travel Journals Depicting the Port of Nagasaki During the Edo Period (1603–1868), Russell Kelty (Art Gallery of South Australia)

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Free/Open Workshop, Learning to Look: Eighteenth-Century Mexican Painting
Wednesday, 21 February, 12:30–2:00pm

Organized by Rebecca Rushfield

For this installment of the American Institute for Conservation’s annual ‘Learning to Look’ workshop, Ilona Katzew, curator, and Joe Fronek, conservator, will discuss the material aspects of works in the LACMA exhibit, Pintado en México, 1700–1790: Pinxit Mexici, in the museum’s galleries with participation from workshop attendees. Advance registration required. Please RSVP to Rebecca Rushfield at wittert@juno.com by February 16, 2018.

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Art, Agency, and the Making of Identities at a Global Level, 1600–2000, Part I
Wednesday, 21 February, 2:00–3:30pm

Chairs: Noémie Etienne (Bern University) and Yaelle Biro (The Metropolitan Museum of Art)

• The Picturesque in Peking: European Decoration at the Qing Court, Helen Glaister (SOAS, University of London/Victoria and Albert Museum, London)
• A Transnational Loop: Pakistan’s Repossession of the Oriental Carpet Imaginary and its Production, Dorothy Armstrong (Victoria and Albert Museum/Royal College of Art, London)
• The Rivers Folded: Souvenir Accordion Panoramas in the Late Nineteenth-Century Global Tourism, Tingting Xu (University of Chicago)
• Lozi Style: King Lewanika and the Marketing of Barotseland, Karen E. Milbourne (Smithsonian National Museum of African Art)

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Circumventing Censorship in Global Eighteenth-Century Visual Culture
Wednesday, 21 February, 2:00–3:30pm

Chairs: Lauren G. Kilroy-Ewbank (Pepperdine University) and Kristen L. Chiem (Pepperdine University)

• The Pueblo Revolt and the Art of Resistance, Caroline Jean Fernald (Millicent Rogers Museum)
• Ganymede, Eros, and Winged-Phalli, Joseph Cotter (Pennsylvania State University)
• Censoring the Sultan? Imperial Epigraphy and Popular Exegesis, David Simonowitz (Pepperdine University)
• Seditious Words, Innocuous Images? Qing Literary Inquisitions and the Visual Realm, Kristen L. Chiem (Pepperdine University)

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Travel, Diplomacy, and Networks of Global Exchange in the Early Modern Period, Part II
Wednesday, 21 February, 4:00–5:30pm

Chair: Justina Spencer (Carleton University)

• Matters of Resemblance and Remembrance, between Istanbul and Venice, Elizabeth Rodini (Johns Hopkins University)
• Ottoman Diplomatic Ceremonies as seen through the Eyes of the Flemish Artist Pieter Coecke van Aelst (1533), Talitha Maria G. Schepers (The Courtauld Institute of Art)
• Texture, Touch, and Color in the Ottoman Costume Book: On the Interpretation of Transcultural Art, Elisabeth Fraser (University of South Florida)

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All in the Family: Northern European Artistic Dynasties, ca. 1350–1750 (HNA)
Wednesday, 21 February, 4:00–5:30pm

Chair: Catharine Ingersoll (Virginia Military Institute)

• Visualizing the Francken Family Legacy: On the Gallery Paintings of Frans II Francken (1581-1642), Jamie Richardson (Bryn Mawr College)
• David Teniers II as a Brueghel, Lloyd DeWitt (Chrysler Museum of Art)
• Marketing Matriarchy: Maria Sibylla Merian, her Daughters, and their Blooming Watercolors, Catherine Powell (The University of Texas at Austin)
• The Far-flung Bendls: Stylistic Connections between Four Generations of an Early Modern Sculptural Family, Mirka C. Døj-Fetté (Princeton University)

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Objects of Change? Art, Liberalism, and Reform across the Eighteenth and Nineteenth Centuries
Wednesday, 21 February, 4:00–5:30pm

Chairs: Caitlin Beach (Columbia University) and Emily Casey (St. Mary’s College of Maryland)

• Engraving’s ‘Immoveable Veil of Black’: Phillis Wheatley’s Portrait and the Politics of Technique, Jennifer Chuong (Harvard University)
• Fire Prevention, Prefabrication, and Containing: Techniques of Managing Labor across the Early Nineteenth-Century British Atlantic, Jonah Rowen (Columbia University)
• A Visual Riot: Reform and Dissent in The History of Pennsylvania Hall (1838), Emily S. Warner (Vassar College)
• Archive Against Crime: Cesare Lombroso and Seeing the Criminal, Not the Crime, in Post-Risorgimento Italy, Nicole Coffineau (University of Pittsburgh)

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Yale University Press Exhibitor Session: Art and Architecture ePortal
Wednesday, 21 February, 4:00–5:30pm

Chairs: Patricia Fidler (Yale University Press) and Sara Sapire (Yale University Press)

Yale University Press has recently received grants from the Andrew W. Mellon Foundation to create an electronic portal for art and architectural history content. YUP believes that building a dynamic and specialized destination for scholarly content will be of significant value to the field. Backlist and out-of-print titles are currently being converted into ePub for the site and extensive metadata tagging of images is underway. Importantly, fair use is being asserted for the images used on this scholarly platform. While the initial content is from YUP and some of its exclusive museum partners, including its project partner the Art Institute of Chicago, the intention is for the portal to accommodate scholarly content from other university presses and museums. The site has also been built to publish born-digital content, which could provide a welcome new option for scholars and publishers alike, and features the ability to create custom coursepacks for teaching purposes. Members from YUP’s ePortal team will provide a formal demonstration of the beta site and will encourage questions and discussion from attendees. The Press will also collect important feedback from the audience (i.e., potential users) in the form of a questionnaire, which will inform further work on the project.

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Routledge, Taylor & Francis Exhibitor Session: How to Get Published and How to Get Read
Thursday, 22 February, 8:30–10:00am

Chair: Geraldine Richards (Routledge, Taylor & Francis)

This panel discussion is designed for scholars and artists looking to submit an article or book proposal for academic publication. Whether you are a seasoned publishing veteran or new to the publishing landscape, this session offers practical advice on how to get published and how to get read with helpful tricks and tips from journal editors, book authors, and visual arts Routledge staff.

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Envisioning Time in Early Modern China
Thursday, 22 February, 8:30–10:00am

Chair: Daniel M. Greenberg (Columbia University)

• The Temporality of the Rebus, Sophie Volpp (University of California, Berkeley)
• The Artful Time Machine: Horology, Art, and History, Lihong Liu (University of Rochester)
• Guest Ritual and the Shape of History, Daniel Greenberg (Columbia University)
Discussant: Patricio Keith Fleming Moxey (Barnard College)

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The ‘Three Empires’ Redux: Islamic Interregionality in the Age of Modernity (HIAA)
Thursday, 22 February, 10:30–12:00

Chairs: Chanchal Dadlani (Wake Forest University) and Ünver Rüstem (Johns Hopkins University)

• Transcultural Compilations in Eighteenth-Century Ottoman Albums: Connecting the Islamicate World through Material Exchange and Literary Imagination, Gwendolyn Collaço (Harvard University)
• Remembering Rūm: Worldly Milieus and the ‘Bastard’ Architecture of Colonial Modernity in a Hindu Pilgrimage Site, Sugata Ray (University of California, Berkeley)
• The Nasir al-Din Shah Album: A Narrative of Collecting from the Mughals to the Qajars, Naciem Nikkhah (University of Cambridge)
• Imperium Camera: How Photography Revolutionized Islamicate Empires in the Nineteenth Century, Staci Gem Scheiwiller (California State University, Stanislaus)
• Discussant: Anastassiia Botchkareva (Independent Scholar)

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The Audience as Producer, 1750–1900
Thursday, 22 February, 4:00–5:30pm

Chair: Todd Cronan (Emory University)

• On Hogarth’s Murder (Considered as one of the Fine Arts), Gordon Hughes (Rice University)
• The Figure of the Audience in Late Nineteenth-Century French Art, Bridget Alsdorf (Princeton University)
• Paranoiac Vision, Marnin Young (Yeshiva University)
• Art Against the Audience: Mallarmé and Frank Walter Benn Michaels (University of Illinois at Chicago)

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Teaching and Writing the Art Histories of Latin American Los Angeles (AHSC)
Thursday, 22 February, 6:00–7:30pm

• Decolonizing Art History: Institutional Challenges and the Histories of Latinx and Latin American Art, Charlene Villaseñor Black (UCLA, Keynote Speaker)
• Xerografia: Copyart in Brazil, 1970–1990: Local Art Histories and Common Points Across the Art Histories of Vastly Different Countries, Erin Aldana (Guest Curator and Research Scholar, University of San Diego)
• Félix González-Torres as a (Post)Latino Artist, Elizabeth Cerejido (University of Florida, Gainesville)
• Chicana/o Remix: Rethinking Art Histories and Endgames, Karen Mary Davalos (University of Minnesota, Twin Cities)
• Voids of the Aggregate: Materializing Ethnic Mexicans in Mission Revival and Spanish Colonial Revival Architecture in Southern California, Carolyn J. Schutten (University of California Riverside)

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A Critical Conversation on Affect Theory, Neuroscience, and Art-Science Collaborations
Friday, 23 February, 2:00–3:30pm

Chair: Anna Sigrídur Arnar, Minnesota State University Moorhead

• From Novalis to Neuroscience: Models for Art History, James Elkins (School of the Art Institute of Chicago)
• Knowing and Not-Knowing Matter, Sally McKay (McMaster University)
• Neuropower, Warren Neidich (Weissensee Kunst Hochschule Berlin)
• Discussants: Eduardo Kac (School of the Art Institute of Chicago) and Barbara Maria Stafford (University of Chicago, Emerita)

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Collaboration on Paper
Friday, 23 February, 2:00–3:30pm

Chairs: Lisa Pon (Southern Methodist University) and Dario Donetti (Kunsthistorisches Institut in Florenz Max Planck Institute)

• Inventing the New St. Peter’s: Drawing and Emulation in Renaissance Architecture, Dario Donetti (Kunsthistorisches Institut in Florenz Max Planck Institute)
• Drawing Together: Painters and Architects in Eighteenth-Century France, Basile Baudez (Université Paris Sorbonne)
• Drawing as Development: Competition, Collaboration, and Internationalism at the University of Baghdad, Michael Kubo (University of Houston)
• Discussant: Cammy Brothers (Northeastern University)

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The 1790s (ASECS)
Friday, 23 February, 2:00–3:30pm

Chair: Julia A. Sienkewicz (Roanoke College)

• Love and Loss Sublime: Claude-Vernet’s Death of Virginia (1798) at the End of the Eighteenth Century in France, Thomas Beachdel (Hostos Community College, City University of New York)
• The Status of the Artist in the Wake of the French Revolution: A Crisis told through Caricature, Kathryn Desplanque (University of North Carolina)
• Revolution and Artistic Reaction: The French 1790s, Daniella Berman (Institute of Fine Arts, New York University)

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Materials, Makers, and Commissions: Moving Objects between Asia, Europe, and the Americas during Early Modern Globalization
Saturday, 24 February, 10:30–12:00

Chair: Anton Schweizer (Kyushu University)

• Locating the Hispano-Philippine Ivory, Stephanie Porras (Tulane University)
• ‘Please Send a Picture of Feathers…’: Mexican Featherwork in Japan and the Transfer of a New World Phenomenon, Sofía Sanabrais (Independent Scholar)
• The Economy of Japanese Export Lacquer in Eighteenth-Century France, Monika Bincsik (The Metropolitan Museum of Art)
• Puppets for the Margravine: Rediscovering Japanese Ephemera of the Seventeenth Century, Anton Schweizer (Kyushu University)

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Update (added 28 January 2018) — Unfortunately, the original version of this posting omitted the panel Travel, Diplomacy, and Networks of Global Exchange in the Early Modern Period, Part II, scheduled for Wednesday, 21 February, 4:00–5:30pm.

Looking ahead to next summer, from the conference programme:

Porcelain Circling the Globe: International Trading Structures and the East Asia Collection of Augustus the Strong (1670–1733)
The Porzellansammlung Dresden, 13–14 June 2018

The Porzellansammlung Dresden will host the international conference Porcelain Circling the Globe: International Trading Structures and the East Asia Collection of Augustus the Strong (1670–1733) in Dresden, Germany, on 13–14 June 2018. Over two days, the conference will discuss the porcelain trade conducted by individual dealers working outside of the dominant trading companies in the 17th and 18th centuries. It will focus on private networks in and beyond Asia, as well as the emergence of collecting East Asian art in Europe.

A significant focus of the conference will be on the former royal collection of Augustus the Strong (1670–1733), Elector of Saxony and King of Poland. Augustus was an avid collector of East Asian prints, lacquer work and textiles, and accumulated over 25,000 examples of East Asian porcelain, of which around 8,000 objects are extant at the Porzellansammlung Dresden. The provenance of many of these objects is remarkably well-documented as they were recorded in the early 18th century in extensive royal inventories. Considering the number of porcelain dealers specifically mentioned in these unique records, one must ask the question of how important and influential these private networks were for the formation of East Asian porcelain collections—not only in Saxony, but also in other parts of Europe in the 17th and 18th centuries.

The conference will discuss the extent and importance of these private networks, and will debate the phenomenon of trading and collecting East Asian objects from both the traders’ as well as the collectors’ perspectives, with the purpose of investigating interactions between agents from different cultures and backgrounds. The conference is part of the research project Microstructures of Global Trade: East Asian Porcelain in the Collection of Augustus the Strong in the Context of the Museum Inventories of the 18th Century, sponsored by the Deutsche Forschungsgemeinschaft (German Research Foundation). To join the mailing list for further details and updates, please write to ruth.simonis@skd.museum.

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9:00  Registration

9:30  Welcome by Marion Ackermann (SKD) and Julia Weber (SKD)

10:00  Panel 1 | Local Markets
Chair: Stacey Pierson
• Jingdezhen’s porcelain and the merchant route books in late imperial China – Anne Gerritsen (Universiteit Leiden)
• Imperial wares in the Dresden Porcelain Collection: Possibilities of Provenance – Sun Yue (Palace Museum Beijing) )
• The Chinese junk’s intermediate trade in Japanese porcelain for the West between the late 17th century and 1730s – Miki Sakuraba (National Museum of Japanese History)

12:00  Lunch break

13:30  Panel 2 | Trading Structures and Global Connections
Chair: Regina Krahl
• Let’s carefully balance it! Safavid adaptations of Chinese blue-and-white porcelain – Amelia Macioszek (Freie Universität Berlin)
• Some aspects of the Dutch porcelain trade in Asia in relation to the collection of Augustus the Strong – Christiaan Jörg (Groninger Museum, Universiteit Leiden)
• Chinese porcelain and the Netherlands – Jan Van Campen (Rijksmuseum Amsterdam)

15:00  Coffee break

15:30  Panel 3 | From Seller to Buyer: Collecting Porcelain in Europe
Chair: Cora Würmell
• ‘His Electoral Highness wishes to have a porcelain service mounted with gold’: The role of the agents and dealers supporting the East Asian porcelain collection of Elector Max Emanuel of Bavaria (1662–1726) – Max Tillmann (Independent scholar)
• From Cathay to Versailles: Oriental porcelain in the Louis XIV’s collection – Stephane Castelluccio (Centre André Chastel, Paris)
• Collecting Kakiemon porcelain in Holland and beyond – Menno Fitski (Rijksmuseum Amsterdam)

16:30 Discussion

18:00  Welcome reception and open galleries in the Porzellansammlung at the Zwinger Palace

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9:30  Registration

10:00  Panel 4 | The Dresden Royal Collection of East Asian Porcelain
Chair: Christiaan Jörg
• The Dresden Porcelain Project: The 18th-century collection reassessed – Cora Würmell (SKD)
• Writing the Japanese Palace inventories 1721–27 and 1779 – Karolin Randhahn (Independent scholar)
• The King’s personal shopper: Count Lagnasco’s porcelain acquisitions in the Netherlands for Augustus the Strong, 1716/1717 – Ruth Sonja Simonis (SKD)

12:00  Lunch break

13:30  Panel 5 | Objects in Transfer
Chair: Ruth Sonja Simonis
• Augustus the Strong and his collection of Chinese prints and drawings: From China to Europe – Anita Xiaoming Wang (Independent scholar)
• From Europe to Dresden – Cordula Bischoff (Independent scholar)
•  Early exported Arita wares in the collection of Augustus the Strong – Tomoko Fujiwara (Kyushu Ceramic Museum)
• Export or exported? Challenging classifications of traded porcelains – Stacey Pierson (SOAS University of London)

14:50  Discussion

15:20  Closing words

16:30  Visit to the Japanese Palace (optional)

20:00  Public concert at Chinesischer Pavillon (optional)

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10:00–14:00  Optional visit to the workshops at the Meissen Manufactory

From The Lewis Walpole Library:

Global Encounters and the Archives: Britain’s Empire in the Long Eighteenth Century
The Graduate Club, New Haven, 9–10 February 2018

As part of the Lewis Walpole Library’s celebration of Horace Walpole’s tercentenary and the 100th anniversary of W.S. Lewis’s Yale class of 1918, the library is working with Steve Pincus, Bradford Durfee Professor of History, Yale University, to organize a two-day conference on Friday and Saturday, February 9 and 10, 2018, to consider how current multi-disciplinary methodologies invite creative research in archival and special collections at the Lewis Walpole Library and beyond. Planned thematic sessions include “What is Empire?,” “Conceptualizing Political Economy,” “Slavery,” “Indigenous Peoples,” “Diplomacy,” and “Material Culture.” This conference is organized in association with the exhibition, Global Encounters and the Archives: Britain’s Empire during the Age of Horace Walpole. The conference will be held at The Graduate Club, 155 Elm Street, New Haven Connecticut 06511.

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9:45  Registration and Coffee

10:15  Opening Remarks

10:30  1 | What is Empire?
• Onur Ulas Ince , School of Social Sciences, Singapore Management University
• Douglas Fordham, Art History, University of Virginia
• James Vaughn, History, University of Texas, Austin

12:00  Lunch

1:00  2 | Conceptualizing Political Economy
• Ashley L. Cohen, English, Georgetown University
• David Stasavage, Silver Professor of Politics, New York University
• Abigail Swingen, Department of History, Texas Tech University

2:30  3 | Indigenous Peoples
• Brendan Kane, History, University of Connecticut
• Gregory E. Dowd, History, University of Michigan
• Maxine Berg, History, University of Warwick

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9:45  Coffee

10:15  Welcome

10:30  4 | Slavery
• Marissa Fuentes, History and Women’s and Gender Studies, Rutgers University
• James Oakes, Distinguished Professor, American History, The Graduate Center, CUNY
• Julia Gaffield, History, Georgia State University

12:00  Lunch

1:00  5 | Material Culture
• Robbie Richardson, English, University of Kent
• Catherine A. Molineux, History, Vanderbilt
• Margaret M. Bruchac, Anthropology, University of Pennsylvania

2:30  6 | Alliance and Diplomacy
• Eric Hinderaker, History, University of Utah
• Sarah Rivett, English, Princeton University
• Holly Shaffer, Art History, Brown University
• Stephen Conway, History, University College London

 From H-ArtHist:

‘Num’rous Uses, Motions, Charms, and Arts’: Fans as Images, Accessories, and Instruments of Gesture in the 17th and 18th Centuries
Der Faecher als Bild, Accessoire und gestisches Instrument im 17. und 18. Jahrhundert
Kunsthistorisches Institut, Universität Zürich, 29 November — 1 December 2017

Organized by Danijela Bucher, Fabienne Ruppen, and Miriam Volmert

This interdisciplinary conference discusses the cultural role of European folding fans in art, fashion, and material culture in the seventeenth and eighteenth centuries. In eighteenth-century Europe, fans became important fashion accessories across social classes and were almost omnipresent in social interaction. Painted and printed fans presented a wide variety of social knowledge through fast and fleeting pictures, in this way conveying personal statements of those who carried them. Early modern fan depictions were often inspired by or based on Renaissance and contemporary paintings. In the course of the eighteenth century, fan leaves displayed an increasing variety of cultural themes, thereby also functioning as souvenirs as well as conveyors of political and social messages.

The conference aims to take a closer look at the pictorial and intermedial interplay of ornamental patterns, figurative elements, and artistic subject matters against the background of European fan manufacture, artistic networks and international trade. Furthermore, it seeks to closer examine fans as gender-specific instruments of gesture and communication. The conference is funded by Schweizerischer Nationalfonds zur Förderung der wissenschaftlichen Forschung (SNF), Graduate Campus der Universität Zürich, and UZH Alumni. Please direct any questions to miriam.volmert@khist.uzh.ch.

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20.00  Welcome and introduction

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9.15  Welcome (Bettina Gockel) and introduction (Danijela Bucher and Miriam Volmert)

9.30  I | Fans as Accessories and Instruments of Gesture
Moderation: Danijela Bucher and Miriam Volmert
• Pascale Cugy, ‘La Dame paroist badiner avec son Eventail qu’elle porte au coin de sa bouche’: Les éventails dans la gravure de mode féminine sous Louis XIV
• Allison Goudie, The 18th-Century Mask Fan: More than the Sum of its Parts
• Pierre-Henri Biger, Faux et vrais langages de l’éventail

11.00  Coffee

11.30  II | History Painting on Folding Fans in the late 17th and in the 18th Centuries
Moderation: Fabienne Ruppen
• Christl Kammerl-Baum, Bilder-Sprache auf Fächern – eine ikonographische und ikonologische Bedeutungsanalyse anhand eines Fallbeispiels
• Georgina Letourmy-Bordier, De Coriolan à la rosière de Salency, le héros et l’incarnation de la vertu au XVIIIe siècle

12.30  Lunch

14.00  III | Fans as Media of Memory and Souvenirs in the 18th Century
Moderation: Miriam Volmert
• Mary Kitson, ‘Thanks for the Memory’: Typical Imagery of the Grand Tour Fan Leaf
• Heiner Krellig, Souvenir der Grand Tour: Ein Fächer als Erinnerung an Venedig
• Adelheid Müller, Reputation in Falten: Elisa von der Reckes Autographenfächer, ein Zeugnis selbstvergewissernder Positionierung

15.30  Coffee

16.00  IV | Fans as Political Media in 18th-Century France
Moderation: Danijela Bucher
• Aurore Chéry, La représentation de la famille royale de France sur les éventails du XVIIIe siècle
• Rolf Reichardt, Bild-Kompositionen revolutionärer Faltfächer in Frankreich, 1789–94

17.00  Discussion

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9.00  Introduction

9.15  V | Artistic Networks, Paths of Reception, and Production Sites
Moderation: Patrizia Munforte
• Kirsty Hassard, Sarah Ashton and Her Contemporaries: Female Fan Makers and Publishers in 18th-Century London
• Geneviève Dutoit, Les éventails décorés d’après les œuvres d’Angelica Kauffmann à la fin du XVIIIème et du début du XIXème siècle

10.15  Coffee

10.45  VI | Fans in the Context of Historical Material and Textile Cultures
Moderation: Katharina Haack
• Suet May Lam, From Ephemeral to Eternal: Unfolding Early Modern ‘Fashion’ for Asia
• Isa Fleischmann-Heck, Textile Dekore auf Fächerblättern des 18. Jahrhunderts – Formen, Erscheinung, Wirkung

11.45  End of Public Conference Program

Afternoon Workshop (Limited to Conference Speakers) at the Collection Centre of the Swiss National Museum, Affoltern am Albis

14.30  Round Table | Fans in Museum Collections
Markus Leuthard, Welcome
• Mathilde Semal, L’éventail du XVIIIe siècle, véritable attribut social ? La richesse des montures de la collection Preciosa (Musée du Cinquantenaire, Bruxelles)
• Annette Kniep/Maike Piecuch, Neulagerung und Konservierung der Fächer im Bernischen Historischen Museum – Konzept und Umsetzung
• Yolaine Voltz, Principes et compromis de la restauration des éventails : étude de cas particuliers

15.30  Guided Tour
Conservation and Restoration of Fans in the Swiss National Museum with Nikkibarla Calonde, Véronique Mathieu, and Isabel Keller

Johann Conrad Schlaun, Palace at Münster, 1767–87, constructed for Maximilian Friedrich von Königsegg-Rothenfels (1708–1784), the Archbishop-Elector of Cologne and the Bishop of Münster from 1761 to 1784 (Photo: Wikimedia Commons).

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From H-ArtHist, with a copy of the conference flyer here:

Das Münsteraner Schloss: Fürstbischöflicher Residenzbau am Ende des 18. Jahrhunderts
Das Münsteraner Schloss, Münster, 7–8 December 2017

Internationale Tagung organisiert vom Institut für Kunstgeschichte und der Zentralen Kustodie der Universität Münster

Am 26. August 2017 jährte sich die Grundsteinlegung des Fürstbischöflichen Residenzschlosses in Münster zum 250. Mal. Der bedeutende Bau, der seine Zweckbestimmung nur gut anderthalb Jahrzehnte erfüllen konnte und heute als Hauptgebäude der Westfälischen Wilhelms-Universität genutzt wird, ist vielfach Gegenstand kunsthistorischer Forschungen gewesen. Diese betrafen insbesondere die Klärung der Planungs- und Baugeschichte sowie die Stellung des Schlosses im Oeuvre seines Entwerfers, des fürstbischöflichen Architekten Johann Conrad Schlaun.

Im Lichte neuerer, stärker kulturgeschichtlich orientierter Forschungsansätze möchten wir das Jubiläum nutzen, um neue Fragen an den Bau zu richten: Wie lässt sich das Münsteraner Schloss im Kontext fürstbischöflicher Residenzen im Heiligen Römischen Reich kontextualisieren? Auf welche Modelle höfischer Repräsentations- und symbolischer Kommunikationskultur bezieht es sich, und welche eigenen Akzente wurden dabei gesetzt? Welchen konkreten Nutzungen wurde das Schloss unterworfen? In welche Beziehung tritt es zur Stadt?

Die Tagung ist öffentlich. Eine Anmeldung ist nicht erforderlich; eine Teilnahmegebühr wird nicht erhoben.

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13.30  Begrüßung/Einführung

14.00  Werner Freitag (Münster), Tridentinische Reform und katholische Aufklärung: Das Fürstbistum Münster im 18. Jahrhundert

14.45  Gerd Dethlefs (Münster), Das Schloss und die Politik. Voraussetzungen und Folgen 1688–1803

16.00  Stefan Kummer (Würzburg), Die Würzburger Residenz als fürstbischöfliches Schloss

16.45  Georg Satzinger (Bonn), Die Dreiflügelanlage als Problem: Schloss Weißenstein in Pommersfelden

19.00  Abendvortrag | Elisabeth Kieven (Rom/Osnabrück), Schlossbau gegen Ende des Ancien Régime. Das Fürstbischöfliche Schloss in Münster im europäischen Kontext

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9.15  Marc Jumpers (Bonn), Das Schloss zu Münster als Residenz eines geistlichen Reichsfürsten: Innenraumdisposition und Zeremoniell unter Kurfürst und Fürstbischof Maximilian Friedrich von Königsegg-Rothenfels

10.00  Kristina Deutsch (Münster), Vom Luxus der Privatheit: Das Gelbe Kabinett und die fürstbischöflichen Appartements im Münsteraner Schloss

11.15  Katharina Krause (Marburg), Bauen ohne Messlatte: Die Münsteraner adligen Wohnhöfe in einer Residenzstadt ohne Schloss

12.00  Eva-Bettina Krems (Münster), Das Münsteraner Schloss: Ein- und Ausblick

Konzeption
Eva-Bettina Krems
Jens Niebaum

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From the study day programme:

Académies d’Art et Mondes Sociaux, 1740–1805
Mobilité des artistes, dynamique des institutions : dessiner la cartographie des échanges
Université Toulouse – Jean Jaurès, 9–10 November 2017

En partenariat avec le Centre allemand d’histoire de l’art, Paris

Deuxième volet des journées d’étude conduites par le programme de recherche ACA-RES sur Les académies d’art et leurs réseaux dans la France préindustrielle, cette rencontre mettra l’accent sur la question des circulations artistiques. La seule aspiration parisienne ne saurait rendre compte des dynamiques d’échanges qui se mettent en place au cours de la seconde moitié du XVIIIe siècle, alors même que certaines institutions de province apparaissent comme centres et nœuds de liens multiples. Les provinces marquent souvent une autonomie vis-à-vis de la capitale. Une nouvelle cartographie demande ainsi à être repensée.

L’étude des relations entre les individus et les institutions académiques à l’échelle nationale et européenne, par le biais de voyages, séjours, correspondances épistolaires, sera au cœur des discussions pour voir si les mouvements dépendent des aléas des carrières (itinérance, migration, exil, fuite, opportunités de commandes ou de protections, etc.) Ces derniers peuvent tout autant répondre à un souhait d’implantation durable qu’à une stratégie de progression professionnelle. D’ailleurs la notion de « mobilité » peut aussi être entendue du point de vue de l’ascension sociale.

Pour les institutions, le voyage s’intègre-t-il avant toute chose dans une perspective de perfectionnement pédagogique et de formation du goût ? Quels bénéfices les déplacements d’artistes et d’amateurs, comme les affiliations institutionnelles, offrent-ils aux établissements artistiques, en termes d’élargissement de réseaux, d’enrichissement des collections et de rayonnement culturel ? Au-delà de la réalité des frontières et des proximités géographiques, à rebours d’une construction idéologique « nationaliste », quelles forces – culturelles, économiques, relationnelles – sont-elles à l’œuvre ?

Dans le prolongement des acquis de la précédente manifestation de décembre 2016 (voir sur la page Internet d’ACA-RES, dans la rubrique « Les Ressources », Actes des journées d’étude), mais en étendant la période envisagée au-delà des premières années de fondation des établissements, il s’agira d’envisager la mobilité des artistes – des peintres, des sculpteurs et des architectes autant que des ornemanistes voués à la fabrique – sans perdre de vue la lecture sociale et culturelle de ces institutions écloses au siècle des Lumières. Les villes aux portes des frontières du royaume, comme celles sensibles à l’appel du Grand Tour par leur position de carrefour des routes, seront étudiées en priorité.

Ces journées d’étude entendent privilégier le dialogue entre spécialistes et jeunes chercheurs, tout en gardant l’ouverture vers d’autres disciplines des sciences humaines, en particulier la sociologie et les humanités numériques. Le dispositif de la rencontre privilégiera les débats. Chaque intervenant présentera son étude de cas en fonction des thèmes retenus pour les demi-journées. Le temps de parole, volontairement très restreint, suffira à dégager les principaux points qui seront ensuite repris et discutés de façon collégiale au cours des tables-rondes. Les après-midis seront consacrés à des ateliers de travail participatifs.

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9.00  Matin

Ouverture, Markus Castor (Centre allemand d’histoire de l’art, Paris)

Conférence introductive, Gaëtane Maës (Université Lille 3, IRHiS UMR 8529), De la nécessité de repenser les dynamiques de circulations artistiques et la notion de « modèle » parisien

I.  Séance de travail : Voyages et correspondances d’académiciens
Conférences de 10mn par intervenant
• Ariane James-Sarrazin (Institut national d’histoire de l’art), La mobilité des responsables et des professeurs des écoles de dessin dans le Grand Ouest
• Émilie Roffidal (CNRS, FRAMESPA UMR 5136), Jean-Michel Verdiguier (1706–1796), une ambition espagnole
• Dominique d’Arnoult (Université de Lausanne), Jean-Baptiste Perronneau (v. 1715–1783), Académies et écoles de dessin, jalons de ses voyages en France et en Europe
• Gérard Fabre (Musée des Beaux-arts de Marseille), Jacques Beaufort (1721–1783), un académicien entre Marseille et Paris
• Candice Humbert (Université Grenoble Alpes, LARHRA UMR 519), Louis-Joseph Jay (1755–1836), de Montpellier à Grenoble, quels parcours pour quelles ambitions?

Table-ronde avec l’ensemble des intervenants et les organisateurs ; Pascal Julien (Université Toulouse – Jean Jaurès, Laboratoire FRAMESPA UMR 5136), modérateur.

12.00  Pause déjeuner

14.00  Après-midi

I.  Atelier de travail : Comment documenter les déplacements ?
Chaque communicant parle 5min
Interviennent tous les participants qui présentent le matériel et les méthodes employés pour étudier les circulations : correspondances, registres, inventaires, vies d’artistes, discours, presse locale, mais aussi sources visuelles (portraits, estampes), etc.
Une collaboratrice d’ACA-RES, Clémentine Souchaud, présente les modalités de diffusion numérique des sources documentaires sur Nakalona.

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9.00  Matin

II. Séance de travail : Grands axes de circulations et logiques des flux
Conférences de 10mn par intervenant
• Gaëtane Maës (Université Lille 3, IRHiS UMR 8529), Le nord de la France, une attractivité entre Paris et Bruges ?
• Fabienne Sartre (Université Paul-Valéry-Montpellier 3) et Marjorie Guillin (Université Toulouse – Jean Jaurès, FRAMESPA UMR 5136), Toulouse, Montpellier et le réseau des académies languedociennes
• Lucas Berdu (Université Toulouse – Jean Jaurès), Le voyage d’Italie de quelques académiciens toulousains
• Nelly Vi-Tong (Université de Bourgogne, Centre Georges Chevrier, UMR 7366), Hors des frontières de la Bourgogne : opportunités et carrières des élèves de l’École de dessin de Dijon
• Anne Perrin Khelissa (Université Toulouse – Jean Jaurès, Laboratoire FRAMESPA UMR 5136), L’Italie, entre fantasmes et réalités à l’Académie de Lyon

Table-ronde avec l’ensemble des intervenants et les organisateurs ; Stéphanie Trouvé (Université Paul-Valéry-Montpellier 3), Projet de recherche LexArt, modératrice.

11.00  Pause brunch

13.00  Après-midi

II.  Atelier de travail : Valorisation et visualisation des déplacements
Discussion libre
Deux stagiaires du programme ACA-RES, Florie Valton et Lucas Berdu, interviennent. Ils présentent la base de données et les résultats obtenus à l’issue de leur mission (cartes, graphiques, formalisation et interprétation).
Utilité, pertinence, limites et enjeux des outils numériques en histoire de l’art ? Tous les participants sont invités à réagir aux avancées et perspectives du programme, au regard de leurs propres recherches et expériences.

Conférence conclusive
Martine Azam (Université Toulouse – Jean Jaurès, LISST UMR 5193), Le point de vue du sociologue sur la notion de circulation

15.00  Fin des journées d’étude

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Now on view at The Wallace Collection:

El Greco to Goya: Spanish Masterpieces from The Bowes Museum
The Wallace Collection, London, 27 September 2017 — 7 January 2018

Claudio Coello, Portrait of Mariana of Austria, Queen of Spain, 1683–93 (County Durham: The Bowes Museum).

The Wallace Collection presents El Greco to Goya: Spanish Masterpieces from The Bowes Museum, the first London exhibition of Spanish art from The Bowes Museum in County Durham, including works by Goya and El Greco. This collaborative exhibition between the Wallace Collection and The Bowes Museum celebrates the partnership between these two great museums. Like the Wallace Collection, The Bowes Museum is the product of one family’s obsession with collecting great works of art. John Bowes and Richard Wallace—both illegitimate sons of aristocratic fathers—bequeathed collections of international significance to the nation.

The exhibition spans three centuries and explores one of the largest collections of Spanish art in Britain. On display are El Greco’s The Tears of Saint Peter, thought to be the artist’s earliest interpretation of this subject, Goya’s psychologically penetrating Portrait of Juan Antonio Meléndez Valdés and disturbing Interior of a Prison, plus perhaps less well known but outstanding works such as Antonio de Pereda’s, Tobias Restoring His Father’s Sight. The works chosen explore a period of huge social, religious, and political upheaval in Spain, providing a microcosm of the changes in style and subject matter during this period. The paintings complement works by Velázquez and Murillo on permanent display at the Wallace Collection.

Xavier Bray, Wallace Collection Director: “El Greco to Goya is not only an unprecedented opportunity to see Spanish art of extraordinary power and significance in London, but also the beginning of an exciting relationship between the Wallace Collection and The Bowes Museum. Both institutions share a commitment to making great art accessible to wider audiences and we are looking forward to working closely together to develop a long term connection between London and the North East.”

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Symposium: El Greco to Goya
The Wallace Collection, London, 25 November 2017

This major international, one-day symposium on Spanish painting, accompanies the exhibition El Greco to Goya: Spanish Masterpieces from The Bowes Museum. The aim of the symposium is to explore in greater depth the remarkable collection of Spanish paintings on loan from The Bowes, our regional partner, which is outstanding in both its quality and range. Speakers include Xavier Bray, Peter Cherry, Edward Payne, María Cruz de Carlos Varona, Bernadette Petti, Juliet Wilson Bareau, and Véronique Gerard Powell. Tickets are £25 (£10 for students) and can be purchased by following this link.

Francisco de Goya, Interior of a Prison, 1793–94 (County Durham: The Bowes Museum).

P R O G R A M M E

9:30  Registration

9:50  Welcome

10:00  Morning Session
• Bernadette Petti (Assistant Curator of Fine Art, The Bowes Museum), An Overview of Four Centuries of Spanish Art in The Bowes Museum
• Véronique Gerard-Powell (Senior lecturer, University of Paris, Sorbonne), A Reluctant Purchase: El Greco’s Tears of St Peter
• Peter Cherry (Lecturer, Trinity College Dublin), Foreign Food: Spanish Still Life in the British Isles
• María Cruz de Carlos Varona (Lecturer, Universidad Autónoma de Madrid), Claudio Coello’s Portrait of Mariana of Austria

1:00  Lunch Break

2:00  Afternoon Session
• Xavier Bray (Director, The Wallace Collection), Goya and Religion: Early Works for the Spanish Church
• Juliet Wilson-Bareau (Independent Academic), Goya’s Prisons: Of the State, of the Church, and of the Mind
• Edward Payne (Head Curator: Spanish Art, The Auckland Project), A Museum in the Making: The Spanish Gallery in Bishop Auckland

4:30  Close

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From the conference programme and flyer:

Portraits, Authenticity, and Copies in the 17th and 18th Centuries
Strawberry Hill, Twickenham, 2 November 2017

‘Truth is the sole merit of most antiquities; and when we cannot discover the truth, what value is there in dogmatic error about things that have no intrinsic value?—and such were all our pictures before Holbein, and infinitely the greater part of our pictures since!’

–Horace Walpole to Sir John Fenn, in response to a query about a historic portrait, 17 September 1774

Horace Walpole’s Strawberry Hill was famously full of portraits, many of them collected as part of the broader antiquarian effort to form a narrative of British and European history. In this, as in other fields of painting, there was much less emphasis on the ‘original’ than there is today. But, as a historian, Walpole was greatly exercised by questions of authenticity, although his own collection of portraits included many later copies, both specially commissioned and unrecognized, as well as misdescriptions and deliberate fakes.

This study day will focus on issues and practices around meaning and authenticity in portraits in the 17th and 18th centuries. It is linked to the recent installation in the Holbein Chamber of digital facsimiles, made by Factum Arte, of George Vertue’s accurate copies, made in 1743, of 33 of Holbein’s famous drawings of the court of Henry VIII. Their acquisition in 1758 prompted Walpole to create the Holbein Chamber, inspired by Queen Caroline’s closet at Kensington Palace, where the original drawings were shown.

Refreshments including a light lunch will be provided; price £60.
Booking information is available here»
Queries: please email claire.leighton@strawberryhillhouse.org

P R O G R A M M E

9.30  Coffee

9.50  Welcome

10.00  Morning Session
• Michael Snodin (Strawberry Hill), Copies and Copying at Strawberry Hill
• Charlotte Bolland (National Portrait Gallery), Copying Portraits in the 16th and 17th Centuries
• Victoria Button (V&A), Holbein and Vertue: Materials, Techniques, and the Art of Copying
• Silvia Davoli (Strawberry Hill), Walpole, George Vertue, and Holbein

12.15   Lunch and tours of the house including a curator’s tour of the Holbeins

2.10  Afternoon Session
• Kate Retford (Birkbeck College), Copies and Connections: Portrait Practice in Eighteenth-Century Britain
• Stephen Lloyd (Derby Collection, Knowsley Hall), Copy or Authentic Likeness? Horace Walpole’s Collecting of Portrait Miniatures and Drawings at Strawberry Hill
• David Alexander (Fitzwilliam Museum), The Work of the Harding Family

3.45  Tea

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