Enfilade

Norwich and the Medieval Parish Church, ca. 900–2017: The Making of a Fine City
Norwich Cathedral Hostry, 17–18 June 2017 (with site visits on 19 June)

A conference hosted by The Medieval Parish Churches of Norwich Research Project, undertaken at the University of East Anglia and funded by The Leverhulme Trust.

All 58 churches—whether existing, ruined, or lost—are included in the scope of the project, which seeks insight into how the medieval city developed topographically, architecturally, and socially. The project is intended to reveal the interdependent relationship between city, community, and architecture showing how people and places shaped each other during the Middle Ages. The conference—supported by the Paul Mellon Centre for British Art and Purcell—will present the medieval parish churches of Norwich in their immediate local context and in the broader framework of urban churches in Britain and northern Europe. The subject range will include documentary history, the architectural fabric of the buildings themselves and their place in the topography of Norwich, the development of the churches’ architecture and furnishings, the representation of the churches, and their post-Reformation history.

In addition to the medieval lines of inquiry, the conference will include papers addressing the churches of Norwich from a long eighteenth-century perspective. Roey Sweet will discuss the rise of the concept of the historic town, which became established in the nineteenth century. William Jacob will consider the changes that Norwich churches underwent in the Georgian period in relation to the Prayer Book and concepts of politeness. David King will address the evidence for stained glass provided by seventeenth- and eighteenth-century antiquaries, and Clare Haynes will explore the medieval imaginaries that were engaged in the antiquarian, topographical, and archaeological visual record of the churches.

Full details, including timings and costs, to be announced in the coming weeks. Bookings will be taken from early March 2017. Provisional reservations can be made by email to h.lunnon@uea.ac.uk.

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Left: Gilles Demarteau after Edme Bouchardon, Model Posing for ‘The Genius of Summer’, ca. 1740s–50s (Los Angeles: Getty Research Institute, 2015.PR.58). Right: Edme Bouchardon, The Genius of Summer, 1745 (Paris: Grenelle Fountain).

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Bouchardon and His Contemporaries
The Getty Center, Los Angeles, 2 April 2017

In parallel with the exhibition Bouchardon: Royal Artist of the Enlightenment (on view at the Getty Center until 2 April), this symposium explores the relationships Bouchardon had with his contemporaries (artists, patrons, and connoisseurs) and investigates the diffusion and reception of his oeuvre. Admission to this event is free, but a ticket is required to attend. More information is available here.

Participants
Malcolm Baker, University of California, Riverside
Anne-Lise Desmas, J. Paul Getty Museum
Peter Fuhring, Fondation Custodia
Thomas W. Gaehtgens, Getty Research Institute
Edouard Kopp, Harvard Art Museums
Monique Kornell, University of California, Los Angeles
Ewa Lajer-Burcharth, Harvard University
Louis Marchesano, Getty Research Institute
Guilhem Scherf, Musée du Louvre
Katie Scott, The Courtauld Institute of Art
Kristel Smentek, Massachusetts Institute of Technology
Perrin Stein, The Metropolitan Museum of Art
Juliette Trey, Musée du Louvre

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Frederick MacKenzie, The National Gallery When at Mr J. J. Angerstein’s House, Pall Mall, 1824–34, watercolour
(London: V&A, 40-1887)

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From the conference programme:

Private Collecting and Public Display: Art Markets and Museums
University of Leeds, 30–31 March 2017

Registration due by 20 March 2017

The Centre for the Study of the Art and Antiques Market at the University of Leeds is delighted to announce that registration is now open for an international two-day conference exploring the relationship between the ‘private’ and ‘public’ spheres of the art market and the museum. This interdisciplinary conference offers the opportunity to hear new research in the fields of art market studies, museum studies, and the histories of collecting. Registration information is available here. For any further information, please contact csaa@leeds.ac.uk.

T H U R S D A Y ,  3 0  M A R C H  2 0 1 7

9.00  Registration

9.30  Welcome, Mark Westgarth, Director, Centre for the Study of the Art & Antiques Market, University of Leeds

9.45  I | Birth of the Museum
• Marie Tavinor (Christie’s Education, London), The ‘Potent Tate’ and the Founding of the Tate Gallery: An Insight into Taste and the Politics of Donation in Late Victorian England
• Margaraet Iacono (The Frick Collection, New York), Going Public: The Frick Collection’s Transformation from Private Home to House Museum
• Helen Glaister (Victoria & Albert Museum, London), From Buxted Park to South Kensington and Beyond: The Ionides Collection of Chinese Export Porcelain

11.00  Coffee and tea

11.30  II | Legacy through Display: From Private to Public
• Nicole Cochrane (University of Hull), Ancient Sculpture and the Narratives of Collecting: (Re)Contextualizing Museum Space
• Alison Clarke (University of Liverpool / National Gallery London), Pure Eighteenth-Century Art Unspoiled by Any Element Foreign to Its Nature: The Agnew’s Exhibitions of The Frick Fragonards
• Isobel MacDonald (University of Glasgow / The Burrell Collection), Tracing The Development of the Burrell Collection from Deed of Gift (1944) to Pollok Park, Glasgow (Present Day)

12.45  Lunch

1.45  III | Dealers and Markets: Thinking of the Past, Looking towards the Future
• Pamella Guerdat (University of Neuchatel, Paris), A Heritage under Construction: René Gimpel’s (1881–1945) Roles between Private Collectors and Public Museums
• Ana Mântua (Dr Anastácio Gonçalves House Museum, Lisbon), One Man’s Choices and the Portuguese Art Market, 1925–1965
• Kerry Harker and John Wright (University of Leeds), Blurring the Boundaries: Reconsidering ‘Public’ and ‘Private’ in the Alternative Art Market Activities of Artist-Led Groups, Organisations, and Collectives

3.00 IV | Power, Influence, and Agency: A Critical Look at Private Collections Going Public
• Pier Paolo (IES Abroad Italy, Rome), From Objects of Devotion to Icons of Beauty: The Institution of the National Museum in the Vatican at the Time of the Roman Republic, 1798–99
• Verda Bingol (Istanbul Technical University), From the Cradle to the Museum: The Elgiz Collection
• Dorothy Barenscott (Independent Art Historian), Steve Wynn: Art Collecting and Exhibition, ‘Vegas Style’

4.15  Coffee and tea

4.45  Keynote Address
• Susanna Avery-Quash, Senior Research Curator (History of Collecting), National Gallery London

6.00  Drinks Reception

F R I D A Y ,  3 1  M A R C H  2 0 1 7

9.00  Registration

9.40  V | The Visibility of Private Collections within the Public Arena
• Marcela Drien (Universidad Adolfo Ibáñez, Chile), Exhibiting Domestic Museums: Chilean Art Collectors at Santiago’s Exposicion Internacional of 1875
• Rasmus Kjaerboe (Ribe Art Museum, Denmark), Collecting To Be Modern: The Early Twentieth-Century Art Collections of Prince Eugen, Ernest Thiel, and Klas Fåhraeus
• Kathryn Brown (University of Loughborough), Patrimony and Patronage: Collecting and Exhibiting Contemporary Art in France

11.00  Coffee and tea

11.30  VI | Museum Quality? Deaccessioning Museums onto the Art Market
• Gareth Fletcher (Sotheby’s Institute of Art, London), But Is It Really Museum Quality? – Evaluating the Impact of Institutional Provenance within the International Art Market
• Nicola Sinclair (University of York), ‘You Have Culled One or Two Beauties But the Memorial of Art Is Gone’: How (Not) To Translate Paintings of Historical Value from Private to Public Collections and back again in Mid-Nineteenth-Century Britain
• Martin Hartung (ETH Zürich, Switzerland), A Philanthropic Legacy: The Controversial Case of DIA in New York

12.45  Lunch

1.45  VII | Private Collections and Public Museums: Working across Boundaries
• Kate Beats (University of Cambridge), Cambridge’s First Museums: The Private College Collections behind the Public Museums in Cambridge
• Helen Ritchie (Fitzwilliam Museum, Cambridge), The Frua-Valsecchi Collection at The Fitzwilliam Museum: A Case Study
• Tom Boggis (Holburne Museum, Bath), Public Collection, Private House: Display of the Heveningham Furniture Collection in the Twentieth Century

3:00  Coffee and tea

3.30  Round Table Discussion

5.00  Closing Remarks

From the workshop flyer:

The Pencheon Collection in Context: Collecting and Recollecting the French Revolution
University of Leeds, 17 March 2017

The Pencheon Collection in the Brotherton Library, University of Leeds, of material relating to the French Revolution contains nearly 3,000 volumes in French and English along with boxes of miscellaneous items—manuscripts, pamphlets, prints, maps, booksellers’ catalogues, newspaper clippings, correspondence and additional ephemera—many of them related to the process of collection. It was created by James Michael Pencheon (1924–1982), a neurosurgeon and psychiatrist, who had studied medicine at the University of Leeds but who then developed an interest in the historical knowledge of the French Revolution ostensibly outside his disciplinary field, but perhaps inflected by his research in psychology. This resource raises questions about the formation of the cultural memory of the French Revolution in Britain, about the role and approach of individual collectors of materials on the French Revolution, and about what can be learnt about the acquisitions policies and subsequent use of such collections in university libraries. This workshop will enable networking about the collection and its use to begin.

Speakers—including Madame Valérie Guillaume, Directrice of the Musée Carnavalet, Paris, and leading UK specialists from the fields of History, History of Art, and French Studies—will give short presentations on their work on analogous collections, sharing insights and ideas and helping us to refine our aims and objectives for the future exploitation of the collection. All are welcome to attend. The £20 cost includes lunch and refreshments. Registration information is available here.

Contacts: Dr Valerie Mainz, v.s.mainz@leeds.ac.uk; and Dr Paul Rowe: P.Rowe@leeds.ac.uk

In collaboration with the Institut français du Royaume-Uni and the Centre for the Comparative History of Print (CentreCHoP)

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P R O G R A M M E

10.00  Introduction
• Valerie Mainz, School of Fine Art, History of Art and Cultural Studies, University of Leeds
• Paul Rowe, School of Languages, Cultures and Societies, University of Leeds

10.15  French Revolutionary Collections in Britain, 1: The Contexts and Methodological Challenges
• Tom Stammers, Department of History, University of Durham/Bowes Museum
• Richard Taws, Department of History of Art, UCL London/UCL prints

11.15  Coffee

11.30  Plenary: The Musée Carnavalet and the Collecting of the French Revolution in France
• Valérie Guillaume, Directrice, Musée Carnavalet

12.15  French Revolutionary Collections in Britain, 2: The Contexts and Methodological Challenges
• Kate Astbury, School of Modern Languages and Cultures, University of Warwick/Marandet Collection
• Phillippa Plock, Waddesdon Manor/Ferdinand de Rothschild Collection

13.15  Lunch

14.15  The French Revolution in Britain: Historians’ Perspectives
• Munro Price, Department of Peace Studies and International Development, University of Bradford
• Juliette Réboul, Historical, Literary and Cultural Studies, Radboud University, Nijmegen/Emigrés and memoirs

15.15  The Psychopathology of the French Revolution
• Mechthild Fend, Department of History of Art, UCL London

15.45  Round Table: The Potential of the Pencheon Collection and Next Steps
• The Pencheon Collection as a resource for researchers
• Studying the Pencheon Collection: UG, PGT, PGR
• Public engagement
• Impact
• What are the priorities?

Assembled garniture, porcelain from Jingdezhen and Dehua, China, 1650–1720, on an English japanned cabinet, ca. 1680, in the British Galleries at the Victoria and Albert Museum, London (Photo: Peter Kelleher).

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Garnitures: Vases in Interiors
Victoria and Albert Museum, London, 17 March 2017

Organized by Matilda Pye, Patricia Ferguson, and Reino Liefkes

The focus of this one-day symposium is the garniture, assembled or matched sets of primarily ceramic vessels, displayed in European interiors from 1620 and 2017. It will contextualize and enhance the ground-breaking Garnitures: Vase Sets from National Trust Houses, a temporary display in the Ceramics Gallery at the Victoria and Albert Museum, on view until 30 April 2017, and curated by Patricia Ferguson, Honorary Adviser on Ceramics to the National Trust, with Reino Liefkes, Senior Curator, Victoria and Albert Museum. The Headley Trust has generously supported the display, a publication of the same title and this symposium.

Many of the leading international ceramic specialists and contemporary makers will explore national differences in how European tastemakers and followers used garnitures to ornament and enliven interiors in the Netherlands, France, Saxony, and Britain. These displays were typically dictated by innovative architectural features in elite interiors, such as the development of the chimneypiece in France in the mid-seventeenth century, as well as the furniture types associated with these cultures and available materials: Asian porcelain, Dutch delftware, French faience, silver, and European porcelain. The papers will cover the use of the vase in China, its adaptation and collection in the West, the impact on the potteries in Japan and Delft and at porcelain manufactories in Germany at Meissen, and in France at Sevres, in addition to the revival of interest among collectors in the nineteenth century.

As evidence that artists and ceramicists are still fascinated by the idea of the series and repetition in forms, colours, and pattern, the day will conclude with papers by artists Edmund de Waal and Matt Smith—both well known for their site-specific ceramic work in museums, galleries, and historic houses—who will share their own personal responses to this interior phenomenon. Other speakers will include Dr. Yu-ping Luk, curator, Chinese collections, Asian Department, V&A; Patricia Ferguson; Suzanne Lambooy, curator applied arts, Gemeentemuseum, The Hague, Netherlands; Dr. Julia Weber, director, Porzellansammlung, Staatliche Kunstsammlungen, Dresden, Germany; Dame Rosalind Savill, DBE, FSA, FBA, President of the French Porcelain Society, and former Director of the Wallace Collection; Tamara Préaud, the former Archivist, Manufacture Nationale de Sèvres, France, Selma Schwartz, Associate Curator, Waddesdon Manor, The National Trust. The conference will be of interest to students and scholars of Asian, European and Contemporary ceramics, silver, the country house, the history of the interior, collecting, and taste. The day will conclude with a lively round table discussion.

The full conference fee is £25; concessions available. To book, please follow this link.

P R O G R A M M E

10.00  Registration

10.30  Matilda Pye (Learning Academy, V&A), Welcome

10.35  Patricia Ferguson (Curator, Vase Sets from National Trust Houses), Introduction

11.00  Suzanne Lambooy (Gemeentemuseum, The Hague), Delft Garnitures in the Dutch Interior

11.25  Yu-ping Luk (V&A), The Vase in China

11.45  Ros Savill (Former Director Wallace Collection), Vincennes and Sevres Garnitures

12.15  Tamara Preaud (Former Archivist Sèvres, Cité de la céramique , Musée National de Sèvres), Evidence of Biscuit Figures in Sevres Garnitures

12.30  Discussion

12.45  Lunch Break

13.45  Selma Schwartz (Waddesdon Manor, National Trust), Collecting in the 19th Century: Sevres Garnitures at Waddesdon Manor

14.05  Julia Weber (Porzellansammlung, Staatliche Kunstsammlungen, Dresden), Meissen and Garnitures in the Collection of Augustus the Strong

14.30  Refreshments

15.00  Edmund de Waal and Matt Smith, Contemporary Perspectives

From H-ArtHist:

Early Modern Viewers and Buildings in Motion
St. John’s College, University of Cambridge, 25 February 2017

Registration due by 12 February 2017

Movement, both literal and metaphorical, lies at the heart of early modern European architectural theory, design and experience. Architectural authors invoked the notion of progress as temporal motion, structured their books as tours of buildings, and followed the ancient Roman Vitruvius in explaining how to manipulate the motions of winds through building design. Simultaneously, poets led their readers on tours of house and estate, and Aristotelian as well as mechanistic philosophers averred that motion was inherent to human perception from particle vibrations in one’s senses to neural vibrations in one’s brain. Across a range of scales in actual lived experience, moreover, viewers and buildings were frequently in motion; people walked through built spaces, interiors contained portable furnishings, and travellers and prints circulated ideas of buildings internationally.

This conference seeks to examine the range of scales, media, and theoretical discussions which foreground early modern intersections of architecture and motion. In so doing, it both puts into motion the usually static viewer and building of historical narratives and merges often independent yet overlapping strands of analysis—for instance, the ‘mobile viewer’ studied by art historians Michael Baxandall and Svetlana Alpers and the tensions surrounding early modern globalization discussed by cultural historians. These and other strands of inquiry are brought together by an international, interdisciplinary group of speakers examining case studies encompassing England, France, Italy, German-speaking areas, and the New World during the fourteenth through nineteenth centuries.

Supported by St. John’s College, University of Cambridge and by the Institute of Advanced Study, the Institute of Medieval and Early Modern Studies, and the School of Modern Languages and Cultures, Durham University.

The fee, which includes lunch and refreshments, is £15. More information is available here»

P R O G R A M M E

9.30  Registration

10.00  Welcome | Frank Salmon (University of Cambridge) and Kimberley Skelton (Durham University)

10.05  Session 1 | Chair: Kimberley Skelton (Durham University)
• Allison Stielau (University College London), The Censer as Mobile Mini-Building, Swung Structure, and Producer of Olfactory Space
• Andrew Chen (University of Cambridge), Fourteenth-century Ascetic Imagery in a Staircase at Santa Maria della Scala, Siena
• Donal Cooper (University of Cambridge), Fleeting Visions: Occluded Altarpieces and Mobile Eyes in the Italian Renaissance Church Interior

11.30  Coffee

12.00  Session 2 | Chair: Frank Salmon (University of Cambridge)
• Stefano Cracolici (Durham University), The Poliphilo Syndrome
• Kimberley Skelton (Durham University), Sensory Vibrations and Social Reform at San Michele a Ripa in Rome
• Bram Van Oostveldt (University of Amsterdam/Leiden University), Frantic Memories and Excessive Objects: Monicart’s Versailles immortalisé ou les merveilles parlantes de Versailles (1720)

1.30  Lunch

2.30  Session 3 | Chair: Donal Cooper (University of Cambridge)
• Caroline van Eck (University of Cambridge), Moving through Space and Time: Immersive Spaces at the Hôtel de Beauharnais in Paris
• Edmund Thomas (Durham University), Movement Through Ruins: Re-experiencing the Antique in Eighteenth-Century Travelogues
• Rebecca Tropp (University of Cambridge), Movement and the Central Core: Design Principles in the Country Houses of John Nash

4.00  Tea

4.30  Session 4 | Chair: Stefano Cracolici (Durham University)
• Daniel Jütte (New York University/University of Cambridge), Entering the Early Modern City: Gates as Sites of Passage
• James Campbell (University of Cambridge), Libraries in Motion
• Emily Mann (University of Kent), From Ship to Shore: The Architecture of Early Modern Trading Companies

6.00  Wine Reception

105th Annual Conference of the College Art Association
New York Hilton Midtown, 15–18 February 2017

The 2017 College Art Association conference takes place in New York, February 15–18, at the New York Hilton Midtown (1335 Avenue of the Americas). In introducing the eighteenth-century offerings for CAA 2016, I complained there were only four panels that seemed obviously relevant for the period. This year, again there are only a handful of sessions. Still, these look fabulous, and for anyone put off by the exorbitant registration fee (which can run as high as $495), bear in mind that there are other options ($20 per single time-slot session), which might be especially attractive for anyone in the New York area. We would love to have you join us!

Also, I’m glad to extend a warm invitation to HECAA members to join a group of HBA members on Saturday for a day trip to visit the recently re-opened Yale Center for British Art and to tour the exhibition Enlightened Princesses: Caroline, Augusta, Charlotte, and the Shaping of the Modern World with Lisa Ford, Assistant Director of Research. Space is limited. For more information or to reserve a spot, please email: CraigAshleyHanson@gmail.com. –CH

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Charting a New Course: Reorienting the Discourse of Early African American Art History
Wednesday, 15 February 2017, 3:30–5:00, Clinton Suite, 2nd Floor

Chairs: Mia L. Bagneris (Tulane University) and Anna Arabindan-Kesson (Princeton University)

• Jennifer Van Horn (George Mason University), Stealing a Glance: Enslaved Viewers in the Plantation South
• Key Jo Lee (Yale University), Face(ing) the Impossibility of Recovery: Tracing the Affective Terrain of the Anonymous in African American Photography
• Phillip Troutman (The George Washington University), Techniques of the Engraver: Patrick Henry Reason’s African American Portraits, 1830s–1860s

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Editing Journals in a Digital Age, Association of Research Institutes in Art History (ARIAH)
Thursday, 16 February 2017, 8:30–10:00am, East Ballroom, 3rd Floor

Chairs: Sarah Victoria Turner (The Paul Mellon Centre for Studies in British Art) and Martina Droth (Yale Center for British Art)

• Samuel Bibby, Reflections on Editing Art History
• Petra ten-Doesschate Chu, Reflections on Editing Nineteenth-Century Art Worldwide
• Kirk Ambrose, Reflection on Editing The Art Bulletin
• Alison M. Kettering, Reflections on Editing the Journal of Historians of Netherlandish Art
• Discussant: Gail Feigenbaum (Getty Research Institute)

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Transglobal Collecting: Co-Producing and Re-visioning British Art Abroad (HBA)
Thursday, 16 February 2017, 3:30–5:00, Gramercy B/East, 2nd Floor

Chair: Julie Codell (Arizona State University)

• Kathleen Stuart (Denver Art Museum), The Berger Collection at the Denver Art Museum: British Art in the Rocky Mountain West
• Elizabeth A. Pergam (Sotheby’s Institute of Art, New York), The British Model of Collecting: Importing British Art to America
• Andrew Stephenson (University of East London), ‘A Thing That Racially Belongs to Us More Than Any of the Latin Styles’: Collecting and Displaying English Art in Private Collections in the United States, c.1890–1926
• Nancy Scott (Brandeis University), Paintings across the Pond: Anchoring J. M. W. Turner in American Collections

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Studies in Eighteenth-Century Style
Friday, 17 February 2017, 8:30–10:00am, Gramercy B/East, 2nd Floor

• Josefine Baark (Lingnan University), ‘The King Stared at the Figure in Astonishment’: Chinese Nodding-Head Figures in Early Modern Denmark
• Andrea Bell (Parsons School of Design, The New School), The Geometrical Landscape: Architecture and the Severity of Style in Rome
• Tracy Ehrlich (The New School), Fashioning the Architectural Body in Eighteenth-Century Rome
• Kristin O’Rourke (Dartmouth College), The Toilette: Dressing in Public and Private

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Superpowers in the Global Eighteenth Century: Empire, Colonialism, and Cultural Contact
Friday, 17 February 2017, 10:30–12:00, Beekman Parlor, 2nd Floor

Chair: Tara Zanardi (The Metropolitan Museum of Art)

• Joanna Gohmann (Walters Art Museum), A Sign of Empire: The Pineapple in the Colonial British World
• Jocelyn Anderson (Independent Scholar), ‘The Most Remarkable Places’: Military Views of North America and the Caribbean in the Mid-Eighteenth Century”
• Amelia Rauser (Franklin and Marshall College), Satanic Mills, Indian Muslin, and the Materiality of Neoclassical Dress in the 1790s
• Discussant: Michael Yonan (University of Missouri)

The session is dedicated to the memory of Mary Sheriff (1950–2016).

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Yale Center for British Art and Paul Mellon Center Reception
Friday, 17 February 2017, 12:00–1:30, East Ballroom Foyer, 3rd Floor

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Art and Caricature
Friday, 17 February 2017, 5:30–7:00, Gramercy A/West, 2nd Floor

Chair: Phoebe Wolfskill (Indiana University)

• Anne L. Williams (Virginia Commonwealth University), Early Modern Multivalence: Caricature, Subversion, and Veneration in Sacred Art
• Richard Taws (University College London), The Smiling Face of Terror: Etienne Béricourt’s French Revolution
• Matthew Von Vogt (Indiana University), Pasolini’s Authorial Caricature: Reconsidering Authorship in the Intellettuale
• Corina L. Apostol (Rutgers University), Aggravating the Powerful: Political Caricature Now and Then

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The Netherlands and the Global Baroque, Historians of Netherlandish Art (HNA)
Saturday, 18 February 2017, 8:30–10:00am, Trianon Ballroom, 3rd Floor

Chair: Caroline Fowler (Yale University)

• Adam Eaker (The Metropolitan Museum of Art), Suriname on Display
• Christina An (Boston University), Art beyond Price or Place: Vermeer, Asia, and the Poetics of Painting
• Marsely Kehoe (Michigan State University), A Global Dutch Architecture?: Hybridity in Curaçao’s Eighteenth-Century Merchant Homes

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Key Conversation: Mary Sheriff (1950–2016): A Memorial Session
Saturday, 18 February 2017, 12:15–1:15, Madison Suite, 2nd Floor

Chair: Francesca Fiorani (University of Virginia)

Join this session to remember Mary Sheriff. Come together, share memories, and celebrate her achievements.

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Graphic Growth: Discovering, Drawing, and Understanding Nature in the Early Modern World
Saturday, 18 February 2017, 1:30–3:00, Madison Suite, 2nd Floor

Chairs: Catherine Girard (Williams College) and Jaya Remond (Max Planck Institute for the History of Science)

• Madeleine C. Viljoen (The New York Public Library), Ornament’s Science
• Katherine M. Reinhart (University of Cambridge), Graphic Practice and Natural Philosophy in the Early Paris Académie Royale des Sciences
• Elizabeth Athens (Worcester Art Museum), The Animating Mark: William Bartram’s Drawings from Life

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Day Trip to New Haven for the Yale Center for British Art
Saturday, 18 February 2017, 10:00am–5:00pm

Opportunity to visit the recently re-opened Yale Center for British Art and to tour the exhibition Enlightened Princesses: Caroline, Augusta, Charlotte, and the Shaping of the Modern World with Lisa Ford, Assistant Director of Research. Space is limited. For more information or to reserve a spot, please email: CraigAshleyHanson@gmail.com.

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Note (added 25 January 2017) — The original posting did not include the memorial session for Mary Sheriff.

Note (added 6 February 2017) — The original posting did not include the session on editing journals in a digital age.

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