Enfilade

This weekend at The Huntington . . . with more information at this Huntington blog posting by Park and Smyth:

Extra Extra! The Material History of the Visually Altered Book
The Huntington Library, Art Museum, and Botanical Gardens, San Marino, 27–28 September 2024

Organized by Julie Park and Adam Smyth

Richard Bull’s copy of A collection of the loose pieces printed at Strawberry-Hill, approximately 1750–1801 (The Huntington Library, Art Museum, and Botanical Gardens).

Join scholars in the field as they discuss extra-illustration, a historical word and image practice in which readers altered their books by adding their own visual elements to them. A book is thus physically expanded—sometimes dramatically so—and fundamental categories of book, art, and object become destabilized. As it considers extra-illustration’s flowering in late 18th- and early 19th-century England, this conference will also move back and forward in time and will venture well beyond a traditional Anglo American paradigm (through Europe, Australia, Mexico, and Japan). Working with an expansive definition of this long-standing but highly mutable practice, examples will range from modified medieval manuscripts to contemporary artists’ books and botanical books with ephemeral plants pressed inside their pages.

For questions about this event, please contact researchconference@huntington.org.

Funding provided by the Zeidberg Lecture in the History of the Book.

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8.30am  Registration and coffee

9.00  Welcome
• Susan Juster (The Huntington), Julie Park (Penn State University), and Adam Smyth (Balliol College, Oxford University)

9.15  Session 1 | Reframe / Remake
Moderator: Julie Park (Penn State University)
• Luisa Calè (Birkbeck College, University of London) — William Blake In and Out of Gibbs’ Kitto Bible: Ways of Seeing the Conversion of Paul
• Carolin Gluchowski (Oxford University) — Illuminating the Void: The Intricate Interplay of Added Illuminations in the Bodleian Library’s Manuscript Ms. e. Mus. 160

10.45  Break

11.00  Session 2 | Place / Moment
Moderator: Luisa Calè (Birkbeck College, University of London)
• Julie Park (Penn State University) — Extra-Illustrated Manuscript as Memory Palace: Archiving the House of the Walpoles
• Adam Smyth (Balliol College, Oxford University) — Extra-Illustration in England: 1650, 1777, 2013

12.30  Lunch

1.30  Session 3 | Dialogue / Discord
Moderator: Karla Nielsen (The Huntington)
• Jeanne Britton (University of South Carolina) — The Letter as Image: Illustrating the 18th-Century Correspondence of Ignatius Sancho with Laurence Sterne
• Nicole Reynolds (Ohio University) — ‘This Bomb Under My Monument’: Extra-Illustration and the War Books Controversy – Siegfried Sassoon and Robert Graves

3.30  Study Session (for speakers only)

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9.30am  Registration and coffee

10.00  Session 4 | Gather / Scatter
Moderator: Adam Smyth (Balliol College, Oxford University)
• Molly Duggins (National Art School, Sydney) — Cut-and-Paste Cabinet: Major James Wallis’ 1840s Album of Colonial New South Wales
• Anna Svensson (Uppsala University) — A Thistle or a Rose? Probing the Thorny Question of Pressed Plants in Printed Books from the 16th to the 20th Centuries
• Tony White (SUNY Purchase) — Frisson and Serendipity: Loose Leaves on the Loose in International Artists’ Books

12.00  Lunch

1.00  Session 5 | Business / Leisure
Moderator: Stephen Tabor (The Huntington)
• Travis McDade (University of Illinois College of Law) — Humorous Phases of the Law: Irving Browne’s Extra-Illustrated Life in 19th-Century America
• Whitney Trettien (University of Pennsylvania) — The Calculated Risk of Book Destruction: Book Collecting and Calculating Technologies in 19th-Century America

3.00  Break

3.15  Closing remarks by Julie Park and Adam Smyth

This fall at Historic Deerfield:

Reawakening Materials: American Art, Empire, and Material Histories in Historic Deerfield’s Collection
Historic Deerfield, Deerfield, Massachusetts, 7–8 November 2024

Historic Deerfield announces Reawakening Materials: American Art, Empire, and Material Histories in Historic Deerfield’s Collection, a public colloquium focused on the institutions’ collection of paintings, works on paper, and decorative arts from Thursday, 7 November to Friday, 8 November 2024. Questions of ’empire’ emerged from an interest in scholars rethinking the American experience from the lens of global European empires (England, Spain, France, The Netherlands, etc.) and U.S. imperialism. Historic Deerfield’s collection focuses on 18th-and 19th-century American art and material culture, and it is based in a landscape tied to Indigenous communities, histories of enslaved people and free people of African descent, and settler colonialism.

The colloquium will explore relationships between empire, materials of objects, and settler colonialism in the collection, specifically asking how these art historical topics can be generative for recontextualizing Historic Deerfield’s place in the study of New England history, art, and culture. Speakers will investigate materials that reveal new ideas of empire, including: pastels, lacquer, birch, engravings on paper, and linen. The program will also workshop methods for telling these narratives through historic interiors, including objects tied to violence and absence, and opportunities to bring in stories of joy and survivance.

Keynote speaker
• Charmaine Nelson, Provost Professor, Black Diasporic Art & Visual Culture, University of Massachusetts Amherst

Additional speakers
• Megan Baker, PhD Candidate in Art History, University of Delaware and 2024–25 Smithsonian Institution Predoctoral Fellow at the Smithsonian American Art Museum and the National Portrait Gallery
• Mary Amanda McNeil, Assistant Professor, Department of Studies in Race, Colonialism, and Diaspora, Tufts University
• Lan Morgan, Associate Curator, Peabody Essex Museum
• Joseph Litts, PhD Candidate in Art History, Princeton University
• Jonathan Square, Assistant Professor of Black Visual Culture, Parsons School of Design
• Morgan Freeman, PhD Candidate in American Studies, Yale University
• Michael Hartman, Jonathan Little Cohen Associate Curator of American Art and PhD Candidate in Art History, University of Delaware
• Anthony Trujillo, PhD Candidate in American Studies, Harvard University

Online registration will be posted shortly. Please send questions to Ian Hamilton, ihamilton@historic-deerfield.org.

Next week at The Clark, in connection with the exhibition:

Guillaume Lethière Symposium
The Clark Art Institute, Williamstown, Massachusetts, 27 September 2024

Join us for a symposium in celebration of Guillaume Lethière. The exhibition, organized in partnership with the Musée du Louvre, is the first to investigate Lethière’s extraordinary career. This one-day conference invites renowned scholars and the public to examine Lethière’s considerable body of work, as well as the presence and reception of Caribbean artists in France in the late eighteenth and early nineteenth centuries.

More information is available here»

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10.00  Director’s Welcome — Olivier Meslay, Hardymon Director, Clark Art Institute

10.05  Opening Remarks — Esther Bell, Deputy Director and Robert and Martha Berman Lipp Chief Curator, Clark Art Institute

10.25  Session One
• Guillaume Lethière: The Exceptional Trajectory of a Free Person of Color — Frédéric Régent, Maître de Conférences and Directeur de Recherche, Université Paris 1 Panthéon-Sorbonne
• Lethière’s Allegorical Confines: Indemnity, Colonialism, and African Diasporic Fantasies — C. C. McKee, Assistant Professor of the History of Art and Director of the Center for Visual Culture, Bryn Mawr College

12.05  Break and Exhibition Viewing

1.05  Session Two
• Colonial Networks: Remapping the ‘Paris’ Art World in the French Antilles — Meredith Martin, Professor of Art History, New York University and the Institute of Fine Arts
• Picturesque Plantations: Jenny Prinssay’s Construction of a French Caribbean Idyll — Remi Poindexter, The Graduate Center, CUNY, and University Fellow in Art History at the University of North Carolina Asheville

2.45  Break

3.50  Session Three
• Guillaume Lethière’s Roman Years — Francesca Alberti, Director of the Department of Art History at the Académie de France in Rome–Villa Medici and Professor of Art History at the Université de Tours and the Centre d’Études Supérieures de la Renaissance
• From Neoclassicism to Preromanticism: Lethière, the Missing Link? — Richard-Viktor Sainsily-Cayol, Multimedia Visual Artist and Urban Scenographer

4:50  Closing Remarks — Esther Bell

5.00  Reception

From the Yale Center for British Art:

A Puritan Picture: Vanity, Morality, and Race in Seventeenth-Century Britain
In-person and online, Hastings Hall, Yale School of Architecture, New Haven, 27 September 2024

Unknown artist, Two Women Wearing Cosmetic Patches, ca. 1655, oil on canvas (Compton Verney Art Gallery and Park, Warwickshire, UK).

The YCBA, in partnership with Compton Verney, will host a symposium to increase understanding of the painting Two Women Wearing Cosmetic Patches. Topics include the painting’s provenance, attribution, and future display; the cloth trade in seventeenth-century England, Africa, and India; and evolving perceptions of beauty standards, including a keynote conversation focusing on cosmetic patches.

The middle decades of the seventeenth century in Britain were characterized by radical political, religious, and social change. In this period, an unknown artist created a remarkable painting that spoke to fears and anxieties crystallizing around a perceived increase in moral laxity, gender transgression, and the insidious influence of foreigners. The painting depicts two women side by side, each wearing a conspicuous array of beauty patches. The woman on the left reprimands her companion with the words “I black with white bespott: y[o]u white w[i]th blacke this Evill / proceeds from thy proud hart, then take her: Devill.” Text and image combine to inveigh against the sins of pride, vanity, and worldly excess. The painting reminds viewers that sinful behavior leads to the devil and exhorts them to seek salvation.

Compton Verney Art Gallery and Park in Warwickshire, England, has loaned the painting to the YCBA for conservation treatment and inclusion in the museum’s ongoing technical study of the theory and practice of painting skin tones. It will be on view at the Yale University Art Gallery from 20 August until 30 September 2024, before returning to Compton Verney. Registration for online and in-person attendance is recommended. For more information, please email jemma.field@yale.edu.

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9.20  Welcome by Jemma Field (Associate Director of Research, YCBA) and Oli McCall (Senior Curator, Compton Verney Art Gallery and Park)

9.30  Opening Talk
• A Painter for a Puritan Picture? — Edward Town (Assistant Curator of Paintings and Sculpture, YCBA)
This opening talk will provide an account of the recent history of the painting Two Women Wearing Cosmetic Patches and the research partnership between the YCBA and Compton Verney. It will present new findings about the painting’s early history and its attribution, set within the context of artistic production during the Interregnum.

9:50  Panel I | Women, Dress, and Morality
Chair: Elizabeth Cleland (Curator of European Paintings and Sculpture, Metropolitan Museum of Art)
This session will consider visual and textual ideals of female beauty and behavior in seventeenth-century England. Topics of discussion include the construction of ‘otherness’, the political and gendered value of clothing, and contemporary desires to increase control over women’s bodies and lives.
• Ad-dressing Conventions: Clothing, Gender, and Race in Two Women Wearing Cosmetic Patches — Jennifer Wu (Adjunct Professorial Lecturer, American University)
• Striped Cloth: Morality, Politics, and Gender in Interregnum England — Jemma Field (Associate Director of Research, YCBA)
• Beauty beyond Borders? English Perceptions of ‘Barbarous’ Beauty in the Seventeenth Century — Haijiao Wang (PhD student, University of Warwick)

11.05  Panel II | Bodies and Voices
Chair: Patricia Fumerton (Distinguished Professor, University of California, Santa Barbara)
This session interrogates female beauty standards, gender roles, and the concept of ‘otherness’. Drawing on an array of contemporary evidence—including emblems, anti-cosmetic polemics, travel narratives, pamphlets, and sermons—the speakers will look to further our understanding of the categories of desire, the racialization of beauty, and the development of national identities.
• ‘All your most excellent thoughts can desire’: The Transformation and Consumption of Bodies in Early Modern England — Todd Simmons (PhD student, Lehigh University)
• Body Language: Reading Text and Image in Two Women Wearing Cosmetic Patches — Jane Partner (Fellow and College Associate Professor, Trinity Hall, University of Cambridge)
• Patches, Paint, and Proto-Dermatology: The Moral Medicalization of Cosmetics in John Bulwer’s Anthropometamorphosis (1653) and John Gauden’s A Discourse of Auxiliary Beauty (1656) — Katherine Aske (Lecturer, Edinburgh Napier University)

12.20  Lunch break

2.00  Keynote Session | Cosmetics and Cultures of Beauty
Chair: Erin Griffey (Associate Professor, University of Auckland)
This keynote brings together experts on seventeenth-century beauty cultures to discuss the complexities of patching. The discussants will consider the performative aspects of the painting, including the dialogue between the subjects and the imagined viewer, as well as the overall image of adornment. Patching is then discussed from a variety of angles that include its material properties, cost, patterns of usage, and place in moral and social commentaries, to consider contemporary beauty ideals, how early moderns understood the skin, how they treated skin conditions, and how they read appearances as an index of character, physical health, and spiritual virtue.
• Jill Burke (Chair of Renaissance Visual and Material Cultures, University of Edinburgh)
• Evelyn Welch (Vice-Chancellor and President, University of Bristol)

3.30  Break

3.45  Closing Discussion | Exhibiting the Painting
Chair: Edward Town (Assistant Curator of Paintings and Sculpture, YCBA)
• Oli McCall (Senior Curator, Compton Verney Art Gallery and Park)
• Jane Simpkiss (Curator, Compton Verney Art Gallery and Park)

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Note (added 28 December 2024) — A recent press release notes the newly identified artist responsible for the painting: “Extensive research, including x-ray analysis,has concluded that the artist behind the painting is likely to be Father Jerome Hesketh (active 1647–1666). More than a dozen works by Hesketh feature in UK public collections today, such as Lyme Park, Sizergh Castle, and Moseley Old Hall. Comparisons between these and Two Women Wearing Cosmetic Patches offer compelling evidence they are by the same hand. . . .”

From the conference programme:

Placing China at the Courts of Europe, 1700–1800
Historischer Gasthof ‘Zum Eichenkranz’, Oranienbaum-Wörlitz, 5–6 September 2024

Organized by Lukas Nickel and Anette Froesch

When Leopold III Frederick Franz, Duke of Anhalt-Dessau (1740–1817), added Chinese-inspired state rooms, a pagoda, a tea house, and bridges to his sprawling garden realm, he followed a practise widely employed at courts of the German states, Austria, and across Europe. Chinoiserie was of such importance that it was used by his political allies as well as rivals, by conservative and progressive rulers, and in both Protestant and Catholic settings. While the centrality of China to elite representation of the time has been noted often, so-far its significance remains opaque. The conference, a collaboration between the Kulturstiftung Dessau-Wörlitz and the Institute of Art History, University of Vienna, aims at investigating the intentions and rationales behind the inclusion of Chinese-inspired spaces, structures, and designs into programs of representation at European courts during the 18th century.

Open to the public, the conference will be conducted in English. The fee (including catering and excursions) is €35. Registration should be sent to julia.cahnbley@gartenreich.de by 25 August 2024. Organizers plan to publish the proceedings in 2025.

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9.30  Welcome — Harald Meller (Kulturstiftung Dessau-Wörlitz)

9.45  Greetings — Lukas Nickel (Universität Wien) and Anette Froesch (Kulturstiftung Dessau-Wörlitz)

10.15  Opening Lecture | Lukas Nickel — The Many Chinas in 18th-Century Europe

11.00  Coffee break

11.30  Stéphane Castelluccio (Centre André-Chastel) — France and China: Between Fascination and Reserve

12.00  Emile de Bruijn (National Trust) — Placing China in England: Chinese-Style Interiors and Furnishings in 18th-Century English Country Houses

12.30  Discussion

13.00  Lunch break

14.00  Anette Froesch — ‘As if he had been in Beijing all his life’: The Chinese-Style Interiors and Gardens of Prince Leopold III Friedrich Franz von Anhalt-Dessau

14.30  Cordula Bischoff (Technische Universität Dresden) — Think Big: Augustus the Strong and His Collections of Asiatica

15.00  Coffee break

15.30  Constantijn Johannes Leliveld (Berlin) — Prussian Pioneers: Shaping European Perceptions of China in the 18th Century

16.00  Maria Cinta Krahe Noblett (Universidad Autónoma de Madrid) — Placing Chinese Art during the Reign of Queen Elisabeth Farnese of Spain (r. 1714–1746)

16.30  Discussion

17.00  Excursion to Schloss Wörlitz

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8.30  Excursion to Schloss and Park Oranienbaum

10.30  Coffee break

11.00  Elfriede Iby (Schloss Schönbrunn) — Chinoiserie in Schönbrunn Palace

11.30  Gyorgyi Fajcsák (Ferenc Hopp Museum of Asiatic Arts, Hungary) — Gardens in the Esterházy Palace: Chinoiserie Murals at Eszterháza/Fertöd

12.00  Filip Suchomel (Univerzita Karlova) — Oriental Interiors in Czech Aristocratic, Ecclesiastical, and Bourgeois Residences in the 18th and 19th Centuries

12.30  Discussion

13.00  Lunch break

14.00  Luca Malvicino (Castello Reale di Govone) — Chinese Wallpapers: A New Decorative Fashion and a Representation of Status in the Kingdom of Sardinia

14.30  Denise Gubitosi (Universität Wien) — Nel Gusto Cinese: The Wallpapers in the Chinese Rooms of the Castello di Racconigi

15.00  Kristel Smentek (Massachusetts Institute of Technology) — Mixed Messages: Images of China and Court Politics in Late 18th-Century France

15.30  Discussion

16.00  Concluding Remarks — Lukas Nickel

From MESDA:

Memory and Meaning in Southern Silver
Online and in-person, Museum of Early Southern Decorative Arts, Winston-Salem, NC, 20–21 September 2024

Silver and memory are deeply linked as individuals often commission pieces to mark significant moments in their lives and then pass those objects along to future generations. Please plan to join us on September 20th and 21st as we delve into the lives of southern silver makers and patrons who used silver to create memory and meaning in the early American South.

Featured speakers include Ben Miller of Shrubsole and the Magazine Antique’s Curious Objects podcast, author and scholar Catherine Hollan, and Colonial Williamsburg’s Erik Goldstein. In addition to an opening keynote and a day of dynamic lectures, attendees will also have an opportunity to examine MESDA’s silver collection up close during an open house in the MESDA study rooms.

Virtual registration is available for a suggested donation. In-person registration ($325, or $315 for Frank L. Horton Society Members) includes the keynote lecture and reception, one pastry breakfast, one coffee break, one lunch, all lectures proposed on the agenda, and an admission ticket to Old Salem Museums & Gardens. Attendees will also receive exclusive access to the recordings of the lectures for a limited period of time after the program concludes.

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5.00  Opening Reception and Keynote by Ben Miller

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9.15  Welcome

9.30  Catherine Hollan — Why Reassess Southern Silver Scholarship

10.15  Alexandra MacDonald — ‘To Brighten Every Painful Hour’: The Follet Family Sampler

10.35  Coffee Break

11.00  Erik Goldstein — Williamsburg’s ‘Madison’ Horse Racing Trophy

11.30  Cynthia Jenkins — Historic Beaufort’s ‘Hamar Cup’

12.00  Lunch

1.00  Charlotte Crabtree — Put the Lime in the Coconut: Silver and Coconut Drinking Vessels in the South

1.45  Emily Whitted — Wealth from the Water: Murky Metal in the Shadow of the Santee River, 1785–2003

2.10  Emily Campbell — Thomas Campbell, Winchester, Virginia Silversmith

3.00  Collection Open House in the MESDA Galleries

4.00  Closing Reception

Ignacio de León y Escosura, Auction Sale in Clinton Hall, New York, detail, 1876
(New York: The Metropolitan Museum of Art, Gift of the Artist, 1883, 83.11)

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From the conference programme:

The Commerce and Circulation of Decorative Arts, 1792–1914:
Auctions, Dealers, Collectors, and Museums
Le commerce et la circulation des objets d’art, 1792–1914:
Ventes aux enchères, marchands/es, collectionneurs/ses et musées
Musée des Beaux-Arts de Lyon, 25–27 September 2024

This international three-day colloquium, to be held in Lyon, France, from 25 to 27 September 2024, will investigate the role played by auctions, dealers, collectors, and museums in the circulation of the decorative arts from 1792 until 1914. Beginning with the ‘ventes des biens des émigrés’ in Revolutionary France and ending with the onset of World War I, these were years of seismic political and socio-economic change that revolutionised the art market. Day 1 will start with an introduction by Daniel Alcouffe and an opening lecture by Tom Stammers. Three sessions will follow on the role of auctions, antique dealers, and dealer-decorators in the circulation of the decorative arts. Day 2 will be devoted to the museums, collectors, and networks of exchange across borders. Day 3 will discuss the interplay between the market, expertise, and the tailoring of objects, ending in the afternoon with a round-table discussion on research in the digital age, showcasing several projects, with short presentations by Mark Westgarth, Lynn Catterson, Koenraad Brosens, and Anne-Sophie Radermecker. The conference is free to attend but registration is essential. Your registration will be effective for any session you wish to attend throughout the conference. Accommodation in Lyon is limited; so we suggest that you arrange this as soon as possible. Please see the conference page for updates.

This colloquium forms part of a wider project on the market for decorative arts: OBJECTive – ANR ACCESS ERC / Université Lumière Lyon-2, LARHRA : OBJECTive – ANR Objects through the Art Market : A Global Perspective – LARHRA.

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10.30  Introduction
• Welcome — Camille Mestdagh and Diana Davis (organisers)
• Introductory Comments — Daniel Alcouffe (Conservateur général honoraire au musée du Louvre), Les arts décoratifs : Une ressource pour l’avenir de l’histoire de l’art
• Opening Lecture — Tom Stammers (Reader in the history of the art market, The Courtauld Institute of Art), Dealing with the Decorative Arts: Sources, Paradigms, and Problems

11.30  Session 1 | The Auction: A Window on the Decorative Arts Market
Moderator: Suzanne Higgott (independent scholar, formerly the Wallace Collection)
• Helen Jacobsen (PhD, University of Oxford, Executive Director, The Attingham Trust), The Anatomy of an Auctioneer: Harry Phillips and the Growth of the Decorative Art Market in London, 1796–1839
• Stuart Moss (PhD candidate, University College London), ‘Schöne Kunstsachen aller Art’: Decorative Art at the Munich Secularisation Sales, 1803–1807
• Sabine Lubliner-Mattatia (PhD, Sorbonne Université, independent lecturer), From the Limelight to the Spotlight: The Jewellery Sales of Actresses in 19th-Century Paris (in French)

13.00  Lunch

14.00  Session 2 | Fluid Boundaries: Defining the Antique Dealer
Moderator: Paola Cordera (Associate Professor, Politecnico Milano, School of Design)
• Lucie Chopard (PhD, Ecole Pratique des Hautes Etudes, Saprat), The Sichel Brothers and the Parisian Art Market: Commercial Networks and Strategies
• Servane Rodié-Dumon (PhD candidate, Université d’Artois), Objects in Motion: Emile Peyre’s Collection of Decorative Art and the South Kensington Museum
• Nathalie Neumann (provenance researcher, formerly Johannes Gutenberg-Universität, Mainz), Reconstructing the Art Collection of Felix Ganz (1869–1944): From Constantinople to Northern Europe

15.30  Break

16.00  Session 3 | Dealer Decorators in the Gilded Age: Shaping Taste in the New World
Moderator: Adriana Turpin (Professor, IESA Arts and Culture)
• Justine Lécuyer (PhD, Sorbonne Université), Tapissiers: Interior Decorators as Experts, Antique Dealers, and Collectors: The Example of Rémon and Alavoine
• Flaminia Ferlito (PhD candidate, Scuola Alti Studi Lucca), Stanford White: Italian Baroque Elegance and the Decorative Art Market
• Aniel Guxholli (Lecturer, McGill University, School of Architecture), The Culture Market: American Firms and French Decorative Arts in Montreal

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9.00  Session 4 | The Art Market and the Museum: Collecting, Display, and Knowledge
Moderator: Caroline McCaffrey-Howarth (PhD, Lecturer, University of Edinburgh)
• Françoise Barbe (Conservatrice en chef du patrimoine) and Fernando Filipponi (PhD, Chargé de recherche, musée du Louvre), The Commerce and Circulation of Maiolica between Italy and France, 1850–1902: A Case Study of the Argnani Collection in the Musée du Louvre (in French)
• Félix Zorzo (Assistant Curator, National Museums Scotland), The Public Collecting of Spanish Ceramics in 19th-Century Edinburgh
• Maialen Maugars (PhD candidate, University of Warwick), Collecting Italian Renaissance Decorative Arts for the Birmingham Museum and Art Gallery, 1881–1889
• Mirjam Dénes (Curator, Museum of Fine Arts, Ferenc Hopp Museum of Asiatic Arts, Budapest), Crafting Connections, Making Meanings, and Sealing Deals: Jenő Radisics and the International Network of the Budapest Museum of Applied Arts, 1897–1914

11.00  Break

11.30  Session 5 | Collectors and Their Networks of Acquisition
Moderator: Elodie Baillot (Maîtresse de conférences, Université Lumière Lyon-2)
• Armandine Malbois (PhD candidate, Ecole Pratique des Hautes Etudes, Saprat, Ecole du Louvre), The Schlichting Taste: Collecting 18th-Century French Decorative Arts for the Louvre, 1880–1914
• Agnès Bos (Déléguée générale, Comité des Travaux Historiques et Scientifiques, École nationale des chartes-PSL), A Very Special Collection: The Marquise Arconati Visconti (1840–1923), Her Network, and Personal Choices
• Paula Maria de la Fuente Polo (PhD candidate, Universidad Rey Juan Carlos, Madrid), The Formation of the Hispano-Moresque Ceramic Collection of Don Guillermo de Osma y Scull

13.00  Lunch

14.30  Session 6 | Networks and Cultural Exchange across the Oceans
Moderator: Florencia Rodríguez Giavarini (PhD Fellow, Centro de Investigaciones en Arte y Patrimonio, Buenos Aires)
• Gustavo Brognara (PhD candidate, Universidade de São Paulo), Cultural Exchanges: The Circulation of European Decorative Arts in Brazil
• Paolo Coen (Professor of Museology, Università di Teramo), The Export of Art Objects from Rome to Australia and New Zealand, 1884–1904

15.30  Break

16.00  Session 7 | The Middle East and Asia in Europe: Inventing Genres and Forming Taste
Moderator: Elizabeth Emery (Professor, Montclair University)
• Mercedes Volait (Emeritus Research Professor, CNRS), ‘Arab Antiques?’: Scrutinising an Egyptian Collection of Middle Eastern Artefacts Dispersed in the Wake of the Paris 1867 Exposition Universelle
• Akane Nishii (PhD, CRJ-EHESS, CY Cergy Paris Université), The Export of Japanese Decorative Arts from Yokohama in the 1870s
• Maria Metoikidou (PhD candidate, University of Glasgow), Shifting Perspectives on Japonisme Collecting: Exploring the Case of Gregorios Manos in the Market for Japanese Objects

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9.00  Session 8 | Connoisseurship: Framing Objects for the Market
Moderator: Damien Delille (Maître de conférences, Université Lumière Lyon-2)
• Inès Maechler (Master, Ecole Pratique des Hautes Etudes, Saprat), The Paris 1876 Retrospective Exhibition of Tapestries: Institutions, Collectors, and the Development of a Market (in French)
• Pauline d’Abrigeon (Conservatrice, Fondation Baur/ PhD candidate, Ecole Pratique des Hautes Études), Pathways of the ‘Famille Rose’ in the Parisian Art Market during the Second Half of the 19th Century: From the Success of a Term to the Success of the Object
• Nick Pearce (Professor, Richmond Chair of Fine Art, University of Glasgow), A New Taste for the Old: Collecting Chinese Ceramics, 1910

10.30  Break

11.00  Session 9 | From Floor to Ceiling: Reconfiguring Objects for the Market
Moderator: Jérémie Cerman (Professeur, Université d’Artois)
• Kassiani Kagouridi (PhD candidate, University of Ioannina), Tailoring the ‘Baluchistan’ Carpets: Art Market and Art Historiography Interplay in Late 19th- and Early 20th-Century Europe
• Mei Mei Rado (Assistant Professor, Bard Graduate Center), Fragments, Encyclopedia, and Industry: Japanese Silk Samples Collected and Sold by Siegfried Bing and Hayashi Tadamasa
• Roberta Aglio (PhD candidate, Universitat Rovira i Virgili, Tarragona), The Dispersion, Circulation, and Reuse of Ceiling Panels in France in the 19th and 20th Centuries

12.30  Lunch

13.30 Session 10 | Rethinking Research Approaches for the Digital Age
Moderator: Sandra van Ginhoven (Head, Getty Provenance Index, Getty Research Institute)
• Camille Mestdagh (Chercheure, Université Lumière Lyon-2) and Morgane Pica (Ingénieure d’études, ENS Lyon), A Presentation of Project OBJECTive: Objects through the Art Market
Round Table
• Lynn Catterson (Lecturer, University of Columbia, NY), Stefano Bardini: Mapping a Dealer’s Transnational Network
• Mark Westgarth (Professor, University of Leeds), Antique Dealer Archives in the Digital Age
• Anne-Sophie Radermecker (Assistant Professor, Université Libre de Bruxelles), Price-Related Sources in Historical Contexts: The Case of the Val Saint Lambert Crystal Glassware Manufactory
• Koenraad Brosens (Professor, KU Leuven University), Project Cornelia and Slow Digital Art History: A New Path in the Study of Flemish Tapestries
• Pierre Vernus (Maître de conférences, Université Lumière Lyon-2, LARHRA, Head of Project SILKNOW), Concluding Remarks

16.00  Final Words — Natacha Coquery, Igor Moullier, and Paola Cordera

Organising Committee
Natacha Coquery (Professeure, Université Lumière Lyon 2, LARHRA), Camille Mestdagh (Post-doctoral researcher, Université Lumière Lyon 2, LARHRA), Igor Moullier (Maître de conférences, ENS Lyon, LARHRA), Rossella Froissart (Directrice d’études, Ecole Pratique des Hautes Études-PSL, SAPRAT), Diana Davis (Independent researcher, PhD, University of Buckingham)

Scientific Committee
Arnaud Bertinet (Maître de Conférences, Paris 1 Panthéon Sorbonne), Jérémie Cerman (Professeur, Université d’Artois, Arras), Paola Cordera (Associate Professor, Politecnico di Milano), Elizabeth Emery (Professor, Montclair State University, New Jersey), Sandra van Ginhoven (Head, Getty Provenance Index, Getty Research Institute, Los Angeles), Anne Helmreich (Director, Archives of American Art, Smithsonian Institution, Washington), Caroline McCaffrey-Howarth (Lecturer, University of Edinburgh), Johannes Nathan (co-founder of the Centre of Art Market Studies, Technische Universität, Berlin), Anne Perrin-Khelissa (Maître de conferences HDR, Université Toulouse-Jean Jaurès), Florencia Rodríguez Giavarini (Doctoral fellow, UNSAM-CONICET, Buenos Aires), Adriana Turpin (Head of Research, IESA, Paris)