Enfilade

Lecture | Matthew Reeve, ‘Children of Strawberry’

Posted in lectures (to attend) by Editor on September 24, 2019

Next month at BGC:

Matthew Reeve, ‘Children of Strawberry’: Replication and Referentiality in the English Gothic Revival / The Lee B. Anderson Memorial Lecture on the Gothic
Bard Graduate Center, New York, 16 October 2019

John Carter, The Tribune at Strawberry Hill, ca. 1789 (Lewis Walpole Library, Yale University).

Matthew M. Reeve will deliver the inaugural Lee B. Anderson Memorial Lecture on the Gothic on Wednesday, October 16, at 6pm. His talk is entitled “‘Children of Strawberry’: Replication and Referentiality in the English Gothic Revival.”

Horace Walpole’s Strawberry Hill (begun 1747) established a significant template for subsequent Gothic buildings. Eliding the persona of a famous author, antiquary, and connoisseur with an extraordinary Gothic villa, it would be emulated in a long list of commissions from c. 1750 into the twentieth century. In Reeve’s recent work he has explored the place of homoerotic coteries in the formation of the Gothic idiom—and more broadly of medievalism—within Walpole’s milieu. Walpole’s queer coterie would disseminate the Gothic style in Georgian London from c. 1750–1790 in a handful of buildings that followed in Strawberry Hill’s wake. For Walpole, these buildings were “Children of Strawberry,” the offspring of his famous home. This was grounded in the construction of Walpole’s coterie as a ‘queer family’, a sexual rather than biological construction of kinship. Sexuality was, however, only one possible signification of Strawberry Hill and Strawberry Hill Gothic, and the house’s reception history indicates that the meanings of the house morphed to adapt to different needs of patrons. The apparent ‘queerness’ of these buildings and of the Gothic generally, would change significantly around 1800 and be reframed in the light of the religious and social reforms that shaped the Victorian Gothic Revival. Taking the ‘long view’ of Walpole’s famous home, this lecture considers the changing meanings of the Gothic on either side of c. 1800 and in so doing offers a new perspective on the shaping of ‘the Gothic Revival’.

Matthew M. Reeve is Associate Professor and Queen’s National Scholar of Art History at Queen’s University and a Fellow of the Society of Antiquaries of London. Beginning at the University of Toronto, he moved to Cambridge for his graduate work under Paul Binski and taught at the University of Toronto and the University of London. His research has long been divided between medieval art (proper) and episodes of medievalism in Western art. His first books were on Gothic architecture and wall painting and he has recently completed Gothic Architecture and Sexuality in the Circle of Horace Walpole 1717–97, which is soon to appear from Penn State. Arguing that the revival of Gothic art and architecture was the product of a queer coterie surrounding Horace Walpole, this study interrogates the sexual and aesthetic origins of medievalism itself. This project has been supported by fellowships from the Paul Mellon Centre and the Social Sciences and Humanities Research Council of Canada, and earlier papers from it were published in The Art Bulletin, Architectural History, the Burlington Magazine, and elsewhere. He is currently working on books on the Gothic sculpture of Wells Cathedral, Welsh Gothic architecture, and a collaborative study of Medievalism during Toronto’s Gilded Age.

Lecture | Menno Fitski, On a Japanese Lacquer Chest

Posted in lectures (to attend) by Editor on September 17, 2019

Next Thursday at Columbia:

Menno Fitski, Genji Meets Yoritomo
Burke Center, Columbia University, New York, 26 September 2019

Menno Fitski, head of Asian Art at the Rijksmuseum, will lecture on an astonishing mid-seventeenth century Japanese lacquer chest acquired by the museum in 2013. Hitherto known only through a poor World War II-era photograph published by his mentor (and father-in-law), the late Oliver Impey, the RM chest must be counted as one of the finest examples of Japanese lacquer ever to have been exported to the West. It forms part of what Impey described as the Fine Group—comprised of three other, similarly large, richly lacquered chests, in the the Victoria and Albert Museum; the State Historical Museum, Moscow; and one believed to have been sawn up. The recovery of the RM chest was rightfully heralded in the 2015 exhibition Asia in Amsterdam.

The RM and V&A chests are believed to have passed from the directors of the Dutch East India company in Japan who first acquired them to Cardinal Mazarin whose descendants preserved them throughout the eighteenth century. Around 1800, they were acquired by the renowned English collector William Beckford and subsequently sold in the estate sale of his son-in-law, the 10th Duke of Hamilton in 1882. At this point, their paths diverged—one to the V&A and the RM example into the collection of Sir Trevor Lawrence. At some point thereafter, the RM chest dropped off the map, only to remerge in a house near Paris six years ago.

But the odyssey through trade and European princely ownership is only part of their story as the quality and themes of these lacquers are in every sense exceptional (if only for what we now view as having been made expressly for export, i.e, Namban wares). Of a quality more generally identified with the most refined domestic taste (akin to those collected by Maria Theresa and Marie Antoinette), the panels of the chest illustrate scenes from the eleventh century Tale of Genji.

The lecture is scheduled for Thursday, 26 September 2019 at 6:00pm.

Exhibition and Book | Mudlarking

Posted in books, exhibitions, lectures (to attend) by Editor on August 4, 2019

As noted in Salon, the newsletter of the Society of Antiquaries of London, issue 432 (30 July 2019) . . .

Foragers of the Foreshore
Bargehouse on Bankside, London, 25–29 September 2019

Curated by Florence Evans

Mudlarking is gaining new attention. It is an old profession, a term applied especially to people who once lurked on the banks of the Thames in London searching for things they could sell, washed up on the tide or rising from the mud and sewage . . . The poor became less visible and scavengers faded away, but more recently detectorists and collectors have returned to the river, for the thrill and fascination of discovery and contact with people from the past.

Modern mudlarkers need a three-year permit, issued by the Port of London Authority (PLA) for £80, and must report all their finds to the Portable Antiquities Scheme’s Finds Liaison Officer at the Museum of London. . . .

Lara Maiklem is more communicative about mudlarking than many practitioners. She has tens of thousands of followers on social media, where she posts striking photos of her finds (often to be left where they are)—Instagram is made for determined mudlarkers—and has written a book, Mudlarking: Lost and Found on the River Thames. Though not be released until 22 August, on Amazon it is already at no 1 in ‘Urban & rural planning’ and no 7 in ‘Social science human geography’. It will be Radio 4 Book of the Week from 12 August. And now there is to be an exhibition.

For five days, writes Karen Hearn FSA, Foragers of the Foreshore will be at the Bargehouse on Bankside (25–29 September), part of a Totally Thames festival. Curated by Florence Evans, says the blurb, this will be “the most expansive exhibition on Mudlarking that has ever taken place.” It will feature new art, photographic portraits of mudlarkers taken by Hannah Smiles, and “a chance to meet Mudlarker in Residence Nicola White.” Museum of London Archaeology’s Thames Discovery Programme, Thames21, and Unruly Heritage will explain inter-tidal archaeology. Maiklem is among event speakers.

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From Bloomsbury:

Lara Maiklem, Mudlarking: Lost and Found on the River Thames (London: Bloomsbury Publishing, 2019), 320 pages, ISBN: 978-1408889213, £19.

For thousands of years human beings have been losing their possessions and dumping their rubbish in the River Thames, making it the longest and most varied archaeological site in the world. For those in the know, the muddy stretches provide a tangible link with the past, a connection to the natural world, and an oasis of calm in a chaotic city.

Lara Maiklem left the countryside for London in her twenties. At first enticed by the city, she soon found herself cut adrift, yearning for the solace she had known growing up among nature. Down on the banks of the River Thames, she discovered mudlarking: the act of scavenging in the mud for items discarded by past generations of Londoners. For the next fifteen years her days would be dedicated to and dictated by the tides, in pursuit of the objects that the river unearthed: from Neolithic flints to Roman hair pins, medieval shoe buckles to Tudor buttons, Georgian clay pipes to discarded war medals. Moving from the river’s tidal origins in the west of the city to the point where it reaches the sea in the east, Mudlarking is the story of the Thames and its people as seen through these objects. A fascinating search for peace through solitude and history, it brings the voices of long-forgotten Londoners to life.

Lara Maiklem moved from her family’s farm to London in the 1990s and has been mudlarking along the River Thames for fifteen years. She now lives with her family on the Kent coast within easy reach of the river, which she visits as regularly as the tides permit. This is her first book.

 

Lecture | Susan Sloman, Mapping Gainsborough in Bath and London

Posted in lectures (to attend) by Editor on June 13, 2019

From the Society of Antiquaries:

Susan Sloman, Mapping Thomas Gainsborough’s Career in Bath and London
Society of Antiquaries of London, 9 July 2019

Much of Susan Sloman’s research into the Thomas Gainsborough’s life and career has involved mapping and architecture. She is primarily interested in how the streets and buildings in which he lived affected his practice.

In Bath, Gainsborough shared a large central town house built for the Duke of Kingston with his sister (a milliner). This was destroyed at the time of the excavation of the Roman Baths in the last decade of the nineteenth century, and photographs of the excavation show Gainsborough’s house teetering at the edge of the Great Bath held up by wooden props. For the exhibition catalogue accompanying Gainsborough’s Family Album (National Portrait Gallery, November 2018 – February 2019), Sloman has written about the roles the artist’s wife and sister played within his professional life, and how his and his sister’s use of property created wealth for the family as a whole and supported his portrait-painting practice.

In the course of research for another exhibition (Gainsborough and the Theatre, Holburne Museum, Bath, October 2018 – January 2019), the changes in London’s streetscape south of Piccadilly that took place at the time of the construction of Regent Street were discovered to be particularly striking. The area Gainsborough frequented in the vicinity of Pall Mall looked very unlike the place we know now. He was only a short walk from the ‘Little’ Theatre (the site of the later Haymarket Theatre) and the King’s Theatre or Italian Opera House, also in Haymarket. Across Pall Mall from these theatres was Dalton’s Warehouse, home to the Royal Academy for the first ten years of its existence, between 1769 and 1779. It is hoped that these elements of geography and archaeology will be of wider interest beyond the confines of art history—and will form a key focus of this talk on Gainsborough’s career.

This public lecture will begin at 13.00; doors open at 12.30. It is free and open to the public, but space is limited and reservations are strongly recommended to avoid disappointment. To book online, simply click the ‘Reserve Your Seat’ button, available here.

Book Launch | Art and Race

Posted in books, exhibitions, lectures (to attend) by Editor on June 11, 2019

This evening at The Courtauld:

An Evening about Art and Race, Launching L’Art et la Race: L’Africain (tout) contre l’oeil des Lumières
The Courtauld Institute of Art, King’s Cross, London, 11 June 2019

Organized by Katie Scott and Esther Chadwick

The Courtauld Institute invites you to a round-table discussion to celebrate the publication of Anne Lafont’s major new book L’Art et la Race: L’Africain (tout) contre l’oeil des Lumières (2019) and to mark the exhibition Le Modèle noir at the Musée d’Orsay, Paris. The book will be launched by Dr Mechthild Fend (UCL) and Dr Esther Chadwick (Courtauld), followed by conversation between Professor Lafont (EHESS), Professor David Bindman (UCL), and Sam McGuire (Tate) about the staging of the exhibition. Drinks reception to follow.

Tuesday, 11 June 2019, 5:00–6:30pm; Research Forum Seminar Room, The Courtauld Institute of Art, Vernon Square Campus, Penton Rise, London. Free and open to all. Registration details are available here.

Exhibition | The Sweetness of Life

Posted in exhibitions, lectures (to attend) by Editor on May 30, 2019

From the Norton Simon:

The Sweetness of Life: Three 18th-Century French Paintings from The Frick Collection
Norton Simon Museum, Pasadena, 14 June — 9 September 2019

Jean-Siméon Chardin, Lady with a Bird-Organ, 1753 (?), oil on canvas (lined), 20 × 17 inches (New York: The Frick Collection).

Jules and Edmond de Goncourt, the eminent 19th-century historians of French art and society, baptized the 1700s the ‘century of women’. Though 18th-century women did make strides in the sciences, literature, and the arts, they were most often portrayed in genre scenes pursuing leisurely, quotidian pleasures and tasks. Three superb 18th-century French genre paintings from The Frick Collection in New York, part of an ongoing reciprocal exchange program, are on view this summer at the Museum. These artfully constructed visions of contemporary life and fashion, as depicted by François Boucher, Jean-Baptiste Siméon Chardin and Jean-Baptiste Greuze, provide viewers with an intimate look at the lives of middle-class French women of the 1740s and 1750s. The paintings will be installed in the Museum’s 18th-century Rococo gallery among its own works by Chardin and Boucher, as well as paintings by Jean-Antoine Watteau and Jean-Honoré Fragonard.

S E L E C T E D  P R O G R A M M I N G

• David Pullins (Assistant Curator, The Frick Collection), Female Models in the ‘Century of Women’: From Fiction to Reality in Chardin, Boucher, and Greuze
Saturday, 15 June, 4:00pm

• Kimberly Chrisman-Campbell (Fashion Historian), Fashioning the Feminine in 18th-Century France: Dress, Desire and Domesticity in Three Works from The Frick Collection
Saturday, 24 August 24, 4:00pm

Seminar | Tim Clayton, Gillray in Grub Street

Posted in lectures (to attend) by Editor on May 16, 2019

James Gillray, Love in a Coffin, 1784
(The Lewis Walpole Library)

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From the Mellon Centre:

Tim Clayton, Gillray in Grub Street: Some Episodes from the 1780s
Paul Mellon Centre for Studies in British Art, London, 22 May 2019

James Gillray is known for working with Hannah Humphrey from her shop in St James’s Street, but Hannah did not become his dominant publisher until 1791 and they did not move to St James’s Street until 1797. For the first thirteen years of his adult working life Gillray had a number of publishers and at times worked on the margins of what was legally acceptable. This paper addresses some of Gillray’s work during the 1780s with a view to introducing for discussion issues that have proved problematic in the consideration of graphic satire, including authorship and origination, size of editions and prices, and legal sanctions against caricatures. The evening begins with the presentation of the paper at 6:00, followed by discussion and then drinks and nibbles at 7:30.

Tim Clayton is an author and historian who has worked chiefly on print history and military history. His book The English Print 1688–1802 (1997) sought to trace the growth and themes of the London print trade in the eighteenth century; more recent work has concentrated on graphic satire and literary propaganda in Bonaparte and the British: Prints and Propaganda in the Age of Napoleon (2015) and This Dark Business: The Secret War against Napoleon (2018). He is currently working on a book provisionally entitled ‘James Gillray and the Business of Satire’.

Exhibition | Hogarth: Cruelty and Humor

Posted in exhibitions, films, lectures (to attend) by Editor on May 6, 2019

Press release for the exhibition:

Hogarth: Cruelty and Humor
The Morgan Library & Museum, New York, 24 May — 22 September 2019

Curated by Jennifer Tonkovich

William Hogarth, Gin Street, 1750–51, red chalk, some graphite, on paper, incised with stylus (New York: The Morgan Library & Museum, purchased by Pierpont Morgan in 1909).

The Morgan Library & Museum announces a new exhibition of satirical drawings and prints by renowned artist William Hogarth (1697–1764). Best known for his humorous political commentary, Hogarth’s work engaged a broad audience and agitated for legislative and social change. His intricate drawings and richly anecdotal scenes depict the ills and injustices of eighteenth-century urban life, exploring the connections between violence, crime, alcohol abuse, and cruelty to animals. He hoped his graphic work would amuse, shock, and ultimately edify his audience. Hogarth: Cruelty and Humor tells the story of Hogarth’s iconic images and the social realities of life in Georgian London that inspired him to advocate for reform through popular works of art. It is the first show at the Morgan devoted to this artist, whose style was so influential in British art that the word ‘Hogarthian’ remains a recognizable way of describing works of satire.

Featuring over twenty works, the show investigates Hogarth’s creative process and examines his embrace of humor, highlighting the Morgan’s exceptional cache of preparatory drawings for his two most acclaimed print series from 1751: Beer Street and Gin Lane, and The Stages of Cruelty. Hogarth’s prints documenting the dangerous impact of the gin craze, Beer Street and Gin Lane, generated popular support for the 1751 Gin Act and other reform efforts, while the Stages of Cruelty reflects the growing anxiety about episodes of human brutality in London. Included in the show are the only other two known studies related to the Stages of Cruelty; these works reveal the complex generative process of the series. Also on view are drawings from The Royal Collection Trust that represent Hogarth’s first and last forays into satire.

Fiercely independent, Hogarth was driven to innovate in order to elevate the status of British art, creating new genres and modes of expression in his painting, printmaking, and drawing. His compositions are rich with narrative detail. It was his adoption of such ‘low’ subjects, no less than his use of humor, that led him to struggle to be taken seriously throughout his career.

“William Hogarth’s works should be enjoyed for their artistry, humor, and activism, and as such hold a special place in our drawings and prints collection,” said Colin B. Bailey, director of the museum. “The artist was a keen observer of his city, and his visual anecdotes were a brilliant means of communicating to a wider public.”

“Looking closely at Hogarth’s passion for socially relevant subjects reveals the challenges he faced in being known as a satirical artist,” said Jennifer Tonkovich, Eugene and Clare Thaw Curator of Drawings and Prints. “I think our current appetite for satire allows us to appreciate Hogarth’s tremendous intelligence and ambition in constructing narratives that he hoped would change the world around him.”

S E L E C T E D  P R O G R A M M I N G

Laurel Peterson, Crafting Cruelty: Hogarth’s Innovative Drawing Methods
Tuesday, June 18, noon

William Hogarth achieved substantial artistic and commercial success in his lifetime, both as a printmaker and as a painter. Despite his enduring fame, Hogarth’s drawings are today little known and rarely studied. Laurel Peterson, Moore Curatorial Fellow in the Department of Drawings and Prints, will offer new insights into Hogarth’s practice as a draftsman, shedding light on the evolution of his drawing style and the role played by drawings in the development of his most iconic satirical prints. Co-sponsored by the Sir John Soane’s Museum Foundation.

Hogarth’s Gin Craze Festival
Friday, July 19, 6:00pm

Join us for an evening of revelry inspired by the Gin Craze of the 1750s! Enjoy gin-inspired bites and craft cocktails at Morgan Café and curatorial gallery talks at 6:00 and 7:30pm in the exhibition Hogarth: Cruelty and Humor. At 7:00pm we will screen the 1946 film Bedlam, which was inspired by William Hogarth’s A Rake’s Progress.

Bedlam, directed by Mark Robson (1946, 79 minutes)
Friday, July 19, 7:00pm

In 1760s London, an actress campaigns to reform a horrific hospital for the insane, but instead finds herself committed to the institution by the corrupt head of the asylum. Starring Boris Karloff and Anna Lee, Bedlam was the last in a series of stylish horror films produced by Val Lewton for RKO Radio Pictures.

Meredith Gamer, Hogarth: Cruelty and Crime
Thursday, 12 September, 6:30pm

Meredith Gamer, Assistant Professor of Art History at Columbia University, will explore the origins, evolution, and multi-layered meanings of William Hogarth’s The Four Stages of Cruelty (1751). A tale of neglect and abuse, murder and punishment, the series was—by eighteenth-century standards—one of Hogarth’s ‘lowest’ works. Paradoxically, however, it is also one of his most ambitious, for it aims to combat some of our most basic human frailties through the medium of art. Co-sponsored by the Sir John Soane’s Museum Foundation.

 

 

Lecture | Wolf Burchard on the Rothschild Savonneries

Posted in lectures (to attend) by Editor on April 30, 2019

From Waddesdon Manor:

Wolf Burchard, The Rothschild Savonneries: An Encyclopaedia of French Royal Carpet Weaving
Spencer House, 27 St James’s Place, London, 13 May 2019

Join Wolf Burchard for this Spencer House Lecture, The Rothschild Savonneries: An Encyclopaedia of French Royal Carpet Weaving. The Rothschild Collection at Waddesdon Manor comprises the largest and most comprehensive collection of Savonnerie carpets and upholstered furniture outside France. Dr Burchard will revisit the history of the Savonnerie manufactory for its beginnings under Henri IV and Louis XIII to the present day, focusing on its major commissions for the Louvre, Versailles, and Notre Dame. His talk will also examine the dispersal of many of these weavings after the French Revolution in 1789, both through sale and as diplomatic gifts, as well as the rising British and American taste for Savonnerie carpets beginning around 1900.

The lecture will take place on Monday, 13 May at 6.30pm (doors open at 6.00pm). It will be followed by drinks and an opportunity to look at the restored 18th-century State Rooms at Spencer House. Adult ticket price (£15) includes one complimentary drink.

Wolf Burchard is Associate Curator of European Sculpture and Decorative Arts at The Metropolitan Museum of Art, New York, formerly Furniture Research Curator at the National Trust. He is the author of The Sovereign Artist: Charles Le Brun and the Image of Louis XIV, which was partly funded by The Rothschild Foundation. Burchard has worked extensively on the Savonnerie manufactory and in 2012 published an update of Pierre Verlet’s catalogue of Louis XIV’s carpets for the Louvre’s Long Gallery, adding newly discovered carpets, carpet fragments, and designs.

Lectures | ‘Orientalism’ after 40, with Elisabeth Fraser and Mary Roberts

Posted in lectures (to attend) by Editor on April 23, 2019

During the two-year, £50-million renovation of Somerset House, classes and lectures at The Courtauld are held at Vernon Square, near King’s Cross.

Orientalism after 40, with Elisabeth Fraser and Mary Roberts
The Courtauld Institute of Art, Vernon Square, London, 25 April 2019

This term’s Visiting Expert series is a joint collaboration with Professor Mary Roberts (University of Sydney) and Professor Elisabeth Fraser (University of South Florida). This series of events was curated by The Courtauld Institute of Art’s Dr Sussan Babaie. Whilst our Visiting Experts are here, we will reflect upon the 40th anniversary of the publication of Edward Said’s seminal text Orientalism on Thursday, 25 April, 6:00–7:00pm. The event consists of two separate lectures.

Elisabeth Fraser, The Ottoman Costume Album as Collaborative Object and Agent of Contact

The Ottoman costume album served as a vital agent of contact in the early modern world. Conceived and collected through the movement of people, bound, rebound, sold, gifted, copied and reworked, Ottoman costume albums—produced from the sixteenth through nineteenth centuries—are mobile objects constituted by a flexibility that lends itself to reinvention and reconfiguration. The costume album transcended geographic points of origin, connecting artisans of the book and diverse audiences across time and space in unforeseeable ways. Composed of individual sheets, each bearing a single costumed figure representing variously the Ottoman court, military, professions, and civil society, a costume album was custom made and inflected according to the interests of the owner; the collector and professionals of the book trade determined sequence, thematic emphasis, presentation, and numbers of folios to include. The Ottoman costume album is defined by an essential mutability.

This talk will explore these ideas in relation to one particular eighteenth-century album, Costumes turcs, now in the British Museum, and its connection to a network of other albums and books. Containing 225 costume images painted in Istanbul in the 1780s, this magnificent album was transported to Berlin and then London; at each stop on its journey the album was added to, modified, and redefined. Following the trail of this object reveals the essentially collaborative nature of costume albums.

Elisabeth Fraser is Professor of Art History at the University of South Florida. A specialist of European art and interactions between European and Islamicate cultures, she is the author of Mediterranean Encounters: Artists between Europe and the Ottoman Empire, 1774–1839 and Delacroix, Art and Patrimony in Post-Revolutionary France. She has recently published an essay, “The Color of the Orient: On Ottoman Costume Albums, European Print Culture, and Cross-Cultural Exchange,” in Visual Typologies from the Early Modern to the Contemporary (T. Zanardi and L. Klich, eds., 2018), and edited a volume of essays The Mobility of People and Things in the Early Modern Mediterranean, which will be published by Routledge in 2019. A recipient of an International Scholarship from the Staatliche Museen in Berlin in 2018, she is writing a book on Ottoman costume albums and their relationship to European print culture, Dressing the Ottoman Empire: Early Modern Costume Albums and Transculturation.

Mary Roberts, Edward Said and the Epistolary Interior

“to [some] theorists of civilization identity is a stable and undisturbed thing, like a room full of furniture at the back of your house. This is extremely far from the truth, not just in the Islamic world but throughout the entire surface of the globe.” –Edward Said, 1996

In histories of modernism the orientalist interior has been consigned like furniture at the back of the house. I resist this formulation by addressing the life of Islamic art as it moved into and out of these spaces. Commencing with Duranton’s painting of Albert Goupil’s Oriental Salon in Paris before the 1888 sale that catalysed movement of his Islamic art into collections across Europe, including the Louvre’s inaugural acquisitions. It is a foundational interior for the history of Islamic art. Goupil’s acquisition channels reveals this interior as the tip of an iceberg that exists in a set of linked relations with Ottoman and Orientalist interiors in Istanbul and Kraków with Polish artist Stanisław Chlebowski as the linchpin. The iceberg, with its north/south axis proves a limited geographic metaphor. It is tempting to construe these Islamic art supply lines through a network model, but that too fails to capture the way these interiors were imagined or lived. In letters to his family in Kraków, written inside the Ottoman Sultan’s Beaux-Arts Palace, Chlebowski articulated one interior within others. I propose that Chlebowski’s epistolary Ottoman and Orientalist interiors exist according to a logic of enfolding. It’s a model for construing the role of historic Islamic art in multiple modernities.

Mary Roberts is John Schaeffer Professor of Art History at the University of Sydney. She specialises in late Ottoman visual culture, British art, and the art of empire and has published extensively on the history of artistic exchanges between the Ottoman Empire and Europe. Her book Istanbul Exchanges: Ottomans, Orientalists and Nineteenth-Century Visual Culture, published by the University of California Press in 2015, was awarded the Art Association of Australia and New Zealand’s Book Prize in 2016 and translated into Turkish the same year. She is also the author of Intimate Outsiders: The Harem in Ottoman and Orientalist Art and Travel Literature (Duke, 2007) and four co-edited books. Mary has been a Getty Scholar, CASVA senior fellow, YCBA fellow, and Clark-Oakley fellow and is currently completing her next book Inside Networks: Orientalist Interiors and Islamic Art in Transit.