Enfilade

This Thursday, from The Lewis Walpole, Yale Library:

Joar Nango and Mathias Danbolt | Decolonizing Sámi Representations and the Legacy of Colonial Topographies
William Hogarth’s Topographies: A Series of Conversations
Online, The Lewis Walpole Library, 2 June 2022, noon EST

Topography is central to William Hogarth’s canonical progress series in which London settings play a decisive narrative role. Lesser-known works by the artist, however, also engage with topographical representation. Pierre Von-Ow’s online exhibition William Hogarth’s Topographies considers the artist’s illustrations of national and colonized geographies beyond the metropole. Among international topographical views are Hogarth’s illustrations of Sápmi in the Scandinavian north, referred to at the time as “Lapland.” Artist Joar Nango and art historian Mathias Danbolt will discuss the legacy of historical representations of the Sámi, and their reworking of colonial archives in the service of Indigenous Sámi self-determination. This is an online event, and registration is required.

Joar Nango (born 1979 in Alta, Norway) is a Sámi architect and indigenous artist, living in Norway. Nango’s work investigates the nomadic conception of space, territories, and ideas of the concept of home. He focuses on different ways of dealing with materiality, movement, and space. He has exhibited internationally both separately as an individual artist including at Documenta14 (2017), Chicago Architecture Biennial (2019), Institute for Modern art (Brisbane, 2019), National Museum of Canada (2019), Bergen Kunsthall (2021), and National Museum of Norway (2022). He is also involved in collective projects. In 2010 he established the architecture collective FFB which makes an architecture celebrating the failure of capitalism. Since 2020, he has been involved as a host and director of the ongoing TV production PCA-TV (Post-Capitalist Architecture TV) in which the 6th episode features a commissioned work for Toronto Biennial of Art in May 2022.

Mathias Danbolt is a Norwegian art historian who has a special focus on queer, feminist, and decolonial perspectives on art and visual culture. Danbolt is currently leading three collective research projects: “The Art of Nordic Colonialism: Writing Transcultural Art Histories” (2019–23), “Okta: Art and Social Communities in Sápmi” (2019–22), and “Moving Monuments: The Afterlife of Sculpture from the Danish Colonial Era” (2022–25). In 2017 Danbolt curated the visual culture exhibition Blind Spots: Images of the Danish West Indies Colony (2017–18), with Mette Kia Krabbe Meyer and Sarah Giersing at the Royal Danish Library. Danbolt is professor of art history at University of Copenhagen.

This program is organized by The Lewis Walpole Library in conjunction with the online exhibition William Hogarth’s Topographies, curated by Pierre Von-Ow, PhD candidate in Yale’s Department of The History of Art.

From The French Porcelain Society:

Angela Wallwitz | Ars Naturalis-Ars Artificialis: Boettger’s Invention of Red Jasper Porcelain in the Wake of the Early Enlightenment
FPS Living Room Lecture, Online, Sunday, 29 May 2022, 18.00 (BST)

Angela Wallwitz draws on her expertise in cataloguing ceramics as an art dealer, combined with her research skills as an independent scholar specialised in Meissen ware. In this lecture, she will delve into the subject of Plaue stoneware. We hope you can join us!

FPS members will receive an email invitation with instructions on how to join the online lecture. Please contact us for more details on FPSenquiries@gmail.com.

To achieve the artificial manufacture of gold, silver, and precious stone was the aim of man to re-create God’s creations since Renaissance times. The invention of Boettger stoneware, red jasper porcelain, and white porcelain played a significant historic role in this context. Ernst Zimmermann was the first to understand this after having spent years of research in the archives in Dresden and Meissen before they suffered losses and destruction during both world wars. However, his publication of 1908, Erfindung und Frühzeit des Meissner Porzellans, with 271 pages of small print and 721 invaluable footnotes, remains a hidden treasure for all non-German speakers. Researching a unique red jasper porcelain garniture of five apothecary vases, Angela Wallwitz discovered Ernst Zimmermann’s fascinating interpretations of the facts and the difference between stoneware made in Dresden from those manufactured in Meissen and the identity of a glassmaker, Boettger engraver and co-founder of the Prussian rival manufactory in Plaue. The garniture, published as an early diplomatic gift, was most probably Boettger’s gift to Augustus the Strong for his famous Royal apothecary in the Residenz of Dresden. This lecture, intends to serve as the guideline to illustrate the role of ceramics as ars naturalis and ars artificialis.

From the Antiquitatum Thesaurus research project:

Ägypten in der frühneuzeitlichen antiquarischen Bildwelt
Egypt in Early-Modern Antiquarian Imagery
Online Workshops, 5 May, 2 June, and 7 July 2022

Antiquitatum Thesaurus: Antiquities in European Visual Sources from the Seventeenth and Eighteenth Centuries

On the occasion of this year’s anniversaries of important milestones in the recent reception of Egypt, the academy project Antiquitatum Thesaurus devotes three digital workshops in the summer semester of 2022 to the perception of the land on the Nile in the early modern period. The focus will be on various personal motivations of some of the protagonists, the antiquarian or scientific methods they used, and a broad spectrum of media in which the engagement with Egyptian or Egyptianizing artifacts and images was reflected from the 15th to the 18th century. In addition, current research projects present their perspectives on the reception of Egypt.

Thursday, 5 May 2022, 4pm

• Michail Chatzidakis (Berlin), „Ad summam sui verticem pyramidalem in figuram vidimus ascendentes […] anti quissimum Phoenicibus caracteribus epigramma conspeximus“. Bemerkungen zu den ägyptischen Reisen Ciriacos d’Ancona
• Catharine Wallace (West Chester), Pirro Ligorio and the Late Renaissance Memory of Egypt in Rome
• Stefan Baumann (Trier), Project Presentation: Early Egyptian Travel Accounts from Late Antiquity to Napoleon

Please register at: https://bit.ly/3LQWgMB

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Thursday, 2 June 2022, 4pm

• Maren Elisabeth Schwab (Kiel), Herodots Ägypten im Interessenshorizont italienischer Antiquare
• Alfred Grimm (München), Osiris cum capite Accipitris. Zu einem Objekt aus der Bellori-Sammlung und dem Barberinischen „Osiris“
• Florian Ebeling (München), Project Presentation: Handwörterbuch zur Geschichte der Ägyptenrezeption

Please register at: https://bit.ly/3O4dS9O

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Thursday, 7 July 2022, 4pm

• Guillaume Sellier (Montréal), Oldest Egyptian Artefacts in Canada: The Quebec Palace Intendant’s Amulets
• Valentin Boyer (Paris), „Sphinxomanie“ durch die Ikonographie ägyptisierender Exlibris
• Nils Hempel, Timo Strauch (BBAW), Project Presentation: Antiquitatum Thesaurus. Antiken in den europäischen Bildquel­len des 17. und 18. Jahrhunderts

Please register at: https://bit.ly/3rd7T8z

This afternoon from the YCBA:

Tessa Murdoch, Huguenot Refugee Art and Culture through the YCBA Collections
Online, Yale Center for British Art, New Haven, 21 April 2022, noon

William Hogarth, Mr. Garrick in the Character of Richard III, 1746, engraving (New Haven: Yale Center for British Art).

The Yale Center for British Art is pleased to present an online lecture on Thursday, 21 April 2022, at 12pm by Tessa Murdoch about Huguenot artistic production in early modern London. Focusing on the museum’s collections, Murdoch examines an array of paintings, prints, drawings, maps, and sculpture with notable examples including François Gasselin’s 1692 drawing View of the Royal Hospital, Chelsea, and William Hogarth and Charles Grignion’s 1746 engraving Mr. Garrick in the Character of Richard III. This talk is based on research completed for her recent book Europe Divided: Huguenot Refugee Art and Culture (V&A publishing, 2021), which traces the international networks and artistic products created by French Protestant artists and craftsman in the wake of the Huguenot diaspora in the late seventeenth century.

Registration is available here»

Tessa Murdoch PhD FSA worked at the Museum of London (1981–1990) and at the Victoria and Albert Museum (1990–2021) where she was the Rosalinde and Arthur Gilbert Research Curator from 2019. She is an adviser for the National Trust and the National Heritage Memorial Fund, a board member of the Idlewild Trust, and chair of trustees of the Huguenot Museum, Rochester. Murdoch’s most recent book, Europe Divided: Huguenot Refugee Art and Culture, was published by the V&A in 2021. She is currently consulting on the forthcoming publication Great Irish Households: Inventories from the Long Eighteenth Century (2022), and is co-editing, with Heike Zech, A Cultural History of Craft in the Age of Enlightenment (expected 2024).

From The Wallace Collection:

Paweł Gołyźniak, Philipp von Stosch and His Circle: Collecting and Studying of Ancient Engraved Gems, from Antiquarianism to Proto-Archaeology
Online, The Wallace Collection, London, 25 April 2022, 17.30 (BST)

Paweł Gołyźniak’s research traces and examines Philipp von Stosch’s (1691–1757) collecting, antiquarian, and scholarly activities in terms of engraved gems on the basis of the unknown pictorial (drawings) and archival sources. The discovery of nearly 2300 unknown gem drawings in the Princes Czartoryski Museum in Krakow gives an opportunity to present him as one of the most instrumental figures of 18th-century antiquarianism. The seminar will discuss Stosch’s outstanding collection of intaglios and glass gems, and most importantly his scholarly projects: starting from his celebrated book Gemmae antiquae caelatae published in 1724 in Amsterdam, through to his attempts to write a supplement to that study, documentation of his own collection of gems and other European gem cabinets, and, finally, the virtually unknown project Histoire universaille, meant to reflect history, mythologies, and customs of the ancient Egyptians, Etruscans, Greeks, and Romans, combined with a reconstruction of the history of glyptic art.

For all his enterprises, Stosch commissioned large quantities of drawings that were produced in a truly archaeological vein with attention paid to such issues as material, form, right proportions, state of preservation, provenance, etc. of the reproduced gems. Often the gems received extensive commentaries explaining their iconography and providing analogies in sculpture, reliefs, wall paintings, and coins. Relevant passages in ancient literary sources were also referenced. The study of Stosch’s scholarly activities advances our understanding of emergence of archaeology as a scientific discipline. The discovered pictorial documentation provokes us to hypothesise that Stosch, his collecting, and scholarly enterprises greatly inspired and influenced Johann Joachim Winckelmann (1717–1768) in writing his first synthesis of ancient art (Geschichte der Kunst des Alterthums) published in 1764.

This talk will be hosted online through Zoom and The Wallace Collection’s YouTube channel.

Pawel Golyzniak is a Research Fellow in the Institute of Archaeology at Jagiellonian University in Krakow.

This year’s Wallace Seminar Series on Collections and Collecting:

2022 Wallace Collection Seminars on the History of Collections and Collecting
Online and/or In-Person (depending upon session), The Wallace Collection, London, last Monday of most months

Established in 2006, The Seminars in the History of Collecting series helps fulfil The Wallace Collection’s commitment to the research and study of the history of collections and collecting, especially in the 18th and 19th centuries in Paris and London. Seminars are normally held on the last Monday of each month, excluding August and December. They act as a forum for the presentation and discussion of new research into the history of collecting, and are open to curators, academics, historians, archivists and all those with an interest in the subject. Each seminar is 45–60 minutes long, with time for Q&A.

Book your place via the Wallace Collection website. Bookings will open a few weeks before each seminar. A detailed summary of each forthcoming seminar will be provided around the same time. Please also check the website nearer the time to find out whether the seminar will be held in person at the Wallace Collection, or online via Zoom.

Monday, 17 January
Lelia Packer (Curator of Dutch, Italian, Spanish, German, and Pre-1600 Paintings, The Wallace Collection), The Laughing Cavalier, the ‘Mad Marquis’, and the Revival of Frans Hals

Monday, 28 February
Malika Zekhni (PhD Candidate, Faculty of History, University of Cambridge), Between Empires and beyond Labels: Collecting and Presenting Central Asia in British Museums

Monday, 28 March
John D. Ward (Head of Silver and Vertu Department, Sotheby’s, New York), The Lost George J. Gould Collection and the Beginning of Duveen Taste in America

Monday, 25 April
Paweł Gołyźniak (Research Fellow, Department of Classical Archaeology, Institute of Archaeology, Jagiellonian University, Krakow, Poland), Philipp von Stosch (1691–1757) and His Circle: Collecting and Studying of Ancient Engraved Gems, from Antiquarianism to Proto-Archaeology

Monday, 30 May
Simon Kelly (Curator and Head of Department of Modern and Contemporary Art, Saint Louis Art Museum), Collector, Photographer, Art Critic: The Multiple Roles of Paul Casimir-Périer (1812–1897)

Monday, 27 June
John E. Davies (Independent Scholar), Ancient and Modern: The Collecting Habit of John Campbell, First Baron Cawdor (1755–1821)

Monday, 25 July
Felicity Myrone (Lead Curator, Western Prints and Drawings, British Library, London), Prints and Drawings at the British Library: Revealing Hidden Collections

Monday, 26 September
Feng Schöneweiß (PhD Candidate, University of Heidelberg), Provenancing the Dragoon Vases: Porcelain, Architecture, and Monumentality in German Antiquarianism, 1700–1933

Monday, 31 October
Rosie Razzall (Curator of Prints and Drawings, Royal Collection Trust, London), Paul Sandby’s Collection of Drawings

Monday, 28 November
Tom Hardwick (Consulting Curator of Egyptology, Houston Museum of Natural Science), Wonderfully Expensive Things: Howard Carter and the Market for Egyptian Art, 1920–1940

HECAA Emerging Scholars Showcase
Online, Saturday, 23 April 2022, 12.30–2.00pm (ET)

Please save the date for HECAA’s Spring 2022 Emerging Scholars Showcase, scheduled for Saturday, 23 April 2022. The showcase will take place from 12.30 to 2pm Eastern Time (a time slot that allows us to accommodate presenters from five different time zones). Registration is available here.

We hope you’ll join us for eight exciting presentations:
1  Chiara Betti (SAS: Institute of English Studies), Richard Rawlinson (1690–1755) and His Printing Plates
2  Demetra Vogiatzaki (Harvard University), On Marvels and Stones: Architecture and Virtuality in Late Eighteenth-Century France
3  Nandita Punj (Rutgers University), Jain Artistic Practices and Visual Culture in Eighteenth-Century Bikaner
4  Tamara Ambramovitch (Hebrew University, Jerusalem), Cutting Edges: The Symbolic and Social Role of Frames in Eighteenth-Century France
5  Jean Chistensen (Southern Methodist University), ‘In the Style of a Sovereign’: The Politics of Beauty and Disability in Queen Anne’s Portraiture
6  Aubrey Hobart (Savannah College of Art and Design), Reading Inhumanity in the Casta Paintings of New Spain
7  Felix Martin (RWTH Aachen University), The Inhabited Monument: Sir William Chambers’s Casino at Marino in Dublin
8  Anastasia Michopoulou (University of Crete), Aedes Pembrochianae: Displaying and Publishing the Collections in Wilton House

Please note that the order of presenters is subject to change.

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Note (added 16 April)— The original posting, based on a ‘save-the-date’ email sent to HECAA members, included nine speakers. The updated posting reflects the latest program, along with the registration link. –CH

St Mary, Paddington Green, London, 1788–91, designed by John Plaw. It is a one of the finest surviving interiors from the late Georgian period, one carefully designed for the auditory worship of the age. (Photograph by Geoff Brandwood).

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Presented by the Ecclesiological Society:

Christopher Webster, Late-Georgian Churches: A Reassessment
Online and In-person, Art Workers’ Guild, London, Thursday, 21 April 2022, 7pm

In the summer of 2022, Christopher Webster’s book Late-Georgian Churches: Anglican Architecture, Patronage, and Church-Going in England, 1790–1840 will be published by John Hudson Publishing. It will be the first comprehensive study of church-building in the late Georgian period. After centuries of post-Reformation inactivity, the Church of England began to address the desperate shortage of accommodation and build on a huge scale. Almost all the leading architects were involved and, amongst approximately 1500 new churches, there are some outstanding designs—buildings of the very highest order architecturally. The lecture will examine these churches, free from the Ecclesiological zeal that condemned them and has, for so long, prevented their serious study. It will consider them in the context of Georgian auditory worship and the period’s attitudes to the architecture of the past. Revealing some remarkable buildings, the talk will also explore what church-going involved at the time.

The Ecclesiological Society’s annual general meeting (for ES members) will begin at 6.30pm followed at 7.00 by Dr. Webster’s lecture (for the general public).

We are excited to provide the option of attending the annual meeting and this lecture either in-person at the Art Workers’ Guild or by Zoom for those who would like to join from home. Current government regulations suggest the in-person option will be entirely feasible, and it is the organisers’ intention that it be available: only new government restrictions will remove that option. After so long, we would love to see you in person and to enjoy a glass of wine! In the event, however, of new regulations, the lecture will still take place, though solely as a Zoom event–in which case it is assumed that all those who have booked for ‘live’ attendance will be content to move online. For those who opt to join us via Zoom, the link to the meeting will be sent a couple of days in advance.