Seminars and Lunches at The Paul Mellon Centre
Research Events at The Paul Mellon Centre for Studies in British Art
London, Spring 2013
The spring of 2013 will see the launch of an exciting new programme of research events at the Centre.
The first of a seasonal series of five, fortnightly research seminars will be given by distinguished historians of British art and architecture. These research seminars, which will take place on Wednesday evenings, are intended to showcase original and stimulating research in all areas of British art and architectural history. They will take the form of hour-long talks, followed by questions and drinks, and are geared to scholars, curators, conservators, art-trade professionals and research students working on the history of British art. We are pleased to announce that the papers given in this first series of research seminars will be delivered by members of The Paul Mellon Centre’s Advisory Council.
The spring programme of events will also include a series of five research lunches, geared to doctoral students and junior scholars working on the history of British art and architecture. These research lunches, which will normally take place on alternate Fridays, are intended to be informal events in which individual doctoral students and scholars will talk for half-an-hour about their projects, and engage in animated discussion with their peers. A sandwich lunch will be provided by the Centre on these occasions. We hope that this series, which we look forward to maintaining in the summer and autumn, will help foster a sense of community amongst PhD students and junior colleagues working in the field, and bring researchers from a wide range of institutions together in a collegial and friendly atmosphere.
In order to help us plan for these events, it is essential that all of those who intend coming to individual research seminars and research lunches email the Centre’s Events Co-ordinator, Ella Fleming, on efleming@paul-mellon-centre.ac.uk, at least two days in advance.
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Research Seminars, Wednesdays, 5.30-8.00
January 9 — Mark Hallett (The Paul Mellon Centre for Studies in British Art), ‘Point Counter Point: Sir Joshua Reynolds, Female Portraiture and the Great Room at Somerset House’
January 23 — Christine Stevenson (Courtauld Institute of Art), ‘Architectural Husbandry: ‘Rough Materialls’ and Tough Clients in Eighteenth-Century Britain’
February 6 — Caroline Arscott (Courtauld Institute of Art), ‘Colour as Lure and as Provocation: William Morris’s Tapestry, The Woodpecker’
February 20 — Michael Hatt (University of Warwick), ‘Edward Carpenter and the Domestic Interior’
March 6 — Paul Binski (University of Cambridge), ‘The Heroic Age of Gothic and the Metaphors of Modernism’
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Research Lunches, Fridays, 12.30-2.00
January 18 — Jonny Yarker (University of Cambridge), ‘Learning the Business of Painting in Early Eighteenth-Century Britain: The Example of Hamlet Winstanley’
February 1 — Esther Chadwick (Yale University), ‘Experiments in Liberty: Barry’s Phoenix of 1776’
February 15 — Cicely Robinson (University of York), ‘Reading Reconstructions: The National Gallery of Naval Art c.1839’
March 1 — Emily Mann (Courtauld Institute of Art), ‘Empire Builder: Christian Lilly in the Atlantic World 1688-1738’
March 8 — Carly Collier (University of Warwick), ‘Rediscovering Fresco Painting in Nineteenth-Century Britain’
Book Talk | Simon Werrett on Fireworks
Simon Werrett, The History of Fireworks
Ealing Central Library, 8 November 2012
Simon Werrett will give talk on his book Fireworks: Pyrotechnic Arts and Science in European History at the Ealing Central Library on November 8, 2012 at 6:15pm. Enjoy a free glass of wine courtesy of Waterstones. Green Room, Ealing Central Library, Broadway Centre, Ealing W5 5JY. The event is free, but please book in advance at reading@ealing.gov.uk or in Ealing Waterstones.
Study Day in Sydney To Celebrate Major Ceramics Gift
To celebrate a major gift of maiolica and porcelain, the Art Gallery of New South Wales in Sydney is presenting a study day toward the end of this month. From the museums’ website:
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Renaissance and Rococo Ceramics Study Day: The Arts of Maiolica and Porcelain
Art Gallery of New South Wales, Sydney, 28 October 2012
Discover two of the most significant material innovations in the history of European decorative arts with this study day focused on the extraordinary Kenneth Reed Collection, in the European galleries. Comprising 16th- and 17th-century maiolica (tin-glazed earthenware) and 18th-century porcelain, the Reed Collection offers insight into Renaissance and rococo art and material culture.
Curator Richard Beresford and art historian Mark de Vitis outline the history of the two ceramic traditions, illustrated with examples from the Reed Collection, followed by a demonstration of materials and processes by noted Sydney ceramicist Bronwyn Kemp.
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From the press release (16 October 2012) . . .
Meissen (Germany), Parrots, 1745, hard-paste porcelain, 39 x 27 x 18 cm (on loan from Kenneth Reed) The group was originally modeled by Joseph Joachim Kändler in April 1745 for Augustus III’s consort Maria Josepha of Austria.
Kenneth Reed today announced his intention to bequeath to the Art Gallery of New South Wales his entire private collection of 200 pieces of rare and valuable 18th-century European porcelain valued at $5.4 million. Mr Reed also helped the Gallery acquire an important Italian renaissance maiolica masterpiece, Francesco Xanto Avelli’s Sack of Rome plate of 1530 with his generous donation of $550,000.
‘This most generous gift to the Gallery represents a significant addition to the Gallery’s European collection. Ken has been one of our most generous benefactors in the history of this Gallery’, said Michael Brand, director, Art Gallery of New South Wales.
Mr Reed, a Sydney-based retired lawyer, has been a collector of European paintings and decorative arts for more than 25 years. He says that he was inspired by visits as a child to the Art Gallery of New South Wales where his father used to take the family on Sunday afternoons.
The Gallery is to receive a spectacular group of parrots originally modelled at Meissen by Joseph Joachim Kändler for Augustus III’s consort, Maria Josepha of Austria, superlative examples of Vincennes and Sèvres porcelain, including a rare rose marbré tea service, a unique piece of experimental hard paste from the early 1760s, plus
exquisite Chelsea figures and wares from all periods of the factory’s
production.
Sèvres, Bust of Louis XV, ca. 1762-63, hard-paste porcelain, 11 x 9 x 6 cm
(on loan from Kenneth Reed)
In the words of Richard Beresford, senior curator of European art, “This promised gift transforms the Gallery’s presentation of European art. We have never owned anything comparable in range and quality to this collection but now the Gallery will be able to show some of the highest quality 18th-century porcelain in the world. The Gallery has had neglected holdings of European decorative arts until now. The decision to show 16th-18th-century ceramics alongside paintings of the same period will add a new dimension to the Gallery’s collection display. The Gallery is now also better placed to respond to an expected rise in public interest in ceramic history.”
In 2010 Kenneth Reed announced a bequest to the Gallery which then consisted of 25 old master paintings, 25 pieces of 18th-century porcelain and 22 pieces of Italian maiolica from the 16th and 17th centuries. The addition to his bequest of this European porcelain brings the total value of the bequest to almost $13 million, ranking Mr Reed among the top benefactors in the Gallery’s history.
Lecture | Jeffrey Collins at University of Bern’s ‘Interior’ Series
Jeffrey Collins offers the second in a three-part lectures series at the University of Bern’s 2012-13 lecture series:
Lecture Series: The Interior
University of Bern/Switzerland, 2012-13
This lecture series is part of the SNSF Sinergia project The Interior: Art, Space, and Performance (Early Modern to Postmodern) which is based at the Institute of Art History, University of Bern, and is conducted in cooperation with the Institute of Media Culture and Theatre, University of Cologne. Proceeding from a heterogeneous and dynamic conception of the interior drawn from various media, styles, and contexts, this interdisciplinary project investigates diverse theoretical and interpretative models of interiors in art, theatre, and visual culture from the Early Modern to the Contemporary eras.
12 December 2012
‘Interior Designs: Imagining the Museum in Eighteenth-Century Italy’
Jeffrey L. Collins, (Bard Graduate Center: Decorative Arts, Design History, Material Culture, New York)
More information is available at the project website»
Seminar Series | Gobelins Seminars, 2012-2013
As noted at Le Blog de l’ApAhAu:
Rencontres des Gobelins
Galerie des Gobelins, Paris, 2012-2013
Manufacture des Gobelins, Paris (Wikimedia Commons)
Les Rencontres des Gobelins constituent des rendez-vous hebdomadaires qui invitent un large public à partager les connaissances actuelles de l’histoire et des activités du Mobilier national et des manufactures nationales (tapisseries des Gobelins et de Beauvais, tapis de la Savonnerie et dentelles du Puy et d’Alençon).
Pour cette année, trois axes sont explorés : une pratique de l’art contemporain (l’art textile), une question esthétique (le décoratif) et un métier de la décoration (l’art du tapissier).
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Selected offerings addressing the late seventeenth and eighteenth centuries (please see the full listing at Le Blog de l’ApAhAu)
Mardi, 4 décembre : La mode des intérieurs au XVIIe siècle
• Nicolas Courtin (Commission du Vieux Paris) — L’activité des tapissiers au travers des inventaires des hôtels particuliers parisiens du XVIIe siècle
• Annabel Westman (chercheur indépendant) — Les tapissiers français à la cour du Roi d’Angleterre à la fin du XVIIesiècle
Mardi, 15 janvier : Le marché des étoffes (XVIIIe siècle – 1)
• Natacha Coquery (Université Lumière Lyon 2) — L’art du tapissier à Paris au XVIIIe siècle : de la réparation à l’innovation
• Richard Cartigny (Collège Anceau de Garlande, Roissy-en-Brie) — Les fournisseurs des tapissiers parisiens au XVIIIe siècle : entre proximité spatiale et professionnelle
Mardi, 22 janvier : Le décoratif et les arts du décor : matériaux et esthétique
• Sophie Mouquin (École du Louvre/Université Lille 3) — Marbres et bois : matières du décor au XVIIIe siècle
• Charlotte Guichard (CNRS/Université Lille 3) — Arts et sciences : dispositifs matériels, esthétiques et savants dans les collections du XVIIIe siècle
Un programme de recherche
L’histoire des Garde-Meubles en Europe(XVIe-XIXesiècle)
Mise en place d’un programme de recherche sur plusieurs années visant à écrire l’histoire des Garde-Meubles dans les cours européennes de la Renaissance au XIXe siècle.
Seminar Series | Eighteenth-Century Studies at Queen Mary University
From the QM Centre for Eighteenth-Century Studies:
Eighteenth-Century Studies Seminar Series, 2012-2013
Queen Mary University of London
All are welcome to attend this year’s Eighteenth-Century Studies Seminars at Queen Mary University of London. Sessions meet on Wednesdays from 5:00 to 7:00 pm in the Seminar Room, Lock-Keepers Cottage Graduate Centre, Queen Mary University of London, Mile End, London. For updates and more information, see our website.
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10 October 2012
Charles Saumarez-Smith (Royal Academy) with Mark Hallett (Paul Mellon Centre for Studies in British Art)
‘The Company of Artists’: On the Origins of the Royal Academy of Arts
21 November 2012
Charles Walton (Yale)
The Fall from Eden: The Free-Trade Origins of the French Revolution
30 January 2013
Malcolm Baker (U California Riverside)
Celebrating the Illustrious: Roubiliac, Newton, Handel and Pope
13 February 2013
John Barrell (Queen Mary)
‘I know where that is’: The Place of Edward Pugh
27 February 2013
Naomi Tadmor (Lancaster)
The Nuclear Hardship Hypothesis: An Eighteenth-Century Case Study
13 March 2013
Tony LaVopa (North Carolina)
David Hume in Paris: Reading a Friendship
27 March 2013
Susan Manning (Edinburgh)
Becoming a Character
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Convenors: Markman Ellis, English (m.ellis@qmul.ac.uk); Colin Jones, History (c.d.h.jones@qmul.ac.uk); Miles Ogborn, Geography (m.j.ogborn@qmul.ac.uk); Barbara Taylor (English and History); and Amanda Vickery, History (a.vickery@qmul.ac.uk).
Travel instructions: Central Line or District Line to Mile End. Exit tube station, turn left down Mile End Road, cross Burdett Road, go under the Mile End Green Bridge (a large yellow bridge), over the canal, and the college is on the left. Enter East Gate, and the Lock-Keepers Cottage is the second building on the right.
Showcasing Versaille’s Image Bank
As Hélène Bremer notes, the CRCV Image Bank will be of interest to many Enfilade readers, and perhaps some of you will even make it to Thursday’s event showcasing the collection. From the Centre de recherche du château de Versailles:
Patrimoine écrit et numérique avec Raphaël Masson, Isabelle Pluvieux, et Elisabeth Maisonnier
L’Atelier numérique, Versailles, 11 October 2012
Singe. Aquarelle extraite du Livre des oiseaux de la Ménagerie de Versailles, 1710 (MS F 930, folio 7). © Bib. Municipale de Versailles
Depuis 2005, le Centre de recherche du château de Versailles et la Bibliothèque municipale se sont engagés dans un partenariat visant à numériser les ressources concernant le château et la vie à la cour aux XVII et XVIIIe siècles ; au cours de deux campagnes successives de numérisation, ce sont près de 16 300 pages ou images qui ont été numérisées provenant des collections de la Bibliothèque (manuscrits, estampes et imprimés), complétant ainsi les 26 000 images issues des collections iconographiques ou des archives du château de Versailles.
Cette immense base de données permet de découvrir des images différentes et singulières du château de Versailles, de ses jardins, des fêtes, des personnages qui s’y côtoyaient… Quelques thèmes y sont plus particulièrement développés : la vie à la cour, les fêtes, le costume… On y trouve aussi bien des estampes, des dessins, des manuscrits que des plans, des documents d’archives ou des périodiques. On peut ainsi y découvrir les plus belles images du Carrousel de Louis XIV, l’un des plus magnifiques livres de fêtes jamais réalisé, que feuilleter l’un des Almanachs de Versailles, ces petits vade-mecum annuels où l’éditeur Blaizot résumait tout ce qu’il fallait savoir de la vie à Versailles, à la cour ou à la ville, à la fin de l’Ancien Régime. La banque d’images mise en œuvre par le CRCV est ainsi un outil précieux pour l’historien, l’éditeur, l’amateur ou le simple curieux.
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Soirée — Patrimoine écrit et numérique
Présentation des fonds numérisés de la Bibliothèque municipale de Versailles présents dans la banque d’images du Centre de recherche du château de Versailles avec :
• Raphaël MASSON, conservateur du patrimoine et adjoint au directeur du Centre de recherche du château de Versailles,
• Élisabeth MAISONNIER, conservateur en charge du pôle patrimoine de la Bibliothèque municipale de Versailles,
• Isabelle PLUVIEUX, responsable des sites web et des bases de données du Centre de recherche du château de Versailles.
Jeudi 11 octobre 2012 à 19 heures
Atelier numérique, 8, rue Saint Simon – 78 000 Versailles
Tél. : 01 39 24 19 85 – clotilde.despres@versailles.fr
Entrée libre dans la limite des places disponibles
Exhibition | Napoléon and the Art of Propaganda
From the UIMA:
Napoléon and the Art of Propaganda: Art from the Collection of Pierre-Jean Chalençon
University of Iowa Museum of Art, Iowa City, 13 September 2012 — 29 January 2013
Curated by Heidi Kraus and Sean O’Harrow, with Dorothy Johnson
The masses… must be guided without their knowing it.
— Napoléon I to Joseph Fouché, his minister of police
Hippolyte (Paul) Delaroche, Portrait of Emperor Napoleon the First in his Office,
(Collection of Pierre-Jean Chalençon)
From approximately 1800-1815, Napoléon Bonaparte used official propaganda to control artistic autonomy and manipulate public perceptions of his regime both in France and throughout Europe. As a result, government-sponsored art created during the Consulate and Empire is frequently dismissed by art historians as lacking in experimentation, complexity, and beauty. In this extraordinary traveling exhibition, Napoléon and the Art of Propaganda, the aesthetic value and social history of so-called ‘propagandistic art’ created during the First Empire is critically re-examined through the use of visual display, close analysis, and scholarly research. Despite strict censorship laws and a dictatorial arts administration, this exhibition demonstrates that many artists working in the service of Napoléon were deeply inspired by and passionately engaged with their prescribed ‘official’ subjects. Less of a literal presentation, this aesthetic cornucopia shows off the stunning visual aspects of this luxurious Age of Empire.
Napoléon and the Art of Propaganda is a visual chronology of more than 120 drawings, prints, paintings, works of sculpture, manuscripts, medals, and objets d’art from the remarkable private Parisian collection of Pierre-Jean Chalençon. This exhibition considers the full range of official art created under Napoléon I and emphasizes the aesthetic qualities of the period. Some of the most important artists, architects, and sculptors are included, such as Jacques-Louis David, Andrea Appiani, Anne-Louis Girodet, François Gérard, Charles Percier, and Pierre-François-Léonard Fontaine. The selected works display the visual power of the Napoléonic propaganda ‘machine’ and its scope of influence both politically and artistically; illustrate how Napoléon, his ministers, and artists fabricated and produced an imperial iconography; and provide the viewer with an understanding through the use of images of the legend or myth of Napoléon that persisted after his death in exile.
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An exciting array of city-wide programs has been planned to complement the exhibition: lectures (by Bernard Chevallier, Christopher Johns, and Susan Taylor Leduc), concerts, films (Sokurov’s Hubert Robert: A Fortunate Life and Patrice Jean’s Napoléon, David Le sacre de I’image), and readings. The full schedule is available here»
Things: Material Culture at Cambridge, Michaelmas Term 2012
Programming from CRASSH at the University of Cambridge:
Things: Material Cultures of the Long Eighteen Century
Centre for Research in the Arts, Social Sciences and Humanities (CRASSH), Cambridge, ongoing series
The seminar meets alternate Tuesdays 12.30-2.30pm in the Seminar Room, Alison Richard Building, West Road. A light lunch will be provided.
The early-modern period was the age of ‘stuff.’ Public production, collection, display and consumption of objects grew in influence, popularity, and scale. The form, function, and use of objects, ranging from scientific and musical instruments to weaponry and furnishings were influenced by distinct and changing features of the period. Early-modern knowledge was not divided into strict disciplines, in fact practice across what we now see as academic boundaries was essential to material creation. This seminar series uses an approach based on objects to encourage us to consider the unity of ideas of this period, to emphasise the lived human experience of technology and art, and the global dimension of material culture. We will build on our success discussing the long eighteenth century in 2012-13 to look at the interdisciplinary thinking through which early modern material culture was conceived, adding an attention to the question of what a ‘thing’ is, to gain new perspectives on the period through its artefacts.
Each seminar will feature two talks each considering the same type of object from different perspectives
Tuesday, 9 October 2012 – Thinking Things
Jonathan Lamb (Vanderbilt University) and Elizabeth Eger (King’s College London)
Tuesday, 23 October 2012 – Worshipping Things
Mary Laven (University of Cambridge) and Maia Jessop (University of Cambridge)
Tuesday, 6 November 2012 – Stilling Things
Hanneke Grootenboer (Oxford) and Joserra Marcaida Lopez (Cambridge)
Tuesday, 20 November 2012 – Curing Things
Simon Chaplin (Wellcome Library) and Christelle Rabier (London School of Economics)
Visit the external blog or subscribe to the group mailing list.
Exhibition | The Princely Furniture of the Roentgens
Press release (15 August 2012) for the upcoming exhibition at The Met:
Extravagant Inventions: The Princely Furniture of the Roentgens
The Metropolitan Museum of Art, New York, 30 October 2012 — 27 January 2013
Curated by Wolfram Koeppe
David Roentgen, Berlin Secretary Cabinet, ca. 1778–79. 11 ft. 9 in. (Kunstgewerbemuseum, Staatliche Museen zu Berlin)
Extravagant Inventions: The Princely Furniture of the Roentgens will be the first comprehensive survey of the Roentgen family’s cabinetmaking firm from 1742 to its closing in the early 1800s. Some 60 pieces of furniture, many of which have never before been lent outside Europe, and several clocks will be complemented by paintings, including portraits of the Roentgen family, and prints that depict the masterpieces of furniture in contemporary interiors. The exhibition and catalogue are made possible by the Anna-Maria and Stephen Kellen Foundation.
The meteoric rise of the workshop of Abraham Roentgen (1711-93) and his son David (1743-1807) is the most spectacular chapter in the history of innovative 18th–century Continental furniture-making. Their original designs, combined with their use of intriguing mechanical devices, revolutionized traditional French and English furniture types. From its base in Germany, the workshop served an international clientele. The Roentgens utilized a sophisticated business model, combined with intensive research on potential patrons’ personal taste and forward-looking marketing and production techniques.
In 1742 Abraham Roentgen opened a cabinetmaker’s workshop in the tiny village of Herrnhaag, in the Wetterau region near Frankfurt am Main. With only one journeyman on staff, the shop was concerned principally with the production of furniture for daily use. Abraham distinguished himself by adhering to the highest standards of quality, and soon he was producing veneered show-off pieces in the English Queen Anne style, which he had learned during his years as a journeyman in the Netherlands and England. The local nobility recognized the furnishings’ unusual appearance and quality. Abraham’s progressive designs and types, such as his fashionable tea chest and multi-functional table, were novelties in Germany and were an immediate success. Following his move to Neuwied-at-the-Rhine in 1750, Abraham took his innovative designs even further by adapting elegant French-inspired outlines that, combined with superb marquetry, fine carving, intricate gilded bronze mounts, and multiple mechanical devices, came to be recognized by contemporaries as hallmarks of the Roentgen brand. Roentgen’s playful and perfectly executed inventions became a favored status symbol in princely interiors throughout Europe.
Abraham’s son, David Roentgen, graduated quickly from his apprenticeship in his father’s workshop and eventually took over the enterprise between 1765 and 1768. He perfected the sophisticated structure and intricate marquetry designs of the furniture, and was appointed Ebéniste-Méchanicien du Roi et de la Reine at the court of Queen Marie Antoinette and King Louis XVI at Versailles in 1779. Having conquered the Western market, David revised his designs and reinvented his product line’s appearance as he looked eastward. Focusing on his new target, the Imperial residences of Catherine the Great in St. Petersburg, David Roentgen developed specific models catering to Russian taste. He caught the fancy of the Empress herself with his Apollo Desk (1783-84), which depicted her favorite dog as a gilded mount, and which David produced on pure speculation. After Catherine the Great paid a huge sum for the piece, Russian nobility hurried to catch up with its sovereign, ordering examples of ‘Neuwied Furniture’ by the dozens.
Abraham and David Roentgen’s story is a tale of international success, fame, luxury, and high honor but, in the case of David, it is also the tragedy of a deeply pious man who struggled to balance his ambitions and his glorious achievements with the regulations of his religious community, the Moravian brotherhood. At the pinnacle of David’s career, the workshop employed more than 130 specialists and the annual production amounted to that of the famous Meissen porcelain factory. His fortune shifted dramatically with the progress of the French Revolution, as Europe’s nobility struggled to stay afloat, and the market for luxurious furnishings collapsed.
Many of the works in Extravagant Inventions will be lent from distinguished international museums and royal collections. Six pieces from the Metropolitan Museum’s own collection of Roentgen furniture will be featured, in addition to two that are on long-term loan to the Museum. The exhibition will showcase many outstanding pieces, including a Writing Desk (ca. 1758-62) designed by Abraham Roentgen and considered to be one of the finest creations of his workshop; a spectacular Automaton of Queen Marie Antoinette (1784), a likeness of the queen at a clavichord that still functions and will be played at select times during the exhibition; and six intriguing objects from the Berlin Kunstgewerbe Museum that have never before traveled, most notably a mechanical Secretary Cabinet (1779) made for King Friedrich Wilhelm II of Prussia that is one of the most complex pieces of royal furniture ever produced.
The most complicated mechanical devices in the exhibition will be illustrated through virtual video animations. Additionally, working drawings and portraits of the cabinetmakers, their family, and important patrons—as well as a series of documents owned by the Metropolitan Museum that originated from the Roentgen estate—will underline the long-overlooked significance and legacy of the Roentgens as Europe’s principal cabinetmakers of the ancien régime.
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From Yale UP:
Wolfram Koeppe, ed., Extravagant Inventions: The Princely Furniture of the Roentgens (New Haven: Yale University Press, 2012), 304 pages, ISBN: 9780300185027, $75.
During the second half of the 18th century, the German workshop of Abraham and David Roentgen was among Europe’s most successful cabinetmaking enterprises. The Roentgens’ pieces combined innovative designs with intriguing mechanical devices that revolutionized traditional types of European furniture. An important key to their success was the pairing of the skilled craftsman Abraham with his brashly entrepreneurial son David, whose clients included Louis XVI and Marie Antoinette of France as well as Catherine the Great of Russia. This landmark publication is the first comprehensive survey, in nearly four decades, of the firm from its founding in about 1742 to its closing in the late 1790s.
The Roentgen workshop perfected the practice of adapting prefabricated elements according to the specifications of the customers. Detailed discussions of these extraordinary pieces are complemented by illustrations showing them in their contemporary interiors, design drawings, portraits, and previously unpublished historical documents from the Roentgen estate. This fascinating book provides an essential contribution to the study of European furniture.
Wolfram Koeppe is the Marina Kellen French Curator in the Department of European Sculpture and Decorative Arts at The Metropolitan Museum of Art.
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Lecture | The Legacy of David Roentgen
The Metropolitan Museum of Art, New York, 15 November 2012
David Linley (Chairman, Christie’s, UK), and Charles Cator (Deputy Chairman, Christie’s International)
David Roentgen (1743–1807) was known throughout Europe for his inventive and ingenious mechanical furniture, which found favor in the courts of France and Russia through the patronage of Marie Antoinette and Catherine the Great respectively. He was also famed for pioneering a new method of marquetry, created to give the impression of pietra dura. To mark the occasion of an extensive exhibition of Roentgen’s work, David Linley will share personal insights into Roentgen’s influence on his own furniture designs and his enduring influence on furniture makers today. Charles Cator will examine the collectors’ market for Roentgen from his rediscovery in the nineteenth century to today.
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