Online Course | Furnishing the British Country House
From The Furniture History Society:
Furnishing the British Country House, 1700–1900
Online Course, BIFMO-FHS, 14–16 June 2022
Restored Drawing Room at Brodsworth Hall, Doncaster, South Yorkshire, 1860s (Photo: Historic England Archive).
British and Irish Furniture Makers Online (BIFMO) is delighted to partner with the Furniture History Society (FHS) to offer an online course that looks at the evolution of the British country house from 1700 to 1900.
For two hours on three consecutive days, curators and historians will consider the furniture and designs commissioned for the interiors of specific country houses. They will touch upon the relationships between the architects and the craftsmen as well as the networks of furniture makers and the impact of the changing clientele. Over the course of these two centuries, the industrial revolution and social reform recast British society, creating new groups of wealthy property owners. By the nineteenth century the British stately home was no longer exclusively the domain of the aristocracy but a haven for the successful businessman and his family. The course speakers will consider the fashions and styles used to furnish these properties set against the backdrop of the changing role of the British country house.
The three sessions on 14th, 15th and 16th June, will be held on Zoom between noon and 14.00 GMT (7.00–9.00 EDT). All three days will be introduced by Dr Megan Aldrich who will provide an historic and stylistic context for the case studies of houses presented by the curators. These sessions will be recorded and links to the recordings will be sent to ticketholders shortly after the event.
Each day BIFMO will also offer the opportunity to participate in an additional online session in the form of a seminar where a much smaller group will be able to discuss the points raised by the presentations. These seminars will follow the course each day and will be guided by experts, who will also give further short presentations on a theme. Ticketholders for the seminars will be able to turn on their microphones and videos to fully participate in the discussion. Tickets for these seminars are available on the course Eventbrite page but must be bought in addition to the main session. Places are extremely limited and are allocated on a first come first served basis. These seminars will not be recorded.
To purchase tickets for this course and additional seminars on Eventbrite, please click here.
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Day 1: Tuesday, 14 June — Early 18th-Century Country Houses
Course
12.00 Introduction — Megan Aldrich
12.45 James Pascall in London and Temple Newsam — Tessa Murdoch
13.15 The Early Furnishing at Holkham Hall — Katherine Hardwick
13.45 Panel Discussion and Q&A
Seminar
14.20 The Country Seat: Researching the Country House: History, Architecture, and Furniture — Jeremy Musson with Adriana Turpin
Day 2: Wednesday, 15 June — Historicism and Revival in the British Country House
Course
12.00 Introduction — Megan Aldrich
12.45 Increasingly Aspirational: 18th-Century Nostell, Robert Adam and the Winn Family — Kerry Bristol
13.15 A Mid-Victorian Vision of a Comfortable Country House: The Furnishings of Brodsworth Hall by Lapworths of Bond Street — Eleanor Matthews
13.45 Panel Discussion and Q&A
Seminar
14.20 Looking at Furniture in the Context of the Country House — Peter Holmes with Adriana Turpin
Day 3: Thursday, 16 June — Tradition and Innovation: Different Approaches to Late 19th-Century Interior Design
Course
12.00 Introduction — Megan Aldrich
12.45 Furnishing the Arts and Crafts Interior: Morris & Co at Standen — Caroline Ikin
13.15 Mackintosh and the Design of Hill House — Joseph Sharples
13.45 Panel Discussion and Q&A
Seminar
14.20 Researching the Furniture Trade — Clarissa Ward with Adriana Turpin
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Megan Aldrich will introduce all three days of the course, setting out an outline for the two-hour session while providing an historical context. Dr Aldrich is a part-time tutor in the Department of Continuing Education, University of Oxford, and Hon. Editorial Secretary of the Furniture History Society. She researches aspects of antiquarian design and historicism across the areas of architecture, interiors, decorative art and design, and garden history, and has published widely in these areas. She is a Fellow of the Society of Antiquaries and formerly Academic Director, Sotheby’s Institute of Art, London
Information about the other speakers is available here»
Online Workshops | Egypt in Early-Modern Antiquarian Imagery
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
Online Workshop | Making Masculinities
From ArtHist.net:
Making Masculinities: Material Culture and Gender in the 17th and 18th Centuries
Online and In-Person, University of Edinburgh, 6 May 2022
Research into the intersection of material culture and masculinity has steadily increased as scholars across disciplines choose to use material culture as a conceptual point of departure. The Material and Visual Culture in the Seventeenth and Eighteenth Centuries Research Cluster aims to provide a space to continue the conversation. The cluster will host a one-day workshop fostering interdisciplinary discussion on the material approaches to historic ideas about gender through material culture. The workshop is spread over a series of formats to diversify how participants may interrogate this material. All sessions, except for the 3.20 workshop, are hybrid. The link to join the sessions will be provided via email the day before. Contact materialcultureresearcheca@ed.ac.uk with questions.
Registration is available here»
Abstracts are available here»
P R O G R A M M E
(British Standard Time)
9:30 Welcome and Introduction
9:45 Fashioning Masculinity
Chair: Georgia Vullinghs (National Museums Scotland)
• Ben Jackson (University of Birmingham), Making a Figure in 18th-Century England: Elite Masculinity, Social Expectation, and Material Goods.
• Maria Gordusenko (Ural Federal University), Self-Representation through Artworks as a Way of Life: Count Gustav Adolf von Gotter (1692–1762)
11.00 Break
11.20 Making Masculinities Roundtable
Chair: Emily Taylor (National Museums Scotland)
• Timothy Somers (Newcastle University), The Materiality of Men’s Practical Jokes
• Alysée Le Druillenec (Université Paris 1 – Panthéon- Sorbonne/Université Catholique de Louvain), Carrying the Holy Child as a Depiction of Masculinity in Christian Counter-Reformation Materiality
• Élise Urbain Ruano (Université de Lille), How Does Softness Affect Masculinity? The Paradox of 18th-Century Dressing Gowns
• Alexandra Atkins (Birkbeck), The Classical Portrait Bust and Masculinity in 18th-Century Country Houses
• Nicholas Babbington (University College London), The Royal Family and Domestic Disorder: The Satirization of George III’s Patriarchal Virtues in British Caricature, c.1785–1795
12.50 Lunch Break
1.50 Keynote
Chair: Meha Priyadarshini (University of Edinburgh)
• Sarah Goldsmith (University of Edinburgh), Hercules Himself? Materiality, Masculinity, and the Body in the Long 18th Century
3.00 Break
3.20 PhD / ECR Workshop
Online Lecture | Tessa Murdoch on Huguenot Art and Culture
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).
Online Talk | Paweł Gołyźniak on Philipp von Stosch
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.
Lecture Series | 2022 Wallace Seminars on Collections and Collecting
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
Online Talks | HECAA Emerging Scholars Showcase, Spring 2022
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
Online Talk | Christopher Webster on Late Georgian Churches
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.
Online Talk | Anne Helmreich on the Future of Art Market Studies
From Art Market Studies:
Anne Helmreich | Charting our Future: Art Market Studies & Provenance Research in a Digital Age
The 2022 Hugo Helbing Lecture
Online, Zentralinstitut für Kunstgeschichte, Munich, 27 April 2022, 18.15 (CET)
Frans Hogenberg and Abraham Ortelius, Typvs Orbis Terrarvm, detail (Antwerp: Abraham Ortelius, 1584?) https://www.loc.gov/item/2017585795/
‘Here be dragons’, a trope used by Western early modern mapmakers to signify uncharted or dangerous territories may also describe attitudes to digital approaches in art history within certain circles. But if we aim to understand the histories of art markets at scale and over space and time, we must set sail. This talk will chart potential future directions for art market studies and provenance research, exploring both possibilities and challenges offered by digital methods. To frame this exploration, the talk will draw on complex issues raised by the transatlantic art trade at the turn of the last century and its key nodes of New York and London. In particular, it is concerned with the role played by dealers, such as Boussod, Valadon & Cie, Knoedler, Yamanaka & Co., and Hagop Kevorkian, and the different forms of archival evidence we can deploy to study this question, ranging from paper documents produced at the time—stockbooks, exhibition catalogues and reviews, correspondence, photographs, etc.—to today’s digital databases and online museum catalogues.
Anne Helmreich is Associate Director, Getty Foundation, and formerly Associate Director, Digital Initiatives, Getty Research Institute, both of the J. Paul Getty Trust. She has also served as Dean, TCU College of Fine Arts; Senior Program Officer, The Getty Foundation; and Associate Professor of Art History and Director, Baker-Nord Center for the Humanities, Case Western Reserve University. Her current research focuses on the history of the art market and the productive intersection of the digital humanities and art history. Her essay “The Art Market as a System, Florence Levy’s Statistics” appeared in American Art in Fall 2020. “Purpose-built: Duveen and the Commercial Art Gallery,” co-authored with Edward Sterrett and Sandra van Ginhoven, was published by Nineteenth-Century Art Worldwide in Summer 2021. She and Pamela Fletcher recently co-authored “Digital Methods and the Study of the Art Market” for The Routledge Companion to Digital Humanities and Art History (Routledge, 2020) and the epilogue to Art Crossing Borders: The Internationalisation of the Art Market in the Age of Nation States, 1750–1914 (Brill, 2019).
The lecture will also take place via Zoom; you can attend via the following link:
https://us02web.zoom.us/j/85659345839?pwd=UmFZYU0xN1NxMGJ1MjlQM054NXgvZz09
Meeting-ID: 856 5934 5839 | Password: 148258
New Book | Libel and Lampoon: Satire in the Courts, 1670–1792
Andrew Bricker will be speaking online (via Zoom) with Marissa Nicosia about his new book on Tuesday, 12 April 2022, at noon (ET) in a session sponsored by the Society of Fellows in Critical Bibliography and the Rare Book School. From Oxford UP:
Andrew Benjamin Bricker, Libel and Lampoon: Satire in the Courts, 1670–1792 (Oxford: Oxford University Press, 2022), 352 pages, ISBN: 978-0192846150, $90.
Libel and Lampoon shows how English satire and the law mutually shaped each other during the long eighteenth century. Following the lapse of prepublication licensing in 1695, the authorities quickly turned to the courts and newly repurposed libel laws in an attempt to regulate the press. In response, satirists and their booksellers devised a range of evasions. Writers increasingly capitalized on forms of verbal ambiguity, including irony, allegory, circumlocution, and indirection, while shifty printers and booksellers turned to a host of publication ruses that complicated the mechanics of both detection and prosecution. In effect, the elegant insults, comical periphrases, and booksellers’ tricks that came to typify eighteenth-century satire were a way of writing and publishing born of legal necessity. Early on, these emergent satiric practices stymied the authorities and the courts. But they also led to new legislation and innovative courtroom procedures that targeted satire’s most routine evasions. Especially important were a series of rulings that increased the legal liabilities of printers and booksellers and that expanded and refined doctrines for the courtroom interpretation of verbal ambiguity, irony, and allegory. By the mid-eighteenth century, satirists and their booksellers faced a range of newfound legal pressures. Rather than disappearing, however, personal and political satire began to migrate to dramatic mimicry and caricature-acoustic and visual forms that relied less on verbal ambiguity and were therefore not subject to either the provisions of preperformance dramatic licensing or the courtroom interpretive procedures that had earlier enabled the prosecution of printed satire.
Andrew Benjamin Bricker is an Assistant Professor of English Literature in the Department of Literary Studies at Ghent University and a Senior Fellow at the Andrew W. Mellon Society of Fellows in Critical Bibliography at the Rare Book School at the University of Virginia. He received his BA and MA from the University of Toronto and his PhD from Stanford University. Before joining UGent, he was a Mellon Foundation Postdoctoral Fellow in the Humanities at McGill University and a Killam Postdoctoral Research Fellow at the University of British Columbia.
C O N T E N T S
Introduction: The Perils of Satire
1 Keeping out of Court I: Libel and Lampoon after Hale and Dryden
2 Keeping out of Court II: Swift and the Illicit Book Trade
3 Irony in the Courts: Defoe and the Law of Seditious Libel
4 Naming in the Courts: Pope and the Dunciad
5 Allegory in the Courts: Satire and the Problem of ‘Libellous Parallels’
6 Keeping out of Court III: Caricature, Mimicry, and the Deverbalization of Satire
Epilogue: A Shandean History of the Press
Enfilade 
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