New Book | Great English Interiors

Posted in books by Editor on December 10, 2018

Featuring twenty-two interiors, including five eighteenth-century houses; from Prestel:

David Mlinaric and Derry Moore, Great English Interiors (London: Prestel, 2018), 224 pages, ISBN: 978-3791381985, £40 / $60.

Famed photographer Derry Moore and renowned interior designer David Mlinaric offer a panoramic tour inside some of Britain’s finest manor houses, halls, castles, and public buildings. Bridging five centuries, this lavishly illustrated book looks at houses such as Haddon Hall, Chastleton, and Knole, each with superb examples of Tudor and Stuart interiors. Including Houghton Hall from the 18th century and Waddesdon Manor from the 19th century, the book continues into the 20th century to feature the homes of such influential figures as Nancy Lancaster, Pauline de Rothschild, and David Hicks, guiding readers through the finest examples of English interior design. The work of British masters including Inigo Jones, William Kent, and Robert Adam is beautifully portrayed in striking photographs while complementary essays enlighten readers on the events and personalities that lend each site cultural significance. Anglophiles, armchair tourists, and lovers of grand interiors will enjoy these gorgeous photographs while discovering more about the designers, architects, and trends that have made British style so alluring and enduring over the centuries.

Derry Moore is a British architectural photographer and portraitist. He is the author of An English Room and In the Shadow of the Raj (both by Prestel).

David Mlinaric is a British interior designer whose work ranges from commissions for private clients such as Lord Rothschild and Mick Jagger to public galleries and museums, including the National Gallery, and the Victoria and Albert Museum in London.

New Book | The Country House Past, Present, Future

Posted in books by Editor on December 9, 2018

From Rizzoli:

Jeremy Musson and David Cannadine with a foreword by Tim Parker and Lynne Rickabaugh, The Country House Past, Present, Future: Great Houses of The British Isles (New York: Rizzoli, 2018), 432 pages, ISBN: 978-0847862726, $85.

From Brideshead to Downton Abbey, the country house is a subject of fantasy and curiosity, as well as a rich resource to explore the history of great architecture and decoration and the lives of landowners and those who made the houses work. With hundreds of photographs from the National Trust, and others from public and private collections, this visually lavish volume draws back the curtain on important historic homes in England, Wales, Scotland, and Ireland. At the same time it reveals the complex stories of these interiors, both grand and hidden, from great halls, libraries and entryways to the kitchens and stables and gardens. Locations featured include Knole, Cragside, Castle Howard, Chatsworth, Polesden Lacey, Petworth, Bodiam Castle, Blenheim, Longleat, and dozens more.

An insightful essay by renowned British author and historian David Cannadine explores how the idea of the country house has changed over the past forty years. Additional essays reflect on how changing twentieth century values have impacted the country house, with contributions by writers and scholars such as Sarah Callander-Beckett on the private house, Dr. Madge Dresser on slavery and the country house, and Dr. Oliver Cox on the ‘Downton Abbey effect.’ The texts are woven around extensive picture essays, introduced and curated by country house specialist Jeremy Musson, which look at the identity and image of British country houses of all kinds and the stories they contain.

David Cannadine is on the board of the Royal Oak Foundation (the American arm of the National Trust in Britain). The author of seventeen books, Cannadine has taught at Oxford, Cambridge, and Princeton. He is the president of the British Academy and editor of the Oxford Dictionary of National Biography and has served as chairman of the trustees of the National Portrait Gallery in London.

Jeremy Musson is a leading commentator and author on the British country house. He was architectural editor of Country Life from 1998 to 2007 and remains a regular contributor. Musson is the author of seventeen books including English Country House Interiors, Robert Adam, and The Drawing Room. A trustee of the Country Houses Foundation and the Stowe House Preservation Trust, he is also the co-writer and presenter of the BBC2’s The Curious House.


Tim Park and Lynne Rickabaugh, Foreword

• David Cannadine The British Country House Revisited
• Jeremy Musson, Design and Construction
• Sarah Callander-Beckett, An Inheritance Restored: A Private Owner’s Experience
• David Adshead, Sharing Treasures: The National Trust for England, Wales, and Northern Ireland
• Jeremy Musson, Magnificence and Power
• Jeremy Musson Wealth and Consumption
• Terence Dooley, Stories of the ‘Big House’: New Approaches in Irish Country House Studies
• Jeremy Musson, Pleasure and Recreation
• Jeremy Musson Household and Function
• Madge Dresser, Legacies of British Slave Ownership: Facing a Difficult Past
• James Raven, When the Walls Come Down: After the Destruction of Marks Hall
• Jeremy Musson, Destruction and Survival
• Oliver Cox, Downton Abbey and the Country House: Exploring New Fictions

About the Royal Oak Foundation
Contributions and Acknowledgments
Photographic and Copyright Credits

New Book | Dudley House

Posted in books by Editor on December 8, 2018

Published by Swan Éditeur and available from Artbooks.com:

James Stourton, with photographs by Marc Walter and a foreword by the Prince of Wales, Dudley House (Paris: Swan Editeur, 2018), 496 pages, ISBN: 979-1097529017, $275.

A faithful and inspired rendition of Dudley House, a rare Park Lane survivor, the only great aristocratic house in the capital from the 18th/19th centuries that is now fully occupied as a family home—an exceptional residence, as lavishly restored in accordance with its owner’s wishes. To give the most comprehensive idea of the beauty, style, and treasures of Dudley House, this book is a room-to-room visit of the place, revealing both the overall harmony of the house and the wealth of detail in its interior layout and furniture. A fresh view of Dudley House by contrasting overall perspectives and close-ups and by varying angles and viewpoints to recreate the essence of the house.


Entrance Hall
Waiting Room
Morning Room
Evening Room
Dining Room
Breakfast Room
Grand Staircase
Le Boudoir
Yellow Drawing Room
Blue Drawing Room
Picture Gallery

Symposium | The Orléans Collection

Posted in conferences (to attend) by Editor on December 7, 2018

In conjunction with the exhibition now on view at NOMA:

The Orléans Collection: Tastemaking, Networks, and Legacy
New Orleans Museum of Art, 11–12 January 2019

The New Orleans Museum of Art and the Frick Collection’s Center for the History of Collecting will host a symposium in conjunction with The Orléans Collection exhibition, dedicated to the collecting and collection of Philippe II, Duc d’Orléans, (1674–1723) and on view at the New Orleans Museum of Art through 27 January 2019.

In the course of just two decades in the early eighteenth century, Philippe II d’Orléans amassed one of the most important collections of European paintings in the history of art, which he displayed in his Palais-Royal in Paris. This celebrated collection assembled over 500 masterpieces of European art and this landmark exhibition reunites a representative group of thirty-eight works to tell the complex story of the collection’s formation and character and the impact of the sales of the collection in London during the French Revolution, a watershed event in the history of collecting.

The symposium will consider Philippe d’Orléans’s taste and the impact the collection had for generations of collectors and artists, and an increasingly wider public throughout the eighteenth century. Subjects of interest include Philippe II’s patronage network, fellow collectors and trends in collecting in Paris, dealers and the art market in eighteenth-century Paris, connections with contemporary collections in the German principalities, the ‘Orleans Effect’ in Great Britain and later entrance into public collections.

Admission: $100 for adults | $75 NOMA members | $30 Graduate students with ID (please use a university email address). Hotel blocks have been reserved for symposium participants at the Hampton Inn on Saint Charles; register using the codeword NOMAFRICKSYMPOSIUM. Register here.

F R I D A Y ,  1 1  J A N U A R Y  2 0 1 8

6:00pm  Keynote Lecture
• Vanessa Schmid (Senior Research Curator for European Art at the New Orleans Museum of Art), Repositioning Philippe’s Collecting

S A T U R D A Y ,  1 2  J A N U A R Y  2 0 1 8

9:00am  Registration

9:30  Welcome
• Inge Reist (Director Emerita, The Frick Center for the History of Collecting), The Legacy of The Orléans Collection

10:30  Tastemaking in Paris: Philippe, His Circle, and Connections in Eighteenth-Century France
• François Marandet (Independent Scholar), Philippe d’Orléans and Artists and Dealers in Paris
• Aaron Wile (University of Southern California), Absolutism and the Politics of Affect in Antoine Coypel’s Aeneas Gallery
• Sophie Raux (University of Lyon), Alternatives to the French Academy: Painters and the Public Spaces during the Regency
• Everhard Korthals Altes (Delft Technical University), The Craze for Dutch Painting in Eighteenth-Century Paris

12:30 Lunch — A boxed lunch will be provided to all full-price participants, excluding graduate student admission.

1:30  The Orléans Effect in Great Britain
• Julia Armstrong-Totten (Independent Scholar), Crossing the Channel: The Orléans Pictures Arrive in London
• Peter Humfrey (Professor Emeritus, University of St. Andrews), The Orléans Collection Reborn in Regency London: The Stafford Gallery
• Elizabeth Pergam (Sotheby’s Institute), Decline and Fall: The Fate of the Orléans Pictures in Britain
• Alison Clarke (Independent Scholar), ‘Looking at the £100,000 Picture’: Responses to Raphael and Rembrandt at the National Gallery, London at the Turn of the Twentieth Century

Early Career Fellowships | Göttingen Institute for Advanced Study

Posted in fellowships, opportunities by Editor on December 7, 2018

Early Career Fellowships
The Lichtenberg-Kolleg, the Göttingen Institute for Advanced Study, October 2019 — July 2021

Opening its doors in 1737 Göttingen quickly established itself as one of Europe’s leading Enlightenment universities. Named after one of the most important and versatile representatives of the Göttingen Enlightenment, the Lichtenberg-Kolleg is an interdisciplinary research institute with a strong focus not only on religion in the modern world, the Enlightenment(s) as well as the history of political thought/intellectual history but also on ‘bridges’ between the human and natural sciences. For the period October 2019 to July 2021 we are inviting early career scholars to join one of the following research groups:
• Globalising the Enlightenment: Knowledge, Culture, Travel, Exchange and Collections
• Human Rights, Constitutional Politics and Religious Diversity
• European Intellectual History / History of Political Thought
• Moritz Stern Fellowships in Modern Jewish Studies: Cultural, Intellectual and Literary History (in cooperation with the Göttingen Academy of Sciences and Humanities)

Please find more information here.

Searching for the 1725 Portrait of Esther Barbara von Sandrart

Posted in exhibitions, notes & queries by Editor on December 6, 2018

From H-ArtHist:

Georg Daniel Heumann, after Georges Desmarees, Portrait of Esther Barbara von Sandrart, 1727, 34 × 23 cm (Herzog Anton Ulrich-Museum).

Im Rahmen der Vorbereitung für die Ausstellung Die Welt im Bildnis: Frankfurter Porträtsammlungen vom 16.–18. Jahrhundert, die unter der Leitung von Prof. Dr. Jochen Sander im Frühjahr 2020 im Museum Giersch der Goethe-Universität stattfinden wird, wird nach dem Porträt der Esther Barbara von Sandrart gesucht.

Kernelement der geplanten Ausstellung ist eine Sammlung von Porträtgrafiken aus dem Bestand der Universitätsbibliothek Johann Christian Senckenberg, die aus dem Besitz der Frankfurter Patrizierfamilie Holzhausen stammt. 1923 gelangten die druckgrafischen Blätter gemeinsam mit dem Büchernachlass Adolf von Holzhausens in die Universitätsbibliothek. Unter diesen knapp 1200 Blättern (meist Kupferstiche und Schabkunstblätter, aber auch Holzschnitte und Radierungen) befindet sich das Porträt der Esther Barbara von Sandrart im Kupferstich von Georg Daniel Heumann.

Esther Barbara von Sandrart (1651–1731/33), geb. Bloemart, war die Ehefrau des Joachim von Sandrart und selbst Kunstsammlerin. Ihr Porträt hielt man oft fälschlicherweise für das der Maria Sibylla Merian. Der Stich Heumanns von 1727 basiert auf einem Gemälde des Malers Georges Desmarees aus dem Jahr 1725. Es zeigt die Witwe von Sandrart in einem Studierzimmer vor einer Karte Südostasiens (?), ein Detail, das im Stich fehlt. Auf dem Tisch vor ihr ausgebreitet und in dem kleinen geöffneten Kabinettschrank präsentiert sich dem Betrachter eine Naturaliensammlung bestehend aus Muscheln, präparierten Schmetterlingen und Insekten.

In der Ausstellung im Museum Giersch soll der Stich in einer Sektion zum Porträt des Wissenschaftlers und Naturforschers präsentiert werden. Wünschenswert wäre eine Gegenüberstellung mit dem Gemälde Desmarees‘. Bisher ist es aber nicht gelungen, dieses zu lokalisieren. Im Wikipedia-Artikel zur Person Joachim von Sandrarts wird es ohne Verweis auf die Bildquelle gezeigt.

Jeglicher Hinweis zur Ermittlung des Aufenthaltsorts von diesem Gemälde ist von großer Hilfe. Bitte setzten Sie sich mit uns in Verbindung:
Corinna Gannon M.A.
Kunstgeschichtliches Institut Frankfurt am Main
Senckenberganlage 31
60325 Frankfurt am Main

Call for Papers | Late Venetian Fortification

Posted in Calls for Papers by Editor on December 6, 2018

From the Call for Papers:

Late Venetian Fortification
Split, Croatia 4–5 October 2019

Proposals due by 15 January 2019

Until now, research on Venetian fortifications has given considerable more attention to Cinquecento works than to the achievements of the following centuries. This is why the aim of the conference is to focus on the later period. New material and insights are expected on the period starting with the War of Candia (1645–1669). Relevant topics include but are not limited to:
• important fortification sites and projects: Morea, Corfu, Corinto, Dalmatia, etc.
• activities of military engineers
• procedures and institutions involved in the construction of fortifications
• involvement of Johann Matthias von der Schulenburg (1661–1747) in fortification construction

Proposals for 30-minute talks should be submitted to azmegac@ipu.hr no later than 15 January 2019. Applicants will be notified by 15 February 2019. Proposals should include the title of the paper, an abstract (max 1500 characters), a short CV with bibliography, affiliation, and contact information. The conferences languages are English and Italian. Presenters are expected to cover their travel and accommodation expenses. Selected contributions will be published in the conference proceedings.

The conference is part of the research project Antun Jančić and Fortification Architecture of the Venetian Republic funded by the Croatian Science Foundation and conducted at the Institute of Art History in Zagreb.

Getty Research Institute Acquires Rare Gastronomy Collection

Posted in museums by Editor on December 5, 2018

Press release (26 November 2018):

Costume of the Cook (left) and Costume of the Boilermaker (right), Nicolas I de Larmessin, ca. 1690s (Getty Research Institute, 2018.M.15).

The Getty Research Institute announced the acquisition of a collection of hundreds of rare books, prints, and manuscripts related to the culinary arts from the 15th to the 19th centuries assembled by culinary authority Anne Willan and her husband Mark Cherniavsky—the Anne Willan and Mark Cherniavsky Gastronomy Collection. Additionally, a donation from Willan will support ongoing research grants known as the Cherniavsky Library Research Grants.

“Mark had a talent for finding great examples of rare prints and early cookbooks and books about food and has built an exceptional collection,” said Getty Research Institute Chief Curator Marcia Reed. “Over the years Mark and Anne have been wonderful contributors and friends to the GRI, donating important rare books, lending works to our exhibitions, and hosting educational programs. We are grateful to Anne for her generous gift of this collection as well as her support of related scholarship in honor of her late husband, and our friend, Mark.”

Named in honor of Mark Cherniavsky and in celebration of the Anne Willan and Mark Cherniavsky Gastronomy Collection, the Cherniavsky GRI Library Research Grants will support and encourage research relating to antiquarian books, culinary research and other related topics. These grants will be awarded to up to two scholars a year and are made possible by a gift from Anne Willan. Willan is a celebrated author, cooking educator and founder of the prestigious Ecole de Cuisine La Varenne, which operated in Paris and Burgundy, France, from 1975 until 2007.

This extraordinary collection of rare books and prints on gastronomy from the 15th through the 19th century offers unique insight into the visual culture of food. The elaborate art of culinary preparation, consumption, and display reveals food’s status as a symbol of political and social power. Amassed by antiquarian cookbook collectors Anne Willan and Mark Cherniavsky over a period of 50 years, the collection comprises nearly 200 books published before 1830 and hundreds from the 19th and 20th centuries.

Highlights include Johannes Cassianus’s De institutis coenobiorum, Collationes partum (Venice, 1491), which describes fasting and feasting within a monastic order; M. Emy’s L’art de bien faire les glaces d’office (Paris, 1768), which opens with an evocation of cupids making ice cream; and Antonin Carême’s Le Maître d’hôtel francais (Paris, 1823), which contains recipes for dinners given for, among others, Tsar Nicholas I, George IV, and Prince Charles-Maurice de Talleyrand.

The collection’s many early modern books, which illustrate elaborate feasts, celebrations, and processions, complement the Getty Research Institute’s unparalleled festival collection. Also included is Willan’s working library of cookbooks, her professional archives, and the archives of Ecole de Cuisine La Varenne, which she founded.

Exhibition | MONUMENTality

Posted in exhibitions by Editor on December 5, 2018

Bruno Braquehais, Statue of Napoleon I after the Toppling of the Vendôme Column, 1871
(Los Angeles: Getty Research Institute)

◊  ◊  ◊  ◊  ◊

Press release (19 November 2018) for the exhibition:

Getty Center, Los Angeles, 4 December 2018 — 21 April 2019

Curated by Frances Terpak, Maristella Casciato, and Katherine Rochester

As the role and meaning of monuments in contemporary culture takes on new urgency, the Getty Research Institute is presenting an exhibition that connects these contemporary concerns to the past. MONUMENTality invites viewers to consider how the meanings of monuments can change over time and why some monuments endure while others fall.

“In organizing both this extraordinary exhibition and the current scholar year theme, the Getty Research Institute has focused on an especially timely subject—monuments and monumentality. Here, art history has very contemporary implications as many people, especially in the U.S., are passionately debating and re-examining the roles that monuments play in our communities and cities,” said Andrew Perchuk, acting director of the Getty Research Institute. “The GRI’s special collections are a rich source of archival material that makes it possible to take a broad view of both the varied life of monuments and the concept of the monumental from the classical to the contemporary.”

The exhibition investigates various paradigms of monumentality generated through systems of belief and structures of power, presenting historical rare books, political ephemera, photographs, and contemporary art about or inspired by monuments from antiquity to present day.

Artists in the exhibition include Dennis Adams, Annalisa Alloatti, Lane Barden, Mirella Bentivoglio, Joyce Cutler-Shaw, Tacita Dean, Theaster Gates, Leandro Katz, Michael Light, Benedetta Cappa Marinetti, Edward Ranney, Ed Ruscha, Ursula Schulz-Dornburg, Lebbeus Woods, and more.

Objects in the exhibition date back to the 16th century, depicting early modern as well as classical monuments. For example, the renowned 18th-century printmaker Giovanni Battista Piranesi created grandiose reconstructions of Ancient Rome and a detailed scrolling engraving of Trajan’s column, erected in 113 CE. Rare 19th-century photographs document rebelling citizens during the 1871 Paris commune surrounding the toppled statue of Napoleon Bonaparte in the Place Vendôme, illustrating how the erection and destruction of monuments has been a recurring theme from antiquity to the present.

Among the oldest monuments explored in the exhibition are the Nazca lines, hundreds of ancient geoglyphs drawn into the southern desert of Peru by the Nazca people between 200 BCE and 500 CE. Recorded by photographers in the 20th century these enigmatic monuments are subject to plentiful theories about their meaning and purpose. In the exhibition, they are represented through photographs by Edward Ranney (American, b. 1942) who visited the sites repeatedly throughout the last half of the 20th century.

Juxtaposed with the Nazca images are photographs of earthworks created in the 1960s and 1970s by American artists who drew inspiration from these ancient monuments.

“Just as size and scale have been important in human efforts to mark cosmic and geological time, they are used by artists to invoke the monument and locate meaning. The phenomenology of the monument, the power structures behind monuments, and the meanings of monument, even when lost, are compelling subjects for contemporary artists,” said Frances Terpak exhibition co-curator and curator of photography at the Getty Research Institute. “Monuments are often made by artists but artists also take on the monument as a subject for exploring, deconstructing, and challenging.”

One of the newest objects in the exhibition is a deconstructed monument by Theaster Gates who is currently the artist in residence at the Getty Research Institute. For this exhibition Gates has toppled his own monumental piece Dancing Minstrel, 2016/18. Originally exhibited in 2016 as a larger-than-life bobble head depiction of the racist trope of the black minstrel, the installation at the Getty features the oversized parts of the figure scattered across the floor, a dramatic dismantling of a racist stereotype.

The exhibition also considers monumentality in relation to cities, both real and imagined. Design proposals and plans for the never-built Palace of the Soviets submitted during and after a major international competition in 1931–33 placed alongside a utopian plan to connect East and West Berlin at the height of the Cold War reveal how power is envisioned through the construction of the city and its monuments. The connection between monuments and the built environment is further explored through printed material, photographs, and ephemera. The impulse to document Los Angeles, for example, has spawned projects of enormous scope—such as Ed Ruscha’s extensive photo-documentations of Los Angeles Every Building on the Sunset Strip, 1966 and Hollywood Blvd, 1973 and 2002 and Lane Barden’s Linear City, a monumental tool for envisioning the city at the start of the 21st century by mapping its main arteries: water, rail, and automotive.

“Monuments, though often meant to stand for eternity, can physically change over time—from erosion, looting, war, or iconoclasm—or they can stay intact but change in their meaning, losing context or relevance, or becoming integrated with daily life in new ways. And monuments can form organically, through the ways that people interact with the built environment,” said Maristella Casciato, exhibition co-curator and curator of architecture at the Getty Research Institute. “MONUMENTality investigates the ways that monuments are necessarily dynamic, ultimately reflecting, through their endurance or failure, the world around them.”

The exhibition checklist is available here»


Exhibition | The Art of the Site: Building and Demolishing

Posted in books, catalogues, exhibitions by Editor on December 5, 2018

Now on view at the Cité de l’architecture et du patrimoine:

The Art of the Site: Building and Demolishing from the 16th to the 21th Century
Cité de l’architecture et du patrimoine, Paris, 9 November 2018 — 11 March 2019

Curated by Valérie Nègre and Marie-Hélène Contal

The exhibition juxtaposes different viewpoints, bringing together a collection of works and documents produced by artists, journalists, and amateurs, as well as those who work in situ: engineers, architects, contractors, and—what is rarer—labourers, through votive offerings or masterpieces produced by the Compagnons charpentiers des Devoirs du Tour de France. The exhibition ends with the statements of three contemporary architect-engineers: Patrick Bouchain, Marc Mimram, and Martin Rauch, for whom the building site is ever increasingly the space where architecture meets complexity, inventiveness and the aspirations of the modern-day world.

As the result of close collaboration between specialists of art and specialists of techniques, the exhibition offers a diverse interpretation of the theme: it casts a light on the technical dimension, as well as the social, political, and artistic dimensions. The path begins with what you would expect to find on a site: construction processes, machines, and men at work. It then highlights the political and social issues about the place that is being built. Even though the site is a highly technical area, it is also a theatre for those in charge, who like to show themselves there, and for the labourers, who are sometimes viewed as oppressed masses, sometimes viewed as heroes.

L’Art du chantier: Construire et démolir du 16e au 21e siècle (Paris, Snoeck, 2018), 283 pages, ISBN: 978-9461614728, 42€.