Nationalmusée Luxembourg Acquires Three Works by Monique Daniche
As noted by Adam Busiakiewicz at Art History News, the Nationalmusée Luxembourg (MNAHA) recently acquired three portraits by Monique Daniche, who worked in Strasbourg at the turn of the 18th and 19th centuries—one from Tajan (12 June, lot 90) and two from Gros & Delettrez (18 November, lot 283). From the MNAHA:
Michelle Kleyr and Ruud Priem, “New Acquisition: A Female Painter from Strasbourg Steps into the Limelight,” MuseoMag #1 (2025).
Monique Daniche, Portrait of Catherine Hubscher (1753–1835), known as ‘Madame Sans-Gêne’, ca. 1800 (Luxembourg: MNAHA).
• Monique Daniche, Portrait of Jean Nicolas Michel Tinchant (1770–1835), ca. 1793, oil on canvas, 76 × 62 cm (Luxembourg: MNAHA).
• Monique Daniche, Portrait of Jeanne Louise Thérèse Hebenstreit (1770–1849), ca. 1793, oil on canvas, 76 × 62 cm (Luxembourg: MNAHA).
• Monique Daniche, Portrait of Catherine Hubscher (1753–1835), known as ‘Madame Sans-Gêne’, ca. 1800, oil on canvas, 64 × 55 cm (Luxembourg: MNAHA).
Many museums around the world are actively trying to redress the balance in their collections of European paintings before 1850 where, in general, female portraits and especially works painted by women artists are far outnumbered by their male counterparts. With a limited budget and stiff international competition, the museum’s department of fine arts is always looking for rare opportunities to acquire work in that field on the art market. This year [2024], we were fortunate enough to acquire no less than three works by the French painter Monique Daniche (1737–1824), who was working as a much sought-after portraitist for the Strasbourg elite in the late 18th and early 19th century. Preliminary research on these portraits has revealed some remarkable stories so far.
Little is certain about Daniche’s biography and oeuvre. We know that her father Jean Tanisch (c.1700–1775) was born near Trier and recorded living between 1736 and 1742 in the Valsesia alpine valley, where he married Monique’s Tuscan mother, Rose Rossi (c.1714–1778). Our painter was born in 1737 as Marie Monique Rose Tanisch in Varallo (Piedmont), before her family relocated to Strasbourg around 1743. Although they changed their surname to ‘Daniche’ to make it sound more French, Monique kept signing her work as ‘Tanisch’. Her family was made up of painters, with her father teaching Monique and her younger siblings Ursule (1742–1822), Antoine Clément (b.1744), and Pierre (b.1752).
Almost none of their paintings are signed, and it is difficult to determine which work should be attributed to which specific family member, especially since they worked together on some paintings during their careers, Monique and Ursule in particular. As no signed works by Ursule are known to date, we assume that she collaborated exclusively with her older sister, perhaps as her assistant. Both women lived and worked together in Strasbourg all their lives, did not marry, and never seem to have left Alsace. The early years of their careers focused primarily on religious paintings for the altars of churches in Strasbourg and the surrounding area. With the dispossession and dispersal of church property during the political upheavals of the French Revolution, the sisters’ painting practice shifted to an entirely different genre, with Monique Daniche concentrating almost exclusively on portraiture from 1790 onwards.
Much of the information we have about the life and work of Monique Daniche was unearthed by the Strasbourg historian Alain Luttringer in a publication of Cahiers alsaciens d’archeologie, d’art et d’histoire 43 (2000). The addresses of her residences and workshops, the fact that the sisters employed a servant and lent considerable amounts of money, and an idea of the extent of Monique’s original oeuvre are entirely based on his research. Luttringer identified at least 35 works painted by Monique Daniche, with another 12 works attributed to her. Overall, it is a small artistic oeuvre, of which just over a dozen works have survived. . . .
The full essay is available here»
Master Drawings New York, 2025
Happening this week, with more information here:
Master Drawings New York, 2025
1–8 February 2025, New York
Taking place in more than 25 galleries on New York’s Upper East Side, Master Drawings New York is the premier U.S. art fair for exceptional drawings and works on paper from all periods, paired with complementary paintings, photographs, and sculpture.
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From The Drawing Foundation:
Master Drawings Symposium 2025
Villa Albertine, The Payne Whitney Mansion, New York, 4 February 2025, 4pm
Pieter Holsteyn II, Blue Rhinoceros Beetle, Chestnut Weevil, and Wasp, ca. 1650–60, gouache and watercolor (New York: The Metropolitan Museum of Art).
This year’s winner is Olivia Dill, a PhD candidate at Northwestern University and current Moore Curatorial Fellow at the Morgan Library & Museum. Her prize-winning research was conducted during her two years as the recipient of the Diamonstein-Spielvogel Fellowship at the Metropolitan Museum of Art, a training program combining experience in three departments: Drawings and Prints, Paper Conservation, and Scientific Research. Besides assigning a previously anonymous watercolor of three insects, including an iridescent Rhinoceros beetle native to Brazil, to seventeenth-century Dutch natural history artist Pieter Holsteyn II (1614–1673), Ms. Dill used an interdisciplinary approach and technical analysis of several blue pigments, particularly smalt (ground cobalt and glass), to shed light on the artist’s color choices and his efforts to translate the beetle’s iridescence on a sheet of paper.
2024 runner-up Tamara Kobel, MA from the University of Bern and a former fellow at the Zentralinstitut für Kunstgeschichte in Munich, will delve into the fascinating world of Swiss artist Wilhelm Stettler (1643–1708). Focusing on his ‘Eyerstock’, a rich artistic tool of sketches and doodles that he described as his fertile pantry of motifs, she helps us understand what role his diverse sources (a menagerie of finely drawn animals, war machines, musical instruments, skeletons, flowers, temples, and ships) played in the artist’s career and creative process.
Master Drawings Symposium celebrates winners of its Ricciardi Prize. This event is organized by The Drawing Foundation in partnership with Master Drawings, and in association with Master Drawings New York 2025. The Symposium is made possible through the generous support of the Tavolozza Foundation.
Master Drawings, Winter 2024
In the latest issue of Master Drawings:
Master Drawings 62.4 (Winter 2024)
a r t i c l e s
• Perrin Stein, “The Crown, the City, and the Public: Saint-Aubin’s Images of Paris.”
• Kim de Beaumont, “A Curious Swan Song for Gabriel de Saint-Aubin: The Comte d’Estaing’s New World Naval Exploits.”
• Margaret Morgan Grasselli, “A Drawing by Hubert Robert and Jean Robert Ango: Correcting a Technical Description.”
• Sarah Catala, “Signed ‘Roberti’: Drawings by Hubert Robert and Jean Robert Ango.”
• Kee Il Choi Jr., “Learning to Draw: The Éducation visuelle of Alois Ko and Étienne Yang.”
r e v i e w s
• Aaron Wile, Review of the exhibition catalogue Claude Gillot: Satire in the Age of Reason, by Jennifer Tonkovich.
• Eduoard Kopp, Review of the exhibition catalogue, Promenades on Paper: Eighteenth-Century French Drawings from the Bibliothèque Nationale de France, edited by Esther Bell, Sarah Grandin, Corinne Le Bitouzé, and Anne Leonard.
• Ashley E. Dunn, Review of the exhibition catalogue Impressionists on Paper: Degas to Toulouse-Lautrec, by Ann Dumas, Leïla Jarbouai, Christopher Lloyd, and Harriet Stratis.
o b i t u a r y
• Perrin Stein, Obituary for Alaster Laing.
In Memoriam | Rosalind Savill (1951–2024)
Dame Rosalind Savill (1951–2024), DBE, FSA, FBA
A memorial service is being planned for Dame Rosalind Savill by her daughter Isabella Calkin and brother Hugh Savill, to take place in London on a week day in late spring or early summer. So that an appropriate venue can be found, it would be incredibly helpful for Isabella and Hugh to have an idea of the number of people who would like to attend. If you hope to come, could you kindly register your interest as soon as possible at the following email address: RosMemorial@outlook.com. Please feel free to share the news with anyone you think may also be interested in attending.
From The Wallace Collection:
The Wallace Collection is deeply saddened by the recent passing of Dame Rosalind Savill, who was Director of the museum from 1992 until 2011.
Following her studies at the University of Leeds and a position in the ceramics department at the Victoria and Albert Museum, Dame Rosalind joined the Wallace Collection in 1974 as a museum assistant. In 1978, she became Assistant to the Director and further developed her life-long passion for the Collection’s outstanding 18th-century French decorative arts, particularly the sumptuous porcelain created by the Sèvres Manufactory. Many years of research culminated in Dame Rosalind’s publication of these treasures in her 1988 Catalogue of Sèvres Porcelain, which remains a ground-breaking work of reference for French ceramic studies.
From here, Dame Rosalind was appointed Director of the Wallace Collection in 1992. With great energy and tenacity, she brought vital change to the museum, transforming it from an undervisited and underappreciated institution into a cultural landmark, made open and relevant to all. Her most ambitious undertaking was developing the Centenary Project. With generous funding from the Heritage Lottery Fund, the Monument Trust, the Wolfson Foundation, and private individuals, this created a glazed courtyard, as well as new exhibition, learning, library, and event spaces, while securing the very foundations of the building itself. Dame Rosalind breathed new life into the galleries, too, by leading on their refurbishment and rehanging, giving them the splendid character that is much loved today. These galleries also played host to daring exhibitions under her leadership, including showing works by Lucian Freud in 2006 and Damien Hirst in 2009, which looked to reframe the museum within contemporary contexts and led to an unprecedented rise in visitor numbers.
Dame Rosalind’s extraordinary achievements and expertise were recognised far beyond the Wallace Collection. She was awarded a National Art Collection Fund Prize in 1990, appointed a CBE in 2000 and a DBE in 2009 for her services to the arts, and most recently made an officer of the Ordre des Arts et Lettres in 2014. She also served as a trustee to numerous institutions, including the Royal Collection, the Samuel Courtauld Trust, and the Buccleuch Living Heritage Trust, as well as on the advisory committees of the Royal Mint and English Heritage and the academic committee of Waddesdon Manor. In 2011, Dame Rosalind retired from the museum but continued her research on Sèvres, publishing in 2021 Everyday Rococo, a magisterial study of Madame de Pompadour and her patronage of the porcelain factory. Objects were always at the very centre of Dame Rosalind’s work, and she had an insatiable desire to understand them, through close looking and handling, and strongly encouraged others to do so, too. Above all, she was an inspiring communicator and teacher, playing a pivotal role for generations of art lovers, historians, and critics.
The Wallace Collection wishes to celebrate Dame Rosalind’s unwavering commitment and contribution to this remarkable museum and extends heartfelt condolences to her family and friends.
In memory of Dame Rosalind’s profound contribution to the study of French decorative arts, in 2025 the Collection will inaugurate an annual memorial lecture in her name. In the spirit of her passion for sharing her knowledge with the public, each year the Dame Rosalind Savill Memorial Lecture will enable a leading scholar to share new insights into the world of 18th-century French arts and culture.
–Xavier Bray, Director, on behalf of all the Trustees and Staff at The Wallace Collection
New Book | Eighteenth-Century Sicily: Rebuilding after Natural Disaster
From Amsterdam UP:
Martin Nixon, Architecture, Opportunity, and Conflict in Eighteenth-Century Sicily: Rebuilding after Natural Disaster (Amsterdam: Amsterdam University Press, 2023), 284 pages, ISBN: 978-9463725736, €134 / $154.
The catastrophic Sicilian earthquake of 1693 led to the rebuilding of over 60 towns in the island’s south-west. The rebuilding extended into the eighteenth century and gave opportunities for the reassertion and the transformation of power relations. Although eight of the towns are now protected by UNESCO, the remarkable architecture resulting from this rebuilding is little known outside Sicily.
This is the first book-length study in English of this interesting area of early modern architecture. Rather than seek to address all of the towns, five case studies discuss key aspects of the rebuilding by approaching the architecture from different scales, from that of a whole town to parts of a town, or single buildings, or parts of buildings and their decoration. Each case study also investigates a different theoretical assumption in architecture, including ideas of the Baroque, rational planning, and the relegation of decoration in architectural discourse.
Martin Nixon is Assistant Professor of Art History at Zayed University, United Arab Emirates. His research interests include Southern Italian art and architecture, architecture and political power, urbanism and territorial transformation, the reception of architectural ornament, and questions of cultural and stylistic hybridity in architecture. Nixon completed his doctoral dissertation on the eighteenth-century rebuilding of the Val di Noto, Sicily with York University in 2018. In 2011, he received the John Fleming Travel Award to assist his doctoral research in Sicily. He completed an MA in Art History at the Open University in December 2007 with a dissertation on the eighteenth-century Sansevero Chapel in Naples.
c o n t e n t s
List of illustrations
Acknowledgments
Introduction
1 Sicily as a Colonial Possession c. 1600–1750: Subordination and Resistance
2 The Hexagonal Towns of Avola and Grammichele: Urbanism, Fortification, and Coercion
3 The Palaces of Noto: Ornament, Order, and Opportunism
4 The Palazzo Biscari in Catania: Lightness, Refinement, and Distinction
5 The Palazzo Beneventano in Scicli: Trauma and Violence
6 The Palaces of Ragusa: Abundance, Famine, and the Grotesque
Conclusion
Glossary
Bibliography
Index
Call for Papers | Lost Cities in a Global Perspective
From ArtHist.net:
Lost Cities in a Global Perspective: Sources, Experience, and Imagery, 15th–18th Centuries
University of Campania ‘Luigi Vanvitelli’, Caserta, 16–17 October 2025
Proposals due by 15 March 2025
In conjunction with the Research Project “The Vesuvian Lost Cities before the ‘Discovery’: Sources, Experience, and Imagery in Early Modern Period” (VeLoCi)
In 1972 Italo Calvino published the book Invisible Cities, encouraging a reflection on modern megalopolises starting from the reactivation of the imaginary arising from the memory of historical cities. In “Cities and Memory 3,” Calvino states that “the city does not tell its past, it contains it like the lines of a hand, written in the corners of the streets, in the grilles of the windows, in the handrails of the stairs, in the antennas of the lightning rods, in the poles of the flags,” underlining how the knowledge of a city passes through the discovery of material elements (space) and immaterial elements (history).
More recently, Salvatore Settis (Se Venezia muore, 2014 / If Venice Dies, 2016) postulated that “Cities die in three ways: when they are destroyed by a ruthless enemy (like Carthage, which was razed to the ground by Rome in 146 BC); when a foreign people settles there by force, driving out the natives and their gods (like Tenochtitlan, the capital of the Aztecs that the Spanish conquistadores destroyed in 1521 and then built Mexico City on its ruins); or, finally, when the inhabitants lose their memory of themselves, and without even realizing it become strangers to themselves, enemies of themselves. This was the case of Athens.”
Many cities across the world have disappeared over the centuries, abandoned (but perhaps never forgotten), destroyed by natural disasters, or buried under new urban layers (Teotihuacán, Chichén Itzá, Copàn, Tulum, Angkor, Petra, Rome, Pompeii, Herculaneum, Brescia), re-emerging for different reasons. Fascinating historians, explorers, archaeologists, architects, and artists, ‘lost cities’—both literally and metaphorically—have continued to exist in literary sources, descriptions, chronicles, and sometimes in iconographic representations.
Pompeii and Herculaneum are two of the most famous cities that disappeared due to natural disasters. Despite historiographical and narrative traditions claiming that their ‘discovery’ occurred only in conjunction with the start of the Bourbon excavations in the 18th century, the VeLoCi project has demonstrated that even before the start of systematic excavations, material traces of the existence of these ancient cities had emerged and that there was no lack of literary, antiquarian, and scientific sources dedicated to their history. In other cases, cities that disappeared following catastrophes or simple stratification were not unearthed, despite their historical past being well known.
What was then the perception, the relationship of coexistence and study and knowledge with the buried/lost cities in the different cultures of the world in the early modern era? What phenomena or episodes have reactivated their systematic research? What are the operational, scientific, and epistemological approaches to the discovery of the past? What are the reasons that suggest seeking and valorising the past?
Starting from the case study of the Vesuvian cities, the international conference Lost Cities in a Global Perspective: Sources, Experience, Imagery in Early Modern Period (XV–XVIII Century) aims to investigate in an interdisciplinary and comparative way the material and imaginary dimensions assumed by lost cities before the birth of archaeology as a science in the 18th and 19th centuries. We invite scholars from a variety of disciplines, including architectural history, art and literary history, history, history of science, archaeology, cultural studies, and other related fields, to submit papers examining cases from any geographical context. Interdisciplinary approaches are particularly welcome, as are contributions that reflect on the exchange of knowledge and cultures at a global level.
Topics may include (but are not limited to):
• Travel Accounts and Exploration: the role of European explorers and missionaries in shaping the narratives of lost cities in Asia, Africa, and the Americas.
• Historiographical approaches: the role of early modern historians and intellectuals in constructing and reconstructing the idea of lost cities.
• Myth and Reality: what role did legends and fantastic narratives have in shaping lost cities and how did they intertwine with emerging archaeological or geographical knowledge.
• Visual Culture and cartography: the role of representations of lost cities in art and cartography.
• Colonialism and Cultural Exchange: the impact of colonial expansion on the perception of lost cities and the relationship with native cultures.
• Material Culture and Archaeology: proto-archaeology and antiquarian research in exploring the physical remains of lost cities and ancient civilizations.
• Literature and Lost Cities: the role of literature in constructing of the idea of lost cities, from utopian and dystopian narratives to adventure tales.
• Cultural Memory and Identity: how did the notion of lost cities has served as a tool for constructing cultural memory and national identity, and how did societies have preserved or forgotten this memory.
• Environmental Factors and Natural Disasters: what role has climate change, natural disasters, and geographical displacement played in the disappearance of cities.
The two-day conference—organised by Giulia Ceriani Sebregondi, Francesca Mattei, and Danila Jacazzi—is promoted by the PRIN 2022 research project “VeLoCi — The Vesuvian Lost Cities before the ‘Discovery’: Sources, Experience, Imagery in Early Modern Period” at the end of its duration and will be hosted at the University of Campania ‘Luigi Vanvitelli’, in Caserta, Italy. VeLoCi will organise and pay for accommodation and reimburse travel costs (economy class) for the speakers. At the end of the conference, the publication of some contributions in a peer-reviewed collective volume will be evaluated. Scientific and organisational secretariat by Giorgia Aureli and Giorgia Pietropaolo.
Participation in the conference is free of charge. The conference languages are Italian and English. Abstracts, in PDF format (maximum 1500 characters, about 250 words) in Italian or English, must include a title and a short biography (maximum 1500 characters, about 250 words). Please send the material to ve.lo.ci.prin@gmail.com by 15 March 2025. Notification of accepted proposals will be sent around 15 April. Please note that this CFP is also open to PhD students and independent scholars.
Scientific Committee
Candida Carrino, Giulia Ceriani Sebregondi, Kathleen Christian, Bianca de Divitiis, Danila Jacazzi, Francesca Mattei, Tanja Michalsky, Massimo Osanna, Francesco Sirano
New Book | Shoes and the Georgian Man
From Bloomsbury:
Matthew McCormack, Shoes and the Georgian Man (London: Bloomsbury Visual Arts, 2025), 208 pages, ISBN: 978-1350358676 (hardback), £85, $100 / ISBN: 978-1350358669 (paperback), £29, $40.
Shoes are everyday objects, but they are loaded with meaning. This book reveals how shoes played a powerful role in the wider story of shifts in gender relations in 18th-century Britain. It focuses on the relationship of shoes with the body and its movements, and therefore how what we wear on our feet relates closely to social, occupational, and gender roles. It also uses footwear to explore topics such as politics, war, dance, and disability. Thinking about shoes as material objects, McCormack studied historic shoes first-hand in museums, in order to ascertain their physical properties and what they would have been like to wear. Worn shoes preserve traces of the wearer’s body in their indentations, stretches and scuffs, providing a unique primary source about their wearer. This approach forges new connections between the histories or material culture, gender, and the body, and sheds new light on what it meant to be a man in the 18th century.
Matthew McCormack is Professor of History at the University of Northampton, course leader for MA History, and a Fellow of the Royal Historical Society and of the Higher Education Academy. His previous books include The Independent Man: Citizenship and Gender Politics in Georgian England, Embodying the Militia in Georgian England, and Citizenship and Gender in Britain, 1688–1928. He edited the Journal for Eighteenth-Century Studies (2015–20).
c o n t e n t s
List of Figures
Acknowledgements
Introduction
1 Georgian Men and Their Shoes
2 Shoes and the Body
3 Shoes and Politics
4 Boots and Masculinity
5 Gout Shoes and Disability
6 Dancing Feet
7 The Soldier’s Shoe
Conclusion: Wearing Georgian Shoes
Select Bibliography
Index
Registration for an online conversation about the book is available via Eventbrite:
Online Conversation: Shoes and the Georgian Man
Tuesday, 11 March 2025, 2pm EDT
Serena Dyer talks with Matthew McCormack about his new book, Shoes and the Georgian Man, published by Bloomsbury in January 2025. By Leicester Branch of the Historical Assn.
New Book | The Turban
From Reaktion Books with distribution by The University of Chicago Press:
Chris Filstrup and Jane Merrill, The Turban: A History from East to West (London: Reaktion Books, 2025), 264 pages, ISBN: 978-1836390749, £20 / $30.
A superbly illustrated history of the turban, from Arabian origins to global cultural icon.
A turban is a strip of cloth folded and wrapped around the head; however, this description includes multifarious forms across space and time. This book follows the turban as it moves from the Arabian Peninsula through the Ottoman Empire to Europe and the Americas. It directs the reader’s gaze from traditional and religious uses of the turban into the realms of international trade, Renaissance art and contemporary fashions. Turbans, as this book shows, have moved in and out of Western culture, at times considered archaic and forgotten, then noticed and reinstated as major accessories. Today Sikh men are recognized by their distinctive headwraps, and the turban remains an important part of Black culture. This book explores the turban’s many adaptations worldwide.
Chris Filstrup was Chief of the Oriental Division at the New York Public Library and Dean of Libraries at Stony Brook University. He is co-author with Jane Merrill of The Wedding Night (2011) among other titles. He lives in Alexandria, Virginia.
Jane Merrill has written for many national U.S. magazines and is the author of The Showgirl Costume (2018) and other cultural histories. She lives in Saint George, Maine.
c o n t e n t s
Introduction
1 A Path into Western Iconography
2 Trade, Diplomacy and Depiction
3 Nabobs, Adventurers and Travellers
4 Masques and Turquerie
5 Riding the Magic Carpet
6 A Neoclassical Accessory
7 Individual Expressions: Africa and the Caribbean
8 Cultural Tourism and Authenticity since 1900
References
Bibliography
Acknowledgements
Photo Acknowledgements
Index
New Book | The Virtues of Underwear
From Reaktion Books, with distribution by The University of Chicago Press:
Nina Edwards, The Virtues of Underwear: Modesty, Flamboyance and Filth (London: Reaktion Books, 2024), 224 pages, ISBN: 978-1789149562, £20 / $28.
Unravels the intimate narratives woven into the fabric of our most personal garments.
Stories are woven into the fabric of our most personal garments. From the first loincloths to the intricate layers of shapewear, the concealed world of underwear is capable of expressing individual desire and also aspects of society at large. An indicator of the vagaries of fashion, underwear can be simple or elaborate. It both safeguards and exposes, reflecting our hopes and experiences. Underwear can embarrass and excite, amuse and shame us. This book illuminates the sometimes profound significance of the garments we wear beneath our outer clothing. It discusses the history of both women’s and men’s underwear, and global cultures of dress.
Nina Edwards is a freelance writer based in London. Her books include Darkness: A Cultural History (2018) and Pazazz: The Impact and Resonance of White Clothing (2023), both published by Reaktion Books.
c o n t e n t s
Introduction
1 What Is Underwear For?
2 Codpiece and Corset
3 Modesty and the Immodest Torso
4 Outer to Under and Back Again
5 Fabric and Fit
6 Medical and Other Practical Matters
7 Economic and Religious Concerns
8 The Underwear Drawer
Glossary
References
Bibliography
Acknowledgements
Photo Acknowledgements
Index
Exhibition | L’Isle-Adam across Three Centuries
Now on view:
Trois siècles à L’Isle-Adam
Musée d’art et d’histoire Louis Senlecq, L’Isle-Adam, 20 October 2024 — 21 September 2025
À vingt-cinq kilomètres à vol d’oiseau de Paris, L’Isle-Adam se trouve aux portes du parc naturel régional du Vexin français, du Pays de France et du département de l’Oise. Qualifiée de « paradis terrestre » par Honoré de Balzac dans une lettre qu’il écrit à sa soeur en 1819, la ville bénéficie d’un environnement exceptionnel situé entre rivière et forêt domaniale. Avec l’exposition Trois siècles à L’Isle-Adam, les visiteurs sont invités à un voyage à travers l’histoire et le patrimoine de la cité adamoise et de son territoire.
Organisé de manière chronologique et couvrant une période allant du XVIIIe au milieu du XXe siècle, le parcours s’articule autour des grandes thématiques représentées dans les collections du musée. L’histoire et l’évolution urbaine de L’Isle-Adam y sont évoquées : des fastes des princes de Conti au développement de la villégiature et des loisirs. Le passé industrieux de la ville est également mis en avant, avec les manufactures de terres cuites décoratives qui ont fait la célébrité de L’Isle-Adam de la fin du XIXe au début du XXe siècle.
La région ayant attiré de nombreux artistes, c’est aussi à travers l’oeil des peintres que l’on découvre les paysages des bords de l’Oise et de la campagne environnante, par les toiles de Jules Dupré (1811–1889), Léon Victor Dupré (1816–1879), Auguste Boulard père (1825–1897), Renet-Tener (1846–1925), Fernand Quignon (1854–1941) et Emilio Boggio (1857–1920).
L’exposition rassemble peintures, sculptures, aquarelles, gravures, affiches publicitaires, cartes postales et photographies anciennes, toutes issues du fonds du musée.
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