Private Goes Public, Private Art Dealers Association Exhibition
Press release (22 July 2013) from PADA (a CAA affiliate society, incidentally). . .
Private Goes Public (Private Art Dealers Association)
13 East 69th Street, New York, 1–16 November 2013
The Private Art Dealers Association (PADA), the first trade association to represent private art dealers, is celebrating its 25th anniversary with its first-ever public exhibition, Private Goes Public, 1–16 November 2013. Over thirty members of the 50-member strong PADA organization will exhibit a full range of fine art from the 17th to the 21st centuries at 13 East 69th Street, where galleries of three PADA members are located. European and American paintings, drawings, prints, photographs, and sculpture will be offered, all available for sale. An illustrated catalog will provide details on each of the dealers exhibiting at this show. (more…)
Exhibition | American Adversaries: West and Copley
Press release (19 June 2013) from the MFAH:
American Adversaries: West and Copley in a Transatlantic World
Museum of Fine Art, Houston, 6 October 2013 — 5 January 2014
This October, the Museum of Fine Arts, Houston, presents American Adversaries: West and Copley in a Transatlantic World, an extensive exhibition charting the rise and spectacular success of contemporary history painting in the 18th century through the lives and experiences of two colonial American innovators: Benjamin West (1738–1820) and John Singleton Copley (1738–1815). West and Copley—initially friends and eventually bitter rivals—gained phenomenal fame from their theatrical paintings that romanticized current events and captured the imaginations of the art-viewing public. American Adversaries is on view from October 6, 2013, to January 20, 2014.
American Adversaries: West and Copley in a Transatlantic World traces the ambitious, competitive and highly successful lives of West and Copley through oil paintings, works on paper, sculptures and artifacts. At the core of the exhibition are two paintings that catapulted West and Copley into international fame: West’s The Death of General Wolfe (1770; 1779 version) and Copley’s Watson and the Shark (1778). The paintings have not been presented together in more than 60 years and never before in this context.
“This is a remarkable opportunity for Museum visitors to see in the same exhibition these two iconic paintings in the history of art, The Death of General Wolfe and Watson and the Shark,” said MFAH director Gary Tinterow. “Painted nearly 250 years ago and considered strikingly modern in their day, the issues addressed with such dramatic flair have the power to still resonate with viewers today.”
“Long before Jackson Pollock drew international acclaim for his innovative Abstract Expressionist paintings in the mid-twentieth century, West and Copley held center stage in the international art world of the 18th century centered in London,” said Emily Ballew Neff, MFAH curator of American painting and sculpture. “The exhibition addresses how it is that these two colonial artists on the margins of empire come to have such phenomenal success.”
Both born in the same year (1738) in the American Colonies of Pennsylvania and Massachusetts, Benjamin West and John Singleton Copley crossed the Atlantic in pursuit of international fame and fortune. London, the cultural and political capital of the empire, attracted and swayed both artists to stay to develop their careers as history painters and neither returned home to America.
West and Copley established a new genre of painting known as contemporary history painting with The Death of General Wolfe and Watson and the Shark. These dramatic large-scale canvases featured compositional elements derived from antique and Old Master sources, yet instead of portraying biblical, mythological or literary heroes, they depicted real people from contemporary life. This exhibition examines these paintings and the period in which they were painted to animate a past that is unfamiliar to many today. It restores the dynamism and modernity of this particular artistic moment as it happened, rather than through the lens of what we later have come to know. These works point to a world informed by the powerful agency of the Iroquois (Haudenosaunee) Confederacy in the Great Lakes region; the scientific and imperial exploration of the seas; the rising role of the media and its relationship to history painting; and the stagecraft involved in managing the perception of a successful artistic career in 18th-century London. In the exhibition, the two key paintings are joined by works of art from all over the Atlantic World, which give them greater context and meaning.
A fully illustrated catalogue, published by the Museum of Fine Arts, Houston, distributed by Yale University Press and designed by Studio Blue, accompanies the exhibition and features essays by international scholars. The catalogue for this exhibition receives generous funding from Furthermore: a program of the J. M. Kaplan Fund.
American Adversaries: West and Copley in a Transatlantic World is organized by the Museum of Fine Arts, Houston. An indemnity has been granted by the Federal Council on the Arts and the Humanities. The exhibition is made possible through support from the Terra Foundation for American Art.
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38th Annual Ruth K. Shartle Symposium
American Adversaries: West and Copley in a Transatlantic World
Museum of Fine Art, Houston, 5 October 2013
This one-day symposium includes talks by prominent scholars addressing themes developed in the exhibition. Following the symposium, guests are invited to a reception and a viewing of the exhibition. More information is forthcoming. Visit www.mfah.org/calendar for updates.
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From Yale UP:
Emily Ballew Neff with Kaylin H. Weber, American Adversaries: West and Copley in a Transatlantic World (New Haven: Yale University Press, 2013), 272 pages, ISBN: 978-0300196467, $75.
American artists and innovators Benjamin West (1738–1820) and John Singleton Copley (1738–1815) changed the way history was recorded in the 18th century and became America’s first transatlantic art superstars. Initially friends but eventually bitter rivals, the artists painted contemporary events as they happened, illustrating the transformation of imperial power through diplomacy between British Americans and the Iroquois, and through transatlantic trade, exploration, and the natural history of the West Indies.
Focusing on two iconic works, West’s The Death of General Wolfe (1770) and Copley’s Watson and the Shark (1778), American Adversaries charts the rise of contemporary history painting, and offers a compelling examination of American history and New World exploration. Featuring more than two hundred color reproductions of paintings, works on paper, and objects that informed the artists, this handsome volume also includes essays that shed new light on, among other subjects, West and Copley within the context of the Royal Academy and the use of Western and Native American objects in cultural diplomacy.
Emily Ballew Neff is curator of American painting and sculpture, and Kaylin H. Weber is assistant curator of American painting and sculpture, both at the Museum of Fine Arts, Houston.
Call for Papers | Political Portraiture in the United States and France
Political Portraiture in the United States and France
during the Revolutionary and Federal Eras, ca. 1776–1814
National Portrait Gallery, Washington, D.C., 25–26 September 2014
Proposals due by 15 November 2013
Organized by Todd Larkin and Brandon Brame Fortune
Charles Wilson Peale, Washington at the Battle of Princeton (Princeton)
In August 1814 British troops under General Robert Ross sacked Washington, D.C., and burned the Capitol, together with some splendid state portraits of Louis XVI and Marie-Antoinette, the French monarchy’s gift to the American Congress some thirty years earlier. The approaching bicentennial of this event will provide scholars of the United States and France a rare occasion to meet and share expertise on aspects of late eighteenth- to early nineteenth-century portraiture.
The premise of this conference is that in the period between the War of Independence and the War of 1812 the United States maintained a complicated political alliance with France, which had an impact on patterns of cultural representation and consumption on both sides of the Atlantic. The transition from monarchical to republican forms of government was accompanied by a shift from aristocrats to citizens as the primary patrons, subjects, and viewers of portraits. Yet portraits of American and French heads of state, delegates, and families often reveal an uneasy integration of traditional aristocratic forms and new republican values.
The first half of the conference, titled “Dialect[ic]s of Diplomacy,” will treat with single-person portraits (and portrait pairs) that suggest an individual invested with high status, extraordinary power, martial strength, or diplomatic duty on behalf of the nation; the second half of the conference, “Representative Bodies,” will examine group portraits that suggest a shared commitment to collective governance, family harmony, or equitable representation within the nation. How effective were state portraits in promoting the authority of a hereditary monarch, group portraits in promoting the authority of an elected assembly? To what extent did American artists reference or adapt the paintings and prints of French artists, and vice versa? What formal arrangements and symbolic repertories were invented to invest politicians, merchants, and workers with ideals of “patriotism” and “republicanism”?
This line of inquiry is meant to challenge or complicate persistent claims that the United States remained culturally dependent on Great Britain throughout the period, that its portraits reflect a kind of “Anglo-American synthesis.” Although the British flooded North America with royal paintings and celebrity prints in the general expectation that these would encourage fidelity to the Crown and taste for English goods, the French deployed images of sovereigns, ministers, and generals more precisely to seal diplomatic agreements, to celebrate military victories, and to rally public support. Indeed, so appealing were French productions that American artists freely borrowed from them to commemorate the first Presidents of the United States.
There will be six sessions, each lasting approximately two hours and consisting of three to four participants. (more…)
New Book | Portrayal and the Search for Identity
Published last December by Reaktion and distributed by the University of Chicago Press:
Marica Pointon, Portrayal and the Search for Identity (London: Reaktion Books, 2012), 272 pages, ISBN: 978-1780230412, £25 / $40.
We are surrounded by portraits: from the cipher-like portrait of a queen on a banknote to security pass photos; from images of politicians in the media to Facebook; from galleries exhibiting Titian or Leonardo to contemporary art featuring the self-image, as with Jeff Koons or Cindy Sherman. In Antiquity portraiture was of major importance in the exercise of power. Today it remains not only a component of everyday life but also a crucial way for artists to define themselves in relation to their environment and their contemporaries.
In Portrayal and the Search for Identity, Marcia Pointon investigates how we view and understand portraiture as a genre, and how portraits function as artworks within social and political networks. Likeness is never a straightforward matter as we rarely have the subject of a portrait as a point of comparison. Featuring familiar canonical portraits as well as little-known works, Portrayal seeks to unsettle notions of portraiture as an art of convention, a reassuring reflection of social realities. Readers are instead invited to consider how identity is produced pictorially, and where likeness is registered apart from in a face. In exploring these issues, the author addresses wide-ranging challenges, such as the construction of masculinity in dress, representations of slaves, and self-portraiture in relation to mortality.
Marcia Pointon is an independent scholar and research consultant; she is Professor Emeritus of History of Art at the University of Manchester and Honorary Research Fellow at the Courtauld Institute of Art, London. She is author of Brilliant Effects: A Cultural History of Gem Stones and Jewellery and Hanging the Head: Portraiture and Social Formation in Eighteenth-century England.
C O N T E N T S
Introduction
1. Portrait, Fact and Fiction
2. Slavery and the Possibilities of Portraiture
3. Adolescence, Sexuality and Colour in Portraiture: Sir Thomas Lawrence
4. Accessories in Portraits: Stockings, Buttons and the Construction of Masculinity in the Eighteenth Century
5. The Skull in the Studio
References
Select Bibliography
Acknowledgements
Photo Acknowledgements
Index
Display | Ben Okri on Ayuba Suleiman Diallo
From the NPG:
Ben Okri on Ayuba Suleiman Diallo: A Dialogue Across Time
National Portrait Gallery, London, 20 September 2013 — 16 March 2014
William Hoare, Portrait of Ayuba Suleiman Diallo (Job ben Solomon), 1733 (NPG L245, Lent by Qatar Museums Authority/Orientalist Museum, Doha, 2010)
Ayuba Suleiman Diallo was an educated man from a family of Muslim clerics in West Africa. In 1731 he was taken into slavery and sent to work on a plantation in America. By his own enterprise, and assisted by a series of spectacular strokes of fortune, Diallo arrived in London in 1733. Recognised as a deeply pious and educated man, in England Diallo mixed with high and intellectual society, was introduced at Court and was bought out of slavery by public subscription. Through the publication of his Memoirs in 1734, Diallo had an important and lasting impact on Britain’s understanding of West African culture, black identity and Islam. In the early years of the nineteenth-century, advocates of the abolition of slavery would cite Diallo as a key figure in asserting the moral rights and humanity of black people.
Booker-prize winning Ben Okri is one of Britain’s finest writers. Fascinated with the enigmatic story of Diallo, and his relevance today, Okri embarked on a series of conversations to explore the painting and its impact with audiences at the National Portrait Gallery and its regional partners in Liverpool, South Shields and Leicester. Okri’s new poem, which is part of the display, is inspired by this journey of discovery into the moving and sometimes uncomfortable story of Ayuba Suleiman Diallo and a portrait which raises many questions.
The tour and display has been made possible by the generosity of Thomson Reuters, the Qatar Museums Authority and individual Gallery supporters. The display and its interpretation is complemented by a series of talks and events funded by the American Friends of the National Portrait Gallery, including a conversation between Ben Okri and Gus Casely-Hayford.
Call for Papers | ASECS 2014 in Williamsburg
Reminder: the due date is 15 September!
2014 American Society for Eighteenth-Century Studies Conference
Williamsburg, 20–22 March 2014
Proposals due by 15 September 2013
Governor’s Palace in Williamsburg, Virginia. The original structure was built between
1710 and 1722, with further additions made in the 1750s. Fire destroyed the
main house in 1781. The present building was constructed in the early 1930s.
Photo by Larry Pieniazek, 2006, from Wikimedia Commons.
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The 2014 ASECS conference takes place in Williamsburg, 20–22 March. Along with our annual luncheon and business meeting, HECAA will be represented by two panels chaired by Denise Baxter and Amy Freund and Jessica Fripp. In addition to these, a wide selection of sessions that might be relevant for HECAA members are also included below. A full list of panels (68 pages’ worth!) is available as a PDF file here.
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Anne Schroder New Scholar’s Session (Historians of Eighteenth-Century Art and Architecture)
Denise Amy Baxter, 1304 Edgewood Court, Carrollton, TX 75007; denise.baxter@unt.edu
Named in honor of the late Anne Schroder, this seminar will feature outstanding new research by emerging scholars.
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Selfhood and Visual Representation in the Eighteenth Century (Historians of Eighteenth-Century Art and Architecture)
Amy Freund, Texas Christian U. and Jessica Fripp, Parsons The New School for Design; a.freund@tcu.edu and frippj@newschool.edu
This panel will consider the relationship between the visual arts and new ideas of selfhood in the eighteenth century. Enlightenment-era debates about the nature of the self had profound effects on how people imagined the individual’s place in society, how gender, age, and racial difference were framed, how science and medicine conceived of the mind and body, and how emotions such as love and friendship were understood and expressed. Some scholars have approached the question of the eighteenth-century self in terms of the rise of possessive individualism, of secularization, and of consumer culture; others have pointed to the persistence and transformation of traditional hierarchies, of collective identities, and of mysticism and the irrational. We are seeking papers that examine the visual representation of the eighteenth-century self, both in portraiture and in other genres and modes, including (but not limited to) genre and history painting, architecture and the decorative arts, dress, and material culture. We encourage proposals that deal with the eighteenth-century self in Asia, Africa, and the Americas, and with the transformation (or inapplicability) of Enlightenment ideas outside of Europe.
A larger list of potentially relevant sessions is available here»
New Book | The Portuguese Synagogue in Amsterdam
For all those observing Rosh Hashana, may the new year bring blessings. -CH . . . From ACC Distribution:
Pieter Vlaardingerbroek, ed., The Portuguese Synagogue in Amsterdam (Zwolle: W Books, 2013), 208 pages, ISBN: 978-9040007989, $32.50.
The Portuguese Synagogue, or Snoge, was the largest Sephardi synagogue in the world when it was built, between 1671 and 1675. The fact that Amsterdam’s Sephardim were permitted to erect this grand structure attests to the relative freedom of Jews in this part of Western Europe, at a time when Jews elsewhere were confined to ghettos and subject to restrictions. Through the centuries, foreign tourists have been amazed by the beauty and scale of the complex. This volume examines the many aspects of this glorious synagogue, which has been preserved almost perfectly in its seventeenth-century state.
Pieter Vlaardingerbroek is an architectural historian at the Office of Monuments and Archaeology, Amsterdam.
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C O N T E N T S
The Portuguese Jewish Community in Amsterdam
Elias Bouman (1635–1686), The Architect of the Snoge
The Snoge: A Jewish Building in a Dutch Architectural Style
Construction and Maintenance (1671–2000)
Restoring the Past, Creating Room for the Future
The Festive Inauguration of the Esnoga in 1675
The Esnoga and the Snogeiros: The Interior Function of the Synagogue and its Annexes
The Ceremonial Art Treasures of the Esnoga
New Book | Turner and the Sea
The exhibition opens at the National Maritime Museum in November; proposals for the related conference are due by September 6.
Christine Riding and Richard Johns, Turner and the Sea (London: Thames & Hudson, 2013), 288 pages, ISBN: 978-0500239056, $60.
This is the first publication to focus on J. M. W. Turner’s lifelong fascination with the sea, from his Royal Academy debut in 1796, Fishermen at Sea, to his iconic maritime subjects of the 1830s and 1840s such as Staffa, Fingal’s Cave. It places Turner and his work firmly in the broader field of maritime painting that flourished in nineteenth-century Britain, France, Germany, Holland, and America.
The majority of the works illustrated here—paintings, watercolors, sketches, sketchbooks, and engravings—are by Turner, but there are also comparative works by some forty other artists including Winslow Homer, James McNeill Whistler, John Constable, Benjamin West, and Gustave Courbet. The book is organized thematically and chronologically, and the subjects range from “Contested Waters,” which examines what was at stake for marine painting during the Napoleonic Wars, to “New Wave,” an exploration of Turner’s international and often surprising legacy for the art of the sea.
Christine Riding is senior curator of paintings and head of the arts department at the National Maritime Museum. Richard Johns is curator of prints and drawings at the National Maritime Museum.
Exhibition | Splendore a Venezia: Art and Music
Press release (6 June 2013) from the MMFA:
Splendore a Venezia: Art and Music from the Renaisance to Baroque in the Serenissima
Montreal Museum of Fine Arts, 12 October 2013 — 19 January 2014
Portland Art Museum, 15 February — 11 May 2014
Curated by Hilliard T. Goldfarb
Giovanni Domenico Tiepolo, Minuet (detail), 1756 (Barcelona: Museu Nacional d’Art de Catalunya)
This fall the Montreal Museum of Fine Arts will present an innovative interdisciplinary exhibition, exploring for the first time the important interrelationships between the visual arts and music in the Venetian Republic, from the early sixteenth century to the fall of the Serenissima at the close of the eighteenth century, a period during which these art forms served the political ambitions of the state and civic institutions and became increasingly central to the economy of the Republic.
Thanks to outstanding loans from prestigious museums and collectors, visitors to the exhibition Splendore a Venezia: Art and Music from the Renaissance to Baroque in the Serenissima will discover the splendours of Venice through the musical scene: salons, the elaborate carnevale, the theatre, street performances and the festive, costumed commedia dell’arte.
Featuring approximately 120 paintings, prints and drawings, as well as historical instruments, musical manuscripts and texts, Splendore a Venezia paints a portrait of extraordinary artistic and musical creativity. This exhibition organized by the Museum brings together masterworks by many of the most renowned names associated with the city on the lagoon: visual artists directly associated with the musical life of the city include Titian, Tintoretto, Bassano, Giovanni Battista and Domenico Tiepolo, and Francesco Guardi, many of whom were also amateur musicians, as well as Bernardo Strozzi, Pietro Longhi and Canaletto, whose paintings record the role of music in Venetian life. The exhibition also includes manuscripts and publications by Venetian composers like the Gabrieli, Monteverdi, Albinoni, Lotti and Vivaldi.
Nathalie Bondil, Director and Chief Curator of the MMFA, said, “In keeping with the original exhibition programming we began with Warhol Live, Imagine, Miles Davis and Lyonel Feininger, music takes its place front and centre with this new MMFA production. As D’Annunzio said: “In Venice, in the same way that one cannot feel except in music, one cannot think if not in images.” That’s how it is at the MMFA, too: it is impossible to see without listening or to listen without seeing.” In a presentation that resembles the Museum’s previous multidisciplinary exhibitions, Splendore a Venezia will give visitors an opportunity to enjoy musical accompaniment related to each theme in the galleries, thus enhancing the exploration of each of these works.
Exhibition curator Hilliard T. Goldfarb, Associate Chief Curator and Curator of Old Masters at the MMFA and a specialist of the Italian Renaissance, developed the concept of this original exhibition produced by the MMFA, by gaining inspiration from an idea put forward by the Musée de la musique in Paris. This exhibition will be circulated by the MMFA to the Portland Art Museum in Oregon from March 7 to June 8, 2014. The exhibition’s musical accompaniment is being overseen by musicologist François Filiatrault.
The works, on loan from prominent international collections like the Metropolitan Museum of Art, the Morgan Library & Museum, the New York Public Library, the Wadsworth Atheneum, the Cleveland Museum of Art, the National Gallery of Art (Washington), the Palatine Gallery, Uffizi, Capitoline, Cini Foundation, Accademia, Museo Correr, Kunsthistorisches Museum, Thyssen-Bornemisza, the Dulwich Picture Gallery, the National Gallery (London) and the National Gallery of Canada (Ottawa), and the Cité de la musique in Paris, among others. Extensive associated programming includes a series of concerts with period instruments in the MMFA’s Bourgie Hall, as well as related activities throughout the city.
The visual arts and musical scenes during the extraordinarily creative period from Titian to Guardi and Willaert to Vivaldi were profoundly interconnected. The world’s first public opera house (1639) opened in Venice, which boasted no fewer than nine commercial opera houses in the seventeenth and eighteenth centuries. Modern music typography was invented in Venice, and it was there that the most important musical presses in Europe were located. Public musical concerts were crucial to the economic strength of Venice’s scuole (rich, powerful brotherhoods) and ospedali (establishments for the poor and orphans). Each year, a variety of processions were held in celebration of special occasions. These were recorded in the visual arts and celebrated in music, in turn serving its government, which sponsored the arts. Music and the visual arts also became central to state propaganda and the Republic’s state receptions and international profile.
The exhibition is organized along three broad conceptual themes reflecting specific, parallel and interrelated characteristics of art and music during this critical period of Venetian history: 1) Art and Music in the Public Sphere 2) Art and Music in the Private Realm 3) Art, Music and Mythology [more information about each theme is available in the press release]
To accompany the exhibition, the MMFA’s Publishing Department is co-publishing a full-colour exhibition catalogue, in English and French editions, with Hazan, Paris [Art and Music in Venice: From the Renaissance to Baroque]. The catalogue features essays by leading international experts in Venetian art, culture and music, under the general editorship of Dr. Hilliard T. Goldfarb. He is joined by a distinguished team of international cultural and musicological experts, including Tiziana Bottecchia, Dawson Carr, Francesca del Torre, Joël Dugot, Iain Fenlon, Caroline Giron, Jonathan Glixon, Sergio Guarino, Eugene Johnson, Piero Lucchi and Ellen Rosand. This publication will serve as a reference work that will make an ongoing contribution to the body of knowledge on music and the visual arts in the private and public realms of the Venetian Republic. It will be distributed internationally by Hazan (French edition) and Yale University Press (English edition). (more…)
Exhibition | Interwoven Globe: The Worldwide Textile Trade, 1500–1800
As noted at Style Court, Interwoven Globe opens this month at The Met; from the press release:
Interwoven Globe: The Worldwide Textile Trade, 1500–1800
The Metropolitan Museum of Art, New York, 16 September 2013 — 5 January 2014
Curated by Amelia Peck
Interwoven Globe: The Worldwide Textile Trade is the first major exhibition to explore the international transmittal of design from the 16th to the early 19th century through the medium of textiles. It highlights an important design story that has never before been told from a truly global perspective. Beginning in the 16th century, the golden age of European maritime navigation in search of spice routes to the east brought about the flowering of an abundant textile trade, causing a breathtaking variety of textiles in a multiplicity of designs and techniques to travel across the globe. Textiles, which often acted as currency for spices and other goods, made their way from India and Asia to Europe, between India and Asia and Southeast Asia, from Europe to the east, and eventually to the west to North and South America. Trade textiles blended the designs, skills, and tastes of the cultures that produced them, resulting in objects both intrinsically beautiful and historically fascinating.
The exhibition is made possible by The Andrew W. Mellon Foundation, the Diane W. and James E. Burke Fund, The Coby Foundation, Ltd., The Favrot Fund, the Gail and Parker Gilbert Fund, and the Quinque Foundation.
While previous studies have focused on this story from the viewpoint of trade, Interwoven Globe is the first exhibition to explore it as a history of design—and to approach it from a perspective that emphasizes the beauty and sophistication of these often overlooked objects. It will explore the interrelationship of textiles, commerce, and taste from the Age of Discovery to the 19th century. From India and its renowned, ancient mastery of painted and dyed cotton to the sumptuous silks of China and Japan, Turkey and Iran, the paths of influence are traced westward to Europe and the Americas. Shaped by an emerging worldwide visual culture, the resulting fashion for the “exotic” in textiles, as well as in other goods and art forms, gave rise to what can be recognized as the first truly global style.
Interwoven Globe will feature 134 works, about two-thirds of which are drawn from the Metropolitan Museum’s own rich, encyclopedic collection. These objects will be augmented by important domestic and international loans in order to make worldwide visual connections. Works from the Metropolitan will come from the following departments: American Decorative Arts, Asian Art, Islamic Art, European Sculpture and Decorative Arts, The Costume Institute, European Paintings, Drawings and Prints, and Arts of Africa, Oceania, and the Americas. They will include numerous flat textiles (lengths of fabric, curtains, wall hangings, bedcovers,) tapestries, costumes, church vestments, pieces of seating furniture, and paintings and drawings. (more…)
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