The 2011 Georgian Group Architectural Awards
The annual Georgian Group Architectural Awards were held on 31 October 2011. As noted at the Georgian Group’s website (for an overview of last year’s awards, see Enfilade’s previous post) . . .
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Our Architectural Awards, sponsored by international estate agents Savills, recognise exemplary conservation and restoration projects in the United Kingdom and reward those who have shown the vision and commitment to restore Georgian buildings and landscapes. Awards are also given for high-quality new buildings in Georgian contexts and new architecture in the Classical tradition.
The 2011 Awards were presented by Viscount Linley on 31 October 2011. The judges were the architectural historians Dr John Martin Robinson (Chairman), Professor David Watkin and Emeritus Professor John Wilton-Ely; the architecture critic Jonathan Glancey; Lady Nutting (Chairman of the Georgian Group); Charles Cator (Deputy Chairman of Christie’s International); and Crispin Holborow (Director of Country Property at Savills).
2011 WINNING AND COMMENDED SCHEMES
A record eighty entries were received, of which nineteen were shortlisted and eight were selected as award winners. The remaining shortlisted schemes were commended.
Restoration of a Georgian Country House
Easton Neston, Towcester, Northants
JOINT WINNER Easton Neston, Towcester, Northants (Ptolemy Dean Architects for Leon Max) 1702 by Hawksmoor for Fermor-Heskeths, who sold up in 2005. External repairs; restoration where possible of Hawksmoor’s original plan form; removal of tanking and cement render in basement; rebuilding of roof of fire-damaged Wren wing and reinstatement of lost dormers; relandscaping of north courtyard.
JOINT WINNER Strawberry Hill, Twickenham (Inskip & Jenkins for The Strawberry Hill Trust) 1750s for Horace Walpole. Building at Risk by 1993. Restoration of fabric, reinstatement of Walpole plan form and decorative scheme. Recreation of selected furnishings, including bespoke damask. External colour scheme reinstated.
COMMENDED Wilton House, near Salisbury, Wiltshire (Coade Ltd, David Mlinaric et al for the Earl of Pembroke) Restoration of cloisters, conservation of stonework and re-display of sculpture collection.
Restoration of a Georgian Building in an Urban Setting
88 Dean Street, Soho
JOINT WINNER Cockermouth Shopfront Heritage Scheme, Cumberland (By and for Allerdale Borough Council) Sensitive local authority-led restoration of shopfronts in Main Street and Market Place following the severe flooding of November 2009. Concerted effort to emerge from the adversity of flooding with a visually enhanced historic centre. Fifteen shopfronts restored to traditional designs by July 2011.
JOINT WINNER 88 Dean Street, Soho (David Bieda et al for Romil Patel) Meticulous restoration of 1791 shopfront, in particular the overpainted and dilapidated gesso fascia board and the damaged fanlight, backed by extensive research, including paint research.
COMMENDED Creative Ropewalks scheme, Liverpool Coordinated grant and enforcement action by Liverpool City Council to rescue and restore disused and derelict Georgian properties in the Ropewalks. Several properties in Seel Street, a notoriously derelict Georgian street with numerous buildings at risk, have been externally restored.
WINNER Greenlaw Town Hall, Berwickshire (Adam Dudley Architects for the Scottish Historic Buildings Trust) 1831 by John Cunningham as Berwickshire Courthouse. Redundant and a building at risk since 2001, now restored and reused as office space for local businesses and a community hall.
Restoration of a Georgian Church
St George’s Hanover Sq, London
WINNER St George’s Hanover Sq, London (Molyneux Kerr Architects for the Rector and PCC of St George’s Church) 1720s by John James. Roof and plasterwork repairs, servicing and lighting renewal, restoration of reredos, cleaning of woodwork, reinstatement of original decorative scheme, restoration of clock faces, restoration of gallery pews with reinstatement where lost.
COMMENDED St Peter and St Paul, Wolverhampton (Rodney Melville & Partners for Roman Catholic Church)1729, oldest surviving post-Reformation public urban chapel for Catholics; disguised as townhouse. Extended and altered 1826 by Joseph Ireland as memorial to Bishop Milner. Blighted by 1960s ring road and at risk of demolition; derelict by late 1980s. Restoration since then, now completed with reorganisation of interior; new altar, confessional and crucifix, the last by Rory Young.
Restoration of a Georgian Garden and Landscape
Boughton House, near Kettering, Northants
WINNER Boughton House, near Kettering, Northants (The Landscape Agency and Kim Wilkie Associates for Buccleuch Estates) Restoration of the main structure of the canal system, key water and earthworks features and the grand avenues (over a mile of lime avenues using home grown stock has been planted); repair of garden railings and gates; creation of a new formal landscape element, Orpheus by Kim Wilkie.
COMMENDED Hagley Hall, Hagley, Worcestershire (Reading Designs for Viscount Cobham) 1756-60 by Sanderson Miller for Lord Lyttleton. Restoration of 1764 obelisk in park.
COMMENDED Stourhead, Wiltshire (Temple of Apollo) (Caroe & Partners for The National Trust) 1765 by Flitcroft. Reroofing (replacement of 1950s roof, with original shallower dome profile reinstated) and interior redecoration (recreation of lost ‘gilt representation of the solar rays’ described in contemporary correspondence and partly based on a surviving Flitcroft design at Woburn).
Special Award
Dumfries House, Cumnock, Ayrshire (By and for Great Steward of Scotland’s Dumfries House Trust) 1750s by Adam Brothers for Earl of Dumfries. Restoration and conservation of interiors and contents (saved from dispersal in 2007). Recreation of original paint scheme and Adam decorative scheme, recreation of furnishings using archival records.
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The photos are drawn from The Georgian Group Blog, which also provides additional information about the individual awards, as well as the categories of New Building in the Classical Tradition and the Giles Worsley Award for a New Building in a Georgian Context.
Call for Papers: Color between Science, Art, & Technology
Colour in the 17th and 18th Centuries: Connexions between Science, Art, and Technology
Technische Universität, Berlin, 28-30 June 2012
Proposals due by 27 February 2012
Organized by Magdalena Bushart, Reinhold Reith, and Friedrich Steinle
Knowledge of how to use, combine, analyse, and understand colour has always been widely distributed, if not dispersed. Painters and architects, dyers and printers, pigment producers and merchants, physicists and chemists, natural historians and physiologist, among others, have been dealing with colour, its properties, mixtures, harmonies, meanings and uses. For long periods, different communities that were concerned with colour and the knowledge about it did not interact? at least so it appears.
One of the first to come up with fundamental claims concerning colour in full generality was Newton whose 1704 Opticks indeed quickly became a common reference point for most of those who reflected on colour. Throughout the 18th century, however, the reactions to Newton remained wildly controversial, from unrestricted appraisal via indifference to open and fierce opposition. Several attempts to reconcile Newton’s account with practitioner’s knowledge remained unsuccessful, and this was still the case in early 19th century, when the physiology of colour perception opened yet another field of colour research.
The central aim of the conference is to bring together scholars who are interested in how the various strands of colour use and knowledge were interwoven and connected. We invite contributions that address those connexions: between traditions and specific accounts in experimental philosophy, painting, natural history, chemistry, dyeing, trading, producing, standardizing, etc. While the period covered is restricted to 17th and 18th centuries, the geographic frame is as open as possible and encompasses European and non-European cultures likewise. The conference will not have parallel sessions, since we aim at a truly transdisciplinary discussion. There will be four keynote lectures by Jenny Balfour-Paul (Exeter University), Ulrike Boskamp (Freie Universität Berlin), Sarah Lowengard (The Cooper Union, New York), and Alan Shapiro (University of Minnesota), and a larger number of contributed papers.
The conference is organized by Magdalena Bushart (History of Art, TU Berlin), Reinhold Reith (History of Technology, Salzburg University), and Friedrich Steinle (History of Science, TU Berlin).
Accepted presentations will have a time slot of a 25-minute talk plus a 15-minute discussion. An application for external funding has been submitted: in case it will be successful, we shall be able to support every accepted proposal with travel and accommodation. Submissions should enclose an abstract of no more than 500 words and information about name, institutional affiliation and e-mail address of the author, plus a biographical note of no more than 100 words. They should be sent by e-mail (preferably in pdf format) to: nina.krampitz@tu-berlin.de and arrive not later than 27 February 2012. Proposals will be reviewed, and notification of the result will be given by end of March 2012. For further information, please contact friedrich.steinle@tu-berlin.de
Daniels Fellowship for Horse and Field Sport Scholarship
John H. Daniels Fellowship
The National Sporting Library and Museum, Middleburg, VA
Applications due by 1 February 2012
The National Sporting Library and Museum seeks applications for the John H. Daniels Fellowship which supports scholars doing research in the area of horse and field sports. Applications must be postmarked no later than February 1, 2012. For more information go to http://www.nsl.org or call 540-687-6542 for a brochure.
The John H. Daniels Fellowship supports scholars at the National Sporting Library and Museum for periods of two weeks to one year. Applicants must submit a formal application demonstrating how they will utilize the NSLM collections of books, periodicals, manuscripts, archival materials and fine art for research in the area of equestrian and field sports. A special fellowship also will be offered for topics relating to field sports and conservation. Selected Fellows receive complimentary housing in Middleburg and a stipend to cover living and travel costs. University faculty and graduate students, librarians, museum curator, writers and journalists are encouraged to apply. Individuals from the disciplines of history, literature, equine studies, journalism, art history, anthropology, area studies as well as sport and environmental history have received Daniels Fellowships.
Call for H-ALBION Book Review Editor: Ireland
Call for H-ALBION Book Review Editor: History of Ireland, 1500 to 1800
Applications due by 1 February 2012
Wenceslaus Hollar, "Ireland," state 2, seventeenth century (Toronto: Thomas Fisher Rare Book Library)
H-Albion is looking for candidates who would like serve as our Book Review Editor for Ireland. Applications are invited from scholars specializing in the early modern period. The successful candidate will serve as book review editor for two years and will be responsible for commissioning and editing book reviews. Please send a cover letter and CV to Jason M. Kelly at jaskelly@iupui.edu.
Call for Papers: NORDIK Conference, Art Theory & Visual Epistemology
This is one panel at the NORDIK conference. Conference organizers welcome paper proposals for the 21 sessions spanning a wide range of topics. More information: http://nordicarthistory.org/conference
Art History Conference NORDIK 2012
Stockholm, Sweden, 24-27 October 2012
Proposals due by 15 January 2012
Call for Papers: Art Theory as Visual Epistemology
How can we know? What does knowledge mean? These were the fundamental questions of epistemology in the 17th century. In response to continental rationalism the British empiricist John Locke proposed that the only knowledge humans can have is acquired a posterior. In a discussion of the human mind, he argues, the source of knowledge is sensual experience – mostly vision. With the central claim of epistemology, art became a question of truth and sound knowledge: Is the artist able to identify truth just like a scientist does? How can the artist contribute to a collective search for truth? Can pictures and statues represent knowledge about the world? Joshua Reynolds, the president of the Royal Academy in London, answered clearly: Yes, it is the task of the artist to see and compare nature in order to abstract the idea behind the mere visual. He stated that this “mental labour” is central to the artist’s occupation. Moreover, the artist is able to give those seen and imagined truths a representation on canvas and, thus, communicate ideas and add to the collective knowledge by visual means. (more…)
Exhibition: Piranesi at the Hermitage
From the Hermitage:
Ruins, Palaces and Prisons: Piranesi and Italian Eighteenth-Century Architectural Fantasies
State Hermitage Museum, St Petersburg, 7 December 2011 — 25 March 2012
Curated by A.V. Ippolitov, M.F. Korshunova, and V.M. Uspenskiy
Piranesi, Title page of the 'Carceri' series, 1749-1750
On December 7th, 2011, Saint Catherine’s day, the State Hermitage Museum welcomed an exhibition entitled Ruins, Palaces and Prisons: Giovanni Battista Piranesi and Italian Eighteenth-Century Architectural Fantasies, dedicated to the early period of Piranesi’s work. This exhibit is being held as part of the Year of Italy in Russia and Year of Russia in Italy 2011 program, which continues tradition of partnership and cooperation between the two countries in the fields of art and culture.
This exhibition, presenting about 100 drawings and prints from the collection of the Hermitage, is divided into two parts: the first is dedicated to Piranesi and will present the series entitled Prima Parte (“Prima Parte “), Grotteschi (“Grotesques”) and Carceri (“Dungeons”) in their rare original condition, which have never been published in Russia before. All of them are from the 1750 album Opere Varie, which was acquired by the Empress Catherine the Great in 1768 as part of the collection of Count Bruhl and became the basis of the graphic arts collection of the Hermitage. The Carceri is presented in two conditions; the early one, from the Bruhl
collection, and a later one which was extensively revised. This is the first
time this sort of juxtaposition has been presented in Russia.
Piranesi, "Drawbridge," A page from the 'Carceri' series, 1749-1750
The second part consist of drawings by Italian artists of the 18th century who worked as scene decorators, designers and architects and created the unique genre of imaginative Veduta, which is important for understanding the style of the settecento, as the 18th century is called in Italian, a unique and complex phenomenon. Imaginative Veduta is represented by the work of the Galli Bibiena family, G. Valeriani, Pietro Gonzaga, G. Barbari, G. Mannocchi, many of which are being published for the first time. The phenomenon of Piranesi’ early fantasies is put in the context of a unique genre, and is examined at this exhibit as original sources, as is the influence of the Piranesi phenomenon on the later development of imaginative Veduta.
Giovanni Battista Piranesi (1720-1778) has an enduring place in the history or art as an artist who defined European art in the mid 18th- early 19th century. Piranesi is acknowledged as a reformer of public taste and one of the progenitors of neoclassicism, which might be called the Avant Garde of the 18th century, and as such his name is associated with this movement. However, while the series of etching entitled Carceri (dungeons), a procession of frightening, inexplicable and obscure images was not well known in the artist’s life, was many decades ahead of its time. Carceri become of the works of art most beloved by modernism. This series, which was not particularly popular during Piranesi’s life, a rediscovery of Romanticism attracted writers, architects, directors then and continues to do so now not only with its unusual subject matter, but also with its unusual spatial construction, which reminds one not of real architecture, but of the unreal space of a dream or hallucination. (more…)
Exhibition: Herculaneum at the Hermitage
From the Hermitage:
Herculaneum Antiquities
State Hermitage Museum, St. Petersburg, 16 December 2011 — 12 February 2012
Curated by Stefano de Caro, Anna Trofimova, and Elena Borisovna Ananich
"Architectural Landscape," fresco from the Augusteum in Herculaneum, 65-79 (National Archaeological Museum of Naples)
On 17 December 2011, as part of the Year of Italy in Russia and Year of Russia in Italy, an exhibit entitled Herculaneum Antiquities opened in the State Hermitage Museum in the General Staff Building; it was jointly organized by the State Hermitage Museum, the Ministry for the Preservation of the Cultural Heritage of Naples and Pompeii with the support of the Italian embassy in Moscow, and Consulate General in St. Petersburg. This is the first exhibit to give the Russian public a chance to view these world-famous works of classical sculpture, discovered at the ancient city of Herculaneum, which like Pompeii and Stabia, perished during the eruption of Vesuvius in 79 AD, and was also well preserved.
All of these artifacts, which once decorated the so-called Basilica or Augusteum (a building for ceremonies of the Imperial cult), are now held in the National Archaeological Museum of Naples. At this exhibit, they have been brought together in one place, as a united whole, with additional cartographic materials, reconstructions, data from archaeological and historical research, which make it possible to get a sense of how Augusteum might have looked two thousand years ago and in what sequence and part of the building the exhibit items were placed. (more…)
Exhibition: Eighteenth-Century Verona — Tiepolo, Cignaroli, Rotari
The following comes from the Comune di Verona website. There’s also a fine site dedicated to the exhibition.
Il Settecento a Verona: Tiepolo, Cignaroli, Rotari
Palazzo della Gran Guardia, Verona, 26 November 2011 — 9 April 2012
Curated by Fabrizio Magani, Paola Marini, and Andrea Tomezzoli
La mostra è incentrata sulle peculiarità che la cultura e la tradizione pittorica assunsero nel Settecento a Verona, città che riuscì a mantenere sempre autonomia e originalità rispetto alle correnti dominanti nella vicina Venezia.
Sono esposti 150 capolavori tra dipinti, disegni, stampe e documenti, provenienti da importanti musei stranieri come l’Ermitage di Pietroburgo, il Prado di Madrid, il Victoria and Albert di Londra, la Gemäldegalerie di Dresda, il Kunsthistorisches di Vienna, lo Szépmuvészeti di Budapest, oltre che dai principali musei italiani.
Ampio spazio sarà dedicato a due importanti artisti veronesi: Pietro Antonio Rotari, definito il “pittore della corte russa” per aver lavorato a lungo a servizio degli zar e dell’imperatrice Elisabetta, e Giambettino Cignaroli, fondatore dell’Accademia di Pittura che porta il suo nome. I due furono emblemi di un classicismo di grande innovazione e modernità che, grazie al patrocinio di un altro grande veronese, Scipione Maffei, ha dominato la pittura dell’intero secolo.
Le sezioni della mostra daranno conto anche della ricchezza e della varietà dei risultati conseguiti a Verona nell’età dei Lumi, nonché della rete di committenti prestigiosi – anche internazionali (del calibro di Stanislao Augusto Poniatowsky di Polonia, dei principi di Sassonia, di Clemente Augusto di Baviera o Carlo Firmian, plenipotenziario di Maria Teresa) – che richiesero opere veronesi.
Nell’esposizione avrà un posto speciale la sezione dedicata ai vedutisti come Bernardo Bellotto, così come il nucleo di opere realizzate per la città scaligera da Giambattista e Giandomenico Tiepolo. Con modalità assolutamente innovative, grazie all’ausilio delle nuove tecnologie, il pubblico avrà il privilegio esclusivo di scoprire il lavoro di recupero che ha portato alla restituzione virtuale del soffitto dipinto da Giambattista Tiepolo per Palazzo Canossa a Verona, andato in parte distrutto al termine della seconda guerra mondiale.
La mostra sarà integrata da itinerari che guideranno il visitatore alla scoperta, da un lato, di opere d’arte sacra conservate nelle chiese di Verona, dall’altro, di straordinari interventi pittorici realizzati per palazzi e ville signorili della città e della provincia che sveleranno il secolo d’oro della decorazione delle ville venete.
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Three of the five lectures associated with the exhibition took place in October and November. Two more take place in January and February. Click on the image to the right for more information.
31 January 2012, 5:30
Giuseppe Pavanello (Fondazione Giorgio Cini), Il “Monumento funerario di Maria Cristina d’Asburgo-Lorena” di Antonio Canova: dal patetismo alla compassione
28 February 2012, 5:30
Catherine Whistler (Ashmolean Museum), Fantasia e realtà: Giambattista Tiepolo a Würzburg, Verona e Madrid
Happy New Year!
A VIEW of the FIRE-WORKES and ILLUMINATIONS at his GRACE the Duke of RICHMOND’S at WHITEHALL and on the River Thames on Monday 15 May 1749. Performed by the direction of Charles Fredrick Esq.
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This image was used for Simon Werrett’s article “Fireworks: The Power of Pyrotechnics,” which appeared in History Today, volume 60 (November 2010).
Souvenir fan of the Royal Fireworks, hand-coloured etching on paper, with ivory sticks, 1749 (London: British Museum)
Organized to mark the signing of the treaty at Aix-la-Chapelle in 1748, which ended the War of Austrian Succession, a fireworks display in Green Park on 27 April 1749 proved disastrous as a stray rocket set ablaze one of the pavilions and killed a number of spectators. Far more successful was Handel’s musical contribution.
The print shown above documents fireworks from the following month. Pictorially, it fixes in time these bursts of color that are otherwise so fleeting. It asks us to hover just a bit longer in these moments of temporal suspension — and with such vibrant joy. Perhaps an appropriate way to usher one year out and another in. And if the print piques your curiosity about the history of fireworks, you’ll just need to get a copy of Werrett’s book, Fireworks: Pyrotechnic Arts and Sciences in European History. All the best for a magnificent 2012! -CH
Exhibition: Microscopes from the Golub Collection
Eighteenth-century news from an airport press release? A first for everything. This exhibition of sixty microscopes looks like a fine way to pass an hour or two during a layover. From the San Francisco Airport:
A World Examined: Microscopes from the Age of Enlightenment to the Twentieth Century
SFO Museum, San Francisco International Airport, 24 December 2011 — 24 June 2012
Curated by Steven Ruzin
George Adams, detail of New Universal Microscope, ca. 1746
(The Golub Collection, University of California, Berkeley)
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The microscope is a relatively young invention. Although magnifiers and “burning glasses” are referenced in ancient Chinese texts and in the first-century CE writings of Roman philosophers, the use of an optical instrument for observing microscopic specimens dates only to the sixteenth century when European scientists first used lenses to magnify objects. Englishman Robert Hooke, one of the most important scientists of his age, modified the compound microscope in the mid-seventeenth century and documented his observations in vivid descriptions and extraordinary copper-plate illustrations of dozens of minuscule phenomena—animal, vegetable, mineral, even man-made objects such as the point of a needle or a razor’s edge. His work stands as a remarkable testament to the keen and curious minds operating at the dawn of the Age of Enlightenment.
John Marshall, Great Double Microscope, London, 1710. Wood, brass, cardboard, leather, and gilt (The Golub Collection, University of California, Berkeley)
From mid-seventeenth-century simple microscopes to the modern compound optical devices by German makers during the late nineteenth and early twentieth centuries, these are the instruments that revealed the long-held secrets of the natural world—the existence of microorganisms, the structure of biological cells, and the composition and operation of a variety of previously unseen life forms. Nearly 350 years after Robert Hooke introduced a “newly visible world,” we continue to rely on the microscope in our eternal quest to better understand the world we inhabit and the challenges posed by that which remains invisible to the unaided eye.
A World Examined: Microscopes from the Age of Enlightenment to the Twentieth Century is located pre-security in the International Terminal Main Hall Departures Lobby, San Francisco International Airport. The exhibition is on view, free of charge, to all Airport visitors from December 24, 2011 to June 24, 2012.
This exhibition was guest curated by Steven Ruzin, Ph.D., Director of the CNR Biological Imaging Facility and Curator of The Golub Collection at the University of California, Berkeley. A selection of images are available here»
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SFO Museum was established by the Airport Commission in 1980 for the purposes of humanizing the Airport environment, providing visibility for the unique cultural life of San Francisco, and providing educational services for the traveling public. The Museum has been accredited by the American Association of Museums since 1999, and has the distinction of being the only accredited museum in an airport. Today, SFO Museum features approximately twenty galleries throughout the Airport terminals displaying a rotating schedule of art, history, science, and cultural exhibitions, as well as the San Francisco Airport Commission Aviation Library and Louis A. Turpen Aviation Museum, a permanent collection dedicated to the history of commercial aviation.
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More information on the exhibition, including a history of the formation of the collection and photographs of the installation at SFO Museum, are available via The Golub Collection website.
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