Archive

CONFERENCES AND WORKSHOPS

A MATTER OF ACCESS

MUNICH & LONDON, 22 & 24 JUNE, 2019

Conference Schedule

Munich, Saturday 22 June, Ludwig-Maximilians-Universität München

Institut für Kunstgeschichte


10:30 Orsolya Bubryák, Institute of Art History, Research Centre for the Humanities, Hungarian Academy of Sciences

The Kunstkammer of Johann Septimius Jörger in Nuremberg

11:00 Virginie Spenlé, Director, Kunstkammer Georg Laue, Inventarisierung und wissenschaftliche Bearbeitung des Bestandes Leonhard Christoph Sturm (1669 – 1719) and an Ideal Architecture for Dynastic Collections

12:00 Mary Malloy, Fellow of the Peabody Museum of Archaeology and Ethnology, Harvard

The Catalogue as Invitation: Recruiting Visitors to Collections in Seventeenth-Century Europe

 12:30 Catherine Phillips, Independent Scholar

Paintings, Prints, Squirrels and Monkeys: Catherine the Great’s Hermitage

2:00 Paweł Ignaczak, Academy of Fine Arts, Warsaw

A Parisian Collection in a Polish Castle - Lights and Shadows of a Prestigious Location in the Context of the Struggle for National Identity 

2:30 Cecilia Riva, Collection Cataloguer, Palazzo Ducale, Venice

“A Well-known Subject for Photographic Reproduction”: the Layard Collection as an Example of Nineteenth-century Advertising

3:00 Sarah Coviello, Warburg Institute, London

A Scholar Collects, Exhibits, and Writes about it: the Personal Study Collections of 20th-Century Art Historians

4:00 Maria Höger, research assistant Association – Friends of the Gugging House of Artists / Private Foundation - Gugging Artists / PHD student Academy of Fine Arts, Vienna

Gugging and “Art Brut” – Persisting “Heterotopia” of the art world?

4:30 Laura Humphreys, Curatorial Project Manager at the Science Museum in London

New Frontiers for the Science Museum Group Collection

5:00 Discussio

London, Monday 24 June, Wolfson Room, Institute of Historical Research, Senate House, Malet Street, London WC1E 7HU

10:00 Anne Harbers, Radboud University, The Netherlands

His & Her Royal Collections – the Synergies and Symbiosis of Selecting a Publicity Channel

10:30 Esmee Quodbach, Assistant Director of the Center for the History of Collecting at the Frick Collection and Frick Art Reference Library

To See or Not to See: The Visibility of the John G. Johnson Collection in Philadelphia, c.1880 to the Present

11.30 Julia Rössel, Research Assistant, “Kupferstichkabinett Online” of the Herzog August Bibliothek, Wolfenbüttel

Displaying Print Collections: Location, Site, Practice

12:00 Anne Nellis Richter, Adjunct Professorial Lecturer, Department of Art, American University, Washington DC

‘An Excess of Folly’: Townhouses as Public Art Galleries in Early Nineteenth Century London

12:30 Isobel Caroline MacDonald, University of Glasgow and The Burrell Collection

A Private Collection on Public Display: the Significance of (Sir) William Burrell’s (1861-1958) Loan Collection

2:00 Alison Clarke, University of Liverpool and the National Gallery, London

In a Better Light: Agnew’s, Spatiality and Connoisseurial Practice, c.1875-1916 

2:30 Rebecca Tilles, Associate Curator of 18th Century French & Western European Fine & Decorative Arts at Hillwood Estate, Museum & Gardens

The Homes and Collecting Display of Marjorie Merriweather Post

3.00 Laia Anguix, Northumbria University-Department of Arts

‘In Deplorable Conditions and totally Inadequate for the Housing of the Collections’: Storage, Conservation and Access in Public Collections. The Case of the Laing Art Gallery (Newcastle)

3:30 Megakles Rogakos, independent art historian and exhibition curator 

The Work of an ACG Art Curator

4.00 Round table discussion


COLLECTING & DISPLAY – 7th JULY 2017 WORKSHOP

 AT THE INSTITUTE OF HISTORICAL RESEARCH, UNIVERSITY OF LONDON

‘COLLECTORS AND COLLECTIONS:  DISPLAY AND TASTE IN THE MODERN AND CONTEMPORARY PERIODS


9.45 Opening Remarks

MORNING SESSION:  Chair Dr. Dora Thornton, Curator of the Waddesdon Bequest and Renaissance Europe, British Museum 

10.00 Lina Malfona, Adjunct Professor, Sapienza University, Rome:  A City as a collection:  the urban model of Villa Adriana

10.30 Anna Seidel, Hamburg  The presentation of the Peretti Montalto sculpture collection in the time of Gianlorenzo Bernini

11.00  Coffee

11.20 Eva Dolezel:  Gründler’s Constellations. Ethnographica in the Cabinet of Curiosities of the Francke Foundation in Halle

11.50 Dr. Margaret Samu, Lecturer, The New School Parsons School of Design, NYC: Venus in Fur:  Art Collecting and the Female Nude in C18th-19th Russia

12.10 Annalea Tunesi, Independent Scholar: The polymath Aleardo Aleardi (1812-78)

12.45  Discussion

13.00 Lunch

 14.00 AFTERNOON SESSION:  Chair Dr. Anna Dempster, Head of Academic Programmes, Royal Academy of     Arts, London

14.15 Dr Jennifer Tonkovich, Eugene and Clare Thaw Curator in the Department of Drawings and Prints at the Morgan Library & Museum, NYC: The Brash Connoisseur:  Hans Calmann and Collecting Old Master Drawings 1937-73

 14.45 Dr. Rachel King, Glasgow Life:  “A bas-relief from Nineveh, a bronze of Zadkine, an Aztec mask in black stone, a Gothic Madonna and Child": Sydney Burney sells stone and sculpture

15.15 Dr. Selina Blasco, Professor in Contemporary Art History, Research and Artistic Practices and Design History, Fine Arts Faculty, Complutense University of Madrid:  Interiors with figures:  the collections of idols and African masks in the studios of early avant-garde artists

15.45-16.00 Tea

16.00 Yuhua Ding, PhD Candidate, Cornell University, NY:  Collectors of Shitao:  Reimaging a Chinese Master

16.30 Dr. Olga Nefedova, Associate professor - Higher School of Economics, Moscow:  Introduction of the Orientalist Art movement in the Middle East:  alien culture or common heritage?

1700  Dr. Nizan Shaked, Associate Professor of Contemporary Art History, Museum and Curatorial studies, and Head of the Museum Studies Program in the School of Art at California State University Long Beach:  In the Name of the Public:  Museums and the collection of contemporary art

17.30 Discussion and conclusion


The Art Market, Collectors and Agents: Then and Now

Thursday 20 and Friday 21 October 2016 

Salle Vasari, INHA,  2 rue Vivienne, 75002 Paris 


The focus of the conference is to explore the changing and complex nature of the role of agent in the art market during the Modern Period. Papers will explore shifts in the dynamics of the market, the changing taste of collectors and the importance of writers, critics, museum curators and dealers in influencing these changes. The papers demonstrate how examining the role of agents through their correspondence with clients, day books or private records, brings new insights into the workings of the art world through the detailed evidence of the negotiation of transactions.

9.30        Registration                                                                                  10.00     Welcome 

10.10      Dr. Olivier Bonfait, Professor of Art History, University of Bourgogne. (in French)

                Le marché de l'art À Paris 1700-1800 : recherches passées et pistes d'enquêtes 

10.45 Session one: The artist and writer as agents

10.45 Tamsin Foulkes, Ph.D. Candidate, University of Nottingham 

            James Thornhill as an agent-collector in early eighteenth-century Paris

11:15  Dr. Corina Meyer, Institute of Art History, University of Stuttgart 

           ‘To see once again the glorious picture by Moretto before it is forever lost for Rome’:  Johann David 

            Passavant’s (1787-1861) recommendations and selection of paintings  

11.45 Dr. Gemma Avinyó Fontanet, Universitat de Lleida. Spain (in French)

            Marià Manent ou le poète qui est devenu marchand: de Barcelone à New York

 12.15 Alice Ensabella, Ph.D. Candidate, Université Grenoble Alpes, Grenoble

           Promoting Themselves. Strategies and dynamics of early Surrealism’s art market.

12.45 lunch 

14.00  Session two: The Agent and the Collector

14.00 Dr. Madeleine Fidell Beaufort, independent scholar, Paris

            Samuel P. Avery and the emerging American art market of the late nineteenth century 

14.30 Dr. Louise Arizzoli, University of Mississippi (in French)

            Dealing with Allegories of the Four Parts of the World: James Hazen Hyde 1876-1959) and his

            Network

15.00 Mackenzie Mallon, The Nelson Atkins Museum.

            Laying the Foundation: Harold Woodbury Parsons and the Making of an American Museum

15.30  Break

16.00 Emanuele Sbardella, Ph.D. Candidate, Technische Universität Berlin

            The Numismatic Market under National Socialism, illustrated by the case study of the coin collection of 

          Alexander Hauser  

16.30 Jamin An, Ph.D. Candidate, University of California, Los Angeles

          New Art and ‘New Dealing’: Changing Conditions of Artistic Support, 1960s-70s

17.00 Closing remarks

DAY TWO

10.00 Session three: Agents and Markets

10.00 Dr. Susanna Avery-Quash, Senior Research Curator (History of Collecting), National Gallery London

           Art Agents and the National Gallery during the Nineteenth Century

10.30 Dr. Tina Kosak, France Stele Institute of Art History, ZRC SAZU Ljubljana 

           Conquering New Art Markets: International Art Dealers and Local 'Agents' in Inner Austria 

           in the Second Half of the 17th Century

11.30 Dr. Laura Popoviciu, Curator, Research & Information (Historical), Government Art Collection 

           Shaping the Taste of British Diplomats in 18th-Century Venice

12.00 Dr. Christine Howald, Technische Universität Berlin

            Chinese Art goes global:  Asian Actors and the 19th Century European Art Market   

12.30 Lunch

14.00 Session four: The dealer as agent

14.00  Dr. Renata Schellenberg, Mount Allison University, Sackville, Canada

             Commerce, Culture and Connoisseurship: The Emergence of the Art Dealer in 18th-Century Germany

14.30 Dr. Frances Suzman Jowell, independent scholar

            ‘Çe n’est pas ma faute si, dans toutes les collections, les hollandais priment tout’: Thoré-Bürger’s 

           promotion of 17th century Dutch paintings in the Parisian art market of the 1860s

15.00 Pamella GuerdatPhD. candidate, Institute for Art History & Museology Université de   

            Neuchâtel (in French)

            René Gimpel (1881-1945) et le modèle du musée américain : De la théorie au don

15.30 Camille Mesdagh, PhD. candidate, Sorbonne, Paris IV: (in French)

            Alfred Beurdeley (1808-1882), a dealer in curiosities and his network / Le réseau  commercial d’un

            marchand de curiosités : l’example d’Alfred Beurdeley (1808-1882)

16.45 Keynote speech: Dr. Julie Verlaine, Paris IV (in French)

           Du marchand d'art au galeriste : l'itinéraire de Daniel Templon et 50 ans évolution du marché de l'art

           occidental

17.30 Closing remarks

The conference is organised by A. Turpin & Dr. Susan Bracken, Seminar on Collecting & Display London and Dr. Stéphane Castelluccio and Dr. Mickaël Szanto, Centre André Chastel, CNRS – Université Paris SorbonneWe would like to thank the INHA for hosting the event & IESA for its sponsorship


                                               


Collecting and Display Conference, Wednesday 13 July, 2016

The Art Market, Collectors and Agents: Then and Now

WARBURG INSTITUTE, UNIVERSITY OF LONDON

 

10.00 Registration and Coffee

10.15 Introduction

10.30 Annemarie Jordan Gschwend:  Statesman, Art Agent and Connoisseur:  Hans Kevenhüller, Imperial Ambassador at the Court of         Philip II of Spain

11.00 Taryn Marie Zarrillo: Marco Boschini and Paolo del Sera: Art Dealers, Advisors and Associates in Seicento Venice

11.30 Michael Wenzel:  Sales strategies of Philipp Hainhofer’s art cabinets: the self-marketing of artworks in early seventeenth-century Germany

12.00 Sandra van Ginhoven:  The Business Strategies of Guilliam Forchondt’s Art Dealership in Antwerp (1643-1678)

12.30  Ulf R. Hansson:  “An Oracle for Collectors”: Philipp von Stosch and the Collecting and Dealing in Antiquities in Early Eighteenth-Century Rome and Florence

13.00-14.00 Lunch

14.00  Maria Celeste Cola: Scottish agents in Rome in the eighteenth century: the case of Peter Grant

14.30  Christine Godfroy-Gallardo: "Establishing honest trading relationships : the Guillaume Martin case"

15.00 Robert Skwirblies:  Edward Solly, Felice Cartoni and their purchases of paintings:  a “milord” and his “commissioner” creating a transnational network of dealers c. 1820

15.30 Lukas Fuchsgruber:  Otto Mündler, 9 rue Laval, Paris

16.00  Lynn Catterson:  The Mysterious Maurice de Bosdari, a would-be agent of Stefano Bardini

16.30-17.00 Tea

17.30 Julie Codell:  Agent-Scholar Martin Birnbaum (1878-1970):  Modernizing the Agent

18.00 Nicola Foster:  The case of Uli Sigg: Collector, Agent, Advisor and Promoter of Contemporary Chinese Art                                                                                                                           

18.30 Keynote – Sophie Raux:  Mapping the agents of the art market in early modern Europe : an experimental research database

19.15 Reception


The Collector and his Circle

PROGRAMME

                                   A two-day workshop at the Institute of Historical Research and

The Wallace Collection 

Tuesday 1 and Wednesday 2 July 2014 

PROGRAMME

 

Tuesday 1 July at the Institute of Historical Research

10.25. Welcome from Adriana Turpin, IESA/University of Warwick

The early 18th century 

10.30 Charles Avery, Historian of Sculpture and Independent Fine Art Consultant, ‘The sculptor Soldani and the marketing of Baldinucci’s collection of paintings’

11.00 Christophe Guillouet, PhD candidate, Université Paris IV Sorbonne, ‘Genre painting in the circles of Parisian collectors’

11.30 Franny Brock, PhD candidate, The University of North Carolina at Chapel Hill, ‘‘‘Chez Monsieur Huquier’’: the role of Gabriel Huquier’s collection in interactions among artists, dealers, and collectors’

The role of the print market 

12.00 Donato Esposito, independent scholar, Birmingham, ‘Charles Rogers (1711-1784) and his circle’

12.30 Lucy Peltz, Curator, 18th Century Collections, National Portrait Gallery, London, ‘‘‘Brother Chalcographimanians’’: extra-illustration, the Sutherland Clarendon and the print market c. 1790-1840’

13.00 – 14.10 LUNCH 

The collector and his advisors in the early 19th century 

14.15 Sarah Bakkali, PhD candidate, Université Paris X Nanterre, ‘John Trumbull’s “speculative” adventure: circles of collecting between Paris and London during the French Revolution’

14.45 Rufus Bird, Deputy Surveyor of The Queen's Works of Art, Royal Collections Trust, ‘The Prince and the pâtissier: François Benois’ acquisitions in Paris for the Prince Regent’

15.15 Susanna Avery-Quash, Research Curator (History of Collecting), National Gallery, London, ‘John Julius Angerstein: an 18th-century London financier and his circle of art advisers’

15.45 Rebecca Lyons, Senior Lecturer, Christie’s Education, London, and PhD candidate, University of Cambridge:  ‘Connoisseurship and commerce:  the relationship between the Prince Regent and the 3rd Marquess of Hertford’

Late 19th-century collecting

16.45 Dora Thornton, Curator of the Waddesdon Bequest and Curator of Renaissance Europe, The British Museum, ‘Baron Ferdinand Rothschild and the Waddesdon Bequest in the British Museum: a new look’

17.15 Elena Greer, Collaborative Doctoral Award candidate, The National Gallery, London/The University of Nottingham, ‘Sir Frederic Burton and his Trustees: the politics of collecting for the nation in the late nineteenth century’

17.45 – 18.00 Closing remarks

18.00 Reception

Wednesday 2 July at the Wallace Collection: 

09.55 Welcome from Christoph Vogtherr, Director, The Wallace Collection

10.00 Jeremy Warren, Collections and Academic Director, The Wallace Collection, ‘Patrons and collectors: new acquisitions for the history of collecting at the Wallace Collection’

Curators, antiquarians and archaeologists

10.30 Judy Rudoe, Curator, Department of Britain, Europe and Prehistory, The British Museum, ‘The role of a remarkable curator: letters from Justus Brinckmann to Charles Hercules Read’

11.00 Elizabeth Norton, Collaborative Doctoral Award Student, The University of Southampton and The British Museum, ‘Polished axes: viewing networks behind the construction of prehistory at the British Museum’

11.30 Francesca de Tomasi, PhD candidate, Università di Roma Tor Vergata, ‘The Archeologia Mondana and its protagonists in late nineteenth-century Rome’

12.00 Ulf  R. Hansson, Research Fellow, Department of Classics, The University of Texas at Austin, ‘Adolf Furtwängler and the culture of professional and amateur collecting in Munich around the turn of the century 1900’

12.30 – 13.55. LUNCH 

Artists and collectors

14.00 Annalea Tunesi, PhD candidate, University of Leeds, ‘Stefano Bardini and Riccardo Nobili’

14.30 Patricia de Montfort, Lecturer in History of Art, University of Glasgow, ‘Collecting women’s works: Louise Jopling, the Rothschilds and their circle’

15.00 Annie Pfiefer, PhD candidate, Department of Comparative Literature, Yale University, “‘The American Invasion”: Henry James and the collecting of Europe’

16.00 Keynote address: Frank Herrmann, independent scholar and author of The English as Collectors, ‘Lady Charlotte Schreiber: a truly remarkable woman’

16.30 Round table and concluding remarks

                                                   

 


Collecting & Display

in collaboration with

Schwabenakademie, Kloster Irsee

present 

Collecting Prints & Drawings

based on the idea of Angela M. Opel

13-15 June 2014

Organised by Andrea M. Gáldy   Sylvia Heudecker   Angela M. Opel 

 

Cabinets of prints and drawings belong to the earliest art collections of Early Modern Europe. From the sixteenth century onwards some of them acquired such fame that the necessity for an ordered and scientific display meant that sometimes a dedicated keeper was employed to ensure that fellow enthusiasts as well as visiting diplomats, courtiers and also artists might have access to the print room. Often collected and displayed together with drawings, the prints formed a substantial part of princely collections which sometimes achieved astounding longevity as a specialised group of collectibles, for example in the case of the Florentine Gabinetto Disegni e Stampe at the Uffizi (GDSU).

Prints and drawings, both bought and commissioned, were collected by princes and by private amateurs. Like the rest of their collections, the prints and drawings were usually preserved and displayed as part of or near the owner’s library in close proximity to scientific instruments, cut gems or small sculptural works of art. Both prints and drawings not only documented an encyclopaedic approach to the knowledge available at the time but also depicted parts of the collections in the form of a paper museum. Prints and drawings also served as a guide to the collections. They spread its fame, and with it the renown of its owner, across Europe and into new worlds of collecting East and West.

The topics of our conference include but are not limited to the exploration of questions such as: when, how and why did cabinets of prints and drawings become a specialised part of princely and private collections? How important were collections of prints and drawings for the self-representation of a prince or connoisseur among specialists and social peers? Is the presentation of a picture hang in a gallery, for example by Charles Eisen for the Royal Galleries at Dresden, by Nicholas de Pigage for Dusseldorf (prints) or the von dem Knesebeck projects for Schwerin Castle (drawings),* to be treated as documentary evidence? In how far do we find art historical approaches of systematisation or aesthetic concepts realised within the collections? Are there notable differences in the approach to collecting, presentation and preservation of prints and drawings in diverse parts of the world? What was the afterlife of such collections? What is the interest of institutions in pursuing the activities of art collecting and sponsorship today (banks, industry, foundations, universities)? 

Andrea M. Gáldy   Sylvia Heudecker   Angela M. Opel

 

*See Collecting and the Princely Apartment, edited by Susan Bracken, Andrea M. Gáldy and Adriana Turpin. Newcastle: CSP, 2011.

 Preliminary Programme (may be subject to change): 

Friday p.m.: speakers and delegates meet at the Graphische Sammlung München

After a visit to the collections, we shall travel to Kloster Irsee for registration, occupation of rooms

Dinner

Public lecture [or a first session of papers] tbc

Saturday (Kloster Irsee, all day): registration, academic papers, lunch and conference dinner

Sunday (Kloster Irsee, a.m.): academic papers, tbc

Late a.m. transport to Burg Trausnitz, Landshut visit of the castle and the Kunstkammer


Conference Session at the 

Society for Renaissance Studies National Conference, York, July 2010

William Stenhouse (Yeshiva University, NY): 

Private and Public Collections in Excavation Records of the Late Renaissance

  

Roy Halstead (Museo Bellini, Florence): 

From a Private Collection to a Public Museum: the Display of Renaissance Art in the Museo Bellini, Florence

Adriana Turpin (IESA, Paris & Collecting & Display):  

The Historical Creation of the Renaissance Interior: the Collecting and Display of Furniture in the 19th century


Collecting East & West

The British Institute of Florence and Florence University of the Arts

25 - 29 June 2009


Women Collectors

Institute of Historical Research, University of London

8 July 2008

Programme

10 to 10.30 welcome and introduction to the conference

10.30 to 12.00 Cordula van Wyhe, Devotional objects in the collection of Marie de’Medicis, queen mother of France

Joanna Marschner, Caroline of Ansbach: the queen, collecting, and connoisseurship at the early Georgian court

2.00 to 3.30pm Joy Kearney, Agnes Block, a collector of plants and curiosities in the Dutch Golden Age

Christopher Rowell, Elizabeth Murray, second Countess of Dysart (1626-1698)

Orsolya Bubryák, Elizabeth Rákóczi (1654-1707)

4.00 to 5.30 Heike Zech, The Princely Mother as Collector (Holy Roman Empire)

Antonio Aymonino: Elizabeth Seymour Percy (1716-1776)

5.30 to 6.00 pm general discussion


Collecting & the Princely Apartment

Abtei Ottobeuren

13 to 17 July 2007

Interesting though the building of collections, the hunt for specific objects, and the fate of the successful or ruined collector are in their own right, the issue of display must not be forgotten. In fact, a specific form of display was often seen as vital for the enjoyment and understanding of the exhibits. In some cases the same importance was given to developing an appropriate form of display as to gaining ownership of desirable objects.

This conference means to go one step further, considering the role of princely apartments through the centuries as part of a complex system of living and storage space within residences. We invite papers considering any aspect of the history and structure of the apartment, of the display of collection objects within and outside the apartment, the connection of the apartment to other localities of a residence, of furniture and decoration forming part of collections or serving to enhance the display of collections.

Our conference was sponsored by a grant from the Henry Moore Foundation.

Programme

Saturday 14 July 2007

10 to 11am introduction and guided tour (Prof dr Ulrich Faust OSB)

11.30 to 1pm

Andrea Gáldy, Collecting & Display in the apartments of the Medici Ducal Palace in the sixteenth century

Lisa Kirch, Oh and S at Neuburg

Christopher Rowell, The Green Closet/(Long Gallery) at Ham to its ‘lost’ equivalents abroad

2.30 to 4

Joy Kearney, Melchior de Hondecoeter, Jan Weenix and royal taste and patronage

Stéphane Castelluccio, Les collections d’objets d’art du Chancelier Séguier et de son épouse (1672, 1683). Le goût de deux grands amateurs du règne de Louis XIV.

4.15 to 5

Andrew Moore, Thomas Coke’s European tour: the princely apartments of Rome, 1712-1718

General discussion

 7.30 to 10.00 Concert in the Emperor’s Hall for those who wish to attend 

Sunday 15 July 2007

High Mass in the Basilica for those who wish to attend

11 to 12.30 pm

Alden Gordon, Achieving comfort and privacy without sacrificing status: the decoration and pictures in apartements privées versus apartements d’apparat

Angela M. Opel, Art’s Emancipation from the Ceremonial. The development of spatial separation of art collections from the princely apartments: the Wittelsbach residences in Düsseldorf and Mannheim

2 to 3.30

Gero Seelig, Schwerin Castle and its collections around the middle of the eighteenth century

Virginie Spenle, Painting and Sculpture Galleries in the German state apartments at the beginning of the eighteenth century

Volker Heenes, The Erbach collection of vases and antiquities

4 to 5 respondent(s) and general discussion

Monday 16 July    

Morning free, afternoon excursion to the Fugger Castle in Kirchheim and Baroque Museum Ochsenhausen

Tuesday 17 july    

Excursion to the Munich Residence; conference finishes at lunchtime

Dynastic Ambition

14 July 2006

While the collecting of rare and precious objects meant to attest to the wealth, taste, and education of their owner, such collectibles were also used through the ages to further political and dynastic ambitions. Lucullus and the julio-claudian emperors are famous examples from antiquity. During the renaissance the medici managed to rise from their bourgeois origins through successful cultural politics in conjunction with more conventional means. Many of the leading european families, even those richer and more powerful than the medici, tried to emulate their example.

The one-day workshop will explore several examples of successful collecting and its uses from antiquity to the age of enlightenment.

Our workshop is sponsored by a grant from the Henry Moore Foundation.

10.00 to 10.30 welcome and introduction to the workshop

10.30 to 11.30 Elizabeth Macaulay (St. John’s College, Oxford): Display of Victory : gardens, generals, and political ambition in late Republican and early Imperial Rome 

Dr William Stenhouse (Yeshiva College, New York): Learned advisors and the advertisement of collections in the late Renaissance

11.40 to 1.00 Esther Münzberg (International Max Planck Research School): Art and nature in contest: sculpture at the Dresden Electoral Court ca. 1600 

Prof Dr Luc Duerloo (University of Antwerp): Rudolph’s heirs 

Dr Stephanie Walker (The Bard Graduate Center, Villa i Tatti): A Royal pretender in Rome: Livio Odescalchi and Cristina of Sweden

2.30 to 3.30 Dominique Bouchard (Lincoln College, Oxford): Collecting, display, and dynastic ambition in Naples and Cosenza (1480 - 1680) 

Dr Mary Ruvoldt (Cooper-Hewitt National Design Museum Masters Program) : Michelangelo in Multiple

4.00 to 5.00 Dr Elizabeth Goldring (AHRC Centre for the Study of Renaissance Elites and Court Cultures, University of Warwick): The politics of Elizabethan collecting: the Earl of Leicester and the display of paintings at Wanstead 

Helen Hughes (Head of Historic Interiors Research & Conservation, English Heritage): Collections display at the Little Castle, Bolsover

5.00 to 5.45 general discussion



SEMINARS

2020

Monday, 9th March 

Jane Milosch and Nick Pearce:

Collecting and Provenance: A Multidisciplinary Approach

 Provenance - tracking the origin, ownership, transfer, and movement of objects - has become somewhat more visible in recent years, spurred on by the restitution of Nazi spoliated artworks and lately human remains and cultural heritage translocated during the colonial era. But rich provenance data is relevant within a wider a range of contexts and for a plurality of audiences where there is a desire to connect with objects, histories, cultures and associated people of all kinds. Through the work of the Smithsonian Provenance Research Initiative Jane Milosch and Nick Pearce have been engaging with provenance from this broad range of perspectives which has resulted in a new book: Collecting and Provenance: A Multidisciplinary Approach, the aim of which is to present provenance as an integral part of collecting history, illuminating the social, economic, and historic contexts in which objects were created and collected. They argue that provenance relates to the history of people as well as objects and its study can reveal an often-intricate network of relationships, patterns of activity, and motivations across a range of disciplinary perspectives.

Nick Pearce holds the Richmond Chair of Fine Art at the University of Glasgow, where he specializes in the arts of China. He joined the University of Glasgow in 1998 where he has held the positions of Head of History of Art and Head of the School of Culture and Creative Arts and is currently a Smithsonian Research Associate. His research interests include photographers and photography in late nineteenth-century China and aspects of the collecting of Chinese art in the West during the eighteenth, nineteenth, and early twentieth centuries.  His most recent publications include: “From the Summer Palace 1860: Provenance and Politics,” in L. Tythacott (ed.), Collecting and Displaying China’s “Summer Palace” in the West: The Yuanmingyuan in Britain and France (2018).

Jane C. Milosch, Director of the Provenance Research Exchange Program (PREP) at the Smithsonian Institution, is the founder and former director of the Smithsonian Provenance Research Initiative, where she oversaw WWII–era provenance research projects and advised on international cultural heritage projects, provenance, and training programmes. In 2014, Milosch was appointed the US representative to Germany’s International “Schwabing Art Trove” Task Force Advisory Group. Milosch is currently an honorary professor in the School of Culture and Creative Arts, University of Glasgow.

Monday, 10th February

Alycen Mitchell, Queen Mary, University of London

Pioneering New York Art Dealers and the Genesis of the American Auction Style

 This paper focuses on the 19th century genesis of the American art and antiques auction to examine the origin of its defining characteristics, proposing that American art and antiques auctions were upmarket retail-oriented events. In this paper Alycen Mitchell discusses the marketing techniques used in the latter part of the 19th century by the pioneering traders who transformed New York into America’s art and antiques auction capital. These techniques came to shape the American image of the art and antiques auction and had lasting and powerful resonance. In the latter 20th century, Sotheby’s and Christie’s cultivated this image to their advantage in their rise to international pre-eminence.

 Alycen Mitchell recently completed a PhD at Queen Mary, University of London. Her thesis charts Sotheby’s and Christie’s rise to international market pre-eminence following World War II. She originally worked in the antiques business and has a track record of writing about art and design. Her research (co-authored with Barbara Pezzini) on the relationship between George Romney's critical reputation and the art market was published in The Burlington Magazine (July 2015). She spoke at the Creating Market, Collecting Art Conference (July 2016) organised by Christie’s Education in London. Most recently she presented a paper entitled ‘The Weinberg Auction: A Dress Rehearsal for Sotheby’s Retail Debut’ at the Researching Art Market Practices from Past to Present and Tools for the Future Workshop (November 2019) at Accademia Nazionale di San Luca in Rome.

Monday 13th January

Peter Humfrey

The Orléans Collection reborn in Regency London: the Stafford Gallery at Cleveland House

During the 24 years of its existence (1806-1830) the Stafford Gallery was celebrated as the most important collection of continental Old Master paintings in London. The author’s recent book discusses the way in which the collection was formed in the 1790s by the 3rd Duke of Bridgewater and his nephew the (future) 2nd Marquess of Stafford, and also the way in which it was displayed, both in the Stafford Gallery itself and in its early Victorian successors, the Bridgewater and the Sutherland Galleries. The present talk will concentrate on the large group of Italian paintings acquired in 1798/99 from the former Orléans collection at the Palais-Royal in Paris, and how their presence in their new home of Cleveland House was highlighted, both in the hang and in published guides and catalogues.

Peter Humfrey is Emeritus Professor of Art History at the University of St Andrews, where he taught from 1977 until his retirement in 2012. He is the author of numerous publications on Italian art, including monographs on Cima da Conegliano (1983) and Titian (2007), and the catalogue Glasgow Museums: The Italian Paintings (2012). He has served on the committees of several major international loan exhibitions, and is currently Guest Curator of the exhibition on Vittore Carpaccio to take place in Venice and Washington in 2020-21. His recent book on the Stafford Gallery developed from his involvement with the exhibition The Age of Titian: Venetian Renaissance Art from Scottish Collections held at the National Gallery of Scotland in 2004.

2019

Monday, 2nd December 

Arthur MacGregor:

The India Museum Revisited: the East India Company and its Collections

In its day the India Museum formed the most important collection of oriental material in London. Far from being a celebration of Empire, the collections were conceived with utilitarian and scientific aims, with a view to consolidating the Company's mercantile supremacy, though in time the character of the collections came also to reflect the political and military gains by the Company's armies in India. From its original home at the East India Company's headquarters in Leadenhall Street, the museum collection moved to Whitehall and ultimately to South Kensington, before finally being dispersed in 1879. These developments, and current attempts to recover something of the changing experience offered by the museum, will be reviewed.

Arthur MacGregor is currently an Andrew W. Mellon Visiting Professor in the V&A's Research Department. Following the publication last year of his book Company Curiosities, he is working on an analysis and reconstruction of the contents of the East India Company's museum. Formerly a curator at the Ashmolean Museum, he continues to edit the Journal of the History of Collections.

Monday, 4th November 

Shirley M. Mueller, M.D.:

Inside the Head of a Collector: Neurobiological Forces at Work

Collecting objects gives enormous pleasure to approximately one third of the population, providing such benefits as intellectual stimulation, the thrill of the chase, and leaving a legacy. On the other hand, the same pursuit can engender pain; for example, paying too much for an object, unknowingly buying a fake, or dealing with the frustrations of collection dispersal. Until recently, there was no objective way to enhance the positive (pleasure) aspects of collecting and minimize the negative (pain).

Now, for the first time, scientific research in neuro- and behavioral economics gives us a way to turn this around. Neuroeconomics is the study of the biological foundation of economic thought, while behavioral economics incorporates insights from psychology and other social sciences into the examination of monetary behavior. By using examples from these disciplines, Shirley M. Mueller, MD, relates her own experiences as a serious collector and as a neuroscientist to examine different behavioral traits which characterize collectors.   Her information is relevant not only for those who collect, but also for colleges and universities which teach collection management plus museum staff who interact with collectors as well as dealers of objects desired by collectors. 

Shirley M. Mueller is an internationally known collector and scholar of Chinese export porcelain, as well as a physician board-certified in Neurology and Psychiatry. This latter expertise led her to explore her own intentions and emotions while collecting art, which, she discovered, are applicable to all collectors. This new understanding was the motivation for her recent publication: Inside the Head of a Collector: Neurobiological Forces at Work.

Mueller not only lectures and publishes about the neuropsychology of the collector; she also was guest curator for “Elegance from the East: New Insights into Old Porcelain” at the Indianapolis Museum of Art (now Newfields) in 2017. In this unique exhibit, she combined export porcelain with concepts from neuroscience to make historical objects personally relevant to visitors. 

Monday, 7th October

Andrea M. Gáldy 

Politics of Culture: Collecting and Display at the Court of (Grand) Duke Cosimo I de‘ Medici

In 2019, the 500th birthday of Cosimo I de‘ Medici is being celebrated. Born in 1519 to Giovanni de‘ Medici and Maria Salviati, i.e. a Medici on both sides, he continued the successful tradition of Medici collecting and the use of possessions on the political stage. Nonetheless, his collections played a Cinderella role until the 1980s, when his importance slowly started to be acknowledged. As the ruler over (grand) ducal Florence and Tuscany and married to a pious Spanish bride, he was still mostly regarded as a tyrant whose collecting activities emulated those of his republican ancestors.

Research over several decades has been able to show that Cosimo’s collections were not only considerable and varied, they were also a matter of great personal interest to their owner. Displayed in especially set-up halls and study rooms, not to mention the construction of the Uffizi from 1560, Medici collecting remained an important part of cultural politics in ducal Florence and would remain so in grand ducal Tuscany. In fact, the collections of Cosimo and his sons, Francesco and Ferdinando, are regarded as leading trend setters, as were those of Cosimo il Vecchio and Lorenzo il Magnifico. What has not yet been emphasised sufficiently is the fact that in the sixteenth century the collections contributed to a politics of power and culture, in particular in the relationship between Italian states, including papal Rome, and in connection with the Holy Roman Empire.

The paper will therefore trace the history of the collections, as well as show their importance in the political negotiations between Florence and the rest of Europe.

Andrea M. Gáldy is a specialist in the History of Collecting. Originally trained as a classical archaeologist, she gained a PhD at the School for Art History and Archaeology at the University of Manchester with a thesis on the collection of antiquities of Cosimo I de’ Medici. Since completing her doctorate, she has received post-doc fellowships from the Henry Moore Foundation and from Villa I Tatti. Her research focuses on collections, their patrons and their purposes. She is a founding member of the international forum Collecting and Display, which runs regular events in partnership with the IHR, London, and other institutions worldwide. Andrea is the main editor of the series Collecting Histories (CSP), under which label six C&D conference volumes have been published so far.

June:  The Afterlife of the Paston Treasure Exhibition

Andrew Moore and Francesca Vanke together with a distinguished panel of scholars will discuss some of the issues raised by the important exhibition The Paston Treasure: Microcosm of the Known World, held at the Yale Centre in New Haven and subsequently at the Norwich Castle Museum & Art Gallery, which focused on this extraordinary painting.  The exhibition brought together works of art illustrated in the painting along with material related to the cultural and intellectual world of Sir William Paston, first Baronet (1610-1663) and his son Robert, first Earl of Yarmouth (1631-1683).   Dr. Andrew Moore, former Keeper of Art and Senior Curator at Norwich Castle and Dr. Francesca Vanke, Chief Curator and Keeper of Fine and Decorative Art, will open the discussion with their reflections on issues which emerged from the exhibition and questions still remaining.

Professor John Heilbron, Professor of History and Vice-Chancellor Emeritus at the University of California, Berkeley and senior research fellow at Worcester College, Oxford, will consider the question of the scientific aspects of the painting and the fascination that science and alchemy held for both William and Robert Paston in the context of his forthcoming book on the scientific circles in seventeenth-century England, Why is Galileo in this Painting?  Dr. Simon Mills, Teaching Fellow in British and European History 1500-1800 at Newcastle University, has a specialist interest in British travellers to the Ottoman Empire and will consider the travels of William Paston to Egypt and Jerusalem in the context of British travellers of the period.  The sumptuous works of art in the painting form the third topic for discussion with Dr. David M. Mitchell, author of many books on silver and goldsmiths’ work, including Silversmiths in Elizabethan and Stuart London, with a focus on British collectors of silver in the 17th century, as well as trade and contacts with the Netherlands.  The session will be chaired by Adriana Turpin, currently Head of Research, IESA, Paris, who will contribute on the subject of visitors to the Medici Tribuna in Florence. 

 Monday 13th May 

Donato Esposito 

Two artist collectors: Sir Joshua Reynolds and Lord Leighton  

Joshua Reynolds (1723–1792) and Frederic Leighton (1830–1896) were arguably the two greatest former Presidents of the Royal Academy of Arts, London. Less well known is that both were avid art collectors. Their collections, though formed a century apart, shared much in common and both functioned as an extension to their activities as head of the Royal Academy. The contrasting motives for the formation and display of these two artists’ collections will be explored and highlighted in the context of the foundation and expansion of public collections in the nineteenth century.

Reynolds figured in Leighton’s art collection both as illustrious practitioner and cherished former owner. Though both collections have been broken up and widely dispersed around the world, reconstructing these presidential collections will expose the overlapping private and public facets of these two deeply influential artists.

Donato Esposito is an independent academic and curator specialising in British art, collecting and taste from the eighteenth and nineteenth centuries. His first book was published in 2017, Frederick Walker and the Idyllist. He has recently contributed to publications accompanying exhibitions on William Powell Frith in Harrogate (2019) and James Tissot in San Francisco and Paris (2019–20).

Monday, 4th March 

 Annette Cremer

The life and work of Augusta Dorothee (1666‐1751), Princess of Brunswick, who married the protestant Graf Anton‐Günther II of Schwarzburg/Thuringia, has been ignored so far by historiography as well as art history. Becoming a childless widow in 1716, she spent the remaining 35 years of her life at Schloss Augustenburg, surrounding herself with a large courtly household. During this time, she intensely focused on building and commissioning a “doll city”, which she used to call “Mon Plaisir”, including 2000 items and 400 figurines.

Auguste Dorothee’s collection is an unusual example of female representation and negotiation of power and authority within her dynasty, the agnate family and also local subordinates. The miniature world mirrors life at her court and partly at the residency of Arnstadt, including the bourgeoisie as well as crafts and the religious life of the time. It is to be understood as an expression of her claim to power as former sovereign of the principality. As result of her niece Elisabeth Christine becoming the wife of Emperor Karl VI Habsburg, Auguste Dorothee converted to Catholicism. But neither her close relationship to the Kaiser nor her father, Duke Anton Ulrich of Wolfenbüttel, helped her during the lengthy conflict with her late husband’s heir concerning her financial support.

The collection of dolls, as part of a bigger cabinet of curiosities, as well as a porcelain‐cabinet and her ambition as entrepreneur, show her as absolute ruler in concordance with virtues explained in tract literature. Auguste Dorothee deliberately used the Wunderkammer as a medium of male representation for her own statement. As most parts of the collection were handcrafted by the princess and her court and regional craftspeople, it can also be seen as an uncommon means of keeping contact with subordinates while displaying superiority at the same time.

In the paper she will argue that Auguste Dorothee used the traditional female occupation of needlework and turned it from a virtuous occupation into a strategy to represent her power.  Thus Auguste Dorothee tried to enlarge the social space appointed to her. The dollhouse interiors show her as powerful ruler over her own territory, although in reality she was unimportant and powerless.

Dr. phil. Annette C. Cremer MA (Art History & English Literature) teaches cultural history at the Justus-Liebig-University Giessen, Germany. Her main research interests are in the fields of early modern material culture and in the history of kunstkammer-collections. Her monograph on the dollhouse collection of Duchess Auguste Dorothea of Schwarzburg (1666-1751) was published in 2015. Together with other colleagues, she has edited three sets of conference proceedings on Objects as Sources of Cultural History (Objekte als Quellen der historischen Kulturwissenschaften, Wien/Köln/Weimar 2017), on Prince and Princess as Artists (Fürst und Fürstin als Künstler, Berlin 2018) and on Travelling Princesses (Prinzessin unterwegs. Reisen fürstlicher Frauen in der Frühen Neuzeit, Berlin 2017). Visiting Fellow History Faculty, Cambridge 2018/19

Monday, 4th February - Elsje van Kessel 

Ships, Inventories, and Asian Goods in Europe c. 1600

This paper asks what knowledge of early modern ships and their cargoes can contribute to the history of collecting. In what sense can we describe a ship laden with objects as a collection, and what are the possible benefits of such an approach? 

These questions derive from van Kessel’s project Stolen Ships and Globalisation: Asian Material Culture in Europe c. 1600. The period around 1600 was a tipping point in the history of early modern globalisation: the Portuguese empire reached its zenith around this time, and the Dutch Republic and England were just beginning to take over Portuguese-Asian sea routes and trading posts. The project studies the successes and failures of early modern globalisation against this background through a focus on art objects and their interaction with human beings and ideas. Central to the research are the analysis of the seizures of Portuguese cargo ships by the English and the Dutch and the aftermath of these events. The project reconstructs the cargoes of these ships and responses they evoked. 

This paper will look in particular at a range of textual sources from the archive, such as bills of lading and inventories of stolen goods. These record the types of objects on board: apart from spices, Chinese, Japanese and Indian (art) objects like precious stones, jewellery, silks, porcelain, lacquer, and furniture. As this paper will show, they also shed light on the ways people and objects related, and how the meanings of objects changed in the course of their trajectories. While the journeys of objects at sea usually remain an implicit assumption, an essential yet unstudied phase in the life of a collectible, here they take centre stage. 

 Elsje van Kessel is Senior Lecturer in Art History at the University of St Andrews.  She holds a PhD from Leiden University, and is the author of The Lives of Paintings: Presence, Agency and Likeness in Venetian Art of the Sixteenth-Century (De Gruyter, 2017). She has received numerous fellowships, grants and awards: among others, an annual stipend at the Centre Allemand d’Histoire de l’Art, grants from the Gladys Krieble Delmas Foundation, the Calouste Gulbenkian Foundation and Museum and the Leverhulme Trust. Elsje’s research is broadly concerned with the viewing, use and display of early modern art. In her monograph The Lives of Paintings, she examines how and why people in Titian’s Venice treated certain paintings and other works of art as living beings.

Elsje’s current major research project is ‘Stolen Ships and Globalisation: Asian Material Culture in Europe c. 1600’. Recently awarded a Leverhulme Research Fellowship, the project aims to study the circulation of Asian art objects between Portugal, England and Holland at the turn of the seventeenth century, in particular as a result of piracy and privateering.

Monday, 7th January 

Imogen Tedbury 

‘To mould a great museum collection’: Robert Langton Douglas (1864-1951) and the transatlantic art trade

Robert Langton Douglas is sometimes considered an idiosyncratic dealer, perhaps owing to his colourful and multi-faceted career as, variously, chaplain for the Church of England in Italy, scholar of Renaissance art, captain in the war office during WW1, agent for the Metropolitan Museum of Art (1909-1920) and Director of the National Gallery of Ireland (1916-1923). He began to deal in Sienese painting, the field which he fondly called his ‘own school’, before purposefully expanding his expertise to encompass a broad range of Old Master paintings, drawings, sculpture and decorative arts. He had long cherished an ambition to be a museum director, and saw the role as one of ‘moulding’ or ‘shaping’ great collections. Yet later in his career, he argued that dealers could also shape collections as they were empowered by the choice of which institutions to approach and thus responsible for their stock’s resting place.

Utilising unpublished archival resources and drawing on the physical examination of paintings that passed through his hands, this paper re-examines the strategies used by this key but neglected dealer. As an agent he took as little as 5% or expenses in acquiring works for his museum clients. He sometimes gifted smaller artworks to museums, to cultivate relationships and seal transactions. Douglas also worked closely with his own restorer to present paintings as ‘untouched’ treasures from ‘sunk’ British collections, an ironic but shrewd response to market demands. As the history of collecting, display and restoration intersect, it is hoped that this case study will stimulate discussion around the roles that dealers can play in ‘moulding’ or ‘shaping’ museum collections, as well as their lasting impact on artworks’ physical histories.

Imogen Tedbury is an art historian interested in the longer lives of artworks, from the time of their making to their more recent histories. Her research explores the intersections between the history of taste and the physical history of art, with a special focus on medieval and Renaissance art in the long nineteenth century. The scholar-dealer Robert Langton Douglas forms a special subject of her research. She received her AHRC Collaborative Doctoral Award PhD from the Courtauld Institute of Art and the National Gallery. This project explored the collecting, reception and display of early Sienese painting in Britain. She has received grants from the Getty Research Institute, the ICMA and the Metropolitan Museum of Art in New York, where she was a J. Clawson Mills Fellow in the Robert Lehman Collection. She is the Assistant Curator of the Picture Gallery and Art Collections at Royal Holloway, University of London.

2018

11th December

Collecting Histories Forum: New Research from Emerging Scholars

For the final session of the Collecting and Display seminars in 2018, we are collaborating with the Society for the History of Collecting to present new research by three members. Each will give a short paper so that there will be time for questions and discussion.  We are most grateful for the support for this event provided by the Worshipful Company of Playing Card Makers.

Guido Beduschi, PhD candidate, Corpus Christi College, University of Cambridge:

Collecting Sources: Antonio Francesco Ghiselli (1634-1730) and his Memorie Manoscritte

Antonio Francesco Ghiselli left 88 volumes of manuscript memoires to posterity: the Memorie Antiche Manoscritte di Bologna. The Memorie’s volumes of modern history, concerning events contemporary with Ghiselli’s life, are rich in manuscript and printed ephemera as well as other material (such as leaflets, newssheets, edicts, popular prints and engravings), which were collected by the author and glued into the pages of his book – and which would have, otherwise, hardly survived. In this talk, Guido Beduschi will look at some of this rare material, at how and why they were collected by Ghiselli, and the function they had in his historical work. Finally, he will consider the collectable value of Ghiselli’s memoirs themselves in the manuscript book market, during the earlier part of the eighteenth century.

Giuseppe Rizzo, Ph.D student Karl-Ruppert, Heidelberg University

Icons of Renaissance Taste in Vulcan’s Foundry. Plaster and Bronze Casts from Florence to England (1830-1860)

In the first half of the nineteenth century  reproductions of the some of the most representative statues of fifteenth and sixteenth century ‘Renaissance’ art came to England from Florence. They soon became icons in the new Victorian taste. How, when and why did copies of statues of ‘the Renaissance’ come to England? What was the process through which they became so influential? To answer these questions, the talk examines the interaction between the production of statuary copies in the artist workshops of Florence and the collecting interests of wealthy British "grand tourists". It studies the gradual evolution of taste towards Italian Renaissance art and the effects of defining its visual images within and outside Tuscany after the 1830s. This interaction is exemplified by the patronage of the 2nd Duke and Duchess of Sutherland, who, through their wealth and closeness to Queen Victoria, were influential representatives of the British aristocracy.

Nayra Zaghloul, Worcester College, University of Oxford

The Ouseley Manuscripts: a History

This talk will present a biographical outline of Sir Gore and Sir William Ouseley’s lives and their academic specialisations in order to stimulate discussion on how‘qualified’ they were to valuate, collect and write about Islamic manuscripts on the scale they did. It will compare the contents and structure of the Ouseley manuscript collection to other nineteenth century private and public collections and discuss its current position within the wider collection of the Bodleian Library’s Islamic holdings. Nayra will trace the journey the brothers took through Iran on their joint diplomatic tour with mention of the Persian manuscripts acquired on their travels in India. It will present, in greater codicological detail, a selection of the manuscripts to identify links between the Ouseley’s scholarly interests and the items in their collections and to show key features that characterise a manuscript once owned by the brothers, such as, signatures, coats of arms, typical bindings and other signs of previous ownership or sale. These narratives will shed light on the nature of ‘Oriental’ manuscript collecting in nineteenth century England.

Nayra Zaghloul is a postgraduate student in Islamic Art and Archaeology at the Khalili Research Centre, University of Oxford funded by the Barakat Trust. Her research interests include the history of collecting, Persian and Arabic manuscripts, cosmopolitanism, photography, jewellery, Arab painting in the 20th century and Middle Eastern literature. She is based between London, Oxford and Cairo and works as a freelance cataloguer and collection adviser for private collectors, museums, galleries and dealers across the world. She can be reached at nayra.zaghloul@gmail.com or you can follow her work at www.instagram.com/nayrazag/

TUESDAY, 13th November 

Cecilia Riva 

Austen Henry Layard, the achievement of “a collector of various things”

This talk challenges the historical assessment of the Layard Collection as simply a bequest of paintings to the National Gallery. The paper will shed light on the multifarious interests of Austen Henry Layard (Paris, 1817 – London, 1894) in forming a collection consisting of more than 800 items. These ranged from notable Italian Renaissance paintings to beautiful examples of Armenian manuscripts; from Spanish religious metalwork to Burgundian tapestry. As a result, the Layard collection was deemed to be one of the most important in Venice in the late XIX century. The history of its formation, display, and subsequent dispersal has many interesting aspects that still have not been precisely traced.

Taken in its entirety, the collection reveals an exquisite cameo of its creator, and shows the way in which Layard sought to attain personal status and prestige through the development of his collection. Though not all his purchases were of high quality, they furnish a remarkable example of the way in which such a collection could be perceived and the role it played in the last decades of the XIX century, both in England and Italy. To this end, the paper will present new and evocative insights into the interiors of Ca’ Capello Layard where the collection was lodged and displayed, through analysing and integrating both new and previously overlooked documentary sources.

The collection should be assessed not only as a dialectical interaction between spaces, objects and artworks, but should primarily be viewed as a narrative formed by its creator. From this perspective, the Layard collection furnishes an interesting case study even when dispersed and displaced.

Cecilia holds a M.S. in Economics and Management of Arts and Cultural Activities from Ca’ Foscari University Venice and she is currently a doctoral candidate in History of Arts. Her Ph.D. is funded by Ca’ Foscari University, Venice and supervised by Prof. Martina Frank, Guido Zucconi and Emanuele Pellegrini. Her forthcoming dissertation is titled “Austen Henry Layard, as an art collector and amateur”.

Monday, 2nd October

Natasha Shoory 

 A New Collector of the Ancien Régime: Madame de Saint-Sauveur

As the Enlightenment questioned crucial issues such as the established political, religious, and social foundations of society, debates and transformations regarding art, luxury and taste emerged alongside key shifts in the history of patronage and collecting. The development of the secondary market and the modern auction, the decline of royal patronage following the death of Louis XIV, the emergence of financiers as collectors, and the growth in the number of collectors and collections, brought changes to who was collecting, what they acquired, and how they acquired objects. The quantity of collections during the latter half of the eighteenth century, combined with the relatively few scholarly explorations of those collections (particularly in the case of female collectors), provide the historian of collecting with a wealth of undiscovered and untouched information. 

In Paris on 12th February 1776 an anonymous sale of a collection of paintings primarily of the French and Northern schools, as well as drawings, engravings and bronzes amongst other objects, took place conducted by Pierre Rémy. Some of these works were then acquired by major collectors, such as Randon de Boisset, and have appeared regularly on the art market and in public museum collections up to the present day. The unannotated catalogue omitted an introduction and listed the identity of the collector only as ‘Madame’. However, two separate versions of the catalogue were inscribed with the name ‘Madame de Saint-Sauveur’, an unlikely mistake to be made twice. Following comprehensive research at the Archives Nationales de Paris, this paper will reveal the identity of Madame de Saint-Sauveur as a noblewoman who held a prominent position at Versailles as a sous-gouvernante and amassed a substantial fortune as the sole heiress of her father’s estate, before relocating to Paris in the heart of elite society, and forming a friendship with Madame du Deffand. 

Female collectors such as Madame de Pompadour, the Comtesse de Verrue, and Madame du Barry are now well documented and well-known for their impressive, exceptional collections.  In the pursuit of determining the experiences and practices of collectors, and particularly ‘overlooked’ female collectors, this research emphasises the need to determine what was ‘typical’ in order to fully understand the ‘exceptional’. 

Natasha Shoory completed her BA in Art History and Theory at the University of Sydney in 2012, and her MA in The History and Business of Art and Collecting through the University of Warwick and IESA in 2016. She has spent the past two years working at Christie’s in London, handling copyright, picture research, and writing for Christie’s publications. She will be commencing an MSt in Modern Languages, focusing on the History of the Enlightenment, at the University of Oxford in October 2018, where she is the recipient of Worcester College’s Drue Heinz Graduate Scholarship. Her research interests focus on eighteenth-century France, particularly the role of women in the art and collecting of the Ancien Régime. She is currently researching the acquisition of eighteenth-century French artworks and furniture during the early twentieth century in America, for which she received a research travel grant from the Furniture History Society in 2017. 

Monday 2nd June

Susan Bracken

Charles, Prince of Wales and Copies in Spain in 1623

Monday, 14th May

Barbara Pezzini 

The truth about Agnew’s and Duveen (1900-1930)

Major private and public collections worldwide - such as the London National Gallery, the New York Metropolitan Museum of Art and the Washington National Gallery of Art - contain a wealth of pictures from the stock of art dealers Agnew’s and Duveen. Often works were purchased from one firm to the other or even held in joint stock. Famous pictures of shared provenance include Philip IV by Diego Velázquez (Metropolitan Museum of Art, New York), Man with a Falcon by Titian (Omaha Museum of Art), and Portrait of James Christie by Thomas Gainsborough (Getty Museum, Los Angeles). Both Agnew’s and Duveen managed a conspicuous flow of works of art from London towards collectors in the United States, and both firms dealt in the same sectors of the art market: European old-masters and British eighteenth century portraits. 

The relationship between the two firms, however, has so far remained largely unexplored. Were Agnew’s and Duveen ‘friends’ or ‘enemies’, allies or opponents? Using hitherto unexplored primary sources from the Agnew’s archive at the National Gallery and the Duveen archive at the Getty Research Center, the paper will examine this question and present the origins and development of their relationship from 1900 to 1930. Agnew’s and Duveen’s rapport changed dramatically in these thirty years. In the early 1900s, when the newcomer Duveen captured the trust of the more senior Agnew’s, there was a respectful competition which evolved into a collaboration in the course of the 1910s. But in the 1920s Duveen’s attempted, in covert and not so covert manners, to annihilate Agnew’s, and this paper will investigate Duveen’s offensive strategies and Agnew’s coping mechanisms. In addition, and crucially for a seminar dedicated to collecting and display, this paper will focus on the relationship that both dealers fostered with public and private collectors, as it was essential to the survival, and instrumental to the demise, of their firms. 

Barbara Pezzini is a London-based art and cultural historian with a wide range of publications on the art market, including reconstructions of fin-de siècle exhibitions of British painting, the Futurist shows in London, the relationship between dealers and scholars in the early twentieth century and their interactions with the art press.   She is particularly interested in the study of the intersection of the art market with art criticism and art practice and how these are reflected in art prices.   Barbara is the recipient of an AHRC Collaborative Doctoral Award between the National Gallery and the University of Manchester to study the relationship between the National Gallery and Agnew’s (1850-1950) and Editor-in-Chief of the journal Visual Resources.   She is also part of a joint National Gallery/King’s College London project on (re)presenting data from the stock books of  the dealers Thos. Agnew & Sons.

Monday, 16th April

Alice Otazzi

«Les derniers venus sont aujourd’hui les premiers». English prints collections in 18th-century Paris.

This paper aims to investigate the (re)discovery of English art in 18th-century Paris.  The English artistic tradition was not greatly admired in the previous centuries and it was just around the middle of the 18th century that an interest  developed towards this art. In a comparative approach that will involve both literature and philosophy, the principal promoters of Anglomania will be discussed, highlighting the interaction between general culture and artistic outcomes. The examination of Parisian sales catalogues and some French public archives will allow the identification of the presence of English works of art offering further reasons for reflecting the origin of a specific taste in connection to the concept of an English school, which will represent the discriminating factor in the analysis of the dynamics of the reception of the English school in 18th-century France.

Reconstructing a panorama which has been since underestimated, she will examine the presence of English works of art, predominantly prints, that dominated the Parisian scene during the 70’s and 80’s. Undertaking this investigation allows the outlining of English artists who were collected in France, bringing to light names nowadays almost unknown. Studying private (Marquis de Beringhen, Marquis de Paulmy, Duc de Richelieu, Princesse de Lamballe) and royal collections (Louis XVI and Marie Antoinette) it will be possible to understand the reasons behind this practice of collecting and its evolution during the 18th century. At the beginning of the century, English prints were collected because of their specific technique, mezzotint or, later, crayon manner, and in the second half of the 18th century for the name of the artist himself or the subject they represent. Finally, some post-mortem inventories hold information on the display of these prints, enabling to deepen and complete the analysis of the collection of English prints in Paris.

Alice Ottazzi is currently a Teaching Assistant in History of Art Criticism and Museum Studies, Università degli Studi di Torino, Department  of Humanities.   Her PhD is in progress, jointly supervised by Paris 1 Panthéon Sorbonne.

She is also responsible for the section “Drawing” of the handbook Il Cricco Di Teodoro Itinerario nell’arte (Zanichelli Editore S.p.a., Bologna).   She was a contributor to the catalogue of the exhibition L’Europe et les mythes Grècs : Dessins du Musée du Louvre XVIème – XIXème siècles, exhibition curated by C. Loisel, Fondation Teloglion, Thessalonica, 2012 as well as Témoignages d’une condicio sine qua non. La réception des procédés de fixage des pastels dans la littérature artistique du XVIII siècle, in B. Jouves & A. Delaporte (Eds.), Réception critique de la restauration. XVIIIe-XXe siècles, Éditions du GRHAM, 2017.

Monday 5th March

Wallis Miller

Full-scale displays and the reform of architecture in Germany

She is currently working on a book titled Architecture on Display: Exhibitions and the Emergence of Modernism in Germany, 1786-1932. The book uses German case studies to reveal the particular character of an architecture exhibition and demonstrate the ways in which exhibitions contributed to modernism in architecture. She will focus on a specific form of display, the full scale interior, and the ways in which a means of presentation originally developed to portray the past, in the form of the period room, became a catalyst for the early twentieth-century reforms that led to the emergence of Modern Architecture.

In contrast to its use in portraying history, the period room display was appropriated around the turn of the century by applied arts exhibitions in Germany to show the newest work in design. The period room emerged in the 1870s as an ethnographic display tool in Stockholm’s Nordic Museum and, by the 1920s, was firmly associated with exhibiting the past in a range of museums, including ones dedicated to art and applied art. But already around 1900 the period room was used as a model for the displays that realized the theoretical ambition of progressive designers of applied art to “engage art in life” and, in some cases, create a Gesamtkunstwerk [the total work of art]. In the largest exhibition of these rooms, the “Spatial Art” or “Raumkunst” section at “The Third German Applied Arts Exhibition 1906,” held in Dresden, the modernity on display in 150 realistic interiors did not reside in their style, which varied widely. Instead it could be seen in the ambition to create full-scale environments that, like the period rooms, engaged a broad public rather than a limited audience of patrons, and in their identification with “space”. These were two aspects of Modern Architecture that became central when it matured in the Weimar Period. Indeed the exhibition included several designers who soon would become significant modern architects (Henri van de Velde, Peter Behrens and Bruno Paul) and suggested that the applied arts exhibition was the vehicle for introducing the new ideas about the public and space to architecture. The claim that applied art was an agent of change in this crucial period for the development of architecture was advanced in theoretical writings at the time but is seldom recognized in the history of architecture or design, particularly the history that engages the establishment of the German Werkbund, one of the best-known institutional promoters of modern design and architecture from 1907-1933.  She will call attention to the role of applied art in the history of Modern Architecture by arguing that the full-scale displays at exhibitions go beyond the claims of theoretical writings to initiate significant reforms in architecture.

Wallis Miller is the Charles P. Graves Associate Professor of Architecture, July 2001-present at the University of Kentucky, College of Design.   She has also been at The Oslo Centre for Critical Architecture Studies, The Oslo School of Architecture and Design Visiting Scholar, research project “The Printed and the Built” (research, Ph.D. advising, organization), 2014-2018; in residence May-June 2016

Her many publications include the following (full text version of selected publications on view at http://design.uky.edu/web/miller.html)

“Review: The extraordinary coverage of Ludwig Hoffmann’s 1901 ‘Exhibition of the City of Berlin,’“The Printed and the Built: Architecture, Print Culture, and Public Debate in the Nineteenth Century, Mari Hvattum and Anne Hultzsch eds. (London: Bloomsbury, 2017/8).

“An exhibition and its catalogue: Herbert Bayer’s “minor typographical masterpiece” for the Werkbund’s 1930 Section Allemande,” accepted for Architectural Histories, special issue on Word and Image (2016). Winner of outstanding Journal article award, SESAH, 2017.

 “Les Maquettes, l’architecture, et l’exposition de l’académie en Allemagne, 1786-1923,” in Cahiers du NMAM, Centre Pompidou, Paris (Fall 2014).

 “Exhibitions, Objects and the Emergence of Modernism in Germany,” in Exhibiting Architecture: A Paradox?, ed. Eeva-Liisa Pelkonen (New Haven: Yale School of Architecture, 2015).

“Was ist Architketur? Modelle in deutschen Akademie Ausstellungen bis 1923,” in Architektur Ausstellen. Zur mobilen Anordnung des Immobilien, Carsten Ruhl, Chris Dähne, eds. (Berlin: Jovis, 2015).

Monday, 12th February 

Grant Lewis 

‘Visual Knowledge and the Grand Tour: The Print Collection of Walter Bowman’

The Grand Tours of the eighteenth and early nineteenth centuries have long proved a rich field for historians of collecting, and increasingly this is as much the case for acquisitions of ‘lesser’ arts like prints as for the celebrated purchases of painting and sculpture. Indeed, over the past few decades several Grand Tourists’ print collections have been the subject of in-depth investigations, and in a new contribution to this body of work, this paper will focus on the collection of the Scottish tutor and antiquary Walter Bowman (1699-1782). Surviving in several carefully curated and presented albums of French and Italian views in the National Library of Scotland and the British Library, each with their own fine manuscript title-page, this collection has been totally overlooked by print scholars, so much so that the two proudly signed volumes in the British Library go unmentioned in Bowman’s entry in the Oxford Dictionary of National Biography. Yet this is a significant, indeed rare, collection, for unlike the better studied Grand Tour collectors Bowman was not a tourist as such but a cicerone, a guide for foreign travellers, and as a result his collection has a different character from the latters’ aristocratic ones, containing rudimentary and worn out impressions as well as fine art prints, not to mention a distinct function as a dependable educational resource. By bringing together all of the surviving volumes owned by Bowman, this paper aims to provide the foundational study into this intriguing collection, its formation, display, use(s) and ultimate fragmentation, which saw the parts now at the British Library enter the collection of George III.  To this end, it will make use of archival research into Bowman’s little-studied papers, in particular his European travel diary (now Florence, Biblioteca Nazionale Centrale), which, covering the same locations as the print collection, demonstrates how visual and textual knowledge were ‘collected’ simultaneously, and devised to complement each other. 

Since 2015 Grant Lewis has been at the British Library: as part of the fledgling prints and drawings team at the British Library responsible for cataloguing King George III’s Topographical Collection, a vast array of some 40-50,000 prints and drawings dating from the 1500s to the 1820s.

Monday 15th January

Amanda Luyster

Collections/Recollections: The Use of Text in Networks of Collection.  Medieval Inventories, Labels, Inscriptions, and Memory

Allow me to begin with a question.  What do an eighth-century Byzantine textile, a fifteenth-century Italian painting, and a twentieth-century silkscreen by Andy Warhol have in common?  The answer: all bear inscriptions that tie them inexorably to larger systems of collecting and collection use.  This association of specific kinds of textual data (names, dates) with a collectable object has a long and, at least in part, understudied history.  In the following presentation, I examine the history of the association of texts with collected objects, focusing on the Middle Ages while remaining attentive to earlier and later traditions. 

 Before the Renaissance and its elevation of the role of the individual artist, probably the most significant association a collected object would have was with the individual who had gifted it (its donor). Medieval collections can be viewed as fluid networks in which donors, recipients, record keepers, and objects like luxury textiles and precious metalwork all play a role.  However, the texts associated with medieval collections, including inventories, gift lists, labels and tags, and inscriptions, are also significant. These textual actors, especially labels and tags, have received scant scholarly attention and yet have significant ramifications. After having laid out evidence for the broad use of tags and labels in collections, both European and Islamic, I make three interconnected arguments for the operation of texts within medieval networks of collection.  These textual components, I suggest, enable the objects to recall (for the people in these networks) particular donors and events – that is, with the aid of texts, collections may act as agents of recollection. 

 First, I argue that inventories, gift lists, labels and tags need to be seen as operating in tandem with certain inscriptions on collected objects (those that include donor information).  Second, I show that all of these texts work to enable different networks of collection (e.g. English thirteenth-century royal treasuries and ecclesiastical treasuries) to function differently.  Finally, I posit that these networks of people, things, and, significantly, texts functioned to make the value of the gift “stick” – they worked to combat the tendency of all historical connections to be forgotten, the tendency of all things to fall apart.  While at first glance, collected objects held in storage seem to be in a passive, dormant state, in fact, these objects and their associated texts participate in acts of collection and recollection that actively preserve not only the objects but also – and, more importantly – the associations that endow them with value.

Amanda Luyster: Lecturer, College of the Holy Cross, Worcester, MA.  2006-present.  The International Center of Medieval Art.  Elected to Board of Directors, 2017-2020.

 Her recent publications include: 

“The Place of a Queen/A Queen and her Places: Jeanne de Navarre’s Kalila and Dimna as a political manuscript in early fourteenth century France.”  In Moving Women, Moving Objects, eds. Tracy Hamilton and Mariah Proctor-Tiffany.  Brill.  Accepted, under revision.

“Drawing Out, Drawing In: Painting, Drawing, Manuscript Illumination, and Book Illustration.” In Mapping the Medieval Mediterranean, c. 300-1550, ed. Amity Law.  Brill.  Forthcoming.

“The Conversion of Kalila and Dimna: Raymond de Béziers, Religious Experience, and Translation at the Fourteenth-Century French Court.”  Gesta, vol. 56, no. 1, 2017: 81-104.

2017

Monday, 20th November

 Professor William J. Diebold:

Displaying “German Greatness” in Nazi Germany: the Exhibition Deutsche Größe (1940-1942) and its Legacy

Although it is not well known to scholars, the cultural-historical exhibition Deutsche Größe (“German Greatness” or “Grandeur”)  was probably the most important museum display of the Nazi era.  The show’s subject was the history of Germany from the early Middle Ages until the assumption of power by Adolf Hitler.  Deutsche Größe was supported at the highest levels of the Nazi Party and its presentation of history was frankly ideological, but the show expressed that ideology through a series of ambitious and innovative display techniques.  One of these was the use of an elaborate interior architecture for each of the show's fifteen chronologically-arranged galleries, an architecture which was intended to give the feeling of the period on display in each gallery.  Even more remarkable from the museological perspective was the exhibition's exclusive use of facsimiles (most of them hand made) for the exhibition of its close to 2000 objects.  

This paper presents Deutsche Größe and describes how it came about and how it worked to shape an understanding of history that would serve Nazi goals.  Special attention is paid to Deutsche Größe as a piece of museology and to the display of the art and culture of the high Middle Ages, an area of history that was especially fraught and problematic for the National Socialists because it came from the "First" Reich that they saw revived in their "Third" Reich.  The paper ends with a consideration of the legacy of Deutsche Größe in two later exhibitions, one which took place in Cold War West Germany and the other in the German Federal Republic after unification.

William J. Diebold, Jane Neuberger Goodsell Professor of Art History and Humanities, Reed College, Portland, Oregon USA  wdiebold@reed.edu

Professor Diebold was awarded his PhD in 1989, at Johns Hopkins University.  Thesis (with honors): “The Artistic Patronage of Charles the Bald.”   Since September, 1987, he has been a member of the Art History and Humanities Faculty at Reed College, Portland, Oregon.   He has been a member of the Editorial Board of Studies in Iconography since 2015.   Following the award of a grant, in Spring 2018, he will be a member of the School of Historical Studies, at the Institute for Advanced Study, Princeton.  His many publications include: 

“’Brother, What do you think of this idol?’  Early Medieval Travelers Encounter ‘Idols.’”  Ready for submission

“’Not pictures but writing was sent for the understanding of our faith:’ Word and Image in the Soissons Gospels.”   Ready for submission

"Baby or Bathwater?  Josef Strzygowski’s 'Ruins of Tombs of the Latin Kings on the Haram in Jerusalem' (1936) and its Reception."  Orient oder Rom? Prehistory, history and reception of a historiographical myth (1880–1930), eds. I. Foletti and F. Lovino.  Under review.

"The Magdeburg Rider on Display in Modern Germany."  The Long Lives of Medieval Art and Architecture, eds. J. Feltman and S. Thompson.  (London:  Routledge; forthcoming)

“‘A living source of our civilization’. The Exhibition Deutsche Groesse/Grandeur de l’Allemagne/Duitsche Grootheid in Brussels, 1942.” Arts of Display/Het vertoon van de kunst, eds. H. Perry Chapman et al. (Leiden:  Brill, 2015) ( = Netherlands Yearbook for History of Art/Nederlands Kunsthistorisch Jaarboek 65 [2015]), 292-319.

Monday 23rd October

Lukas Fuschgruber

The Collection Form and the Auction Form: Public Sales of Art in Nineteenth Century France 

Recent valuation theory has pointed to the rise of the collection form as a key reference of value in the nineteenth century (Arnaud Esquerre and Luc Boltanski, “La ‘collection’, une forme neuve du capitalisme. La mise en valeur économique du passé et ses effets.” In: Les Temps Modernes, Nr. 679, 2014, p. 5-72.). This paper wants to link these theories to new findings on the circulation of collections in the auction circuit.

Every auction is a collection. Whether it is an estate sale, or a curated selection of works. And at the same time it is the event of the dispersal of the collected into new collections. The collection form and the auction form are heavily linked in the art world of the 19th century.

The art auction in the 19th century is a public space where the performance of art's economies through gestures and movements takes place. An image of the market leaves its traces for example in the countless caricatures and prints about French art auctions. And in the same year of the publication of Marx' Capital Vol. 1, 1867, two books, by Philippe Burty and Jules Champfleury, appear in France with an apparatus of terms concerning the economies in conflict during an art auction, with numerous distinctions of different kinds of values (L'hôtel des commissaires-priseurs and L'hôtel des ventes et le commerce des tableaux). They are the textual equivalent to the image of the market in pictures. A new imaginary of the market as a “machine” is emerging.

The presentation aims to provide a picture atlas to this image of the market, supported by a historical discourse analysis that also wants to serve as an example of a possible re-connection between art theory and art history. The paper asks how we can connect new findings on auctions in the 19th century, particularly in France, to recent theories about the collection form.

Lukas Fuchsgruber is an art historian based in Berlin, who recently completed his PhD thesis about the creation of the Hôtel Drouot auction house in Paris in 1852. From 2011 to 2014 he worked as an author and researcher for “Art TransForm”, a German-French research project (DFG/ANR) on transnational artist formation in the nineteenth century. Since 2014 he is affiliated with the “Forum Kunst und Markt” (Centre for Art Market Studies) in Berlin, taking part in the organization of the annual workshops, coordinating the young researchers initiative and contributing to the Journal for Art Market Studies as a writer and guest editor. In 2017 he has worked as a research fellow at the Germanisches Nationalmuseum in Nuremberg and taught a course on art forgery together with Dorothee Wimmer in Berlin. 

lfuchsgruber@mailbox.tu-berlin.de


Monday, 12th June

Dr Lindsay Alberts 

  Embedded Collections: The Cappella dei Principi and its Forerunners

The Cappella dei Principi at San Lorenzo in Florence, a massive space covered from floor to dome with variegated hardstones, remains the most spectacular chapel decorated in the difficult and highly expensive technique known as commesso or Florentine mosaic.  Commissioned by Ferdinando I de' Medici in 1604 as the funerary chapel for the Medici grand dukes, the cappella asserts the political, financial, and spiritual authority of the dynasty through the display of an impressive collection of rare and difficult-to-work natural specimens, literally embedded into the structure of the space itself.

While not a common decorative approach, the use of multicolored stones as a predominantly non-figurative decorative program did have precedents.  This paper examines the communicative strategies at play in early modern forerunners of the Cappella dei Principi, chapels and altars in which collections of rare stones were incorporated into larger religious structures.  Examples such as the chapel of Renée of France (Castello Estense, Ferrara), the Cappella del Perdono (Palazzo Ducale, Urbino), and the high altar of the cathedral of Vicenza demonstrate that the Cappella dei Principi drew upon a small but visually powerful tradition in Renaissance Italy that asserted political and spiritual power through the prestige of collecting.  

With its massive granducal sarcophagi, the Cappella dei Principi also proclaims dynastic authority through the display of a secondary collection, that of the collected bodies of the grand dukes themselves.  Through this strategy and in its octagonal shape, the chapel appears to draw upon the visual precedent of the Pantheon of the Kings at El Escorial.  Commissioned by Philip II in 1563, the chapel houses the bodies of almost thirty Spanish Habsburg monarchs.  Ferdinando's brother and predecessor Francesco I, himself a dedicated collector, lived at Philip's court at the time of the commission, and this paper further explores how this imperial model, no doubt of great attractiveness for the Medici dynasty, recently elevated to granducal status, was translated into a distinctly Florentine monument through the use of the local commesso technique.  

Dr. Lindsay Alberts holds a PhD in the History of Art from Boston University; she also attended University College London and Georgetown University.  She is currently a Visiting Assistant Professor in the Department of Art and Music at Framingham State University in Massachusetts, where she teaches introductory and early modern art history courses.  She has also taught at a number of additional universities in the Boston area and works as a lecturer at the Museum of Fine Arts, Boston.  Her research focuses on politics and collecting in Florence under the Medici Grand Dukes.  Dr. Alberts’ current research, upon which her seminar is based, focuses on the relationship between materiality and authority in the Cappella dei Principi, the dynasty’s ostentatious funerary chapel at San Lorenzo, one of the most spectacular examples of Florence’s signature pietre dure medium.

24th April  

Dr Ingrid Steiner 

Conversing a Great Deal With Pictures: William Byrd II and his Portrait Collection

In July 1736, William Byrd II (1674-1741) wrote to his friend, Anglo-Irish Politician, John Percival (1683-1748): “…I had the honor of your lordship’s commands of the 9th of September and since that time have had the pleasure of conversing a great deal with your picture.”

Virginia Planter, Statesman, and Historian, William Byrd II established powerful, strong, and enduring relationships on both sides of the Atlantic. His secret diaries have served as a primary source for understanding colonial Virginia life, his explorations enhanced our knowledge of Virginia and North Carolina, and his belief in culture and education led to the formation of a large private library and portrait collection.  Byrd II’s portrait collection was unique in colonial Virginia. It not only was comprised of his family members, but portraits of his friends, colleagues and notable personages from his London and Virginia life.

Recognizing that a literal ocean existed between Virginia and London, Byrd employed portraits as “physical representatives” of his relationships. Byrd’s portrait collection was more than just mere likenesses. His collection represented a formal social bond and testified to a personal relationship between the owner and the sitter. These portraits were both a public and private display of his affection, ambitions and memory.

Examining Byrd’s own diaries, letters and scholarly materials, this talk considers the collection Byrd surrounded himself with at Westover. It pays particular attention to his collecting motives and display of the portraits. Upon analysis, the portraits become a window into an important transatlantic collection during the Virginia colonial era, which laid the foundation for other early American collections.

Ingrid Steiner is an Art History Lecturer at California State University and Gnomon School of Visual Effects, Games and Animation. Her research interests focus on Colonial American Virginia Portraiture and the migration of British Baroque Portraiture into the colonies, particularly the collection of William Byrd II. She holds a MA in Humanities and a MS in Education and has spoken both domestically and internationally on William Byrd II and art history pedagogy.

 Monday, 6th March 

Sandra Kriebel 

“Kaiser gives Art Show“: A Loan Exhibition of Old English Masters in Honour of the German Emperor

When Emperor William II celebrated the beginning of his fiftieth year in January 1908, the Royal Academy of Arts arranged an Exhibition of Old English Masters in his honour. Over 200 masterpieces by some of the most important British painters of the 18th and early 19th century were brought to Berlin. Among them were many that had never been exhibited publicly before, like Thomas Lawrence’s Portrait of Lady Elizabeth Farren or Gainsborough’s Blue Boy, which was shown outside of the British Isles for the very first time. The paintings, mostly portraits, were primarily lent by private collectors in London like Sir Ernest Cassel, John Pierpont Morgan, or Henry Oppenheimer and some British aristocrats like the Duke of Westminster or the Marquess of Londonderry, as well as several German connoisseurs from Berlin. Almost 70,000 people saw the exhibition within four weeks, which made it one of the most popular events ever arranged at the Royal Academy. 

This paper will examine this unique exhibition and illustrate the display of these art treasures in Berlin as well as the circumstances of the formation of this important cultural event. By focussing on coeval press reports and historical records, the political dimensions of the exhibition will be discussed, which was allegedly arranged on the Kaiser’s special request after his visit to London in 1907. It will be argued that the exhibition was not only an elaborate and costly birthday gift to the emperor, but probably also meant as an ‘Entente of Art’ to try to resolve the complicated political relationship between the two nations via ‘cultural diplomacy’.

 Sandra Kriebel is a Ph.D. student at Humboldt-University (Berlin) researching in the areas of exhibition history, private collecting, and art sociology in the 19th and early 20th century. She successfully grad-uated from Leipzig University in 2010 with a Masters’ Degree in Art History and Classical Archaeology. For her interdisciplinary Masters’ thesis she wrote on Modes of adapting antique sculptures in the oeuvre of neo-classical sculptor Emil Wolff (1802–1879) by applying methods of both her fields of study. Since 2012 she has lectured in both disciplines, as well as in Musicology, at Leipzig University, where she specialized in interdisciplinary concepts involving teaching collections and university muse-ums. She furthermore coordinated the teaching project Leipziger Sammlungsinitiative at Leipzig University funded by the Federal Ministry of Education and Research.

In October 2016 she started her biennial Scholarship for Doctoral Students at Evangelisches Studienwerk Villigst to work on her doctoral thesis on Old Master Loan-Exhibitions from private property in Berlin during the German Kaiserreich: Social tasks and functions in the cultural and educational policy (working title).

Monday, 6th February 

Erin Thompson

What No Owner Can Complain of Having Lost:  Motivations for Collecting Looted Antiquities

Theodoric the Great, 6th c. CE King of the Ostrogoths, permitted his subjects to take artifacts from ancient graves, since “it is not greedy to take what no owner can complain of having lost.” (Cassiodorus Variae 4.34.) This talk will trace the long history of the justification of looting archeological objects as a victimless crime. 

Drawing from letters, diaries, memoirs, interviews, and other sources that reflect the self-perceptions of antiquities collectors, Erin will explain why many modern collectors believe that countries of origin do not deserve to own antiquities, while they themselves possess some special power of understanding of antiquities that gives them a better right to own them.   The importance of understanding the role antiquities collecting plays in collectors’ social networks will also be examined. Antiquities collectors throughout history have described the personal friendships with curators and dealers that grew alongside their collections. More intimately still, are the bonds formed on the basis of a shared collecting interest with other collectors, parents, siblings, and even spouses.

These social links can prove harmful when they lead collectors to purchase looted antiquities, and understanding collectors’ social networks is key to convincing these collectors to stop collecting in ways that can encourage the destruction of archeological sites and even fund organizations like the Islamic State that are selling looted antiquities to fund their genocidal campaigns.

Erin Thompson is an assistant professor of art law and art crime at John Jay College, City University of New York and holds a PhD in ancient Greek, Roman, and Ancient Near Eastern art history from Columbia University, as well as a law degree from Columbia Law School. She studies the looting and collecting of antiquities and her recent book, Possession: A Curious History of Collecting from Antiquity to the Present (Yale, 2016), covers the history of the private collecting of Greek and Roman antiquities, with a focus on collectors’ motivations and self-perceptions.

Monday, 9th January

Karen J. Lloyd 

Displaying the Pope's Living Presence: Bernini's Clement X in Cardinal Paluzzo Altieri's Collection

The 1698 inventory of Cardinal Paluzzo Altieri's Roman apartments places a sculpted bust of his uncle, Pope Clement X Altieri, in the cardinal's 'Room of Paintings.' The bust was particularly precious, as it was the last papal portrait in marble made by the then-aged Gian Lorenzo Bernini. Analysis of the inventory indicates that Paluzzo intended his collection to shape his public image as a rigorously devout prelate and, as was typical of the time, to acknowledge his political allegiances and debts. Bernini's bust was however set apart, as the only sculpture and the only portrait displayed in a space dedicated solely to art. How did the circumstances of display shape the meaning and reception of Bernini's last papal bust? 

Some scholars, most recently Caroline Eck, have argued that early modern sculpture was at times perceived as having a 'living presence,' that the boundaries between art and life could become blurred in viewer experience. However, the mechanisms by which such an experience might be triggered and the extent to which patrons sought to cultivate such a response, remain murky. Consideration of the display of Bernini's Clement X, as well as seventeenth-century descriptions of the installations of the artist's busts of Popes Paul V Borghese and Urban VIII Barberini in their respective family palaces, provide valuable insight into how such responses may have been intentionally fostered in learned audiences. Drawing on Alfred Gell's theory of art and agency as well as early modern literary and theological sources, this talk explores Bernini's papal busts at the intersections of patronage, display, and living presence.

Biography

Karen J. Lloyd is an Assistant Professor of Renaissance and Baroque art history at Stony Brook University. She is the co-editor of A Transitory Star. The Late Bernini and his Reception, and author of articles on Bernini, art collecting and display in seventeenth-century Rome, and the polemics of the early modern devotional image. Her work focuses in particular on the visual apologetics of nepotism in papal Rome, from rhetoric to modes of reception. Most recently, she has examined Italian representations and reform of the colonial Peruvian Virgin of Copacabana for a forthcoming book on early modern Italy and the Americas.

2016

Monday, 12th December

M.J. Ripps will speak to us on ‘Langton Douglas:  a dealer devoted to Bode and Berlin 1903-1914”. 

The fabled relationships Wilhelm von Bode (1845 – 1929) forged with Sir J.C. Robinson (1824 – 1913), Surveyor of the Royal Collection – as well as gifted picture speculator, and the legendary French dealer Charles Sedelmeyer (1837 – 1925), appreciably benefitted Gemäldegalerie acquisitions before 1900. While Ripps has already recounted that narrative in a brief paper, what remains less familiar are the ‘successor’ relationships Bode cultivated after 1900. 

Judging from ample circumstantial evidence, the correspondence Robert Langton Douglas (1864 – 1951) struck up with Bode fast became especially significant to his continuing ambitions in Berlin, even if contemplated purchases did not always end in success. What was almost always successful for Bode, however, was the deep level of ‘field intelligence’ he accumulated from Bond Street – courtesy of the loyal and diligent Douglas – in the decade before the Great War. 

Douglas was a colourful character of verve, genius, and charm, and only a converted dealer. Having read history at Oxford, he was an ordained Anglican priest, but it did not take, and he soon left the church. A connoisseur of Italian pictures, Douglas tried his hand at art criticism, but in the face of a growing family and no meaningful inheritance, he reluctantly commenced a career in the picture trade circa 1903 – albeit in a gentlemanly way. 

Given his scholarly pedigree, Douglas, unsurprisingly, gravitated toward the learned Bode, soon becoming one of his most reliable ‘lieutenants’ in London. Perusal of his voluminous correspondence indicates that he was constantly keeping Bode abreast of any major impending opportunities and offering Berlin first refusal on top-flight pictures. 

Although Denys Sutton published a magisterial profile of Douglas’ career in Apollo (1979), nevertheless it neither substantively addressed Douglas’ involvement in non-Italian pictures nor his key Bode relationship. In this paper, Ripps aims to illuminate what was achieved through that professional affiliation, which gradually morphed into a (lopsided) friendship. 

Both men expected much from the other in their respective quests – Bode to render the Royal Prussian Museums the finest the world over, while Douglas desired validation as a capable connoisseur and trophy hunter, by Dr. Bode himself, the foremost picture expert of the era.

Ripps read history at Virginia and Cambridge and later art history in Amsterdam. He submitted his doctoral thesis at Oxford ('Bond Street picture dealers and the international trade in Dutch old masters, 1882 - 1914'), supervised by Christopher Brown, during Michaelmas 2010. Ripps has held grants from the Frick Collection, Prussian Cultural Heritage Foundation, and Burlington Magazine (Francis Haskell Prize), and spent a year in the paintings department, J. Paul Getty Museum. Specialized in the history of the market in Dutch and Flemish paintings -- and in matters of connoisseurship, Ripps also has significant working experience in the old master trade.

Monday, 14th November

Alba Irollo

Taste and Ambitions of a Queen:  The Genesis of Caroline Murat’s Collection.   

As Queen of Naples from 1808 to 1815, Caroline ruled for long periods while her husband, Joachim Murat, was absent. This position enabled her to leave a clear imprint on the politics of patronage carried out by the French in southern Italy. She was also able to operate quite freely as she added to her private art collection.

Caroline put together a collection of antiquities that was well known throughout Europe. This collection comprised not only finds from the ancient sites of Herculaneum and Pompeii but from all the excavations in southern Italy. Many of its objects were topics of antiquarian dissertations. The collection included important marbles and bronzes but the most valuable objects were several vases from Magna Graecia, and even a complete ancient tomb.

Caroline Murat’s collection reflected in equal measure her passion for antiquity and her interest in modern art. As collector of modern art, Caroline tended to prefer painters and sculptors trained in France, and their works were commissioned or purchased by the queen through personal funds. More precisely, not only did Caroline continue to acquire art works of the Salon, as she did when she lived in Paris, but she consistently supported young artists newly arrived in Italy to keep up their studies, or to seek their fortune at the new courts formed around the members of the Bonaparte family. In this way, she became a patron of painters such as Jean-Auguste-Dominique Ingres, who made for her the famous Odalisque now at the Louvre.

Alba Irollo holds a PhD from the University of Naples, ‘Federico II’ and is working on a book on Caroline Murat as a patron and collector.

October

Dr Laura-Maria Popoviciu, Curator, Research & Information (Historical), Government Art Collection

Conversation pieces - Curating the Embassy. Works on display from the Government Art Collection.

The UK Government Art Collection displays works of art in government buildings in the UK and in diplomatic buildings around the world with the aim of promoting British art, history and culture. This paper offers an insight into the role of the Collection, both locally and internationally, through a selection of images and archival photographs, which show a number of works in situ and record the changing displays at significant moments in history. I hope to show the way in which the Government Art Collection contributes specifically to one aspect of cultural diplomacy by selecting works that have a strong connection with the host country either through the artist or the subject of the work. At the same time, I hope to illustrate how various displays help to assimilate the past and create continuity with the present, propose new narratives, influence through soft power as well as open up a series of questions about British art and its history.

Dr. Popoviciu completed her doctorate at the Warburg Institute in 2014, entitled Between Taste and Historiography. Writing about Early Renaissance Works of Art in Venice and Florence. 1550-1800. This study investigates how early Renaissance paintings from Venice and Florence were discussed and appraised by authors and collectors (English and Italian) writing in those cities between 1550 and 1800.

Monday, 9th May 

Federica Gigante 

 Collecting Islamic art in early modern Italy

This seminar is geared towards providing an overview of the mechanisms of importing and collecting Islamic artefacts in Italy in the early modern period. It will focus in particular on the late sixteenth and seventeenth centuries and will touch on both private and courtly collections in order to analyse the motives for and interest in collecting Islamic artefacts across a wide spectrum of society. 

This session will question the assumption that Islamic artefacts were collected as mere exotica and that they were included in the cabinets of curiosities only as representatives of a foreign and unknown world. It will in particular, pinpoint the channels of importation into Italy and the mechanisms of selection of certain specific artefacts for import, drawing from a wide range of unpublished sources.

Federica Gigante is a PhD candidate at the Warburg Institute and SOAS where she is finishing her thesis on the collection of Islamic artefacts of Ferdinando Cospi. She holds an MA in Cultural and Intellectual History 1300-1650 from the Warburg Institute, and MA in Cultural Policy and Management from City University and a Postgraduate Certificate in Islamic Art from SOAS. She is a former fellow of the Kunsthistorisches Institute (Max Planck Institute) in Florence and of the Centre for Anatolian Civilizations of Koç University in Istanbul. 

Monday, 7th March

Lassla Esquivel Durand

Private museums as an international phenomenon: The examination of the role of the Júmex Collection as a private museum

Private collections form an important part of the demand for contemporary art nowadays. Further research should be done on private museums as a distinctive institutional model, addressing the problems around these entities as stakeholders within the art market and legitimising actors within the art world. 

The tension between global and local is a crucial debate under the umbrella of emerging markets theory. It has opened discussion for the reconfiguration of territories as constellations of artistic hubs: a cluster of cities to produce art – Mexico City, Sao Paulo – and cities to distribute art – London, New York. 

This session will analyse the ways in which private museums affect the infrastructure of the contemporary art scene on both national and international levels through the example in Mexico City: the Júmex Museum. It aims to determine to what extent Júmex's commercial nature has played a decisive role in the current position of Mexico in the international art scene. It will seek to understand what happens within the intersection between the symbolic and economic sphere of the art, in which arguably, private museums are protagonists. We will discuss the process in which private museums like Júmex are embedded in developing artistic hubs. 

 Lassla Esquivel Durand

Art historian, independent curator, art producer and researcher. She has an MA in History and Business of the Contemporary Art Market by the University of Warwick/IESA UK. She specialises in emerging markets, particularly in Latin America. 

Her curatorial projects have been showcased in Latin America, EMEA and Asia-Pacific regions and the UK; and her commercial pursuits consist of institutions like Enrique Guerrero Gallery (Mexico City), Shaped in Mexico (London) and not for profit organisations like PAC (Contemporary Art Patronage, Mexico City) and Edge of Arabia (London). 

Currently Lassla Esquivel Durand is researching private museums in Latin America and their relation to the art market, as well as producing cultural projects under the name of ARS PROJECTS platform. 

Monday 15th February

Caroline McCaffrey-Howarth 

Reclaiming Her Scandalous Past: The decorative art collection of Lady Dorothy Nevill (née Walpole)

 Caroline is a AHRC-funded PhD candidate and White Rose Scholar at the University of Leeds researching the 'mania' behind the collecting and display of Sèvres porcelain in 19th Century Britain. She read Art History with French at the University of St Andrews and holds a MA with Distinction in Decorative Arts from The Wallace Collection and The University of Buckingham. Caroline has worked as a Research Curator for a private collection of decorative arts and curated an exhibition on 'Tea, Art and History' in the National Museum of Kazakhstan from July-October 2015. She has just completed her first publication on the visual representation of furniture in the 19th Century for 'The Cultural History of Furniture', Bloomsbury Press forthcoming, 2017. 

This paper introduces Lady Dorothy Nevill (née Walpole) (1826-1913) as a significant collector of French and English eighteenth-century decorative arts during the late nineteenth century. Until the 1860s, her husband Reginald Nevill (1807-78) received public recognition as the owner of her collection, not Lady Dorothy. In 1862 Lady Dorothy contributed an impressive collection of Sèvres porcelain to the Special Loans Exhibition held at the South Kensington Museum. This bolstered her position in the Victorian art world and from this moment onwards she participated actively in various exhibitions and events held by the Fine Arts and Burlington Clubs. Lady Dorothy is known as a botanist, horticulturist and writer, as well as a political hostess. Yet, little consideration has been given to her role as a collector; therefore this paper hopes to shed light on the importance of her collection, particularly her Sèvres porcelain, in the latter half of the nineteenth century in England. 

Monday 11th January

Tom Stammers  

Francis Haskell and the History of Collecting

Tom Stammers is lecturer in Modern Cultural History at the University of Durham. He has researched and published widely on the history of collecting in post-revolutionary France. He is currently completing a book manuscript entitled ‘Collection, Recollection, Revolution: Scavenging the Paris in Nineteenth-Century Paris’. He has been awarded fellowships at the Maison des Sciences de l’Homme in Paris, the Huntington Library in Pasadena and the Maison Française in Oxford; in 2015 he organized a major conference with St John’s College, Oxford and the Ashmolean Museum on collecting and cultural history entitled ‘A Revolution in Taste: Francis Haskell’s Nineteenth Century’ which will become a volume published by Oxford University Press. He is starting new research on the formation, exile and dispersal of French royal collections in Britain and Europe in the nineteenth century, as well as on the evolution of the Louvre. He is a regular contributor to the arts magazine Apollo. 

2015

Monday 7th December

Stephane Castelluccio 

The display of Paintings in the French Royal Collections in the Grand Appartement at Versailles during the reign of Louis XIV

During the reign of Louis XIV, some of the paintings in the royal collection were displayed in the Grand Appartement at Versailles. This lecture will present the reasons for the King’s choices and the manner of their display. It will then analyse the differences between the displays in the King's Grand and Petit Appartements and the aesthetic, political and other reasons behind these choices.

Stephane gained his Phd from the Ecole du Louvre in 1989 on Le Château de Marly sous le règne de Louis XVI, a Phd from the University of Paris IV-Sorbonne in 1998 on Le Garde-Meuble de la Couronne et les collections royales d’objets d’art 1774-1798, and a Phd to be able to supervise research at Paris IV-Sorbonne in 2007 on Le Commerce des meubles et des objets d’art par les marchands merciers parisiens pendant le règne de Louis XIV. He has held the position of HDR researcher at the Centre national de la recherche scientifique in the Centre André Chastel UMR 8150 in Paris since 1994.

A specialist in the history of the royal palaces, their interior decoration, furniture and collections of fine arts, and in the luxury trade in France during the XVIIth and XVIIIth centuries, he has published many articles and books. Among these are: Les Collections royales d’objets d’art de François Ier à la Révolution (The French Royal Fine Arts Collections from Francois Ier to the Revolution), Le Garde-Meuble de la Couronne et ses intendants du XVIe au XVIIIe siècle  (The royal Garde-Meuble and its directors from the XVIth to the XVIIIth centuries), Le Commerce des meubles et des objets d’art par les marchands merciers parisiens pendant le règne de Louis XIV  (The trade in furniture and fine art by the Parisian marchands merciers during the reign of Louis XIV).

Monday, 16th November

Sophie North, MA 

The Princesse de Lamballe

This paper is an attempt to explore the taste in decorative arts of the Princesse de Lamballe in the late 18th century. Her life and tragic death have fascinated generations of historians and biographers, but surprisingly no academic study on her interiors and taste for the decorative arts has ever been carried out.  The paper will seek to demonstrate that the Princesse de Lamballe was a follower of the changing fashions in the decorative arts in her public life and in her private life had much simpler tastes.

The Princesse de Lamballe led three distinct lives that dictated her taste in furniture and porcelain. As the Queen’s Surintendante she had official apartments in Versailles between 1775 and 1792 and at Fontainebleau. In both Palaces she was required to entertain members of the Royal family and the court. 

When she was not attending her duties to the Queen, she lived with her father-in-law, the Duc de Penthièvre, at the Hôtel de Toulouse in Paris, which had, since the Régence been seen as a second Versailles within Paris and its interiors reflected that importance.

To escape from her court duties and society the Princess bought a small Hôtel Particulier called the Hôtel d’Eu in Versailles, where she relaxed with her ladies in waiting and played cards. She also bought a country house in Passy, known today as the Hôtel de Lamballe (now the Turkish Embassy).

The Princesse was both in her official and public life a follower of the fashion of times. She frequented the leading marchand merciers. She owned neoclassical furniture from the best menuisiers and frequently bought Sevres porcelain. She adopted Anglomania when it came into vogue.     

Monday, 19th October

Dr. Paola Cordera, Professor of History of Art at the Politecnico of Milan. 

For public leisure (with a private benefit). Art on display in the hôtel Spitzer in Paris

The marchand-amateur Frédéric Spitzer (1816-1890) was listed amongst the prominent collectors of Medieval and Renaissance art in nineteenth-century Paris. His outstanding collection – known as the Musée Spitzer – was unanimously considered to be the model of nineteenth-century collecting focused on constructing a residence in which complete stylistic harmony existed between the architectural details, furnishings and the arrangement of the collection. Although Spitzer’s method of collecting and display in period rooms was abandoned at the end of nineteenth century, it profoundly influenced museums in Europe and private collections in the United States in the late nineteenth and early twentieth centuries.

Spitzer’s hôtel in rue de Villejust (now rue Paul Valéry) exerted an enormous influence as an essential reference for living and collecting decorative arts. Its guest list regularly included aristocrats, politicians, musicians, actors, painters, scholars, dealers and collectors.  Social rites and private life in his salons were extended into the museum itself as a cultural and social venue. Spitzer artfully designed his mansion to provide more than mere access to an art gallery: an evocative arrangement of his collections was also provided. It would have been perfect for a showroom as well, as Spitzer gathered artworks for his own interest and for financial gain.

Spitzer’s museum will be reconsidered within a broader narrative including the promotion of his collections in connection with the Decorative and Industrial Arts Exhibitions and Universal Exhibitions. The overall picture which emerges provides a significant overview of nineteeth century collecting practices and displays and offers an invaluable insight into the taste of the time.    

Paola Cordera's research has evolved from a multidisciplinary background developed through various research projects in the field of museums and cultural heritage.  These have spanned Medieval and Renaissance art, architecture and decorative arts and their revivals and collections in 19th and 20th century.

Frédéric Spitzer and his Parisian museum were the subject of her PhD thesis (Politecnico of Milano and Université Paris 1 Panthéon-Sorbonne).    

Monday,  8th June  

Dr. Simon Mills

European Collectors in Early Modern Aleppo

In the sixteenth century, the Syrian city of Aleppo emerged as an important centre of the European Levant trade. The establishment of French, English, and Dutch consulates brought an influx of merchants to the city, lured by the trade in spices and silk. Yet Aleppo also drew a number of Europeans with interests rooted in scientific and scholarly concerns, in search of different kinds of commodities: manuscripts, antiquities, and the flora and fauna of the Near East. This talk will explore the careers of several European collectors in Aleppo, their motivations, and their interactions with Ottoman scribes and dealers. Tracing the development of the merchant communities in the city and the increasing European interest in the antiquities and natural history of Syria, it will argue that commerce interacted with science and scholarship to enable a new kind of early modern collector. It will then survey some of the manuscripts, antiquities, and natural specimens brought back to Europe between the late sixteenth and the eighteenth centuries, and assess the importance of their place in the development of European libraries, museums, and scientific collections.

Dr Simon Mills is a Leverhulme Early Career Fellow at the University of Kent. His current project explores the link between overseas trade and various forms of early modern scholarship by tracing the links between English commercial and diplomatic expansion in the Near East and the development of oriental and antiquarian studies in Britain. He was awarded his PhD at Queen Mary, University of London in 2009, and has held fellowships at the Council for British Research in the Levant; CRASSH, University of Cambridge; and the Dahlem Humanities Centre, Freie Universität, Berlin.

Monday, 2nd March

Dr. François Marandet 

The Dukes of Gramont as patrons and collectors in the early 18th century

Because of their military action during the War of the League of Augsburg and that of the Spanish Succession, Antoine Charles, 4th Duke of Gramont (1641-1720), and his son Antoine, 5th Duke of Gramont (1672-1725) have mostly the received the attention of historians. Their role, however, as collectors of paintings, has been often overlooked although the 4th Duke once owned paintings as famous as Titian’s poesie: Diana and ActaeonDiana and Callisto and The Rape of Europa. These masterpieces were then acquired by the Regent Philippe, Duke of Orléans, while other prominent paintings entered the collection of Philip V, king of Spain. This seminar aims to reconsider the 4th Duke as a collector through the discovery of his post-mortem inventory: the significant number of French contemporary paintings (by Nicolas Colombel, the brothers Bon and Louis de Boullogne, and above all by Francisque Millet, the most “poussinesque” landscape painter) seems to foreshadow taste in France during the following decades.  The other discovery is that of a set of family portraits of the 5th Duke of Gramont, his wife and their children, all made by Bon Boullogne (1649-1717), which survive in Bayonne. It appears that the Dukes of Gramont patronised Bon Boullogne and this is borne out by the correspondence of the Northern picture dealer Gillis Van der Vennen, where we learn that the sale of Luca Giordano’s series illustrating the story of Psyche, which is now in the Queen’s collection, was negotiated thanks to “M. Bollone, peintre du duc de Gramont”. 

Dr. François Marandet, whose dissertation focused on the art market and collecting in France during the first half of the 18th century (Paris, Ecole Pratique de Hautes Etudes), organized in 2011 an exhibition on the painter Daniel Sarrabat at the Brou Museum, Bourg-en-Bresse.  More recently, he has curated an exhibition on the painter Bon Boullogne and his pupils at the Magnin Museum, Dijon. 

Monday, 2nd February 

Dr. Barbara Lasic 

‘De Bons Citoyens: John and Josephine Bowes' collecting of French revolutionary ephemera’

Passionate and eclectic collectors, John and Josephine Bowes assembled one of the largest art collections of the second half of the 19th century which included Old Master Paintings, Renaissance objets d’art and eighteenth-century decorative arts. Now on display in the palatial museum that they founded in County Durham, the collection is a testament to the wide-ranging taste and philanthropic aspirations of its founders. 

While John and Josephine’s passion for the material culture of the Ancien Régime has been amply discussed, their interest in French Revolutionary ephemera has so far been largely overlooked. The present seminar will examine the pro and counter-revolutionary contents of this discreet collection, its methods of acquisitions and links with the rest of the collections. It will locate John and Josephine’s practices within those of a wider network of collectors and hopes to offer a nuanced reading of John and Josephine’s critical historical engagement with 18th-century France. 

Barbara was awarded her PhD on collecting French decorative arts in Britain 1789-1914 by the University of Manchester in 2006.    She then worked at the V&A, where she curated the exhibitions Albertopolis (November 2011-April 2012);  So Noble a Confection:  Producing and Consuming Chocolate 1600-1800 (October 2010 - September 2011) and Gargoyles and Shadows:  Gothic Architecture and 19th-century Photography (January - May 2010).  She has published widely on art collecting, the history of taste and museum architecture.   Barbara now teaches at the University of Buckingham.

Monday, 5th January 

Annalea Tunesi 

 C. F. Walker I taccuini (Note book of Bardini’s clients) 

'Lord Cliveden(?), 7 Carlton Gardens:  Unpredictable buyer; understands nothing but is very rich. Old master paintings, bronzes, antique furniture. To conduct business you have to be ... [unclear] on the terms of payment. You will surely be paid in the end, but he will make you sweat for it.'

A notebook or taccuino entitled Appunti di Londra was found in the Bardini archive in Florence and it reveals the marketing technique adopted by Bardini. His agent in this case, a certain C. F. Walker, travelled around Europe and reported carefully interesting details regarding new potential clients.  Bardini would give extremely clear instructions to his agent, asking him to determine the personality, habits, financial possibilities, behaviour and understanding of art of each of these collectors. The taccuino is divided into three sections: London, Brussels and Paris and appears to have been written around 1892. The clients were mainly bankers, wealthy professionals and captains of industry who followed the fashion for collecting. Sometimes their purchases were based on a thorough knowledge of art, and sometimes they only served the purpose of displaying their owner’s wealth.  Appunti di Londra reveals the clarity with which every client was portrayed in just a few short notes. The first section of the notebook, entitled Amatori di Londra, is dedicated to London’s private collectors. The aim of this paper is to analyse the notes written by C. F. Walker, his use of the language and the subtlety of his psychological analysis of every single collector. We will see how Bardini established a circular relationship with English collectors. In Florence he was influenced by their taste while in London he was becoming influential.

After the Accademia di Belle Arti di Brera, Annalea worked for sixteenth years as Art director / set designer in Milan. In 2007 she started the MA course at University of Warwick, IESA School, History and Business of Art and Collecting.  Her MA thesis title was: Why di Bardini use blue?   In July 2014 she was awarded a PhD in museology at Leeds University with the title; Stefano Bardini's Photographic Archive: A visual historical document. Her research interest began with the Florentine Art Dealer Stefano Bardini (1836-1922) and focuses on medieaval and Renaissance revival in Florence and in England, and the iconological analysis of nineteenth century photographs and interior’s displays. She is preparing a Post doc project on the relationship between Stefano Bardini and his English clients in Italy and in England.


 2014 

1st December  

Dr. Arthur MacGregor, Joint Editor of the Journal of the History of Collections:

Cabinets of Curiosities: 500 Years of Representation and Mis-representation

Now used all too often as a portmanteau term for almost any gathering of miscellanea, the concept of the cabinet of curiosities has come a long way down in the world from its early, highly structured meaning. The many dimensions encapsulated in early collections admittedly makes them difficult to characterize succinctly: even those of outwardly similar composition might be interpreted very differently by their owners - and indeed by successive owners through time. The many false trails presented by contemporary catalogues, inventories and pictorial illustrations only add to the problems of interpretation, with some closely reflecting the contents (and even conditioning their display) and others following entirely different agendas. Yet a number of recurrent themes can be detected which allow us to identify some salient characteristics recurring from the Renaissance beginnings of the cabinet to its fall from fashion with the rise of Enlightenment values and post-Linnaean concepts of classification. A number of these themes will be discussed as the progress of the cabinet is followed in the context of changing preoccupations among collectors.

3rd November 

Dr. Elizabeth Goldring: 

‘Princely Pleasures: The Picture Collection of Robert Dudley (1532/3-1588), Earl of Leicester.’

Robert Dudley, Earl of Leicester, was one of the most colourful, fascinating, and controversial people of his day. Although best known today as Queen Elizabeth I’s favourite (and the most militant Protestant at her court), Leicester was also the most important and innovative patron of painters and collector of paintings at the Elizabethan court. With the help of his nephew and heir, the poet-courtier Sir Philip Sidney, Leicester amassed a substantial collection of art, including commissioned works by Nicholas Hilliard, Hendrick Goltzius, François Clouet, Paolo Veronese and Federico Zuccaro. Leicester also fostered the birth of an English vernacular discourse on the visual arts and was an early exponent, in England, of the Italian Renaissance view of the painter as the practitioner of a liberal art and, thus, fit company for the educated and well-born. In spite of the fact that Leicester’s pictures and personal papers were widely dispersed in the immediate aftermath of his death, new archival research has permitted Elizabeth Goldring to bring to life this lost world – and with it, a turning point in the history of British collecting. Drawing on the findings presented in her newly published book, Robert Dudley, Earl of Leicester, and the World of Elizabethan Art: Painting and Patronage at the Court of Elizabeth I (YUP/The Paul Mellon Centre for Studies in British Art, 2014), Dr Goldring will provide an overview of Leicester’s picture collection and of the broader cultural environment in which it was created and experienced.

Dr. Goldring is an Associate Fellow of the Centre for the Study of the Renaissance at the University of Warwick. She is the author of Robert Dudley, Earl of Leicester, and the World of Elizabethan Art: Painting and Patronage at the Court of Elizabeth I, which has just been published by Yale University Press/The Paul Mellon Centre for Studies in British Art, and General Editor of John Nichols’s The Progresses and Public Processions of Queen Elizabeth I: A New Edition of the Early Modern Sources, which was published in five volumes by Oxford University Press earlier this year.

13th October 

Nicola Pickering  

Creating le goût Rothschild: the English Rothschild family in the nineteenth century

This paper will focus on the English Rothschild family in the nineteenth century and the style of decoration and nature of collecting which came to be known as le goût Rothschild. The interiors and collections of six Rothschild residences in the Vale of Aylesbury and the collecting activity of their six owners feature in this paper.  It will be argued that a shared Rothschild taste which was common to these residences and collections was not unique in this period, but was certainly distinctive. Many of the interiors of the Rothschild mansions in the nineteenth century had common elements: overall the interior ensembles were highly decorative; the furnishings were generally luxurious, and boiseries and antique tapestries were often present. Furthermore the decorative arts which were most plentiful were those of the French eighteenth-century.  

In these tastes the family did not differ dramatically from existing nineteenth-century trends, they did not initiate new fashions in collecting or the presentation of domestic spaces and in general their preferences were an endorsement and elaboration of the established styles favoured by the landed classes. Yet the Rothschilds’ presentation of their residences and their collecting activities in the nineteenth century were considered by contemporaries to be especially noteworthy and distinctive. The reasons why the phrases le goût Rothschild or le style Rothschild (with their implied sense of uniqueness) may have come into existence will therefore be explored in this paper. 

The wider family network to which the English Rothschild family members belonged and their particular pan-European background, were among the most significant influences on the formation of their collecting tastes. It will also be shown that the carefully devised furnishing of the family’s country residences was conducted in collaboration with a network of dealers all over Europe. Names such as Alexander Barker, Charles Davis, Samson Wertheimer, John Webb, Samuel Pratt, the Durlacher Brothers and the firms of Annoot and Gale and Nixon and Rhodes feature frequently on receipts for purchases the Rothschilds made. These dealers often advised the family members on what to buy, acted as agents, and compiled catalogues of their collections. The repeated use of foreign styles and sources in the English Rothschild’s residences and collections therefore reflected the preferences and inherited interests of the wider Rothschild family network, but also those of these dealers and agents.

Nicola completed her doctorate at King’s College London in 2013. This was an AHRC collaborative award in partnership with the Rothschild Archive, London. Prior to this course of study she undertook an MA in Curating at the Courtauld institute and an MPhil in the History of Art and Architecture at the University of Cambridge. 

She is now curator at Eton College and formerly worked for the National Trust as a curator, working in the London and South East region. In the past five years she has also worked in the curatorial departments at Historic Royal Palaces, the Royal Collection, the National Portrait Gallery and Dulwich Picture Gallery.

Monday 16th June

Dr. Stephen Lloyd

The Buccleuch Collection of Portrait Miniatures: aspects of Victorian and Edwardian antiquarianism,  emulation and display at Montagu House, Whitehall

After the Royal Collection, the portrait miniatures in the Buccleuch collection can be considered as one of the two most important aristocratic collections to have remained mostly intact in Britain. Building on a core of around 150 miniatures inherited from his Scott (Buccleuch) and Montagu ancestors, Walter Francis, 5th Duke of Buccleuch and 7th Duke of Queensberry (1806-1884), acquired another 600 miniatures, with a number of other important examples being acquired by his son William, 6th Duke of Buccleuch (1831-1914). Using the London printsellers and art dealers P. & D. Colnaghi & Co., the collection was built-up systematically over a period of 60 years, alongside a substantial assemblage of prints, both historical portraits (i.e. Reynolds), those by old masters (Rembrandt) and others by contemporary artists (Wilkie and Landseer). The collection of miniatures is well-known for its outstanding group of Tudor and Stuart works by artists such as Holbein, Horenbout, Hilliard, Isaac and Peter Oliver, John Hoskins and Samuel Cooper (the famous unfinished portrait of Oliver Cromwell). While antiquarianism and the continuance of dynastic memory were significant aspects in the development of the collection, this paper will argue that emulation of other prestigious collections, such as those formed by Horace Walpole at Strawberry Hill and by Queen Victoria was an important factor in the lavish displays of framed groups of miniatures shown in the Gallery and other private spaces of the Buccleuch family's London residence in Whitehall.

Stephen Lloyd has been Curator of the Derby Collection at Knowsley Hall, Merseyside since 2012 and is a former Senior Curator at the Scottish National Portrait Gallery, Edinburgh. After studying at the University of Cambridge and the Warburg Institute, he received his doctorate from the University of Oxford for his thesis on the Regency artists, Richard Cosway (1742-1821) and Maria Cosway (1760-1838). The Cosways were the subject of an international loan exhibition he curated at the SNPG and NPG in London (1995-6). At the SNPG he curated many exhibitions - accompanied by catalogues - on portrait miniatures including selections from the Buccleuch Collection (1996-7 ), the National Galleries of Scotland (2004) and Scottish private collections (2006). Together with Kim Sloan, in 2008-9 he co-curated  a major exhibition at the SNPG and British Museum, The Intimate Portrait: Drawings, Miniatures and Pastels from Ramsay to Lawrence. In 2012 Edinburgh University Press published Henry Raeburn: Context, Reception and Reputation, a multi-authored volume that he co-edited with Viccy Coltman. From 2004 to 2010 Stephen was President of ICOM's international committee of museums and collections of fine art. He is a Fellow of both the Society of Antiquaries of London and of Scotland.

Monday 2nd June 

Natalie Voorheis

Edith Beatty's Collection of French Decorative Arts at Baroda House, Kensington Palace Gardens: A Case Study of Collecting and Display in Britain During the First Half of the Twentieth Century.

This seminar will examine the French eighteenth century decorative arts collection of Edith Beatty (1888-1952). In 1913, Edith married Chester Beatty, an American mining millionaire. The couple lived at Baroda House, Kensington Palace Gardens and they each formed collections. This seminar will describe Edith's decorative arts collection and trace her collecting habits. The influence of the art market on this collection and the resulting acquisition of objects with real and invented French Royal provenance will be discussed. The display of Edith's decorative arts collection will be examined, placing these objects in the context of the couple's collection as a whole. Edith and Chester have been described as the most important collectors of Van Gogh in Britain in the 1930s.  At Baroda House, Van Gogh's Still Life: Vase with Fourteen Sunflowers (Seiji Togo Memorial Sompo Japan Museum of Art) hung above eighteenth century seat furniture and was flanked by a pair of celadon vases with gilt-bronze mounts now in The Metropolitan Museum of Art.

Chester Beatty formed a remarkable collection, which included important manuscripts, books and textiles, as well as decorative objects, and paintings of the French Barbizon and Realist schools. Edith collected Impressionist and Post-Impressionist paintings, French eighteenth-century furniture, Sèvres and gilt-bronze mounted Chinese porcelain. Unlike Chester, she died intestateand her collections were dispersed; consequently, her collection is not widely known.  Much of the collection remains in private hands.

Natalie studied Art History and English at University College Dublin and holds an MA in Decorative Arts and Historic Interiors from The University of Buckingham and The Wallace Collection, London. She has worked at The National Gallery of Ireland and is currently the Curatorial Intern inDecorative Arts at The Royal Collection Trust.




Spring Term 2010

4 February

Book Launch: Collecting & Dynastic Ambition (CSP: Newcastle 2009), edited by Susan Bracken, Andrea Galdy and Adriana Turpin

Guest speaker: Susan Madocks Lister

Please note that this session will take place in Florence, at The British Institute of Florence, Lungarno Guicciardini 9.

8 February 

Guest speaker: Christopher Rowell, National Trust

Book Launch: Collecting & Dynastic Ambition (CSP: Newcastle 2009), edited by Susan Bracken, Andrea Galdy and Adriana Turpin

1 March 

John Hoenig (Independent Scholar)

The collection of Laszlo Hoenig (1905-1971) - a classic designer in a modern world

Summer Term 2010

16 April  

Anna Maria Poma Swank

tbc

Please note that this session will take place in Florence in collaboration with FUA. 

17 May 

Bet McLeod (Independent Scholar)

Horace Walpole and the Collections at Strawberry Hill

7 June 

Antonio Denunzio (Bank of San Paolo, Naples)

Odoardo Farnese's Collection of Exotica, Curiosities, 'mirabilia' and 'naturalia'

Autumn Term 2009

12 October

David Taylor (Scottish National Portrait Gallery)

An early Scottish portrait collection: The Duke of Rothes’ picture gallery at Leslie House

Rothes (c.1630-81) collected the largest and most important group of portraits in later 17th-century Scotland, likely influenced by his familiarity with the Duchess of Lauderdale’s gallery at Ham and the Arlington’s gallery at Euston.  He bought and commissioned autograph portraits and studio copies from several leading London-based artists, as well as aligning himself with one particular artist, the German painter L. Schuneman.

5 November

Robert G. la France (curator of pre-modern art, Krannert Art Museum, University of Illinois at Urbana-Champaign and Hanna Kiel Fellow, Villa I Tatti)

Collecting Bachiacca's Creations at the Court of Cosimo de' Medici and Eleonora di Toledo

Please note that this session will take place in Florence in collaboration with Florence University of the Arts. 

30 November

Bénédicte Miyamoto Pavot, Research and Teaching Assistant at Université Paris Diderot

Bringing Pictures to the Hammer is literally knocking down and depressing the Fine Arts!” – the rivalry between commercial valuation and artistic expertise in Georgian London

A study of the eighteenth-century London West End map will pinpoint the various venues that sold and showed pictures or prints between 1768 and 1805, and will nuance the art historians’ privileging of the Royal Academy as the only significant artistic mouthpiece. Pictures in Britain were relative novelties in the first half of the century. They burst on the scene of an already very developed market culture where auctions had been prevalent. The rapid assimilation of picture sales by commerce provoked tensions as well as unprecedented opportunities for a larger public. Nowhere else were paintings subjected to such an escalation of prices, creating a properly speculative fascination, as well as spawning original entrepreneurial initiatives that shaped our modern relationship to art. 

Summer Term 2009

16 April

James Bradburne (Direttore Generale of the Fondazione Strozzi, Florence) 

Collecting Ourselves: the Challenges of Collecting the Ephemeral  

Please note that this session will take place in Florence in collaboration with FUA.  

Florence University of the Arts, Via Magliabechi 1, 50122 Florence.

18 May

Alice Sanger (UCL) 

An Affection for Sacred Things: Women as Relic Collectors in Baroque Italy  

Spring Term 2009

9 February

Pablo Vázquez-Gestal 

From Court Culture to State Rhetoric. Antiquities, Museums and Royal Identity in Eighteenth-Century Naples (1734-1746)  

2 March

Isabelle Decobecq (University of Lille) 

"De Gustibus Est Disputandum ?  Accounting for preferences for painting in 18th century Paris: Pierre Louis Paul Randon de Boisset, a case study"



2008

13 October

Ann Eatwell

Lady Charlotte Schreiber: The doyenne of ceramic collectors (1860s-80s)  

10 November

Valentina Zucchi

The sala delle carte geografiche and the ducal guardaroba in the florentine ducal palace (Palazzo Vecchio) 


8 December

François Marandet,
the Duke of Orleans, Pierre Crozat and their paintings acquisitions: some rediscovered transactions on the Parisian market 


October 2007-June 2008

1 October

Helen Jacobsen:

Ambassadorial plate and the collection of the Earl of Strafford 1700-1715

12 November

Catherine Eagleton (British Museum)

How to collect coins in late 18th-century London: from HRH Princess Elizabeth to Mr Thompson (waiter at the white hart inn, Lincoln), via sSarah Sophia Banks

Susan Haskins

Mary Magdalen and sixteenth century Hapsburg politics

14 January

Stephane Castelluccio (Centre de Recherche en Histoire de l’Art, Paris)

The cabinet of paintings of  the surintendance des bâtiments du roi at Versailles

11 February

Michael Bury (Edinburgh)       

Controlling the viewing of private collections in sixteenth and early seventeenth century Rome

10 March

Hadrien Rambach (Independent)

Collectors at auction, auctions for collectors

19 May

Dries Lyna (University of Antwerp)

Rubens on the run? Auctioning art in 18th-century Antwerp and Brussels.

9 June

Maarten Delbeke (University of Ghent)

The collection of Francesco Gualdi and its position within the cultural-political milieu of early seicento Rome

 

October 2006-June 2007

The Lila Wallace lecture

Andrea Gáldy

Florence as a sixteenth-century centre of antiquarian studies

13 November

Richard Williams (Birkbeck College, University of London)

Collections as and expression of religious belief in reformation England

11 December

Robert Tittler (Concordia, Canada)

Faces and spaces in early modern England: the place for civic portraiture, c1560-1640

8 January

Adriana Turpin (IESA)

The Medici collections of new world objects

8 February

Derek Keene (Ihr)

Antiquities and apothocaries in early modern London

12 March

David Marsh (Birkbeck College, University of London)

Flora’s cabinet: the collection and display of 
plants in seventeenth century England

14 May

Vicky Avery (University of Warwick)

Renaissance sculptors as collectors

11 June

Christopher Poke (Independent)

A collection of (mainly 17th-century) engraved ornament prêt à porter? Collectors and publishers in early 18th-century France 


October 2005- June 2006

10 October

Giorgia Mancini (National Gallery, London)

Collecting and display in sixteenth-century rome: the case of cardinal Rodolfo Pio da Carpi

14 November

Virginie Spenlé (Tu Dresden)

Painting collections in German residences in the eighteenth century: princely representation and art display

12 December

Tracey Avery (University of Melbourne/Paul Mellon Centre)

The genteel and the curious: world views on display in colonial homes in Brisbane, Australia in the late nineteenth century

9 January

Karen Hearn (Tate Britain)

‘Sir Nathaniell Bacon’s ... And all other my pictures at Culford …’: Lady Jane Bacon’s inventory of 1659

13 February

Marika Leino (Henry Moore Foundation fellow, Oxford University)

Giacomo Francesco Arpino (1607-1684) and his 
‘gabinetto’

13 March 

Helen Rees Leahy (University of Manchester)

Desiring Holbein: absence and presence in the National Gallery, London

8 May

Susan Bracken (University of Sussex)

Collecting chyna in Jacobean London

12 June

Alexander Marr (St. Andrew’s)





 



The Institute of Historical Research, Senate House, Malet Street, London WC1E 7HU