This year the Wallace Collection is celebrating the two-hundredth anniversary of the birth of Sir Richard Wallace. Taking Sir Richard Wallace and his collection as its starting point, the conference will look at aspects of collecting and collections in London and Paris in the wake of the upheavals of the Franco-Prussian War and the Commune in 1870-71, considering essentially the period between 1870 and 1900.
The first day of the conference will consider the impact on the Anglo-French art market of the political and social upheavals in France in 1870-71, including the dispersal of collections and the movement of collectors, as well as the curatorship of private art collections. The second day will focus on two themes: the subject of the morning session will be loans to exhibitions from distinguished collections and the motivations that drove them; the afternoon will showcase works of art in the Wallace Collection acquired by Sir Richard Wallace.
Thursday speakers include:
- Olivier Hurstel (Curatorial Fellow, European Decorative Arts and Sculpture – Philadelphia Museum of Art)
- Professor Robert Tombs (Fellow of St John’s College, Cambridge),
- Dr Thomas Stammers (Assistant Professor, Department of History, University of Durham)
- Professor Anthony Geraghty (Department of History of Art, University of York)
- Dr Mathieu Deldicque (Conservateur du Patrimoine, Musée Condé, Chantilly)
- Joseph Friedman (Honorary Visiting Fellow of the Department of History of Art, University of York, and Senior Research Fellow in the History of Art and Architecture, University of Buckingham)
- Dr Silvia Davoli (Research Curator Strawberry Hill, The Horace Walpole Collection)
- Suzanne Higgott (Curator, The Wallace Collection)
- Helen Jones (Research Librarian, Wallace Collection Library)
- Natalie Zimmer (Curatorial Assistant, The Wallace Collection)
Friday speakers include:
- Lindsay Macnaughton (PhD researcher, Durham University/The Bowes Museum)
- Kathryn Jones (Senior Curator of Decorative Arts, Royal Collection Trust)
- Eloise Donelly (AHRC Collaborative Doctoral Candidate, University of Cambridge and the British Museum)
- Stephen Duffy (formerly Senior Curator, The Wallace Collection)
- Dr Jeremy Warren (Honorary Curator of Sculpture, Ashmolean Museum, Oxford and Sculpture Research Curator, The National Trust)
- From the Wallace Collection’s Curatorial department, Dr Tobias Capwell, Suzanne Higgott, Dr Helen Jacobsen, Dr Yuriko Jackall, and Ada de Wit.
The conference will be followed directly by a round table chaired by the Wallace Collection’s Director, Dr Xavier Bray, in conversation with special guest speakers Olivier Gabet (Director, Musée des Arts décoratifs, Paris), Dr Emilie E.S. Gordenker (Director, Mauritshuis, The Hague), Christian Levett (Private Collector), Jacob van der Beugel (Artist in Residence, The Wallace Collection), Ian Wardropper (Director, The Frick Collection, New York) to explore what the future holds for institutions founded by bequests similar to that of the Wallace Collection and how they are adapting to changes that could not have been foreseen by the original donors.
The ticket price includes coffee and tea breaks and a drinks reception on Friday 16 November from 18:30 to 19:45.
Download the full conference programme here.
20% discount at checkout for TIAMSA Members
It’s a rare and secret profession, comprising a few dozen people around the world equipped with a mysterious mixture of knowledge and innate sensibility. Summoned to Swiss bank vaults, Fifth Avenue apartments, and Tokyo storerooms, they are entrusted by collectors, dealers, and museums to decide if a coveted picture is real or fake and to determine if it was painted by Leonardo da Vinci or Raphael. Continue reading “Book out now: Philippe Costamagna, The Eye (New Vessel Press 2018)”
November 29 – 30, 2018
Deadline: May 28, 2018
In recent years the field of art research has become wider and polymorphous. There are at least two reasons for this. The first concerns the development and strengthening of artistic research in art academies since the late 1990’s. Today artistic research has become an umbrella term that covers all kinds of art research, especially research that concerns contemporary art.
The other reason is a consequence of structural changes in the universities and their curricula. Through these changes traditional disciplines have been merged into one another, transformed or constituted together with nearby disciplines. At the same time, practically-oriented and specific study programs that serve working life, for example curatorial studies, have become more general and increased in numbers within universities. Amongst these developments there have also appeared changes in methodologies and theoretical apparatus. Continue reading “CFP: Connoisseurship in Contemporary Art Research (Helsinki, 29-30 Nov 18)”
Raphael for Prince Eugene of Savoy: The Oeuvre in the Albertina, Its Provenance and the Role of the Mariette
Lecture by Antoinette Friedenthal
13 December 2017, 6.15pm
Institut für Kunstgeschichte
Universitätscampus Hof 9
The genesis of Prince Eugene of Savoy’s outstanding collection of prints has hardly been researched so far. One of its most prized holdings, particularly coveted by the Prince, is an extensive Raphael oeuvre (today in the Albertina), consisting of seven large folio volumes that contain the prints after Raphael by contemporary and later engravers. Like the bulk of the collection, the Raphael oeuvre had been assembled and catalogued in 1717/18 by the Parisian bookseller, publisher and print dealer Jean Mariette in cooperation with his now more famous son Pierre-Jean Mariette. The lecture by Antoinette Friedenthal – who is currently preparing an annotated edition of the correspondence between Jean Mariette and Pierre-Jean Mariette, 1717-1719 – will explore this important chapter in the history of connoisseurship.
Connoisseurship and the Knowledge of Art in the Netherlands, 1400 to the present
Connoisseurship has long been suspect. Though essential to the study of material objects, it has been opposed to the more ‘substantive’ discipline of academic art history, and reviled as outmoded and elitist, as tainted by the market, and as concerned merely with such artist-reifying/mystifying issues as attribution, authenticity and the autograph ‘hand’. The connoisseur – with typically his ‘eye’ – has been dismissed as a dinosaur. Continue reading “CFP: Nederlands Kunsthistorisch Jaarboek, vol. 69”
Markt und Macht. Der Kunsthandel im »Dritten Reich«
Ed. Fleckner, Uwe; Gaehtgens, Thomas W. and Huemer, Christian
Series: Schriften der Forschungsstelle “Entartete Kunst” 12
xvi, 434 pages
Language: German, English
Buy the book here – Markt und Macht
Die Geschichte des Kunsthandels im “Dritten Reich” zu schreiben, steht nicht nur aufgrund einer schwierigen Quellenlage vor besonderen Herausforderungen. Zwischen Komplizenschaft und Sabotage verstrickt sich das Handeln der Akteure in eklatante Widersprüche. Vom Alltagsgeschäft der Kunsthändler bis zum Widerstand gegen restriktive Vorschriften reicht das Themenspektrum, vom Auktionshandel bis zum Schwarz- und Schattenmarkt, von zahllosen Verbrechen nicht nur an jüdischen Sammlern und Händlern bis zum Kunstraub in den von deutschen Truppen besetzten Ländern. Kunst- und Wirtschaftshistoriker untersuchen in diesem Buch den Kunstmarkt und seine Mechanismen im Nationalsozialismus, die Rolle der Raubkunst sowie insbesondere moderner und “entarteter” Werke auf dem Kunstmarkt im “Dritten Reich”.
Provenance Research as a Method of Connoisseurship?
Call for Papers, CAA 2018
Christian Huemer (Getty Research Institute, CHuemer@getty.edu),
Valérie Kobi (Universität Bielefeld, email@example.com),
Valentina Locatelli (Kunstmuseum Bern, firstname.lastname@example.org)
This session will explore the intersections between provenance research and connoisseurship with regard to the early modern period. In order to go beyond today’s dominant understanding of provenance research as a practice exclusively related to Nazi-looted art and questions of restitutions, the panel will deliberately focus on topics from the late fifteenth to the eighteenth centuries. By setting this alternative chronological limit, we will delve into the historical role of provenance research, its tools and significations, and its relation to connoisseurship and collecting practices. What influence did the biography of an artwork exert on the opinion of some of the greatest connoisseurs of the past? How did the documented (or suspected) provenance of a work of art impact its attribution and authentication process? Which strategies were employed in the mentioning of provenance information in sale catalogues or, sometimes, directly on the artworks themselves? Did the development of art historical knowledge change the practice of provenance research over time? And finally, how can we call attention to these questions in contemporary museum practice and reassess provenance research as a tool of connoisseurship? In addition to addressing the history as well as the strategies of provenance research, this session will be an opportunity to question its relationship to other domains as well as to bring it closer to core problems of art history and museology. We invite contributions that introduce new historical and methodological approaches. Proposals which go beyond the case study are especially encouraged.
For submission guidelines:
Paper proposals are due August 14. Please email your proposal to both chairs.