The Lecture Programme / Art Antiques London
Sponsored by The Ten Ten Foundation Inc.
Click here to download an application form. Please complete the form with the number of seats required for each lecture, the lecture code number and price and fax it back on +44 (0) 20 7389 6556.
Alternatively, complete your booking by telephone on +44 (0) 20 7389 6555 or by email to lectures@haughton.com.
All lectures: £15 per person. Lecture ticket permits entry to the fair.
A1 Thursday 10th June, 12.00pm - 1.00pm
MEREDITH CHILTON (Independent art historian, Quebec)
"THE MAGNIFICENT FINALE" DU PAQUIER PORCELAIN AND CONFECTIONS FOR DESSERT
Grand dinners of the baroque age were theatrical events ending with dessert, when marvels of sugar and porcelain astonished guests and observers. Using a sumptuous dessert table, inspired by a meal attended by Maria Theresa in 1740, created for a recent exhibition of Du Paquier porcelain, this lecture will explore the service, foods, porcelain, and sugar fantasies of the dessert course in early eighteenth century Vienna.
A2 Thursday 10th June, 2.45pm - 3.45pm
ANTON GABSZEWICZ (Independent Ceramic Consultant, London)
‘A MIND TO COPY': INSPIRED BY MEISSEN
The association between Nicholas Sprimont, Sir Everard Fawkener and Sir Charles Hanbury-Williams, British Envoy to the Saxon Court at Dresden, led to the loan of Meissen porcelain to Nicholas Sprimont at Chelsea. Sir Charles instructed them to ‘take away such pieces as they have a mind to Copy'. This act of commercial philanthropy during the nascent stages of the English porcelain industry in 1751 was to have far reaching consequences. This lecture addresses the astonishing influence Meissen porcelain was to have in 18th century England.
A3 Thursday 10th June, 4.30pm- 5.30pm
DR ULRICH PIETSCH (Direktor der Porzellansammlung, STAATLICHE KUNSTSAMMLUNGEN DRESDEN)
A PALACE OF PORCELAIN - THE JAPANISCHES PALAIS OF DRESDEN
The Japanese Palace in Dresden, erected in 1727 by Augustus the Strong, King of Poland and Elector of Saxony, was the most important porcelain castle in the world housing around 35,000 porcelain pieces from China, Japan and Meissen in Saxony, where Augustus founded the Meissen porcelain manufactory in 1710, after Johann Frederik Boettger's invention of the recipe for European hard paste porcelain in 1708. The lecture will give an idea of how the most important examples are displayed in the palace, especially the large Meissen animals.
B1 Friday 11th June, 12.00pm - 1.00pm
IVAN DAY (British Food Historian, Cumbria)
TRANSPARENT DELIGHTS - THE EXTRAORDINARY HISTORY OF MOULDED DESSERTS IN GEORGIAN ENGLAND
Food historian Ivan Day will guide us through the evolution of the ceramic culinary mould during the eighteenth and early nineteenth centuries. Much of the food consumed at this period was ornamental in nature and a jelly or blancmange could be as elegant as a Robert Adam ceiling boss. From the delicate salt-glazed stoneware moulds of the 1750's to the magnificent creamware obelisk moulds designed by Wedgwood. Mr Day will discuss not only the manufacturers that produced these wares, but the food which they created and he will also de-mould some spectacular jellies, including a 1790's obelisk using a Neale and Co. mould.
B2 Friday 11th June, 2.45pm - 3.45pm
DAME ROSALIND SAVILL (Director The Wallace Collection)
ENHANCEMENT, PRACTICALITY AND COLLECTABILITY: THE MOUNTING OF SEVRES PORCELAIN IN METALWORK AND FURNITURE IN THE WALLACE COLLECTION
Vincennes and Sèvres porcelain was not only influenced by metalwork but also conceived by the factory to be mounted in gilt-bronze or silver gilt, either to enhance its appearance or for practical reasons connected with its usability. Gradually designs emerged specifically for gilt-bronze mounts, or they were adapted to accommodate mounts, until eventually the mounts and gilded porcelain became almost indistinguishable. Simultaneously plaques and other shapes were devised to be incorporated in pieces of furniture. By the nineteenth century very few vases had not acquired gilt-bronze stands, often helping us to identify them as garnitures or as having belonged to specific collectors, while other pieces- especially dinner wares- were mounted to turn them into works of art. This talk will explore these manifestations in the Wallace Collection, usually with admiration, but occasionally with horror!
B3 Friday 11th June, 4.30 - 5.30pm
DR DORA THORNTON (Curator of Renaissance Europe, The British Museum), TIMOTHY WILSON (Keeper of Western Art, Ashmolean Museum, Oxford)
ITALIAN AND FRENCH RENAISSANCE MAIOLICA AT THE BRITISH MUSEUM
The talk is by the authors of the recent catalogue of Italian Renaissance Ceramics in the British Museum. The first half will focus on the history and distinctive character of the collection of Italian Maiolica, one of the world's finest assemblages. The second half will focus on the history of Italian emigrant potters in France and their influence first in Lyon and then in Nevers from the 1580s, based on the evidence of new acquisitions made during the writing of the catalogue from 2006-8.
C1 Saturday 12th June, 12.00pm- 1.00pm
MAUREEN CASSIDY-GEIGER (Author and Lecturer, Faculty Member of Parsons New School MA programme (History of Decorative Arts and Design) New York)
CHALLENGING TRADITION : TOILET SERVICES IN WHITE GOLD
Silver toilet services were traditional gifts to royal brides. A sign of wealth and rank, they were treasures for display, not daily use. Porcelain toilet services were luxurious gifts and objects for those already in possession of silver sets, as the fashionable new medium had no comparable intrinsic value. The lecturer will discuss services from St Cloud, Meissen, Sèvres, Berlin and Du Paquier.
C2 Saturday 12th June, 2.45pm - 3.45pm
DR GEOFFREY GODDEN
Author, Lecturer and collector, Worthing
LOOKING BACK OVER 60 YEARS OF COLLECTING WORCESTER PORCELAINS
My first treasure was purchased in June 1944 for a few shillings, my last at the 2009 Haughton Fair for rather more! All have given lasting pleasure. There are a few problems with Worcester but much visual delight. I will be looking at high- quality, trim-potting, balance of design and charm. Join in my reminiscences, share my pleasure.
C3 Saturday 12th June, 4.30 - 5.30pm
DR MICHAELA VÖLKEL (Curator of the Ceramic Collection, Prussian Palaces and Gardens Foundation Berlin-Brandenburg)
LAOCOON IN DISGUISE: KAENDLER'S INTERPRETATION OF ANTIQUITY
Up to now there seemed to be no trace that Augustus the Strong's collection of antiquities had been used as models by the Meissen artists. However, a fresh look at Kaendler's harlequins created between 1738 and 1754 and one of the most famous works of antiquity - the Laocoon, reveal a different story. Kaendler's harlequins reveal disguised hints of the Laocoon antiquity.
D1 Sunday 13th June, 12.00pm - 1.00pm
PHILIPPA GLANVILLE M.A, F.S.A. (Former assistant keeper, Department of Metalwork, Victoria and Albert Museum, London)
"SUCH CURIOUS WORKE" - GOLDSMITHS & DIPLOMATS
For centuries European diplomatic relations has been sweetened by exchanges of goldsmiths' work. Chosen for their novelty or the skills of court artists, the best known examples are gold boxes set with diamonds, one of Louis XIV's many cultural innovations. However, gifts could be as diverse as a gold mirror or a sherbet set. A Tsarina exchanged a Polar bear for a Dresden porcelain & silvergilt tea service. Nuremburg and later Augsburg silver was also often selected. This important aspect of court patronage , highlighting treasured gifts which have survived two later centuries of turbulence will be discussed.
D2 Sunday 13th June, 2.45pm - 3.45pm
SELMA SCHWARTZ (Curator of Porcelain and Special Projects, Waddesdon Manor, The Rothschild Collection, Buckinghamshire)
ROTHSCHILDS AND ROYALS : THE RICHES OF WADDESDON MANOR
As one of the richest families in 19th-century Europe, numerous Rothschilds competed with each other for the finest objects the art market had to offer and created what became known as ‘the Rothschild style,' of which Waddesdon is a rare survivor. French 18th-century decorative arts with royal provenances, Dutch Old Masters and British 18th-century portraits are displayed in rooms created out of historic interiors. This lecture presents highlights of this renowned collection and looks at the history of its formation.
D3 Sunday 13th June, 4.30pm - 5.30pm
ALESSANDRO BIANCALANA ("Fabbrica di Doccia" Scholar and Author, Italy), ANTOINE D'ALBIS (President of the ‘Amis de Sèvres' France)
"LA FABBRICA DI DOCCIA": FROM 1737 TO 1837
The Doccia Porcelain Factory commenced production in July 1737. The first firing was almost certainly ‘maiolica', but from 1739 onwards porcelain was the major product. Its founder, marquis Carlo Ginori, was himself involved as a chemist during the production process. His successors, the marquises Lorenzo and Carlo Leopoldo always remained faithful to the founder's precepts. Using the latest archival research, the speakers will demonstrate the principal artistic influences on the Manufacture and its industrial and technical organisation, (Doccia produced Maiolica, hard and soft paste porcelain, hybrid porcelain and earthenware) as well as its commercial development.
E2 Monday 14th June, 2.45pm - 3.45pm
DR PAUL ATTERBURY (Writer, Historian, Member of "Antiques Roadshow" Team of Experts, UK)
THE GREAT EXHIBITION OF 1851 - MYTH, MUDDLE OR MASTERPIECE
The Great Exhibition of the Art and Industry of All Nations opened in Hyde Park in 1851. A revolutionary iron and glass building filled with over 100,000 objects from all over the world attracted an audience of over 6 million. It was the greatest sensation of the Victorian age, at the same time reviled and adored, and set the pattern for future displays of the modern industrial world. It was also a point that marked the start of the modern world. Dr Paul Atterbury will take us behind the scenes at the Great Exhibition.
E3 Monday 14th June, 4.30 pm - 5.30 pm
DR KEVIN COATES (Musician and Britian's leading artist and goldsmith)
LECTURE WITH MUSIC - THE MOZART JEWELS
featuring the 'Entry of the Queen of the Night' Tiara, made in 1996
Known for his technical brilliance and the symbolic imagery of his work,
Dr. Kevin Coates is considered by many to be Britain's leading artist goldsmith. Erudite and multi-talented, he is also a musician specialising in the baroque mandoline and has performed in concerts and recitals throughout Europe. He focuses on the spiritual meanings of jewellery and draws inspiration from music, theatre, painting, literature, mathematics and the natural world. He has a particular passion for Mozart, and his tiara Entry of the Queen of the Night (from an occasional series of Mozart jewels) is an evocation of the character in Mozart's opera Die Zauberflöte, and has acquired a huge fan-base all its own. This piece now resides in the NMS Edinburgh, but makes an appearance within this lecture, as does the music which heralds her appearance, one of several musical passages which accompany the lecture.
A scholar as well as an artist, Kevin Coates gained the first ever PhD at the Royal College of Art, which was later published by OUP as Geometry, Proportion, and the Art of Lutherie. Dr. Coates is a Fellow of the Royal College of Art, and a Liveryman of the Goldsmiths' Company.
Kevin was recently appointed Associate Artist at the Wallace Collection, where he is creating new works inspired by their superb collections which will culminate in his solo show "Time Regained", opening in June 2011.
F2 Tuesday 15th June, 2.45 pm - 3.45 pm
DR ADAM BOWETT (Furniture Historian)
MAHOGANY IN BRITISH FURNITURE MAKING, 1700 - 1900
British Furniture of the 18th and 19th Centuries was virtually defined by the use of mahogany, in a manner and on a scale unmatched by any other European nation. The published information, however, is scanty and largely out of date. In this lecture Dr Bowett will examine that the impact of mahogany on British furniture-making in the light of the latest research, considering how the structural and aesthetic qualities of the wood affected the way furniture was made. He will also show how warfare, commerce and the changing patterns of colonial trade affected the sources and qualities of mahogany available, and what impact these had on British Furniture making. Finally he will consider the decline of this peerless and seemingly inexhaustible cabinet wood as a result of deforestation and competition from other, inferior woods.