Tag Archives: New York

Conference: Collecting Medieval Art: Past, Present and Future, Sam Fogg and Luhring Augustine at the SVA Theatre, New York, 27 January 2018

Sam Fogg and Luhring Augustine at the SVA Theatre, New York. 27 January 2018

Collecting Medieval Art: Past, Present and Future

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A symposium on the history of collecting medieval art, to be held in celebration of the exhibition ‘Of Earth and Heaven: Art from the Middle Ages’ [January 29 –March 10, 2018] at Luhring Augustine in conjunction with Sam Fogg, the world’s leading dealer in medieval art.

Every surviving art treasure of the Middle Ages has a unique material history spanning centuries. These precious objects have been traded, preserved, restored, lent and loved. Some passed through many hands, others remained untouched and forgotten for generations before returning to the spotlight. These histories of collections and collectors yield valuable insights into the medieval jewels that brighten the private and public art collections of today.

This symposium will consider practices of collecting medieval art in a unique setting, within galleries displaying many of the finest masterpieces of Medieval and Renaissance art still in private hands. Surrounded by monumental works like sections of Canterbury Cathedral’s south transept window and miniature treasures like a thirteenth-century Limoges reliquary chasse, speakers will explore attitudes to collecting medieval art in the past, present and future.

The symposium is free to attend, but guests should RSVP to rsvp@luhringaugustine.com before Wednesday, December 20, 2017 to reserve a place. Email Imogen.Tedbury@courtauld.ac.uk for more information.

 

9.30 am Doors open for registration and coffee

9.45am Welcome from Sam Fogg

10.00am Session 1: collecting and display chaired by Dr Sarah Guérin

Dr Paul Williamson – ‘Showing collections of medieval art: strategies of display, from private to public’

Dr Timothy B. Husband – ‘Collecting Medieval Art for The Cloisters: the three that got away’

11.30am coffee

11.45pm Session 2: collecting, cultural heritage and the art market chaired by Dr Nicholas A. Herman

Dr Martina Bagnoli – ‘Dealers, Collectors and Curators: a productive relationship in 19th century Italy’

Dr Jack Hinton and Dr Amy Gillette – ‘“A study close at hand of these fine examples of Gothic decoration”: the collecting, interpretation and display of the Taylor collection of English medieval woodcarvings’

 

13.15 lunch and chance to view the exhibition at Luhring Augustine

2.30pm Session 3: collecting medieval art, past and present

Professor Susie Nash – ‘Collecting art at the Courts of France in the late-fourteenth century’

Sir Paul Ruddock and Dr C. Griffith Mann – ‘In Conversation: Collecting Medieval Art Today’

3.45pm closing remarks from Dr C. Griffith Mann

4pm chance to view the exhibition at Luhring Augustine

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New Exhibition: Visions of Jerusalem: Medieval Christendom Imagines the City on a Hill @Les Enluminures, New York, September 16-November 12, 2016

enluminures to delete.pngLes Enluminures is pleased to present Visions of Jerusalem: Medieval Christendom Imagines the City on a Hill. The exhibition explores the representation of the Holy City in the images and imaginations of the Latin West and the rich diversity of its representation in both word and picture. It is conceived to coincide with the major inter-
national exhibition at The Metropolitan Museum of Art, Jerusalem 1000-1400, Every People Under Heaven, which scrutinizes through a much broader lens the impact Jerusalem had on the many cultural traditions that hold it dear: Eastern, Western, African, Jewish, Muslim, Christian, each with multiple identities and denominations.

Far from inspiring a consistent Christian conception of the Holy City, we show how Jerusalem prompted a vast range of depictions by Western authors and artists. In a time before cameras, images of Jerusalem were less concerned with veracity than with the power of their associations. The versatility of the Holy Land allowed it to act not only as the mise en scène for the Church’s rich biblical-mystical tradition, but also as a virtual destination for spiritual pilgrims and a touchstone in medieval apocalyptic traditions, among others. These varying visions of Jerusalem exemplify the fascinating complexity of the city. In the medieval mind, Jerusalem was both heavenly and earthly. It was a physical location and a mental construction that offered a link to the past and a harbinger of the future.

Highlights of the exhibition include a miniature depicting the Agony in the Garden from the Holy Land Choir Book, the long lost first volume of the Bible of Louis de Harcourt, Patriarch of Jerusalem and Bishop of Bayeux, a beautifully illustrated early gothic copy of Peter of Poitiers’ geneological scroll, and a deluxe book of hours with miniatures attributed to the Workshop of the Master François.

Place:
LES ENLUMINURES
23 East 73rd Street, 7th Floor, Penthouse, New York, NY 10021

Dates:
September 16th through November 12th, 2016

Hours:
Tuesday to Saturday, 10am – 6pm

Contact information:
Adrienne Albright / +1 212 717 7273 / newyork@lesenluminures.com

Job: Gallery Assistant, Global Art Gallery

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Job: Gallery Assistant, Global Art Gallery
Deadline: April 4
Global Art Gallery on the Upper East Side with multiple locations in the USA, France, and Britain seeks a full-time (could be ¾ time to start) gallery assistant.
Responsibilities include:  administration, including coordination of shipping, sales to new and established clients, organization of in-house exhibitions, participation in international art fairs, answering the phone, and greeting clients.
The ideal candidate will have some background in Medieval and Renaissance art history, preferably at the post-graduate level, excellent computer and verbal skills, and some experience in the art world, including in sales.  Applicant must be a self-starter, multi-tasker, well-organized, and able to work independently.  There is considerable interaction with a worldwide team of more than a dozen individuals, as well as enormous potential for growth within the company. This is not a research position.
Salary commensurate with experience.
How to Apply: Send letter of application and CV to (preferably by April 4):  office@lesenluminures.com

Job: Curator of European Glass (Corning Museum of Glass)

Curator of European Glass

Location: Corning Museum of Glass, Corning, New York

The Corning Museum of Glass is seeking an accomplished European decorative arts specialist with significant curatorial and collections experience and a deep interest in working with one of the world’s great collections of glass objects. She/he is a member of the Museum’s senior staff that includes the Curators of American Glass, Modern & Contemporary Glass, Ancient & Islamic Glass and Science & Technology. The Curator of European Glass’s primary responsibilities are to provide leadership and vision for the Department’s continued curatorial excellence, oversee acquisitions in her/his area, represent the Museum at national and international professional meetings and take an active role in grant development.

The Corning collection represents every country and historical period in which glassmaking was practiced. The European Collection on exhibit is divided into four special areas: Early Northern European Glass; The Rise of Venetian Glassmaking; Glass in 17th to 19th Century Europe; and 19th Century European Glass. A comprehensive collection of paperweights adds a unique dimension to the European collection. The collection continues to expand through gifts and acquisitions. The acquisition budget provides ample funds annually for significant additions to the collections and an array of important publications for the Library.

The successful candidate will have at least 5 years of senior curatorial and collections experience at an art museum with a significant collection and strong curatorial program in European decorative arts. Master’s degree in art history or a related field is required; a PhD is strongly preferred. A publications record is required. Knowledge of an additional art historical field, specifically Asian, would be ideal. In addition s/he will have:

  • In-depth knowledge of European decorative arts
  • Outstanding verbal and written communication skills; ability to speak to groups of all sizes
  • Ability to represent the Museum in a professional manner
  • Excellent research skills
  • Demonstrated ability to work as part of a team
  • Excellent interpersonal skills
  • Ability to cultivate important collectors and tactfully solicit gifts for the collection
  • Reading knowledge of at least two European languages
  • Ability to plan strategically and long-range for the exhibition schedule
  • A commitment to the interrelatedness of art and education
  • The personality to enjoy social and community interaction
  • High energy, strong motivation and a hands-on work ethic

To Apply:

Address all inquiries and recommendations in confidence to the retained search consultants (e-mails are preferred).
Please do not send printed catalogues or material.

Freda Mindlin or Nancy Kaufman
Opportunity Resources Inc.
196 East 75th Street, Suite 14H
New York, NY 10021
search@opportunityresources.net
www.opportunityresources.net

For more information see: http://www.cmog.org/employment-opportunity/curator-european-glass

Fellowships: Metropolitan Museum of Art (New York, 2015-16)

Fellowships:
The Metropolitan Museum of Art
New York, 1 September 2015 – 31 August 2016
Deadline: 7 November 2014

MET_-_The_Great_Hall_-_Metropolitan_Museum_of_Art,_New_York,_NY,_USA_-_2012Art History Fellowships are offered for PhD candidates, postdoctoral researchers, and senior museum professionals interested in furthering their scholarly research within one of the Museum’s curatorial departments. Working with supervisors and departmental staff, fellows are able to utilize the Museum’s collections as a way to expand their own research and dialogue about art in their field. Throughout their time at the Museum fellows may contribute to departmental projects that complement their research. They will also share their research at the  spring fellows’ colloquia in which they give a brief presentation on their work in progress. All fellowships must take place between September 1, 2015, and August 31, 2016. The stipend amount for one year is $42,000 for senior fellows and $32,000 for pre-doctoral fellows, with up to an additional $6,000 for travel. Health care benefits are included.

For further information, and to apply, see:
http://www.metmuseum.org/research/internships-and-fellowships/fellowships/art-history-fellowships

Forthcoming Exhibition: Sacred Song: Chanting the Bible in the Middle Ages and Renaissance

image001Sacred Song: Chanting the Bible in the Middle Ages and Renaissance

January 24 to February 21, 2014, Les Enluminures, New York

Beginning January 24, Sacred Song: Chant in the Middle Ages and Renaissance on view at Les Enluminures Gallery NY explores the history and mystery of Gregorian chant. The exhibition features over 30 extraordinary examples of these early music manuscripts and their many varied forms, including a monumental set of complete Antiphonals from Germany c. 1570 (no other known surviving codices exist that document this practice), and a one-of a kind Gradual, Italy, Lombardy c 1430. by one of the leading masters of the fabled Olivetan Benedictine order known as the Olivetan Master.

Representing the earliest substantial body of music preserved in written form, Gregorian chant has continued as a living tradition throughout the medieval age and well into the modern era. Featured in the liturgical services of the Roman Catholic Church, this sacred chant owes its origin to the legend of a dove – or the Holy Spirit – singing directly into the ear of Pope Gregory the Great (Reigned from 590-604 AD). Reflecting the inseparability between music and liturgy throughout the Middle Ages, the chant consists of a vocal, monophonic music composed in Latin using sacred texts from the Old and New Testaments. Often referred to as a “sung Bible,” it did not appear in written form until the ninth century.

Divided into three thematic groups, ‘Sacred Song’ begins with “In the Church: in the Choir,” featuring monumental manuscripts that were used to present the music for the Mass and the Divine Office. Choirs sang from these large books (mostly Graduals and Antiphonals), the colorful initials of which signaled the beginnings of each feast. Both monks and nuns, not only chanted within the walls of the medieval church, but outside on foot as well. Thus, “Outside the Church: in the Cloister, in the Cemetery, and in the City and Countryside” features portable music manuscripts called Processionals; some illuminated and often personalized that were used during outdoor liturgical processions. A final group of manuscripts: “Apart from the Church: in the Classroom, in the Chapter House, and in the Congregation” presents those forms of chant that were often preserved in non- liturgical contexts.

Call for Applications: Summer Paleography Workshop

diplomaMIDDLE FRENCH PALEOGRAPHY WORKSHOP
COLUMBIA UNIVERSITY IN THE CITY OF NEW YORK

JUNE 9-27, 2014

This paleography workshop will provide intensive training in the accurate reading, editing, and interpretation of a manuscript in Middle French, in this case a complex and intriguing late-Renaissance compilation of a practical and proto-scientific nature. Participants will work on a collaborative transcription and translation of the manuscript using new digital tools and methods.

The manuscript, Bibliothèque nationale de France, fr. 640, written around 1580 by an anonymous French-speaking craftsperson, covers some 170 fols. with detailed instructions, including first-hand observations and illustrations, for a number of processes that we would now classify as part of fine arts and technology, such as drawing-instruction, pigment-making, metal-coloring, counterfeit gem production, cannon-casting, tree-grafting, land-surveying, a practice of taxidermy to manufacture monstrous composite animals (kittens and bats), making paper mâché masks, and much more.  The margins are filled with comments on experiments, an indication that the book was most likely a record of practice. The manuscript thus offers exceptional insight into how natural materials and art objects were made, collected, appreciated, and circulated in the late Renaissance. It also provides a rare view into attitudes to nature out of which modern science eventually emerged.

The workshop, directed by Prof. Marc H. Smith (École nationale des chartes/École pratique des hautes études) and Prof. Pamela H. Smith (History, Columbia University) is part of a larger interdisciplinary research and pedagogical initiative that aims to support the transcription, translation, annotation, and experimental reconstruction of the technical processes described in the manuscript, with the final goal being the publication of an electronic critical edition of the manuscript.

The three-week course, held on the campus of Columbia University, will begin with general instruction and bibliographical information concerning the historical context of the manuscript, French Renaissance paleography, Middle French, and principles for transcription and translation, as well as instruction in digital methods, such as collaborative editing, annotation and versioning methods. Then, for five days a week, morning sessions will be devoted to reading, annotating, and translating the text collectively. In the afternoons, students will be able to work in groups on selected sections of the text to be discussed on the following day.

Up to 15 participants will be enrolled from the U.S. and abroad. First consideration is given to PhD students, but applications will also be accepted from professional staff of libraries and museums, and from qualified independent scholars. Advanced French-language skills are required. PhD applicants selected for admission will receive a stipend to help defray the cost of attending the workshop. The workshop is offered tuition free.

Applicants should submit a CV containing names and addresses of two references, a 3-page letter explaining their reason for application, and transcripts showing successful completion of coursework or other evidence of competence in the French language.  Experience and interest in the digital humanities will be an advantage.

Applications, along with supporting documents, should be emailed to Claire Sabel (ccs2137@columbia.edu) by February 21, 2014. Inquiries should be directed to the same address. Successful applicants will be notified by the beginning of April.