Appel à communication : Egypt in Early-Modern Antiquarian Imagery

Egyptian Sculptures, in: Michel-François Dandré-Bardon: Costume des anciens peuples, Paris 1772, part 24, pl. IV (Zentralinstitut für Kunstgeschichte, Munich)

Egypt in Early-Modern Antiquarian Imagery

Digital Workshops on 5 May, 2 June and 7 July 2022

In 2022, Egyptology celebrates important historical events that number among the highlights in the exploration of the culture and civilization of the country by the Nile. In 1822, Jean-François Champollion succeeded in deciphering the hieroglyphics, the hieratic and the demotic scripts, by working primarily with the Rosetta Stone. In 1922, the British archaeologist Howard Carter discovered the tomb of the Pharaoh Tutankhamun in the Valley of the Kings.

The academy research project “Antiquitatum Thesaurus” would like to contribute to the international discourse and, in three half-day digital workshops in the summer semester of 2022 (5 May / 2 June / 7 July), draw attention to some central questions of the early-modern reception of Egypt, which preceded the events mentioned above.

How did contacts with the land of the pharaohs and their culture come about, and what image of it was conveyed? What role did aegyptiaca play in collections of antiquities, cabinets des curiosités or Wunderkammern? How were Egyptian or Egyptianising artefacts visually documented and discussed?

Before Napoleon’s great military expeditions and the subsequent scientific explorations of the country, when the number of travellers to the Levant was still manageable, the perception and understanding of Egypt far from the Nile had to rely primarily on easily portable objects. These had found their way to the other side of the Mediterranean at different times and along different routes. Finally, the study of ancient Greek and Roman authors, who transmitted their own mediated version of history and Egyptian culture, should not be underestimated.

Continuer la lecture de « Appel à communication : Egypt in Early-Modern Antiquarian Imagery »

Appel à communications dans la revue Virtus/Journal of Nobility Studies : “Collectionneurs nobles 1750-1950”

Image dans Infobox.

The long nineteenth and early twentieth century is often considered a period of socially widening collecting practices. Besides the boom of public museums, the general understanding of nineteenth- and early twentieth-century collecting is dominated by the rise of the bourgeois collectionneur as new social type. Within the broader historiography much attention has been paid to the new industrial tycoons and businessmen, as well as the (higher) middling sort of collectors, all eager to tap into a growing ‘collection mania’. Less well studied for this period, however, remain the blue-blooded collectors or collectionneurs nobles. This comes as quite a surprise since the practice of collecting itself has deep and long running roots, intimately tied to endeavours of early-modern royal houses and noblemen, amassing Wunderkammern full of Fine and Decorative Arts, precious manuscripts and books, naturalia, and myriad other collectables. While some, less fortunate noblemen, were forced to sell their prized family collections during the age of political, industrial, and cultural revolutions, others retained their titles and fortunes, and continued to collect for economic reasons (as investment), or for reasons tied to their specific, albeit changing, social and cultural status in modern societies.

In spite of the recent upsurge in books and articles on collectors and collecting practices in Belgium and the Netherlands, research on this blue blood collecting in the Low Countries after 1750 remains thin on the ground. Who were these highborn collectors? What did they collect? And why? In this special issue we aim to draw a detailed portrait of these  collectioneurs nobles, their changing social profile, and their motivations. How different were their motives and aims from their emerging bourgeois counterparts? What were the norms and values that fuelled aristocratic collecting? Did they, for instance, pay more attention to noble pedigree and patina in the selection of objects? And in what way were older, Humanist and Enlightenment values carried over in modern times with these collectors? Tying in with a recent strand, we also want to pay attention to the links between gender and collecting. To what extent were the collection profile and practices of noble ladies and lords different? We also aim to shed more light on the presentation, musealisation, and afterlife of these noble collections. To what extent became noble collections more accessible for a wider public in the nineteenth and early twentieth century, and how were they received by noble, bourgeois or lower class visitors? How were these aristocratic ensembles eventually integrated into public museums? Last but not least, we also try to identify local, regional or even national differences between well-bred collectors in Belgium and the Netherlands, in the industrial cities and in the countryside, and so on.

We aim to provide some answers to these questions by sampling the latest research on noble collectors and collections in the Low Countries. The special issue will be published in Virtus: Journal of Nobility Studies. [WoS A1- journal] Abstracts – ca. 350 words, including a short bio-sketch – should be send to before 1 February 2022. Full chapters (5000 words, including footnotes) should be submitted in the same way before 1 October 2022.

Guest editors of the special issue:
Ulrike Müller (Researcher at Museum Mayer van den Bergh & PD UAntwerpen)
Ilja Van Damme (Professor in history UAntwerpen)
Gerrit Verhoeven (Professor in cultural heritage and history UAntwerpen & Researcher/Archivist at the Royal Museums of Art and History)

Reference :
CFP: Virtus Special Issue: Collectioneurs Nobles, 1750-1950. In:, Nov 16, 2021. <>

Appel à communication : Séminaire Collection 2022

COLLECTION / Séminaire sur le collectionnisme et le marché de l’art

Honoré Daumier, Les Amateurs, 1865-1868, Walters Art Museum (CCO)



Les organisateurs de Collection/Séminaire sur le collectionnisme et le marché de l’art, lancent un appel à communication pour les séances mensuelles du séminaire en 2022. Depuis sa fondation en 2020 le séminaire Collection entend être un lieu de rencontre entre universitaires et conservateurs venus présenter de nouvelles recherches sur tous les sujets relatifs à l’histoire des collections et du marché de l’art.

Les communications pourront concerner toutes les époques sans limitations géographiques et aborder par exemple la constitution et la vie des collections (privées et muséales), l’analyse de la figure du collectionneur dans toute sa complexité (rôle, statut, milieu) et les acteurs du marché de l’art (stratégies et réseau). Nous invitons aussi à porter un regard particulier aux réflexions méthodologiques sur les sources et les outils, y compris numériques.

Chaque séance est formée d’une présentation de 45 minutes suivie d’une discussion. Les séminaires se tiendront en ligne de 18h30 à 20h00, les 15 février, 15 mars, 12 avril, 10 mai, 07 juin, 18 octobre, 15 novembre et 13 décembre 2022.

Les propositions (300 mots) accompagnées d’un CV concis et des dates auxquelles vous n’êtes pas disponibles sont à envoyer avant le 10 décembre 2021 à Le choix des propositions sera effectué avant le 15 décembre.



The organisers of Collection/Séminaire sur le collectionnisme et le marché de l’art are inviting papers for the monthly sessions of the seminar in 2022. Since its foundation in 2020, the seminar Collection has been a place where academics and curators meet to present new researches on all topics related to the history of collecting and the art market. Continuer la lecture de « Appel à communication : Séminaire Collection 2022 »

CFP : Du privé au public. Enjeux et stratégies dans la présentation des collections privées d’art contemporain dans les institutions publiques (Grenoble, 12 mars 2021)

Journée d’études, vendredi 12 mars 2021 – Musée de Grenoble

Organisateurs : Alice Ensabella (Université Grenobles-Alpes), Paula Barreiro Lopez (Université Grenobles-Alpes), Sophie Bernard (Musée de Grenoble)

Date limite : 20 novembre 2020

Organisée dans le cadre de l’exposition Giorgio Morandi. La collection de Luigi Magnani au Musée de Grenoble (12 décembre 2020 – 14 mars 2021), cette journée d’études a pour but de réunir un ensemble de réflexions récentes autour de la question des stratégies de présentation des collections privées d’art contemporain (XXème-XXIème siècles) dans les institutions muséales françaises et internationales.
L’exposition présentée au Musée de Grenoble, consacrée à l’artiste italien Giorgio Morandi, est l’occasion de découvrir la collection privée de l’un des plus éminents collectionneurs italiens de son œuvre, celle du musicologue, historien de l’art et professeur Luigi Magnani. Comptant une cinquantaine d’œuvres du peintre bolognais, elle permet d’appréhender et de représenter toutes les périodes de sa carrière. L’amitié du peintre et du collectionneur, ainsi que la démarche de ce dernier constituent un des axes forts de l’exposition.
Continuer la lecture de « CFP : Du privé au public. Enjeux et stratégies dans la présentation des collections privées d’art contemporain dans les institutions publiques (Grenoble, 12 mars 2021) »

Appel à communication : Patterns of Patronage in Qing Beijing : A New Map (Seattle, 25-28 mars 2021)

Association for Asian Studies 2021
Seattle, 25 – 28 mars 2021

Patterns of Patronage in Qing Beijing: A New Map

Convenors: Michele Matteini (NYU/IFA), Stephen Whiteman (Courtauld Institute of Art)

In the study of Qing art, Beijing has often been described as the stronghold of conservative artistic trends or the stage of spectacular courtly fantasies. Certainly the court’s immense resources defined much of what was created or came through the capital, but the city’s status as an artistic community and network in its own right is not well understood. Recent scholarship reveals that the artistic landscape of Qing Beijing was less homogeneous than previously thought and was shaped by the interaction and competition of different social forces, in which the court was but one agent. To draw a different map of Qing Beijing, this panel asks what other institutional or private spaces existed for the creation and circulation of art in the capital and what were the relationships among them. Questions to be considered could include: the activity of artists between court and private patrons; the role of imperial princes as taste-makers or collectors; art collections at religious institutions; the sponsorship of independent artists by dealers at the Liulichang market; temple fairs, celebratory parades, and other occasions for displaying art in public spaces; and art production and entertainment in Southern City’s opera houses, among others.

Please submit an abstract (250 words max) and short CV to and by Monday, 13 July, 2020.