The Emmerson Symposium ‘Beyond the Book: Transforming the Early Modern Archive’ is being hosted by ANU and the State Library of Victoria on the 11th and 12th of August. We want to encourage as many HDR Students from across Australia to come. Recognising the current cost of living crisis, we are offering 10 bursaries at a maximum of $500 for HDR Students. These bursaries are to assist with the cost of travel and accommodation to the Symposium. Please fill out the linked EOI form by the 30th of June and we will let you know by the 7th of July if you are successful. To register for the Symposium please click this link and follow the details.
If you are joining us for ANZAMEMS 2019 at the University of Sydney next week, please take a few minutes to check the website for a range of special events the conference team has planned. These include:
Manuscript/Early Book Tour of the State Library of New South Wales
Tuesday 5 February, 2:30-4pm
Join curators from the State Library of New South Wales for a tour of the library, which can trace its history back to 1826. The tour will provide an overview of the different reading rooms in the Library and some of the beautiful spaces and exhibitions in its historic Mitchell Wing. The tour will also include a private viewing of some Renaissance treasures from the Library’s rich and varied collections.
Free, but please register through this EventBrite link
Postgraduate Reception: Let’s Meet and Eat
Thursday 7 February, 6-7pm, Courtyard Restaurant and Bar at the University of Sydney
Per ANZAMEMS conference tradition, the current Postgraduate Representatives to the Executive Committee (Lisa Rolston and Hannah Skipworth) will hold a reception for ANZAMEMS postgraduates. The ambition behind this year’s event is to provide postgraduates with an opportunity to meet their peers from around Australia and New Zealand and establish connections that will carry them into future endeavours. Honours students and ECRs are most welcome to attend.
Free. Please register through this EventBrite link.
Treasures of the Fisher Library
The librarians of the Rare Books and Special Collections in the Fisher Library at the University of Sydney have generously arranged to show some treasures of the library to conference attendees at a number of scheduled times during the conference. The books include manuscripts and early printed books generally related to the conference theme. The numbers in these sessions will be capped so that visitors can examine the books and talk with the librarians about them.
A range of timeslots are available throughout the conference (5-8 February). Please see the ANZAMEMS 2019 conference website to check times and register.
Other special events include a screening of the film The Devil’s Country, a documentary that explores the intersection of the medieval demonic, the colonial experience of the Australian landscape, and the Indigenous experience of invasion and westward expansion through NSW.
There will also be a concert by The Marais Project. This group, founded in 2000 by viola da gambist, Jennifer Eriksson, focuses on the music of the baroque era with a particular emphasis on the works of Marin Marais, a performer and composer at the Court of Louis XIV.
On Saturday 22 September a day of public lectures on forgery and fake manuscripts will be held at Macquarie University in Sydney. ‘Faking it: Manuscripts for the Margins’, convened by Malcolm Choat and Rachel Yuen-Collingidge, will take place in the Australian Hearing Hub, Level 1 lecture theatre at Macquarie University from 9.30 am–5 pm, with an evening reception and a viewing of an associated exhibition of forgeries and questioned objects in the Museum of Ancient Cultures to follow.
This public event brings together twelve speakers to present diverse perspectives on forgery, authenticity, and related issues. The keynote speaker is Professor Professor Christopher Rollston, Associate Professor of Northwest Semitic languages and literatures at George Washington University, Washington D.C., who will be joined by eight other international scholars of forgeries, and experts from Macquarie and other Australian institutions.
The event will feature presentations of fake texts in Egyptian, Hebrew, Greek, Latin, and English on stone, papyrus, parchment, and paper, as well as discussions of forgery as the construction of history in the Middle ages; the way we assess authenticity; public controversies over questioned manuscripts; the effect of forgeries on antiquities markets, scholarship, and public discourse; and the relationship between fake and replica in the age of 3D replicas. Throughout the event will examine the importance of forgeries for the way we assess and communicate history, and how they effect our view of both the past and the present. A list of speakers and titles may be found below. Further information about the event, including abstracts, may be found at http://www.
Funding for this event has been generously provided by the Ian Potter Foundation, the Australian Research Council, the MQ Ancient Cultures Research Centre, the Sir Asher Joel Foundation, and the Society for the Study of Early Christianity.
Speakers and Titles
Forging Fakes and Just Plain Faking. Thoughts on a Range of Forgery Types
Rodney Ast, University of Heidelberg
Forgery or restoration? Fake inscriptions in Grand Tour collections.
Caroline Barron, Birkbeck, University of London
New Testament Textual Criticism and Forgery
Stephen Carlson, Australian Catholic University
Once a forger, always a forger. How to deal with fake inscriptions
Lorenzo Calvelli, Ca’ Foscari University of Venice
Fan Fiction: Evangelicalism, Inerrancy, and the Marketplace for Modern-day Relic Hunters.
Kipp Davis, Trinity Western University
The Jerusalem Papyrus, Israel, and UNESCO
Michael Langlois, University of Strasbourg
3D printed replicas vs their originals for the study and preservation of ancient Egyptian antiquities
Rita Lucarelli, University of California Berkeley
Fake Founders and Counterfeit Claims: Forging the Past in the Middle Ages
Levi Roach, University of Exeter
Emotional Authenticity: Anne Boleyn’s Letter from the Tower
Stephanie Russo, Macquarie University
Fires in the sky: the “Tulli Papyrus”, an alleged Egyptological forgery
Nicola Reggiani, University of Parma
The Future’s Perfect Forgery (and the Way for You to Debunk It).
Christopher Rollston, George Washington University
Faking it: Reflections on a theme
Rachel Yuen-Collingridge (Macquarie University)
The Art of Disagreeing Badly: Religious Dispute in Early Modern Europe
Exhibition available on interactive website
The exhibition The Art of Disagreeing Badly: Religious Dispute in Early Modern Europe is now available on an interactive website.
The physical exhibition curated by Dr Stefan Bauer and Bethany Hume (York) was on display at the Old Palace, York Minster 15 November – 15th December 2016 and showcased the collections of the York Minster library, examining the role of religious polemic in the early modern period.
England and the French Wars of Religion- 16th century Pamphlets held at York Minster
Dr Eric Durot, Marie Curie Research Fellow, exploring “The Outbreak of the Wars of Religion: a Franco-British History (1547-ca.74)has curated an exhibition of some of the York Minster Library’s rich collection of sixteenth-century pamphlets concerning English responses to and dimensions of the French Wars of Religion. A digital version of this exhibition has now been launched. For more on this research project see, http://francobrit16.blogspot.co.uk/
The French Wars of Religion (1562-98) were a conflict that pitted Catholics against Protestants. But the civil war was more than a religious war. It entailed rebellions against the crown, inter-communal violence and a struggle between moderate Catholics and radicals. It was a period in which there were new ideas formulated about the monarchy, religious toleration and civil living together.
The French events were also a European phenomenon. Foreign powers were sucked into the conflict. Events there directly impacted England: many French Protestants took refuge across the Channel and Elizabeth I intervened militarily to support the Protestant cause. England’s main enemy, Spain, intervened to support the Catholic cause. The French Wars of Religion were of fundamental importance to the course of British History in another way. Many English Catholics supported the claim of the French princess, Mary Stuart, Queen of Scots, to the throne of England. In the 1580s France became home to a community of English Catholic exiles, who plotted with French sympathisers to overthrow Elizabeth.
These pamphlets are also a reminder of the explosion of print in the sixteenth century. They are relics of an emerging public sphere which laid the foundations for Britain’s own seventeenth-century civil wars and Revolution.
Illuminating the world with the Rothschild Prayer Book Exhibition
When from Wednesday 24 January 2018 09:00AM to Sunday 25 February 2018 05:00PM
Venue The Nook, State Library of Western Australia
Details Discover the secrets of the Rothschild Prayer Book, one of the world’s most important medieval illuminated manuscripts. The illuminations are presented page by page using the most detailed digital reproduction techniques. Accompanying the interactive digital display will be a showcase of handmade books and printed publications, with several very early printed bibles from the State Library’s collection.
Proudly presented in partnership with the Kerry Stokes Collection.
Moving to the Left: The Art and Development of the Frontispiece
Special Collections, University of Otago
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that the exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. This exhibition starts in Special Collections, the de Beer Gallery, on Friday 15 December 2017. It runs through to 9 March 2018.
Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s.
A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions.
The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns. Notable works on display include James Howell’s Londinopolis; An Historicall Discourse (1657); John Evelyn’s Sculptura (1662); Robert Nelson’s A Companion for the Festivals and Fasts of the Church of England (1732); Robert Burton’s The Anatomy of Melancholy (1682); Edward Chamberlayne’s Angliae Notitia: or the Present State of England.(1684); and John Milton’s Paradise Lost (1688). Moderns include Lewis Carroll’s The Hunting of the Snark (1903); Selma Lagerlöf’s The Wonderful Adventures of Nils (1950); and Mickey Spillane’s I’ll Die Tomorrow (2009).
According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. Please do visit the exhibition, and as you make your way through it, please consider some of these aspects in the art of the frontispiece.
‘Moving to the Left: The Art and Development of the Frontispiece’
15 December 2017 to 9 March 2018.
De Beer Gallery, 1st floor, Central Library
Eventually this exhibition will go online, so watch this space.
In addition, if anyone would like a copy of the poster and handlist (physical or e-versions), please just ask.
A rare opportunity to experience the beauty, scale and intricacy of a masterpiece of medieval French art that has captivated viewers across the centuries
10 Feb – 24 Jun 2018
Revered as a national treasure in France, and known as the 15th-century ‘Mona Lisa of the Middle Ages’ The lady and the unicorn tapestry cycle will be making its exclusive appearance in Australia at the Art Gallery of NSW through a generous and exceptional loan from the collection of the Musée de Cluny – Musée national du Moyen Âge in Paris.
The six large tapestries each depict a richly costumed lady flanked by that most mysterious animal, the unicorn, with jewel-like millefleur (‘thousand flowers’) backgrounds. The tapestries present a vivid meditation on earthly pleasures and courtly love. They can also be viewed as an allegory of the five senses – sight, hearing, taste, touch and smell – plus a sixth ‘internal’ sense – heart, desire or will – which was widely known at the time.
With an engaging program of events and activities for all ages, and a specially designed digital experience, a visit to The lady and the unicorn will allow a close encounter with one of the world’s greatest treasures.
This exhibition is made possible with the support of the NSW Government through its tourism and major events agency, Destination NSW.
Buy tickets now from Qtix. Tickets can be used once, anytime the exhibition is open. You don’t specify a date or time when booking.
$44 family (2 adults + up to 3 children)
$8 child (5-17 years)
Free for children under 5
A $2 transaction fee applies for online purchases
Only available at the Gallery
Upper Asian gallery
A CITY. A FAMILY. A COLLECTION OF MAGNIFICENCE.
Introducing the private collection of one of Florence’s most eminent families, the Corsini family.
Featuring Renaissance and Baroque paintings by artists such as Botticelli, Tintoretto, Caravaggio and Pontormo – these extraordinary works of art have been preserved over centuries, surviving the devastation of World War II and the great flood of Florence.
This personal collection includes portraits, landscapes, mythological and religious paintings, plus fascinating decorative objects and furniture from the Palazzo Corsini.
Leaving the city it’s called home for 600 years, this is the first time this collection has toured outside of Italy and will be the only showing in Australia.
Experience for yourself this uniquely visual history of passion, fortune, and survival.
MEMBERS SEE IT FOR FREE
Become an AGWA Member and receive one adult ticket as part of your membership.
You will also have access to special members events and exclusive offers.
$15 Adult | $12 AGWA Member /Concession/Senior
Members see it once for free
$55 Two adult tickets and a catalogue
$37 Adult Season Pass | $30 Concession Season Pass
$37 Family Pass (2 Adults plus 3 Children) | $7 Children (5-17)
Children 4 and under, free
Tickets are dated, but can be changed ahead of time without penalty.
BOOK YOUR TICKET NOW
National Gallery of Victoria, Melbourne
21 July– 15 October, 2017
More info and tickets: http://www.ngv.vic.gov.au/exhibition/hokusai
Katsushika Hokusai is regarded as one of the most influential and creative minds in the history of Japanese art. His unique social observations, innovative approach to design and mastery of the brush, made him the most famous and popular artist of Edo period Japan as well as an internationally recognised artist. A self-professed ‘drawing maniac’, Hokusai was known by at least thirty names during his lifetime and was renowned for his unconventional behaviour. Although gaining fame during his lifetime he never attained financial success. His years of greatest artistic production were conducted in poverty, living in a hut by the Sumida River or spent travelling, drawing and painting. These uncertainties in life and constant contact with the working people contributed to his eccentric style, raw genius and everlasting popularity.
Hokusai features 129 prints, four paintings and ten rare books on loan from the Japan Ukiyo-e Museum, Matsumoto, with special features including a selection of Hokusai’s early works and complete sets of his most famous series’ including Thirty six views of Mount Fuji, Tour of famous waterfalls, Unusual views of celebrated bridges, Eight views of the Ryukyu Islands, Birds and flowers and Ghost tales.
A selection of NGV Collection works including The great wave will be exhibited as exhibition focus points beside corresponding works from the Japan Ukiyo-e Museum, giving visitors the opportunity to view different impressions of the same image side-by-side and allowing the NGV’s Hokusai prints to be put in a scholarly context for the first time.
Further highlights of the exhibition will include a section of Hokusai’s books featuring his iconic manga (comical drawings) in special multimedia projections. A further selection of original Hokusai paintings on loan from Japan Ukiyo-e Museum, will mark the first time Hokusai’s works in this medium will be exhibited in Australia.