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17th Century Frame – Decorative Stones

An intricate 17th century frame object detail

As part of her Illuminating Objects internship, Natasha Gertler has written a series of blog posts for The Courtauld Gallery’s Blog.  Read about her journey to the final display in the following blog posts.


 

More Than Meets The Eye

POSTED ON APRIL 5, 2017
Read about the Courtauld’s Baroque frame and how XRF spectroscopy was performed on it 
Find out more


 

Observation, Connoisseurship And A Bit Of Detective Work

POSTED ON MAY 30, 2017
Read about decorative stone identification and Natasha’s collaboration with Dr. Ruth Siddall 
Find out more


Collaborating With The Oxford University Museum of Natural History

POSTED ON JUNE 5, 2017
Read about Natasha’s collaboration with Monica Price and her trip to the Oxford Museum of Natural History
Find out more


Finito!

three people working on the installation of the venetian glass bowl in the Courtauld's gallery

The Courtauld’s newest instalment is finally ready and has now been sitting proudly on display for over a week. The Venetian bowl (I have become accustomed to calling it ‘my’ bowl) is small but a lot of time, consideration and work from many people has gone into its display. From Sacha Gerstein’s curatorial eye to Graeme Barraclough’s experience as a conservator, Colin Lindley’s mount-making efforts and many more, the one tiny bowl had a lot of fantastic people working hard behind it, including my own research!

I arrived bright and early on a beautiful sunny day at The Courtauld on the day of the installation. Due to works being carried out on the galleries lifts, the glass case had to be physically carried up the flight of stairs to its new home. However, this was luckily the last hurdle the project had to make before being completed.

After some adjustments to the mount, and the application of new lettering and positioning of text labels, it was time for the bowl to be installed. The chalcedony glass that makes up the bowl has a fascinating quality of glowing bright red when a bright light is shone directly at it. Because of this, we wanted to get the lights in the case at just the right angle to produce some of this for visitors to see.

Another difficulty was how to angle the bowl. The inside of the bowl has a milky pale green colour, nowhere near as beautiful as the swirling patterns on the outside, which is much more interesting to look at, and relevant to the bowl’s history. This faced us with a small problem, because short of displaying the bowl upside down (in which case it would cease to look much like a bowl), one side of the cabinet was going to have a view of the inside of the bowl.

In a last-minute change (quite literally, just minutes before the glass hood was secured into place!) we decided to try turning the bowl round by 90 degrees. It sounds silly, but having the bowl side-on wasn’t something that had occurred to us! This way, both ‘viewing’ sides of the case, where the text panels are, get a brilliant view of the bowl’s exterior.

And with that, we ushered ourselves out of the gallery as the first members of the public arrived for the day.

The whole process of completing the Illuminating Objects internship has been eye-opening to a whole world I had never truly contemplated before. It has been hard work, but also fascinating, and immensely rewarding.

Thank you to everyone at The Courtauld (and beyond) who has given their time and assistance to this project. Special thanks to Sacha Gerstein for her guidance and expertise, and for giving me the opportunity to take part.

Decisions Decisions 

two female students examining the adventurine bowl

It is now time to select my object to illuminate!

Perhaps embedded with a genetic interest for ceramics, I had initially thought about selecting some albarelli, earthenware pharmacy jars, some of which are already on display in the Courtauld. These objects were ceramic, something I had a childhood relationship with, and had a clear link to science – I had even studied pharmacology as part of my undergraduate degree.

Maybe it was because the link was just too clear, but, already a little out of my comfort zone in an art gallery, I thought I might as well jump in the deep end with a beautiful Venetian glass bowl.

I can admit that I was initially drawn to the bowl for shallow reasons – it is beautiful glass swirling with browns and greens and small inclusions of deep caramel sparkles – rather than knowing anything at all about glassware. In fact, I was completely in the dark, but armed with a folder on the object’s history and details, I began working my way into writing on Venetian glass. I soon discovered the names of the two techniques that gave the bowl its stunning aesthetic appearance – calcedonio, which is a type of glass that gives swirling colours, and aventurine, the golden sparkles.

As my research continues, I hope to be able to enlighten myself about the processes of glassmaking, as well as the culture surrounding the craft in the 18th century. Eventually, I will be able to call myself an expert on this very small area of art history, and look forward to sharing this newfound knowledge with the visitors of the Courtauld Gallery.

Introducing Eleanor

Eleanor Magson standing in front of the venetian glass bowl in the Courtauld's galleryThe Courtauld Gallery is one of the last places I would have guessed I would be working, if you had asked me a few years ago. At this time, a pharmaceutical or neurological laboratory would have been more in line with my expectations. But, after three years of degree study in Biomedical Science, I decided life at the lab bench wasn’t for me and I turned myself over to the humanities for a degree in Science Communication, in order to share my love for science with the public.

As the child of two potters, my journey down the science pathway was a bit of a breakaway from my artistic side, but it wasn’t long before I became interested in communicating science through art, as a way of reconciling my two (often opposing) interests.

It was soon into my Masters in Science Communication at Imperial College that the opportunity to apply for the internship at The Courtauld arose. Although I had done a piece of research on the use of enriching the teaching of science with arts and humanities, I had no experience of enriching art with science.

The Courtauld, like all galleries, provides information on the historical context to their objects and paintings, which can often include social, religious and political context, but science is not something seen within many art galleries.

I wanted to bring out not only the technical science of the creation of my selected object, but also the effect of the state of the scientific world of the time on the object. Scientific discoveries fuelled how we looked at the world, often having huge influences on the development of societies.

Keep an eye on the Gallery blog to find out more about my Illuminating Objects project.

Researching The Guro Loom Pulley: An Anthropologist In An Art Gallery

Woven indigo Cloth

With a background in the anthropology of craft work in West Africa and having spent time in a weaving workshop in Ghana, choosing the Guro loom pulley as the focus of my research at The Courtauld was relatively straightforward.

As a tool used to make cloth, I was familiar with the way the loom pulley may have been used by weavers and I knew something about its place within a wider West African context of textile production and carving.

Photograph of a Guro Indigo Cloth.

The project’s challenge then has been communicating what I know as an anthropologist, first to my art historian colleagues in The Courtauld Gallery and then to a wider public.

The process of researching the pulley and presenting it for display has involved translating anthropological ideas into something that will make sense in an art gallery or museum.

Anthropology is a discipline that is based on intensive fieldwork, usually with a specific group of people, and often during a particular period in time. When anthropologists speak about what we know we are quite careful to say that our knowledge is partial and does not necessarily hold true for all places and times.

One of the main issues I faced in researching the pulley was that most of what we know about Guro weaving and carving comes from fieldwork carried out in Côte D’Ivoire relatively recently.

Like many African objects collected by connoisseurs throughout the 19th and early 20thcenturies that have subsequently ended up in gallery collections, very little is known about the actual circumstances in which this particular loom pulley was made, used and sold. Without this historical context, we are forced to rely on research carried out with Guro craftspeople in the past few decades.

Despite undoubted continuities between past and present, when working like this we have to be wary of assuming that nothing has changed in the ways objects are made and used. Although there will be a resemblance between the way a decorated loom pulley was made by Guro carvers in the 1980s and how a similar object was carved a century before, techniques, style, materials and the skill of craftspeople all change over time.

My challenge has been to look at what experts in both African Art History and Anthropology have had to say about Guro craftwork and come up with an interpretation of the loom pulley which is true to both disciplines, but that will also (and probably more importantly!) engage someone who is new to the wonders of African Art.

The job of translating current day anthropology into the past is not an easy one and I don’t know how well I’ve done- I suppose only the gallery visitors can be the judge of that!

Installing The Next Illuminating Objects

A retorti and a fili filigree detail

In a series of blog posts, postgraduate intern Victoria Druce (MSc student at Imperial College London) looked behind the scenes to give an insight into how she researched the filigree glasses.

It was an early start at the Courtauld Gallery for the installation of the new Illuminating Objects display on the 24th July, collecting together the mount maker, case designer, label designer, curator and intern (that’s me) to put on display the third instalment of this year’s Illuminating Object series.

Over the past few weeks, having collected together my research and decided on an angle for the display, I have been writing the labels and web text for the projects. Both the texts were a real challenge – the word count for the labels is tiny at just 150 words each! Condensing my research into such a small space whilst keeping it engaging and interesting is a real skill and much of it had to hit the cutting room floor. My first attempts were twice the maximum limit and it took a lot of clever editing to shrink them down to size. The web text is a little longer and will hopefully give any curious visitors to the gallery or the website a bit of extra detail about the background of the glasses which are on display this summer.

Along with the finished labels, the mount and blocks for the display case were collected together this morning for the installation. It was the first time we’d seen the glasses in their case but after a little tweaking of spacing, the glasses looked great in their case. The lighting gives both the glasses a beautiful glow which lights up their exquisite detail. The goblet sits on a block to stand above the wine glass and together they make a maximum impact as visitors walk into Room 4 of the gallery.

After weeks of research, a meeting, talking with experts, experiments, writing, re-writing and final touches this Illuminating Objects project is drawing to a close. Many thanks go to Suzanne Higgott at the Wallace Collection for her expert help throughout the project and to Collin Brain for his insight into the science of lead glass. Also thanks to the gallery’s chief conservator Graeme Barraclough and to Kate Edmonson. Finally, thanks to Sacha Gerstein for her help and advice during the project.

Researching the glasses

Selection of Filigree Glasses
Selection of Filigree Glasses. Photo credit: Victoria Druce

9 July 2013

The shelves of the V&A’s study collection are full to bursting with glass upon glass sitting silently on the shelves. They make for a dazzling display. My research for the glasses I am presenting for display took me to the V&A’s glass room. I scanned the rows of glasses from the time periods I am interested in: the 16th C and the 18th C. The Venetian style glasses are exquisite in their cases, some of the stems styled into intricate works of glass art depicting seahorses and hearts. The English 18th C glasses in comparison are less fanciful and sit more soberly in their own case. Their stems are delicately patterned by air twists or enamelled patterns that are unimaginably complex and catch the eye of the gallery’s visitors.

As well as visiting other collections and scouring art history books I have been deciphering academic science journals to uncover the secrets of the objects I am displaying. We have also carried out some of our own scientific tests on the glass. With the help of conservator Graeme Barraclough and conservation student Douglas Maclennan we analysed the composition of the glasses by X-ray. The results confirmed what my research has already told us, so it was great to know I’m on the right track!

With all my reading, researching and testing I have busily compiled lots of information that I will use to interpret the objects. The culmination of the research I have carried out will be in the crafting of the exhibition labels and the online content, which I hope will bring the objects and their histories alive for the galleries real and online visitors.