| : Αξιαγωγή Παρακαλώ, ευχαριστούμε όλους τους μιώτατε, ο ήχος σας είναι μιωθό. Αυτή η ημέρα ο λαχτυρής, ο Γεωργς Μαγγίνης, σχεδόν μάθηκε αρχαιολογία και ιστορία της δικαιωμάτιας στην Ευρωπαϊκή Αθήνα, και στην Ευρωπαϊκή Λονδίνα του ΣΩΑΕ, που εξοδεχόταν έναν πιεριφήτης με έναν υπέροχο διαστατικό στον Αγία Κορυφή, στη Σινάι. Το ενδιαφέρον του τουρισμού στον Σινάι, και ειδικά στον κορυφό κομμάτι που βγήκε τραυματικά πίσω, γνωστό ως το μέρος όπου ο Μόσος εξελίξε τα 10 αδερφή από τον Θεό, όπως αναφέρονται στο βιβλίο του Εξωτερικού, αποτελούσε στη 2016 μοναγραφία «Το Μόνο Σινάι, μια ιστορία των πραγματικών και των πιλγραμματικών», σε πολλές σημαντικές εξελίξεις, και στον σχέδιο του, από το 2018, ως αδερφή του Σινάι Κάθριν, του Σινάι Κάθριν Foundation. Προχωρήθηκε πάνω από αυτό το εξελίξημα εξελίξεων, έχει εξελίξει σχετικές εξελίξεις για την προεξελίξη της Σιπραίου, την ισλαμική εξελίξη και την αρχιτεκτορία, τις κίνες στεραμικές και τις ελληνικές και αρμενικές διασπορές. Και εδώ θέλω να δημιουργηθείτε τη σκέψη του τελευταίο σχέδιο, «China Rediscovered, the Benaki Museum Collection of Chinese Ceramics» του 2016. Επίσης στο σχετικό εργαλείο, έχει διδάξει την Βυζαντινή, την ισλαμική και την ελληνική εξελίξη σε πολλές προστασιακές εργαλείες, συμφωνώντας τον ΣΟΑΣ, τον Κορτολδί Συμφωνείο, την Ευρωπαϊκή Ενωμερία, τον Συμφωνείο της Ισμαλίας, την Ευρωπαϊκή Αγωκάνη και άλλα. Από το τελευταίο μήνα, έχετε γνωρίσει τον κ. Μαγγίνη και τον ρόλο του σχετικού εργαλείου του Μαγγίνου. Έναν ρόλο που έχει χαρακτηριοποιηθεί από το 2018, εξελίξοντας τον Καδοκουζένο του Μουσείου, την Ελληνική Αγωκάνη του Μουσείου στην Αθήνα, την Ελληνική Αρθοδοξιακή Κηθαγραφία στην Σοφία, στην Λονδία, και τον Αρχαιολογικό Μουσείο του Ιωάννινα. Έτσι, βλέπουμε στον κ. Μαγγίνη ένας σχετικός εξελίξευσης, ε Έτσι, βλέπουμε στον κ. Μαγγίνη ένας σχετικός εξελίξευσης, ειρήνης, και τελευταίας. Και θα πω, على δευτερό μας, στο κέντρο UCLA, ότι έχει été μια πραγματική εντυπωσία να λειτουργήσει μαζί του για να συμμετέχει αυτήν τη λεξιότητα, μια που ελπίζουμε να συνεχίσουμε في τον χρόνο. Σήμερα, για τη βοήθεια του χώρα, μια συλλογή της ελληνικής αρθοδοξίας για την Ελλάδα συνεχίσουμε την εξελίξευση των ελληνικών συλλογών, τις οποίες βλέπουμεень τους αυτές τις ΠΑΛΕΑ didier. Και�� στηνlamometers & καιєλ under σήμερα, στο σπεκτάκουλο της Μίνα Μουραϊτου, πριν την εβδομάδα. Ήρθαμε ότι ο Ανδόνις Πενάκης είχε συμφωνήσει με τον Γεώργο Ευμορφόπολος, ένας Βρετανικός διευθυντήτης, γενικός από το 1863, στην Λιβερπούλ, σε μια οικογένεια ελληνικών πρόσφυγων που έφυγαν από την αυτοβουλεία του Χιώσου το 1822. Αλλά ποιος ήταν αυτός ο Ευμορφόπολος? Πώς έκανε ένα από τα πιο αξιωτικά συμβουλήματα της Κινέζικας Συραμίας, που το κόσμο έχει πραγματικά δει. Ήταν απλά ένας άνθρωπος του χρόνου, ένας σκληρός διευθυντής, ένας πατρίο, ένας δύναμος, ή ήταν ένας διευθυντής. Εγώ συμβουλεύω τον Δ. Μαγγινίσ να σας παρακολουθήσει στον κόσμο, σε αυτόν τον ειδικό συμβουλήμα, και σε αυτόν τον συμβουλήμα, για τον βαθύστητο της κράτης, μια συλλογή της Κινέζικας Συραμίας για την Ελλάδα. Ευχαριστούμε πολύ, Σαρλή. Σαρλή, έχει δουλεύει να δουλεύει μέσα σε αυτές τις εβδομάδες, και είμαι συγκεκριμένος για τη διευθυντή της συμβουλής. Επίσης, είμαι πολύ συγκεκριμένος για όλους εσάς, οι οποίοι συμβουλεύονται κάθε εβδομάδι, πρωτοβουλή ή εβδομάδι, για τη διευθυντή της συμβουλής μας. Τώρα, θα συμβουλεύω το σχήμα μου με εσάς. Υπέροχο. Τώρα, όπως είπε η Σαρλή, αυτό δεν είναι τόσο μια συμβουλή για την εβδομάδα για την ελληνική συρράμμακα, ή για την ελληνική ιστορία, ή για την ελληνική ιστορία. Είναι, όπως λέει το τίτλο, μια συμβουλή για την ελληνική συρράμμακα, και συγκεκριμένη για την ελληνική συρράμμακα που δημιουργήθηκε για την Ελλάδα. Σε αυτή τη στιγμή, βρίσκεται πολύ καλύτερα μέσα στο τίτλο «Ελληνική συρράμμακα» των διευθυντών μας. Για να συμβουλεύω το σχέδιο πιο συστηματικά, πρέπει να ανοίξω τα πόρτα από τον άνθρωπο και να δοκιμάζω την ελληνική συρράμμακα σε κάποιο σχέδιο. Μετά θα δοκιμάζουμε και το σχέδιο της συρράμμακας αφού η ελληνική συρράμμακα διευθυντώθηκε. Και αφού πρέπει να ανοίξουμε την ιστορία από κάποια στιγμή, θα ξεκινήσω από όπου η επόμενη εβδομάδα, η Μίνα Μουραίτου, έφερε την ιστορία. Από την ιστορία του Μενάτιου Μουσείου, το 22η Απρίλιο 1931, στην Αθήνα. Βλέπουμε εδώ ένα αρτικό από ένα νησί, και βλέπουμε τον Μενάτι να δοκιμάζει, όπως πάντα, και δοκιμάζουμε όλες τις αφησίες από τους αρχητές. Θα θέλαμε να δημιουργηθείτε ένα κότο από τον τελευταίο Πρωθυπουργό, τον Γεώργο Παπανδρέου, πριν το 1931, που ανοίξε την αφησία με τα επόμενα λόγια. Στο όνομα του κράτους, και με βαθιά αίσθηση, δοκιμάζουμε το Μουσείο Μενάτιου, γιατί το Μουσείο ήταν δημιουργημένο, φυσικά, στον ελληνικό κράτος. Και δοκιμάζουμε σε εσάς, κ. Αντόμιος Μενάτιος, στους νόμους γυναίκες, τις αδερφές σας, και στους δημιουργημένους ελληνικούς, κ. Γεώργος Ιουμαρφόπουλος, η εμφάνιση της εθνικής ευχή. Ποιος ήταν ο Γεώργος Ιουμαρφόπουλος, ή, όπως λέμε ελληνικοί, ο Ευμορφόπουλος, το καλύτερο, πραγματικά, αυτό είναι το σημαντικό, ή, όπως λένε οι φίλοι του στην Αγγλία, ο Γεώργος Ιουμαρφόπουλος, επειδή ο Γεώργος Ιουμαρφόπουλος ήταν αρκετά λεπτό. Γιατί έκανε τέτοιο σημαντικό, γιατί έκανε να υποστηρίζει αυτό, γιατί εμφανίζεται εκεί, με την οικογένειά του Μπενάκη, στην ανοιχτή αδερφή. Και πώς έγινε να γίνει τέτοιος σημαντικός δόνας, και, τελικά, γιατί είναι ο γεωργός, γιατί είναι αυτό το σημαντικό, γιατί γιατί είναι αυτό το πρωτογραφικό σημαντικό. Επομένως, σήμερα θα ήθελα να σας δώσω το σημαντικό σημαντικό, το σημαντικό σημαντικό, γιατί είναι αυτό το σημαντικό σημαντικό, και να σας δώσω. Υπάρχει ένα σημαντικό σημαντικό σημαντικό σημαντικό, γιατί είναι αυτό το σημαντικό σημαντικό, γιατί είναι αυτό το σημαντικό σημαντικό σημαντικό, Το 1866, ο πατέρας μου ήρθε στο Λονδίνο. Ήταν δουλεύοντας με το σύρριαδο με την Ρωσία, και ήταν σε αυτό το σύρριαδο που ξεκίνησα τη δημόσια μου εργασία. Εγώ συνέχισα με την εργασία των Ραλιών, το 1ο Ιανουαρίου 1902, και έμεινα εκεί μέχρι το 1ο Φεβρουάριο 1935. Το 1891, ξεκίνησα να συναντήσω ευρωπαϊκές εργασίες. Μετά από λίγες χρόνια, ξεκίνησα να αγοράσω ελληνικές, το οποίο μου έδωσε τόσο περισσότερο χαρά, ότι αποφασίσα να αγοράσω τις ευρωπαϊκές εργασίες και να εξασφαλίσω τον ελληνικό μου. Το όνομα δεν μπορεί να σημαίνει πολύ στους ανθρώπους που είναι εξαιρετικοί στον ελληνικό κόσμο, αλλά είναι λεγεντικός στη ιστοριαγραφία της ελληνικής εργασίας. Ωστόσο, οι ερώτητες ερώτητες έχουν εμφανιστεί για κάποιον που γνωρίζει την ιστορία των εργασιακών, της ελληνικής εργασίας και των μεγαλύτερων εργασιακών. Ποιος ήταν αυτός, τι ήταν τα σημεία του εργασιακού, τι ήταν το μυαλό του. Και αυτό θα ήθελα να εξασφαλίσω μαζί σας. Όπως είπε ο Σάρων, η οικογένειά του Γιουμαρφόκουλου ερχόταν από την ελληνική Χίος. Η Χίος ήταν καταστροφημένη από την οτωμανική εργασία. Στον 1822, πολλοί άνθρωποι είχαν καταστροφηθεί ή εξασφαλίσει. Η οικογένειά του Γιουμαρφόκουλου έφυγαν στον ΣΥΡΟΣ και μετά στον ΠΑΙΡΙΑ, τα δύο μεγαλύτερα εργασιακά κέντρα του ελληνικού κόσμου στη στιγμή, στην Αγία. Και μετά από την οικογένειά των πολλών Ελλήνων που είχαν εξασφαλίσει, βρήκαν στον ΓΙΚΕ πολύ σύντομα, στον μέρος του 19ου αιώνα. Έτσι, γίνεται ο ελληνικός εξασφαλίτης. Ήταν γεννή στο Λιβερπούλ, όπως έγραψε στο βιωτισμό του, το 1863, και ως ασφαλίτης, πέφτει στο Λονδίνο. Και η πρώτη εξασφαλία του Γιουμαρφόκουλου, που έχω καταφέρει, ήταν στο Αρχείο της Ελληνικής Κάθεδρας, στο Λονδίνο. Και είναι αυτό το βιωτισμό, είναι ένα εξασφαλικό βιωτισμό, για το Ελληνικό Κοινοβούλιο. Και εδώ, σε μια παγκοσμή, υπάρχει, εκεί είναι, G.A. Γιουμαρφόκουλος, και αυτά είναι οι φόρτες που παίχτησε ο πατέρας για την εξασφαλία του γιουμαρφόκουλου, στο Ελληνικό. Πραγματικά, ο πατέρας του Γιουμαρφόκουλου, ο Αριστείδης Γιουμαρφόκουλος, ήταν ο Πρόεδρος της Κοινοβούλιας. Έτσι, πραγματικά άνθρωπος, αλλά επίσης σκληρά συμμετοχημένος στην εκπαίδευση, και για αυτό, μια ελληνική εκπαίδευση. Ο πατέρας του Γιουμαρφόκουλου ήταν ο Δημήτρης Βικέλλας, ελληνικός σχολός, ειδικός, και μετά, μέλος της Κοινοβουλίας του 1ου Ολυμπιακού Γιουμαρφόκουλου, στις Ελληνικές Επικοινήσεις. Αυτή είναι η στιγμή που έκανε τον καλό ελληνικό, γιατί στον Βενάκη, έχουμε περίπου 100 λεπτά μεταξύ του και των Βενάκης, σε τελευταία χρόνια, και ο ελληνικός είναι πολύ καλός, λίγο αρχαίικος, φυσικά, από τις 1920, γιατί το έκανε πριν στις 1870, αλλά δεν υπάρχουν προβλήματα σχετικά ή μικρά συνταξικά πράγματα. Τώρα, το 1873, ένας νέος Κωνσταντίν Καβάφι ζούσε επίσης γύρω από τη Κούνα από την οικογένειά του Γιουμαρφόκουλου. Ο Γιουμαρφόκουλος ζούσε στις 12 στάνλις, όχι στον Βενάκη. Και πάντα θέλω να πιστεύω ότι οι δυο παιδιά παίξανε στο καθεδριό, μετά από ένα ημέρα. Ο Γιουμαρφόκουλος ήταν, όπως και οι περισσότεροι Έλληνες, πολύ συνδυασμένοι με την ελληνική κοινότητα και ήταν κοινωνιστής του καθεδριού δύο φορές. Το βλέπουμε εδώ, σε ένα κατσούνι, από τον Φρέτρικ Καλ, σχετικά με τα μεγαλύτερα μέλη του Μαλτικού Εκκέντρου και είναι εδώ 30 χρονών, ο καλύτερος καπιταλιστής στο κομμάτι του Top Hat και στο μοτοσυκλέτα. Ξεκίνησε να δουλεύει για την οικογένεια και σύντομα μεταφέρθηκε στο Raleigh Brothers. Και είναι δύσκολο να εξαγγελίσεις την σημασία του Raleigh Brothers ως εταιρεία. Ήταν η μεγαλύτερη εταιρεία του Βρετανικού Εμπίρου. Ήταν η μεγαλύτερη εταιρεία του Βρετανικού Εμπίρου. Και μεταφέρθηκαν κυρίως με την Ινδία, αλλά επίσης με την Κίνα. Ο Γιάν, ο Γεωργός, είχε ενδιαφέρον επίσκεψη με μεγαλύτερα μεταφέρθηση μεταξύ της Ιστορίας και της Λονδίας, το κομμασικό κεφάλαιο του κόσμου. Ήταν ο Γεωργός ο Εμπίρου, ο Γεωργός, ο κομμασικός κεφάλαιος, αλλά τώρα πρέπει να έρθουμε στον Γεωργό, το κομμασικό κεφάλαιο. Και ήταν πραγματικά κομμασικός κεφάλαιος, και θα ήθελα να εξελίξω με εσάς την παραδοσία στον οποίο βρίσκεται. Θα σας παρακολουθώ λίγο χρόνια και σε έναν ευαίσθητο μέρος. Αυτή είναι μια φωτογραφία του 19ου αιώνα του Αρντιβουλού στον Ιράν. Και παρουσιάζει τα πόρτα του Πορσουλινού κομμασικού κεφάλαιου, που είναι σε αυτό το δημιουργικό κεφάλαιο, το παραδοσιακό κεφάλαιο των Σαφαβίδων που κυβερνούσαν από το 16ο αιώνα μέχρι το χώρο. Βλέπουμε εδώ μια προφύση των κομμασικών στις υπόλοιπες της πόρτας και στην πόρτα πολλές και πολλές κομμασικών κεφάλαιων και πόρτων. Οι κομμασικές κάθε κομμασική εξαιρευνόταν στις συγκεκριμένες κομμασίες. Οι κομμασικές έκανε ένας εξαιρετικός παραδοσιακός παραδοσιακός κεφάλαιος. Η κομμασία είχε συγκρίνει πολλές χρόνια και δημιουργήθηκε πραγματικά στην προηγούμενη κομμασία. Οι κομμασικές έκανε εξαιρετικά στην πόρτα. Αυτή είναι μια παραδοσιακή εξαιρετική, που στην περίπτωση του Ιράν συνεχίζει, ακόμα και αν δεν υπήρχε κανένα πόρτος να βάλει στην κομμασία, ή πραγματικά θα ήταν δυνατόν να βάλει κάποιο πόρτο, γιατί οι κομμασίες δεν μπορούσαν να συνεχίσουν. Τα κομμασικά, τα κομμασικά πόρτα ήταν ένα πολύ γνωστό εξελίξιο στο Ινδιοαμείο από πολλές χρόνια πριν το 16ο και 17ο αιώνα. Και σας δείχνω εδώ ένα υπέροχο 16ο αιώνα από τη συνεχή μας, που είναι εξελίξει με ένα πόρτο από τον νησιάπο σούφι πόετ Ατάρα. Και ήταν εξελίξει από κάποιον που πιθανόν δεν γνωρίζεσαι πώς να το γράψει πολύ καλά, στον πόρτο του Περσίου, αλλά πιθανόν η person who commissioned the coupling of the poem and the object knew what he was talking about. Because the poem refers to scent and the sensor of course is an object that diffuses a beautiful perfume. Chinese potters were wonderfully adept at producing wares for export, for markets that demanded things for special reasons. And beyond the Middle East also Europe commissioned wares in the blue and white porcelain, this mysterious, perfectly suited for long-distance travel material that had not been discovered in Europe before the early 18th century. We have a large dish, a charger, as they're sometimes called, with the arms of the monastic order of the Augustine monks, and we see a Habsburg eagle, but the crown has been transposed into a basket of flowers. It was made in China but for a monastery, perhaps in the Iberian peninsula, or even in Mexico or another of the colonies in America. So the Chinese from early on, even from pre-modern times, produced these wares for contemporary markets. In Europe the Portuguese were the first and the Dutch went second. There's very few still archives by any Dutch painter that do not feature some Chinese porcelain in one way or the other. I have chosen this specific painting because it does have a hewer made probably for the Portuguese market and a dish made for general export. We find this sort of dish pretty much everywhere. Now, the quantities of porcelain available in Europe were not very many before the 17th century, but in the 17th century, and thanks to the Dutch East Indies Company, the volume exploded. And by the 18th century European collectors and European decorators like the gentleman here, Daniel Marot, could indulge in hundreds and hundreds of these exotic products, which they used in decorative schemes. Now, I couldn't possibly make an effort to count all the pots in the print I showed you before, so I have focused on a small section and I took the time and counted every single cup and saucer and vase in this detail, and there are 162 of them. So if on one wall you had about 400 of these Chinese porcelains, you realize that they were widely available and of course produced at an industrial scale back in China. There are many porcelain rooms that dominate the European decorative arts in the 18th century. I think the most splendid one is this in Charlottenburg in Berlin. Now, the 18th century was dominated by la maladie de porcelain, the illness of porcelain. And every princeling and every king and every rich aristocrat would import large quantities. And we are lucky to have in the Benaki collection, bequeathed by Yuma Fopoulos, this bow which has a rather inconspicuous scribbled numeral at the bottom and it enables us to know that it was part of the collection of Augustus II, Augustus the Strong of Dresden. And he was of course the potentate that funded the creation of the first porcelain factory in Europe in Meissen, Saxony. Apart from porcelains decorated, especially commissioned and decorated in Chinese taste, we already saw commissions for the Middle Eastern and the European market. Originally these things were for kings and rulers, but by the mid-18th century they had become accessible enough to be commissioned by aristocrats, like the Spanish aristocrat Pignatelli, the Marquis of Ruby, who ordered his coat of arms on this cup. And even a young republic on the other side of the Atlantic was able to order porcelain, Chinese porcelain for its tables and there is a bowl with the arms of the state of New York interpreted rather than the proper coat of arms, but with initials of the person who ordered it. Up to now all these Chinese exports widely collected, used in decorative schemes, expensive as they were, were contemporary to the time of their usage in Europe. There was perhaps a three, four, five year hiatus. For the first time Chinese antiques became widely collectable in the 19th century. And this coincided, and I don't know if it is an accident or not, with the first political entanglement, and it wasn't a happy one between China and the West. As you probably all know, 1860 was the time when the Second Opium War resulted in the most atrocious act of vandalism, the sacking of the Summer Palace in Peking by the English and the French forces. But also 1860, which marked the lowest point in the contact between China and the West, was when the aesthetic movement started discovering Chinese porcelain again. But not contemporary Chinese porcelain, 17th and 18th century blue and white. This is a famous cartoon from the satirical newspaper Punch, dated about 20 years later. And we see here a man called the aesthetic bridegroom, and a lady called the ... I can't make it, something bright, something like that. And he looks very much like Oscar Wilde, and it's very intentional too. And please notice her hairdo, her hair. You'll see why later on. They both look at this teapot she's holding, and he tells her, it is quite consummate, is it not? And she replies, it is indeed. Oh, Algernon, let us live up to it. Algernon is very often used in satirical references to aesthetic movement men at the time. And actually, the whole thing refers to an exhibition in London of a teapot, a Chinese teapot, that was accompanied by a motto saying, go back home and live up to it. It was the aesthetic standard that the teapot set for rather design-weary Victorians. The cartoon is entitled The Six Mark Teapot, and of course, the mark is the Kangxi rain mark. It is the mark of a specific emperor from the late 17th, early 18th century, whose reign saw the production of perhaps the most beautiful blue and white in enormous quantities, exported widely to the West. Now, this craze for Chinese blue and white in the 1860s and 70s met its high point, at least in England, in the creation of the famous peacock room, which is today at the National Museum of Asian Art in Washington, D.C. The person who commissioned it was Frederick Richards Leyland, a shipowner, and the artistic genius behind it was James McNeill Whistler, who with Rosetti, Dante Gabriel Rosetti, are credited as being the people that inspired this love for Chinese porcelain at the time. Now, the painting at the center of this room features a lady, a beautiful lady, and please notice her hairdo, this sort of fluffy, dark hair, dressed in the Japanese manner, actually, and in front of a Japanese screen. And she's labeled la princesse du pays de la porcelaine, the princess of the country of porcelain. But this country is not Japan. It is China. The lady is a Greek. The model for this Chinese princess is a Greek lady. Her name is Christina Spartali, and she appears on the left, photographed by the great Victorian portrait photographer Julia Margaret Cameron. Her sister, Maria Spartali, married to a Mr. Stillman, appears immediately to the right, here painted by Dante Gabriel Rosetti. The Spartali sisters were daughters of a Greek diplomat living in London, and they were famously beautiful, and much sought after as models by the greatest painters and photographers at the time. But they were not alone. Third in the row is Aglaia Koroniou, another Greek beauty, again painted by Rosetti. And last is Maria Zambacou, painted as the sorceress, Nimue, beguiling Merlin in Edward Byrne Jones's famous work of art. Greek ladies were much sought after at the time among the artistic glitterati of Victorian London. They were dark, they were beautiful, and most of them were quite a catch. They were very wealthy. Maria Zambacou is famed as the model for perhaps all three of the graces in the famous work by Byrne Jones that we see here. Maria Zambacou was the niece of the most famous and rich Greek at the time, Alexander Ioannidis. Ioannidis commissioned a real palace of art, one of the most beautiful houses at the time by Philip Webb and William Morris at number one Holland Park. He was a major collector who bequeathed his collection to the Victorian Albert Museum, where you can still see it in the dedicated Ioannidis room. So, we now sort of come full circle, because we saw what the taste for collecting Chinese art was from, let's say, the 16th century onwards in the Middle East and in the West. And we saw how this taste percolated into the biggest collectors of Victorian London, the people who would have fashioned the taste of young Jewish humorphopoulos. Among them, of course, the Ioannidis were predominant. And their legacy, a legacy of money, fashion, and good taste, must have inspired the aspiring young humorphopoulos. We see him here with his young bride, looking like the perfect Victorian gentleman in his huge bushy beard. Another connection. These two portraits, now the collection of the VMA, were painted by Watts. George Frederick Watts was an invention, a creation, of the Ioannidis clan. Humorphopoulos, as we saw, started collecting European art and very soon shifted to Chinese. His house, at number 7 Chelsea Embankment, it's all the house that fills this photograph, so it extends over five floors, and it goes back to the Muse Alley behind the house, so it's a vast complex today, I have to admit, split up into several flats, sat on the bank of the Thames. It was fashionably built in the 1870s, but he bought it actually in the early 20s, when he was already quite a successful member of the Raleigh brothers firm. If we opened the door into this beautiful house, we would see it decorated in a somewhat conventional style. So there is an amalgam of medieval and Baroque furniture, there are decorative screens, there's Georgian furniture, there is French settees, and of course the necessary cases of Chinese porcelain, and what we see here is mostly blue and white, or enameled 18th century porcelains. Notice the vase at the bottom right hand corner, which we're lucky to have at the Benaki, very typically blue and red on white 18th century vase. Now, Eumorphopoulos was not only a Chinese art collector, he had some exceptional Islamic art pieces, which he housed in a Moxodobethan annex of the house, and I would like to draw your attention to the dish in the right hand corner case, which is among the most beautiful works of early 13th century Kashan or the brass sitting on the shelf here, which is perhaps the most famous work of Islamic metal work in the United States, the so-called Freer Canteen. All these pieces were sold after Eumorphopoulos' death at an auction and ended up in collections around the world. However, if we look behind the screen, we can catch a glimpse of something which is quite new, and we owe this novelty to Eumorphopoulos' taste. This is his break with collecting tradition. And I will let him give us an idea of what this break consists of. In the preface to the catalogue of his personal collection in 1925, volume one, there were 11 of those, he's saying, in 1906 that I saw for the first time a few specimens of the tomb wares, and I was at once attracted by them. Archaeological appeal alone, however, has never induced me to acquire an object. To enter my collection, it was indispensable that it should at the same time appeal to me aesthetically in some way or another. Now, the archaeological appeal was very heavy, very important in Eumor's taste. As I said, he worked for Raleigh Brothers, and he would often go to the docks of London to receive, to collect merchandise coming from the Far East. And one particular merchandise that started arriving were these Tang or earlier Han dynasty figures that were hardly collected in China ever before, or in the West where they were completely unknown. Famously, it was the opening of railways in China that made these tomb wares available in the art trade. Eumoropoulos was not at the time, in 1906-1909, very well off yet, so he couldn't compete with the people like Leyland collecting blue and white. So he would collect this much more easily and at huge, huge numbers. In 1910, at Burlington Fine Arts Club, where he was a member, there is the first exhibition in the History of the West dedicated to early Chinese art. He is by far the most important lender, and this camel, this figure of a camel, was one of the objects he presented there. Actually, he didn't have any tombwares to show, like this, tombwares, and when the exhibition opened in May, and later he got some, halfway through the exhibition, and they added a display case, number M, and this camel sat in that display case. These archaeological objects were a way into the history of China. It was an early history that was very little known from objects in the West. Most people were not familiar with the museums, even the great state museums didn't have any of this material. So, China was not perceived as an ancient culture. Yes, in literature, but not in art. So here, there was, for the first time, an opportunity to delve into its antiquity. At the same time, we cannot deny the aesthetic appeal of these tomb figures, which were, I repeat, collected for the first time by Humor Populus, rather than a museum curator. And, for example, in this so-called dancing horse, we see the sculptural qualities that must have caught his eye. And, of course, there's exoticism. There are these strange hairdos, these beautiful dresses that must have appealed to a collector from the early 20th century that saw these things as a leeway into a new period of the past, undiscovered. And finally, I would argue that the archaeological appeal of these figures lay, for Humor Populus specifically, in connections he could make with the Hellenistic and the Hellenic, broadly speaking. So, this figure, which today we associate with a South or Southeast Asian dancer, in the catalog of his collection is described as Hellenistic type, as probably someone coming from the West. So, the town love for the exotic in the 8th century corresponding to the love for the exotic in the early 20th. I said that behind the screen was a whole different world than the tame interiors of the living quarters of the Humor Populus residents. And this is true in the following photographs from the house, taken in 1934, just before he parted with the bulk of it, which he sold to the British government. For example, here we see a room. The figures to the right, in the large display case, are today the centerpiece of the Hotung Gallery at the British Museum. And here, to the right, there is the famous wooden Jin Dynasty bodhisattva, the centerpiece of the Chinese Gallery at the Victoria and Albert Museum. Some archaic jades to the left. But beyond the archaeological, Humor Populus talked about the aesthetic. And I think that the aesthetic is best exemplified in his case by the collection of Song ceramics, which he amassed. The Song dynasty, the classical period in the production of ceramics from the 10th to the 13th century, featured wares that were at once refined, beautifully sparse, and restrained in decoration, vigorous, almost rough at times, spectacular in color, and challenging in technique. This actually is a later Ming example of a ware that began in the Song. And Humor Populus also collected Korean art, which he appreciated very much for the spontaneity of execution and decoration. I would argue that he went even further. And he came to appreciate a very specific brand of aesthetics, very oriental, the imperfect. At the Benaki Museum Collection, we have two examples of Longchuan stoneware dating from approximately the 12th century. There are two bowls which are warped. They were warped during firing. And so they were discarded by the potters, who thought that they were no good, they wouldn't sell. And they were obviously collected by Japanese visitors to China from the heaps near the kiln, and they were mended, as you can see, with gold lacquer in Japan. Now, this was a piece of garbage when it was made in the 12th century, but it became a rarefied object within a Japanese collecting milieu. And Eumorphopoulos collected three of those. He gave two to the Benaki, and the third is among the ceramics he sold to the British Museum. I'm not aware of any other of these Japanese-mended Longchuan bowls. Now, all these categories of the aesthetic, the refined, the rough, the spectacularly colorful, the spontaneous, and the imperfect, can be traced in an aspect of his collecting activity, which is very little known. And I'm talking, of course, about his interest in contemporary art. Contemporary at the time, modern for us. We believe that this head, which is today in Harvard Art Museums by Amadeo Modigliani, was part of the Eumorphopoulos collection. A stone head by Modigliani of the same dimensions appears at the auction catalogue. It's not illustrated, but there are not that many of them around. And another photograph from the 1934 album features a picture of his study. And this is an unbelievable display of interwar sculpture, mostly of artists working in Britain. So we have work by Ivan Mestrovich, Enrico di Ebresca, Jacob Epstein, and most importantly, I think, Barbara Hepworth. Barbara Hepworth's bust by her first husband, Skipping, sat on the entrance hall of the Eumorphopoulos residence. It is this bust, and we do not know its present whereabouts. In a book published in 1944, I found a very surprising description of Eumorphopoulos. One evening, the most famous of all private collectors arrived in a Rolls Royce. It was the Greek millionaire Eumorphopoulos whose collection of modern art alone was supposed to be worth hundreds of thousands of pounds. Naturally, we kept out of the way while he was in the studio with Jack and Barbara. Jack was Skipping, Barbara's first husband. Barbara, of course, was Hepworth. Barbara was wearing her most exotic frock. He stayed a long time. He had bought sculptures from each of them and, I believe, some of Jack's zoo drawings. I forget what the price was for everything, but it ran into hundreds of pounds. The zoo drawings are all around the bust, and we see them displayed, of course, with Chinese pots. So here we see another aspect to him, Eumorphopoulos, the patron of contemporary artists. And perhaps it was his contact with these artists and his immersion in modern art that enabled him to appreciate qualities in some of his ceramics, which were not particularly fashionable in the early part of the 20th century. They became very fashionable after the war. And the patronage extended beyond buying their output. The most interesting connection with a contemporary artist was with the Potter duo, husband and wife duo, Charles and Nell Weiss. Charles is depicted in front of his kiln here, and Nell is the elegant lady to the right. This pot by Charles and Nell Weiss, they're always signed Charles, but I believe that Nell was instrumental in their production, because she was the chemist's genius, was part of the Eumorphopoulos collection, and it was sold after his death in 1940. And I would like us to see three examples of Weiss ceramics in comparison with items of ancient Chinese pottery in the Eumorphopoulos collection. The Weiss pot is to the right, produced in stoneware in 1934, and a neolithic jar from the Eumorphopoulos collection appears on the left. They have the same jagged ribbons of decoration. Again, a 1933 bottle with ridges in a dark and brown glaze, and of course, the Jin Dynasty equivalent many centuries earlier from the Eumorphopoulos collection. And finally, a Junyao copy by the Weisses. This one is undated, and the original from the 12th century. So it is clear that Eumorphopoulos was instrumental not just in buying the output of artists, but in opening up his collection to them. The Weisses had a studio in Chelsea, not far from the Eumorphopoulos residence, and they would visit, like many people, on Sundays, which was an open day, to study the items in the collection. Inevitably, someone with such an extensive holdings, with a collection finer than most museums anywhere in Europe or the States, became an iconic collector of Oriental art. And to give you an idea of how iconic, this is a cigarette card. You would find them in cigarette boxes, and you could collect them in seriousness. And the seriousness was great archaeological discoveries of the 20th century. And one of the cards was the Eumorphopoulos collection. Now, in 1934, affected by the crunch and, of course, his impeding retirement from Rayleigh Brothers, Eumorphopoulos decided to sell the bulk of his collection to the British nation. Originally the British Museum, but then the V&A stepped in, and for £100,000 at the time, which doesn't sound much today, but it was quite a staggering amount, they bought most of the collection. His fame, however, is mostly due not to that sale, but to the production of the 11 volume Eumorphopoulos collection catalog. And I show you here just the six volumes of ceramics. The publication was done on subscription, and from the tabula congratulatory at the beginning, we see here a small box of three people who bought the catalog, who subscribed to the catalog in Egypt. One of the three was Antonis Benakis. Now Benakis had not met Eumorphopoulos before personally, but of course he knew about the collection already from before the publication of the catalog, and as Mina has demonstrated, he was also himself a collector of Chinese art, not to the extent of Eumorphopoulos. The first link happens in 1927, and we have the letter at the Benaki archives. A certain Mr. Home introduces Eumorphopoulos and Benakis, and they click. The letter expresses the desire of Eumorphopoulos to give his collection to Greece. That is in 1927. However, we have a reference at another letter much later, where Gika, again, a figure you have encountered in this series of lectures, writes to a good friend of his, and it says, amazingly, that Eumorphopoulos suggested donating his entire collection to Greece, if only they built an appropriate museum. But Plastiras, says Gika, in the name of Greece declined. Now, if Plastiras had declined, that could not have happened but in one year, 1922. So, this tells us that five years before the contact with Benaki, Eumorphopoulos was already trying to give to Greece his Chinese collection, and amazingly, his entire collection. I dread to think what Greece would be today among Chinese art historians if we had the whole Eumorphopoulos collection. The entire collection never arrived, but Benakis was clever enough to understand that he would have to surprise more and more from this rather obtrusive, reluctant donor. So, in 1929, he writes to Eumorphopoulos, and he says, Mr. Venizelos, who is by then Prime Minister, the famous Greek politician, to whom I announced the arrival of your donation is enthusiastic, and he promised me to do anything he can to exhibit it in the best possible way. Now, that notion of a Prime Minister of a country being enthusiastic about a few hundred Chinese pots arriving actually without a museum to put them in, because at the time, the Benaki Museum was still a sparkle in Benakis's eye is extraordinary, and it tells us something about the quality of politicians we're dealing with in the interwar period. The collection that eventually, the selection of the collection that Eumorphopoulos decided to send to Greece had at its nucleus about a hundred pots, which he had given, he had loaned to the Fitzwilliam Museum in Cambridge, and this is the list of this Fitzwilliam loan. This tells us that he meant the collection from the start as an educational tool. He gave these things as a study collection to a university museum. However, when he started giving to Greece, he kept on adding and adding. The Fitzwilliam loan was 104 objects, which he took from Cambridge and sent them to Athens along with a few hundred more. The original gift in 1929 was 341, and then, by 1936, he gave another 452, totalling about 800 pots. And the educational focus continued. He states in a letter that I send you two Neolithic jars, not because I like them, but because I think that Greek scholars will appreciate how much they look like Greek Neolithic pots. Now, these Greek Neolithic pots had only been discovered in the 20s, which means that he was very well aware of the archaeological discoveries happening in central Greece in the meaning and cestlo at the time. The display cases and the room, the gallery, the Humor Foculus room at the newly founded Benaki Museum was actually a peon to this educational idea. It fitted very well into Benakis' cosmopolitan scheme of bringing together Greek tradition, Chinese ceramics, Islamic art. And the Humor Foculus gladly joined him. He even paid for the display cases to be made in London, and he shipped them from London. They were made by Sage and Co. of Gray's Inn Road near King's Cross. And he paid for Lee Ashton, who later became the director of the Victorian Albert Museum, to write the catalogue, published in 1935. Published in 1939. What is most remarkable in all that is that Humor Foculus only came to Greece for the opening of the museum in 1931. He had never visited his country of origin before. And this exemplifies the idealistic donor, the patriotic benefactor that gives the cream of the crop of his collection to his country. And a country he never knew. A country, the language of which he spoke very well, but he wasn't really accustomed to its realities. In a way, the Humor Foculus gallery at the New Benaki Museum was a very idealistic project. Humor Foculus fell ill in 1935. And he recovered very briefly to visit China on the occasion of the great exhibition of the Royal Academy. And he died in December 1939. He's buried at the Greek enclosure of Westmorewood Cemetery. Two auctions after his death and after the death of his wife dispersed what remained of the collection. With Victoria Solomonides, the former cultural attaché of the Greek embassy, we tried twice to persuade English heritage to put a blue plaque on his house. On the house on 7 Chelsea Embankment. A blue plaque is a commemorative plaque in London that tells you that this famous person lived here. They refused twice. But history moves in mysterious ways. Just opposite, you see the red dot is the house. The green dot across the river marks the spot where in 1985 a pagoda was erected. It is the London Peace Pagoda offered by Japan as a token of friendship towards the UK. They didn't know exactly where to put it, so they chose a position on the Battersea Park. And of course they had completely forgotten that across the river, literally opposite, this is taken from the front door of Yuma's house, lived once the greatest collector of Chinese art the UK had seen. Let's consider this the unintended blue plaque to Eumorphopoulos. Now why the last question? Why don't we know about this man and his collection? And that of course has to do with the destinies of Greece and of the Benaki after the war. The Eumorphopoulos collection and the Benaki bequest of course was all about a cosmopolitan spirit of seeing things together, of drawing connections, very much an interwar paradigm. In 1941, Manolis Chatzidakis, the famous Byzantinist, is appointed as director of the Benaki and he rules supreme until 1973. Now Chatzidakis of course is known as the main exponent of the studies, art historical studies into the Cretan school of painting, Greece's answer in a way to the Italian Renaissance. But Chatzidakis, few people know that, was trained on Benakis' instigation as an Islamic art historian and as an Arabic scholar in Paris and Berlin before the war. His tenure as director of the Benaki showed nothing of this particular instruction in the arts of the Middle East. He was staunchly oriented towards the West, towards the art of the Renaissance and that was of course the main narrative of Greece in the Cold War era after World War II. A change came under his successor Angelos Deliborias who again ruled supreme from 1973 until 2014. Although trained as a classical archaeologist, Deliborias had a broader vision for the collection of the Benaki and inclusive vision which he bequeathed to all of us through this chain of museums. And he created this satellite system, people may remember this slide from his lectures, into which the Chinese collection fitted well, not awkwardly but very well in a global presentation of culture through art. Of course having Greek culture at its center, at its main pole. Unfortunately the recession, the recent recession from 1908 onwards did not allow him to finalize, to bring to fruition this vision he had and the Chinese collection fell through the cracks of the historical destinies of the country. So it remains today in storage. It hasn't found a permanent home, a permanent display. But there are many ways of making a collection visible, of reassessing it and we owe it to scholars that they have reevaluated this awkwardly sitting Benaki museum collection. And I have to pledge my allegiance to three scholars who have inspired my work with Benaki. One of them is professor Craig Clewness, who in the 1990s started researching early collectors of Chinese art in the UK. And he focused mostly on Alan Barlow, but he created a generation of scholars. Chief among them is Stacey Pearson, who is now teaching the history of Chinese ceramics who wrote a lot about people like Humor Fopulus. The third one, Judith Green, didn't really deal with that after her PhD, but she wrote an MA thesis in which she placed Humor Fopulus as the turning point into the appreciation of Chinese art in the West. And we owe to these people the fact that they enabled our collection to be rebranded, not only as a good historical collection of Chinese ceramics, but also as an important collection of taste in Chinese art. This whole moment was presented into a book published in 2016, and I'll show you a photograph of the launch of the book in London in July 2016. It's in a beautiful room, which is today the London Sketch Club. Take a look at the mouldings. It's this room. We were able to bring Humor Fopulus back into his house, because a part of his house now operates as a club. The publisher booked this room for the launch of the book on Humor Fopulus. The museum at the same year found the opportunity to organize an exhibition called Ceramics from China in summer 2016. A hundred of the pots came out of storage. The Chelsea embankment dust was wiped off them. They were placed in new display cases, and actually, some of the old display cases were located in the museum storage. We refurbished one of them, and we used it in a typical 1930s fashion display on the collector. We even did a special menu for the restaurant, and we organized a very nice party for the exhibition to welcome back some of the pots into the museum family, even for a few months. It was a brief moment of remembrance of an obtrusive collector whom we have denuded of his beautiful pots, and sort of delved into and tried to understand over this, I hope, not too overlong lecture. So I will now let him wear his pots back, you know, bring back his protection, and thank you for your attention. I will stop sharing my screen. Good. Thank you. Thank you so much. That was delightful. Thank you so much for that fantastic lecture. I'm sure there are many questions, but one that comes immediately to mind is, if you had a choice, how would the museum now exhibit the full collection? Would it be in a separate space, in a room in the gallery? What are the grand plans of the museum for this collection? Well, one thing we have done, and I'm very proud for that, is that we have placed most of it, 700 ceramics, online. So you can go, you will get a document after the lecture we prepared, and you will get the link, and you will be able to browse 700 of them, and actually it's a pretty good coverage of our holdings. Now, but the digital does not replace the physical. There is this attraction of the objects that we have to experience, we have to savor physically in front of us. It's quite extravagant to plan another branch of the Benaki right now. There are ten as we speak. So perhaps a series of temporary shows rotating the collection in education-focused displays of a few things covering specific subject matters, aspects of Chinese civilization, and so on and so forth. That would be perhaps more feasible and in the long run perhaps more profitable for the audience. And Morfopoulos went to China in the last year of his life. Was that his first and only trip to China? Yes. And a few years before he died, three years before he died, it was the first and last time, and he was invited by the Chinese government. We have many complimentary comments, and Lucia Nixon writes, I learned a great deal and fantastic to hear about Deli Vodias getting things right yet again. One question I have is did he have children? No. They lived with Julia Scaramanga, an interesting name. They lived for many decades together, but they never had children. And so the collection, whatever was not sold or given, was dispersed. What happened to his collection of modern art? It was auctioned, and I don't know if you noticed in the sculpture slide, they are now in various museums in the United States, in France, in the UK, but a lot of things are missing from this catalog. I don't know where they are. There's good things. There are Picassos. There's Matisses. He had nice stuff. Now, how did he decide which works would go to the British Museum or the V&A and which would go to the Benaki other than moving the Cambridge collection to the Benaki? Was he aware of the was there a particular character to each of these collections? Well, the Benaki collection is ceramics only. So he picked pottery as the ideal medium, and that's not unusual for his generation and also for the British temperament. A friend of mine, a British collector, always says, oh, the British pots, whereas you see American collectors focused on painting or Buddhist sculpture, etc. But Humor Populus had everything. He had, as we saw, jade sculpture, painting on silk, even wall paintings. I think he chose the ceramics for the Benaki because he thought he could write a history, more coherent history, without gaps. You would have gaps in painting. You would have gaps in sculpture. But you didn't have many gaps in the historical narrative with pottery. It survives better. And he had more material to give. And I, to be honest, I think that people like Robert Lockhart Hobson or Lee Ashton working for the British Museum and the Victorian Albert, they had first pick. That was the problem. Benakis was in Athens. He couldn't get his fingers on some things. But he gave very, very beautiful things as well to Greece. We have a request from Maria, I think probably Vasilaki. May I make a comment about Christina Spartali? Of course, yes. I mean, I think, yes. I mean, first of all, I find her case very, very interesting. But what I find more interesting is that she was an artist herself. She was a painter. So she didn't only pose to those famous pre-Raphaelite painters, but she was a painter herself in the, I mean, in the last decades of the 19th century. So, I mean, which is quite nice to underline. I mean, and as a woman and a feminist myself, I would really like to bring it out because, you know, this is a mens word. I'm afraid, George, this is a mens word. But as you can see, there are women who need more light to be thrown on them. And I have to say that, I mean, it's not by accident that only recently her case has been brought up in London. And, I mean, especially for me, there were two exhibitions, one in Tate Britain and another in the National Portrait Gallery, which under, I mean, the first one, I think it was on Edward Burne-Jones, and she had posed for him. But the second one, which had, I mean, which was called the Pre-Raphaelite Sisters, really underlined her artistic creations, I mean, her paintings. So it was a room where you could see and, I mean, that was a rather recent exhibition, I think. Now we're confused with the lockdown time has taken another dimension, but I think it was in September 2019, I mean, it's not a long time ago, that we were able to see her work. And, I mean, of course, this is a parenthesis into your wonderful lecture, but I think it's nice to bring her case out. Yes, we have to do an exhibition on these ladies at the Benaki one day. That's a very good idea. That's something I would love to do. Okay. They deserve it, absolutely. That's very good news, yes, because it was a whole group of Greek women, of course, I mean, belonging to a wealthy, from a wealthy background. I'm not saying that they made it to the world, but, I mean, even so, they made it to the world. Yes. Have you given up on securing a blue plaque for the house? Do you think the monument suffices or can there be more? They don't do blue plaques anymore. They stopped. English Heritage stopped doing it, so we missed that window. We have a question from left, I think it's writing from Santorini. Are there more kintsugi at the Benaki collection? Any thoughts of an exhibition specifically on this important art form? Yes, we do, we do have more on various different, sort of mostly Song and Jin and Yuan pots. And we could do, I mean, there are not that many to do a special exhibition, but one can do a pop-up exhibition, because people love it. It's very interesting, it has become a sort of a trend now to talk about kinaoshi or kintsugi, about these Japanese gold mends on imperfect pieces. And so, yes, it's a good idea, actually. We'll pursue that. Did Evmour Fopoulos have a favourite piece? Sometimes collectors hold on to that favourite piece until the very end, it's the last one they want to part with. Do we know anything about his love of specific pieces in his collection? I don't really know, no, I think, I mean, he had so many. I mean, he had literally dozens of thousands of objects. But I do know that he changed his taste. And he started collecting early Ming blue and white. Really fine Chuan De, Yong Le, Chen Hua, blue and white, after the sale, so after 1934. And so he was, he sort of shifted his taste. He went from porcelain to an archaeological, back to porcelain, etc. Are there other questions? I think maybe we should make a plan when the world opens again for all of us to meet at 7 Chelsea Embankment to go in and see this room and experience the world of Evmour Fopoulos his space and what he saw outside his door and the nature around him as well. Thank you so much for bringing him to life so vividly for all of us. It's a fantastic lecture. Thank you. We'll reconvene next week, same time, same place, 10 o'clock Thursday morning to move to the ancient world. And we'll see if we can find some other special treat. But I encourage everybody to think about the director's scones as you move through your day and you'll be getting the recipe later today. Please make them and think about Dr. George Mangini's When You Eat Your Special Scones. Thank you so much. Thank you to everyone for being here today. Thank you. Thank you George. |
