Newsletter - Issue 39

The Paul Mellon Centre for Studies in British Art

N EWSLETTER Yale University

May 2014 Issue 39

Invention and Imagination in British Art and Architecture, 600-1500 A major international conference to be held at the Paul Mellon Centre & the British Museum 30 October - 1 November 2014 This conference will explore the ways in which artists and patrons in Britain devised and introduced new or distinctive imagery, styles and techniques, as well as novel approaches to bringing different media together. It is concerned with the mechanisms of innovation, with inventive and imaginative processes, and with the relations between conventions and individual expression. The conversation will therefore also address the very notions of sameness and difference in medieval art and architecture, and how these may be evaluated and explained historically.

The event is being organised by the Paul Mellon Centre, with Sandy Heslop (University of East Anglia), Jessica Berenbeim (University of Oxford), Lloyd DeBeer and Naomi Speakman (The British Museum).

Sessions and events will take place at the British Museum and the Paul Mellon Centre.

More details about the programme and how to book will be advertised on the Centre’s website and via our mailing list.

Engraved silver seal matrix of Robert Fitzwalter, c.1213-19. British Museum Ivory triptych, made in England, probably Exeter, 1330-40 (detail). British Museum

The Paul Mellon Centre Staff Director of Studies: Mark Hallett Deputy Director of Studies: Martin Postle Assistant Director for Finance and Administration: Sarah Ruddick Assistant Director for Research: Sarah Victoria Turner Events Co-ordinator and Director’s Assistant: Ella Fleming Yale-in-London Coordinator: Nermin Abdulla Librarian: Emma Floyd Archivist and Records Manager: Charlotte Brunskill Archives and Library Assistant: Jenny Hill Archives and Library Assistant: Frankie Drummond Picture Research and Online Cataloguing: Maisoon Rehani Administrative Assistant: Lyndsey Gherardi Fellowships and Grants Manager: Mary Peskett Smith Editor Research Projects: Guilland Sutherland Senior Research Fellows, Special Projects: Hugh Belsey, Elizabeth Einberg, Alex Kidson, Eric Shanes, Paul Spencer-Longhurst Advisory Council: Iwona Blazwick, Alixe Bovey, David Peters Corbett, Penelope Curtis, Michael Hatt, Nigel Llewellyn, Richard Marks, Andrew Moore, Gavin Stamp, Christine Stevenson, Shearer West, Alison Yarrington Company Registered in England 983028 Registered Charity 313838 16 Bedford Square, London WC1B 3JA

Tel: 020 7580 0311

Fax: 020 7636 6730

www.paul-mellon-centre.ac.uk

THE PAUL MELLON CENTRE

ACADEMIC ACTIVITIES

Research Programmes Summer 2014 RESEARCH SEMINARS

RESEARCH LUNCHES

Wednesdays, 6.00–8.00 PM

Fridays, 12.30–2.30

Our Summer series of research seminars will feature papers given by distinguished historians of British art and architecture. Seminars typically take the form of hour-long talks, followed by questions and drinks, and are geared to scholars, curators, conservators, art-trade professionals and research students working on the history of British art.

The Summer programme of research lunches is geared to doctoral students and junior scholars working on the history of British art and architecture. They are intended to be informal events in which individual doctoral students and scholars talk for half an hour about their projects, and engage in animated discussion with their peers. A sandwich lunch will be provided by the Centre.

We hope that this series will help foster a sense of community amongst PhD students and junior colleagues from a wide range of institutions, and bring researchers together in a collegial and friendly atmosphere.

30th April Jonathan Foyle (World Monuments Fund) Paradise Regained: The Rediscovered State Bed of Henry VII and Elizabeth of York as Royal Self-Image in 1485 14th May Kate Retford (Birkbeck College, University of London) ‘Bonds of unity and friendship’: Kinship and the Conversation Piece in 18th-Century England 28th May Morna O’Neill (Wake Forest University) The Decorative Art of Display: The Case of Hugh Lane 11th June Sandy Heslop (University of East Anglia) Symmetry, Antithesis and Empathy in the St Albans Psalter 25th June One Object, Three Voices

Mark Catesby’s Natural History: The Art, the Science, the Publication Henrietta McBurney Ryan (Senior Fellow, PMC) Charles Jarvis (Natural History Museum) Leslie K. Overstreet (Smithsonian Institution, Washington)

PM

9th May Cora Gilroy-Ware (Independent Scholar/Tate) ‘A song the sweeter for a taste of pain’: The Cult of the Nymph in early 19th-century Britain 23rd May Jamie Mulherron (National Museums Scotland) Being and Nothingness: Perceptions of Lace 1550-1850 6th June Sarah Longair (British Museum) Mskiti ya Bwana Sinclair: Designing a Museum in British Colonial Zanzibar 20th June Nick Grindle (University College London) George Morland: In the Margins 4th July Catherine Spencer (University of St Andrews) Prunella Clough’s ‘Structures of Mysterious Purpose’: Abstraction and Post-industrialization

Details about the Research Seminars and Research Lunches can also be found on the Centre’s website, www.paul-mellon-centre.ac.uk It is essential that anyone who plans to attend individual research seminars and research lunches email the Centre’s Events Co-ordinator, Ella Fleming, at least two days in advance: efleming@paul-mellon-centre.ac.uk State Bed of Henry VII and Elizabeth of York. Baltic oak, before 1486.

THE PAUL MELLON CENTRE ACADEMIC ACTIVITIES

Forthcoming Research Events Summer 2014 ONE OBJECT, THREE VOICES The One Object, Three Voices seminar series was inaugurated last Autumn Term with a fascinating trio of discussions around the medieval rood screen of St Helen’s Church, Ranworth. The series continued this Spring with a timely session focusing on the Cenotaph with different perspectives on the history of the project, its preservation and legacies given by architectural historian Gavin Stamp, conservator David Odgers and Head of Designation at English Heritage, Roger Bowdler.

The next seminar in this series will be held on 25 June to examine Mark Catesby’s Natural History of Carolina, Florida and the Bahama Islands, 1731-1743. Among the participants is Henrietta McBurney Ryan, one of the Centre’s Senior Fellows this year. She will be joined by Charles Jarvis (Natural History Museum) and Leslie K. Overstreet (Smithsonian Institution, Washington).

Unknown artist, The Connoisseur, 1830, lithograph and watercolour.

Yale Center for British Art, gift of Max and Barbara Wilk

THE EDUCATED EYE? CONNOISSEURSHIP NOW Friday 2 May 2014

Mark Catesby, The ivory-billed woodpecker and willow oak, pen & ink with w/c on paper, 37.5 x 27.1 cm.

The Royal Collection © 2014 Her Majesty Queen Elizabeth II / The Bridgeman Art Library

Last year, the Centre held a networking meeting with professionals from the art trade. One of the issues of intensive discussion around the table was the role and value of connoisseurship today. We decided that this would be a lively subject for a conference and, as a result, the programme for Connoisseurship Now was developed.

Speakers from different spheres – art dealers, museum curators, conservators, arts journalists and academics – will give personal ‘position papers’ based on their own professional perspectives and experiences of the role and relevance of connoisseurship in today’s art world. Issues to be explored include the question of the ‘eye’; the value of technical knowledge and the role of conservation; the role of connoisseurship in the marketplace, including questions of attribution and market value; connoisseurship and collecting; connoisseurship and art theory; connoisseurship and art-historical scholarship; and connoisseurship's relevance to contemporary art.

This one-day conference will address the matter of connoisseurship in relation to historic, modern and contemporary British art studies and promises to be a lively and stimulating day.

THE PAUL MELLON CENTRE

ACADEMIC ACTIVITIES

Recent Research Events (January-April 2014) ECONOMIES OF LINE: EXPLORING THE ‘GRAPHIC’

IN

BRITISH ART

31 January 2014 On Friday 31 January we hosted a workshop for PhD students, early career researchers and cataloguers working on the graphic arts in Britain entitled Economies of Line: Exploring the ‘Graphic’ in British Art. This event was organised in collaboration with Yale graduate student Esther Chadwick and British Museum curator Sheila O'Connell. Following on from presentations, the workshop moved across to the Prints and Drawings Department at the British Museum where the cataloguing team spoke about their current projects and the whole group had the chance to look closely together at the prints and drawings we had encountered in the presentations. It was a very productive forum in which to share ideas about researching and working with prints and drawings and we hope to continue the conversations started at this workshop further in the future.

IN CIRCULATION: JOHN SINGLETON COPLEY AND BENJAMIN WEST IN ENGLAND, FRANCE AND AMERICA 28 March 2014 This symposium was not only enjoyed by the audience who gathered in our Library but also by an international community of students, curators and researchers who watched it via a live-streamed broadcast over the web.

Working with colleagues from the Museum of Fine Arts (MFA) in Houston and the Terra Foundation, we shaped an event that was stimulated by the exhibition American Adversaries: West and Copley in a Transatlantic World, held at the MFA Houston (October 2013–January 2014).

Speakers addressed the transnational trajectories of these artists’ careers, and the ‘live chat’ function allowed people to ask questions of the speakers and give feedback on the event from wherever in the world they were watching! As well as the lively speakers and audience in London, we were joined over the internet by groups who had gathered together at the MFA in Houston, the Yale Center for British Art and the University of Virginia, as well as individuals who tuned in from their own homes.

The whole event is available to watch online: http://new.livestream.com/mfah/events/2857600?quer y=copley&cat=event After the success of our first live broadcast, we plan to stream more of our events over the internet to allow an ever-growing international community interested in British art to connect with our events and research programme. The Centre is extremely grateful to the Terra Foundation for American Art for funding this event and to colleagues at the MFA, Houston, for all their input.

Emblematic Portrait of Sir Christopher Hatton, ascribed to the workshop of William Segar, c.1580, detail (Northampton Borough Council, Northampton Museum and Art Gallery). © National Portrait Gallery, London

ARTISTIC PRACTICE IN 16TH-CENTURY BRITAIN: A WORKSHOP 24-25 March 2014 The study of artistic practice in sixteenth-century Britain has been the topic of rich and rewarding research in the past few years. Collaborating with Tarnya Cooper, Chief Curator at the National Portrait Gallery, and her team on the Making Art in Tudor Britain project, as well as our colleagues at the Yale Center for British Art, the Centre hosted a two-day workshop to assess the state of the field and future research questions. Representatives from major collections and conservation institutes, as well as independent scholars and conservators, came together to give reports on the status of their technical projects and to ask broader questions about the mechanisms for sharing the findings of this research, as well as to ask what new questions this information will prompt in the future. We are planning further events on Tudor art and will post details of these on the website and in future newsletters.

THE PAUL MELLON CENTRE

COLLECTIONS

Photographic Collections at the Paul Mellon Centre Photographic reproductions of works of art enable comparative analysis as well as documenting changes in the condition of individual objects. The importance of such photographs has long been recognised here: creating a photographic archive was among the first activities undertaken by the Paul Mellon Foundation following its establishment in the 1960s.

Today, the Centre’s Photographic Archive contains approximately 150,000 reference photographs of British paintings, decorative painting, sculpture, drawings and prints, and covers the period 1500-1900, with some material relating to the twentieth century. It is an important resource for researchers, as the images often include provenance information on the mounts.

An examination of the types of images created and collected demonstrates how the collection has changed over the past fifty years. Initially the Foundation employed in-house photographers to take black and white images of works in salerooms, temporary exhibitions and private collections for researchers and for use in the Centre’s publications. In the 1970s images were acquired from existing negatives of works in public collections, as well as from auction houses, in order to give the collection a more rounded focus on British art. From the 1980s images continued to be added from all these sources, as well as the Courtauld’s Photographic Survey, and in recent years by the addition of colour images taken from saleroom catalogues. In 2009 we acquired the Tate Photographic Archive, established by curators as an internal research resource.

As well as continuing to provide access to these hard-copy images, the Centre, like other significant photographic archive collections, is currently considering how best to capture, preserve and make available born-digital images for future research.

Recto and verso of a photograph from the Ellis Waterhouse Archive

An image from the Paul Mellon Centre Photographic Archive

The importance of photography as a medium for the study of British art is also evident in the Archive Collections held at the Centre. These archives contain a high predominance of images collected by eminent art historians in the course of their research. The images often document a lifetime of research on a particular subject – some are rare and many are heavily annotated.

Of particular significance are the M. Knoedler and Co. images from the Frank Simpson Archive. These date from c.1900 and document works passing through the saleroom at that time. Likewise the Ellis Waterhouse Archive contains over three thousand images, heavily annotated by Waterhouse and reflecting research, conducted throughout his lifetime, into sixteenth- to eighteenth-century British art.

All of the above-mentioned collections are available for consultation by appointment. Further details can be found on our website: see www.paul-mellon-centre.ac.uk/12/

THE PAUL MELLON CENTRE

FELLOWSHIPS AND GRANTS

Fellowship and Grant Awards At the March 2014 meeting of the Centre’s Advisory Council the following Fellowships and Grants were awarded:

SENIOR FELLOWSHIPS

EDUCATIONAL PROGRAMME GRANTS

Caroline Arscott, The Courtauld Institute of Art, to prepare her book The Substantial Cosmos

Buckinghamshire New University/University of York grant towards a symposium, 11-12 April 2014: Primitive Renaissances: Northern European Art at the Fin de Siècle

Ann Compton to prepare her book A Collective Art: The Makers and Methods of Sculpture in Britain c.1851-1940 ROME FELLOWSHIP Anne Bush, University of Hawaii at Manoa, for research in Rome on A ‘Modern Means to Accurate Knowledge’, John Henry Parker’s Historical Photographs of Rome MID-CAREER FELLOWSHIPS Elizabeth Darling, Oxford Brookes University, for research on From Networks to Receivers: Material and Spatial Cultures of Broadcasting in inter-war England Douglas Fordham, University of Virginia, for research on The World of British Art: Notes from the Field circa 1800 Martin Myrone, Tate, for research on Henry Perronet Briggs (1791-1844): The Moment of Eclecticism in British History Painting c.1811-1832 POSTDOCTORAL FELLOWSHIPS Jasmine Kilburn-Toppin to prepare her book Crafting Artisanal Identities in Early Modern London: The Spatial, Material and Social Practices of Guild Communities, c.1560-1640 Arlene Leis to prepare her book Sarah Sophia Banks: Femininity, Sociability and the Practice of Collecting in late Georgian England Alexander Massouras to prepare his book The Plaster Cast and the Reproduction of Culture in the Twentieth Century Henry Miller to prepare his book The Film Art Movement in Britain, 1917-1940 Arnika Schmidt to prepare her book Nino Costa (1826-1903) and Transnational Exchange in 19th-century European Landscape Painting

Corpus Vitrearum Medii Aevi, grant towards a colloquium, 7-11 July 2014: Corpus Vitrearum, XXVII International Colloquium National Gallery, London, grant towards a symposium, 28 Nov 2014: William Hazlitt’s Art Criticism Royal West of England Academy, grant towards a programme of art history lectures, May/June 2014: The Power of the Sea: lecture series St Mary’s University, Twickenham, grant towards a symposium, 26 April 2014: Emblems and Enigma: The Heraldic Imagination RESEARCH SUPPORT GRANTS Eleanor Chan for research in the United Kingdom and the United States on ‘Aesthesis’ in post-Reformation England John Cooper for research in the United Kingdom on Imperial Balls: The Arts of Sex, War, and Dancing in India, England and the Caribbean, 1780-1870 Olexandra Dovzhyk for research in Moscow on The Reception of Aubrey Beardsley in Russia Christiane Hille for research in the United Kingdom on Work of Faith rather than Sense. Ostensorium of Art, Alchemy and Christian Thought: The Elizabethan Miniature Holly James-Maddocks for research in the United Kingdom on From Manuscript to Print: The Work of England’s Illuminators in Incunables, c.1460-1500 Carla Mazzarelli for research in the United Kingdom on A Jesuit Art Agent in eighteenth-century Rome: New Researches on Father John Thorpe (1726-1792) Simon Pierse for research in Australia on The Abbey Art Centre (1945-55): Avant-garde meets Primitive in New Barnet

Sylvie Simonds to prepare her book A Countercultural Movement: Examining Carolee Schneemann’s Kinetic Theatre between 1963-1970

Alexandra Quantrill for research in the United Kingdom on Research, Technique, and Production in the Practice of Foster Associates, 1979-1986

Sarah Thomas to prepare her book Witnessing Slavery: Travelling Artists in an Age of Abolition

Catherine Roach for research in the United Kingdom on The British Institution: A History

JUNIOR FELLOWSHIPS

Gemma Romain for research in the United Kingdom and Jamaica on Patrick Nelson: Politics, War and Love in the Life of a Jamaican Migrant

Kara Fiedorek, Institute of Fine Arts, New York, to conduct research in the United Kingdom for her doctoral thesis Priests of the Sun: Photography and Religious Thought, 1860-1910 Holly Shaffer, Yale University, to conduct research in the United Kingdom for her doctoral thesis ‘Men and gods, and things’: Maratha Art and Moor’s ‘Hindu Pantheon’ (1810)

Michael Snodin for research in the United Kingdom and the United States on Designing British Silver Irene Sunwoo for research in the United Kingdom on The Architectural Association: A Continuing Experiment in Architectural Education

REGIONAL MUSEUMS

THE PAUL MELLON CENTRE

Regional Museum Visits In the newsletter for May 2013 (Issue 36) I reported on the new initiative launched by the Paul Mellon Centre for visits to regional museums focusing on institutions with significant holdings of British art. I am pleased to relate that since we began in November 2012 my colleague, Mary Peskett Smith, and I have now visited over twenty-five museums up and down the country, listening to directors and curators talk about their collections, displays, and exhibition plans, and spreading the word about the ways in which the Mellon Centre can support scholarship and research activities. Once more we were impressed greatly by the enterprise and industry of those we met, as well as being made aware of the severe financial constraints and pressures upon museums and their staff.

In the summer of 2013 we visited the Russell-Cotes Art Gallery and Museum, Bournemouth, the Beaney House of Art and Knowledge, Canterbury, Kelmscott Manor, Gloucs. and Cheltenham Art Gallery and Museum. Visits in the autumn and winter included the Laing Art Gallery and Hatton Gallery, Newcastle upon Tyne, the Shipley Art Gallery, Gateshead, Tullie House Museum and Art Gallery, Carlisle, the Cooper Gallery, Barnsley, the Graves Gallery, Sheffield, the Hunterian, Glasgow, and the Ferens Art Gallery, Hull. So far this year we have been to the Watts Gallery, Compton, Gainsborough’s House, Sudbury, and the William Morris Gallery, Walthamstow. Some museums, such as Cheltenham, were in the throes of preparation for a major re-launch (hence the need for hard hats). Others, notably the Beaney, Canterbury, had recently undergone refurbishment and rebranding; while others, including Gainsborough’s House, are looking forward to expansion and revitalisation.

Mary Peskett Smith with Jane Lillystone, Museum Arts & Tourism Manager, Cheltenham Art Gallery

Among the most impressive and idiosyncratic regional museums, and one which typifies the challenges faced by such institutions is the Russell-Cotes.

The brainchild of Merton Cotes, Mayor of Bournemouth, the museum opened in 1901. The strength of the collection lies in Victorian British art, both paintings and sculpture. A favourite Russell-Cotes Art Gallery and Museum, Bournemouth artist of the founder was Edwin Long, several of whose vast, and at times titillating, paintings dominate the larger galleries.

On my visit I met Susan Hayward, who has worked at the gallery since 2006. As was evidenced by the cage of scaffolding around the building and the plastic buckets scattered on the conservatory floor, the biggest immediate challenge faced by the Russell-Cotes is maintenance. The building, which suffered severe flooding a few years ago, is now undergoing a programme of essential renovation. As Sue told me, the hope was to combine the renovation with a more ambitious project of refurbishment. However, the pressing need to address the problem of the leaking roof has meant that this will have to wait. There is a plan in place to raise £12 million for more extensive renovation of this grade II* listed building, but this will take some years to realize.

The Russell-Cotes runs two exhibitions per year, and these are of direct relevance to the collection. Sue Hayward and I discussed the museum’s future exhibition plans. I mentioned that once these plans were firmed up, Sue should contact the Paul Mellon Centre to apply for a grant to support them. I am pleased to report that in September 2013 we awarded a Curatorial Research Grant to the Russell-Cotes to support a research curator for three years on the project Slade Painters in Dorset I: The Edwardians and Slade Painters in Dorset II: Between the Wars.

Martin Postle

Fellowships and Grants cont.

Miriam Volmert for research in the United Kingdom and the United States on Memory in Motion: Concepts of Remembering and Forgetting in 18th-century Grand Tour Portraits

Katherine Wheeler for research in the United Kingdom on Graphic Intercessors: Essays on the History of the Architectural Working Drawing

ya l e c e n t e r f o r b r i t i s h a r t 1080 Chapel Street, New Haven, Connecticut 06520 USA

For complete details of the following exhibitions and programs, please visit britishart.yale.edu, phone +1 203 432 2800, or email ycba.info@yale.edu.

EXHIBITIONS OPE NING

“Of Green Leaf, Bird, and Flower”: Artists’ Books and the Natural World 1 5 MAY–10 AUGUST

Looking at the ways in which self-taught naturalists and artists recorded and observed the natural world around them from the sixteenth century to the present, this exhibition examines the intersections of artistic and scientific interest. Organzied by the Center and curated by Elisabeth Fairman, Senior Curator of Rare Books and Manuscripts, the exhibition includes an accompanying book, designed to evoke an early naturalist’s field guide. The book is edited by Elisabeth Fairman and published by the Center, in association with Yale University Press.

Bruce Davidson | Paul Caponigro: Two American Photographers in Britain and Ireland 26 JUNE–14 SEPTEM BER

This exhibition pairs for the first time works by Paul Caponigro (b. 1932) and Bruce Davidson (b. 1933), two of the most distinguished photographers of their generation. It includes approximately 140 of their photographs taken in Britain between 1960 and the early 1990s.

The exhibition is co-organized by the Center and The Huntington Library, Art Collections, and Botanical Gardens, where it will be on display from 8 November 2014 through 23 February 2015. Curated by Scott Wilcox, Chief Curator of Art Collections and Senior Curator of Prints and Drawings at the Center, and Jennifer A. Watts, Curator of Photography at The Huntington, it is accompanied by a fully-illustrated catalogue edited by the curators.

LECTURES EX H I B I T I O N O P EN I N G L EC T U R E WED N ES DAY, 14 M AY, 5 : 30 P M

A Place Within a Place CONT IN U I N G

Fame and Friendship: Pope, Roubiliac, and the Portrait Bust in EighteenthCentury Britain TH ROU GH 19 M AY

This exhibition explores the convergence between authorship, portraiture, and the sculpted image in particular by bringing together a wide range of works that foreground Pope’s celebrity status. Co-organized by the Center and Waddesdon Manor (The Rothschild Collection), where it will be on view from 18 June to 26 October, the exhibition has been curated by Malcolm Baker, Distinguished Professor of the History of Art at the University of California, Riverside, and Honorary Senior Research Fellow at the Victoria and Albert Museum, London. The organizing curator at the Center is Martina Droth, Associate Director of Research and Education, and Curator of Sculptor; and, at Waddesdon Manor, Juliet Carey, Curator of Paintings and Sculpture.

Eileen Hogan, artist and Professor of Fine Art, Camberwell, Chelsea, and Wimbledon Colleges of Art, University of the Arts London L EC T URE A N D B O O K S I G N I N G WED N ES DAY, 21 M AY, 5 : 30 P M

Ian Hamilton Finlay and the Idea of Classical Landscape Stephen Bann, Emeritus Professor of History of Art, University of Bristol EX H I B I T I O N O P EN I N G L EC T U R E WED N ES DAY, 25 J UN E, 5 : 30 P M

Richard Wilson and the Transformation of European Landscape Painting TH ROU GH 1 JUNE

This is the first major exhibition devoted to Richard Wilson in more than thirty years. Coorganized with Amgueddfa Cymru–National Museum Wales, where it will be on view from 5 July to 26 October, the exhibition has been co-curated by Robin Simon, Honorary Professor of English, University College London, and Editor, The British Art Journal, and Martin Postle, Deputy Director of Studies, Paul Mellon Centre for Studies in British Art. The organizing curator at the Center is Scott Wilcox, Chief Curator of Art Collections and Senior Curator of Prints and Drawings; and, at Amgueddfa Cymru–National Museum Wales, Oliver Fairclough, Keeper of Art. The exhibition is also accompanied by a book of the same title.

Art in Focus: Wales TH ROU GH 10 AUGUST

This Art in Focus exhibition explores the history of interest in Welsh landscape, ruins, and the bardic tradition through oil paintings, finished watercolors, and plein-air sketches from the Center’s collections. It has been curated by Yale University undergraduate student guides under the guidance of Eleanor Hughes, Associate Director of Exhibitions and Publications, and Associate Curator; Linda Friedlaender, Curator of Education; and Jaime Ursic, Assistant Curator of Education.

Bruce Davidson and Paul Caponigro: A Conversation This lecture will be held at the Yale University Art Gallery, New Haven, Connecticut.

A N D REW C A RN D UF F RI TC H I E LEC T U R E T H URS DAY, 29 M AY, 5 : 30 P M

The Emperor as Commander: A Roman Military Statue at the Yale University Art Gallery Paul Zanker, Professor of History of Art, Scuola Normale Superiore, Pisa. This lecture will be held at the Yale University Art Gallery.

James Bolton (1735–1799), ?House Wren (Troglodytes aedon, with a specimen from the Rose Family (Rosaceae), Peacock butterflies (Nymphalis io), both closed and open, and butterfly chrysalis, larva caterpillar, daddy-long legs, spider (Phalangida) egg case, and Snout Beetle, from the natural history cabinet of Anna Blackburne, ca. 1768, watercolor and gouache over graphite on parchment, Yale Center for British Art, Paul Mellon Fund, in honor of Jane and Richard C. Levin, President of Yale University (1993–2013)