Paul Mellon Centre — Annual Report 2016–2017

Annual Report 2016–2017

PMC Staff

Director of Studies

Mark Hallett

Deputy Director for Grants & Publications (from 1 July 2016)

Deputy Director for Collections

& Publications (to 30 June 2016)

Martin Postle

Deputy Director for Finance & Administration

Sarah Ruddick

Deputy Director for Research

Sarah Victoria Turner

Education Programme Manager

Nermin Abdulla

Office Administrator & Director’s Assistant

Bryony Botwright-Rance

Archivist & Records Manager

Charlotte Brunskill

Editor (from 5 September 2016)

Baillie Card

Archives & Library Assistant

Frankie Drummond Charig

Allen Fellow

Jessica Feather

Fellowships, Grants & Communications Officer (from 1 December 2016)

Academic Activities Assistant (to 30 November 2016)

Harriet Fisher

Events Manager

Ella Fleming

Librarian

Emma Floyd

Assistant Archivist & Records Manager

Jenny Hill

Editorial Assistant

Postdoctoral Fellow

Hana Leaper

Editor (from 5 September 2016)

Emily Lees

Receptionist

Stephen O’Toole

Office Manager

Suzannah Pearson

Picture Researcher

Maisoon Rehani

Finance & Administration Officer

Barbara Ruddick

Digital Manager

Tom Scutt

Cataloguer: Auction Catalogues (from 1 October 2016)

Fellowships & Grants Manager (to 30 September 2016)

Mary Peskett Smith

Buildings Officer (to 24 March 2017)

Harry Smith Editor, Special Projects (to 30 September 2016)

Guilland Sutherland

Premises Officer (from 27 March 2017)

George Szwejkowski

HR Manager (from 7 November 2016)

Barbara Waugh

Introduction

I have great pleasure in submitting the forty-seventh Annual Report of the Paul Mellon Centre for Studies in British Art.

This year saw us reaping the benefits of our newly-expanded premises at 15–16 Bedford Square, which allowed us to run an even richer programme of research events. This included conferences and workshops on such topics as Making Women’s Art Matter: New Approaches to the Careers and Legacies of Women Artists, the work of the painters David Hockney and Paul Nash; and the concept of the middlebrow. We held more than thirty lunchtime and evening research seminars, which included a new series of Fellows’ lunches, in which recipients of the PMC’s support shared their research in an informal and stimulating setting. We also co-organised the second of an annual series of conferences developed in collaboration with the YCBA and the Huntington, which in this instance was devoted to the topic of Photography and Britishness, and was held in New Haven.

In addition, the National Gallery hosted the twelfth series of Paul Mellon Lectures, which were given by Professor Thomas Crow, Rosalie Solow Professor of Modern Art at the Institute of Fine Arts, New York University. These lectures, which were delivered in London in January 2017 and then at Yale in March and April, focused on the relationship between modernist music and art in Britain between the 1950s and the 1970s. Receptive and enthusiastic audiences at both venues enjoyed Professor Crow’s fascinating art-historical tour of the intersecting worlds of jazz, “mod” culture and the visual arts in this period – a tour which was accompanied not only by striking images but by a suitably atmospheric and evocative soundtrack.

2016–17 also saw the continuing development of our in-house online journal British Art Studies, which we publish in collaboration with the YCBA. The journal is designed to showcase the most original scholarship in the history of British art and architecture, and to promote innovative interventions in the field of the digital humanities. The results are often spectacular. Our third, special issue on British Sculpture Abroad, 1945–2000, co-edited by Martina Droth and Penelope Curtis, contained no less than twenty-eight essays, together with an introduction co-written by the editors. Our fourth issue, which featured a cover-collaboration with the renowned photographer Martin Parr, featured an essay on the New Brutalist imagery of the 1950s and 1960s that was accompanied by an animated compendium of such

works; the issue also hosted the filmed proceedings of the Photography and Britishness conference at the YCBA, together with an article that offered digital reconstructions of nineteenth-century gallery displays. Finally, the fifth issue offered a major feature on the celebrated Hereford Screen at the Victoria & Albert Museum, together with a selection of articles on subjects that ranged from a Georgian drawing academy to the twentieth-century artist and chronicler of everyday urban life, L. S. Lowry.

The year saw the arrival at the Centre of two editors, Baillie Card and Emily Lees, who were appointed to strengthen our publishing expertise. The former has focused in particular on our digital publication projects, and has played a central role in the continuing development of British Art Studies; the latter now manages the Centre’s book publication projects, working in collaboration with our colleagues at Yale University Press, London. We envisage that both editors will also work together on future digital and print publication projects.

This year the Centre committed itself to the publication of a major new digital publication each year, beginning in 2018. This series of publications will begin with a comprehensive digital history of the Royal Academy’s annual Summer Exhibitions, for which some eighty academics, critics, artists, and curators have been asked to contribute. It will include short texts on every single Summer Exhibition since 1769, and digitised versions of every Summer Exhibition catalogue. This monumental arthistorical resource will be released in June 2018, to accompany a major exhibition at the Academy that I am co-curating with my colleague Sarah Turner and that is entitled The Great Spectacle: 250 Years of the Summer Exhibition. The following year will see the release of a similarly ambitious online publication that explores the ways in which works of art have been collected and displayed in the British country house, while 2020 is earmarked for an innovative and wide-ranging publication that investigates how London has provided a crucial site for Asian art and artists in the modern period. All these online publication schemes emerge out of inhouse research projects that have been enthusiastically supported by our Board of Governors at Yale, and that seek to encourage and disseminate the best kinds of art-historical scholarship in a manner that is fitting for our times. Finally, it is worth noting that, working with colleagues from arts organisations in the locality, we co-organised and partly-hosted a new arts festival designed to appeal to a broad public audience. The Bedford Square Festival, held across three days in June 2017, sold out immediately, and was a resounding success. Consequently, we plan to hold this festival every year, and thereby introduce an entirely new community of visitors to our Centre and its many resources.

Mark Hallett Director of Studies

Yale in London

Yale in London continues to offer dynamic and intellectually-challenging courses taught by distinguished academics from Yale University, the Paul Mellon Centre for Studies in British Art, and other academic institutions in the United Kingdom. This year, the programme also continued to accept applications from Yale’s sister campus in Singapore, Yale-NUS (National University of Singapore).

Spring Term

There were six students enrolled in the Spring term, all of whom were from Yale. They were housed in flats near Paddington. Four courses were taught during the Spring term: British Art and Landscape by Martin Postle, Deputy Director of Grants & Publications at the Paul Mellon Centre; London: The Metropolis in the Modern Imagination and British Biography, Portraiture, and Psychoanalysis taught by Langdon Hammer, Professor, Department of English, Yale; and The Art and Architecture of Medieval London: 1066–1547 taught by Lloyd de Beer, Project Curator for Late Medieval Europe, Department of Britain, Europe and Prehistory, British Museum.

The spring term saw the students participate in a wide variety of activities and visits, and they visited key London destinations as part of their studies. The British Art and Landscape course took students to various locations in Wales, such as Snowdon, Cader Idris, and Tintern Abbey. As part of the courses on British Biography and Medieval Art, students travelled to Haworth and Canterbury. There was no theatre course offered this term, but students still had opportunities to see plays. The British Biography students saw Peter Pan at the National Theatre as part of their course, and many saw Rosencrantz & Guildenstern Are Dead at the Old Vic as an extracurricular activity.

Summer Session One

There were nine students enrolled in Summer Session One. They were housed in flats on the Southbank at Waterloo. During this session, the students undertook two courses: Modern British Drama taught by Sheila Fox and Queenship and Female Power from the Tudors to the Modern Age taught by Lisa Ford, Assistant Director of Research at the Yale Center for British Art.

The Spring Term Yale in London students on their visit to Mount Snowdon.

The course on queenship took students to a variety of locations key to historical moments when female monarchs ruled, such as Framlingham Castle, Kenilworth Castle, Burghley House, and Hatfield House. The students also watched the ceremony of Trooping the Colour during second week of term. As part of the course on British drama, the students also saw many performances. These included The Resistible Rise of Arturo Ui at the Donmar Warehouse, Disco Pigs at the Trafalgar Studios, Common at the National Theatre, and Don Juan in Soho at Wyndham’s Theatre.

Summer Session Two

There were six students enrolled in Summer Session Two and they were housed in flats near Paddington. During this session, the students took two courses: Photography in Victorian Britain: Aesthetics, Ethics, and Politics by Sean Willcock, Yale in London Lecturer and The British Empire and its Imperial Hub taught by Jonathan Wyrtzen, Department of Sociology, Yale University. Photography in Victorian Britain examined the creation and development of the camera and of photography as an art form. As part of the course, the students visited relevant collections, archives, and exhibitions in London. The students also visited the National Science and Media Museum in Bradford and Lacock Abbey, home of Henry Fox Talbot. The course on the British Empire took the students to view the collection of the now-defunct Commonwealth Museum. This collection, consisting of over 500,000 items including film, photography, and objects, is now under the care of the Bristol City Council Archive. This was a rare and exciting opportunity for students to encounter material of this kind.

Summer Session One Yale in London students with Lisa Ford at Brighton Beach.

David Jacques, Gardens of Court and Country: English Design 1630–1730, April 2017

Publications

July 2016–June 2017

Marcia Kupfer

Art and Optics in the Hereford Map: An English Mappa Mundi, c.1300 October 2016

David Adshead and David Taylor (eds)

Hardwick Hall: A Great Old Castle of Romance November 2016

Richard Ormond and Elaine Kilmurray

John Singer Sargent: Volume IX: Figures and Landscapes, 1914–1925: The Complete Paintings November 2016

GARDENS

Court

Country

Elizabeth Einberg

William Hogarth: A Complete Catalogue of the Paintings November 2016

David Jacques

Gardens of Court and Country: English Design 1630–1730

April 2017

Elizabeth Prettejohn

Modern Painters, Old Masters: The Art of Imitation from the PreRaphaelites to the First World War May 2017

Ben Highmore

The Art of Brutalism: Rescuing Hope from Catastrophe in 1950s Britain

June 2017

British Art Studies

British Art Studies (BAS), an open-access digital journal, is a joint publication of the Paul Mellon Centre for Studies in British Art (PMC), London and the Yale Center for British Art (YCBA), New Haven. In its second year of publication, the journal and its readership continued to grow and, by June 2017, the website had received over 40,000 unique visitors.

BAS has rapidly become a model of best practice in open-access scholarly arts publishing. In February 2017, journal editors Sarah Turner and Martina Droth convened a panel at the College Art Association (CAA) conference, titled Editing Journals in a Digital Age. At the American Alliance of Museums (AAM) conference in May 2017, the journal won a gold-level MUSE award in the “Open Culture” category.

In June 2017, BAS was also awarded a grant from the Terra Foundation for American Art to support the new digital publishing initiative Objects in Motion Over the coming years, this project will generate a series of articles and features focusing on cross-cultural dialogues between Britain and the United States in the years up to 1980.

In the period covered by this report, four issues were published. These included: the first special issue, British Sculpture Abroad, 1945–2000, co-edited by Martina Droth and Penelope Curtis (Summer 2016); two open issues (Autumn 2016 and Spring 2017); and a second special issue (Summer 2017), Invention and Imagination in British Art and Architecture, 600–1500, edited by Jessica Berenbeim and Sandy Heslop.

Between 1 July 2016 and 30 June 2017, the journal team consisted of:

Sarah Victoria Turner (PMC), Editor

Martina Droth (YCBA), Editor

Baillie Card (PMC), Editor – joined the PMC in September 2016

Hana Leaper (PMC), Deputy Editor

Tom Scutt (PMC), Digital Editor

Maisoon Rehani (PMC), Picture Researcher

All issues of the journal are available at www.britishartstudies.ac.uk

From the New Viewpoints on the Hereford Screen feature in Issue 5 of British Art Studies. Francis Alexander Skidmore and Sir George Gilbert Scott, The Hereford Screen (detail), 1862. Collection of the Victoria & Albert Museum, London, Given by Herbert Art Gallery and Museum, Coventry (M.251:1 to 316-1984). Image courtesy of Justin Underhill.

Fellowships and Grants 2016–2017

Over the summer of 2016, following the retirement of Mary Smith, Grants Manager, responsibility for managing and operating the Fellowships and Grants Programme was assumed by Dr Martin Postle, Deputy Director of Grants and Publications, and Harriet Fisher, Fellowships, Grants and Communications Officer.

The Digital Project Grant, introduced in autumn 2015, attracted fewer applications in autumn 2016, possibly due to the revision of the terms and conditions, which demanded more detailed information from applicants regarding the nature and sustainability of the technical structures supporting their digital projects. In total nineteen applications were received; five were successful. Overall, in the autumn round, 214 applications were received for the awards offered by the PMC, of which seventy-eight were successful. A total of nineteen applications were made for Curatorial Research Grants, of which eight were awarded. Publication Grants received a total of eighty-eight applications: fortyfour for author costs and forty-four for publisher costs. A total of eighteen grants were awarded to authors and twenty grants to publishers; a grand total of thirtyeight. Once more, a comparatively large number of applications were made for the smaller Research Support Grants; out of a total of fifty-nine applications, twenty grants were awarded. Educational Programme Grants received sixteen applications in the autumn and eight grants were awarded. The Andrew Wyld Research Support Grant attracted three applications and two awards were given.

The Spring 2017 round of awards was devoted to the five categories of Fellowship offered by the Centre, as well as the Research Support Grant and the Educational Programme Grant. In total 131 applications were received, which was lower overall than in recent years. Forty applications were successful. The Junior Fellowship attracted only nine applicants, of which five were successful.

The Post-Doctoral Fellowship, in comparison, attracted twenty-eight applicants, of which five were successful. There was also stronger competition for the MidCareer Fellowship, which attracted twenty-one applications, of which five were successful. Thirteen applications were received for Senior Fellowships, and two were awarded. The Rome Fellowship, which has continued to attract surprisingly few applicants, received only two applications, and one applicant was duly awarded the Fellowship. The Research Support Grant once more proved very popular and attracted fifty applications, of which fourteen were successful. There were twelve applications for Educational Programme Grants, and five awards were made.

The Conservation Fellowship of £25,000 for the academic year 2016–17 was awarded by the Director of Studies once more to Gainsborough’s House for continued work on the Discovering Early Gainsborough Project.

A new series of lunchtime lectures given by the recipients of PMC Fellowships was inaugurated in May 2017. This first Fellows Lunch series proved successful, with a high attendance for each of the four talks. Plans were made for another such series to take place in the Autumn.

Grant Awards Autumn 2016

At the October 2016 meeting of the Centre’s Advisory Council, the following Grants were awarded:

Celeste-Marie Bernier was awarded £3,000 towards the cost of publishing

Inside the Invisible: Slavery and Memory in the Works of Lubaina Himid (1985–2015)

Dr Spike Bucklow was awarded £1,000 towards the cost of publishing

The Anatomy of Riches – Sir Robert Paston's Treasures

Curatorial Research Grants

Impressions Gallery, Bradford was awarded £12,000 to help support a research curator to work on the project No Man's Land: Women's Photography and the First World War

John Rylands Research Institute/ Special Collections The University of Manchester Library was awarded £8,000 to help support a research curator to work on the project Out of the Ether: Online Catalogue of the Victorian British Photography Collection 1844–1900 in the Special Collections of the University of Manchester Library

Museums Sheffield was awarded £15,000 to help support a research curator to work on the project “The Kitchen Sink Too”: British Art 1945–1975 from Sheffield’s Collection

Teesside University was awarded £15,000 to help support a research curator to work on the project The New Boosbeck Industries: From Heartbreak Hill to High Street

The Charterhouse was awarded £8,000 to help support a research curator to work on the project The Charterhouse Painting Research Project

The Fitzwilliam Museum, University of Cambridge was awarded £10,000 to help support a research curator to work on the project Illuminated Britain: Manuscripts from England, Ireland, Scotland and Wales in Cambridge Collections

The Foundling Museum was awarded £4,500 to help support a research curator to work on the project Basic Instincts

Wolfson College was awarded £7,500 to help support a research curator to work on the project Envisioning South Asia: Men, Machines and Materials

Digital Project Grants

Art UK was awarded £20,000 for a Digital Content and Research Assistant to add works on paper to Art UK

Cambridge University was awarded £15,000 for work on the project Digital Pilgrim 2

Carnegie Museum of Art was awarded £20,000 for work on the project Northbrook Project

University of Chester was awarded £20,000 for work on the project The Reception of English Saints’ Shrines as Tangible Art: A Digital Barometer

University of Nottingham was awarded £5,000 for work on the project Lincoln Cathedral Interactive Digital Archive

Publication Grants (Author)

Jasmine Allen was awarded £1,400 towards the cost of publishing Stained Glass and the International Exhibitions, 1851–1900

Jo Applin was awarded £2,500 towards the cost of publishing London Art Worlds: Mobile, Contingent, and Ephemeral Networks 1960–1960

Anuradha Chatterjee was awarded £1,700 towards the cost of publishing Surfacing the Fabric of Architecture: John Ruskin's Adorned "Wall Veil"

Caroline Elam was awarded £3,000 towards the cost of publishing Roger Fry and Italian Art

Alicia Foster was awarded £3,000 towards the cost of publishing Jessica Dismorr and her Contemporaries

Anna S. Frasca-Rath was awarded £3,000 towards the cost of publishing John Gibson. Die Canova Rezeption in Großbritannien (John Gibson. The Reception of Canova in Great Britain)

Caroline Fuchs was awarded £1,000 towards the cost of publishing "Retinabilder. Ästhetik, Diskussionen und Gebrauch der Autochromfotografie in Großbritannien" ("Retinal Images: Aesthetics, Discussions and Use of Autochrome Photography in Britain")

Victoria Jackson was awarded £900 towards the cost of publishing Speaking Plates: Text, Performance, and Banqueting Trenchers in Early Modern Britain

JoAnne Mancini was awarded £3,000 towards the cost of publishing Art and War in the Pacific World

Kester Rattenbury was awarded £1,500 towards the cost of publishing The Wessex Project: Thomas Hardy, Architect

Michel Remy was awarded £2,000 towards the cost of publishing Eileen Agar, Dreaming Oneself Awake

Jacqueline Riding was awarded £1,500 towards the cost of publishing Basic Instincts

David Taylor was awarded £500 towards the cost of publishing Plotting Politics: Caricature, Parody, and Literary History

Matthew Walker was awarded £1,000 towards the cost of publishing Architects, Builders and Intellectual Culture in PostRestoration England

Publication Grants (Publisher)

Eric and Salome Estorick Foundation was awarded £3,500 towards the cost of publishing War in the Sunshine: The British In Italy in 1917–18 Through the Eyes of Official War Artists Sydney Carline (1888–1929), Ernest Brooks (1878–1941?) and William Joseph Brunell (1878–?)

Leeds Art Fund was awarded £3,500 towards the cost of publishing Wallpapers at Temple Newsam House, a catalogue of the collection

Liverpool University Press was awarded £3,500 towards the cost of publishing Inside the Invisible: Slavery and Memory in the Works of Lubaina Himid (1985–2015)

Lund Humphries was awarded £1,500 towards the cost of publishing Enid Marx monograph

Lund Humphries was awarded £2,250 towards the cost of publishing Cook's Camden: Creating a New Model for Urban Housing

Mount Stuart Trust was awarded £3,500 towards the cost of publishing Collecting Power: The Art Collection of John Stuart, Third Earl of Bute (1713–1791)

National Portrait Gallery of Australia was awarded £3,500 towards the cost of publishing Dempsey's People: British Street Portraits 1824–44

Nottingham City Museums and Galleries was awarded £3,500 towards the cost of publishing The Ballantyne Collection of 20th-century British Studio Ceramics

Paul Holberton Publishing was awarded £3,500 towards the cost of publishing Roger Fry

Paul Holberton Publishing was awarded £1,500 towards the cost of publishing British Art: Ancient Landscapes

Paul Holberton Publishing was awarded £1,750 towards the cost of publishing Creating the Countryside: The Rural Idyll Now and Then

Petworth House (National Trust) was awarded £3,500 towards the cost of publishing William Blake in Sussex

Public Monuments and Sculpture Association was awarded £6,500 towards the cost of publishing The Public Sculpture of Edinburgh

Reaktion Books was awarded £3,500 towards the cost of publishing Eileen Agar: Dreaming Oneself Awake

RIBA Publishing was awarded £3,000 towards the cost of publishing 66 Portland Place: Architecture, Identity and the Royal Institute of British Architects

The Holburne Museum was awarded £3,000 towards the cost of publishing Gainsborough and the Theatre

The Pennsylvania State University was awarded £2,500 towards the cost of publishing London Art Worlds: Mobile, Contingent, and Ephemeral Networks, 1960–1980

UCL Press was awarded £3,000 towards the cost of publishing Recovering Fonthill

Whitechapel Gallery was awarded £3,500 towards the cost of publishing Eduardo Paolozzi – Image-Breaking Image-Making

Educational Programme Grants

Birkbeck, University of London was awarded £2,000 towards the cost of a one-day conference Knowing “as much of art as the cat”: Nineteenth-century Women Writers on the Old Masters

British Film Institute was awarded £1,000 towards the costs of a lecture series Researching, Curating and Creating: Engaging with British Artists’ Film at the BFI Reuben Library

Oxford Brookes University was awarded £2,600 towards the costs of a two-day conference Architecture, Citizenship, Space: British Architecture from the 1920s to the 1970s

Tate Britain was awarded £2,000 towards the costs of a two-day conference From Then to Now: Contemporary Artistic Perspectives on Making Queer Visible

The Courtauld Institute of Art was awarded £2,000 towards the costs of a two-day conference Towards an Art History of the English Parish Church, 1200–1399

University College London was awarded £1,200 toward the costs of a one-day conference To Draw the Line: Partitions, Dissonance, Art – a Case for South Asia

University of St Andrews was awarded £1,200 towards the costs of a two-day conference In and Out of American Art: Between Provincialism and Transnationalism, 1940–1980

University of York was awarded £3,000 towards the costs of a one-day workshop Display Histories: Houses, Galleries, Museums

Research Support Grants

Marie Bourke was awarded for £1,000 for research on the exhibition of Sir Frederic William Burton (1816–1900)

Virginia Brilliant was awarded £2,000 for research on The John and Mable Ringling Museum of Art: Catalogue of British Paintings

Melissa Buron was awarded £2,000 for research on James Tissot (1836–1902) and the Visual Language of Spiritualism in Late Nineteenth-century British Art

Richard Butler was awarded £1,800 for research on Public Architecture in Ireland, c. 1750–1850: Designs for Provincial Courthouses and Prisons

Helen Draper was awarded £1,000 for research on 1677: Picture a Year

Miranda Elston was awarded £1,000 for research on Spatial Interaction: Architectural Representations as Interface in Early Tudor England (1509–1547)

Alison FitzGerald was awarded £1,300 for research on Copy Casts: James Tassie and Henry Quin – the Intersection of Enlightenment Worlds

Alicia Foster was awarded £2,000 for research on Jessica Dismorr and Her Contemporaries

Emre Gönlügür was awarded £1,500 for research on Unheimlich in Foreign Land? Sir Henry Bulwer’s Gothic Mansion in Constantinople

Timothy Hyde was awarded £1,000 for research on Dread of Beauty: Architecture, Judgment, and Ugliness

Margaret Lacono was awarded £1,000 for research on Acquisitions and Alliances: The Life and Times of Charles Stewart Carstairs (1865–1928)

Perrin Lathrop was awarded £2,000 for research on A Sublime Art: Akinola Lasekan and Colonial Modernism in Nigeria

Ashley Mason was awarded £1,400 for research on A Coincidental Plot: Through the “Charged Void”

Julian North was awarded £1,200 for research on Portraits of Dickens: Portraiture and Public Intimacy in Victorian Britain (1830–1880)

Alice Ottazzi was awarded £2,000 for research on Shaping International Reputations: Reconstructing the Activity of British Artists in 18th-century Paris, an Aspect of the Reception of the English School in France

Ben Pollitt was awarded £2,000 for research on John Webber in Hawaii

Rodolfo Acevedo Rodriguez was awarded £1,200 for research on New Definitions on Fourteenth-century Gatehouses

Siddhartha Shah was awarded £2,000 for research on Victoria's Picturesque Natives: Ornamental Indians at Osborne House, as Servants and Subjects

Ezra Shales was awarded £1,000 for research on Reevaluating David Pye

Mengting Yu was awarded £1,000 for research on “A Talented and Decorative Group”: the Slade Women and London’s Avant-Garde 1910–1914

Andrew Wyld Research Support Grants

Funded by the Andrew Wyld Fund

Alicia Hughes was awarded £2,000 for research on Drawing Dissections: Jan van Rymsdyk and Anatomical Illustration in the 18th Century

Lindsay Wells was awarded £1,000 for research on A New Floriography: The Flower Book Watercolors of Edward Burne-Jones

Installation shot of the No Man’s Land: Women’s Photography and the First World War exhibition at Impressions Gallery of Photography, supported by a Curatorial Research Grant.

Paul

Fellowship and Grant Awards

Spring 2017

At the March 2017 meeting of the Centre’s Advisory Council the following Fellowships and Grants were awarded:

Senior Fellowships

Kathryn Rudy, University of St Andrews was awarded £32,000 to prepare her book Physical Interactions with the Manuscript: Communities of Reader/ Viewers in Late Medieval England

Steven Brindle, English Heritage was awarded £32,000 to prepare his book The Pelican History of Art: Architecture in Britain and Ireland, 1530–1840

Rome Fellowship

Renée Tobe, University of East London was awarded £19,800 for research in Rome on Ventri Architectus: Reproducing Classical Idioms of Power and Culture in Film

Mid-Career Fellowships

Claire Wintle, University of Brighton was awarded £12,000 to prepare her book World Cultures Collections, Museums and Changing Britain, 1945–1980

Maria Cristina Terzaghi, Roma Tre University was awarded £12,000 to prepare her book Orazio and Artemisia Gentileschi in London

Matthew Greg Sullivan, Tate Britain was awarded £12,000 to prepare his book Francis Chantrey and the Strata of History: Portrait Sculpture, History, and Geology in Early Nineteenth-century Britain

Mercedes Cerón, The British Library was awarded £12,000 to prepare her book The Collections of Francis Douce (1757–1834)

Monica Sassatelli, Goldsmiths, University of London was awarded £12,000 to prepare her book Displaying the Nation in a Cosmopolitan Age: Britain at the Venice Biennale

Postdoctoral Fellowships

Amy Tobin, Goldsmiths, University of London was awarded £8,000 to prepare her articles based upon Cecilia Vicuña in London: Art, Exile and Protest in the 1970s

Caroline Rae, Courtauld Institute of Art was awarded £8,000 to prepare her articles: A Secret History: Sir Robert Cecil, a Venetian Mosaic, and the Discovery of a Lost Portrait by John de Critz, Master and Servant; Illuminating the Oeuvre and Workshop Practice of John de Critz the Elder, Changing Faces; New Findings on Marcus Gheeraerts the Younger; and, “The Work of God and Not of Man”, Gilding and the English Renaissance Portrait

Elisabeth Gernerd, University of Edinburgh, was awarded £8,000 to prepare her book Têtes to Tails: Eighteenth-century Underwear and Accessories

Taylor McCall, University of Cambridge was awarded £8,000 to prepare her book Illuminating the Interior: Anatomical Imagery in Medieval European Art and Thought

Zoë Thomas, University of Birmingham/ University of Oxford was awarded £4,000 to prepare her book Women Art Workers and the Arts and Crafts Movement, 1870–1939

Junior Fellowships

Elyse Nelson was awarded £7,500 to conduct research in the United Kingdom for her dissertation Antonio Canova and His British Patrons: The Late Works (1814–22) and Restoration Europe

Federica Soletta was awarded £7,500 to conduct research in the United Kingdom for her doctoral thesis Photography and the Origin of Architectural History

Leila Harris was awarded £7,500 to conduct research in the United Kingdom for her doctoral thesis Labor and the Picturesque: Photography, Propaganda and the Tea Trade in Colonial India and Sri Lanka, 1880–1914

Paris Spies-Gans was awarded £7,500 to conduct research in the United Kingdom for her doctoral thesis Claiming a Visual Voice: How Female Artists Navigated the Revolutionary Era in Britain and France, ca. 1760–1830

Rixt Woudstra was awarded £7,500 to conduct research in the United Kingdom for her doctoral thesis Housing a Continent: Minimalism, Architecture and Human Need in British Sub-Saharan Africa

Educational Programme Grants

Pallant House Gallery was awarded £2,700 to support the Jessica Dismorr and her Contemporaries symposium

University of Glasgow and Mount Stuart was awarded £2,700 to support the The Art of Power: The 3rd Earl of Bute, Politics, Patronage and Collecting symposium

Waddesdon Manor and Oxford University were awarded £2,700 to support a workshop on The Jewish Country House Robinson College, Cambridge was awarded £1,200 to support the “In Glass Thy Story”: Innovation and Iconography in the Last Seventy Years of Glass Art in British and European Churches and Cathedrals symposium

RBSA Gallery was awarded £1,700 to support the RBSA William Gear symposium

Research Support Grants

Aleksandr Bierig was awarded £2,000 for research on The London Coal Exchange: Architecture, Environment, Economy

Alexandra Gent was awarded £1,000 for research on The Technical Comparison of Three Versions of A Nymph and Cupid by Joshua Reynolds

Allison Stagg was awarded £1,900 for research on The Early Training of the Scottish Caricaturist, William Charles (1776–1820)

Anne-Françoise Morel was awarded £1,700 for research on Preserving the Nation’s Zeal: Churches and Chapels Built in England Between 1642–1660

Carlotta Falzone Robinson was awarded £2,000 for research on Archibald Knox: British Modernity and Celtic Identity

Daniel Bochman was awarded £1,200 for research on Architectural Afflatus: Designing and Planning Drumlanrig Castle and Dalkeith Palace, 1685–1711

Heidi Egginton was awarded £1,200 for research on Collecting for the Nation: Arts Funding and the Public in Britain after 1918

Katherine Meynell was awarded £1,800 for research on Elizabeth Friedlander Exhibition

Katie Herrington was awarded £1,800 for research towards the exhibition Painting Light and Hope: Annie Swynnerton, A.R.A. (1844–1933)

Kristin Mahoney was awarded £2,000 for research on Pre-Raphaelitism and Anticolonialist Modernism in Sri Lanka

Laura Turner was awarded £2,000 for research on Turner, Ruskin and the Storm Cloud of the Nineteenth Century (working title)

Louise Box was awarded £2,000 for research on Linking Materials and Archives: Research on the Print Collection of Elizabeth Seymour Percy, 1st Duchess of Northumberland

Mallika Leuzinger was awarded £2,000 for research on At Home and Abroad in Photography: Debalina Majumder (1919–2012) and Manobina Roy (1919–2001)

Matthew Hunter was awarded £1,900 for research on Talbot’s Engines: The Chemistry of Power in the Early Anthropocene

Sarah Leonard was awarded £2,000 for research on William Morris’s Thames Landscapes: Archival Research

Vimalin Rujivacharakul was awarded £2,000 for research on Shapes of the World: Banister Fletcher and His Book

Academic Activities 2016–2017

30 June – 2 July 2016

Showing, Telling, Seeing: Exhibiting South Asia in Britain

1900–Now

Curatorial Panel: Deepak Ananth, Iwona Blazwick, David Elliott, Geeta Kapur and Sharmini Pereira – moderated by Hammad Nasar

Susan Bean Diverging Paths: Two Sculptors and Their Reception at the Turn of the 20th Century

Sria Chatterjee The Politics of Knowing, Making and Showing: The Festival of India in Britain and Some Afterlives

Response (Sabih Ahmed)

Holly Shaffer Museum Bhavan

Lotte Hoek and Sanjukta Sunderason Journeying Through Modernism: Travels and Transits of East Pakistani Artists in Early-1950s London

Response (Nima Poovaya-Smith)

Discussion panel: Writing About Exhibitions: Emilia Terracciano, Zehra Jumabhoy and Shezad Dawood –moderated by Lucy Steeds

Brinda Kumar The Other Burlington Exhibition

Hilary Floe Myth and Reality: Oxford and India, 1982

Response (Daniel Rycroft)

Naiza Khan and Karin Zitzewitz Nodal Connections: Triangle Network, Gasworks, and South Asian Artists in the UK

Eva Bentcheva Priceless Encounters, Costly Legacies: Motiroti’s Priceless (2007) as Contemporary Inquiry into Colonial Displays

Response (Alnoor Mitha)

Discussion panel: Researching the Exhibition: Experience and event Saloni Mathur, Carmen Juliá and Sarah Turner –moderated by Claire Wintle

Alice Correia South Asian Women Artists in Britain and the Politics of Articulation

Shanay Jhaveri Lionel Wendt

Plenary panel: Discussion with Devika Singh, Hammad Nasar, Sonal Khullar, Sarah Turner and Nada Raza

7 July 2016

Pictorial Effect: Photography and Art in Britain 1835-1910

Study Day

Painting with Light: Exhibition introduction and walkthrough with curators Carol Jacobi and Hope Kingsley

Patrizia di Bello Finished and Unfinished in Pictorial Photography

Margaret MacDonald Whistler and Photography

Anne Wagner Trees, Talbot, and the Anti-pictorial

Sophie Gordon Roger Fenton’s Orientalist Suite

Marta Weiss Cameron and Watts

Sean Willcock The “Picturesque”, the Site of Violence and Colonial Photography

8 July 2016

The Hereford Screen: Invention, Memory, and the Gothic Revival

Paul Mellon Centre and V&A Study Day

Hereford Screen: Materials, Meanings, Techniques

V&A, Hereford Screen

Metalwork Archive and the Hereford Screen: Highlights and Lines of Enquiry

V&A, Metalwork Archive

Presentations from:

Tessa Murdoch (V&A), Alicia Robinson (V&A), Justin Underhill (Berkeley), and Matthew Reeve (Queen’s)

Diana Heath (V&A), Angus Patterson (V&A), and Jackie Jung (Yale)

Visit to St Cyprian’s, Clarence Gate (Ninian Comper, 1903)

Visit led by Ayla Lepine, to view Gothic Revival rood screen in situ and compare Scott and Comper approaches to Anglican architecture and liturgy

The Other Story, Hayward Gallery, London (1989). Interior view. (c) Rasheed Araeen. Courtesy Rasheed Araeen and Asia Art Archive. Image used to promote the Showing, Telling, Seeing: Exhibiting South Asia in Britain conference.

8 September 2016

Early Career Research Network Seminar

Copyright Briefing for Researchers by Bernard Horrocks, the Tate Galley’s Intellectual Property (“IP”) Manager

29–30 September 2016

A Year’s Art: The Royal Academy Summer Exhibition, 1769-2016

Thursday 29 September

Catherine Roach The Ecosystem of Exhibitions, 1821

Thomas Ardill The Great Room and School of Painting at the Royal Academy Exhibition of 1828

Max Bryant The Architecture Room: John Soane and Charles Cockerell (1829)

Paul Spencer-Longhurst Taking A View: Richard Wilson and the Place of Landscape at the Royal Academy Exhibition of 1771

Anne Puetz A Copy after Domenichino at the Exhibition of 1811: Mr Bone's “Enviable Talents” and the Place of Enamel Miniatures at the Academy

M.J. Wells The Royal Academy Exhibition of 1847: J. B. Bunning and the New Coal Exchange Model

Gillian Forrester “Drawing in its Broadest Sense”: the Incursion of the Nonprofessional Draftsperson at the 2004 Summer Exhibition

Mark Pomeroy Sources and Documents: Researching the Summer Exhibitions

Craig Hanson 1823 and Scottish Identity

Madeline Boden 1875: Babylonians in Burlington House

Dorothy Nott “Excellence Executed by a Woman” – a Gendered Approach in the Nineteenth-century Royal Academy, 1874

Kate Nichols God, Kittens, and Empire: The Evangelical Press at the 1881 Exhibition

Paris Spies-Gans Female Exhibitors at the RA, 1800

Jacqueline Riding Shot Out of the Water?: Constable vs Turner at the Royal Academy, 1832

Barbara Bryant RA 1858: Who Was F. W. George?

Friday 30 September

Pamela Fletcher 1859: The Sequel: Memory, Time, and Attachment in Victorian Narrative Painting

Ann Poulson Representations of Queenship at the Royal Academy of Arts: 1853

Caroline Dakers Alfred Morrison and the 1872 Summer Exhibition

Richard Davey Looking for the Narrative in 2015

Cora Gilroy-Ware Exhibiting Sculpture, 1837

Claire Jones 1882 Display at the RA

Nicholas Tromans George Frederic Watts's “Physical Energy”, 1904

Melanie Veasey Siegfried Charoux –The Pedestrian (1951)

Vassil Yordanov Academic Art and Formalism: The Summer Exhibition of 1911

Stacey Clapperton “No More Modern than Twenty Years Ago”: The Royal Academy Summer Exhibition, 1917

Timothy Wilcox 1936: The Year of Dame Laura Knight

Annette Wickham Deadly Conservatism: The Royal Academy Selection and Hanging Committee, 1938

Alex Massouras Dark Sunlight in Summer (1963)

Martin Myrone 1832: The Image of Reform?

Annie Lyles John Constable and the Cenotaph

Andrew Stephenson “All the isms are gone”: Examining the Critical Reception of the Royal Academy Shows in 1924 and 1925

6 October 2016

George Shaw Scholars’ Morning

7 October 2016

Art in the British Country House: Collecting and Display Symposium

Emily Burns (University of Nottingham) The Grand Designs of Sir Justinian Isham: Investigating the Patronage, Collecting and Display at Lamport Hall During the Interregnum

Amelia Smith (Birkbeck College, University of London) “The Most Capital Masters Dispers’d All Over the House”: Displays of Art at Longford Castle in the Late Eighteenth Century

Susan Gordon (University of Leicester)

“Bronzo Mad”: The Choice, Order and Location of General James Dormer’s Sculpture, Collection at Rousham, Oxfordshire

Joan Coutu (University of Waterloo) The Future of the Past: Copies of Antique Statues at Wentworth Woodhouse

Peter Björn Kerber (J. Paul Getty Museum) The Audio-visual Charles Jennens

Andrew Loukes (Petworth House, National Trust) “Solid, Liberal, Rich and English”: Patronage and Patriotism at Petworth in the Early 19th Century

Caroline McCaffrey-Howarth (University of Leeds) Forming Hierarchies and Creating Dialogues: Ferdinand de Rothschild’s Display of Sèvres Porcelain at Waddesdon Manor

Nicola Pickering (University of Reading)

Mayer Amschel de Rothschild and Mentmore Towers: Displaying Le Goût Rothschild

Keynote Speaker – Adriano Aymonino (University of Buckingham) Country House Studies: Past, Present and Future

12 October 2016

Doddington and the Delavals: collecting and display in the 18th century

A Workshop at Doddington Hall, Lincolnshire

A one-day workshop organised by the Paul Mellon Centre, as part of the research project, Art in the British Country House: Collecting and Display

Session 1 Doddington Before the Delavals [Great Hall & Brown Parlour]

Session 2 Arthur Pond and the Early Patronage of the Delavals [Drawing Room]

Session 3 Displaying the Delavals in the 1760s [Long Gallery]

Session 4 The Delavals and the Doddington Tapestries [Holly Room]

15 November 2016

Benjamin West Workshop

Spencer House and Paul Mellon Centre for Studies in British Art

Group discussion in front of the Benjamin West paintings currently on display in Spencer House:

The Death of Wolfe 1771; The Death of Chevalier Bayard 1772; The Death of Epaminondas 1773; The Family of the King of Armenia before Cyrus 1773; The Wife of Arminius brought captive to Germanicus 1773; Milkmaids in St James's Park, Westminster Abbey beyond c. 1801

Discussion led by: Mark Hallett, Lars Kokkonen, Martin Myrone and Greg Sullivan

Cicely Robinson Benjamin West’s Battle of La Hogue: British Naval History Painting and the National Gallery of Naval Art

Cora Gilroy-Ware Benjamin West's “Radical Redirection”, 1802–1809

Tom Ardill Benjamin West's Later Scriptural Paintings: Religious Art as Public Spectacle

18 November 2016

PMC Student Event

This event was for students who were interested in finding out more about the Paul Mellon Centre for Studies in British Art. We also offered an introduction to our library and archive collections

Autumn Research Seminar Series 2016

Research Seminars

5 October David Mellor Paul Nash's Hauntings

19 October Lloyd de Beer The Digital Pilgrim Project: Medieval Badges, Digital Tools, New Questions

16 November Panel Discussion with Bruno Wollemi, Professor Christopher Green (Art historian, Courtauld Institute of Art), Matthew Collings (Art critic and writer) and Emma Biggs (Artist and author)

Screening and discussion: John Golding: A Path to the Absolute

30 November Jennifer Tucker Collecting the Future, Imaging the Past: Humphrey Jennings and Pandaemonium (1938–50)

7 December Anthony Geraghty The Empress Eugénie in Exile: Collecting and Display at Farnborough Hill, Hampshire, in the 1880s

Research Lunches Seminars 2016

14 October Sophie Morris D rawn, Quartered, Stoned and Framed: Anatomical Bodies “Curiously Engraven from the Life” in Late Seventeenthcentury London

21 October Amy Tobin Breaking Down the South London Art Group's A Woman's Place (1974)

11 November Lisa Tickner Private View: A Particularly Soft English Hardback

25 November Amy Concannon ‘‘Did Babel E’er Rise Faster?”: The Changing Image of Brighton, 1820–50

9 December Freya Spoor Promoting Pastel: Exhibitions of the Pastel Medium in Late Nineteenth-century Britain

9 January–6 February 2017 (Every Monday) at The National Gallery –Mellon Lectures by Tom Crow

Modernist Faces: Hard Bop and Clean Design

Jazz Painting? Modernist Hockney?

Painting Sensations: Pauline Boty/ Bridget Riley

Hippy Shake: Sculpture Through the Counterculture

The Great Lost Look c. 1969: Beyond Cultural Studies

27 January 2017

Artists’ Lives: Speaking of the Kasmin Gallery

Private view & Gallery Discussion at Tate Britain

25 January 2017

The Work of Artists

Speakers:

Thomas Crow (Rosalie Solow Professor, New York University)

Helena Bonett (PhD researcher, Tate/Royal College of Art)

Vid Simoniti (Research Fellow, Aesthetics and Philosophy of Art, Cambridge University)

Alexander Massouras (Leverhulme Early Career Fellow, Ruskin School of Art)

Elena Crippa (Curator, Modern and Contemporary British Art, Tate Britain)

31 January 2017

Processing the 60s – Roundtable Workshop (connected to Tom Crow’s Mellon Lectures)

Lynda Nead; Kate Apsinall; Alex Seago; Éric de Chassey; Elena Crippa; Lisa Tickner; Anne Massey; Alex Massouras; David Mellor

9–10 February 2017

Making Women’s Art Matter: New Approaches to the Careers and Legacies of Women Artists

9 February

Emma Fitts (Artist)

To Pressure from Vibration: Talking Through textiles

Tess Denman Cleaver (Tender Buttons & Newcastle University) Time Passes: Performing Virginia Woolf's Landscapes

Elke Krasny (Professor, The Academy of Fine Arts, Vienna) Feminist Assembly: Live Art History

Jeanine Richards (Associate Professor, Kingston University) & Fiona Fisher (Researcher, Kingston University) Dora

Eliza Gluckman (Curator, New Hall Art Collection, Murray Edwards College,

University of Cambridge & Co-Founder of A Woman’s Place (Day+Gluckman)) New Hall Art Collection: Feminist Strategies Versus Collection Building

Helena Bonett (PhD researcher, Tate/ Royal College of Art) Modelling a Method: Contesting Patrimonial Legacy Structures in the Art Museum

Laura Smith (Curator, Tate St Ives.) Thinking Through Our Mothers: Making an Exhibition after Virginia Woolf

Roundtable Session

Timothy Wilcox (Independent scholar)

Madeline Kennedy (Independent researcher)

Katherine Meynell (Independent Scholar) Evening visit to Guerilla Girls: Is it Even Worse in Europe? at Whitechapel Gallery

10 February 2017

Rowena Morgan-Cox (Associate Director, The Fine Art Society) Modern British Women: Legacies of Women Artists at The Fine Art Society

Carol Jacobi (Curator 1850–1915 British Art, Tate Britain) Missing Links and Legacy

Sarah Milroy (Independent curator and writer, co-curator of Vanessa Bell at Dulwich Picture Gallery) Cracking the Mould: Vanessa Bell at Dulwich Picture Gallery

Gill Park (Director, Pavilion and PhD student, University of Leeds) Embarrassing Bodies: The “Feministing” Of Photography in the Work of Jo Spence

Amy Tobin (Associate Lecturer Goldsmiths College/City and Guilds Art School) Record, Recover, Repeat: Feminist Approaches to the Histories of Feministinfluenced Art

Catherine Spencer (Lecturer, School of Art History, University of St Andrews) Thinking Through the Matter: Women Artists, Entropy and Reuse

Kim Dhillon (Doctoral Candidate, Royal College of Art, London) A Matter of Words: How 1970s Feminist Critiques of Conceptual Art Embraced Language

Nicola McCartney (Lecturer, Cultural Studies, Central Saint Martins, University of the Arts/Associate Research Fellow, Birkbeck, University of London) The Guerrilla Girls: A Case-study in How Anonymity and Collectivism, as a Methodology, Might Promote Women Artists' Visibility

Cleo Roberts (UKIERI PhD researcher, University of Liverpool and University of Cambridge) The Ties of Wives: The Problematics of British Female Artists Working in India

Mora Beauchamp-Byrd (Visiting Assistant Professor of Art History and Curatorial Studies, Department of Art & Art History, Spelman College, Atlanta) Lubaina Himid's Fashionable Marriage of 1986, William Hogarth and the Uses of the Canon: A Case Study

Performance

Katie Schwab (Artist) Dear. For. To.

1 March 2017

Dissertation Workshop

Sarah Victoria Turner; Charlotte Brunskill; Frankie Drummond; Stephen O’Toole

1 March 2017

Castle Howard Study Day

3 March 2017

Paul Nash Study Day

Emma Chambers; Sarah Fill; Emma Chambers; Clare Woods David Mellor –Imperial Magic; Sam Smiles – archaeology/ landscape; Inga Fraser – design (video presentation); Simon Grant –photography; Michel Remy – surrealism; Rosalind Nashashibi and Lucy Skaer

28 March 2017

Art History & the Middlebow Workshop

Keynote – Faye Hammill (Professor of English, University of Strathclyde)

Middlebrow, Media, Genre Lecture Theatre (Public Event)

Martin Myrone (Tate) Ordinary Artists

Emma West (Cardiff University) Interwar Travel Posters: A Middlebrow Art?

John Fagg (Birmingham University)

Will May (Southampton University)

Why Did Stevie Smith Play Twister in the Long Gallery with the Slade Professor of Fine Art?

Sally Faulkner (Exeter University) Introducing the Middlebrow in Film Studies

Sally Beazley-Long (Birkbeck, University of London) Marketing the Middlebrow: Laura Knight and the Artist as Brand

Jessica Feather (Paul Mellon Centre) –The Middlebrow Art Collector

Alison Light (University College London) Is There a Politics of the Middlebrow?

Research Lunch Seminars Spring 207

17 February Rodolpho Rodriguez The Great British Gatehouse: Ready, Get Set, Build!

10 March Chloe Johnson Concealment & Deception: The Art of the Camoufleurs of Leamington Spa, 1939–1945

17 March Arnika Schmidt Italy Revisited –Nino Costa (1826–1903) and the Etruscan School of Art

31 March Isabelle Baudino Samuel Wale's Book Illustrations: Designing Historical Panoramas in Georgian London

Research Seminars Spring 2017

22 February Ben Highmore The Art of Brutalism in 1950s London

8 March Simon Bradley Pevsner and the Oxford Colleges

22 March Sigrid de Jong Dialogues Across the Channel: British and French Architects on Architectural Experience (1750–1815)

5 April John Goodall The Regency Castle

Fellows’ Talks

2 May Alice Correia Articulating British Asian Art Histories

30 May Rebecca Wade Domenico Brucciani and the wandering Italians of nineteenth-century Britain

13 June John Chu “Newly Invented Original Paintings”: Philip Mercier and the Origins of the British Fancy Picture

27 June Louise Hardiman Russia and the South Kensington Museum: A case study in collecting and cultural diplomacy

Research Seminars Summer 2017

3 May Glyn Davies Opus Anglicanum: Masterpieces of English Medieval Embroidery at the V&A: Respondent: Paul Binski

17 May Joanna Marschner Enlightened

Princesses: Caroline, Augusta, Charlotte and the Shaping of the Modern World. The Value of the Exhibition to the Research Network

31 May Anya Matthew & Richard Johns The Exhibition as Research: “A Great and Noble Design” – Sir James Thornhill's Preparatory Sketches for the Painted Hall at Greenwich

7 June Clare Barlow and Eleanor Jones Queer British Art 1861–1967

21 June Simon Martin The Mythic Method: Classicism in British Art 1920–1950

Research Lunches Summer 2017

12 May Laura Slater Don’t Look Back in Anger: Art at Court in the Aftermath of the Barons’ War, 1258–1266

26 May Meg Boulton Iconography on the Edge/s: Constructing Space and the Sacred in Anglo-Saxon England

2 June Thomas Hughes “An Intense Consciousness of the Present”: Ruskin, Pater and the Drawing of Modern Life

16 June Carly Hegenbarth Catholic Emancipation, Daniel O’Connell (1775–1847) and the Catholic Association in Print: Satirical Printmaking in Dublin in the Late 1820s

23 June Sophie Hatchwell Grotesque Bodies: Second World War Figuration in the Work of Robert Colquhoun and Robert MacBryde

23 June Greg Salter Francis Newton Souza, Masculinity, and Migration in the Late 1950s

4–5 May 2017

A Bigger Picture: New Approaches to David Hockney Conference

Natalia Naish (University of Kent) Three Kings and a Queen (1961): The Institutional Framework Behind the Success of David Hockney's Early Etchings

Greg Salter (University of Birmingham) David Hockney and Egypt in the 1960s

Sandra Bowern (University of Kent)

Hockney Meets Hogarth: Artistic Exchange in the Opera Designs of David Hockey

Martin Hammer (University of Kent) Photographic Sources and Affinities in David Hockey's Art of the 1960s

David Mellor (University of Sussex)

Hyperbolic Hockney: After the Hotel Romano Angeles and his Ecstatic Spaces of the 80s and 90s

Rebecca Hellen, Bronwyn Ormsby and Rachel Scott (Tate) Hockney from a Conservation Perspective: “It is Very Good Advice to Believe Only What an Artist Does…”

David Rayson (Royal College of Art) Finding David Hockney in a Book

Edith Devaney (Curator, Royal Academy) “In-Conversation” with Alessandro Raho (Artist)

16 May 2017

The Currency of Likeness: Perspectives on the Portrait Print Workshop

Lucy Peltz (National Portrait Gallery) Granger and extra illustration

Hermione Lee (University of Oxford) Written biography and “visual” biography

Richard Taws (UCL) Politics of ephemerality and paper identities

Allie Stielau (UCL) The printed portrait's relation to ornamental frames and other framing devices

Tessa Kilgarriff (NPG/University of Bristol)

24 May 2017

The Photographers’ Gallery Workshop

Sunil Gupta on his work with the Gallery as artist and curator Exiles; An Economy of Signs

David Brittain on Five Years with the Face (1985) and what it says about trends in photography

Kay Watson on touring exhibitions

Ben Burbridge on the exchange in What is 21st Century Photography? (Dewdney & Rubenstein) on the gallery’s blog

Paul Hill on his Reportage from Wolverhampton exhibition (1972)

Deborah Schultz on two exhibitions working with archives: Rosângela Rennó: Rio-Montevideo and Clarisse D’Arcimoles: Forgotten Tale

Eugenie Shinkle on Image & Exploration: Some Directions in British Photography 1980–85

Jem Southam on long-term legacy planning for contemporary photographers, with the Roger Mayne exhibition (2017) as a touchstone

Ian Walker on two exhibitions at the Gallery of work by Keith Arnatt (1989 & 2007)

Val Williams on the exhibitions: Mysterious Co-incidences, Paul Reas, and Presences: Portraits

Lucy Soutter on “expanded photography” using The Photographic Object (2009)

16–17 June 2017

Becoming Henry Moore

Paul Mellon Centre & Henry Moore Foundation

Keynote address by Tony Cragg Henry Moore: His Influence in the 20th Century and Beyond

Robert Sutton: Educating Henry: Context, Circumstance, Educational Opportunity

Rachel Smith: “I Looked Over and Over Again”: Connecting Barbara Hepworth’s Early Life and Work

Alexander Massouras: The Old and the New Old: Challenges to the Antique Room 1914–1930

Inga Fraser: Stilled Rhythms or Vitalised Matter: Frank Dobson and Henry Moore in London 1919–1930

Cathy Corbett: Henry Moore, Edward Wadsworth and Ossip Zadkine’s Figures in the Garden

19 June

John Constable: Man of Letters Workshop

22 June 2017

Still/Moving Body: Art Working, Encounters, Conversations with Sonia Khurana

Griselda Pollock; Eva Bentcheva; Leon Wainwright; “IF I DON’T DANCE…”, a talk by the artist Sonia Khurana

Vanessa Bell, A Conversation, 1913-1916, Oil on canvas. © The Samuel Courtauld Trust\1961 Estate of Vanessa Bell, courtesy of Henrietta Garnet. Image used to promote the Making Women’s Art Matter conference.

Collections

The work of Collections staff this year was focused on two main areas: securing and managing a series of important new acquisitions and continuing to ensure that the environmental conditions in the new stores were stable and compliant with best practice in the field.

The most significant acquisition of the year was that of the Brian Sewell Archive and Library. Sewell (1931–2015) was a British art historian, author, and media personality. After graduating from the Courtauld Institute of Art, he worked at Christie’s (1957–1967); as an independent dealer (1967–1980); and as a journalist, most notably for the Evening Standard (1984–2015). At the time of his death he was widely known as the UK’s most controversial art critic. The Sewell Archive consists of seventy boxes of material relating to every aspect of his life from childhood to death. It includes passports, diaries, press-cuttings, postcards, photographs, programmes, research, scripts, voice-over texts, memorabilia, and correspondence. The part of Sewell’s extensive Library that was acquired by the Centre comprises seventy-five boxes of books on British art, collecting, artists and sculptors and is particularly strong on twentieth and twenty-first century art. Another important addition to the Centre’s holdings made during the year was the Giles Waterfield Archive and Library. This material was generously donated by Horatia Harrod in May 2017. Waterfield (1949–2016) was a museum director, curator, teacher, advisor and novelist. His Archive consists of sixteen boxes of material relating to almost every aspect of his life. It also includes a small amount of material related to his uncle, Humphrey Waterfield, and the garden at Hill House. It includes research notes, diaries, correspondence, draft manuscripts, and photographs. The Library material acquired by the Centre consists of books on British art and architectural history, including a small group of books on servants and the below-stairs life of the country house, and a substantial collection of guidebooks on country houses, particularly those in Scotland and Ireland.

The Paul Joyce Archive and Library was generously donated by Michael Hall. Joyce (1934–2014) was an architectural historian and the acknowledged authority on George Edmund Street for over forty years. The archive comprises sixteen boxes of material and eighteen portfolio cases, the majority concerning Joyce’s extensive work on Street. There are files on most of the architect’s works which

include research notes, correspondence, and photographs. Most notably, it also includes some of Street’s original nineteenth-century hand-coloured plans and drawings. In addition, there is material relating to research Joyce carried out in the 1970s for an unpublished dictionary of Victorian architects. The Library of about a hundred books, some of which have been extracted from the Archive, consists of Street’s principal publications, together with a group of books and guides on churches that he designed or restored.

Information about acquisitions that consisted solely of archive material, or solely of library material, have been detailed in the relevant sections below.

Work on stabilising the environment in the archive stores continued throughout the year, and, as yet, the appropriate conditions have not been met. However, following exhaustive investigations involving external experts, it has been determined that the best course of action will be to install air conditioning units that will mechanically manage the temperature and humidity. It is anticipated that this work will take place in 2018.

In preparation for the building work, and in order to make room for the new acquisitions, some of the least-consulted archive collections were re-packed and sent to off-site storage where they can be recalled on request for interested researchers. Parts of the Library collection that had remained off-site since the expansion project took place were returned to the Centre in September 2016. This comprises the journals, auction catalogues, theses, and rare books, and means that all catalogued stock is back in the Centre and accessible to readers.

The fact that a significant volume of Collections material remained off-site did not affect in-person visits to the Public Study Room. 1,066 visits were made during the year, an increase of nearly one third from the previous year. The total number of new readers registered was 184. In addition, the number of remote enquiries received rose significantly. Statistics were kept for those requiring up to twenty minutes of research, which show that 170 enquiries in this category were addressed during the year.

There were three Collections displays in 2016–2017: two organised by Collections staff, the other by Jessica Feather, the Centre’s Allen Fellow. Bryony Botwright-Rance provided assistance with all of these displays. Each display focused on a different subject, often relating to a key activity or event taking place at the Centre. All featured material from the Research Collections:

The Inspection of the Curious: The Country-House Guidebook, c. 1750–1990, 5 September 2016–6 January 2017

The Price of War: Recording, Publishing & Preserving Art 1939–1945, 16 January–28th April 2017

The Brian Sewell Archive: An Introduction, 8 May–23 September 2017

All the displays have been well received and have attracted new audiences to the Centre, some visiting solely for the purpose of viewing them.

In September 2016, the Librarian went on sick leave for an extended period. Natasha Held was engaged from the end of the year for three days a week on a freelance basis to support work in the library area. Natasha is a qualified librarian already known to the Centre, having covered the Librarian’s maternity leave in both 2001 and 2004. She had recently been working as the Librarian & Learning Resources Manager at Christie’s Education. Frankie Drummond Charig, The Archives & Library Assistant, continued the distance learning postgraduate diploma for Archives and Records Management, offered by Dundee University. In December 2016, Mary Peskett-Smith was engaged on a freelance basis one day a week in order to list the arts-related articles written by Sewell in the Brian Sewell Archive. Stephen O’Toole was also given supervised responsibility for listing the non-arts-related articles in this collection. Throughout the year, Collections staff received training in preservation, oral history, and emergency recovery. They also continued to provide a series of talks on, and tours of, the Research Collections. These included a general event open to students from across the country. In addition, sessions were held for Master’s students from the University of Buckingham (Adrian Tinniswood’s English Country House 1485–1945) and the Courtauld (Sarah Turner’s Making the Modern: Art and Visual Culture in Britain, c. 1890–1970). Collections staff also took part in two new initiatives: London History Day (organised by Historic England) and the Bedford Square Festival (organised by the Centre in collaboration with other institutions on Bedford Square).

Library

A total of 1,274, books, pamphlets and exhibition catalogues were accessioned during the year.

As well as the newly-published books, exhibition catalogues, journals, and auction catalogues acquired by purchase and the many individual donations received in the Library, a larger-than-usual number of donated collections were received during the year.

Alongside the Joyce, Sewell and Waterfield Libraries mentioned above, the following donations were also received:

In January, a small collection of country house guidebooks was donated by the architectural historians Neil Burton and Caroline Dakers. This kind donation adds to the already substantial collection of HMSO, National Trust, and other guidebooks held by the Centre.

Hope Kingsley, a curator of photography at the Wilson Centre for Photography, personally donated and facilitated a donation from the Wilson Centre of substantial runs of the photographic journals History of Photography, Image, Photoresearcher and Photohistorica. These generous donations have greatly augmented the Centre’s holdings in the history of photography and will form the basis of an expansion of collecting in this area.

Throughout the year, work was undertaken sorting these donations, checking them against existing stock, and logging and cataloguing them on the Library catalogue. The Librarian began working on the Waterfield and the Joyce Libraries and Natasha Held worked on the Burton & Dakers and Sewell Libraries and catalogued books on the John Moores Painting Prize earlier donated by Timothy Stevens.

After retirement from her post of Fellowships & Grants Manager in September 2016, Mary Peskett-Smith returned to the Centre in the role of Cataloguer – Auction Catalogues, working one day a week. Throughout the year, she worked on cataloguing the auction catalogue collection formerly owned by Arthur Tooth & Sons with the aim of completing this sequence in June 2018.

Gina Baber worked in a freelance capacity at the beginning of the year to assist with library accessioning.

Archive

Some outstanding archive collections were acquired during the year and, as such, the Archivist & Records Manager and the Assistant Archivist & Records Manager spent much time liaising with donors, lawyers, copyright experts, and conservators; reviewing, assessing, and packing material; arranging transportation; compiling preliminary boxlists; considering access provision; and publicising the collections.

Alongside the Sewell, Waterfield, and Joyce Archives detailed above, the following collections were also acquired:

The Ben Nicolson Archive was generously donated by his daughter, Vanessa Nicolson. Nicolson (1914–1978) was a British art historian, author, and editor of the Burlington Magazine (from 1947 to 1978). The archive comprises seventeen personal diaries, thirteen of which date from 1933–1939 and cover Nicolson’s formative years. It also comprises correspondence from a wide range of friends and acquaintances dating from the same period including, for example, Isaiah Berlin, Kenneth Clark, Lawrence Gowing, and Lucien Pissarro.

The Nigel Surry Archive was generously donated by Surry himself, a recognised expert on the little-known portrait artist, George Beare (d. 1749). The collection includes research notes, photographs and correspondence as well as material related to the Beare exhibition at Pallant House in 1989. It will enhance the Centre’s existing holdings on the artist.

During the year, cataloguing of the Ellis Waterhouse Archive was completed and the resulting catalogue – containing information on over a thousand well-known and obscure artists – was launched online. In addition, a project cataloguer was engaged to work on the Oliver Millar Archive. Georgina Lever, a qualified Archivist who previously worked for Rogers Stirk Harbour + Partners, spent six months reviewing and cataloguing the collection. The resulting descriptions, launched online in July 2017, were incredibly detailed and include information, for example, on the 328 artist research files maintained by Millar throughout his fifty-year career.

To complement this work, digital facsimiles of two of the most significant items in the Millar Archive were created and placed online. The indexes to the Journal of Visits to Collections and the index to the Journals of Artists are a key tool in identifying what material is held in the collection.

Frankie Drummond Charig’s work on the William Roberts Archive was temporarily suspended in order to allow her to focus on a project more suitable to the requirements of her MA course. With this in mind, she was given supervised responsibility for cataloguing the Daphne Haldin Archive. Work on this collection is due to be completed in 2018.

Descriptions of the Centre’s newly-acquired archive collections were again submitted to external union catalogues including Discovery, The National Archives Catalogues, and Archives Hub. They were also submitted to a new initiative: Archives Portal Europe. All of this work supports the overall aim to make the Archive Collections at the Centre visible and accessible to the widest possible audience.

Institutional Archives

The programme of recording the oral histories of former members of staff and others connected with the Centre was temporarily suspended whilst Liz Bruchet, the freelance expert traditionally engaged to conduct the interviews, was on maternity leave.

The ongoing issues with the archive storage areas – and the resulting lack of storage space – continued to halt most of the traditional records management activities undertaken by Collections staff. New initiatives – such as the increased number of digital projects and the recording of events – prompted Collections staff to raise, again, the issue of Digital Preservation. The Centre has not yet made provision for the long-term preservation and accessibility of electronic records created in the course of its day-to-day work but is beginning to look at relevant software and money has been allocated for Preservica.

Collections staff also continued to meet with new staff to give advice on good record-keeping practice.

From the Brian Sewell Archive: Brian Sewell with dog, c. 1990s (AR:

Centre Staff

Mark Hallett Director of Studies

This year, Professor Hallett continued to work on two major exhibition projects, and on the publications that will accompany them.

With his colleague Dr Sarah Turner, he is co-curating an exhibition entitled The Great Spectacle: 250 Years of the Summer Exhibition, which will open at the Royal Academy in June 2018. Professor Hallett will co-author the accompanying catalogue with Dr Turner; he will co-edit a major online publication with Dr Turner and Dr Jessica Feather, also of the PMC, to be issued at the time of the display. This online publication will offer a year-by-year chronicle of the Academy’s famous Summer Exhibition, and will also incorporate a fully-digitised version of the entire run of Summer Exhibition catalogues, from 1769 to 2018.

Professor Hallett was also working on an exhibition he is curating entitled George Shaw: A Corner of a Foreign Field. The exhibition will open at the Yale Center for British Art in October 2018, before travelling to the Holburne Museum in Bath, England, in February 2019. This display will offer a comprehensive survey of the work of the leading contemporary British artist, George Shaw, and will be accompanied by a scholarly catalogue edited by Professor Hallett, and by a set of four short films on the artist and his work.

In September 2016, while on a visit to Australia, Professor Hallett spoke at a conference in Melbourne and gave a lecture at the Department of Art History at the University of Sydney. Over the course of the year, he spoke at workshops and conferences at the University of Oxford and the European University Institute in Florence. He also contributed an essay, co-written with Cassandra Albinson, to the catalogue for the Yale Center’s Enlightened Princesses exhibition, which opened in the spring of 2017. During the year, he also became a member of Tate Britain’s Advisory Council.

Sarah Turner and Mark Hallett welcoming conference delegates to the Paul Mellon Centre.

Martin Postle

The Deputy Director for Grants and Publications

Over the course of the year, Martin Postle continued to be involved in the initiation and planning of future courses for Yale undergraduate students at the Paul Mellon Centre. In spring 2017, he taught the course entitled British Art and Landscape, which involved visits to Stourhead, Dedham Vale, and a three-day field trip to Wales. Dr Postle continued to sit on the Centre’s Publications Committee, and to work with Professor Mark Hallett and Emily Lees, on the Centre’s forthcoming publications. In the summer of 2016 he assumed responsibility for the Centre’s Grants and Fellowships Programme, upon the retirement of Mary Smith, the Grants Administrator. Martin worked closely on maintaining and developing the programme with Harriet Fisher, Fellowships, Grants and Communications Officer, and Tom Scutt, Digital Manager. He attended the Advisory Council of the Paul Mellon Centre in Autumn 2016 and 2017, where he chaired the discussions on Grants and Fellowships. In February 2017 Dr Postle visited the Yale Center for British Art to participate in the evaluation of applications for the Scholars’ Programme.

Dr Postle actively pursued his research interests, centered principally on developing the Paul Mellon Centre research project, Collection and Display: The British Country House. Research involved site visits to Mount Stuart, Isle of Bute, Petworth, and a Study Day at Doddington Hall in October 2016, and at Castle Howard in March 2017. Dr Postle also gave a presentation in relation to the project at The Country House Revived?, the 15th Annual Historic Houses Conference, held at Dublin Castle on 19–21 June 2017. He continued to work with Anthony Spira of the MK Gallery, Milton Keynes, on co-curating the forthcoming exhibition, planned for 2109–2020, on George Stubbs. Dr Postle’s publications included a chapter on Richard Wilson’s painting, The White Monk, in James Clifton and Melina Kervandjian’s, The Golden Age of European Art. Celebrating Fifty Years of the Sarah Campbell Blaffer Foundation (Yale University Press).

Dr Postle continued to serve on the following committees and boards: Editorial Board, British Art Studies; Expert Advisor, Reviewing Committee on the Export of Works of Art; International Advisory Board, The British Art Journal; Governor of Dr Johnson’s House; Trustee of the Compton Verney Collection Settlement; Board Member of Aspire (touring exhibition project for Constable’s Salisbury Cathedral from the Meadows)

Sarah Victoria Turner Deputy Director for Research

In addition to her duties as the Deputy Director for Research at the Paul Mellon Centre and as Co-editor of British Art Studies, Dr Sarah Victoria Turner has continued to develop her profile as an active researcher and curator in the field of British art.

With Dr Kate Nichols (University of Birmingham), she co-edited “What is to Become of the Crystal Palace?”: The Crystal Palace after 1851 and this was published by Manchester University Press. This is the first book of academic essays on the Crystal Palace at Sydenham. Dr Turner continues to work with Professor Hallett on the research for a major exhibition in 2018 marking 250 years of the Royal Academy’s summer exhibitions.

In 2016, Dr Turner was appointed Visiting Senior Lecturer at the Courtauld Institute of Art. She taught an MA module Making the Modern: Art and Visual Culture in Britain, c. 1890–1970 in the 2016/17 academic year and will teach the module again in 2017/18. She continues to serve on the Courtauld Association Advisory Board. Dr Turner is a founder member of the Arts Council England’s British Art Network Steering Committee and continues to serve as a committee member.

With her Yale Center for British Art colleague, Martina Droth, Dr Turner co-organised two academic panels at professional conferences. The first of these was Editing Journals in a Digital Age, held by the Association of Research Institutes for Art History at the College Art Association’s annual conference (New York, February 2017). The second was Sculpture in Motion, held at the annual Association for Art History conference (University of Loughborough, April 2017). She was also invited to give a number of papers and presentations. These included: Mystical Moderns: Modern Art and the Mystical Revival in Early Twentieth-century Britain at the conference Modern Gods: Religion and British Modernism (The Hepworth, Wakefield, September 2016); Thinking Tantra (an exhibition talk at The Drawing Room, London, February 2017); and Christiana Herringham and the Ajanta Frescoes (research seminar held by Coventry University, 15 March 2017).

Jessica Feather Brian Allen Fellow

In addition to her ongoing work on specific Paul Mellon Centre projects, Dr Feather has continued to work as an active researcher and curator. In early 2017, she was invited to take up a guest curatorship at the Courtauld Institute Gallery, to work on their British drawings collection, with a view to curating a future exhibition at the Gallery. She will be taking up this curatorship in three one-week tranches over the course of 2017–2018.

Dr Feather continued to be involved in the curating of the British Museum exhibition Places of the Mind: British Watercolour Landscapes 1850–1950. Her chapter in the accompanying book was entitled “A new ‘golden age’? The ‘modern’ landscape watercolour” in Places of the Mind: British watercolour landscapes 1850–1950 (London: Thames & Hudson).

Dr Feather gave papers on Herbert Horne: Collecting British Art in 1890s Florence at the conference of the North American Victorian Society (Florence, May 2017) and was invited to present at the Paul Mellon Centre’s symposium Art and the Middlebrow (March 2017). She has given public talks at the Paul Mellon Centre, the British Museum, and Dulwich Picture Gallery. She has also had a conference paper accepted at the forthcoming College Art Association conference in Los Angeles for February 2018.

Over the period covered by this report, Dr Feather curated a small display at the Paul Mellon Centre on the subject of the country-house guidebook, which coincided with the launch of the Centre’s Country House project. She wrote the text for the accompanying pamphlet. Together with colleagues at Tate Britain and Birmingham Museums and Art Gallery, Dr Feather also set-up a sub-specialist group of the British Art Network dedicated to British drawings. The first of the group’s workshops, dedicated to topographical drawing, took place in March 2017.

Together with Dr Postle, Dr Feather co-taught a module for the Yale-inLondon students in the Spring semester on British Art and Landscape, which included a field trip to Wales.

Hana Leaper Paul Mellon Fellow Deputy Editor British Art Studies

In the past year, Dr Leaper has lectured and published extensively on British modernist art, particularly on Vanessa Bell and the Bloomsbury Group, and on Sybil Andrews and the Grosvenor School linocut artists. She supported the development of the Vanessa Bell exhibition at Dulwich Picture Gallery (Feb–June 2017), and contributed the essay Between London and Paris to the catalogue. Together with Nadia Hebson, she co-organised the conference Making Women’s Art Matter: New Approaches to the Careers and Legacies of Women Artists to coincide with the opening of the Vanessa Bell show. She is currently supporting the development of the forthcoming Tate St Ives exhibition Virginia Woolf: an Exhibition Inspired by Her Writings and has contributed the essay From Inheritance to Legacy: Virginia Woolf’s Place Within Networks of Women Creatives for the catalogue.

Her essay “Old-fashioned Modern”: Claude Flight’s Lino-cuts and Public Taste in the Interwar Period, was published in the journal Modernist Cultures in November 2016. The article examines the ambiguous middlebrow position of linocuts made by Flight and other artists of the Grosvenor School, and Flight’s utopian vision for mass modernism.

As a co-founder of the Early Career Researcher Network at the Paul Mellon Centre, and Deputy Editor of the Centre’s online journal British Art Studies, in November 2016 Dr Leaper co-organised the Digital Art Histories Symposium, which gathered a panel of art historians to share their experiences of developing digital projects with early career scholars of British art. She is an associate of several research networks, and is now a member of the Charleston Trust House and Exhibitions Committee.

Appendix I

Cumulative List of Publications since 1970

1971

Ronald Paulson Hogarth: His Life, Art & Times, 2 vols.

John Hayes The Drawings of Thomas Gainsborough (published for the PMC in USA only)

1972

John Hayes Gainsborough as Printmaker (published for the PMC in USA only)

1973

Eric Adams Francis Danby: Varieties of Poetic Landscape

1974

A. Charles Sewter The Stained Glass of William Morris & his Circle, 2 vols.

1975

Leonée & Richard Ormond Lord Leighton

Hans Hammelmann Book Illustrators in Eighteenth-century England

1976

M. H. Port The Houses of Parliament

Edward Mead Johnson Francis Cotes (Phaidon, published with the help of PMC)

Andrew Saint Richard Norman Shaw

Miklos Rajnai & Mary Stevens The Norwich Society of Artists 1805–1833

1977

Nicholas Penny Church Monuments in Romantic England

Robin Gibson The Clarendon Collection (privately published for PMC by BAS Printers Ltd)

Martin Butlin & Evelyn Joll The Paintings of JMW Turner (rev. 1981), 2 vols.

1978–84

Ed. K. Garlick & A. MacIntyre The Diary of Joseph Farington Vols 1–16

1978

Peter Thornton Seventeenth-century Interior Decoration in England, France & Holland

1979

Anthony Quiney John Loughborough Pearson

William Vaughan German Romanticism & English Art

George P. Landow William Holman Hunt and Typological Symbolism

1980

Kathryn Moore Heleniak William Mulready

Andrew McClaren Young, Margaret MacDonald, Robin Spencer, with the assistance of Hamish Miles The Paintings of James McNeill Whistler, 2 vols.

1981

William L. Pressly The Life & Art of James Barry

John Ingamells The English Episcopal Portrait 1559–1835: A Catalogue (privately published for PMC)

Mansfield Kirby Talley Portrait Painting in England: Studies in the Technical Literature before 1700 (privately for PMC)

Martin Butlin The Paintings & Drawings of William Blake, 2 vols.

Ed. Virginia Surtees The Diary of Ford Madox Brown

1982

Hugh Brigstocke William Buchanan and the 19th-century Art Trade (privately published for PMC)

Benedict Read Victorian Sculpture

1983

Susan Beattie The New Sculpture

Louise Lippincott Selling Art in Georgian London: The Rise of Arthur Pond

1984

Graham Reynolds The Later Paintings & Drawings of John Constable, 2 vols.

Terry Friedman James Gibbs

1985

Richard Dorment Alfred Gilbert

Rudiger Joppien & Bernard Smith The Art of Captain Cook’s Voyages, 4 vols.

1987

Cecily Langdale Gwen John

Michael McCarthy The Origins of the Gothic Revival

Cecilia Powell Turner in the South: Rome, Florence, Naples

1988

Felicity Owen & David Blayney Brown Collector of Genius: A Life of Sir George Beaumont

Stephen Deuchar Sporting Art in 18thcentury England: A Social & Political History

Eds. Bernard Smith & Alwyne Wheeler The Art of the First Fleet & other Early Australian Drawings

Iain Pears The Discovery of Painting: The Growth of Interest in the Arts in England 1680–1768

1989

Clive Wainwright The Romantic Interior

1991

Christopher Gilbert English Vernacular Furniture 1750–1900

A selection of books published by the Paul Mellon Centre.

1992

Alastair Smart Allan Ramsay: Painter, Essayist & Man of the Enlightenment

1993

David H. Solkin Painting for Money: The Visual Arts & the Public Sphere in 18thcentury England

Douglas D. C. Chambers The Planters of the English Landscape Garden

Eds. D. Bindman & Gottfried Riemann, K. F. Schinkel, The English Journey: Journal of a visit to France and Britain in 1826

Simon Thurley The Royal Palaces of Tudor England: Architecture & Court Life 1460–1547

Marcia Pointon Hanging the Head: Portraiture & Social Formation in 18thCentury England

1994

Sam Smiles The Image of Antiquity: Ancient Britain & the Romantic Imagination

Charles Harrison English Art and Modernism 1900–1939

John Schofield Medieval London Houses

Nigel Everett The Tory View of Landscape

Miles Glendinning & Stefan Muthesius Tower Block: Modern Public Housing in England, Scotland, Wales & Northern Ireland

1995

Howard Colvin A Biographical Dictionary of British Architects 1600–1840 (3rd ed.)

David Bindman & Malcolm Baker Roubiliac & the 18th-century Monument

Ed. B. Allen Towards a Modern Art World Studies in British Art 1 (SBA 1)

Ed. L. Gent Albion’s Classicism: The Visual Arts in Britain 1550–1660 (SBA 2)

Jules Lubbock The Tyranny of Taste: The Politics of Architecture and Design in Britain 1550–1960

M. H. Port Imperial London: Civil Government Building in London 1851–1915

Giles Worsley Classical Architecture in Britain: The Heroic Age

Paul Binski Westminster Abbey & the Plantagenets: Kingship & the Representation of Power 1200–1400

Margaret F. MacDonald James McNeill Whistler: Drawings, Pastels and Watercolours. A Catalogue Raisonné

1996

Eds. C. Chard & H. Langdon Transports: Travel, Pleasure & Imaginative Geography 1600–1830 (SBA 3)

Diana Donald The Age of Caricature: Satirical Prints in the Reign of George III

Graham Reynolds The Early Paintings and Drawings of John Constable, 2 vols.

Ian Bristow Interior House Painting Colours & Technology 1615–1840

Ian Bristow Architectural Colour in British Interiors 1615–1840

Charlotte Klonk Science & the Perception of Nature

Eds. B. Allen & Larissa Dukelskaya British Art Treasures from Russian Imperial Collections in the Hermitage

1997

Ed. John Ingamells A Dictionary of British and Irish Travellers in Italy 1701–1800 compiled from the Brinsley Ford Archive

Anthony Wells-Cole Art and Decoration in Tudor England: The Influence of Continental Prints, 1558–1625

Dian Kriz The Idea of the English Landscape Painter: Genius as Alibi in the early 19th century

Timothy Clayton The English Print 1688–1802

Eds. Jeffrey M. Muller & Jim Murrell Miniatura or the Art of Limning: Edward Norgate

Ed. Ronald Paulson William Hogarth: The Analysis of Beauty

Ed. Robert R. Wark Discourses on Art: Sir Joshua Reynolds

Deborah Frizzell Humphrey Spender’s Humanist Landscapes Photo Documents, 1932–1942

Eds. Michael Rosenthal, Christiana Payne & Scott Wilcox Prospects for the Nation: Recent Essays in British Landscape, 1750–1880 (SBA 4)

1998

Richard Ormond & Elaine Kilmurray John Singer Sargent: The Early Portraits. The Complete Paintings: Volume 1

Evelyn Newby The Diary of Joseph Farington: Index

Margaret Garlake New Art New World: British Art in Postwar Society

James Ayres Building the Georgian City

Eds. Elizabeth Prettejohn and Timothy Barringer Frederic Leighton: Antiquity, Renaissance, Modernity (SBA 5)

1999

Ellen D’Oench Copper Into Gold: Prints by John Raphael Smith

Mark Hallett The Spectacle of Difference: Graphic Satire in the Age of Hogarth

Howard Colvin Essays in English Architectural History

Michael Rosenthal The Art of Thomas Gainsborough

Ed. Katharine Lochnan Seductive Surfaces: The Art of Tissot (SBA 6)

Stephen Daniels Humphry Repton: Landscape Gardening and the Geography of Georgian England

Nicholas Cooper Houses of the Gentry 1480–1680

Alastair Smart, ed. John Ingamells

Allan Ramsay: A Complete Catalogue of his Paintings

2000

Peter Fergusson & Stuart Harrison Rievaulx Abbey

Ann Bermingham Learning to Draw: Studies in the Cultural History of a Polite and Useful Art

Lisa Tickner Modern Life and Modern Subjects: British Art in the Early Twentieth Century

John Summerson Inigo Jones (rev. ed.)

Ruth Bomberg Walter Sickert Prints

Paul Edwards Wyndham Lewis: Painter and Writer

Roy Strong The Artist and the Garden

Ed. Chris Brooks The Albert Memorial

Carol Gibson Wood Jonathan Richardson: Art Theorist of the English Enlightenment

David Mannings & Martin Postle Sir Joshua Reynolds: A Complete Catalogue of his Paintings, 2 vols.

Eds. John Edgcumbe & John Ingamells The Letters of Sir Joshua Reynolds

Ed. John Hayes The Letters of Thomas Gainsborough

Alastair Grieve Whistler’s Venice

Christine Stevenson Medicine and Magnificence: British Hospital & Asylum Architecture 1660–1815

2001

Stefan Muthesius The Postwar University: Utopianist Campus and College

John Bold Greenwich: An Architectural History of the Royal Hospital for Seamen and the Queen’s House

Todd Longstaffe-Gowan The London Town Garden 1700–1840

Allen Staley The Pre-Raphaelite Landscape

G. E. Bentley The Stranger from Paradise in the Realm of the Beast: a Biography of William Blake

Eileen Harris The Genius of Robert Adam: His Interiors

Edward McParland Public Architecture in Ireland 1680–1760

James Hyman The Battle for Realism: Figurative Art and its Promotion in Britain during the Cold War 1945–1959

David Solkin Art on the Line

Ed. Debra Mancoff John Everett Millais: Beyond the Pre-Raphaelite Brotherhood (SBA 7)

Ed. Pauline Croft Patronage, Culture and Power: The Early Cecils (SBA 8)

2002

Ed. Alex Kidson Those Delightful Regions of Imagination: Essays on George Romney (SBA 9)

Eds. David Peters Corbett, Ysanne Holt & Fiona Russell The Geographies of Englishness: Landscape and the National Past 1880–1940 (SBA 10)

Sara Stevenson The Personal Art of David Octavius Hill

Anne Crookshank & the Knight of Glin Ireland’s Painters

Eds. Larissa Dukelskaya & Andrew Moore A Capital Collection: Houghton Hall and the Hermitage with a Modern Edition of Aedes Walpolianae

Michael J. K. Walsh C. R. W. Nevinson: This Cult of Violence

Susan Sloman Gainsborough in Bath

Richard Ormond & Elaine Kilmurray John Singer Sargent: Portraits of the 1890s. The Complete Paintings: Volume II

Vaughan Hart Nicholas Hawksmoor

2003

Emmanuel Cooper Bernard Leach: Life & Work

Colum Hourihane Gothic Art in Ireland 1169–1550

Jonathan Scott The Pleasures of Antiquity: British Collectors of Greece & Rome

John Summerson, ed. Howard Colvin Georgian London

Ed. Robyn Asleson Notorious Muse: The Actress in British Art and Culture 1776–1812 (SBA 11)

Ed. Edward Chaney The Evolution of English Collecting (SBA 12)

Kathryn A. Morrison English Shops and Shopping

Simon Thurley Hampton Court: A Social and Architectural History

2004

Richard Ormond & Elaine Kilmurray

John Singer Sargent: The Later Portraits. The Complete Paintings: Volume III

Anthony Quiney Town Houses of Medieval Britain

G. E. Bentley, Jr. Blake Records (2nd ed.)

Peter Guillery The Small House in 18thCentury London

Bruce Laughton William Coldstream

S. Barnes, N. De Poorter, O. Millar & H. Vey Van Dyck: A Complete Catalogue of the Paintings

Sanford Schwartz William Nicholson

David J. Getsy Body Doubles: Sculpture in Britain, 1877–1905

Sue Malvern Modern Art, Britain and the Great War

Fiona Donovan Rubens and England

Veronica Franklin Gould G. F. Watts: The Last Great Victorian

Eds. Julian Holder & Steven Parissien The Architecture of British Transport in the Twentieth Century (SBA 13)

Giles Worsley The British Stable

Paul Binski Becket’s Crown: Art and Imagination in Gothic England 1170–1300

John Cornforth Early Georgian Interiors

Tim Barringer Men at Work: Art and Labour in Victorian Britain

Susan Foister Holbein and England

Alastair Grieve Constructed Abstract Art in England: A Neglected Avant-Garde

Paula Henderson The Tudor House and Garden

Martin Hammer Bacon and Sutherland

2005

Ed. Chris Miele From William Morris: Building Conservation and the Arts and Crafts Cult of Authenticity 1877–1939 (SBA 14)

Richard Wendorf After Sir Joshua: Essays on British Art and Cultural History (SBA 15)

Edward Morris French Art in NineteenthCentury Britain

Anne Middleton Wagner Mother Stone: the Vitality of Modern British Sculpture

Daniel Abramson Building the Bank of England: Money, Architecture, Society 1694–1942

C. Paul Christianson The Riverside Gardens of Thomas More’s London

Michael Levey Sir Thomas Lawrence

Martin Myrone Body Building: Reforming Masculinities in British Art 1750–1810

Matthew Hargraves Candidates for Fame: The Society of Artists of Great Britain 1760–1791

Aileen Ribeiro Fashion and Fiction: Dress in Art and Literature in Stuart England

Kate Retford The Art of Domestic Life: Family Portraiture in EighteenthCentury England

Angela Rosenthal Angelica Kauffman, Art and Sensibility

2006

Ed. Frank Salmon Summerson & Hitchcock: Centenary Essays on Architectural Historiography (SBA 16)

Christopher Wright, with Catherine Gordon and Mary Peskett Smith British and Irish Paintings in Public Collections

Judith Bronkhurst William Holman Hunt: A Catalogue Raisonné, 2 vols.

Wendy Baron Sickert Paintings and Drawings

Peter Draper The Formation of the English Gothic: Architecture and Identity

Richard Ormond & Elaine Kilmurray

John Singer Sargent: Figures and Landscapes 1874–1882. The Complete Paintings: Volume IV

Giles Worsley Inigo Jones and the European Classicist Tradition

The Knight of Glin and James Peill Irish Furniture

Eds. John Styles & Amanda Vickery Gender, Taste and Material Culture in Britain and North America 1700–1830 (SBA 17)

2007

John Harris Moving Rooms: The Trade in Architectural Salvages

Gill Perry Spectacular Flirtations: Viewing the Actress in British Art and Theatre 1768–1820

Brian Foss War Paint: Art, War, State and Identity in Britain 1939–1945

Judy Egerton George Stubbs, Painter

Elizabeth Prettejohn Art for Art’s Sake: Aestheticism in Victorian Painting

Anna Gruetzner Robins A Fragile Modernism: Whistler and his Impressionist Followers

Diana Donald Picturing Animals in Britain

Thomas P. Campbell Henry VIII and the Art of Majesty: Tapestries at the Tudor Court

2008

Eds. Julia Marciari Alexander & Catharine MacLeod Politics, Transgression, and Representation at the Court of Charles II (SBA18, published by YUP New Haven)

Maurice Howard The Building of Elizabethan and Jacobean England

Matthew Craske The Silent Rhetoric of the Body: A History of Monumental Sculpture and Commemorative Art in England, 1720–1770

Howard Colvin A Biographical Dictionary of British Architects 1600–1840 (4th ed.)

Ed. Philip Temple Survey of London Vol. XLVI South and East Clerkenwell and Vol. XLVII Northern Clerkenwell and Pentonville

Dian Kriz Slavery, Sugar and the Culture of Refinement

Vaughan Hart Sir John Vanbrugh: Storyteller in Stone

Andor Gomme & Alison Maguire Design and Plan in the Country House: From Castle Donjons to Palladian Boxes

David H. Solkin Painting Out of the Ordinary: Modernity and the Art of Everyday Life in Early Nineteenth-century Britain

Patrick Noon Richard Parkes Bonington: the complete paintings

2009

Caroline Arscott William Morris and Edward Burne-Jones: Interlacings

Judith A. Neiswander The Cosmopolitan Interior: Liberalism and the British Home, 1870–1914

Helen Pierce Unseemly Pictures: Graphic Satire and Politics in Early Modern England

Ed. Cinzia Sicca John Talman: An Early Eighteenth-Century Connoisseur (SBA 19)

Richard Ormond & Elaine Kilmurray John Singer Sargent: Venetian Figures and Landscapes, 1898–1913. The Complete Paintings: Volume VI

Rachel Stewart The Town House in Georgian London

Ingrid Roscoe, Emma Hardy and M. G. Sullivan A Biographical Dictionary of Sculptors in Britain 1660–1851

Mark Girouard Elizabethan Architecture

Robert Hewison Ruskin on Venice

Jason M. Kelly The Society of Dilettanti

2010

Celina Fox The Arts of Industry in the Age of Enlightenment

Marcia Pointon Brilliant Effects: A Cultural History of Gem Stones and Jewellery

Ilaria Bignamini and Clare Hornsby Digging and Dealing in 18th-century Rome, 2 vols.

Paula Murphy Nineteenth-century Irish Sculpture, Native Genius Reaffirmed

Malcolm Jones The Print in Early Modern England: An Historical Oversight

Christiana Payne John Brett: PreRaphaelite Landscape Painter

Andrew Saint Richard Norman Shaw (rev. ed.)

Mary Bennett Ford Madox Brown: A Catalogue Raisonné, 2 vols.

Eds. Morna O’Neill and Michael Hatt

The Edwardian Sense: Art, Design and Performance in Britain 1901–1910 (SBA 20)

Grace Brockington Above the Battlefield: Modernism and the Peace Movement in Britain, 1900–1918

Tomás Ó Carragáin Churches in Early Medieval Ireland

Philip Temple The Charterhouse, Survey of London Monograph 18

Richard Ormond and Elaine Kilmurray John Singer Sargent Figures and Landscapes, 1883–1899. The Complete Paintings: Volume V

Tara Hamling Decorating the ‘Godly’ Household: Religious Art in PostReformation Britain

Eds. Mark Crinson and Claire Zimmerman Neo-Avant-Garde and Postmodern Postwar Architecture in Britain and Beyond (SBA 21)

2011

Morna O’Neill Walter Crane: The Arts and Crafts, Painting and Politics 1875–1890

John Goodall The English Castle

Richard Fawcett The Architecture of the Scottish Medieval Church

Sharman Kadish The Synagogues of Britain and Ireland

Elizaveta Renne State Hermitage Museum

Catalogue: Sixteenth- to NineteenthCentury British Painting

Terry Friedman The Eighteenth-Century Church in Britain

John E. Crowley Imperial Landscapes: Britain’s Global Visual Culture

Mary Webster Johan Zoffany

David Coke & Alan Borg Vauxhall Gardens: A History

Geoff Quilley Empire to Nation: Art, History and the Visualisation of Maritime Britain, 1768–1829

Allen Staley The New Painting of the 1860s: Between the Pre-Raphaelites and the Aesthetic Movement

Vaughan Hart Inigo Jones: The Architect of Kings

Peter Fergusson Canterbury Cathedral Priory in the Age of Becket

Patrick Noon Richard Parkes Bonington: The Complete Drawings

2012

Nancy Rose Marshall City of Gold and Mud: Painting Victorian London

Eds. Cinzia Sicca and Louis Waldman The Anglo-Florentine Renaissance: Art for the Early Tudors (SBA 21)

Maria Dolores Sanchez-Jauregu Alpanes and Scott Wilcox The English Prize: The Capture of the Westmorland, an Episode of the Grand Tour

Mark Crinson Stirling and Gowan: Architecture from Austerity to Affluence

Todd Longstaffe-Gowan The London Square: Gardens in the Midst of Town

Emmanuel Cooper Lucie Rie: Modernist Potter

John Martin Robinson James Wyatt, Architect to George III

Stephanie Moser Designing Antiquity: Owen Jones, Ancient Egypt and the Crystal Palace

Tarnya Cooper Citizen Portrait: Portrait Painting and the Urban Elite of Tudor and Jacobean England and Wales

Tanya Harrod The Last Sane Man: Michael Cardew: Modern Pots, Colonialism and the Counterculture

Richard Ormond & Elaine Kilmurray John Singer Sargent: Figures and Landscapes 1900–1907. The Complete Paintings: Volume VII

Kathryn A. Morrison & John Minnis Carscapes: The Motor Car, Architecture and Landscape in England

Peter Harbison William Burton Conyngham and His Irish Circle of Antiquarian Artists

2013

Romita Ray Under the Banyan Tree: Relocating the Picturesque in British India

G. A. Bremner Imperial Gothic: Religious Architecture and High Anglican Culture in the British Empire 1840–1870

Finola O’Kane Ireland and the Picturesque: Design, Landscape Painting and Tourism 1700–1840

Andrew Sanders In the Olden Time: Victorians and the British Past

Christopher Rowell Ham House: Four Hundred Years of Collecting and Patronage

Rosie Dias Exhibiting Englishness: John Boydell’s Shakespeare Gallery and the Formation of a National Aesthetic

Joseph Monteyne From Still Life to the Screen: Print Culture, Display and the Materiality of the Image in 18thcentury London

Anthony Geraghty The Sheldonian Theatre: Architecture and Learning in Seventeenth-century Oxford

Christine Stevenson The City and the King: Architecture and Politics in Restoration London

Melanie Doderer-Winkler Magnificent Entertainments: Temporary Architecture for Georgian Festivals

2014

Francis Haskell The King’s Pictures: The Formation and Dispersal of the Collections of Charles I and His Courtiers

Annette Carruthers The Arts and Crafts Movement in Scotland: A History

Elizabeth McKellar Landscapes of London: The City, the Country and the Suburbs 1660-1840

Beth Fowkes Tobin The Duchess’s Shells: Natural History Collecting in the Age of Cook’s Voyages

Mark Hallett Reynolds: Portraiture in Action

Richard Ormond & Elaine Kilmurray John Singer Sargent: Figures and Landscapes 1908–1913. The Complete Paintings: Volume VIII

Ruth Guilding Owning the Past. Why the English Collected Antique Sculpture, 1640-1840

Emily M. Weeks Cultures Crossed: John Frederick Lewis and the Art of Orientalism

Elizabeth Goldring Robert Dudley, Earl of Leicester, and the World of Elizabethan Art: Painting and Patronage at the Court of Elizabeth I

Michael Hall George Frederick Bodley & the Later Gothic Revival in Britain and America

Paul Binski Gothic Wonder: Art, Artifice and the Decorated Style, 1290-1350

2015

David Brown Durham Cathedral: History, Fabric and Culture

Malcolm Baker The Marble Index: Roubiliac and Sculptural Portraiture in Eighteenth-Century Britain

Sigrid De Jong Rediscovering Architecture: Paestum in Eighteenth-Century Architectural Experience and Theory

Arthur MacGregor The Cobbe Cabinet of Curiosities: An AngloIrish Countryhouse Museum

Alex Kidson, George Romney: A Complete Catalogue of His Paintings

William Vaughan Samuel Palmer: Shadows on the Wall

Peter Cormack Arts & Crafts Stained Glass

Giles Waterfield The People’s Galleries: Art Museums and Exhibitions in Britain, 1800-1914

Elaine Harwood Space, Hope and Brutalism: English Architecture, 1945-1975

David H. Solkin Art in Britain 1660-1815

Marina Lopato British Silver: State Hermitage Museum Catalogue

2016

Marcia Kupfer Art and Optics in the Hereford Map: An English Mappa Mundi, c.1300

David Adshead and David Taylor (eds) Hardwick Hall: A Great Old Castle of Romance

Richard Ormond and Elaine Kilmurray John Singer Sargent: Figures and Landscapes, 1914–1925 (The Complete Paintings: Vol. IX)

Elizabeth Einberg William Hogarth: A Complete Catalogue of the Paintings

2017

David Jacques Gardens of Court and Country: English Design 1630–1730

Elizabeth Prettejohn Modern Painters, Old Masters: The Art of Imitation from the PreRaphaelites to the First World War

Ben Highmore The Art of Brutalism: Rescuing Hope from Catastrophe in 1950s Britain

Governors and Advisory Council

Board of Governors

Governors

Peter Salovey President of Yale University

Benjamin Polak

Provost of the University

Stephen Murphy

Vice President for Finance and Chief Financial Officer of the University

Amy Meyers

Director of the Yale Center for British Art

Board of Governors

Members

Tim Barringer

Paul Mellon Professor of History of Art

Edward S. Cooke, Jr. Department Chair; Charles F. Montgomery Professor of American Decorative Arts, History of Art Department

Jonathan Holloway Dean of Yale College; Edmund

S. Morgan Professor of African American Studies and Professor of History and American Studies

Jules D. Prown

Paul Mellon Professor Emeritus Director of History of Art and Senior Research Fellow

Edwin C. Schroeder Director of Beinecke Rare Book and Manuscript Library

Lloyd Suttle

Deputy Provost for Academic Resources

Keith Wrightson

Randolph W. Townsend, Jr. Professor of History

Advisory Council

Iwona Blazwick

Whitechapel Gallery

Alixe Bovey

The Courtauld Institute of Art

Christopher Breward

Edinburgh College of Art

David Peters Corbett

University of East Anglia

Anthony Geraghty

University of York

Richard Marks

University of York

David Mellor

University of Sussex

Martin Myrone

Tate Britain

Andrew Saint

The Survey of London

MaryAnne Stevens

Royal Academy of Arts

Shearer West

University of Sheffield

Alison Yarrington

University of Loughborough