Paul Mellon Centre — Annual Report 2017–2018

Annual Report 2017–2018

PMC Staff List

Director of Studies

Mark Hallett

Deputy Director for Grants & Publications

Martin Postle

Deputy Director for Finance & Administration

Sarah Ruddick

Deputy Director for Research

Sarah Victoria Turner

Education Programme Manager

Nermin Abdulla

Director’s Assistant (from 23 October 2017)

Office Administrator & Director’s Assistant (to 22 October 2017)

Bryony Botwright-Rance

Archivist & Records Manager

Charlotte Brunskill

Editor

Baillie Card

Finance Officer

(from 1 Sept 17)

Linda Constantine

Archives & Library Assistant (to 21 Jan 18)

Frankie Drummond Charig

Allen Fellow (to 30 June 2018)

Jessica Feather

Fellowships, Grants and Communications Manager (from 1 January 2018)

Fellowships, Grants and Communications Officer

(to 31 December 2017)

Harriet Fisher

Events Manager

Ella Fleming

Librarian

Emma Floyd

Assistant Librarian (from 2 May 2018)

Archives and Library Assistant (Maternity Cover)

(from 1 Sept 2017)

Natasha Held

Assistant Archivist & Records Manager

Jenny Hill

Editorial Assistant Postdoctoral Fellow (to 31 December 2017)

Hana Leaper Editor

Emily Lees

Office Administrator (from 23 October 17)

Receptionist (to 22 October 2017)

Stephen O'Toole

Office Manager

Suzannah Pearson

Picture Researcher

Maisoon Rehani

Finance & Administration Officer

Barbara Ruddick

Digital Manager

Tom Scutt

Cataloguer: Auction Catalogues

Mary Peskett Smith

Premises Officer

George Szwejkowski

HR Manager

Barbara Waugh

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

This year’s Report has been redesigned and restructured, so as to offer an even fuller and more detailed account of our activities than did its predecessors. As I hope its pages will make clear, the past year has seen a concerted effort on our part to further expand, enrich and diversify our activities. We are determined to make the PMC one of the world’s most ambitious, vibrant, experimental and collegial centres for art-historical research, and thereby ensure that it remains thoroughly representative of Yale’s highest scholarly values and standards. We are also determined, in a period of cultural fragmentation and political uncertainty, to reach out to new audiences and constituencies, and to provide a critically informed space of discussion and debate that is a model of its kind.

I trust that this Report will provide a compelling sense of all the different ways in which the Centre has sought to live up to these aims and ambitions over 2017–2018, and to its longer-term mission to promote the study of British art and architecture on an international basis.

Mark Hallett Director of Studies

Photograph of the Paul Mellon Centre during Bedford Square Festival, Summer 2018

Academic Activities

The Centre’s Academic Activities encompass a broad programme of events, including international conferences, research seminars, workshops, lectures and talks. This year we held over sixty-five events, which featured no less than 350 speakers. Furthermore, we have aimed to engage a much wider and more diverse audience with the work of the Centre.

In the first week of July 2017, we partnered with other cultural and educational institutions in our historic square, including Yale University Press and the Architectural Association, in organising the first Bedford Square Festival. As part of the Festival, we arranged walking tours, talks and film screenings highlighting the new research on British art that the Centre funds and promotes. The Bedford Square Festival has now become a popular and much-anticipated annual event. The second festival took place in July 2018 and planning for the 2019 iteration is already underway.

A highlight of this year was our collaboration with the contemporary artist Jeremy Deller. Typically, there has been a space in our events calendar in January in the years when we are not organising the biennial Mellon Lectures at the National Gallery. The gap in 2018 was filled with a series of talks called The Look of Music, which opened with a lecture at the Barbican by Deller himself. He introduced the series by reflecting on some of his own projects, such as “Last Night a Brass Band Saved My Life”, in the context of British cultural and political life. This was followed by three more talks, all orchestrated by Deller to connect with the theme of the series. In the atmospheric surroundings of the Life Room at the Royal Academy of Arts, the distinguished cultural historian Jon Savage discussed the image of the male pop star and boy band. The world-renowned stage designer Es Devlin discussed the imagery of her work for theatre, opera and musical performers, including Beyoncé and Adele, in which she draws on the history of art, and especially the visual rhetoric of portraiture. The series was rounded off with a conversation between the designers Scott King and Mark Farrow and the singer and one-half of the Pet Shop Boys, Neil Tennant. The popularity of these events has encouraged us to start a biennial collaboration with a contemporary artist every other January, thus connecting the worlds of historic and contemporary art and expanding our reach to new audiences.

William Fairey Band at Manchester Airport, 1997, image courtesy of Jeremy Deller and used in Jeremy Deller’s talk “Last Night a Brass Band Saved my Life” on 10 January 2018 at Barbican Centre

Academic Activities 2017-2018

4 July 2017 Artists’ Moving Image Workshop

T. J. Demos, “Scales of Incommensurability from the Postcolonial to the Posthuman: Historicizing Moving Image Practice in Britain and Beyond”

Melissa Gronlund, “You and Me and the Bottle Makes Three: Doubled Identity in the Video Work of the Young British Artists”

Rizvana Bradley, “Black British Experimental Video: Explorations in Diasporic Time”

Dan Kidner, “Curating Moving Images: Exhibitions, Institutions and Audiences in the 1990s”

Jonathan Walley, “Re-Creating Expanded Cinema in the UK”

Shanay Jhaveri, “A Sense of Contingency: Sonia Khurana, Huma Mulji and Abhishek Hazra”

James Boaden, “Queer Archives in Artists’ Moving Image: Patrick Staff’s The Foundation and Isaac Julien’s Looking for Langston”

Maeve Connolly, “The Artist as Director: Features, Film Workers and the Cooperative Economy”

Johanna Gosse, “Broken English: Allegories of Media in Contemporary British Artists’ Film”

6 July 2017

Places of the Mind: British Watercolour Landscapes, 1850–1950

Paul Mellon Centre and the British Museum

Frances Fowle, “The View from North Britain: Landscape and Scottish Identity”

Samuel Shaw, “Form, Identity and Locality in Charles Holmes's Sketchbooks”

Greg Smith, “Brilliant Modern to Old Master: Thomas Girtin’s White House and the English School of Watercolour, 1850–1950”

Barbara Pezzini, “Selling Places of the Mind: Agnew's as Dealers of Watercolour Landscapes, 1850–1880”

Scott Wilcox, “Giving Watercolors a History”

Caroline Grigson, “Geoffrey Grigson’s ‘Places of the Mind’ – A Personal Retrospective”

Frances Spalding, “The Modernist Turn”

Simon Martin, “A Longing to be Away: John Minton’s Images of Imaginative Escapism”

Rebecca Salter, Artist’s response

William Tillyer, Artist’s response

Closing discussion (chaired by Kim Sloan and Jessica Feather)

7 July 2017

Book Launch

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

21 September 2017

Stubbs Workshop

Workshop in collaboration with the MK Gallery ahead of the solo exhibition of George Stubbs, due to take place in the Autumn of 2019

26 September 2017

Collecting and Display at Petworth House

Study day sponsored by the Paul Mellon Centre for Studies in British Art as part of the research project, Art in the British Country House: Collecting and Display

Martin Postle, Andrew Loukes and Jessica Feather, Introduction

Andrew Loukes and Tabitha Barber, “Collecting and Patronage in the Time of the 6th Duke of Somerset” [Marble Hall, Beauty Room and Grand Staircase]

Andrew Loukes and Esther Chadwick, “Introduction to Petworth House Archive and the ‘Print Room’” [Old Library and Print Room]

Andrew Loukes, Greg Sullivan and Jessica Feather, “From the 3rd Earl of Egremont to Anthony Blunt and Beyond” [Carved Room, Red Room and North Gallery]

Concluding discussion (chaired by Mark Hallett)

Autumn Research Seminar Series 2017

4 October: Kobena Mercer, “Aubrey Williams: Abstraction in Diaspora”

18 October: Martina Droth, “Ceramics in the Expanded Field: Curating the Ceramic Object Today”

25 October: Anna Gruetzner Robins, “The Valists”

8 November: Gregory Smith, “Thomas Girtin (1775–1802): An Online Catalogue, Archive and Introduction to the Artist”

Autumn Research Lunches 2017

13 October: Melanie Veasey, “Forming a Community: Siegfried Charoux’s Maquette for The Neighbours (1957–59)”

17 November: Lucy Myers, Donato Esposito, Paul Goldman and Liz Prettejohn, “Frederick Walker and the Idyllists – Unsung Masters of Victorian Art”

24 November: Helen Whiting, “‘Your Beautiful and Hopeful Family’: Dynasty, Duff House and the House of Duff”

8 December: Emily Knight, “‘The Last Sad Testimony of Affection’: Portraiture as Remembrance in Eighteenth-Century Britain”

5 October 2017

Attingham Trust meeting

6 October 2017

Kobena Mercer Workshop

Kobena Mercer, Opening paper

Guilia Smith, Magda Cordell, No. 12 (1960), mixed media on canvas

Elena Crippa, F. N. Souza, Head of a Man (1965), oil paint on canvas

Hammad Nasar, Anwar Shemza, Roots series

Mel Gooding, Aubrey Williams, Shostakovich series

Alice Correia, Veronica Ryan, Relics in the Pillow of Dream (1985)

David Dibosa, David Medalla, Cloud Canyons no. 3 (2004), mixed media

Laura Castagnini, Frank Bowling, More Land than Landscape (2017)

9-10 October 2017

Country House workshop

Martin Postle, Introduction

Rodolfo Rodriguez and Martin Postle, “Case Study 1: Doddington Hall, Lincolnshire”

Alice Martin, Oliver Cox and Edward Town, “Case Study 2: Mount Stuart, Isle of Bute”

Jessica Feather, Andrew Loukes, Tabitha Barber, Helen Wyld and Greg Sullivan, “Case Study 3: Petworth House, West Sussex”

Jonathan Law, “Filming the Country House”

Christopher Ridgway, Martin Myrone and James Legard, “Case Study 4: Castle Howard, Yorkshire”

Adriano Aymonino, Clare Hornsby and Peter Kerber, “Case Study 5: West Wycombe, Buckinghamshire”

Jonathan Yarker, “Case Study 6: Mells Manor, Somerset”

Emily Burns, Rodolfo Rodriguez and Martin Postle, “Case Study 7: Trewithen, Cornwall”

Martin Postle and Edward Town, “Case Study 8: Raynham Hall, Norfolk”

12 October 2017

Black Music: Its Circulation and Impact in Eighteenth-Century London

Joanna Marschner, Michael Veal and Amy Meyers, Introduction

Tunde Jegede, “African Classical Music: The Griot Tradition”

Eric Charry, “West African Music Cultures in the Eighteenth Century”

Mary Caton Lingold, “Circulating African Music in Sound and Text: The Literary Record”

Eric Charry, “Representing African Music in Hans Sloane’s Times”

Richard Rath, “Pidginization and Creolization in Hans Sloane’s Voyage to the Islands”

Mary Caton Lingold, “Musical Passage: Interpretations of Hans Sloane’s Voyage to the Islands”

Berta Joncus, “‘So Great was the Affection which he Bare to Music’: Hearing London’s Black Community”

Roundtable discussion (chaired by Michael Veal)

19-21 October 2017

Alma-Tadema: Antiquity at Home and On Screen

Conference held at the Paul Mellon Centre, Leighton House and Birkbeck Institute for the Moving Image

Sarah Victoria Turner, Introduction

Christopher Reed, “Living in the Past; Or, What Do We Want from Artists’ Houses?”

Charlotte Gere, “An Alma-Tadema House”

Caroline Dakers, “Collecting Friends: Alma-Tadema’s London Circle”

Shelley Hales, “Re-staging the Roman Home”

Jan Baetens, “The (Time) Traveller’s House: The Hôtel Leys and the Casa Tadema”

Stephanie Moser, “Archaeology, Egyptology and a Passion for Domestic Things”

Nick Tromans, “From Studio-House to Museum: The Artist's Studio Museum Network”

Mary Roberts, “The Resistant Materiality of William De Morgan’s ‘Arab Hall’”

Peter Trippi, “From Galleries and Printsellers to Theatres and Cinemas: Transmitting Alma-Tadema, 1893–1913”

David Mayer, “Lawrence Alma-Tadema in the Theatre, 1881–1906”

Fiona Macintosh, “Dance, Decadence and Cosmopolitan Bodies in Early Twentieth-Century Britain”

Valentine Robert, “In Between the Frame, the Stage, and the Courtroom: Alma-Tadema’s Tableaux Vivants”

Céline Gailleurd, “From the Representation of Intimacy to that of the Orgy: The Underground Influence of Alma-Tadema through Italian Silent Films in the 1910s”

Maria Wyke, “Contra Tadema: Femininity, the Collective, and the Nation in Silent Cinema’s Pompeii”

Michael Williams, “‘To Live and Breathe with Light’: Star Bodies, Ancient Spaces and the Influence of Alma-Tadema”

Ivo Blom, “Art and Art Decoration: AlmaTadema and Set Design from Guazzoni to Ridley Scott”

Ian Christie, “After Tadema: Visions of Antiquity in British Cinema”

Maria Wyke and Ian Christie, Introduction to Ivo Blom and film screening

Roundtable discussion (chaired by Maria Wyke and Ian Christie and Elizabeth Prettejohn)

25 October 2017

Black Artists and Modernism

Workshop to inform the Black Artists & Modernism (BAM) related exhibition

29-31 October 2017

Enlightened Princesses: Britain and Europe, 1700-1820

An International Symposium held at Kensington Palace, Hampton Court Palace and the Tower of London which brought together eminent academicians and museum scholars to investigate the role played by royal women-electresses, princesses, queens consort, reigning queens and empresses in the shaping of court culture and politics in Europe during the long eighteenth century.

John Barnes and Amy Meyers, Welcome

Joanna Marschner, Keynote lecture: “Enlightened Princesses: Britain and Europe, 1700–1820”

Women as Political Agents (moderated by Lisa Ford)

Elise Demineur, “Queens Consort as Political Agents: A Tentative Research Framework through the Example of Queen Louisa Ulrika of Sweden (1720–1782)”

Heather Carroll, “‘Charlotte has the breeches’: The Shifting Political Perception of Queen Charlotte”

Allison Goudie, “‘A woman of great feminine beauty, but of a masculine understanding’: Queen Maria Carolina of Naples and Canova’s Statue of the King ‘as Minerva’”

Martin Eberle, “Luise Dorothea – Duchess of Saxony-Gotha-Altenburg”

Royal Women: Networks and Conversations (moderated by Lucy Peltz)

Elizabeth Eger, “Elizabeth Montagu, ‘Queen of the Bluestockings’: Women and Literary Authority in the Age of Enlightenment”

Lisa Skogh de Zoete, “Queen Hedwig Eleanora – A Liebhaberin of the Arts: Political Culture and Sources of Knowledge as part of Northern German Court Culture”

Merit Laine, “Creative Conversations: Queen Louisa Ulrika and the Formulation of Swedish Court Culture in the Age of Liberty”

Sonja Fielitz, “‘A Silent but Impressive Language’: The Quietly Worked Female Empowerment of Charlotte of Mecklenburg-Strelitz”

Discussion (moderated by Sebastian Edwards and Desmond Shawe-Taylor)

Musical programme (introduced by Berta Joncus)

Joanna Marschner and Amy Meyers, Welcome

Royal Women as Patrons of Art and Architecture (moderated by Aurélie Chatenet-Calyste and Desmond Shawe-Taylor)

Tara Zanardi, “Material Temptations: Isabel de Farnesio and the Politics of the Interior”

Veronica Biermann, “‘Let’s have a look’: G. L. Bernini’s mirror for Queen Christina and her Self-Image”

Christopher Johns, “Two Queens and a Villa: Enlightenment Sociability in Turin”

Christopher Baker, “Augusta, Princess of Wales and Jean Etienne Liotard”

Heidi Strobel, “Queen Charlotte as Patron of Female Artists”

Royal Women and the Crafting of the Image (moderated by Eve-Lena Karlsson)

Robin Kaye Goodman, “En Sultane: Marie-Anne de Bourbon Condi’s Enlightened Court Patronage”

Heather Belnap Jensen, “Dynastic Dressing: The Portraits of Caroline Bonaparte Murat, Queen of Naples and the Art of Costume”

Tessa Murdoch, “Measuring Time at the Hanoverian Court: Caroline, Augusta and Charlotte as Promoters of Clock and Watch-Making in London”

Emily Roy, “Catherine the Great’s Russian Mountain: The Imagery of the Thunder Stone”

Discussion (moderated by Helen Watanabe-O’Kelly)

2-4 November 2017

AA XX 100: AA Women and Architecture in Context, 1917–2017

International Conference held at the Paul Mellon Centre and the Architectural Association

Samantha Hardingham in conversation with Sadie Morgan, “Being First”

Harriet Harriss, RCA, “Education & Educators”

Stephanie Dadour, ENSA Grenoble “When Women Started Teaching Architectural Design (France 1968–Present)”

Julia Gatley, “100 Years of Architecture at the University of Auckland: What Has It Meant for Women?”

Fiona Tung, “ms/representation”

Difference, Diversity, Discrimination (chaired by Elsie Owusu, OBE)

Lori Brown, “Diversity & Difference: Writing Transnational Histories of Women and Architecture”

Rachel Lee, “Extreme Mobility, Local Practice”

Danna Walker, “Talent Unlimited”

Collaborations, Collectives and Couples (chaired by Jane Beckett)

Harry Charrington, “Invisible Partners”

Andrea Merrett, “Feminism in Action: The Open Design Office”

People & Projects (chaired by Sarah Victoria Turner)

Paul Makovsky, “Total Design: How Florence Knoll Revolutionised Design and the Modern Interior”

Fiona and Ewen McLachlan, “Karla Kowalski – Informal Formality: A Reappraisal”

Ellen Rowley, “Architectures of Childcare: Women Architects and Civic Improvement in 1940s and 50s Dublin”

Suzanne Ewing, “Voices of Experience: Women Making Modern Scotland”

Deborah Cherry, Emily Gee, Mary Pepchinski and Elke Krasny, “Commemoration/Reclamation/ Revision: A Discussion” (chaired by Elizabeth Darling)

Julia Dwyer, Jos Boys, Liza Fior, Katherine Clarke, Justine Clark and Karen Burns, “Problematising the Profession: MatrixMuf-Parlour” (chaired by Lynne Walker)

The Future of Gender (chaired by Mathilda Tham)

Maria Paez Gonzalez, “Gendered Typologies: The Possibility of a Feminist Approach to Architectural Type”

Lola Ruiz, “Little Architect: Erasing Preconceptions about Architecture from Inside the Education System”

Katarina Bonnevier and Thérèse Kristiansson, “Ambiguous Spaces of Vast Possibilities: An Exploration of the Promises of Architecture Beyond Gender Binaries”

Clementine Blakemore, Albane Duvillier, Stephanie Edwards and Marie-Louise Raue, “Looking to the Future” (chaired by Manijeh Verghese)

16 November 2017

David Mellor workshop

“That Old, Weird England”: Documenting and Imagining Late Victorian and Edwardian Culture

Sarah Victoria Turner and David Alan Mellor, Welcome and Introduction

Participants: Martin Barnes, Ian Jeffrey, David Trotter, Elizabeth Edwards, Deborah Sugg Ryan and David Alan Mellor

30 November-1 December 2017

Landscape Now

International Conference held at The Building Centre and the Paul Mellon Centre

Mark Hallett, Amy Meyers and Melinda McCurdy, Welcome and Introduction

Anna Reid, “The Nest of Wild Stones: Paul Nash’s Geological Realism”

Anna Falcini, “Re-illuminating the Landscape of the Hoo Peninsula through the Media of Film (the porousness of past & present)”

Julia Lum, “Fire-stick Picturesque: Colonial Landscape Art in Tasmania”

Rosie Ibbotson, “The Image in the Imperial Anthropocene: Landscape Aesthetics and Environmental Violence in Colonial Aotearoa New Zealand”

Stephen Daniels, “Liquid Landscape”

Kelly Presutti, “Strategic Seascapes: John Thomas Serres and the Royal Navy”

Gill Perry, “Landscaping Islands in Contemporary British Art: Floating Identities and Changing Climates”

David Matless, “The Anthroposcenic: Landscape Imagery in Erosion Time”

Mark A. Cheetham, “Outside In: Reflections of British Landscape in the Long Anthropocene”

Tim Barringer, Keynote lecture: “Thomas Cole and the White Atlantic”

Matthew Hunter, “Drawing by Numbers: Anglo-American Landscape and the Actuarial Imagination”

Julia Sienkewicz, “On Place and Displacement: Benjamin Henry Latrobe and the Immigrant Landscape”

Val Williams and Corinne Silva, “The ReMaking of the English Landscape: In the Footsteps of W. G. Hoskins and F. L. Attenborough”

David Chalmers Alesworth, “The Garden of Ideas”

Gregory Smith, “The ‘connoisseur’s panorama’: Thomas Girtin’s Eidometroplis and a New Iconography for the City”

Nick Alfrey, “1973 and the Future of Landscape”

Panel: “Landscape Now?”

Mark Hallett, Tim Barringer, Sarah Monks, Alexandra Harris and Amy Concannon

6 December 2017

Yale Year Ahead Press Launch

6 December 2017

Paul Mellon Centre Book Night

Tara Hamling and Catherine Richardson, A Day at Home in Early Modern England: Material Culture and Domestic Life, 1500–1700

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

Lynda Nead, The Tiger in the Smoke: Art and Culture in Post-War Britain

Kate Retford, The Conversation Piece: Making Modern Art in Eighteenth-Century Britain

15 December 2017

Book Launch

Tara Hamling and Catherine Richardson, A Day at Home in Early Modern England: Material Culture and Domestic Life, 1500–1700

18 December 2017

Book Launch

Penelope Curtis, Sculpture Vertical, Horizontal, Closed, Open

January 2018

The Look of Music with Jeremy Deller

A series of talks organised by Jeremy Deller with the Paul Mellon Centre

10 January: Jeremy Deller, “Last Night a Brass Band Saved My Life”

18 January: Jon Savage, “Bodies: Iggy Pop & Beyond”

24 January: Es Devlin, “Voice Space: Designing Space for Music and Lyrics”

31 January: Neil Tennant, Mark Farrow and Scott King, “Marriage: Imagery of Pet Shop Boys”

12 January 2018

London, Asia Virtual Exhibitions workshop

Hammad Nasar and Sarah Victoria Turner, Introduction

Chiara Zuanni, “What is a Virtual Exhibition? Setting the Scene”

Lucy Steeds and Dorian FraserMoore, “The Other Story and its Virtual Afterlives”

Tom Scutt and Mark Hallett, “Gaming Technology and Reconstructing an Eighteenth-Century Exhibition”

Cathy Courtney, “Oral History, ‘Speaking of the Kasmin’ and the ‘Voices of Art’ Project”

Shanay Jhaveri, “Lionel Wendt and the Camera Club”

Brinda Kumar, “The Other Burlington”

Sria Chatterjee, “The Festival of India”

Alice Correia, “South Asian British Women Artists in the 1980s”

16 January 2018

Exhibiting Blake, 1780–2020 workshop

A day organised in preparation for the Tate Britain exhibition (scheduled for 2019–20) to bring scholars and curators together to exchange thoughts on the ways in which William Blake has been presented through exhibitions over time.

Mark Hallett, Welcome and Introduction

David Worrall, “1808”

Susan Matthews, “1809”

Colin Trodd, “1876”

David Bindman, “1975”

Martin Butlin, “1978”

Michael Phillips, “2009” and “2014”

Spring Research Lunch Series 2018

19 January: Christina Faraday (Farley), “Re-assessing ‘Liveliness’ in PostReformation English Visual Culture”

2 February: Tessa Kilgarriff, “‘Nor is the figure a mere theatrical portrait’: Exhibiting and Reproducing Theatrical Portraits in London, 1830–1860”

16 February: Robert Sutton, “Public Art and its Publics in Post-War Britain”

2 March: Susannah Walker, “Cruikshank's Alcoholics and The Addict in Austerity”

25-26 January 2018

Crossing the Channel: French Refugee Artists in London (1870-1904)

International Conference held at Tate Britain and the Paul Mellon Centre

MaryAnne Stevens, Keynote lecture

Caroline Corbeau-Parsons and Sarah Victoria Turner, Introduction

Frances Fowle, “Sisley's Thames Series: Impressionism, Photography and the Picturesque”

Kathleen Adler, “‘The Silvery, Glittering Palace’: Camille Pissarro in South London”

Crossing Cultures: Materiality & Manufacture (chaired by Rebecca Wallis)

Anne Robbins, “Jean-Charles Cazin (1841–1901)”

Melissa Berry, “From Sèvres to Stoke: Solon's Translocal Impact on British Ceramics”

Donato Esposito, “Auguste Delâtre (1822–1907): The Master Printer in London, 1871–76”

Lawrence Alma-Tadema, In the Corner of My Studio, 1893, private collection. Used to advertise the Alma-Tadema: Antiquity at Home and on Screen conference at Leighton House in October 2017

Melissa Buron, “The Mediumistic Apparition: James Tissot and La Manière Anglais”

Amélie Simier, “Jules Dalou and his British Patrons”

Krystyna Matyjaszkiewicz, “Kaye Knowles: ‘A Patron of Art of Apparently Eccentric Taste’”

Anna Gruetzner Robins, Closing Remarks

1st February 2018

London, Asia Research Lunch

Sarena Abdullah, “The Commonwealth Institute: Contexts, Collaborations, Contestations”

Spring Research Seminar Series 2018

21 February: Peter Kerber, “Blasphemy, Irenicism and Collecting: The Improbable Friendship of Francis Dashwood and Antonio Niccolini”

28 February: Christopher Ridgway, “The Lives and After-lives of Picture Displays at Castle Howard”

7 March: Martin Postle, “Patrons and Painters: Portraits by Joshua Reynolds and James Northcote at Trewithen, Cornwall”

15-21 March 2018

Association of Yale Alumni (AYA) Meetings held at the PMC

21 March 2018

G.E. Street: Discussion Workshop Celebrating the Paul Joyce Archive and Library

Held at the Paul Mellon Centre, with a tour of the church of St James the Less

Peter Howell, “Paul Joyce”

Geoff Brandwood, “Using the Paul Joyce Archive”

Richard Peats, “The Hardest Working Man in Gothic? G. E. Street’s Work as a Restorer and Furnisher of Churches in the Oxford Diocese”

Alex Bremner, “G. E. Street’s Churches in Rome”

Michael Hall, “G. E. Street as Writer and Theorist”

Colin Kerr, Talk at St James the Less

21 March 2018

Elizabethan Club Lecture

Anders Wintroth, “An Actor’s Smile, a Mother’s Advice, and the Triumph over the Armada: Recent Acquisitions by the Elizabethan Club”

12 April 2018

Charles I: King and Collector Conference

Conference held at the Society of Antiquaries of London and co-organised by the Royal Academy of Arts and the Paul Mellon Centre

Per Rumberg and Desmond ShaweTaylor, Welcome and Introduction

Andrea Bacciolo, “‘Piaccia a Sua Maestà che ogni giorno vengano maggiori creazioni di mandare regali a questa volta’: Paintings and Drawings from the Papal Curia of the Barberini”

Justin Davies, “Charles I, Van Dyck & the Spanish Match: Connoisseurs and Collectors as Royal Diplomats, with New Findings on Four Famous Van Dyck Paintings”

Erin Griffey, “‘Her Majesty’s pictures’: Henrietta Maria’s Taste, Patronage and Display of Pictures at the Stuart Court”

Maria Cristina Terzaghi, “Rome seen from London: The ‘Subsidium Peregrinantibus’ by Balthazar Gerbier and the Allure of Italian Baroque Painting at the Caroline Court”

Peter Humfrey, “‘Not verie acceptable to the King’? Charles I and Paolo Veronese”

Karen Hearn, “‘The Late K. & Q. in Little’: The Small-Scale Full-Length Royal Portraits in the Collection of Charles I and Henrietta Maria”

Margaret Dalivalle, “Experiencing Leonardo: The Prince of Wales and Juan de Espina”

Emily Burns, “Leaving a Legacy: The Appropriation of the Collection of Charles I in London During the Interregnum”

Lucy Whitaker, “The Restoration and the Legacy of Charles I's Collection”

13 April 2018

Charles I: King and Collector Workshop Mark Hallett, Welcome and Introduction

Niko Munz, “Hanging Whitehall Palace: Results from Royal Collection Trust's Charles I Digital Project”

Simon Thurley, “The Geography of Charles I’s Art Collection”

Ed Town, “A False Dawn – Lionel Cranfield, 1st Earl of Middlesex and the Copies of Raphael’s Cartoons at Knole”

Susan Bracken, “Copies of ‘Antient’ Masters in the Collection of Charles I”

Grant Lewis, “Prints and Drawings in Charles I’s Collection”

25 April 2018

39th Kurt Pantzer Memorial Lecture: The Turner Society

Held at the Paul Mellon Centre

Sam Smiles, “Beyond the Physical: Time in Turner’s Art”

27-29 April 2018

Virginia Woolf: Art and Ideas

Conference held at Tate St Ives in collaboration with the Paul Mellon Centre

EJ Major, Naomi Frears and Melanie Stidolph, In conversation

Frances Spalding, Keynote lecture

Sarah Victoria Turner and Laura Smith, Welcome

Tess Denman-Cleaver, “Time Passes”

Laura Smith, “Virginia Woolf: An Exhibition Inspired by Her Writings”

Bryony Gillard, “Disappearing into Land”

Jean Mills, “Speak so you can Speak Again: Renunciation as Identity in the Work of Virginia Woolf, Zora Neale Hurston and Mother Catherine Seals”

EJ Major, Artist’s talk

Veronica Ryan, Artist’s talk

Claudia Tobin, “Still Life and the World of Objects in Virginia Woolf’s Art and Life”

Maggie Humm, “Virginia Woolf’s Childhood in St Ives”

Anna Snaith, “Virginia Woolf and the Reverberating Room”

Hana Leaper, “The Experience of the Mass is Behind the Single Voice: Virginia Woolf’s Sense of her Self in Relation to Wider Networks of Creativity”

Francesca Wade, “Roger Fry and Sketch of the Past: Virginia Woolf’s Post-Impressionist Biography”

Daisy Lafarge, “To Stand in the Fog on a Dark Evening Selling Apples”

Summer Research Seminar Series 2018

2 May: Mark Hallett, Esther Chadwick and Amy Concannon, “Chronicling the Summer Exhibition: The Early Years”

16 May: Christopher Baker, “The Many Lives of Landseer’s Monarch”

13 June: Mark Hallett and Sarah Victoria Turner in conversation with Christopher Le Brun, “Chronicling the Contemporary Summer Exhibition”

Summer Research Lunches 2018

11 May: Giulia Smith, “AS in DS: The World of Alison Smithson”

18 May: David Hansen, “Art History from Below: The Demotic Portraits of a Journeyman Facemaker”

25 May: Louise Voll Box, “Perceiving Prints in Eighteenth-Century Print Rooms: Commerce, Play and Display”

8 June: Beth Richards, “Travellers and Translators: The Returning Indian Turban as East India Company Uniform, c.1760–1810”

22 June: Niko Munz, “The Lost Collection: Charles I and Whitehall Palace, a Digital Initiative”

30 May 2018

The Royal Academy Summer Exhibition: A Chronicle, 1769–2018 – Launch Event

31 May 2018

London History Day Celebrates Courage, Lecture

Mark Hallett, “The Suffering Soldier: Depictions of Courage in EighteenthCentury British Art”

5 June 2018

Fellow’s Lunch

Jacqueline Riding, “Basic Instincts –Exhibition and Publication”

15 June 2018

Book Launch

Jill Francis, Gardens and Gardening in Early Modern England and Wales

18 June 2018

Ceramics Workshop: “Things of Beauty Growing”: British Studio Pottery

Held at the Fitzwilliam Museum; organised by the Paul Mellon Centre

Tanya Harrod, Keynote lecture: “Pandora's Box: Taste, Modernism and Ceramics in Britain”

Simon Olding, Martina Droth and Helen Ritchie, “Reflections on the Exhibition at the Yale Center for British Art and at the Fitzwilliam Museum”

Alison Britton and Halima Cassell, makers represented in the exhibition, in conversation with curator Glenn Adamson

Glenn Adamson, “Full Circle: The Future of Studio Ceramics”

20 June 2018

Paul Mellon Centre Book Night

John Holmes, The Pre-Raphaelites and Science

Jill Francis, Gardens and Gardening in Early Modern England and Wales

MaryAnne Stevens, The Royal Academy of Arts: History and Collections, ed Robin Simon with MaryAnne Stevens

Martin Postle, “The Cast Collection” (chapter 15 of The Royal Academy of Arts: History and Collections)

26 June 2018

Colour Control: Chromatic Regulation in Modern Britain 1800-2000 workshop

Kirsty Sinclair Dootson, Introduction

Round-table: Sonia Ashmore, Emma West, Dominique Grisard, Sarah Street, Lynda Nead and Helen Wheatley

Alexandra Loske, Wrap-up session

26-27 June 2018

Bartram Exhibition Workshop

Mark Hallett, Welcome

Amy Meyers and Therese O’Malley, Welcome and Introduction

John Edmondson, “John Bartram’s Garden Plan”

Andrea Hart, “Bartram Drawings and MSS at the NHM”

Mark Carine, “The Bartram Botanical Specimens”

Leslie Overstreet, “A Mystery Explored – The Bartram Copy of Catesby’s ‘Natural History’”

Henrietta McBurney, “‘A Sort of Paper Creation’: Peter Collinson’s Natural History Drawings by Catesby, Bartram and their Circle”

Print Publications

The Paul Mellon Centre has a long history of publishing original and creative scholarship of the highest standard on all aspects of British art and architecture, and the 2017–2018 list is a good example of the breadth of our publishing programme. From a Tudor recipe for veal stuffed with strawberry leaves to the pruning habits of the rural county gentry, Catherine Richardson and Tara Hamling’s A Day at Home in Early Modern England and Jill Francis’s Gardens and Gardening in Early Modern England and Wales brought exciting new research and fresh perspectives to sixteenth- and seventeenth-century studies. Kate Retford delivered a ground-breaking examination of an innovative mode of portraiture in The Conversation Piece, and John Holmes added the flavour of a rather different discipline to the list with his investigation of the Pre-Raphaelite preoccupation with contemporary science. Lynda Nead took her readers on a fascinating journey through the fog and smoke of post-war Britain in The Tiger in the Smoke, while Penelope Curtis’s 2015 Mellon Lectures on the fundamental elements of sculpture – from ancient boundary markers to radical contemporary installations – were published in book form.

These monographs were joined by the publication of two major collaborative research projects: the Survey of London team produced the latest two volumes in their landmark series of forensic studies of the capital’s built environment, and Robin Simon and MaryAnne Stevens brought to a conclusion their eight-year multi-authored exploration of the Royal Academy’s history and collections.

At this time, we were also preparing various other projects for publication including the monumental catalogue raisonné of the paintings of Thomas Gainsborough; an investigation of collecting and the art market by Morna O’Neill, told through the life and work of Hugh Lane; and a comprehensive history of Kensington Palace. In addition to our own PMC titles, we were delighted to be involved in the Yale Center for British Art’s exhibition catalogue George Shaw: A Corner of a Foreign Field, edited by Mark Hallett. The production of this final book, managed by the PMC in consultation with friends and colleagues at the YCBA, has been a collaboration of the best and most productive sort.

Detail from the cover of A Day at Home in Early Modern England: Material Culture and Domestic Life 1500-1700 by Tara Hamling and Catherine Richardson, published October 2017

Print Publications

July 2017–June 2018

Sculpture: Vertical, Horizontal, Closed, Open

September 2017

The Tiger in the Smoke: Art and Culture in Post-War Britain

October 2017

The Conversation Piece: Making Modern Art in Eighteenth-Century Britain

October 2017

A Day at Home in Early Modern England: Material Culture and Domestic Life, 1500–1700

October 2017

Kate Retford

Tara Hamling and Catherine Richardson

Penelope Curtis

Lynda Nead

Philip Temple and Colin Thom (eds.)

Survey of London: South-East Marylebone, 2 vols.

October 2017

Robin Simon with MaryAnne Stevens

The Royal Academy of Arts: History and Collections

May 2018

Jill Francis

Gardens and Gardening in Early Modern England and Wales: 1560–1660

June 2018

John Holmes

The Pre-Raphaelites and Science

June 2018

Detail from the cover of The Pre-Raphaelites and Science by John Holmes, published June 2018

Digital Publications

The period covered by this report saw significant milestones in the Centre’s ongoing investment in open access publishing on British art history. One was the release of a major new online publication, The Royal Academy Summer Exhibition: A Chronicle, 1769–2018 at www.chronicle250.com. Published on 30 May 2018, this website explores the history of the Summer Exhibition over 250 years. It combines a complete set of digitised and searchable exhibition catalogues; statistical data; and lively year-by-year essays that examine key artists, artworks and events from each year’s show. Above all, the RA Chronicle offers an innovative model for writing and presenting exhibition history: its 250 short essays were contributed by over 90 experts – including artists, critics, curators and art historians – affording varied perspectives on a long and complex history.

Two issues of the Centre’s open access journal, British Art Studies, which is co-published with the Yale Center for British Art, were also released during this period: Issue 7 (Autumn 2017) and Issue 8 (Spring 2018). Highlights from Issue 7 included a multi-authored conversation on “mod” style and modern art in Britain, convened by Tom Crow and based on his 2017 Mellon Lectures; and a feature examining the Famous Women dinner service, a set of fifty plates made by Vanessa Bell and Duncan Grant in the 1930s. The latter published new research by Hana Leaper which analyses the service’s relationship to Bloomsbury aesthetics and later feminist art. Issue 8 of the journal included the first publication in British Art Studies to examine television, and was illustrated by embedded fulllength videos of early BBC arts documentaries. It appeared alongside an article by Kobena Mercer on the abstract paintings of Aubrey Williams. The issue’s cover illustrations were chosen by curatorial staff at Impressions Gallery in Bradford, based on their exhibition examining the neglected histories of women war photographers in World War One.

In February 2018, three editors of British Art Studies, Sarah Victoria Turner, Baillie Card and Tom Scutt, co-chaired Digital Surrogates, a session at the annual College Art Association conference in Los Angeles that examined the place of virtual reconstructions in art-historical research today. The strength of the submissions and of the selected papers confirmed that the journal has an important role to play in cultivating conversations around best practices in digital art history.

Digital Publications

July 2017–June 2018

The Royal Academy Summer Exhibition: A Chronicle, 1769-2018 www.chronicle250.com

30 May 2018

Mark Hallett, Sarah Victoria Turner, Jessica Feather, Baillie Card, Tom Scutt, and Maisoon Rehani (eds.)

British Art Studies, Issue 7, Autumn 2017

Articles

Jocelyn Anderson, “Elegant Engravings of the Pacific: Illustrations of James Cook’s Expeditions in British Eighteenth-Century Magazines”

Natasha Eaton, “A Photobook of the Shimmer: Pearl Fisheries, Photography, and British Colonialism in South Asia”

Katherine Gazzard, “‘The Snob’s Chaldron’: Alexander Davison and the Private Patronage of History Painting in Early Nineteenth-Century Britain”

Features

“Seeing Red”, Cover Collaboration feature with Glenn Adamson, with photography by Richard Caspole

“Art by the Many: London Style Cults of the 1960s”, Conversation Piece feature coordinated by Thomas Crow

Inga Fraser, “From a Sheet of Paper to the Sky”, In the Artist's Words feature

Hana Leaper, “The Famous Women Dinner Service: A Critical Introduction and Catalogue”, Look First feature

“The Famous Women Dinner Service: In Conversation with Contemporary Art”, Look First feature discussion between Judy Chicago, Hana Leaper and The Women's Art League, filmed by Jonathan Law

British Art Studies, Issue 8, Spring 2018 Articles

Damian Taylor, “‘As if Every Particle was Alive’: The Charged Canvas of Constable’s Hadleigh Castle”

Kobena Mercer, “Aubrey Williams: Abstraction in Diaspora”

Michael Clegg, “‘The Art Game’: Television, Monitor, and British Art at the turn of the 1960s”

Features

“Snapshots from No Man’s Land”, Cover Collaboration with Pippa Oldfield

Fellowships and Grants

Ahead of the autumn 2017 round of grant funding, an additional Advisory Council meeting took place in the summer of 2017 to discuss possible changes to the awards. As a result of this meeting the Curatorial Research Grant and Digital Project Grant maximum totals were increased to £40,000 per award. This was changed in order to help fund projects for their entirety. The two Publication Grants, one for publishers and one for authors, were combined into one award. Totals could still be requested by both publishers and authors, but it also allowed them to apply together for the larger total amount of £10,000. Recognition for articles was also included in the new award, allowing up to £1,000 to be requested for image rights by authors of short-form writings.

In autumn 2017 a total of 169 applications were received for the awards offered by the Centre, of which 61 were successful. The newly revised Publication Grant received a total of 71 applications, of which 30 were successful. Curatorial Research Grants received 22 applications, of which 7 received awards, and 2 applications were successful and awarded the full amount of £40,000 each in the Digital Project Grant awards, out of a total of 10 applications received. There was a lower-than-average number of Research Support Grant applications, with 39 in total and 12 successful. The Educational Programme Grants remained steady: 19 applications were received, of which 8 were successful. The Andrew Wyld Research Support Grant attracted 4 applications and 2 awards were given.

A new fellowship was introduced during the spring 2018 round of awards. The Terra-PMC Fellowship awards one scholar a Fellowship of £9,500 in order to pursue research on an aspect of artistic dialogue between Britain and the United States from any period up to 1980. The Fellowship is sponsored by the Terra Foundation for American Art.

The total funding for spring 2018 was also raised, allowing the Centre to award more fellowships than previously. In total, 157 applications were received, an increase on the previous year’s total, with 63 applications being successful. The Senior Fellowship attracted 9 applicants, of whom 3 were successful. The Mid-Career Fellowship attracted 17 applications, of which 7 were successful, and the Postdoctoral Fellowships received 28 applications with 11 being successful, more than double the number awarded in the previous year. The Junior

Fellowship attracted 13 applicants, of whom 8 were successful, and the Rome Fellowship received 4 applications, with 1 receiving the award. The new TerraPMC Fellowship did not attract many applications; 3 in total, with 1 duly receiving the fellowship. The Research Support Grant once more proved very popular and attracted 57 applications, of which 20 were successful. There were also 18 applications for Educational Programme Grants, of which 11 awards were made. The Conservation Fellowship for the academic year 2017–2018 of £25,000 was awarded by the Director of the Paul Mellon Centre to Dulwich Picture Gallery for conservation work on their Portrait of a Lady in Blue Holding a Flower by Peter Lely.

Fellowships and Grants

July 2017–June 2018

Autumn 2017

At the October 2017 meeting of the Centre’s Advisory Council, the following Grants were awarded:

Curatorial Research Grants

Blackburn Museum and Art Gallery was awarded £10,000 to help support a research curator to work on the project Collecting the Art of the Book in the Industrial North West

Four Corners, London, was awarded £15,000 to help support a research curator to work on the project A Radical Vision: Community Film and Photography in 1970–80s London

The Holburne Museum, Bath, was awarded £15,000 to help support a research curator to work towards an exhibition on Thomas Lawrence’s early career

Ireland’s Great Hunger Museum at Quinnipiac University was awarded £15,000 to help support a research curator to work on the project Primitivism and the Picturesque: British Artists in Ireland during the Great Hunger (1840–1860)

*This project was cancelled in July 2018*

Manchester Art Gallery was awarded £10,000 to help support a research curator to work on the project Speech Acts

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

York Art Gallery and York Museums Trust were awarded £18,000 to help support a research curator to work on the project Turner, Ruskin and the Storm Cloud of the Modern World

Digital Project Grants

The British Library was awarded £36,000 towards research and essay commissions for the Voices of Art website derived from the Artists’ Lives oral history project

University of York was awarded £40,000 towards the Art World in Britain 2.0 project to expand and reconfigure The Art World in Britain 1600 to 1735 website

Publication Grants

Amsterdam University Press was awarded £4,580 towards the cost of publishing Godefridus Schalcken: A Dutch Painter in Late Seventeenth-Century London

Susanna Avery-Quash and Birkbeck, University of London were awarded £4,738 towards the cost of publishing Leonardo in Britain

Tim Ayers and Boydell & Brewer were awarded £4,500 towards the cost of publishing The Building Accounts for St Stephen’s Chapel, Westminster, 1292–1396

Joanna Barnes was awarded £3,000 towards the cost of publishing An Arsenal of Essays: A Gedenkschrift to Benedict Read (working title)

Compton Verney House Trust was awarded £3,000 towards the cost of publishing Whistler and Nature

Silvia Davoli and The Strawberry Hill Trust were awarded £5,000 towards the cost of publishing Lost Treasures of Strawberry Hill, Masterpieces from Horace Walpole’s Collection

Sonja Drimmer and University of Massachusetts were awarded £8,748 towards the cost of publishing The Art of Allusion: Illuminators and the Making of Middle English Literature, 1403–1476

Hannah Field and University of Minnesota were awarded £3,000 towards the cost of publishing Novelty Value: Moveable Picture Books and the Child Reader in Victorian Britain

Polly Gould was awarded £2,180 towards the cost of publishing Art through Antarctica: Atmosphere, Anthropology and Architecture in the life of Edward Wilson

Sarah Grant was awarded £1,848 towards the cost of publishing Female Portraiture and Patronage in Marie Antoinette’s Court: The Princesse de Lamballe

Anthony Hamber and Oak Knoll Press were awarded £4,000 towards the cost of publishing Photography and the 1851 Great Exhibition

Hamburger Kunsthalle was awarded £4,000 towards the cost of publishing Thomas Gainsborough: The Modern Landscape

The Hepworth Wakefield was awarded £5,000 towards the cost of publishing Lee Miller and Surrealism in Britain

Paul Holberton Publishing was awarded £2,000 towards the cost of publishing Henry Lamb

Alexandra Kokoli was awarded £1,680 towards the cost of publishing Tracy Emin: Art into Life

Arthur MacGregor was awarded £3,000 towards the cost of publishing Company Curiosities: Nature, Culture, and the East India Company, 1600–1874

Robert Mills and Boydell & Brewer were awarded £2,035 towards the cost of publishing Derek Jarman’s Medieval Modern

National Portrait Gallery was awarded £2,000 towards the cost of publishing Gainsborough’s Family Album

Public Monuments and Sculpture Association was awarded £4,000 towards the cost of publishing Public Sculpture of Edinburgh, Vol. 2: “The New Town, Leith and Outer Suburbs”

Matthew Reeve was awarded £2,500 towards the cost of publishing Gothic Architecture, Sexuality and Aesthetics in the Circle of Horace Walpole

David Rundle was awarded £2,840 towards the cost of publishing The Renaissance Reform of the Book and Britain: The English Quattrocento

Gregory Salter was awarded £1,619 towards the cost of publishing Art and Masculinity in Post-War Britain: Reconstructing Home

Detail from JMW Turner, The Dormitory and Transept of Fountains Abbey, Evening, exhibited 1798, York Art Gallery. Part of the Turner, Ruskin and the Storm Cloud of the Modern World exhibition at York Art Gallery, supported by a Curatorial Research Grant in 2017

Julia Sienkewicz and University of Delaware Press were awarded £3,000 towards the cost of publishing Epic Landscapes: Benjamin Henry Latrobe and the Art of Watercolour

Laura Slater was awarded £2,000 towards the cost of publishing Art and Political Thought in Medieval England, c.1150–1350

Pandora Syperek was awarded £788 towards the cost of publishing the article “Crystal Virtues: Ruskin and Gender in the Natural History Museum”

The Twentieth Century Society was awarded £1,000 towards the cost of publishing Alison and Peter Smithson

Van Abbemuseum was awarded £3,000 towards the cost of publishing The Place is Here: A Montage of Black Art in 1980s Britain

Robert Wilkes was awarded £364 towards the cost of publishing Dante Gabriel Rossetti’s Watercolours of the 1860s

Yale University Press was awarded £4,000 towards the cost of publishing The Buildings of Ireland: Central Leinster

Yale University Press was awarded £4,000 towards the cost of publishing The Buildings of Ireland: Cork

Educational Programme Grants

Downing College, Cambridge was awarded £1,700 towards the cost of the Elizabeth Frink symposium

Leeds Beckett University was awarded £800 towards the cost of the Untold Stories of the Country House conference

University of the Arts London was awarded £200 towards the cost of the Gluck: Art and Identity symposium

University of Birmingham was awarded £2,700 towards the cost of the Art on the Move: Mobility in the Long Nineteenth Century conference

University of Edinburgh was awarded £700 towards the cost the Building the Scottish Diaspora: Scots and the Colonial Built Environment, c.1700–1920 conference

University of Nottingham was awarded £2,600 towards the cost of the Nottingham Castle Museum two-day conference

University of York was awarded £500 towards the cost of the Nature’s Incision: Collage and Nature conference

Victoria and Albert Museum was awarded £750 towards the cost of the Ocean Liners conference

Research Support Grants

Veronica Bremer was awarded £900 for research on “The Simpson Department Store: A Platform for Modernist Artistic Production and Exchange”

Lobke Geurs was awarded £1,800 for research on “A Taste of Hope and Dalton: Changing Perceptions of Egypt and the Near East in the Eighteenth Century, 1749–1797”

Samuel Grinsell was awarded £1,900 for research on “British Imperial Architecture in the Nile Valley”

Georgia Haseldine was awarded £2,000 for research on “Portraits of Ireland’s Reform Movement, 1779–1800”

Sophie Hatchwell was awarded £1,100 for research on “Modernism and the East Midlands: Public Galleries and the Acquisition of Modern Art, 1920–1940”

Amanda Luyster was awarded £2,000 for research on “English Visions of the East: Henry III, the Crusades, and the Cosmopolitan Cultures of Display in Thirteenth-Century England”

Margaret J. Schmitz was awarded £1,000 for research on “Abstracting New York in Wyndham Lewis’s ‘Vorticist Universe’”

Gemma Sharpe was awarded £2,000 for research on “Pakistani Printmaking in Britain from Chughtai to the Neo-Miniature Movement”

Achim Timmermann was awarded £2,000 for research on “The Gothic Fulcrum: The English Market Cross and its Audiences”

Aaron White was awarded £2,000 for research on “English Architecture in the Age of Colonisation, 1585–1642”

Paul Willis was awarded £2,000 for research on “To look more like a man of some business and consequence, no dangler nor idler – Sir Joshua Reynolds’ Grand Tour Sketchbooks”

Alison Wright was awarded £600 for research on “British Sporting and Animal Art, 1760–1840: A Critical History of its Production, Reception, Collection and Display”

Andrew Wyld Research Support Grants (Funded by the Andrew Wyld Fund)

Vincent Pham was awarded £2,000 for research on “Chesterfield House Portraits: Display, Reception, Reconstruction”

Zalina Teremazova was awarded £2,000 for research on “Multicolour Prints by Gabriel Skorodumov (1754–1792) in the Collections of British Museum”

Spring 2018

At the March 2018 meeting of the Centre’s Advisory Council, the following Grants were awarded:

Yuthika Sharma, University of Edinburgh, was awarded £8,000 to prepare In the Realm of Kings and Sahibs: The Delhi School and Anglo-Mughal Painting

Moran Sheleg, University College London, was awarded £8,000 to prepare her book Bridget Riley’s Grey Zones

Senior Fellowships

Tim Clayton was awarded £32,000 to prepare his book James Gillray and the Business of Satire

Elizabeth McKellar, Open University, was awarded £32,000 to prepare her book John Summerson: A Cultural Biography

Carol Richardson, University of Edinburgh, was awarded £32,000 to prepare her book The Last English Catholic Church Remaining in the World: Art and Sacred Geography in the 1580s

Rome Fellowship

Francesco Ventrella, University of Sussex, was awarded £19,800 for research in Rome on Performing Ancient Sculpture: Vernon Lee and Psychological Aesthetics

Mid-Career Fellowships

Juliet Carey, Waddesdon Manor, was awarded £12,000 to prepare her book Boys in Satin: Gainsborough and ‘Van Dyck’ Dress

Deirdre Jackson, University of Cambridge, was awarded £12,000 to prepare her book Picturing Speech in English Illuminated Manuscripts before 1500

Marius Kwint, University of Portsmouth, was awarded £12,000 to prepare his book British Art on the Brain: Neuroscience and Visual Art in the UK since 1970

Katie Lloyd Thomas, Newcastle University, was awarded £12,000 to prepare her book The Architect as Shopper

Morna O’Neill, Wake Forest University, was awarded £12,000 to prepare her book Art and Brutality: British Art and Industrial Manufacture, 1820–1851

Gemma Romain was awarded £12,000 to prepare her book Berto Pasuka and Queer Black British Art

Chloe Wigston Smith, University of York, was awarded £12,000 to prepare her book Women and Entangled Things in the Eighteenth-Century Atlantic World

Postdoctoral Fellowships

Alexander Collins, University of Edinburgh, was awarded £8,000 to prepare his book Magnifying the Mass: Scale, Space and Ritual Experience of the Late Medieval Missal

Anjalie Dalal-Clayton, University of the Arts London, was awarded £8,000 to prepare her book Curating Black British Art: Exhibition Cultures Since the 1980s

Charlotte Drew, University of Bristol, was awarded £8,000 to prepare her book Displaying Italian Sculpture: South Kensington Reimagined

Serena Dyer, University of Warwick, was awarded £8,000 to prepare her book Material Lives and Material Literacies: Women, Consumption, and Textiles in England, 1750–1820

Freya Gowrley, University of Edinburgh, was awarded £8,000 to prepare her book Collage before Modernism: Art, Intimacy and Identity in Britain and North America, 1680–1912

Irit Katz, University of Cambridge, was awarded £8,000 to prepare his book Camps in Mandatory Palestine: The Emergence of Temporary Architecture as a Regional Political Instrument

Merlin Seller, Norwich University of the Arts, was awarded £8,000 to prepare his book Material Memory: The Late Work of Walter Sickert 1927-42

Giulia Smith, The Courtauld Institute of Art, was awarded £8,000 to prepare her book Women of Tomorrow

David Trigg was awarded £8,000 to prepare his book A Slow-Cooked Bird: Ben Nicholson and the Penguin Modern Painters

Junior Fellowships

Aleksandr Bierig was awarded £7,500 to conduct research in the United Kingdom for his dissertation “The Ashes of the City: Energy, Economy, and the London Coal Exchange”

Carly Boxer was awarded £7,500 to conduct research in the United Kingdom for her dissertation “It owip to be lokid: The Visual Culture of English Medicine”

Jackson Davidow was awarded £7,500 to conduct research in the United Kingdom for his dissertation “Viral Visions: Art, Epidemiology, and Spatial Practices in the Global AIDS Pandemic”

Salvatore Dellaria was awarded £7,500 to conduct research in the United Kingdom for his dissertation “James Stirling’s Southgate Estate and Architecture under Constraint in Postwar and Postmodern Britain, 1946–1992”

Erika Dupont was awarded £7,500 to conduct research in the United Kingdom for her dissertation “English Art and France during the Interwar Period: Presence and Reception of English Artists in Paris from 1919 to 1939”

Michal Goldschmidt was awarded £7,500 to conduct research in the United Kingdom for his doctoral thesis “Interwar Explorations of Empire and British Identity: Studies of Modernism in Mandate Palestine”

Christine Olson was awarded £7,500 to conduct research in the United Kingdom for her dissertation “Owen Jones and the Epistemologies of Victorian Design”

Nicholas Robbins was awarded £7,500 to conduct research in the United Kingdom for his dissertation “Oceans of Air: Landscape and the Production of Climate in the Nineteenth-Century Atlantic World”

Terra-PMC Fellowship

Alison Clarke, University of Liverpool and National Gallery, was awarded £9,500 to conduct research in the United States for a book chapter and article “British Art Dealers and American Museums: David Croal Thomson’s 1898 Visit to the United States”

Educational Programme Grants

The Art Libraries Society UK & Ireland was awarded £1,500 to support The Art Libraries Society UK & Ireland (ARLIS) conference

Association for Art History was awarded £850 to support the (Re)-forming Sculpture symposium

The Hepworth Wakefield was awarded £1,500 to support the Surrealism in Britain, 1925–1955 conference

Impressions Gallery of Photography was awarded £3,000 to support the Feed Your Mind lecture series

Irish Georgian Society was awarded £1,500 to support the Irish Silver in the Georgian Age conference

Kunstmuseum Basel was awarded £2,000 to support the Fuseli. Drama and Theatre lecture series

Manchester Metropolitan University was awarded £2,900 to support the Post-War Modernist Infrastructure conference

Museum of Classical Archaeology, University of Cambridge was awarded £2,400 to support The Humility of Plaster conference

Turner Contemporary was awarded £3,000 to support the Patrick Heron: His Painting Now symposium

UCL Art Museum was awarded £1,500 to support the Making Ends Meet: Women in Art Education symposium

University of Leeds was awarded £1,500 to support The Gregory Fellowships symposium

Research Support Grants

Grace Aneiza Ali was awarded £1,900 for research on “Frank Bowling: Mother’s House”

Roisin Astell was awarded £2,000 for research on “Form Corporeal to Divine Vision: Imagining the Spiritual Journey in Thirteenth and Fourteenth-Century Paris and Beyond”

Sarah Crellin was awarded £2,000 for research on “The Royal Academy, The Home Office and the Artists’ Refugee Committee: Establishments, Alliances and Interned Émigré artists in World War Two”

Renate Dohmen was awarded £2,000 for research on “Colonial Art in British India: Power, Gender and Race under the Raj”

Pamella Guerdat was awarded £2,000 for research on “A Heritage Under Construction: René Gimpel (1881–1945) and the Development of Private and Public Collections”

Sara Honarmand Ebrahimi was awarded £1,400 for research on “The Medical Missionaries of the Church Missionary Society (CMS) as Trust Builders”

Kate Keohane was awarded £2,000 for research on Édouard Glissant

Brittany Luberda was awarded £2,000 for research on “Hardstones on Fragile Surfaces: Negotiating Neoclassicism in the 1760s”

Christopher McGeorge was awarded £2,000 for research on “Mediums for the Masses: Stained Glass and Murals in the Age of Mechanical Reproduction”

Lydia Miller was awarded £2,000 for research on “Forging Identity: Ambrose McEvoy (1877–1927) and the development of Modern British Portraiture”

Avigail Moss was awarded £1,900 for research on “Actuarial Imaginaries of Art and Empire, 1800–1914”

Tom Nickson was awarded £1,400 for research on “Mapping Becket”

Emily Pegues was awarded £1,300 for research on “The Armored Body and Sculptural Practice in Medieval English Brass Tomb Effigies”

Kelly Presutti was awarded £2,000 for research on “Strategic Vision: Artists in the Service of the Royal Navy”

Maria Quinata was awarded £2,000 for research on Heritage Sites: Zones of Leisure, Spaces of Desire

Kate Retford was awarded £2,000 for research on “The Print Room in the Eighteenth-Century Country House”

Corinne Silva was awarded £2,000 for research on “Lines in the Landscape: Ruins and Reveals in Britain”

Tyler Jo Smith was awarded £2,000 for research on “Collecting Sir John Soane’s ‘Antique’ Vases”

Ksenia Soboleva was awarded £2,000 for research on “Lesbian Artists & the AIDS Crisis: Tessa Boffin”

Rachel Warriner was awarded £2,000 for research on “Feminist Art, the Troubles and the Politics of Apace: Nancy Spero at the Orchard Gallery, Derry”

Detail from Matthew Pratt, The American School, 1765, Metropolitan Museum, Gift of Samuel P. Avery 1897. Used to advertise the new Terra-PMC Fellowship, introduced Spring 2018

Yale in London

Yale in London continues to offer dynamic courses taught by distinguished academics from Yale, the Paul Mellon Centre for Studies in British Art, and the United Kingdom. The programme continued to accept applications from Yale’s sister campus, Yale-NUS.

Spring Term

15 January–17 April 2018

There were six students enrolled in the spring term, four of whom were from Yale and two from Yale-NUS. They were housed in flats near Paddington. Four courses were taught during the spring term: British Art and Landscape by Martin Postle, Deputy Director for Grants & Publications at the Paul Mellon Centre; Anglo-Saxons and Vikings, and Common Law and Other Law in England, both taught by Anders Winroth, Forst Family Professor of History, Department of History, Yale University; and Modern British Theatre taught by Mark Wheatley, a freelance lecturer and playwright.

The spring term saw the students participate in a wide variety of activities and visits, including visiting key London destinations as part of their studies. For the British Art and Landscape course, the students visited various locations in Wales, such as Mount Snowdon, Cader Idris and Tintern Abbey. As part of the courses on Anglo-Saxon and Viking England, the students visited York and Winchester. Their course on Common Law took the students to the Palace of Westminster and the British Library. This spring a theatre course was introduced, and the students went to see a variety of plays at theatres in the West End and on the Fringe, including Glengarry Glen Ross at the Playhouse Theatre, Mary Stuart at the Duke of York’s Theatre and The Brothers Size at the Young Vic.

Summer Session One

4 June–13 July 2018

There were thirteen students enrolled in Summer Session One. They were housed in flats in Paddington. During this session the students undertook two courses: London Theatre: The Contemporary Scene taught by Paul Walsh, Professor in the Practice of Dramaturgy and Dramatic Criticism, Yale School of

Photograph of the students from Summer Session

One of Yale in London taken at Dedham Vale

Drama; and Monuments and Memory, 1600–2018, taught by Roger Bowdler, a freelance lecturer.

The students participated in a wide variety of activities and visits, including visiting key London destinations as part of their studies. For their course on monuments, the students visited the Cenotaph, Westminster Abbey and Runnymede, and took a longer trip around Wiltshire and Oxfordshire to visit the standing stones at Avebury and the Rhodes sculpture in Oxford. For the theatre course, students saw Translations at the National Theatre, Machinal at the Almeida Theatre, The Secret Lives of Baba Segi’s Wives at the Arcola Theatre and many other productions.

Summer Session Two

2 July–9 August 2018

There were seven students enrolled in Summer Session Two. They were housed in flats near Waterloo. During this session the students took two courses: Exhibiting History: British Art & Culture at the Royal Academy, 1769–2018, taught by Sarah Victoria Turner, Deputy Director for Research, Paul Mellon Centre; and Mapping Multicultural London taught by Amy Hungerford, Dean of the Humanities Division, Bird White Housum Professor of English, and Professor of American Studies, Yale University.

The students participated in a wide variety of activities and visits, including visiting key London destinations as part of their studies. The course on the Royal Academy took the students to the Academy itself, as well as many non-Londonbased museums such as Kettle’s Yard and the Fitzwilliam in Cambridge and the Henry Moore Foundation. Mapping Multicultural London brought with it the opportunity to visit sites tied to the novels being read as part of the course, such as Brick Lane and Willesden Junction; a visit to Hampton Court Palace coupled with a riverboat tour from Hampton Court to Westminster; and a couple of visits to the theatre to see The Jungle at the Playhouse Theatre and Spun at the Arcola Theatre.

Photograph of the students from the Spring Term of Yale in London taken at the Runnymede Air Forces Memorial

Education Programme

Public Lecture Course

1 July 2017–30 June 2018

The Paul Mellon Centre began offering a series of lectures called the Public Lecture Course to members of the public in 2015. The aim of the series is to bring members of the public who have little to no background in British art history, into the Paul Mellon Centre. As part of this objective, the Public Lecture Course is completely free of charge, making it a unique opportunity for anyone with an interest in continuing their learning. The series is also broadcast and recorded every week, allowing people outside London and the United Kingdom access to the lectures. The recordings are freely available on the Paul Mellon Centre website.

In autumn 2017, the Centre offered a course titled Britain, South Asia: Entangled Histories. This series, which tied into “London, Asia” – the Centre’s ongoing collaborative project with Asia Art Archive, Hong Kong – looked at the ways in which the histories of Britain and Asia are irrevocably entangled through the lens of the shared artistic and visual cultures of both. The series was led by Sarah Victoria Turner and Hammad Nasar, who co-lead the “London, Asia” project, and featured lectures by Sandra Kemp, Rosie Dias and artists Said Adrus, David Alesworth and Sophie Ernst.

Due to popular demand, the Centre added an additional Public Lecture Course in spring 2018 and will continue to offer two courses on different subjects each academic year. The spring 2018 course was titled Thinking About Exhibitions: Interpretation, Reconstruction and Curation. This series, developed as a result of the Centre’s work on the 250th anniversary of the Royal Academy, focused on the considerations that arise out of proposing, researching and putting on an exhibition. The series focused on three exhibitions held at major institutions: Hogarth (2006–2007) at Musée du Louvre, Paris, Tate Britain, London and Caixa Forum, Barcelona; The Great Spectacle: 250 Years of the Summer Exhibition (2018) at the Royal Academy, London; and George Shaw: A Corner of a Foreign Field (2018–2019) at Yale Center for British Art, New Haven, Connecticut and the Holburne Museum, Bath. This series was led by Director of Studies at the Paul Mellon Centre, Mark Hallett, and featured contributions from curators Christine Riding and Sarah Victoria Turner and the artist George Shaw.

Educational Networks: Doctoral Researchers Network (DRN)

In spring 2017, the Paul Mellon Centre announced the creation of the Doctoral Researchers Network to sit alongside its existing Early Career Researchers Network. The network offers members the opportunity to connect with other current PhD researchers/candidates in order to create a community in which they can support and learn from one another. The Centre offers the network, space and resources to be able to host events that specifically focus on sharing information and learning new skills. The network is convened by two current PhD candidates and is overseen by the Education Programme Manager. The convenors for 2017–2018 were Tessa Kilgarriff and Emily Knight. The Doctoral Researchers Network’s first programme of events, which formally launched in autumn 2017 and spanned the 2017–2018 academic year, included “Approaching Public Engagement”, a panel discussion with Alice Purkiss (University of Oxford) and Danielle Thom (Museum of London) on their experience and the benefit of public engagement to their research; and “Digital Projects”, a workshop on how to create and contribute to digital projects, with speakers who included the Centre’s Digital Manager, Tom Scutt, and Hazel Wilkinson (University of Cambridge).

Educational Networks: Early Career Researchers (ECR) network

The Paul Mellon Centre continues to support the Early Career Researchers network that launched in 2015. Initially, the Centre’s Editorial Assistant Postdoctoral Fellow Hana Leaper convened and oversaw the network with Sophie Hatchwell. Both departed as convenors in May 2018 and, as a result, the Early Career Researchers network has now been brought in-house to be overseen by the Centre’s Education Programme Manager. The network continues to operate as before and is convened by two early career researchers.

Write on Art

In response to the decline in the teaching of art and art history in British schools, as well as the successful campaign to save the Art History A-Level, which was nearly cancelled, the Paul Mellon Centre partnered with Art UK to launch “Write on Art” in autumn 2017. Write on Art is a prize that highlights the importance of art history as an academic discipline, as well as the broader benefits of sharing ideas about art through good writing. The prize is aimed at school pupuls studying in the UK aged fifteen to eighteen. It asks students to pick a work of art from the Art UK website that fascinates them and try to persuade the reader to share their interest. The prize winner receives a £500 cash prize and their winning essay is published on the Paul Mellon Centre’s and Art UK’s respective websites. During the first round of the Write on Art prize, we received 195 submissions in total, with 45 submissions in the Year 10/11 category and 150 in the Year 12/13 category. The judging panel consisted of Gabriele Finaldi, Director of the National Gallery, Jackie Wullschlager, Chief Art Critic of the Financial Times, Turner Prize winner Jeremy Deller, cultural historian and broadcaster Janina Ramirez, and David Dibosa, Course Leader for MA in Curating and Collections at Chelsea College of Arts.

The winners of the 2017–2018 round were:

Year 12/13 category:

- First place: Catherine Jamieson, Esher College, who wrote about Bacchus and Ariadne by Titian

- Second place: Felicity MacKenzie, Godalming College, who wrote about Saint Francis in Meditation by Francisco de Zurbarán

Year 10/11 category:

- First place: Abhimanyu Gowda, King Edward VI School, Warwickshire, who wrote about British Empire Panel (11) India by Frank Brangwyn

- Second place: Sophie Mullins-Poole, Diocesan School for Girls, Grahamstown, South Africa, who wrote about George IV (1762–1830), when Prince of Wales (after Joshua Reynolds) by John Hoppner

Library and Archive

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

The most important acquisition of the year – and a significant milestone in the Centre’s history – was that of the Paul Oppé Archive and Library. The material was allocated to the Centre under the Acceptance-in-Lieu scheme and therefore is recognised as being of national importance.

Oppé (1878–1957) was a British art historian, critic, art collector and museum official. Educated at New College, Oxford, he taught at both the University of St Andrews and the University of Edinburgh (1902–1905); worked as a civil servant at the Board of Education (1905–1938); served as the Deputy Director at the Victoria and Albert Museum (1906–1907 and 1910–1913); and was elected as a Fellow of the British Academy (1952). Oppé’s collection of over 3,000 drawings from the period 1750–1850 was acquired by the Tate in 1996. He wrote many catalogues on English drawings in the Royal Collection at Windsor, as well as monographs on various artists, including Alexander Cozens, William Hogarth and Paul Sandby. He led the study of British drawings as a scholarly pursuit.

The Oppé Archive contains papers created in both a professional and personal capacity. Alongside material that reflects Oppé as an art historian, critic, museum official and art collector, it also includes a significant volume of correspondence with, and between, family members. At the heart of the archive is an extensive series of diaries and notebooks which were used to record professional appointments, everyday activities and private thoughts. Together the material presents a great source of art-historical information relating to the first half of the twentieth century.

The Oppé Library is one of the Centre’s largest and most important single acquisitions. It chiefly consists of works on fine art, especially painting and drawing, from the early eighteenth to mid-twentieth centuries, and it includes many rare titles. Particularly notable from the Centre’s point of view are the collections of important sale catalogues from the eighteenth and nineteenth centuries and treatises on art from the same period. There are some early

Photograph of various materials from the Paul Oppé Archive and Library, acquired by the Centre in October 2017

printed books from the sixteenth and seventeenth centuries that represent a departure for the Centre’s Library. This collection is more than the working library of an art historian of the time; it is the collection of a keen connoisseur and book collector and will augment the Centre’s library collections enormously. Since their acquisition in October 2017, the Oppé Archive and Library have been with Harwell Document Restoration Services in Oxfordshire receiving conservation treatment.

Centre staff continued to work with external experts to secure the installation of air-conditioning units in the Archive stores. Meetings were held with contractors, experts, architects and building-planning officers from Camden Council in order to compile the relevant plans necessary for Planning and Listed Building permissions. The application was submitted to Camden Council in June 2018. It is anticipated that formal approval will be obtained in late 2018 and that the work will take place in 2019.

Although some of the collected archives had to remain offsite because of the lack of suitable storage at the Centre, and the majority of the Paul Mellon Centre Photographic Archive also remained offsite awaiting digitisation, in-person visitor numbers to the Public Study Room totalled 896, and 199 new readers registered to use the collections. In addition, the number of remote enquiries continued to rise: statistics kept for those requiring up to twenty minutes of research indicate that 193 enquiries in this category were addressed during the year.

There were three Drawing Room Displays during 2017–2018 and these were organised by Hana Leaper, Emily Lees and Bryony Botwright-Rance respectively, all of whom were assisted by Research Collections staff. The displays featured items from the Centre’s Library and Archive collections, plus a few items borrowed specially from other institutions. Each display focused on a different theme, with one specifically related to the celebration of the Royal Academy’s 250th anniversary:

The Catalogues of the John Moores Painting Prize (27 September 2017–12 January 2018)

Publishing at the PMC: A Brief History (19 January–18 May 2018)

Supporting the Spectacle: The Summer Exhibition and its Spin-Offs (29 May–21 September 2018)

All of the displays were well received and helped to raise the profile of the Centre’s Research Collections.

In September 2017, Frankie Drummond Charig, the Archives & Library Assistant, went on maternity leave and Natasha Held was appointed as cover during her absence. Natasha was appointed as Assistant Librarian in May 2018 following Frankie’s resignation and a review of staffing in Research Collections. In December 2017, Georgina Lever completed her Archive cataloguing projects and left the Centre at the end of her contract to go travelling. Mary Peskett Smith continued to work one day a week cataloguing the part of the Library’s auction catalogue collection that was formerly owned by Arthur Tooth & Sons. She completed this work in June 2018. She also worked one day a week listing and cataloguing arts-related articles in the Brian Sewell Archive, and Stephen O’Toole also continued to list and catalogue the non-arts articles. Laura Dimmock-Jones worked from January to April 2018, helping with book processing and weeding materials from the Brian Sewell Library collection as well as re-boxing the pamphlet sequences in the Public Study Room.

During the year, Research Collections staff received training in conservation, preservation and emergency recovery, archive accreditation and digital preservation. They also continued providing talks and tours of the Research Collections, including giving a presentation titled “How to Use Archive Material” for MA students from the Courtauld Institute of Art. Research Collections staff also participated in a Centre-wide event open to students of Art History, which focused on giving guidance on researching and writing dissertations and theses. There was also a one-day workshop about the work of the Gothic Victorian architect G. E. Street, which was organised to celebrate

the Centre’s acquisition of the Paul Joyce Archive and Library in 2016. In addition, during the summer Research Collections staff again participated in London History Day (organised by Historic England) and the Bedford Square Festival.

Library

A total of 1,206 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 gifts received in the Library, a number of donated collections were received. Alongside the Oppé Library mentioned above, this included the following donations:

In July, the Attingham Trust donated a collection of books formerly in the possession of the architectural historian Dr Geoffrey Beard (1929–2015). This donation consists of approximately 50 books on architecture, interior decoration and furniture history, filling many gaps in our existing holdings.

Hope Kingsley, a curator of photography, facilitated a donation from her employer of about 60 books on photography. This donation, that came in two tranches in September and January, has added to our existing collection of materials on the history of photography, as well as augmenting our holdings on contemporary British photographers.

In November the Centre was given a large collection of books by the family of Sir Brinsley Ford (1908–1999). The collection consists of 100 books, many of which are multi-volume sets, that formed the core research library of Sir Brinsley Ford. It is rich is eighteenth- and early nineteenth-century travel accounts. This generous donation complements our existing holdings of Sir Brinsley Ford’s archive and other parts of his extensive library previously donated to the Centre.

As well as cataloguing new books and older donations, the Librarian and Assistant Librarian were engaged with sorting the donations listed above, sending them for cleaning where necessary, checking them against existing stock, weeding them and cataloguing them on the Library catalogue.

The Library’s collection development policy was re-written in February to reflect current collecting. For the past few years, the Library has begun collecting more widely, including materials on post-war and contemporary art and the history of photography. In order to communicate this to staff and readers, and after consultation with senior staff, the policy was updated and published on the Centre’s website. A full review of journal and auction catalogue subscriptions was also undertaken at the end of 2017 to reflect the revised collecting remit.

Archive

The acquisition of the Paul Oppé Archive required both the Archivist & Records Manager and the Assistant Archivist & Records Manager to liaise extensively with the donor as well as members of staff from the Arts Council, lawyers, copyright experts and conservators. They visited the collection in situ twice in order to review, assess, list and package the material ready for transportation to Harwell Document Restoration Services.

As the Centre is increasingly contacted by individuals wishing to donate archive material, a key aim for the year was to review the official Archive Collection Policy document approved by the National Archives (TNA) in 2011. Following discussion with Senior Management and staff at TNA, a revised policy was agreed and is available on the Centre’s website. In conjunction with this work, the procedure for assessing and acquiring material was also reviewed and new guidelines compiled. In pursuit of transparency and consistency, a new webpage – “Thinking of Offering Archive Material?” – was developed. This went live in March 2018 and all potential donors have since been directed to this information.

In July 2017 Georgina Lever, Project Archivist, completed cataloguing the Oliver Millar Archive. Her work was of an incredibly high standard and the resulting catalogue – launched online shortly afterwards – has generated much interest in the Collection. The number of in-person visitors consulting the material has more than doubled.

Georgina’s contract was extended and she was engaged to appraise, weed and catalogue the Paul Joyce Archive. She successfully completed this work in December 2017 and again the resulting descriptions, available online, have drawn more researchers to the resource.

Alongside the work of Mary Peskett Smith and Stephen O’Toole, Collections staff also began work cataloguing material in the Brian Sewell Archive. In addition, cataloguing of the Benedict Nicolson Archive was also commenced. For technical reasons, the Centre had previously only been able to submit collection-level descriptions to Archives Hub and Archives Portal Europe. However, following extensive work with staff at these initiatives, in January 2018 Collections staff successfully exported full catalogue descriptions to both union catalogues. This resulted in a sevenfold increase in page views: Paul Mellon Centre data was consulted 74 times in the three months prior to the work and 574 in the three months afterwards. Descriptions of newly acquired collections were also submitted to Discovery, the National Archives catalogue. All of these initiatives facilitated greater awareness of the Centre’s Archive Collections.

Institutional Archives

Following approval from Senior Management at the Centre in March 2018, the Archivist & Records Manager and Assistant Archivist & Records Manager commenced a project to implement a robust records management programme throughout the institution. Initially, this entailed compiling a project plan establishing the core aims, benefits, key stages and outcomes of the work. It also included compiling an Archives & Records Management Policy which was approved by Senior Management and is available on the Centre’s website.

Following the initial planning stage, a project timetable was drawn up for an institution-wide records audit which would involve meeting every member of staff, reviewing and revising key record-keeping tools and destroying or transferring records to the archive accordingly. This audit was commenced in May 2018 and focused initially on HR-related records. The project will continue for the next two years, by which time all Centre staff and activities will have been encompassed. In addition, the project will also consider the implementation of a system designed to cope with the challenges of preserving electronic records, including emails. Records management training is now mandatory for all staff new to the Centre.

The oral history programme continued and Frankie Drummond Charig conducted interviews with Mary Peskett Smith and Guilland Sutherland. The resulting recordings have been added to the Institutional Archives.

GDPR

In response to the new General Data Protection Regulation which came into force in the UK in May 2018 and following discussions with Senior Management, the Archivist & Records Manager was assigned a new responsibility, adding “Data Protection Manager” to her role. Having never previously adequately addressed its Data Protection requirements, it was agreed that the Centre should begin by undertaking a complete and thorough review of the personal information it processes. This would be carried out in conjunction with the records management project. Starting with the HR activity, the Data Protection Manager has liaised with staff to review and revise working practices and compile and update contracts, forms and key legal documents in order to secure compliance. Completing this work across the Centre is likely to take two years. A Data Protection Policy has also been compiled and is available on the Centre’s website.

Special Projects

The Royal Academy Chronicle

The year 2018 saw the culmination of one of the Paul Mellon Centre’s most innovative and ambitious research projects: The Royal Academy Summer Exhibition: A Chronicle, 1769–2018. The RA Chronicle is a digital publication that explores the history of the Summer Exhibition at the Royal Academy of Arts in London. Scholarly, research-based essays and films examining key artists, artworks and events from each individual year’s exhibition are accompanied by 250 completely digitised and searchable copies of the accompanying exhibition catalogues. This repository of original research and primary source material is intended to shine new light on British art, its exhibition histories and its publics, and to encourage further innovative study. The RA Chronicle was edited by Professor Mark Hallett, Dr Sarah Victoria Turner and Dr Jessica Feather, working with their colleagues Baillie Card, Tom Scutt and Maisoon Rehani.

The RA Chronicle was launched on 30 May 2018 to coincide with the 250th anniversary year of the annual exhibition of contemporary art at the Royal Academy, and with the exhibition The Great Spectacle: 250 Years of the Summer Exhibition, which was co-curated by the Centre’s Professor Hallett and Dr Turner.

London, Asia

The “London, Asia” research project is co-led by Dr Sarah Victoria Turner and Hammad Nasar. It posits London as a key, yet under-explored, site in the construction of art-historical narratives in and of Asia, and examines the city’s influence through exhibitions, institutions and art education. “London, Asia” also reflects on the ways in which the growing field of modern and contemporary art history in Asia intersects with, and challenges, existing histories of British art. It is a collaborative research project with the Asia Art Archive, Hong Kong.

Photograph by Anna Testar of The Great Spectacle: 250 Years of the Summer Exhibition which took place at the Royal Academy during Summer 2018

This partnership has been cemented through the “London, Asia” Research Award, which offers a stipend of $10,000 for a researcher to spend time at both the Paul Mellon Centre and the Asia Art Archive exploring a theme pertinent to the project. The first award holder was Sarena Abdullah, Senior Lecturer at the School of the Arts, Universiti Sains Malaysia (USM), whose work explores the artistic relationship between Malaysia and Britain in the 1950s and 1960s. She presented her findings at a research event entitled “The Commonwealth Institute: Contexts, Collaborations, Contestations”. In the autumn of 2017, Dr Turner and Hammad Nasar co-taught “Britain, South Asia: Entangled Histories”, one of the Centre’s five-week Public Lecture Courses, allowing the research generated by the project to be shared with a broader audience. In January 2018 the project brought together researchers working on exhibition histories for a workshop in preparation for the publication of a “London, Asia” special issue of British Art Studies. This will feature essays, filmed conversations and digital projects exploring how exhibitions have been key sites for the cultural interchange of British and Asian art practices and histories.

Collections and Display: The British Country House

The Paul Mellon Centre research project, “Collection and Display: The British Country House”, led by Dr Postle, focuses on the collection and display of works of art in the country house in Britain from the sixteenth century to the present day.

The project is based on the intensive study of eight individual houses, carefully selected so as to ensure a broad range of examples – appropriately varied in terms of their chronology, location and scale, and rich in terms of their holdings, their inventories and their information regarding the display of works of art during their histories. It also draws on the Paul Mellon Centre’s own extensive research resources, which include much that is of relevance: archival materials,

correspondence, country house guides, sales catalogues, books, photographs and newly commissioned images. The eight houses selected as case studies are Castle Howard, Yorkshire; Doddington Hall, Lincolnshire; Mells Manor, Somerset; Mount Stuart, Isle of Bute; Petworth, West Sussex; Raynham Hall, Norfolk; Trewithen, Cornwall; and West Wycombe Park, Buckinghamshire. The results of the research are to be published online by the Paul Mellon Centre in the summer of 2020.

This year, writing and research was completed on Doddington Hall, including a catalogue of the painting collection and essays relating to aspects of the display history. In August 2017, Dr Postle organised and participated in a research trip to Trewithen, Cornwall. The findings of the research were written up, peer-reviewed and edited over the following months, and were completed by the spring of 2018. A number of research trips were also organised by Dr Postle, including visits to Raynham Hall and Mount Stuart. Dr Postle also commissioned new pieces of research, including a catalogue of Raynham Hall’s picture collection and a history of the collection at Mount Stuart.

Several study days were held for contributors to the project, including owners, curators, academics and invited scholars. They focused on Petworth House in October 2017, organised by Allen Fellow Dr Jessica Feather and Andrew Loukes, curator at Petworth, and West Wycombe Park in March 2018, organised by Dr Adriano Aymonino, Dr Clare Hornsby and Dr Postle. A workshop for contributors and invited scholars, based around the eight case studies, was held at the Paul Mellon Centre in October 2017. In the spring of 2018, Dr Postle commenced the planning for research on Mells Manor, to be conducted in the autumn of 2018 and spring of 2019.

Staff Activities

June 2018 saw the opening of the critically acclaimed international loan exhibition, The Great Spectacle: 250 Years of the Royal Academy Summer Exhibition, which Professor Hallett co-curated at London's Royal Academy of Arts. He also wrote the accompanying catalogue with his co-curator Dr Sarah Victoria Turner, also of the Paul Mellon Centre. During the run of the exhibition, he gave numerous talks, lectures and tours, and participated in a series of associated workshops and seminars. He also coordinated and contributed to a thematically related Public Lecture Course at the PMC in the spring of 2018, entitled Thinking about Exhibitions: Interpretation, Reconstruction and Curation.

Professor Hallett, again working with Dr Turner, and with our Allen Fellow Dr Jessica Feather, also co-edited and made a major contribution to the related online publication, The Royal Academy Summer Exhibition: A Chronicle, 1769–2018 This is one of the world’s most ambitious online publications in the field of art history. It features more than ninety authors writing about every one of the 250 Summer Exhibitions that have taken place at the Royal Academy since 1769, and offers a digitised, searchable facsimile of every exhibition catalogue.

The period covered in this report also saw Professor Hallett preparing intensively for the exhibition George Shaw: A Corner of a Foreign Field, which was to open in October 2018 at the Yale Center for British Art, before moving to the Holburne Museum in Bath in February 2019. Professor Hallett, as lead curator of the exhibition, also prepared the accompanying catalogue – for which he acted as editor and chief contributor – for publication.

Front cover of The Great Spectacle: 250 Years of the Summer Exhibition catalogue, written by Mark Hallett and Sarah Turner

Mark Hallett

Martin Postle

Dr Postle’s research role at the Centre continued to be focused principally on the project he is currently leading, “Collection and Display: The British Country House”. In August 2017 Dr Postle organised and participated in a research trip to Trewithen, Cornwall. He also made other research visits with colleagues to Raynham Hall, Norfolk, and participated in a study day at Petworth House, Sussex, as well as attending a symposium, The Art of Power, held at the Hunterian Museum, Glasgow, and at Mount Stuart on the Isle of Bute, where he conducted research.

Dr Postle attended and chaired sessions at academic conferences throughout the year, including Landscape Now, the Artists’ Studios conference at Fairfax House, York, and the Jewish Country House conference at the University of Oxford and Waddesdon Manor. In May 2018 Dr Postle delivered a research paper at the conference, American Latium, in Rome. His publications included a chapter on the Cast Collection at the Royal Academy in Robin Simon and MaryAnne Stevens’s (eds.), The Royal Academy of Arts: History and Collections, published by the Paul Mellon Centre in association with the Royal Academy of Arts in the spring of 2018.

Dr Postle served 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: National Network for Constable Studies (a touring exhibition project for John Constable’s Salisbury Cathedral from the Meadows). Dr Postle was also appointed to the Council of the Attingham Trust, and as a Trustee of the Catalogue Raisonné of Works by Philip de László.

In June 2018, The Great Spectacle: 250 Years of the Royal Academy Summer Exhibition, an exhibition of over ninety works of art and archive material, which Dr Turner co-curated with Professor Mark Hallett, opened at the Royal Academy of Arts in London in its 250th anniversary year. This was accompanied by a catalogue, co-written by Professor Hallett and Dr Turner and published by RA Publishing, as well as the release of a major Paul Mellon Centre digital project, The Royal Academy Summer Exhibition: A Chronicle, 1769–2018 at www.chronicle250. com, of which Dr Turner was a co-editor and author of a number of texts. Research and preparation for these major events and publications occupied much of 2017–2018, although Dr Turner found time to research and write essays for two other projects: “Savagery, Just Beneath the Surface: William Crozier’s Early Work” for the catalogue of an exhibition of the Irish artist William Crozier at the Irish Museum of Modern Art in early 2018, and another on the portrait work of the contemporary artist Eileen Hogan, who will have a retrospective exhibition at the Yale Center for British Art in the spring of 2019.

In the academic year 2017–2018, Dr Turner continued her appointment as Visiting Senior Lecturer at the Courtauld Institute of Art and taught the Masters Special Option, “Making the Modern: Art and Visual Culture in Britain, 1890–1970”. Dr Turner also remained on the Steering Group of the Arts Council England Subject Specialist Network for British Art, based at Tate Britain.

Sarah Victoria Turner

Appendix

Cumulative List of Publications since 1970 (SBA: Studies in British Art series)

1971

Ronald Paulson, Hogarth: His Life, Art, and 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 and His Circle, 2 vols.

1975

Leonée and 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 and Mary Stevens, The Norwich Society of Artists, 1805–1833

1977

Nicholas Penny, Church Monuments in Romantic England

Robin Gibson, Catalogue of Portraits in the Collection of the Earl of Clarendon (privately published for PMC by BAS Printers Ltd)

Martin Butlin and Evelyn Joll, The Paintings of J. M. W. Turner (rev. edn 1984), 2 vols.

1978–84

K. Garlick and A. MacIntyre (eds.), The Diary of Joseph Farington, 16 vols.

1978

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

1979

Anthony Quiney, John Loughborough Pearson

William Vaughan, German Romanticism and English Art

George P. Landow, William Holman Hunt and Typological Symbolism

1980

Kathryn Moore Heleniak, William Mulready

Andrew McLaren Young, Margaret MacDonald, Robin Spencer and 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 for PMC)

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

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

Virginia Surtees (ed.), The Diary of Ford Madox Brown

1982

Hugh Brigstocke, William Buchanan and the 19th-Century Art Trade (privately 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 and Drawings of John Constable, 2 vols.

Terry Friedman, James Gibbs

1985

Richard Dorment, Alfred Gilbert

Rüdiger Joppien and 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 and David Blayney Brown, Collector of Genius: A Life of Sir George Beaumont

Stephen Deuchar, Sporting Art in Eighteenth-Century England: A Social and Political History

Bernard Smith and Alwyne Wheeler (eds.), 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: The British Collector at Home, 1750–1850

1991

Christopher Gilbert, English Vernacular Furniture, 1750–1900

1992

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

1993

David H. Solkin, Painting for Money: The Visual Arts and the Public Sphere in Eighteenth-Century England

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

David Bindman and Gottfried Riemann (eds.), Karl Friedrich Schinkel, The English Journey: Journal of a Visit to France and Britain in 1826

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

Marcia Pointon, Hanging the Head: Portraiture and Social Formation in Eighteenth-Century England

1994

Sam Smiles, The Image of Antiquity: Ancient Britain and 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 and Stefan Muthesius, Tower Block: Modern Public Housing in England, Scotland, Wales and Northern Ireland

1995

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

David Bindman and Malcolm Baker, Roubiliac and the Eighteenth-Century Monument: Sculpture as Theatre

Brian Allen (ed.), Towards a Modern Art World: Studies in British Art 1 (SBA 1)

Lucy Gent (ed.), 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 and the Plantagenets: Kingship and the Representation of Power, 1200–1400

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

1996

Chloe Chard and Helen Langdon (eds.), Transports: Travel, Pleasure, and 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 C. Bristow, Interior House-Painting Colours and Technology, 1615–1840

Ian C. Bristow, Architectural Colour in British Interiors, 1615–1840

Charlotte Klonk, Science and the Perception of Nature: British Landscape Art in the Late Eighteenth and Early Nineteenth Centuries

Brian T. Allen and Larissa Dukelskaya (eds.), British Art Treasures from Russian Imperial Collections in the Hermitage

1997

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

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

Kay Dian Kriz, The Idea of the English Landscape Painter: Genius as Alibi in the Early Nineteenth Century

Timothy Clayton, The English Print, 1688–1802

Jeffrey M. Muller and Jim Murrell (eds.), Edward Norgate: Miniatura or the Art of Limning

Ronald Paulson (ed.), William Hogarth: The Analysis of Beauty

Robert R. Wark (ed.), Discourses on Art: Sir Joshua Reynolds

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

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

1998

Richard Ormond and Elaine Kilmurray, John Singer Sargent: The Early Portraits; The Complete Paintings, Vol. I

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

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

1999

Ellen D’Oench, Copper into Gold: Prints by John Raphael Smith (1751–1812)

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

Katharine Lochnan (ed.), 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 and Stuart Harrison, Rievaulx Abbey

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

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

John Summerson, Inigo Jones (rev. edn.)

Ruth Bromberg, Walter Sickert Prints

Paul Edwards, Wyndham Lewis: Painter and Writer

Roy Strong, The Artist and the Garden

Chris Brooks, The Albert Memorial: The Prince Consort National Memorial; its History, Contexts and Conservation

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

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

John Ingamells and John Edgcumbe (eds.), The Letters of Sir Joshua Reynolds

John Hayes (ed.), The Letters of Thomas Gainsborough

Alastair Grieve, Whistler’s Venice

Christine Stevenson, Medicine and Magnificence: British Hospital and 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 (2nd edn.)

G. E. Bentley, The Stranger from Paradise: 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 in Britain During the Cold War, 1945–60

David Solkin (ed.), Art on the Line: The Royal Academy Exhibitions at Somerset House, 1780–1836

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

Pauline Croft (ed.), Patronage, Culture and Power: The Early Cecils, 1558–1612 (SBA 8)

2002

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

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

Sara Stevenson, The Personal Art of David Octavius Hill

Anne Crookshank and the Knight of Glin, Ireland’s Painters, 1600–1940

Larissa Dukelskaya and Andrew Moore (eds.), 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 and Elaine Kilmurray, John Singer Sargent: Portraits of the 1890s; The Complete Paintings, Vol. II

Vaughan Hart, Nicholas Hawksmoor: Rebuilding Ancient Wonders

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 and Rome

John Summerson, ed. Howard Colvin, Georgian London

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

Edward Chaney (ed.), The Evolution of English Collecting: The Reception of Italian Art in the Tudor and Stuart Periods (SBA 12)

Kathryn A. Morrison, English Shops and Shopping: An Architectural History

Simon Thurley, Hampton Court: A Social and Architectural History

2004

Richard Ormond and Elaine Kilmurray, John Singer Sargent: The Later Portraits; The Complete Paintings: Vol. III

Anthony Quiney, Town Houses of Medieval Britain

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

Peter Guillery, The Small House in Eighteenth-Century London

Bruce Laughton, William Coldstream

Susan J. Barnes, Nora De Poorter, Oliver Millar and Horst 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

Julian Holder and Steven Parissien (eds.), The Architecture of British Transport in the Twentieth Century (SBA 13)

Giles Worsley, The British Stable: An Architectural and Social History

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: Architecture and Landscape in the Sixteenth and Early Seventeenth Centuries

Martin Hammer, Bacon and Sutherland: Patterns of Affinity in British Culture of the 1940s

2005

Chris Miele (ed.), 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 Nineteenth-Century 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, Bodybuilding: 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 Eighteenth-Century England

Angela Rosenthal, Angelica Kauffman: Art and Sensibility

2006

Frank Salmon (ed.), 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 English Gothic: Architecture and Identity, 1150–1250

Richard Ormond and Elaine Kilmurray, John Singer Sargent: Figures and Landscapes, 1874–1882; The Complete Paintings, Vol. IV

2007

Giles Worsley, Inigo Jones and the European Classicist Tradition

The Knight of Glin and James Peill, Irish Furniture

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

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: Catalogue Raisonné

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

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

2008

Julia Marciari Alexander and Catharine MacLeod (eds.), Politics, Transgression, and Representation at the Court of Charles II (SBA 18, published by Yale University Press, New Haven)

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

Philip Temple (ed.), Survey of London Vol. XLVI: South and East Clerkenwell and Vol. XLVII: Northern Clerkenwell and Pentonville

Kay Dian Kriz, Slavery, Sugar, and the Culture of Refinement

Vaughan Hart, Sir John Vanbrugh: Storyteller in Stone

Andor Gomme and 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

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

2009

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

Richard Ormond and Elaine Kilmurray, John Singer Sargent: Venetian Figures and Landscapes, 1898–1913; The Complete Paintings, Vol. 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: Its Rise and Fall, 1540–1640

Robert Hewison, Ruskin on Venice: “The Paradise of Cities”

2010

Jason M. Kelly, The Society of Dilettanti: Archaeology and Identity in the British Enlightenment

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. edn.)

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

Morna O’Neill and Michael Hatt (eds.), 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, Survey of London: The Charterhouse (Monograph 18)

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

Tara Hamling, Decorating the ‘Godly’ Household: Religious Art in Post-Reformation Britain

Mark Crinson and Claire Zimmerman (eds.), Neo-avant-garde and Postmodern: Postwar Architecture in Britain and Beyond (SBA 21)

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

2011

John Goodall, The English Castle: 1066–1650

Richard Fawcett, The Architecture of the Scottish Medieval Church, 1100–1560

Sharman Kadish, The Synagogues of Britain and Ireland: An Architectural and Social History

Elizaveta Renne, Sixteenth- to Nineteenth-Century British Painting: State Hermitage Museum Catalogue

Terry Friedman, The Eighteenth-Century Church in Britain

John E. Crowley, Imperial Landscape: Britain’s Global Visual Culture, 1745–1820

Mary Webster, Johan Zoffany

David Coke and Alan Borg, Vauxhall Gardens: A History

Geoff Quilley, Empire to Nation: Art, History and the Visualization 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

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

Cinzia Maria Sicca and Louis Waldman (eds.), The Anglo-Florentine Renaissance: Art for the Early Tudors (SBA 22)

María Dolores Sánchez-Jáuregui Alpañés 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 and Elaine Kilmurray, John Singer Sargent: Figures and Landscapes, 1900–1907; The Complete Paintings, Vol. VII

Kathryn A. Morrison and 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. Alex 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 Eighteenth-Century 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

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, The Landscapes of London: The City, the Country and the Suburbs, 1660–1840

Mirjam Brusius, Katrina Dean, Chitra Ramalingam (eds.), William Henry Fox Talbot: Beyond Photography (SBA 23)

2014

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 and Elaine Kilmurray, John Singer Sargent: Figures and Landscapes, 1908–1913; The Complete Paintings, Vol. 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 and the Later Gothic Revival in Britain and America

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

2015

David Brown (ed.), 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 EighteenthCentury Architectural Experience and Theory

Arthur MacGregor (ed.), The Cobbe Cabinet of Curiosities: An Anglo-Irish Country House 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

Elain 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

Erin Griffey, On Display: Henrietta Maria and the Materials of Magnificence at the Stuart Court

Susan Rather, The American School: Artists and Status in the Late Colonial and Early National Era

Edgar Peters Bowron, Pompeo Batoni: A Complete Catalogue of His Paintings

Eric Shanes, Young Mr Turner: The First Forty Years, 1775–1815

Linda Gertner Zatlin, Aubrey Beardsley: A Catalogue Raisonné

Mark Hallett, Nigel Llewellyn and Martin Myrone, Court, Country, City: British Art and Architecture, 1660–1735 (SBA 24)

Patricia McCarthy, Life in the Country House in Georgian Ireland

Kathryn A. Morrison, John Cattell, Emily Cole, Nick Hill and Pete Smith, Apethorpe: The Story of an English Country House

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 Pre-Raphaelites to the First World War

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

Penelope Curtis, Sculpture: Vertical, Horizontal, Closed, Open

Lynda Nead, The Tiger in the Smoke: Art and Culture in Post-War Britain

Kate Retford, The Conversation Piece: Making Modern Art in 18th-Century Britain

Tara Hamling and Catherine Richardson, A Day at Home in Early Modern England: Material Culture and Domestic Life, 1500–1700

Philip Temple and Colin Thom (eds.), Survey of London Vols. LI and LII: SouthEast Marylebone, 2 vols.

2018

Robin Simon with MaryAnne Stevens, The Royal Academy of Arts: History and Collections

Jill Francis, Gardens and Gardening in Early Modern England and Wales

John Holmes, The Pre-Raphaelites and Science

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 Yale Center for British Art

Members

Tim Barringer

Paul Mellon Professor History of Art

Marvin Chun (from 5 February 2018)

Dean of Yale College; Richard M. Colgate Professor of Psychology; Neuroscience; Cognitive Science

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

Jonathan Holloway (until 30 June 2017)

Dean of Yale College; Edmund S. Morgan Professor of American Studies, African American Studies, and Professor of History and American Studies

Pericles Lewis (from 5 February 2018) Professor of Comparative Literature; Vice President for Global Strategy and Deputy Provost for International Affairs

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

J. 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

National Galleries of Scotland

Anthony Geraghty

University of York

Richard Marks

University of York

David Mellor

University of Sussex

Martin Myrone

Tate Britain

Lynda Nead

Birkbeck

Andrew Saint

English Heritage

MaryAnne Stevens

Art Historian and Curator

Simon Wallis

The Hepworth Gallery

Shearer West

University of Sheffield