Paul Mellon Centre — Annual Report 2018–2019

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

Bryony Botwright-Rance

Archivist & Records and Data Protection Manager

Charlotte Brunskill

Editor

Baillie Card

Finance Officer

Linda Constantine

Archives Project Cataloguer

(From 8th April 2019)

Anthony Day

Fellowships, Grants & Communications Manager

Harriet Fisher

Events Manager

Ella Fleming

Librarian

Emma Floyd

Assistant Librarian

Natasha Held

Assistant Archivist & Records Manager

Jenny Hill

Events Manager (Maternity Cover)

(From 1st October 2018)

Tom Knowles

Editor

Emily Lees

Office Administrator

Stephen O'Toole

Office Manager

(To 31st December 2018)

Operations Manager

(From 1st January 2019)

Suzannah Pearson

Editorial Assistant

(From 29th October 2018)

Tom Powell

Digital Officer

(From 29th October 2018)

Alice Read

Picture Researcher

Maisoon Rehani

Finance & Administration Officer

Barbara Ruddick

Digital Manager

Tom Scutt

Research Collections Cataloguer

Mary Peskett Smith

Premises Officer

George Szwejkowski

HR Manager

Barbara Waugh

Cover: George Shaw, Ash Wednesday: 8:30am (detail), 2004–5, humbrol enamel on board, 91 x 121 cm. Ian and Mercedes Stoutzker Collection, London. Promised gift to Tate, London

Board of Governors & Advisory Council

Board of Governors

Governors

Peter Salovey President of Yale University

Benjamin Polak Provost of the University

Stephen C. Murphy Vice President for Finance and Chief Financial Officer of the University

Amy Meyers Director of Yale Center for British Art (left 30 June 2019)

Members

Tim Barringer

Department Chair; Paul Mellon Professor in the History of Art

Marvin Chun

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

Edward S. Cooke, Jr

Charles F. Montgomery Professor in the History of Art and Professor of American Studies

Susan Gibbons

Stephen F. Gates ’68 University Librarian and Deputy Provost for Collections & Scholarly Communication (Joined 25 February 2019)

Pericles Lewis

Vice President for Global Strategy and Deputy Provost for International Affairs and Douglas Tracy Smith Professor of Comparative Literature

Jules D. Prown

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

Edwin C. Schroeder Director of the Beinecke Rare Book and Manuscript Library & Associate University Librarian

J. Lloyd Suttle Deputy Provost for Academic Resources

Keith Wrightson

Randolph W. Townsend Jr. Professor of History

Advisory Council

Christopher Breward

National Galleries of Scotland

Tarnya Cooper National Trust

Anthony Geraghty University of York

Julian Luxford

University of St Andrews

David Mellor

University of Sussex

Martin Myrone

Tate Britain

Lynda Nead

Birkbeck

Christine Riding

Royal Museums Greenwich

MaryAnne Stevens

Art Historian and Curator

Andrew Saint

English Heritage

Nicholas Tromans

Christie’s Education

Simon Wallis

The Hepworth Wakefield

Introduction

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

As the pages of this report will demonstrate, 2018–2019 saw the Centre maintaining its busy and successful schedule of scholarly events and implementing a substantial grants and fellowship programme. We continued developing our prize-winning publishing activities, both in print and online, organised a succession of well-received Yale in London courses and reached out to new audiences with our Public Lecture Courses and Write on Art essay competition. Our library and archive continued to grow, and members of the Centre completed a series of major scholarly research projects.

We also embarked upon an important new partnership with Tate Britain to jointly manage the British Art Network. This network, which is becoming ever more international in scope, brings together curators, academics and other art-world professionals, and is designed to foster the sharing of expertise and research on British art across a wide range of cultural organisations. At a time when so much of the arts sector in Britain is struggling due to financial cuts, and when curatorial morale across the nation’s regional museums and galleries is often very low, the network provides a much-needed form of resource and support. Its focus on research in the field of British art studies also provides a perfect match for the Centre’s own mission and aims. We anticipate taking the network into a new, far more ambitious and high-profile phase of its history.

The year also saw us paying our fond farewells to Amy Meyers, who stepped down from the Directorship of the Yale Center for British Art in the summer of 2019. Amy, whose portfolio of responsibilities included that of overseeing the Paul Mellon Centre, had served as a wonderful source of wisdom and support throughout her seventeen-year Directorship, and it was a pleasure to be able to say a proper good-bye to her at a series of events in London. The same events also offered us the opportunity to welcome her successor, Courtney Martin, with whom we look forward to working in the years to come.

Mark Hallett Director of Studies

Write on Art Prize 2018–2019 award ceremony, Bedford Square, London. Photo: Dani Tagen

Academic Activities

The Centre’s academic activities programme continues to expand and diversify. Over the year we have welcomed researchers, curators, art professionals, students and members of the general public from across the UK and internationally to our events, both physically into the Centre and virtually via our website. We are always thinking about new ways to communicate the importance of British art, culture and heritage to wider audiences and to foster new collaborations. The Bedford Square Festival is indicative of this. In July 2018, we co-organised its second iteration in partnership with our neighbouring cultural organisations in the historic square in which the Centre is based. The programme included lectures, workshops, walking tours and ‘open house’ events, with an ethos of opening up what we do to new audiences. There is already evidence that members of the public who have encountered the Centre for the first time through the Festival have come back to visit and use our resources. As the Centre approaches its fiftieth anniversary, we are also creating an audience development plan and have held two internal workshops to support this work. Our ambition is to create new and more diverse audiences to ensure that our work remains relevant and vibrant as we enter the next fifty years of the Centre’s history.

The list of events included in this report gives a sense of the richness of the research culture in the field of British art. We always encourage researchers at different stages of their careers to interact with us. Our research lunches often showcase unpublished work by PhD students and provide a supportive environment in which to receive critical feedback. The Centre’s Wednesday evening research seminars have similarly offered more established scholars the opportunity to present soon-to-be or recently published work. The year 2019 also included the very popular Mellon Lectures given by Professor Tim Barringer (Yale University), titled ‘Global Landscape in the Age of Empire’, held at the National Gallery in London, and supported by a programme of workshops at the PMC. In financially difficult times for the museum and gallery sector, the PMC’s support often enables collaborative events, especially large-scale conferences, to take place alongside an exhibition. We are delighted to have co-organised such conferences and workshops with a number of museum partners this year, including the Garden Museum, Manchester Art Gallery and the National Portrait Gallery.

William Hodges, A View of Matavai Bay in the Island of Otaheite (Tahiti) (detail), 1776, oil on canvas. Yale Center for British Art, Paul Mellon Collection

Academic Activities 2018–2019

4–7 July 2018

Bedford Square Festival

Art, architecture and cultural festival developed by the Paul Mellon Centre with partner organisations Yale University Press, the Architectural Association, Sotheby’s Institute of Art and the New College of the Humanities

10 July 2018

Book Launch: John Holmes, The Pre-Raphaelites and Science

12 July 2018

Book Launch: Robin Simon, ed., The Royal Academy of Arts: History and Collections

19–20 July 2018

Frenemies: Friendship, Enmity and Rivalry in British Art, 1769–2018

Conference held at the Royal Academy of Arts, London

Christopher Le Brun, Mark Ledbury and Georgina Cole, Welcome and Introduction

Martin Postle, ‘“Alas, Poor Sir Joshua!”: James Barry and the Gentle Art of Making Frenemies’

Esther Chadwick, ‘Mortimer’s Reynolds: Imitation and Independence in the Fifteen Etchings (1778)’

Chaired by Georgina Cole

Wendy Bellion, ‘Formal Old Fools?

Joseph Wilton Sculpts William Pitt’

Zoë Dostal, ‘Alliances, Grievances, and Failed Ambitions in Henry Singleton’s Royal Academicians’

Chaired by Mark Ledbury

Pamela Fletcher, ‘A Victorian Networker: The Case of Augustus Egg’

Robert Wilkes, ‘“My Quondam Friend”: Frederic George Stephens, William Holman Hunt and the Pre-Raphaelitism controversy’

Chaired by Sarah Victoria Turner

Georgina Cole, Mark Hallett, Martin Myrone and Martin Postle, ‘A World of Frenemies: Reading Joseph Farington’s Diaries’

David Cottington, ‘Affective Relations and Professionalism: Friendship and the Artistic Avant-garde in London and Paris c.1888–1915’

Eleanor Jones, ‘Barbara Ker-Seymer and Edward Burra: Staging and Framing Friendship in Interwar British Art’

Chaired by Sarah Victoria Turner

Benjamin Harvey, ‘The Society of Frenemies: Roger Fry, Walter Sickert, and the Art of Paul Cézanne’

Helen Ritchie ‘“Working by hand to please ourselves…”: Bernard Leach and William Staite Murray’

Chaired by Mark Ledbury

Hester Westley, ‘The Family We Choose: Informing Friendships in the Art School Studio from the “Artist’s’ Lives” Archive’

Hammad Nasar, ‘Cumbrian Cosmopolitanisms: Li Yuanchia & Friends’

Amy Tobin, ‘Sibling Rivalry in the Women’s Art Movement’

Chaired by Mark Hallett

Charles Saumarez Smith, Mark Hallett, Sarah Victoria Turner, Georgina Cole and Mark Ledbury, Final wrap-up

20 September 2018

Research in Regional Museums

Workshop held at Millennium Gallery: Museums Sheffield

Martin Postle, Introduction to the themes of the workshop

10-minute presentations:

Julie Milne, Tyne & Wear Archives & Museums

Sian Brown, Museums Sheffield

Lucy Bamford, Joseph Wright Collection, Derby Museums

Sophie Heath, Wolverhampton Art Gallery

Deborah Dean, Nottingham City Museums and Galleries

Elizabeth Simpson, Leeds Art Gallery

Anna Smalley, Tullie House Museum & Art Gallery Trust, Carlisle

Alice Swatton, Leamington Spa Art Gallery & Museum

Tim Procter, Leeds University Library

Julie Brown, The New Art Gallery, Walsall

Gill Hedley, Independent curator

Alexandra Hodby, Chatsworth

Pippa Oldfield, Impressions Gallery, Bradford

Steven Parissien, Compton Verney Art Gallery and Park

Autumn Research Lunch Series 2018

5 October Nicole Cochrane, ‘Ancient Sculpture & the Narratives of Collecting: (Re)Contextualising the Collection & Display of Classical Art in Britain’

26 October Clare Hornsby and Rodolfo Acevedo Rodriguez, ‘Neo-classical Display in the Suburbs: Recreating a Lost Adam Garden Temple Built for George Bubb Dodington’

2 November Alice Ottazzi, ‘From London to Paris: Defining the British School Through Printmaking’

16 November Rosie Ram, ‘The Central School of Arts and Crafts: An “informal nucleus” of Collaborative Practices in Post-War London’

Autumn Research Seminar Series 2018

17 October Paul Binski, ‘Gothic Sculpture: Idols Old and New’

31 October Sharon Hecker, ‘Medardo Rosso’s London Networks’

7 November Ben Thomas, ‘R. B. Kitaj and the Revolution in History Painting’

21 November Hana Leaper, ‘A Famous Women “Dinner Party”’: Film screening, talk, discussion and reception

16 October 2018

Research in Regional Museums

Workshop held at the Holburne Museum, Bath

Martin Postle, Introduction to the themes of the workshop

10-minute presentations on affiliated institution:

Alistair Burtenshaw, Watts Gallery, Compton

Jenny Gaschke, Bristol Museum and Art Gallery

Robert Wenley, The Barber Institute of Fine Arts, Birmingham

Fiona Corridan, Manchester City Art Gallery

Julie Finch, The Wilson, Cheltenham

Amina Wright, Holburne Museum, Bath

Chaired by Mark Hallett

Nathalie Levi, Royal West of England Academy, Bristol

Rupert Goulding, National Trust, South West Region

Anne Pritchard, National Museum Wales, Cardiff

Katy Freer, Glynn Vivian Art Gallery, Swansea

Michele Green, Royal Albert Memorial Museum, Exeter

Emma Phillip, Plymouth City Museum and Art Gallery

Chaired by Chris Stephens

Francesca Vanke, Norfolk Museums Service

Rebecca Bridgman, Birmingham Museums Trust

Jon Benington, Victoria Art Gallery, Bath

Amy Frost, Bath Preservation Trust

Chaired by Oliver Cox

Mark Hallett, Plenary discussion and summary

18 October 2018

Lecture: The Art of Protest, Suffrage and the Summer Exhibition (Part of Bloomsbury Festival)

Sarah Victoria Turner

13 November 2018

Digitising the Paul Mellon Centre's Photo Archive

Workshop held at the Paul Mellon Centre

Mark Hallett, Welcome and Introduction

Charlotte Brunskill, ‘History of the PMC’s Photo Archive’

Tom Scutt, ‘Our Approach to Digitisation; Methodology; Process; Our Project in the Context of PHAROS’

Sarah Victoria Turner, ‘The Photo Archive as Research Project; Research Potential; Aims and Objectives for Website’

Tom Bilson and Faye Fornasier, ‘Digitising the Witt & Conway Libraries’

Andrew Shore, ‘Bringing the Nation’s Art to Life: Art UK and Telling Stories with Digital Content’

Deborah Schultz, ‘Photo Archives and the History of Photography’

Photo Archives group activity:

Searching: How do you search a photo archive?

Charlotte Brunskill, Scott Thomas Buckle, Richard Gartner, Francesca Issatt, Tessa Kilgarriff, Martin Postle, Maisoon Rehani, Paul Spencer-Longhurst, Laura Valentine

Narratives and Interpretation: What other kinds of interpretative content would be useful to provide?

Baillie Card, Rembrandt Duits, Faye Fornasier, Gareth Hawker, Tom Powell, Ruby Rees Sheridan, Alice Reid, Andrew Shore, Melanie Veasey

Metadata: What information is most important?

Maria Agra Bermejo, Tom Bilson, Crestina Forcina, Jenny Hill, Freya Levett, Raphaële Mouren, Denis Pellerin, Ella Ravilious, Tom Scutt, Richard Stephens

Historiography and Research: What can this collection tell us about the historiography of British art (and also the PMC)?

Ed Bottoms, Michael Daley, Emma Floyd, Mark Hallett, Deborah Schultz, Helen Trompeteler, Sarah Victoria Turner, Jonny Yarker

Tessa Kilgarriff, Jonny Yarker and Paul Spencer-Longhurst, ‘User Narratives’

23 November 2018

The British Country House: Collection and Display

Workshop held at the Paul Mellon Centre

Martin Postle, ‘Progress Report on the Project, including Individual Case Studies’

Oliver Cox, ‘Patronage and the Power House’

Jonny Yarker, ‘The Fabrication of the Past’

David Adshead, ‘Architecture, Collection and Display’

Kate Retford, ‘Conversation in the Country House’

Jocelyn Anderson, ‘Visiting Collections in the Country House’

Ben Cowell, ‘Strategies for Collecting and Display in the Country House in the 20th and 21st Centuries’

29–30 November 2018

Portraiture & Biography

Conference held at the National Portrait Gallery, London

Day One

Nicholas Cullinan, Welcome

Lucy Peltz, Introduction

Meredith Gamer, ‘Of Sitters and Subjects: William Hunter and the Anatomical Portrait’

Lejla Mrgan, ‘The Bewildering Silence of Bertel Thorvaldsen's Portrait Busts’

Rosemary Keep, ‘“…masculine in all save her body and her sexe”: Lady Jane Burdett – Portrait and Biography’

Kerstin Maria Pahl, ‘Back-Ups: Portraiture, Life-Writing, and the Art of Information in Long-EighteenthCentury England’

David Solkin and Mark Hallett, In conversation: ‘Gainsborough’s Family Album’

Day Two

Sarah Victoria Turner, Welcome and Introduction

Ludmilla Jordanova, ‘Portraiture, Biography and Occupational Identities’

Marlen Schneider, ‘Portraiture as Cultural Practice: Displaying Social Identity in French “Portraits Historiés”’

Katherine Fein, ‘Indexical Portraiture and Embodied Biography in Harriet Hosmer’s “Clasped Hands of Robert and Elizabeth Barrett Browning”’

Georgia Haseldine, ‘Competing Likenesses: Portraits and Biographies of Radical Reformers’

Claudine van Hensbergen, ‘Portraits, Mezzotint and Public Lives: The Image of the Royal Mistress, 1660–1700’

Niharika Dinkar, ‘Portrait of the Artist as a “Gifted Highborn”: Ravi Varma and Artistic Personhood in India’

Hannah Williams, ‘Lived Space: Portraits, Studios, and the Life of the Artist’

Olivia Tait, ‘“Neutralising” Biography? Georg Baselitz’s Bedroom Portraits’

Participants of Victorian Anatomical Atlases & Their Many Lives (& Deaths): Objects in Motion Workshop at the Wellcome Collection, London

5 December 2018

PMC Book Night

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

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

Morna O’Neill, Hugh Lane: The Art Market and the Art Museum, 1893–1915

Mark Hallett, George Shaw: A Corner of a Foreign Field

2019 Mellon Lectures: Global Landscape in the Age of Empire

Lectures with Tim Barringer held at the National Gallery, London

7 January ‘The Global Panorama’

14 January ‘South: Grand Tours and the Origins of the Picturesque’

21 January ‘North: The Industrial Revolution and the British Isles’

28 January ‘East: Orientalism and the British in India’

4 February ‘West: The Black Atlantic and the American Sublime’

9 January 2019

Discussing Landscape

Network Event between Tim Barringer and Doctoral and Early Career Researchers Networks held at the Paul Mellon Centre

Spring Research Lunch Series 2019

25 January Madeleine Pelling, ‘The Duchess of Portland’s Museum-Salon: Bluestocking Collecting, Craft and Conversation, c.1770–1786’

8 February Sarah Hardy, ‘Sublime Symmetry: The Mathematics Behind William De Morgan’s Designs’

22 February Lotte Crawford, ‘The Magic Hand of Chance: Reframing Modern Textiles in the Interwar Shop’

8 March Rhian Addison, ‘In Search of the Landscape Artists’ Studio: Database and Map of London, 1780–1850’

23 January 2019

Rooted Here: Neo-Romanticism between Art, Music, and Literature Workshop held at the Paul Mellon Centre

David Alan Mellor, ‘The Sky of Our Time has been Lit since the Beginning of Childhood by the Light of the Apocalypse’

Anna Thomasson, ‘“The Enchanting ideal longed-for country”: Edith Olivier and Rex Whistler’s English Arcadia’

Emma Chambers, ‘Celestial Visions in Paul Nash’s Late Paintings’

Deborah Bowman, ‘Between “all that remained to be seen”: Gertrude Hermes's The Warrior's Tomb and the Neo-Romantic Vignette’

Gill Plain, ‘The Mechanical Sublime: Neo-Romantic Legacies in Postwar Popular Fiction’

Tom Powell, ‘“It was all there in my paintings …”: John Minton’s Queer Subjects’

Leo Mellor, ‘Wartime Beachcombing: Lynette Roberts and Prunella Clough’

Tim Barringer, ‘William Walton on the Faultlines in Neo-Romantic Art and Music’

Film screening of Tawny Pipit

29 January 2019

Tuke Publication Workshop

Held at the Paul Mellon Centre with invited attendants:

Henrietta Boex, Lydia Cooper, Michael Hatt, Kenneth McConkey, Lynda Nead, Sophie Neve, Mary O’Neill, Liz Prettejohn, Cicely Robinson, Andrew Stephenson, Nicholas Tromans, Sarah Victoria Turner

30–31 January 2019

Repton Revived: The Landscape Gardener’s Legacy and Influence

Conference held at the Paul Mellon Centre and the Garden Museum, London

Day One

Stephen Daniels, Introduction

Sarah Spooner, ‘United Woods and Lawns: Repton in Hertfordshire’

Eleanor Black, ‘Domestic Thresholds in Repton’s Red Books’

Jonathon Finch, ‘Humphry Repton – the Science of Survey’

Heather Falvey, ‘A Letter Written at Woburn Abbey on Wednesday 5 April 1809’

Stephen Radley, ‘From Green House to Conservatory: Repton's Innovation in Northamptonshire?’

Alexandra Loske, ‘A Brilliant Bubble Burst and Vanished into the Air – Repton’s Brighton Pavilion Designs’

Day Two

Stephen Daniels, ‘Repton Revived’ –Opening remarks

Jane Bradney, ‘Lewis Kennedy’s “Green Books”, 1812–1818/9: A Case Study in Repton’s Influence’

Jan Woudstra, ‘Repton Refined: Robert Marnock and the Continuation of the Natural Style’

Kristof G. Fatsar, ‘“The greatest landscape designer of our times”: Repton’s Reception on the European Peripheries – a Case Study’

Chaired by Martin Postle

Dan Marriott, ‘Repton in America’

Jonathan Hill, ‘“If Repton had been asked to do this university on this landscape”: Denys Lasdun and Brenda Colvin at the University of East Anglia’

Patrick Eyres, ‘Cherishing the Legacy: Ian Hamilton Finlay, Little Sparta and the Artwork Proposals for Landscape Installations”

Chaired by Christopher Woodward

Advolly Richmond, Nicholas Alfrey and Stephen Daniels: Panel discussion

4 February

British Art in the Age of Empire 2.0

Roundtable Workshop organised in collaboration with Tim Barringer and Hammad Nasar held at the Paul Mellon Centre

Participants:

Tim Barringer, Sutapa Biswas, Laura Castagnini, Esther Chadwick, Pamela Nguyen Corey, Anjalie Dalal-Clayton, David Dibosa, Catherine Hall, Fiona Kearney, Hammad Nasar, Dorothy Price, Marlene Smith, Harr-Joht Kaur Takhar, Sarah Victoria Turner, Claire Wintle

7 February 2019

Ruskin: Past, Present, Future

Exhibition introduction by Tim Barringer at the National Portrait Gallery, London

6–7 March 2019

The LYC Museum & Art Gallery and the Museum as Practice

An international symposium organised by the Paul Mellon Centre and University of the Arts London, in collaboration with Manchester Art Gallery and the University of Manchester, held at Manchester Art Gallery

Day One

Natasha Howes and Hammad Nasar, Welcome and Introduction

Hammad Nasar and Kate Jesson, Tour of ‘Speech Acts: Reflection–Imagination–Repetition’

Bettina Fung, Ada Hao, Nicholas Tee and Annie Jael Kwan (artist group Asia–Art–Activism), ‘Being Present’ – a performative response to the exhibition

Madelon Hooykaas and Caro C, Performance ‘In the Footsteps (of Delia Derbyshire and Li Yuanchia)’, Phase 1

David Butler, Performance discussion

Day Two

Sarah Victoria Turner, Welcome and Introduction

Hammad Nasar, ‘Cumbrian Cosmopolitanism: Li Yuan-chia and Friends’

Yu-Jie Huang, ‘Presenting and Representing Li Yuan-Chia through Exhibitions’

Lucy Steeds, ‘In the Slipstream of Li Yuan-chia’s Floating Disc Toy’

Respondent: Elena Crippa

Nicola Simpson, ‘begin again (and again and again and again): Performance, No Thingness and Dependently-Related Transmission in the Poemobjects and Poemenvironments of Li Yuan-chia and Dom Sylvester Houédard’

Gustavo Grandal Montero, ‘LYC Press: Li Yuan-chia as a Book Designer and Publisher’

Respondent: David Morris

Diana Yeh, ‘Translocality and Difference in Rural Conviviality: The “Warmthly House” of the LYC Museum and Art Gallery’

Ysanne Holt, ‘The LYC: Rethinking Place at the Border’

Respondent: Christopher Payne

Lesley Ma, ‘Taipei, Bologna: Li Yuan-chia's Beginnings’

Jovan Nicholson, ‘Winifred Nicholson and Li Yuan-chia’

Respondent: Amy Tobin

Alistair Hudson and Charles Esche with Hammad Nasar, In conversation

13 March 2019

Fashioning Victoria: Curating Royal Image for Dynasty, Nation and Empire Workshop held at the Paul Mellon Centre in collaboration with Historic Royal Palaces

Michael Hatt, Introduction

John Plunkett, David Micklem and Emily Kasriel, ‘Queen Victoria: Decentring and Diversifying the Curation of a Global Figure – Challenges and Responsibilities’

Provocateur: Hammad Nasar

Tim Powell, Katherine Eccles, Laura Wexler, Murray Gardner and Giles Bergel, ‘Curating Victoria: Politics of the Platform’

Provocateur: David Micklem

Sarah Victoria Turner, Mercedes Kemp, Jane Wildgoose and Abeera Kamran, ‘The Role of the Artist: Challenge and Mediation’

Provocateur: Michael Hatt

28–29 March 2019

Hilliard, Oliver and the Miniature in Context

An international conference organised by the National Portrait Gallery, the University of Cambridge and the Paul Mellon Centre, held at the National Portrait Gallery, London

Nicholas Cullinan, Catharine MacLeod and Alexander Marr, Welcome and Introduction

Polly Saltmarsh, ‘A Portrait of an Unknown Lady: Holbein, Horenbout and Teerlinc’

Alexander Marr, ‘The Earliest Impresa Miniature: Man in an Armillary Sphere (1569)’

Annemie Leemans, ‘A Very Proper Treatise: Specialist Knowledge for a NonSpecialist Public’

Christina Faraday, '“It seemeth to be the thing itsefe’: Directness and Intimacy in Nicholas Hilliard’s Portrait Miniatures’

Edward Town, ‘A Portrait of the Miniaturist as a Young Man’

Karin Leonhard, ‘Game of Thrones: Early Modern Playing Cards and Portrait Miniature Painting’

Anne-Valérie Dulac, ‘The Agency of Limning: Hilliard and the Poets’

Will Aslet, ‘Negotiating a Courtship between Courts: Hilliard’s Portraits of Queen Elizabeth and the Duke of Anjou in the Small Prayer Book’

Vanessa Remington, ‘Hilliard and “Stella”: The Patronage of Nicholas Hilliard by Penelope, Lady Rich (1563–1607)’

Charlotte Bolland, ‘Her Picture in Little: Portrait Miniatures of Elizabeth I’

Elizabeth Goldring, Keynote: ‘New Light on Nicholas Hilliard and his World’

Alan Derbyshire, Victoria Button, Lucia Burgio and Flavia Fiorillo, ‘Art Technological Research and its Outcomes for Tudor Portrait Miniatures’

Céline Cachaud, ‘Nicholas Hilliard & France: Production of Portrait Miniatures and Technical Influence in the Late 16th Century’

Christine Kimbriel and Paola Ricciardi, ‘A Holistic, Comprehensive Approach to the Technical Study of Miniatures by Isaac Oliver’

Rab McGibbon, ‘Reassessing Oliver’s Drawings’

Helen Wyld, ‘The Fettercairn Jewel: A Case Missing its Miniature’

Adam Eaker, ‘From the Court to the Museum: Looking at Tudor Miniatures’

Stephen Lloyd, ‘From the North Sea to the Baltic: The European Court Painter and Miniaturist Jacob van Doort (fl.1600–1629)’

Karen Hearn, '“A custom much used with him to do both great and small”: The Portrait Miniatures of Cornelius Johnson (1593–1661)’

2 April 2019

Victorian Anatomical Atlases & Their Many Lives (& Deaths): Objects in Motion

Workshop held at the Wellcome Collection and Paul Mellon Centre

Keren Hammerschlag, Opening remarks about the project

William Schupbach and Keren Hammerschlag, '“Objects in Motion”: Maclise and his Worlds’ –Object-based discussion

Participants:

Katie Birkwood, Baillie Card, Martina Droth, Mechthild Fend, Meredith Gamer, Keren Hammerschlag, Ludmilla Jordanova, Angela McShane, Julia Nurse, Tom Powell, Natasha Ruiz-Gómez, Michael Sappol, Elizabeth Savage, William Schupbach, Tom Scutt, Tanya Sheehan, Naomi Slipp, Christy Slobogin, Sarah Victoria Turner, Rebecca Whiteley, Annette Wickham

10 April 2019

George Shaw: Film Screening and Talk Screenings:

Jared Schiller, ‘The Tribe’

Lily Ford, ‘A Humbrol Art’

Jonathan Law, ‘Midland: A Collage’

George Shaw, ‘Secondhand Daylight’

Chaired by Mark Hallett

23 April 2019

Book Launch: Hugh Belsey, Thomas Gainsborough: The Portraits, Fancy Pictures and Copies After Old Masters

Summer Research Lunch Series 2019

3 May Amy Parrish, ‘“Mannered beauty and theatric grace”: Guido Reni and the Royal Academy’

17 May Alistair Cartwright, ‘The Hearth and the Inferno: LCC Fire Safety Displays at the Ideal Home Exhibition, 1958–63’

31 May Lucia Farinati, ‘Audio Arts Archive: From Inventory Space to Imagined Space’

14 June Josepha Richard, ‘Between Art and Science: British and Chinese 'Hybrid' Botanic Art in 18th Century Canton’

Summer Research Seminar Series 2019

8 May Carol Richardson, ‘“The sense of sight which is very keen”: English History as Shown in 1580s Rome’

14 May Catherine Grant, Lynda Nead and John Wyver, ‘Going with the Grain? Post-War British Film, Photography and Audiovisual Argument’

22 May Tim Clayton, ‘Gillray in Grub Street: Some Episodes from the 1780s’

5 June Timothy Hyde, ‘Architecture sub judice: Ugliness, Law, and Public Opinion’

19 June Elizabeth McKellar, ‘Summerson and the Search for the Primitive in the Inter-War Period’

14 May 2019

Art | Film | Research Workshop

Workshop working towards larger conference about the intersections between art, film and research held at the Paul Mellon Centre

Participants:

Joanne Anderson, Baillie Card, Mick Finch, Lily Ford, Catherine Grant, Mark Hallett, Jon Law, Laura Mulvey, Lynda Nead, Tom Powell, Rosie Ram, Jared Schiller, Tom Scutt, Sarah Victoria Turner, Johannes Von Mueller, John Wyver

16 May 2019

Amy Meyers: A Celebration Held at the Royal Academy of Art, London

29 May 2019

Art+Feminism Wikipedia Edit-a-thon

Workshop held at the Paul Mellon Centre, designed to improve coverage of gender, feminism and the arts on Wikipedia

4 June 2019

Book Launch: Paul Binski, Gothic Sculpture

5 June 2019

Cover Collaboration Workshop

Working towards the ‘London, Asia’ issue of British Art Studies

6 June 2019

Transnational Slade Workshop

Held at the Paul Mellon Centre

Roundtable focusing on the transnational histories of the Slade School of Art and, in particular, the School as an important site of learning, encounter and exchange for students and artists from Asia

Participants:

Liz Bruchet, Susan Collins, Elena Crippa, Helen Downes, Andrea Fredericksen, Grace Hailstone, Hammad Nasar, Colin Penman, Devika Singh, Ming Tiampo, Sarah Victoria Turner, Claire Wintle

7 June 2019

Alfred Cohen: An American Vision of Britain and Europe

Workshop held at the Paul Mellon Centre

Sarah Victoria Turner, Max Saunders and David Peters Corbett, Welcome and Introduction

Max Saunders, ‘The Story So Far’

David Herman, ‘Alfred Cohen in Paris’

Hope Wolf, ‘Alfred Cohen's Rainbow’

Devorah Baum, ‘Alfred Cohen's Art of the Covenant’

Five-minute object-focused presentations and discussions:

Sarah MacDougall, David Peters Corbett, Jerome Boyd Maunsell, Alice White, Tricha Passes, Max Saunders, Tom Overton, Alisa Miller

Chaired by Sarah Victoria Turner

26 June 2019

PMC Book Night

Paul Binksi, Gothic Sculpture

Olivia Fryman, Kensington Palace: Art, Architecture and Society

Elizabeth Goldring, Nicholas Hilliard: Life of an Artist

Colin Thom, Survey of London: SouthEast Marylebone

Print Publications

From Elizabeth Goldring’s brilliantly received Nicholas Hilliard: Life of an Artist, to the monumental achievement of Hugh Belsey’s two-volume catalogue raisonné, Thomas Gainsborough: The Portraits, Fancy Pictures and Copies after Old Masters, the quality of the titles produced this year emphasises the Centre’s ongoing commitment to publishing the best and most rigorous scholarship on British art history.

Morna O’Neill’s Hugh Lane: The Art Market and the Art Museum, 1893–1915 is a revelatory study of a dealer, collector and curator who sold ‘pictures by old painters to buy pictures by living painters’, and was central to the development of modern art markets and national collections of art in the early twentieth century.

The PMC continued its record of publishing detailed studies of significant buildings in Britain with Kensington Palace: Art, Architecture and Society, edited by Olivia Fryman, which explores the palace’s rich material and cultural history, alongside its unique human stories.

Hugh Belsey’s catalogue raisonné of Gainsborough’s portraits has been many years in the making and is a landmark publication – another in the Centre’s series of foundational catalogues on the great figures in British art.

Focusing on the close scrutiny of artefacts to challenge received wisdom about their subjects, Paul Binki’s Gothic Sculpture encourages a reappraisal of medieval sculpture, while Edward S. Cooke, Jr., in Inventing Boston: Design, Production, and Consumption, 1680–1720, reveals through material culture how the inhabitants of Boston were colonial, provincial, metropolitan and global, all at the same time.

Published to mark the four-hundredth anniversary of his death, Elizabeth Goldring’s biography of Nicholas Hilliard has proved a runaway success. Shortlisted in the 2019 Richard Schlagman Art Book Awards, Nicholas Hilliard has been reviewed to great acclaim in the Guardian, The Times, the Times Literary Supplement and Art Quarterly, amongst many others.

In collaboration with the Yale Center for British Art, the PMC also produced the catalogue for the exhibition of work by British artist George Shaw held at the YCBA (4 October 2018 to 30 December 2019) curated by Mark Hallett, which digs beneath the surface of the show to explore Shaw’s polyphony of pop-culture inspirations and art-historical references.

Nicholas Hilliard, Francis Bacon, 1578, watercolour on vellum, 60 x 47 mm. National Portrait Gallery, London

Print Publications

July 2018–June 2019

Hugh Lane: The Art Market and the Art Museum, 1893–1915

September 2018

George Shaw: A Corner of a Foreign Field

September 2018

Kensington Palace: Art, Architecture and Society

October 2018

Thomas Gainsborough: The Portraits, Fancy Pictures and Copies after Old Masters

February 2019

Olivia Fryman (ed.)

Hugh Belsey

Morna O'Neill

Mark Hallett

Elizabeth Goldring Nicholas Hilliard: Life of an Artist February 2019

Gothic Sculpture May 2019

Edward S. Cooke, Jr.

Inventing Boston: Design, Production, and Consumption, 1680–1720 May 2019

Nicholas Hilliard, Self-Portrait (detail), 1577, watercolour on vellum, d. 41 mm. Victoria and Albert Museum, London

Paul Binski

British Art Studies

The Centre’s peer-reviewed and open-access journal was founded in 2015, and initially published three times per year. During the period covered by this report, the editorial team decided to publish four issues of British Art Studies per year starting in 2019.

The articles and features in Issue 9 (August 2018) were mainly drawn from a symposium held at the Centre, titled Alma-Tadema: Antiquity at Home and on Screen (20 October 2017). Issue 10 (November 2018) published papers from the conference Landscape Now (30 November–1 December 2017), which was held at the Centre as the third in a series of international events organised collaboratively with the YCBA and the Huntington Library and Art Gallery. Compared to the traditional model of publishing proceedings in print, the themed issue of BAS offered an expedient, and richly illustrated, format for capturing the conference’s insights on landscape imagery in British art history.

In March 2019, Issue 11 was released with the title Theatres of War: Experimental Performance in London, 1914–1918 and Beyond. This themed issue was proposed by Dr Grace Brockington. The contents were thematically connected to a single artefact, an illustrated pacifist polemic by Vernon Lee titled The Ballet of the Nations (1915). As such, it was the first themed issue of BAS that was not derived from a conference. It presented Brockington’s research in the form of an online exhibition supported by a new BAS web template and incorporated a feature-length dance film, created by Brockington in collaboration with Impermanence Dance Theatre, which reinterprets The Ballet of the Nations for contemporary audiences. The journal part-funded the production of this film and hosts it permanently online. Issue 12 (May 2019) premiered another web template and feature, developed in response to a proposal from Professor Stephen Bann for a feature on his intellectual formation as a young art critic in the 1960s. Called “Animating the Archive,” it presents art, archival materials and texts in a non-linear format to articulate how encounters with people, places, events and publications can cumulatively transform thought. This issue also contained the first article funded by the Terra Foundation for American Art through our Objects in Motion grant, a data-driven study of the transatlantic nineteenth-century art trade by Barbara Pezzini and Alan Crookham.

British Art Studies

July 2018–June 2019

British Art Studies, Issue 9: August 2018

Articles

‘The Alma-Tademas’ Studio-Houses and Beyond’, an introduction by Elizabeth Prettejohn and Peter Trippi

‘What Do We Want from Artists’ Houses?’, a reflection by Christopher Reed

‘The Resistant Materiality of Frederic Leighton’s Arab Hall’ by Mary Roberts

‘“A Door of Hell”: Thresholds, Crisis, and Morality in the Art of Gilbert and George in the 1970s’ by Gregory Salter

Features

‘Laboratories of Creativity: The AlmaTademas' Studio-Houses and Beyond’, a Conversation Piece coordinated by Elizabeth Prettejohn and Peter Trippi

‘The Atmospherics of Leighton House’, a Cover Collaboration with Jonathan Law and Mary Roberts

British Art Studies, Issue 10, Landscape

Now: November 2018

Articles

Introduction by Mark Hallett

‘Landscape Then and Now’ by Tim Barringer

‘Fire-Stick Picturesque: Landscape Art and Early Colonial Tasmania’ by Julia Lum

‘Paul Nash’s Geological Enigma’ by Anna Reid

‘Re-Illuminating the Landscape of the Hoo Peninsula through the Medium of Film’ by Anna Falcini

‘On Place and Displacement: Benjamin Henry Latrobe and the Immigrant Landscape’ by Julia A. Sienkewicz

‘Liquid Landscape: Southam, Constable, and the Art of the Pond’ by Stephen Daniels

‘The Anthroposcenic: Landscape in the Anthroposcene’ by David Matless

‘Landscaping Islands: Alex Hartley’s Nowhereisland and Floating Histories in Contemporary British Art’ by Gill Perry

‘Outside In: Reflections of British Landscape in the Long Anthropocene’ by Mark A. Cheetham

‘Lines in the Landscape: Ruins and Reveals in Britain’ by Corinne Silva and Val Williams

‘The “Connoisseur’s Panorama”: Thomas Girtin’s Eidometroplis (1801–1803) and a New Visual Language for the Modern City’ by Greg Smith

‘1973 and the Future of Landscape’ by Nicholas Alfrey

Features

‘Landscape Now’, a Conversation Piece coordinated by Alexandra Harris

‘Gardening the Archive’, a conversation between David Alesworth and Hammad Nasar

British Art Studies, Issue 11, Theatres of War: March 2019

Curated by Grace Brockington, in collaboration with Impermanence, with contributions from Ella Margolin and Claudia Tobin

Virtual Exhibitions

‘Performing Pacifism’ curated by Grace Brockington

‘Inspirations’ curated by Grace Brockington

‘London's Little Theatres’ curated by Grace Brockington and Claudia Tobin

‘Beyond London & the War’ curated by Grace Brockington

Film

The Ballet of the Nations, a film by Impermanence

Interviews

‘Making The Ballet of the Nations: Costumes and Production’, an interview between Ella Margolin and Pam Tait

‘Making The Ballet of the Nations: Composing’, an interview with Robert Bentall

‘Making The Ballet of the Nations: Directing and Choreography’, an interview with Roseanna Anderson and Joshua Ben-Tovim

‘Making The Ballet of the Nations: Cinematography’, an interview between Ella Margolin and Jack Offord

British Art Studies, Issue 12: May 2019

Articles

‘Transatlantic Transactions and the Domestic Market: Agnew’s Stock Books in 1894–1895’ by Barbara Pezzini and Alan Crookham

‘Whatever Happened to Delia Derbyshire? Delia Derbyshire, Visual Art, and the Myth of her Post-BBC Activity’ by David Butler

‘Letters from the Home Front: The Alternative War Art of Robert Colquhoun and Robert MacBryde, 1940–1945’ by Sophie Hatchwell

‘Cumbrian Cosmopolitanisms: Li Yuanchia and Friends’ by Hammad Nasar

Features

‘1964: A Year of Exhibitions’, an Animating the Archive feature by Stephen Bann

‘Delia Derbyshire: The Myths and the Legendary Tapes’, a film and interview with Caroline Catz

‘The Kitchen Sink Too’, a Cover Collaboration with Abi Shapiro

Vernon Lee, The Ballet of the Nations: A Present-Day Morality, with a Pictorial Commentary by Maxwell Ashby Armfield (London: Chatto & Windus, 1915).

Cover design by Maxwell Ashby Armfield. Image courtesy of Chatto & Windus, Penguin Random House UK and The Estate of Maxwell Ashby Armfield

Fellowships and Grants

The Autumn 2018 round saw an increase in the number of applications received compared with previous years. A total of 201 applications were received for the awards, of which 73 were successful. The Curatorial Research Grant scheme received 22 applications, of which 6 were successful; and the Digital Project Grant scheme received 21 applications, of which 2 were awarded the full amount of £40,000. The Publication Grant scheme received 76 applications, of which 28 were successful. A large number of Research Support Grant applications were received, 58 in total, with 28 being awarded. The Educational Programme Grant scheme received 19 applications, of which 7 were successful. The Andrew Wyld Research Support Grant scheme attracted 4 applications and 2 awards were given.

Ahead of the Spring 2019 round, Fellowship award amounts were increased to reflect the rise in inflation. The Senior Fellowship awards were increased from £32,000 to £40,000; the Mid-Career Fellowship awards were increased from £10,000 to £15,000; and the Postdoctoral Fellowship awards were increased from £8,000 to £10,000. 182 applications were received, an increase on the previous year’s total, with 67 successful applications. The Senior Fellowship attracted 15 applicants, of which 3 were successful; the Mid-Career Fellowship attracted 19 applications, of which 7 were successful; and the Postdoctoral Fellowships saw a record level of applications received, 46 in total, with 15 successful. The Junior Fellowship attracted 13 applicants, of which 8 were successful. The Terra–PMC Fellowship, now in its second year, saw 7 applications, one of which received the fellowship. The Research Support Grant attracted 56 applications, and 24 were successful. There were 21 applications for Educational Programme Grants, and 8 awards were made.

None of the proposals for the Rome Fellowship were deemed suitable so no award was made. It was decided that there should be a meeting with the British School at Rome to re-evaluate the remit of the Rome Fellowship in future.

The Conservation Fellowship for the academic year 2018–2019 of £25,000 was awarded to Tate Britain, for conservation work on artworks by Nigel Henderson for a forthcoming display.

Frederick Cayley Robinson, Orphan Girls Entering the Refectory of a Hospital (detail), 1915. Wellcome Collection.

Fellowships and Grants

July 2018–June 2019

Autumn 2018

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

Curatorial Research Grants

The Royal Society of Sculptors was awarded £28,000 to help support a research curator to work on the project Pioneering Women at the Heart of the Royal Society of Sculptors

Leamington Spa Art Gallery & Museum was awarded £24,000 to help support a research curator to work on the project Frederick Cayley Robinson ‘Forgotten’ Artist: Spiritual Art, Feminism and British Culture, 1890–1930 (working title)

University of the Witwatersrand was awarded £20,000 to help support a research curator work on the project British Plans on the Mines: Drawing Resources from the Witwatersrand, 1885–1945

The British Museum was awarded £40,000 to help support a research curator to work on the project Thomas Becket: Martyrdom and Myth (working title)

Bristol Archives was awarded £23,500 to help support a research curator to work on the project One Vast Interconnected World: The British Experience of Empire as Represented in Photographs from the British Empire and Commonwealth Collection

The National Trust was awarded £40,000 to help support a research curator to work on the project Mapping Sculpture in National Trust Collections

Digital Project Grants

Institute of Contemporary Arts was awarded £40,000 towards creating a digital historical timeline for the Institute of Contemporary Arts from 1946 to the present day

Watts Gallery was awarded £40,000 to support four six-month fellowships for early career researchers to work on the Watts Gallery – Artists’ Village project

Publication Grants

Alan Powers was awarded £3,000 towards publishing Commercial Architecture

Alison FitzGerald was awarded £3,000 towards publishing Studies in Irish Georgian Silver

The Hepworth Wakefield was awarded £9,400 towards publishing Magdalene Odundo: The Journey of Things

Institute of Contemporary Arts was awarded £10,000 towards publishing Institute of Contemporary Arts, 1969–1989

Pallant House Gallery was awarded £7,000 towards publishing Glyn Philpot: Coming Out as a Modernist

Claire Jones was awarded £1,930 towards publishing Sculpture in Britain, 1837–1901: Contested Experiments

Devika Singh and Reaktion Books were awarded £10,000 towards publishing Modern Art in India and its Global Context

Diane Waggoner was awarded £3,000 towards publishing Lewis Carroll: Photography and Modern Childhood

Matthew Reeve and The Pennsylvania State University were awarded £6,920 towards publishing Gothic Architecture, Sexuality, and Aesthetics in the Circle of Horace Walpole

Gill Hedley and I. B. Tauris were awarded £8,860 towards publishing Love, Art: The Life of Arthur Jeffress

Jonty Tarbuck and Locus+ were awarded £5,000 towards publishing Morris & Steedman: The Modernist House

Corning Museum of Glass was awarded £10,000 towards publishing In Sparkling Company: Reflections on Glass in 18th Century Britain

Laing Art Gallery was awarded £7,000 towards publishing The Enchanted Interior

Yale University Press was awarded £4,000 towards publishing The Pocket: A Hidden History of Women’s Lives, 1690–1900

Archipelago Press was awarded £7,000 towards publishing SOLD! 200 Years of Antique Dealing in Britain

Meaghan Clarke was awarded £3,000 towards publishing Fashionability, Exhibition Culture and Gender Politics: Fair Women

Boydell & Brewer was awarded £1,200 towards publishing The Eglantine Table: Elizabethan Musical Instruments in Marquetry at Hardwick Hall

Peter Humfrey was awarded £3,000 towards publishing The Stafford Gallery: The Greatest Art Collection of Regency London

Geoffrey Quilley was awarded £3,000 towards publishing British Art and the East India Company

Rachel Delman was awarded £230 towards publishing the article Gendered Iconography and Female Authority in Alice Chaucer, Duchess of Suffolk’s Residence at Ewelme, Oxfordshire

Rebecca Searle was awarded £1,600 towards publishing Art, Propaganda and Aerial Warfare in Britain during the Second World War

Mercer Art Gallery was awarded £5,000 towards publishing William Powell Frith: The People’s Painter

Public Monuments and Sculpture Association was awarded £6,860 towards publishing Public Sculpture of the Royal Borough of Kensington and Chelsea

MIT Press was awarded £4,000 towards publishing The Locked Room – Four Years that Shook Art Education in Britain, 1969–1973

York Art Gallery was awarded £7,000 towards publishing Ruskin, Turner & the Storm Cloud

Timothy Brittain-Catlin was awarded £3,000 towards publishing The Edwardians and their Houses (working title)

Timothy Wilcox was awarded £3,000 towards publishing James Tower, 1919–1988: Potter, Sculpture, Painter

Zuleika Murat was awarded £550 towards publishing English Alabaster Carvings in Their Context

Educational Programme Grants

Centre for Feminist Research, University of London was awarded £2,000 to support the symposium Beyond Lesbian Constellations

The University of Manchester was awarded £1,600 to support the symposium The Artist of the Future Age: William Blake, Neo-Romanticisms, Counterculture and Now

BALTIC Centre for Contemporary Art was awarded £3,000 to support the symposium Rasheed Araeen

Circle of John Linnell (after William Blake), Illustrations of the Book of Job, Plate 15 (Page 14): The Creation (detail), undated, 14.6 x 9.5 cm. Yale Center for British Art, Paul Mellon Collection

Art and Christianity was awarded £1,500 to support the series of five symposia Visual Communion: The Art, Architecture and Craft of the Eucharist

Government Art Collection was awarded £1,000 to support the creation of the podcast series A Meeting of Cultures

National Gallery, London was awarded £2,000 to support the conference Art for the Nation: John Ruskin, Art Education and Social Change

Victoria and Albert Museum was awarded £3,000 to support the conference Celebrating Reproductions: Past, Present and Future

Paul Mellon Centre Research Support Grants

Abigail Breeze Barrington was awarded £800 for research on ‘Her diving needle taught him how to swim': The Story of Hero and Leander in Visual and Material Culture, 1580–1630

Alistair Fair was awarded £1,000 for research on Peter Moro and Partners: Modernism and the Welfare State

Amber Roberts was awarded £1,900 for research on ‘Toward a Modern Landscape’: A Transatlantic Modernist Research Network, 1958–1964

Ben Cartwright was awarded £2,000 for research on In the Footsteps of James Baillie Fraser

Beth Williamson was awarded £1,000 for research on Recasting British Modernism: William Johnstone in Context

Caroline Dakers was awarded £900 for research on The Venetian world of Henry Woods RA, 1877–1921

Edit Toth was awarded £1,000 for research on Peter Péri: Everyday Life in Altered Dimensions

Elizabeth Dean Romariz was awarded £1,000 for research on Presentation Volumes: Rethinking the Architect and their Drawings

Emily Weeks was awarded £1,000 for research on Jean-Léon Gérôme in London, 1870–71

Gili Merin was awarded £1,400 for research on The Modern Pilgrim-Tourist to Jerusalem and the British Project of a Biblical City

Julie Halls was awarded £1,100 for research on Textiles Designed for Export to Africa: Cultures and Contexts

Karin Zitzewitz was awarded £1,000 for research on Feminist Networks and Formal Change: Towards an Entangled History of British and Indian Contemporary Art, 1991–2008

Kate Strasdin was awarded £700 for research on The 19th Century Dress Diary of Anne Sykes

Laura Guy was awarded £1,000 for research on Jill Posener's Photographs of Feminist Graffiti: Drawing a Line through the Long 1970s

Mei-Ying Sung was awarded £2,000 for research on The Chanley-Dodd Woodblocks at the Huntington Library

Michael Wright was awarded £200 for research on Pel – Britain’s Modernist Furniture Manufacturer

Nushelle de Silva was awarded £2,000 for research on Protocols for the Permanently Peripatetic: The Emergence of the Globally Circulating Exhibition, 1946–1980

Rebecca Lyons was awarded £2,000 for research on Sir Thomas Lawrence as Artist and Agent

Rebecca Pollack was awarded £1,000 for research on Contextualizing British Holocaust Memorials and Museums: Form, Content and Politics

Richard Hayes was awarded £1,000 for research on E. W. Godwin's Designs for Theatres: Fragments in the Archives

Robert Proctor was awarded £1,500 for research on Percy Thomas: Modern Architecture as National Service

Ryna Ordynat was awarded £1,000 for research on Elite British Women's Albums and the Creation of Feminine Visual Culture, 1750–1830

Seayoung Kim was awarded £1,000 for research on Contemporary Interpretation and Presentation of the Muybridge Collection: Implications for Audience Engagement

Shantel Blakely was awarded £700 for research on Herbert Read and Henry Moore on Sculpture, Architecture, and the Potential of Art

Simon Spier was awarded £600 for research on Creating the Bowes Museum: Private Collecting, Public Philanthropy and the Art Market in Britain, 1860–1920

Sophie Pickford was awarded £1,000 for research on Bloomsbury Art and the Ballet (1922–1932)

Themba Mtwazi was awarded £1,000 for research on Spaces of Cultural Resistance: The Contestation Between Tradition and Colonial Housing Typologies of Empire in Southern African Townships –Zimbabwe (1894–2005)

Victoria Horne was awarded £800 for research on Against Absence: The Feminist Revolution in Art History

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

Tara Contractor was awarded £2,000 for research on William Blake and The Golden Whirlwind: Reinterpreting Blake’s Gilding Practices

Wenqi Zhu was awarded £2,000 for research on The Objective Eye: Travel, Trade, and the British Empire in William Alexander's Topographical Prints and Drawings of Late Qing Dynasty

Spring 2019

At the March 2019 meeting of the Centre’s Advisory Council, the following Grants were awarded:

Senior Fellowships

Julian Stallabrass, Courtauld Institute of Art, was awarded £40,000 for the project Art in the Age of Populism: The Predicament of British Culture

Lynda Nead, Birkbeck, was awarded £40,000 for the project British Blonde: Glamour, Desire and Femininity in Post-War Britain, 1945–70

Sigrid de Jong, Leiden University, was awarded £40,000 for the project The Emergence of Architectural Experience in London and Paris, 1750–1815

Mid-Career Fellowships

Alexandra Kokoli, Middlesex University, was awarded £15,000 for the project The Virtual Feminist Museum of Greenham Common

Anne Hultzsch, University College London, was awarded £15,000 for the project Architecture and the Female Eye Witness: Maria Graham’s Writings on India and South America, 1808–1826

Catriona Murray, University of Edinburgh, was awarded £15,000 for the project Figuring Stuart Monarchy: Monumental Sculpture and the Royal Image, 1603–1819

Charlotte de Mille, Courtauld Institute of Art, was awarded £15,000 for the project Bergson in Britain

Felicity Myrone, British Library, was awarded £15,000 for the project Art in the Library

Jacqueline Riding was awarded £15,000 for the project Hogarth & the Jacobites

Sarah James, University College London, was awarded £15,000 for the project The Militant & The Mainstream: Remaking British Photographic Culture

Postdoctoral Fellowships

Alexandra Parsons, University College London, was awarded £10,000 for the project Luminous Presence: Derek Jarman’s Life-Writing

Alison Bennett, University College London, was awarded £10,000 for the project Material Cultures of British Imperialism in Eastern Africa, c.1860–1960: A History of Ethnographic Collecting and Display

Edward Webb-Ingall was awarded £10,000 for the project Video Activism Before the Internet, 1969–1993 (working title)

Ella S. Mills was awarded £10,000 for the project Black Women Artists: Voices of Resistance, Strategies of Creation

Eva Bentcheva, Haus der Kunst, was awarded £10,000 for the project Performing Cultural Politics: Histories of British South Asian Performance Art

Harry Willis Fleming was awarded £10,000 for the project Richard Cockle Lucas: The Artist in the Tower

Katherine Reinhart, University of Cambridge, was awarded £10,000 for the project Copying Natural Knowledge: William Faithorne, Wenceslaus Hollar and the early Royal Society

Louisa Lee, Fordham University, was awarded £10,000 for the project Class Teaching: Art School Magazines in Britain

Madeleine Pelling, University of York, was awarded £10,000 for the project The Portland Museum: Bluestocking Collecting, Craft and Conversation, c.1770–1786

Nicolas Helm-Grovas, Royal Holloway, was awarded £10,000 for the project Laura Mulvey and Peter Wollen: Metalanguage and Counter-cinema

Richard Brook, Manchester School of Architecture, was awarded £10,000 for the project The Renewal of Post-War Manchester: Architecture, Planning and the State

Sara Honarmand Ebrahimi, University of Edinburgh, was awarded £10,000 for the project A ‘Chain’ of Affective Architecture: The Case of the Church Missionary Society (CMS) Hospitals in a Muslim World

Sophie Kelly, University of Kent, was awarded £10,000 for the project Imagining the Unimaginable: The Trinity in Medieval English Art

Thomas Hughes, Courtauld Institute of Art, was awarded £10,000 for the project Curious Beauty: John Ruskin, Walter Pater, Aestheticism

Yichi Zhang, University of Technology Sydney, was awarded £10,000 for the project The Parlor of the Metropolis: Public Parks and Open Space in the British Concessions of China, 1842–1937

Junior Fellowships

Adrienne Rooney, Rice University, was awarded £7,500 to conduct research in the United Kingdom for the project Art History and the Underside of Landscape: Discourses of ‘the Folk’ and ‘Fine Art’ in the 20th Century Circum-Caribbean

Avigail Moss, University of Southern California, was awarded £7,500 to conduct research in the United Kingdom for the project Actuarial Imaginaries of Art and Empire, 1800–1914

Elis Gabriela Mendoza, Princeton University, was awarded £7,500 to conduct research in the United Kingdom for the project From Refuge to Shelter: Frederick Cuny's Humanitarian Architecture as Deferred Utopia

Hannah Kahng, University of California, was awarded £7,500 to conduct research in the United Kingdom for the project This Film Which Is Not One: Intersections of Expanded Cinema and Feminism, 1970–1979

Judith Stapleton, Yale University, was awarded £7,500 to conduct research in the United Kingdom for the project William Orpen: Modernist

Nushelle de Silva, Massachusetts Institute of Technology, was awarded £7,500 to conduct research in the United Kingdom for the project Protocols for the Permanently Peripatetic: The Emergence of the Globally Circulating Exhibition, 1946–1980

Shirlynn Sham, Yale University, was awarded £7,500 to conduct research in the United Kingdom for the project Visual Modernity and the Industrial Subterranean, 1826–1941

Tara Contractor, Yale University, was awarded £7,500 to conduct research in the United Kingdom for the project British Gilt: Gold in Painting, 1790–1914

Terra–PMC Fellowship

Amy Tobin, University of Cambridge, was awarded £9,500 to conduct research for the project Sisterhood: Art and Feminism in Britain and the United States, 1968–1980

Educational Programme Grants

New Contemporaries was awarded £3,000 to support the New Contemporaries – 70 Years Young symposium

Impressions Gallery of Photography was awarded £2,900 to support the Feed Your Mind lecture series

Kingston University was awarded £2,100 to support the Frascari Symposium IV: The Secret Lives of Architectural Drawings and Models: From Translating to Archiving, Collecting and Display

British School at Rome was awarded £3,000 to support the Cardinal Alessandro Albani and the British: Art and Cultural Diplomacy in Rome of the Grand Tour symposium

Leo Baeck Institute London was awarded £2,900 to support the Surrealism in Britain, 1925–155 conference

The Modernist Society was awarded £3,000 to support the Modernist Society 10th Anniversary Lecture Day

Tate Britain was awarded £700 to support Inner Rhythms: Britain and the Bauhaus (working title) symposium

Association for Art History was awarded £1,000 to support the Photography & Printed Matter Summer Symposium

Paul Mellon Centre Research Support Grants

Aimee Caya was awarded £1,800 for the project Documenting Medieval Monumental Brasses in Yorkshire and Lincolnshire

Anna Arabindan-Kesson was awarded £2,000 for the project The Viral and The Virus: Infectious Intimacies of Skin and Empire

Caitlin Beach was awarded £1,600 for the project The Abolitionist Image in Nineteenth-Century Sierra Leone

Christopher Williams-Wynn was awarded £2,000 for the project Conceptual Art and Information Systems: Stephen Willats's Art and Social Practice, 1968–1980

Claudia Hucke was awarded £2,000 for the project The ‘Englishness’ of Windrush Generation Artists

Emily Smith was awarded £2,000 for the project Parkinson, Spöring, Tupaia, and the Aesthetics of Cross-Cultural Encounter on the Endeavour Voyage, 1768–1771

Emma Merkling was awarded £1,900 for the project Evelyn De Morgan in Florence, 1895–1914

Gustavo Grandal Montero was awarded £2,000 for the project Concrete Poetry, Henri Chopin and Developments in Sound and Performance Art in Britain during the 1960s

Isabelle Mooney was awarded £2,000 for the project Ruin to Reconstruction: PostWar British Art in the Transnational Field

Jennifer Dudley was awarded £300 for the project Exploring Castlemilk Womanhouse

Jennifer Sarathy was awarded £2,000 for the project Black British Art's Expanded Cartographies

Ludovic Jouvet was awarded £1,900 for the project British Medals in Books: The Portraits as Image of a Nation

Mira Waits was awarded £900 for the project Patterning the Prison: Convict Carpets in Colonial India

Myles Campbell was awarded £2,000 for the project Vicereines of Ireland: The Women behind the Throne

Nicole Blackwood was awarded £2,000 for the project Cornelis Ketel in England between 1573–1581

Paula Murphy was awarded £1,100 for the project John Henry Foley's Work for the Confederate States of America in the 1860s

Richard Hudson-Miles was awarded £1,800 for the project The Art of Hornsey ’68

Rixt Woudstra was awarded £2,000 for the project Planning 'Multi-Racial' Cities: Leonard Thornton-White's Designs for British East Africa

Shijia Yu was awarded £1,300 for the project Amusing, Interesting and Curious: A Study of English Paper Peepshows, 1825–1851

Steve Edwards was awarded £1,800 for the project British Daguerreotypes –Antoine Claudet

Suchitra Choudhury was awarded £500 for the project Faking it?: British Art's Love Affair with Indian Shawls

Sylvia Houghteling was awarded £2,000 for the project The Entangled Textile Histories of Britain and South Asia, 1688–1886

Ying Lu (Lucy) Wang was awarded £800 for the dissertation chapter From Garrisoned District to Chinese Town: An Architectural History of the Kowloon Walled City, 1898–1912 (working title)

Zalina Tetermazova was awarded £2,000 for the project Crossing the Bourders of Empires: Printmaking Practice of Gavriil Skorodumov and James Walker in the Context of British–Russian Cultural Relations

George Frederick Watts, Hope (detail), 1891, oil on panel. Yale Center for British Art, Gift of Claire and Albert J Zuckerman, Yale School of Drama MFA 1961, DFA 1962

Yale in London

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

Spring Term

14 January–26 April 2019

There were five students enrolled in the spring term, all of whom were from Yale University and were housed in flats near Paddington. Four courses were taught during the spring term: ‘Discovering Literary London’ and ‘Shakespeare in London Today’, both taught by Cynthia Zarin; ‘Monuments and Memory, 1600–2018’, taught by Roger Bowdler, consultant and independent scholar; and ‘The Tudors and the English Renaissance, 1509–1603’, taught by John Guy, Cambridge University.

About the courses

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. The ‘Discovering Literary London’ course saw the students capture their experiences of visiting sites, streets and places referred to in British literature through writing a series of themed reflections. ‘Monuments and Memory’ asked students to examine the concept and theories behind memorialisation from the seventeenth century through to the modern period. As part of this course, students visited the Cenotaph, Westminster Abbey and Runnymede, and took a longer trip around Wiltshire and Oxfordshire, exploring monuments such as the standing stones at Avebury and the Rhodes sculpture in Oxford. ‘Shakespeare in London Today’ took students to a variety of theatre productions of Shakespeare’s works, from traditional approaches at the Sam Wanamaker Playhouse to contemporary adaptations by the Royal Shakespeare Company in Stratford-upon-Avon. Finally, ‘The Tudors and the English Renaissance’ course examined the artistic and literary works being produced during the Tudor period.

Summer Session One

3 June–12 July 2019

The six students enrolled in the first summer session were housed in flats in Paddington. During this session the students undertook two courses: ‘Contemporary British Theatre’, taught by Marc Robinson, Yale University; and ‘The British Country House: Collecting and Display’, taught by Martin Postle, Paul Mellon Centre for Studies in British Art.

About the courses

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 country houses, the students visited Syon House, Wilton House, Blenheim Palace, Strawberry Hill and Castle Howard. For the theatre course, students went to see Top Girls at the National Theatre, The Hunt at the Almeida Theatre, After Dark at the Finborough Theatre and several other productions.

Summer Session Two

1 July–9 August 2019

The seven students enrolled in the second summer session were housed in flats near Euston. During this session the students took two courses: ‘History of British Gardens, Landscape Parks, and Country House Architecture, 1500–1750’, taught by Bryan Fuermann, Yale University; and ‘Taking on the World: Twentieth-Century British Visual Culture’, taught by Kate Aspinall, independent scholar and artist.

About the courses

The students participated in a wide variety of activities and visits, including visiting key London destinations as part of their studies. The course on twentiethcentury British visual culture took the students to Charleston, Farleys House & Gallery and the prints and drawings room at Tate Britain. The course on British gardens took the students to Stowe, Hampton Court Palace, Kensington Palace and Rousham.

Education Programme

Public Lecture Course

The Centre’s Public Lecture Course in autumn 2018 was titled The Artist and the Garden, and featured contributions from Christopher Woodward, Stephen Daniels, Martin Postle, Joy Sleeman, Nicholas Alfrey and Todd Longstaffe-Gowen. In spring 2019 the course was titled Photography and its Histories and was convened by Sean Robert Willcock, and featured lectures by Patrizia di Bello, Juliet Hacking, Liz Wells and the photographer Simon Norfolk.

Educational Networks: Doctoral Researchers Network (DRN)

The Doctoral Researchers Network continued to provide a forum for doctoral students to come together to network and to develop professional and scholarly skills. The network increased its activities to include trips to regional museums and special curated tours of exhibitions, with a total of eleven events over the course of the academic year. The DRN calendar culminated in a Summer Symposium in May, where members had the opportunity to present works in progress and new ideas. This will become a permanent feature of the annual DRN calendar. The convenors for the 2018–2019 academic year were Katherine Gazzard and Rosie Ram.

Educational Networks: Early Career Researchers (ECR) Network

The 2018–2019 academic year was the first in which the Early Career Researchers network operated under the umbrella of the Paul Mellon Centre’s Education programme. The network held an exciting array of events that included workshops on publishing PhD research, CVs, and the Research Excellence Framework. The convenors for the 2018–2019 academic year were Emily Burns and Thomas Hughes.

John S. Muller (after Samuel Wale RA), A General Prospect of Vaux Hall Gardens (detail), hand-coloured engraving. Yale Center for British Art, Paul Mellon Collection

Write on Art

Write on Art is a prize for young writers, run by the Paul Mellon Centre for Studies in British Art and Art UK, that highlights the broader benefits of sharing ideas about art through good writing. The prize invites students to pick any work of art from the Art UK website and to write about it. Students are encouraged to write about what matters to them, which often yields a diverse range of approaches and themes. The prize offers the winners a sum of money and the opportunity to be published on the Art UK and Paul Mellon Centre websites.

During the second year of the Write on Art competition, we received 159 submissions in total, with 35 in the Year 10/11 category and 124 in the Year 12/13 category. The essays were submitted from across the United Kingdom. The judging panel consisted of Val McDermid, acclaimed crime writer; Hammad Nasar, curator, writer, researcher and Senior Research Fellow at the Paul Mellon Centre; and Louisa Buck, art critic and contemporary art correspondent for The Art Newspaper.

The winners of the 2018–2019 round were:

In the Year 12/13 category:

First place: Viola Turrell from James Allen's Girls' School, on Blotter by Peter Doig

Second place: Grace Page from Ysgol Bro Pedr Comprehensive, on Greenham, Peace Vigil by Claudia Williams

In the Year 10/11 category:

First place: Jack Harrison from Giggleswick School, on La Mitrailleuse by C. R. W. Nevinson

Second place: Maryam Khan from the Queen’s School Chester, on Bacchus and Ariadne by Titian

In November 2018, in another event geared towards young writers, PMC staff participated in the Association for Art History’s Ways of Seeing conference at the National Gallery. During the lunch break, the PMC hosted a workshop where students learned how to analyse a painting and write effectively.

Write on Art Prize 2018–2019 award ceremony, Paul Mellon Centre, London

This year the work of Research Collections staff was concentrated on the installation of air conditioning in the archive stores. Staff worked with contractors, experts, architects and building-planning officers from Camden Council to plan the project. The archive collections were packed and sent off-site and the building work finally completed in May 2019. The Centre’s archival storage is now compliant with international standards and will help facilitate the long-term preservation of the material. By the end of June 2019, and for the first time in some years, all of the archive collections had been returned to the Centre and were available to researchers: reader numbers in the Public Study Room increased accordingly.

Research Collections staff also played a significant role in the project to digitise the Centre’s photographic archive. They worked alongside the Digital Manager, attending meetings of PHAROS (the International Photographic Archive consortium); planning and participating in user workshops; advising on the conservation of the negatives; and assisting with the re-boxing of the collection.

Despite a three-month closure of all the archive collections and a three-week closure of the Public Study Room during the installation of air conditioning, the total number of readers during the year dropped only very slightly (by 15 per cent). Strikingly, the total number of new readers registered increased significantly: from 171 to 243. Similarly, the total number of website hits for Research Collections pages and for use of the online archive and library catalogues increased considerably. Both of these statistics indicate that the Centre’s research collections are reaching an ever-widening audience.

The first and third Drawing Room displays of 2018–2019 drew from the Centre’s archive collections. They were curated by staff members Nermin Abdulla, Harriet Fisher and Martin Postle, assisted by Research Collections staff. In a new departure, the display in spring 2019 was guest-curated by the artist George Shaw, and consisted entirely of items from his personal collection. Bryony Botwright-Rance was responsible for overseeing and co-ordinating all the displays:

Artists’ Letters: Three Stories from the Paul Mellon Centre Archive Collections (1 October 2018 to 14 January 2019)

Secondhand Daylight: A Display by George Shaw (21 January 2019 to 3 May 2019)

‘Painter, Gardener, Scholar’: Humphrey Waterfield, 1908–1971 (13 May 2019 to 13 September 2019)

In October 2018, the Assistant Librarian went on jury service for six months. Her post was in part covered by Jette Nielsen from October to January, who worked primarily on weeding and completing the creation of skeleton catalogue records for the Brian Sewell library collection.

Mary Peskett Smith’s contract was revised: she now works at the Centre on a permanent basis for two days a week, focusing on various library and archival tasks.

In April 2019, Anthony Day was appointed on a nine-month contract to catalogue various archive collections. He completed work on the Daphne Haldin archive in May 2019 and the John Sunderland archive in June 2019. The resulting catalogue descriptions are now available online.

For the first time, Research Collections staff took part in History Day at Senate House. This one-day event held in November 2018 was a great success and introduced the Centre’s collections and activities to new audiences. Staff were also involved in similar initiatives, including the Association for Art History Annual Conference and the second Easel careers event. In addition, they continued to provide talks and tours of the Research Collections to a broad variety of audiences, and to support the wider initiatives of the Centre – from the Bedford Square Festival to an Art+Feminism Wikipedia Edit-a-thon.

Library

A total of 1,275 books and exhibition catalogues were accessioned during the year.

As well as newly published books, exhibition catalogues, journals and auction catalogues acquired by purchase and gift throughout the year, the library received a donated collection of books relating chiefly to Canadian painting from 1867 to 1939. Collected by Michael Liversidge FSA (b.1947), who taught at the University of Bristol for many years, the collection of one hundred books and exhibition catalogues contains many scarce titles. This generous donation, received in September 2018, fills a major gap in the library’s existing holdings.

An issue of the journal Axis: A Quarterly Review of Contemporary ‘Abstract’ Painting & Sculpture from the Peter and Renate Nahum donation was loaned to the Somerset House exhibition, Print! Tearing it up, during summer 2018. This is the first time that library material has been lent to an external exhibition.

Archive

Two archive collections were acquired during the year. The Gavin Stamp archive was kindly donated to the Centre in July 2018 by Rosemary Hill, Stamp’s widow. Stamp (1948–2017) was a writer and architectural historian who published widely, wrote the ‘Nooks & Corners’ column for Private Eye and appeared in many television programmes about architectural history. Stamp’s archive reflects his varied career and many interests, and contains material created from his undergraduate days to the end of his life.

The John Sunderland archive was kindly donated to the Centre in March 2019 by Sunderland’s widow, Clare. Sunderland (1942–2018) was an art historian with a particular interest in the artist John Hamilton Mortimer Sunderland’s archive contains not only the material he compiled in relation to his publication John Hamilton Mortimer: His Life and Works (1988), but also the research notes of two previous Mortimer scholars, Gilbert Benthall and Benedict Nicolson. As the Centre already holds archive material created by Benthall and Nicolson,

the acquisition is a particularly important one – not only filling identified gaps but also illustrating the working practices and collaboration between art historians.

For the first time, archive material held at the Centre was featured in a BBC television programme. The John Hayes and Ellis Waterhouse archives were consulted by the Fake or Fortune? production team during their research into a lost work by Thomas Gainsborough. Filming for the episode, which was broadcast in July 2019, took place in the Public Study Room over three days.

Institutional Archive

Archive staff continued the institution-wide records audit begun in 2018. Working with relevant staff across the Centre, they reviewed record-keeping practices in the Events, Yale-in-London and Grants & Fellowships areas of activity. Recordkeeping tools were updated, and records were destroyed or transferred to the archive in accordance with best practice.

Working with the Digital Manager, Archive staff also oversaw the purchase of Preservica, a system designed to assist with the challenges of preserving electronic records, including email.

GDPR

The Archivist & Records & Data Protection Manager continued to undertake a thorough review of the personal information managed by the Centre. Working with relevant staff, the HR and Events activities were reviewed and practices updated to ensure compliance with the legislation. In addition, an employee privacy notice was issued to staff and a public privacy notice, covering key areas of Centre activity, compiled and made available on the Centre’s website. In addition, GDPR-related queries and issues arising from everyday working practices across the Centre were addressed.

Special Projects

London, Asia

The London, Asia research project is co-led by the Paul Mellon Centre’s Deputy Director for Research, Sarah Victoria Turner, and Hammad Nasar, Senior Research Fellow. Phase one of the project came to completion in June 2019 and the project has been awarded a further two years of funding by the Board of Governors to support a second phase of activity. Through its three research strands – exhibitions, institutions and art schools – the London, Asia research project is working towards a more expanded and diverse narrative of British art. It posits London as a key, yet under-explored, site in the construction of art-historical narratives in Asia, and 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 was established in collaboration with Asia Art Archive (Hong Kong).

The London, Asia project has organised a number of workshops, talks and conferences that have offered opportunities to share new research and to network, including an international conference at Manchester Art Gallery entitled ‘The LYC Museum & Art Gallery and the Museum as Practice’, which focused on the artist Li Yuan-chia and the networks he created through his museum project. In 2018, the first London, Asia Research Award holder, Dr Sarena Abdullah, senior lecturer at the School of the Arts, Universiti Sains Malaysia (USM), completed and presented her research at the PMC. Titled ‘The Commonwealth Institute: Contexts, Collaborations, Contestations’, Dr Abdullah’s project explores the artistic relationship between Malaysia and Britain in the 1950s and 1960s, and will be published in a forthcoming issue of British Art Studies. A second Research Award holder was also appointed in 2018: Ming Tiampo, a full professor in art history, co-director of the Centre for Transnational Cultural Analysis and director of the Institute for Comparative Studies in Literature, Art and Culture at Carleton University, Ottawa. Professor Tiampo is conducting research on how the Slade School of Fine Art, which welcomed students from all over the world from its inception in 1871, functioned as a crucible of encounter and a site for articulating ‘Global Asias’.

Li Yuan-chia standing at the porch of the LYC Museum & Art Gallery, featuring window designed by David Nash. Image courtesy of LYC Foundation, Li Yuan-chia Archive, The University of Manchester Library

Art and the Country House

The Paul Mellon Centre research project, Art and the Country House, led by Dr Martin Postle, continues to focus on the collection and display of works of art in the country house in Britain from the sixteenth century to the present day. The eight houses selected as case studies are: Castle Howard, Yorkshire; Doddington Hall, Lincolnshire; Mells Manor, Somerset; Mount Stuart, Isle of Bute; Petworth House, West Sussex; Raynham Hall, Norfolk; Trewithen, Cornwall; and West Wycombe, Buckinghamshire.

Over the past year, research has continued on the various case studies, and new pieces have been commissioned on the collections and displays at Raynham Hall, Mells Manor and Petworth House. In July 2018 Dr Postle visited the Earl of Oxford and Asquith at Mells Manor, followed by a group visit by the research team to inspect works of art and materials in the archive. Further visits were also made to Petworth House, Castle Howard and Mount Stuart. A workshop, where ongoing strands of work were presented, was held at the Paul Mellon Centre in November 2018.

In May 2019, Dr Postle and Dr Emily Burns delivered papers based on project research at the 17th Annual Historic Country Houses Conference, ‘Country House Collections: Their Past, Present, and Future’, held at Maynooth University and the National Gallery of Ireland, Dublin. In June 2019 Dr Postle offered a summer undergraduate course on ‘The British Country House: Collecting and Display’ for Yale in London, which included visits to Petworth House and Castle Howard, and incorporated research conducted during the project, and talks by various project contributors. The final results of the research project are to be published online by the Paul Mellon Centre by the end of 2020.

The Beauties Room, Petworth House:

Photo: Tom St Aubyn

George Shaw: A Corner of a Foreign Field

October 2018 saw the opening of a major new exhibition on the contemporary artist George Shaw at the Yale Center for British Art. Entitled George Shaw: A Corner of a Foreign Field, this was a joint venture between the Yale and London Centres. It was curated by the PMC’s Mark Hallett, working in collaboration with Matthew Hargraves of the YCBA. The display offered a survey of Shaw’s career thus far, featuring more than seventy of his works, ranging from No. 57 (1996), produced while he was a graduate student at the Royal College of Art, to Mum’s (2018), painted for the exhibition in New Haven, and subsequently purchased by the Yale Center.

The exhibition, after its three-month run at the YCBA, travelled in revised form to the Holburne Museum in Bath, where it opened in February 2019 for a period of three months. It was extremely well received in both venues, enjoying a very favourable review in the Wall Street Journal, and a five-star review from the Guardian’s Jonathan Jones.

The exhibition, its catalogue and a special set of four films commissioned to accompany the display by Jon Law, Lily Ford and Jared Schiller, all represented highly collaborative endeavours. Hallett and Hargraves worked extremely closely with the artist himself in preparing and then hanging the show. Hallett, as well as writing the bulk of the exhibition catalogue, also edited the work of a stellar collection of contributors, who included the Turner Prize-winning artist Jeremy Deller, and the art historians Tom Crow, Catherine Lampert, David Mellor and Eugenie Shinkle.

George Shaw: A Corner of a Foreign Field also generated a series of scholarly events in New Haven, London and Bath, including conversations with the artist and film screenings that featured talks by the artist as well as by Law, Ford and Schiller.

George

Shaw, Scenes from the Passion: Late (detail), 2002, humbrol enamel on board, 91 x 121 cm. Tate, London: Presented by the Patrons of the New Art Special Purchase Fund

Photographic Archive

Between 1964 and 1969, the Paul Mellon Foundation began to collate an internationally important collection of reference photographs of paintings, sculpture, architecture and the decorative arts, as well as images of sketchbooks and exhibitions. This practice was continued when the Foundation was re-established as the Paul Mellon Centre in 1970, and maintained until 2013. Over the years, the Photographic Archive has provided scholars with a broad and much-consulted source of information about works of British art and architecture.

An ambitious project to reconsider modes of access for the Photographic Archive collection began in earnest in spring 2018, with the collection being removed to an off-site location for digitisation. Picturae was appointed to make digital copies of the back and front of every object in the collection. Digitisation was undertaken at Picturae’s facility in New Jersey, USA, and completed in January 2019. The collection was then returned to the UK for permanent off-site storage.

The Centre hosted a workshop in November 2018 in order to inform the development of the digital Photographic Archive platform. Forty participants who responded to a public call were invited to explore the possibilities and challenges of using digitised photo archive materials. A series of presentations, tasks and discussions designed to interrogate the project helped to create a clear list of recommendations.

In consultation with the PHAROS consortium of fourteen international research institutes that hold similar photo archives, the Centre also undertook research into best practice in the field in order to determine how to publish its collection online. The infrastructure required to deliver a project of this nature was identified and procured: Gallery Systems was contracted to produce a Collections Informational Management System, Digital Asset Management System, Application Programming Interface, and public catalogue. Development of these systems continued throughout the 2018–2019, and continues into 2019–2020, as does the creation of metadata to allow discovery of the resources. Online publication of the collection is planned for 2020.

British Art Network

The British Art Network (BAN) is one of a series of Subject Specialist Networks inaugurated in 2012 by Arts Council England. The aim of the British Art Network is to facilitate the sharing of expertise, research and ideas across museums, galleries and academic institutions in the UK. In early 2019, the PMC committed financial support and resources to a relaunched British Art Network, in partnership with its two other funders, Tate and Arts Council England, and an initial steering committee for the BAN was held at Tate Britain on 27 March 2019.

The BAN was formally relaunched on the evening of 28 May 2019 at Tate Britain, a new, and more ambitious phase in the network’s development being made possible largely due to a significant financial contribution of £75,000 from the PMC, authorised by its governors at Yale in December 2018, and covering the period until July 2020. This was supplemented by in-kind managerial support from the PMC, including the appointment of Martin Postle as the BAN’s interim convenor. Tate also agreed to fund a full-time coordinator for the BAN, and appointed Jessica Juckes to the post.

At the relaunch, the BAN agreed to support the following strands of activity in the period to June 2020:

the creation of a dedicated group of early career curators, designed to create a supportive forum for the next generation of curators in the UK to share experiences and thinking around British art

the creation of British Art Network sub-groups that explore specific areas of British art, led by regional network members across the UK the inauguration of three seminar series (each comprising four events) organised by regional network members across the UK the organisation of three BAN workshops, the first of which was hosted by Tyne and Wear Archives and Museums on 28 June 2019, on the subject of curatorial eco-systems

the organisation of two major conferences, to be hosted in March 2020 by National Museum Wales, Cardiff, and in June 2020, co-hosted by Tate Britain and the National Gallery, London.

Staff Activities

Mark Hallett Director of Studies

Mark Hallett’s main research focus this year was the exhibition George Shaw: A Corner of a Foreign Field, which he curated and which ran from October to December 2018 at the Yale Center for British Art, New Haven, and from February to May 2019 at the Holburne Museum, Bath. Further details of this research project are found elsewhere in this report.

He also began work on a new research project on the British artist Nigel Henderson (1917–1985), in preparation for a ‘Spotlight’ display of Henderson’s collages at Tate Britain in December 2019. This work included the development of a scholarly film on Henderson’s practice, which will be shown as part of the display.

Professor Hallett also conducted research on the artist Michael Andrews (1928–1995), the subject of his British Academy ‘Aspects of Art’ Lecture of July 2019.

Alongside editing and writing the bulk of the catalogue that accompanied the Shaw exhibition, Professor Hallett contributed a short essay to Britain in the World: Highlights from the Yale Center for British Art, edited by Martina Droth, Nathan Flis and Michael Hatt, and published in 2019 to commemorate Amy Meyers’ Directorship of the Yale Center for British Art.

Professor Hallett continued to serve as an external member of Tate Britain’s Advisory Council, and of the Courtauld Institute of Art’s Promotion Committee. He also acted as an academic advisor to Cambridge University’s History of Art department, in relation to the forthcoming Research Assessment Exercise.

Sarah Victoria Turner Deputy Director for Research

In September 2018, Sarah Victoria Turner was nominated and elected a full Fellow of the Royal Society of Arts in London for her contribution to research on British art and international artistic exchanges. Dr Turner travels widely on behalf of the Centre and has given talks and lectures at a number of venues across the world. In April 2019, she was invited by the University of Washington in Seattle to give a public lecture on the The Great Spectacle: 250 Years of the Summer Exhibition, the exhibition she co-curated with Mark Hallett at the Royal Academy of Arts in London (June to August 2018). She also led a workshop for graduate students and faculty members on digital publishing, drawing on her experience as a founder editor of the open-access journal British Art Studies and as an editor of The Royal Academy Summer Exhibition: A Chronicle, 1769–2018, an open-access and peerreviewed digital publication consisting of texts by over ninety authors. Dr Turner has published a number of books and essays in this period. These include: ‘Painting Portraits, Recording Lives’, Eileen Hogan: Personal Geographies (New Haven and London: Yale Center for British Art / Yale University Press, 2019), pp. 188–203; Enchanted Modernities: Theosophy, the Arts and the American West, co-edited with James Mansell and Christopher Scheer (Lopen: Fulgur, 2019) and Imagined Cosmopolis: Internationalism and Cultural Exchange, 1870s–1920s, co-edited with Charlotte Ashby, Grace Brockington and Daniel Laqua (Oxford: Peter Lang, in press).

Martin Postle Deputy Director for Grants & Publications

Martin Postle continued to be involved in operations and planning future courses for Yale undergraduates at the Centre. He also taught the Yale in London course, ‘The British Country House: Collecting and Display’ in the early summer of 2019. Dr Postle continued his role on the Centre’s Publications Committee, involving the evaluation of manuscripts and planning of future publications. He also continued his role in the Centre’s Grants and Fellowships programme, working closely with the Centre’s Fellowships, Grants & Communications Manager, Harriet Fisher. In autumn 2018 and spring 2019 he chaired the Grants and Fellowships section of the Advisory Council meeting. Throughout the year Dr Postle continued to make visits to regional museums to discuss research initiatives with staff. He also organised two workshops relating to curatorial research, in September 2018 in Sheffield and in October 2018 at the Holburne Museum, Bath. In the spring of 2019 Dr Postle took up the position of interim convenor of the British Art Network, including the organisation of the workshop titled ‘Curatorial EcoSystems’ held at Tyne & Wear Archives & Museums in June 2019.

Dr Postle’s research role at the Centre continued to be centred principally on the project he continues to lead, Collection and Display: The British Country House, working closely with a range of colleagues, including curators, academics and emerging scholars. He attended and chaired sessions at academic conferences throughout the year, and delivered presentations at Frenemies: Friendship, Enmity and Rivalry in British Art, 1769–2018 at the Royal Academy of Arts (July 2018), and at The Roman Art World in the 18th Century and the Birth of the Art Academy in Britain, held at the Accademia Nazionale di San Luca and the British School at Rome (December 2018).

Dr Postle continued to serve on the following committees and boards: Editorial Board, British Art Studies; Expert Advisor, Reviewing Committee on the Export of Works of Art; International Advisory Board, The British Art Journal; Governor of Dr Johnson’s House; the Council of the Attingham Trust; and Trustee of the Catalogue Raisonné of Works by Philip de László.

The Long Gallery, Petworth House.

Photo: Tom St Aubyn

Appendix

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

Print Publications

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 NineteenthCentury Britain

Anne Middleton Wagner, Mother Stone: The Vitality of Modern British Sculpture

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

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

Michael Levey, Sir Thomas Lawrence

Martin Myrone, 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 EighteenthCentury 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 NineteenthCentury 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 PostReformation 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 EighteenthCentury 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 Eighteenth-Century 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: South-East 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

Morna O'Neill, Hugh Lane: The Art Market and the Art Museum, 1893–1915

Mark Hallett, George Shaw: A Corner of a Foreign Field

Olivia Fryman (ed.), Kensington Palace: Art, Architecture and Society

2019

Hugh Belsey, Thomas Gainsborough: The Portraits, Fancy Pictures and Copies after Old Masters

Elizabeth Goldring, Nicholas Hilliard: Life of an Artist

Paul Binski, Gothic Sculpture

Edward S. Cooke, Jr., Inventing Boston: Design, Production, and Consumption, 1680–1720

Digital Publications

2014

Paul Spencer-Longhurst, Richard Wilson: Online Catalogue Raisonné

2015

British Art Studies, Issue 1

2016

British Art Studies, Issue 2

Richard Stephens, A Catalogue Raisonné of Francis Towne (1739–1816)

British Art Studies, Issue 3: British Sculpture Abroad, 1945–2000, edited by Penelope Curtis and Martina Droth

British Art Studies, Issue 4

2017

British Art Studies, Issue 5

British Art Studies, Issue 6: Invention and Imagination in British Art and Architecture, 600–1500, edited by Jessica Berenbeim and Sandy Heslop

British Art Studies, Issue 7

2018

Mark Hallett, Sarah Victoria Turner, Jessica Feather (eds.), The Royal Academy of Arts Summer Exhibition: A Chronicle, 1769–2018

British Art Studies, Issue 8

British Art Studies, Issue 9

British Art Studies, Issue 10: Landscape Now

2019

British Art Studies, Issue 11: Theatres of War: Experimental Performance in London, 1914–1918 and Beyond, curated by Grace Brockington, in collaboration with Impermanence, with contributions from Ella Margolin and Claudia Tobin

British Art Studies, Issue 12

Board of Governors & Advisory Council

Board of Governors

Governors

Peter Salovey President of Yale University

Benjamin Polak

Provost of the University

Stephen C. Murphy

Vice President for Finance and Chief Financial Officer of the University

Amy Meyers

Director of Yale Center for British Art (left 30 June 2019)

Members

Tim Barringer

Department Chair; Paul Mellon Professor in the History of Art

Marvin Chun Dean of Yale College; Richard M. Colgate Professor of Psychology; Neuroscience

Edward S. Cooke, Jr

Charles F. Montgomery Professor in the History of Art and Professor of American Studies

Susan Gibbons

Stephen F. Gates ’68 University Librarian and Deputy Provost for Collections & Scholarly Communication (Joined 25 February 2019)

Pericles Lewis Vice President for Global Strategy and Deputy Provost for International Affairs and Douglas Tracy Smith Professor of Comparative Literature

Jules D. Prown

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

Edwin C. Schroeder Director of the Beinecke Rare Book and Manuscript Library & Associate University Librarian

J. Lloyd Suttle Deputy Provost for Academic Resources

Keith Wrightson

Randolph W. Townsend Jr. Professor of History

Advisory Council

Christopher Breward

National Galleries of Scotland

Tarnya Cooper

National Trust

Anthony Geraghty

University of York

Julian Luxford

University of St Andrews

David Mellor

University of Sussex

Martin Myrone

Tate Britain

Lynda Nead

Birkbeck

Christine Riding

Royal Museums Greenwich

MaryAnne Stevens

Art Historian and Curator

Andrew Saint

English Heritage

Nicholas Tromans

Christie’s Education

Simon Wallis

The Hepworth Wakefield