Publishing at the Paul Mellon Centre: A Brief History

D R A W I N G R O O M D I S P L AY S

Publishing at the Paul Mellon Centre A Brief History

19 January 2018 – 18 May 2018 1

Introduction

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Books have been at the heart of the Paul Mellon Centre’s (PMC) activities from its inception.

This brochure and the display it accompanies are designed to give you a brief introduction to the beginnings of our publishing history and to highlight the different strands of our list. We begin with the story of our very earliest publications; and then, to showcase the variety of our output, we have asked a selection of colleagues associated with the Centre to tell the stories behind some of our most important books.

Inevitably, we only had space for a small selection of our publications in the display itself. However, to see our complete list, the variety of subjects we have covered and the pantheon of authors we have been privileged to work with, you will find a copy of every book we have published in the bookcases in the Drawing Room.

We have published more than 300 books in association with Yale University Press (YUP) since the Centre was founded in 1970.

However, our publishing history began even earlier, following a meeting in 1959 between Paul Mellon, the great American collector of British art, and the art historian Basil Taylor. Both men, recognising that the study of British art trailed in the wake of scholarship on other national schools, were keen to establish a publishing venture that would, in Paul Mellon’s words, ‘promote a wider knowledge and understanding of British art’.1 Their conversations ultimately led to the creation of the Paul Mellon Foundation for British Art in 1963. Financially supported

by Paul Mellon and directed by Basil Taylor, it operated from premises at 38 Bury Street, St James’s.

The Foundation was to have two major ambitions in the field of publication: the development of a major dictionary of British painters, for which it issued a detailed prospectus (1), and the production of individual monographs and catalogues.

All the material in this display is taken from the PMC's institutional archive and library. For a full list of the items in the diplay, see pages 34–35. Bold figure numbers in the text refer to these items.

1 Paul Mellon (with John Baskett), Reflections in a Silver Spoon: A Memoir, New York, 1992, p. 328.

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While the dictionary never reached fruition, on account of its escalating costs, the book scheme quickly materialised in the shape of three major publications; these were published in association with Routledge & Kegan Paul and were announced in a handsome scarlet brochure (2 and 3).

These publications can usefully be situated in the context of a statement that Basil Taylor had written to describe the Foundation’s aims, which bemoaned ‘the quite insufficient and often amateurish books’ that had hitherto been available on British art (4).

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The early trio of books publicised in the Foundation’s brochure began the process of rectifying the sad state of affairs that Taylor had described. The first of these was Robert Raines’s Marcellus Laroon, published in 1966 (5). This served to preface an exhibition of the artist’s work – curated

by Raines – that was held at the Aldeburgh Music Festival and at the Tate Gallery in the following year, and that was itself accompanied by a pamphlet catalogue published by the Foundation (6). The second of the Foundation’s major publications was Oliver Millar’s Zoffany and his Tribuna, to which the author looked forward with much excitement: as he wrote in a letter to Taylor, ‘I shall, of course, eagerly await the arrival of the Zoffany volume.

I should like for myself a few copies, among them those that I shall present to The Queen and Queen Elizabeth.’ (7 and 8). The last of the trio was Roy Strong’s Holbein and Henry VIII (9).

An early royalty statement gives some indication of the very different rewards that accrued from all three books, together with those enjoyed by other notable early publications, including Benedict Nicholson’s ground-breaking book on Joseph Wright of Derby (10).

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The Paul Mellon Foundation’s enterprise, and the first three books it had generated, prompted an extended and highly positive review in the Illustrated London News of 29 April 1967 (11). In the words of 'A.C.', the ILN's writer, this marked ‘a landmark in art book publishing’.

However, this landmark publication venture was soon to find itself developing under new conditions and fresh leadership.

The Foundation, having incurred crippling costs in pursuing the dream of its comprehensive Dictionary of British Painters, was dissolved in late 1969. Paul Mellon, in order to keep his vision alive, now turned to his alma mater, Yale University, which he asked to supervise the setting up of a new educational charity to promote and support research in British art, again

based in London. The Paul Mellon Centre for Studies in British Art was founded in 1970 under the aegis of Yale University. It would in due course become the sister institution of the Yale Center for British Art in New Haven, then being developed to house the great collection of British art Mellon had donated to the University. In 1970, and with its new partner, Yale University Press, the PMC embarked on its own prestigious publishing venture.

The following pages, in which scholars, editors and publishers look back upon a selection of the books published by the Centre over the last five decades, offer, we hope, some indication of the very different kinds of work the PMC has supported and produced since its foundation. We hope you enjoy the stories they tell.

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Emily Lees Editor, Paul Mellon Centre

The Paul Mellon Centre’s first fully fledged publication, and the first of its books to be published in association with its long-standing partner, Yale University Press, was Ronald Paulson’s Hogarth: His Life, Art, and Times, which was published in the spring of 1971 (12). This twovolume critical biography came in at more than a thousand pages with over 300 illustrations. As well as representing a major breakthrough in the study of the life and work of this canonical British artist, it was a powerful statement of intent regarding the Centre’s ambitions as a publisher.

As the author notes in his acknowledgements, he had developed the book project in the late 1960s, with the support of Basil Taylor and of the Mellon Foundation, ‘which encouraged and subsidised the manuscript and also supplied many of the photographs'.2 Following the closure of the Foundation, the

manuscript was taken on by the new Centre, and by Yale University Press, which had published Paulson's earlier two-volume catalogue, The Graphic Works of William Hogarth, in 1965. His new biographical study offered a deeply researched analysis of Hogarth’s life and career as a painter and printmaker. The book remains one of the great scholarly studies not only of Hogarth, but of any British artist.

An early Yale catalogue (13) presents the book along with a glowing endorsement from Arts in America: 'The book . . . is a marvel of organization in which an awesome amount of documentary material from a stupefying variety of sources has been marshaled . . . to produce a narrative of immense readability'.

Though extremely expensive to produce, this book gave the Centre, and its publishing partnership with Yale University Press, the very best possible start.

2 Ronald Paulson, Hogarth: His Life, Art, and Times, London, 1971, p. xviii.

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Photograph of the set of Farington diaries, including the volumes of Item 14

Martin Postle Deputy Director for Grants and Publications, Paul Mellon Centre

Went early this morning in company with Mr. George Dance, the architect, and Mr. Saml.

Lysons of the Temple, to Lord Orfords at Strawberry Hill, where we breakfasted with his Lordship.

Saturday July 13th. 1793.

Joseph Farington’s account of a day spent with the seventy-sixyear-old Horace Walpole, marked the beginning of a diary which was to span the next twenty-eight years, until the very day of his death on 30 December 1821. During that time Farington recorded in microscopic detail his daily round, chronicling conversations, dinner party gossip, politics, public affairs and any issue that touched on his life as a professional artist and member of the Royal Academy.

Farington, who was born in 1747, the son of a vicar, came from a comfortable gentrified background.

In 1763, aged sixteen, he became a pupil of the landscape painter Richard Wilson, and forged his own career as a professional topographical artist. His art, his

relations with fellow artists and his close affiliation to the Royal Academy were at the centre of his life, ensuring that the diary he kept in later years came to be regarded as an essential source of information for any scholar interested in Georgian art and culture.

The original manuscript of Farington’s diary, contained in sixteen vellum-bound volumes, was presented by Lady Bathurst to King George V in 1934, and is in the Royal Library at Windsor. Although an abridged version of the diary was published between 1922 and 1928, it was the unexpurgated edition produced by Yale University Press for the Paul Mellon Centre between 1978 and 1984 that finally made available the diary in its entirety (14).

From the hiatus caused by the death of Joshua Reynolds in 1792 to his involvement in the funeral arrangements for Benjamin West in 1820, it was Farington, an otherwise unremarkable artist, who painted the most captivating picture of the passing age.

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John Nicoll Former Managing Director of Yale University Press

When we were first approached by Peter Thornton, his book, for all its obvious academic merits, looked problematic. It was very long, and it needed a lot of illustrations and a fair amount in colour, which was still at that time very expensive.

It wasn’t really about ‘art’ as then understood and published by the Mellon Centre, and it wasn’t really about England, as it focussed very much on Dutch prototypes that were then adapted for use in England and France. Moreover it wasn’t about a subject taught at any university, and it didn’t look as though it was going to be of much interest to antique dealers, museums or collectors.

But these challenges produced their own rewards in a rather serendipitous way.

First the politics. I, newly arrived at YUP, was very anxious to broaden the remit of the Mellon Centre’s ‘art’ publishing. Christopher White, equally new at the Centre, was equally anxious to broaden its ‘English’ intellectual horizons.

Then the economics. The only thing to do, we decided, was to

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design the book (15) to be as economical to manufacture as possible. Whatever we did, it was going to be horrifically expensive because the modest market – we thought maybe 1000 copies – meant a small print run with a correspondingly high unit cost; and we decided also that because the market was so ‘specialist’ (i.e. hard to identify and possibly nonexistent) it would have to pay a ‘proper’ price – in those days a little over four times the unit cost: a price which, if all the copies sold, would recover the Centre’s investment.

So we designed the book not to a format chosen by a designer for essentially subjective, aesthetic reasons, but to make the maximum use of the printing press of our then favourite printer. This saved around 20% on the printing price, and we daringly (or maybe rashly), but traditionally for publishers in this sort of situation, printed rather more than we thought we could possibly sell, in order to minimise the unit cost. We also rather cheekily reversed the order of the countries in the title so that

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England came first. And we charged £35 a copy – equivalent to around £200 in 2017.

Nice reviews (16), reflecting the author’s skilful, original and deeply learned text, led to astonishing sales, and the need for a reprint within weeks. And then for another reprint. And the financial (and hence operational) consequences were profound. Because the price

was so high the margin on the wholly unanticipated reprints was enormous. The Centre made money on a book for the very first time.

And a lot of money. Suddenly the academic publishing of art books was no longer inevitably a pit into which money had to be poured, and material culture in the broadest sense was welcomed onto the Mellon Centre's list.

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Duncan Robinson Former Director of the Yale Center for British Art

In December 1989 the Paul Mellon Centre co-sponsored and organized an interdisciplinary conference at the Tate Gallery which took as its theme ‘Towards a Modern Art World’ (17). There was general agreement afterwards that the papers given at that three-day event deserved to be published, not least because they posed more questions than answers about the production and consumption of art in Britain from the eighteenth century onwards. When the decision was taken shortly afterwards by the Paul Mellon Centre and the Yale Center to publish jointly a new series devoted to ‘Studies in British Art’, it was obvious that, with its multiplicity of viewpoints and challenges to orthodoxy, Towards a Modern Art World would be ideal as a first volume (18).

More than twenty years later, the significance of both the conference

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and its proceedings is even clearer.

The list of contributors is a rollcall of scholars spanning two or three generations who have given fresh impetus to the study of British art. It is fitting that it was Michael Kitson, the prime mover of the conference in his role as Director of Studies at the Centre, who summarized those changes in his magisterial introduction to the new Yale edition of Waterhouse’s Painting in Britain, 1530-1790, published in 1994. It is equally appropriate that his successor, Brian Allen, became the general editor of the new series. By 1995 he was able to announce that the next three volumes were in preparation, each of them resulting from conferences and lectures held in London and New Haven, and all three reflecting the importance of both centres in promoting research and publication.

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Brian Allen Former Director of Studies, Paul Mellon Centre

A Dictionary of British and Irish Travellers in Italy might seem like an eccentric choice from the wideranging PMC/YUP backlist primarily because it is essentially a work of biography rather than art history (19). Consisting of more than six thousand entries, the net was cast beyond grand tourists, students of the fine arts and artists to include diplomats, merchants and Jacobite exiles as well as sundry British families who chose to live abroad.

As Sir Brinsley Ford (1908–1999) himself originally stressed however, ‘matters connected with the arts, patronage [and] collecting’ were always given priority.

Perhaps my prime reason for singling out this title is the fact that it was so widely reviewed and admired beyond the confines of the usual art-historical press and was received with considerable critical acclaim not just by academics but by so many with a serious interest in eighteenth-century

history and culture. Two decades on it continues to be an invaluable source of reference.

Although originally commissioned by the Paul Mellon Foundation in 1962, its eventual publication in 1997, less than two years before Sir Brinsley’s death, brought great satisfaction and relief to both the archive’s compiler and to his many friends and admirers. The project began in the 1950s but had been more or less abandoned as a result of the demise of the Paul Mellon Foundation in its original form and the demands on Sir Brinsley’s time resulting from his wider roles in the London art world. Particular mention should be made of the almost super-human efforts of John Ingamells (1934–2013) and those who assisted him in turning the Ford archive into a publishable text (20). This required Ingamells to write an average of a thousand words per day, seven days a week for four years (21).

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Mark Hallett Director of Studies, Paul Mellon Centre

I remember receiving my copy of Art on the Line in the autumn of 2001 (22), on the very day I was due to travel to the Courtauld Galleries for the opening of the great exhibition it was published to accompany (23). I taught in York at that time, and began reading this now-celebrated collection of essays while sitting outside one of the city’s coffee shops, in the hour before my train left for London. For me – still a rather junior scholar – it was a huge privilege to have been invited to become one of the book’s contributors. So, of course, I spent the first few minutes of my coffeetime poring over my own essay and trying to reassure myself that it wasn’t too boring. Thereafter, and during my trip down to the capital, I was able to sit back and relax a little, and enjoy the pieces written by my many fellow-authors. In doing so, it quickly became apparent

that the book’s editor, David Solkin, had put together an especially rich compilation of texts that opened up the Royal Academy displays of the Georgian period to a host of new perspectives. And once I’d visited the show that night, it also became evident that David’s book perfectly complemented the exhibition that he had curated, which offered a stunning reconstruction of the summer exhibitions that had taken place at Somerset House in the late eighteenth- and early-nineteenth centuries. The fact that Art on the Line went on to be awarded the inaugural William M. B. Berger Prize for British Art in 2002 – and thereby joined the PMC’s extensive pantheon of prize-winning publications – only added to the sense that the entire project had ended up becoming something quite special. It was a thrill to have been involved, even if only in a very minor way.

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Sarah Victoria Turner Deputy Director for Research, Paul Mellon Centre

My own copy of Modern Life & Modern Subjects: British Art in the Early Twentieth Century (24) is rather tatty. The dust-jacket is crumpled and bashed up. The interior of the book has not fared much better.

Faded Post-it Notes cling to pages, corners are turned over and pencil marks and comments are scrawled in the margins. But these are not signs of abuse, rather of my continual use and interaction with Lisa Ticker’s game-changing book on British modernism. The material was first articulated as a series of Mellon Lectures in the January of 1996. I was at secondary school in Blackburn at that point, and although already forming an interest in twentieth-century modernism, the Monday night Mellon Lectures at the National Gallery were not on my radar. Modern Lives & Modern Subjects was published in 2000 and it was when I was studying History of Art at the University of Cambridge that I came across the book, in a course on British Modernism taught

by Duncan Robinson.

Modern Life & Modern Subjects presented a very different kind

of art history to the one I’d been largely taught as an undergraduate.

Here were paintings and sculpture alongside illustrated magazines, maps, photographs and menus from cabaret clubs. This book guided me through the professional and personal artistic networks of early twentieth-century London and introduced me to new methodological approaches for thinking through the ways that artworks make meaning.

It makes no apology for British modernism, but rather delves into the difficulties and the challenges of how artists in Britain grappled with what it meant to be modern.

The crisp and elegant prose, the footnotes groaning (in the best possible way) with archival research and the sense that this material really mattered made a profound impression on me as an art historian-in-the-making.

More broadly, this book has led the way for a new wave of serious and rigorous scholarship on British modernism, suggesting that many more modern lives and modern subjects remain to be written.

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Sally Salvesen Former Publisher, Yale University Press

Sargent’s prodigious output presents a significant challenge for a catalogue raisonné. The plan began exactly 70 years ago, in the hands of David McKibbin, librarian of the Boston Atheneum. Despite active research he did not progress to publication. But, on his death in 1978, he bequeathed his research materials to Richard Ormond, Sargent’s great-nephew and soon to be appointed deputy director of the National Portrait Gallery. Then the dynamic drive began.

Richard’s energetic scholarship was matched by the dedicated commitment of the New York artdealer Warren Adelson, who offered a co-author, researchers and backoffice support. A formidable team was born, with Elaine Kilmurray joining as co-author, as well as Warren’s co-director, Elizabeth Oustinoff. Even the picture research, design and publishing teams have remained remarkably constant.

The original plan was for four volumes (25). In the end that became nine, an indication of the scale of the discoveries made along the way. The arduous hours in libraries were matched by research 26

trips to the Alps, Venice, Capri and the Middle East, with the objective of identifying some of the scenes Sargent had painted.

John Nicoll, managing director of Yale University Press, proposed the project to the PMC, and Brian Allen and his publications committee generously embraced Sargent’s role in the narrative of British art. As publisher, a project of this magnitude engenders fears about the longevity of the authors’ commitment, as well as the audience’s enthusiasm. We need not have worried. Although Sargent’s star is somewhat lower in the art-market firmament today, his popularity as an exhibition subject continues undiminished, and the catalogue volumes have been received with equal enthusiasm, making them the PMC’s greatest financial success.

Almost every sentence here could be prefaced by the word ‘fortunately’, but this story represents more than good fortune.

An outstandingly productive artist, his dedicated and inspired scholars and their supportive backers have combined to produce a rare achievement.

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Andrew Saint Former General Editor of the Survey of London

The august Survey of London has been under the patronage of the Paul Mellon Centre for a decade now. The latest volumes, the 51st and 52nd in the series, were published in the autumn of 2017 (26). They cover South-East Marylebone, in other words the well-known district of London north of Oxford Street that includes Harley Street, Portland Place, the headquarters of the BBC at Broadcasting House, and the celebrated churches of All Souls, Langham Place, and All Saints, Margaret Street.

No other city in the world can boast a series like the Survey. Its volumes investigate the architecture and the social and economic history of every street in each area covered in exhaustive detail; they then put together the results in authoritative but readable prose, backed up with photography old and new and specially commissioned architectural drawings. The series

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is always evolving. In the latest volumes readers will find the best photographs ever to appear in the Survey, as well as a wealth of data and analysis on a district packed with architectural and artistic treasures, and noteworthy for its institutions, medical, musical and educational.

The high quality of the Survey of London is a matter for great pride.

Maintaining the series in a changing world, ensuring that it continues to evolve, and making it widely available all require regular attention and nurture. Most of the volumes are already available on line, and to make them all so is an ambition.

The series is currently housed at the Bartlett School of Architecture, University College London, which pays for the staff and research.

The Paul Mellon Centre sponsors the Survey's publication costs and Yale University Press produces the volumes.

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Gillian Malpass Former Publisher, Art and Architecture, Yale University Press

In 1994, Francis Haskell, Professor of History of Art at Oxford University and already one of the most influential art historians of the twentieth century, was invited

by Brian Allen, Director of Studies at the Paul Mellon Centre, to give the inaugural series of six lectures for the new, biennial Paul Mellon Lectures, to be hosted by the PMC at the National Gallery, London, and by the Yale Center for British Art in New Haven (27 and 28). The PMC and Yale University Press would publish the books that resulted from this and subsequent series. Haskell’s subject was one of the most fascinating stories in English cultural history: the rapid growth and no less rapid dispersal of Caroline collections of European – and above all Italian – pictures during the seventeenth century. No one had previously attempted to give an overview of the dramatic events that occurred within the space of less than a hundred years. The series was received with acclaim and welcomed as a prestigious

beginning to both the lectures and the related publications. However, with his usual modesty, Haskell decided that, because two other scholars were working on the art collection of Charles I, he would not publish a competing book – to the dismay of the PMC and YUP. Consequently, the manuscript languished until after his death in 2000, when his literary executor, Nicholas Penny, decided it was time to update the references and pull the lectures – beautifully written in Haskell’s inimitable, deceptively simple style – into book form. The resulting volume (29) is a succinct account of one of the most important periods in English history and specifically in the history of collecting, made vivid by Haskell’s characteristically deft evocation of the personality and idiosyncrasies of his varied cast of characters. It occupies a central place in Haskell’s achievement as an art historian and represents the beginning of a significant chapter in the history of the PMC.

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David acques

GARDENS OF Item 30

David Jacques

GARDENS OF

Court

AND

Country

E N GLI SH D ES IG N

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1 6 3 0 –1 7 3 0

Emily Lees Editor, Paul Mellon Centre

I joined the Paul Mellon Centre in the summer of 2016, at a time of great change for the PMC's publishing programme. The Centre had decided to take greater control of the books it published and was recruiting an editor to manage its print publications in house. Whilst this was a major step for the PMC, it was not, in fact, unprecedented - Paul Sharp had produced Marcellus Laroon, Zoffany and his Tribuna and Holbein and Henry VIII at the Foundation in the 1960s.

My first project as the Centre's new editor for books was David Jacques's Gardens of Court and Country, and it was a special pleasure for me to begin my new role with a book on one of my favourite subjects: gardens.

The book was published in the spring of 2017 and, with great serendipity, it was one of the Mellon Foundation's very first authors, Roy Strong, who was one of its first reviewers. For a piece in Country Life, he described the book as 'the cornerstone of all future studies' on the subject –

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an auspicious start to the latest phase of the Paul Mellon Centre's publishing history.

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1 Prospectus of the illustrated biographical Dictionary of British Painters, c.1967

12 Ronald Paulson, Hogarth: His Life, Art, and Times, 1971

AR: PMC35/2/1/10b

LR: 7 HOGA(W).P

2 Contract with Routledge & Kegan Paul Limited, November 1966

13 Yale University Press catalogue, Spring 1973

AR: PMC32/2

AR: PMC33/1

3 Publicity brochure announcing the first Studies in British Art publications, 1967

14 Joseph Farington and Kathryn Cave (ed.)

The Diary of Joseph Farington, 17 volumes, 1978–84, vols 14–16

AR: PMC35/2/1/10a

4 Statement written by Basil Taylor to Herbert Bailey, Princeton University Press, setting out the need for publications on British art, 1965

LR: 044 FAR

15 Peter Thornton, Seventeenth-Century Decoration in England, France and Holland, 1978

AR: PMC32/1a

LR: 747 THO

5 Robert Raines, Marcellus Laroon, 1966

16 Cutting from the Financial Times concerning Peter Thornton's book, 24 March 1979

LR: 7 LARO(X).R

6 Laroon exhibition pamphlet, 1967 AR: PMC32/1

7 Letter from Oliver Millar to Basil Taylor, concerning advance copies of his publication, 6 March 1967 AR: PMC34/3

8 Oliver Millar, Zoffany and his Tribuna, 1966 LR: 7 ZOFF(J).M

9 Roy Strong, Holbein and Henry VIII, 1967 LR: 7 HOLB(H).S

10 Royalty statement for early Paul Mellon Foundation publications, 1 December 1969 AR: PMC32/2

11 Cutting from the Illustrated London News concerning the Paul Mellon Foundation, April 29, 1967 AR: PMC8

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AR: PMC34/24

17 Initial planning proposal for symposium on British art, 25 March 1988 AR: PMC37/2/4

18 Brian Allen (ed.), Towards a Modern Art World, 1995 LR: 7.035(41) ALL

19 Compiled from the Brinsley Ford Archive

by John Ingamells, A Dictionary of British and Irish Travellers in Italy 1701-1800, 1997 LR: 910.4(450) ING

20 Photograph of John Ingamells surrounded by Brinsley Ford Archive material, c.1990s AR: RBF/10/35a

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21 Note giving a possible explanation for why the Dictionary of British and Irish Travellers in Italy took so long to complete, undated

24 Lisa Tickner, Modern Life & Modern Subjects: British Art in the Early Twentieth Century, 2000

AR: PMC34/69

LR: 7.036(41) TIC

22 David H. Solkin (ed.), Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836, 2001

25 Richard Ormond and Elaine Kilmurray, John Singer Sargent: Figures and Landscapes, 1874–1882: complete paintings vol. 4, 2006

LR: 068 LON-RAA

LR: 7 SARG(J).O

23 Pamphlet for 'Art on the Line', an exhibition at the Courtauld Institute of Art, October 2001–January 2002

26 Philip Temple, Colin Thom and Andrew Saint, Survey of London: South-East Marylebone, 2017

AR: PMC34/113

LR: 711 SUR

27 Flyer for the Paul Mellon Lectures at the National Gallery, London, 1994 AR: PMC37/3/1a

28 Invitation to a reception for the Paul Mellon Lectures, October 1994 AR: PMC37/3/1b

29 Francis Haskell, The King's Pictures: The Formation and Dispersal of the Collections of Charles I and his Courtiers, 2013 LR: 7.034.6(41) HAS

30 David Jacques, Gardens of Court and Country: English Design 1630–1730, 2017 LR: 712.3(41) JAC

31 Cutting from Country Life concerning David Jacques's book, 29 March 2017 AR: P

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A special thank you to all the contributors who have so generously given of their time to help tell the story of publishing at the PMC; and to my tireless and ever-patient colleagues who have guided this 'curatorial' novice through the process of putting together a display: Mark Hallett, Charlotte Brunskill, Jenny Hill, Emma Floyd and Bryony Botwright-Rance.

To find out more about all the books published by the Paul Mellon Centre, please visit our new publications page: www.paul-mellon-centre.ac.uk/publications/features Display and brochure produced by Emily Lees

The Centre is confident that it has carried out due diligence in its use of copyrighted material as required by the UK Copyright, Designs and Patents Act 1988 (as amended).

If you have any queries relating to the Centre’s use of intellectual property, please contact: copyright@paul-mellon-centre.ac.uk

For more information about our research Collections see our website: www.paul-mellon-centre.ac.uk. Alternatively contact us by email at collections@paul-mellon-centre.ac.uk or phone 020 7580 0311 38