Paul Mellon Centre — Annual Report 2015–2016

Annual Report 2015–2016

PMC Staff

Director of Studies

Mark Hallett

Deputy Director for Collections & Publications

(from 1 October 2015)

Deputy Director of Studies (to 30 September 2015)

Martin Postle

Deputy Director for Finance & Administration

(from 1 October 2015)

Assistant Director for Finance & Administration (to 30 September 2015)

Sarah Ruddick

Deputy Director for Research

(from 1 October 2015)

Assistant Director for Research (to 30 September 2015)

Sarah Victoria Turner

Education Programme Manager

Nermin Abdulla

IT & Reception Support Assistant (to 9 March 2016)

Zaiba Badrudin

Receptionist (from 15 February 2016)

Bryony Botwright-Rance

Archivist & Records Manager

Charlotte Brunskill

Archives & Library Assistant

Frankie Drummond Charig

Allen Fellow (from 1 October 2015)

Jessica Feather

Office Administrator & Director’s Assistant (from 19 October 2015)

Harriet Fisher

Events Manager

Ella Fleming

Librarian

Emma Floyd

Operations Manager (to 3 June 2016)

Lyndsey Gherardi

Assistant Archivist & Records Manager

Jenny Hill

Editorial Assistant Postdoctoral Fellow

Hana Leaper Receptionist (from 21 September 2015 to 7 January 2016)

Ellie Mayes

Archivist & Records Manager (Maternity Cover)

(to 14 August 2015)

Liz Moody

Finance Assistant (from 16 November 2015 to 14 March 2016)

Rashida Nakaddu

Receptionist

(from 20 June 2016)

Stephen O’Toole

Office Manager

(from 27 May 2016)

Suzannah Pearson

Picture Researcher

Maisoon Rehani

Finance & Administration Officer (from 1 April 2016)

Barbara Ruddick

Digital Manager

Tom Scutt

Fellowships & Grants Manager

Mary Peskett Smith

Buildings Officer

Harry Smith

Editor, Special Projects

Guilland Sutherland

Introduction

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

This year saw the return of the PMC to expanded and redecorated premises at 15–16 Bedford Square, after a major building project which necessitated our temporary closure and the removal of all our staff to nearby office accommodation. Our new premises, which extend over two interconnected terrace houses on one of London’s most elegant squares, located right in the heart of Bloomsbury, have proved a great success. They provide greatly improved seminar, teaching and conference facilities, including a beautiful lecture room that features an original eighteenthcentury decorated ceiling and comfortably holds 60 people. The newly-furbished Centre also boasts a small exhibition space called the Drawing Room, which, as well as enabling us to host displays of materials from our collections, provides a showcase for the many books, now more than 300 in number, that we have published with Yale University Press. Meanwhile, our Yale in London student facilities are now far more substantial and comfortable, and include purpose-designed teaching and social areas across our top floor. Finally, our archival and library collections are now located in a greatly extended series of rooms across our basement, providing visitors to our Public Study Room with an even higher level of resource and service.

This major development in our history was accompanied by the launch of a second large-scale project: our new online journal, British Art Studies, the first issue of which was published in November 2015, and which has been developed and edited in collaboration with our colleagues at the Yale Center for British Art. This peer-reviewed, open-access journal is designed to promote world-class scholarship on British art and architecture, and to provide a showcase for the most innovative modes of digital art history. BAS is published three times a year, and features two open-call issues featuring pieces on a wide variety of topics, periods and materials, and a third themed issue, published in the summer, which this year was devoted to the subject of British Sculpture Abroad, 1945–2000. Alongside its packed arrays of scholarly articles, the journal includes a range of other regular features, including a ‘Conversation Piece’ that encompasses debates on important and provocative themes, and a ‘Look First’ section that encourages visitors to spend some time studying visual material before turning to stimulating forms of commentary. BAS has experimented with filmed

content, has published recorded interviews, and is pioneering new ways of presenting cutting-edge research in the fields of conservation and restoration. In its first year, the journal won the ‘People’s Choice’ award for innovation at the 20th annual Museums and the Web conference and was visited by more than 20,000 unique users.

The year also incorporated a series of other innovations in the Centre’s outputs. October 2015 saw the launch of a new annual Public Lecture Course, geared to non-specialist audiences with an interest in British art and architecture, and taking the form of a course of free weekly lectures on a specific theme, run over the Fall term. Our inaugural course, which I taught with my colleague Martin Postle, and which was organised by Nermin Abdulla, was entitled From Satire to Spectacle: British Art in the Eighteenth Century. It was extremely well attended and generated very positive responses on the part of all those who had signed up; on its completion, planning soon began for the following year’s course, on the art and architecture of the British Country House.

Another development at the Centre was the introduction of a rolling programme of modestly scaled exhibition displays in our new Drawing Room. Three of these displays, which are designed to alert visitors to the riches of our library and archival holdings, and which are accompanied by small, pamphlet-sized catalogues, take place each year: those of the programme’s inaugural year focused, in turn, on modernist architecture in Britain; on the great historian of the English interior, John Cornforth; and on the history of the Yale in London programme.

All these activities, when seen alongside our packed schedule of research events and a raft of major book and online publications – which included a new online catalogue of the works of the Georgian watercolour artist Francis Towne –testify to the extent to which 2014–15 was a year of major growth in the Centre’s ambitions and activities. This was enabled by the support we received from our colleagues at Yale, and by the remarkable talents and energy of my colleagues here in London. We look forward to maintaining this record of achievement, collaboration and enterprise in the years to come.

Mark Hallett Director of Studies

Yale in London

Yale in London continues to offer rich and varied courses taught by distinguished academics from Yale, the Paul Mellon Centre for Studies in British Art, and from around the United Kingdom. The programme has continued to accept applications from Yale’s sister campus, Yale-NUS (National University of Singapore).

Spring Term

There were six students enrolled in the Spring term, two from Yale-NUS and four from Yale. They were housed in flats near Euston. Four courses were taught during the Spring term: British Art and Landscape by Martin Postle, Deputy Director for Collections and Publications at the Paul Mellon Centre; Chaucer and Medieval London and Medieval Biography by Ardis Butterfield, Yale University; and Modern British Drama by Sheila Fox, freelance critic and BBC producer. The Spring term also saw the students participate in a wide variety of activities and trips, including visiting key London destinations as part of their studies. As a component of the British Art and Landscape course, they visited various locations in Wales, such as Mount Snowdon, Cader Idris and Tintern Abbey. The students also saw many performances as part of the course on British drama, including War Horse (National Theatre), Hangmen (Wyndhams), Uncle Vanya (Almeida), and many other dynamic shows.

Summer Session One

There were twelve students enrolled in Summer Session One. They were housed in flats in Clerkenwell. During this session the students undertook two courses. Victorian Fiction was taught by Andrew Sanders, Professor Emeritus, Department of English, Durham University. A course called Looking at Multicultural London: Ethnographies and Archives was supposed to have been taught this summer by Jafari Allen. However, due to unforeseen circumstances this course could not be offered, and in its place Modern British Drama was taught by Sheila Fox. Victorian Fiction focused on key works of fiction that shed light on life and culture during the Victorian period. The course included works by the Brontë sisters, Charles Dickens, Elizabeth Gaskell and Bram Stoker. The students visited Castle Howard and Scarborough in order to inform their reading of

Dracula. They also saw many performances as part of the course on British drama, including Threepenny Opera (National Theatre), People Places Things (Wyndhams), Wild (Hampstead Theatre), and various other shows.

Summer Session Two

There were ten students enrolled in Summer Session Two, and they were housed in flats on North Gower Street. During this session the students took two courses: Photography in Victorian Britain: Aesthetics, Ethics and Politics by Sean Willcock, Yale in London Lecturer; and History of British Gardens, Landscape Parks, and Country House Architecture 1500–1750, taught by Bryan Fuermann, Yale School of Architecture.

Photography in Victorian Britain examined the creation and development of photography as an art form. As part of the course, the students visited relevant collections, archives and exhibitions in London, such as the Painted by Light exhibition at Tate Britain. They also went to the National Media Museum in Bradford. History of British Gardens was very much a site-based course with students being taught at various gardens both in and outside London. A residential trip was taken as part of this course and the students visited Oxford, Stowe, Rousham and Blenheim.

Publications July 2015–June 2016

George Romney: A Complete Catalogue of His Paintings

July 2015

July 2015

July 2015

August 2015

Alex Kidson

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

September 2015

David H. Solkin

Art in Britain 1660–1815

October 2015

British Silver: State Hermitage Museum Catalogue

November 2015

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

January 2016

Marina Lopato

Erin Griffey

Edgar Peters Bowron

Pompeo Batoni: A Complete Catalogue of His Paintings

February 2016

Eric Shanes

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

April 2016

Kathryn A. Morrison, John Cattell, Emily Cole, Nick Hill, Pete Smith

Apethorpe: The Story of an English Country House

May 2016

Susan Rather

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

February 2016

Linda Gertner Zatlin

Aubrey Beardsley: A Catalogue Raisonné

April 2016

Mark Hallett, Nigel Llewellyn, Martin Myrone

Court, Country, City: British Art and Architecture, 1660–1735

May 2016

Patricia McCarthy

Life in the Country House in Georgian Ireland

May 2016

British Art Studies

British Art Studies, an open-access digital journal, is a joint publication of the Paul Mellon Centre for Studies in British Art (PMC), London, and the Yale Center for British Art (YCBA), New Haven. The journal has grown out of many conversations and collaborations between the two centres, working with scholars and institutions worldwide. The foremost aim of British Art Studies is to provide a platform for innovative thinking, debate, and dialogue about British art, an area of research that, as our first issue makes clear, is constantly changing, expanding, and being re-defined. Through BAS we want to encourage and share a multitude of approaches, voices, and objects. BAS also offers new models for digital publishing. As well as single-author articles, it includes interactive features that foster dialogue, discussion, and the participation of many voices – including those of readers.

In the period covered by this report, two open issues were published and the first special issue, co-edited by Martina Droth and Penelope Curtis, was planned for publication in July 2016. In the first year, over 20,000 unique users, based in countries across the world, visited the journal’s content, and we published the work of over twenty contributors.

Between 1st July 2015 and 30th June 2016, the journal team consisted of:

Sarah Victoria Turner (PMC), Editor

Martina Droth (YCBA), Editor

Hana Leaper (PMC), Deputy Editor

Tom Scutt (PMC), Digital Manager

Maisoon Rehani (PMC), Picture Researcher

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

Fellowships and Grants

2015–2016

Over the last five years the number of applications made to the PMC Fellowships and Grants Programme has increased significantly. During the summer of 2015 it was decided to introduce an online awards administration system to cope with these increasing numbers and to bring the PMC’s application process into line with other academic grant-giving bodies. Tom Scutt, Digital Manager at the Centre, researched and implemented an online grants system provided by FluidReview, a Canadian company specialising in the field. With input from Mary Peskett Smith, the Fellowships and Grants Manager, the new system was tailored to our requirements. The system was ready for the Autumn 2015 round of awards when it was used for the first time by all applicants, and it completely replaced the old paper-based manual procedures. It has proved highly successful and has been well received by all but a few applicants.

In Autumn 2015 a new category of award, the Digital Project Grant, was introduced and immediately attracted much interest and a large number of applicants. Fifty-one applications were received in this new category and six were successful. Overall 217 applications were received for the awards offered by the PMC; sixty-one of these were successful. Nine Curatorial Research Grants were awarded from a total of twenty-three applications in that category. Publication Grants continued to be heavily oversubscribed; in total seventy-one Publication Grant applications were received, of which twenty-three were successful. The smaller awards offered, Research Support Grants and Educational Programme Grants, received a combined total of seventy-two applications and twenty-three grants were made.

The Wilhelmina Barns-Graham Trust, on whose behalf the PMC has administered a Research Support Grant for a number of years, decided to restructure their funding strands and to discontinue this award. It was therefore offered for the last time in Autumn 2015. The Andrew Wyld Research Support Grant, administered by the PMC on behalf of the Andrew Wyld Fund, was offered in the Autumn round.

The Spring 2016 round, which consists mainly of the five categories of Fellowship offered by the Centre, received 115 applications in total. There were, however, some unusual aspects on this occasion. Only one Senior Fellowship

A sample of the badges in the British Museum’s collection digitised for the Digital Pilgrim project, recipient of a Digital Project Grant in Autumn 2015.

application was received and only four applications were received for the PMC Rome Fellowship. For the first time no award was made in either category, although in June 2016 it was decided to re-advertise the Rome Fellowship. The re-advertisement of this award resulted in nine applications and the awarding of the Rome Fellowship to an excellent candidate. In contrast to the Senior and Rome Fellowships, the other categories of Fellowship offered in Spring 2016 received a healthy number of applications. Five Mid-Career Fellowships were awarded from a field of thirteen applicants; nine Postdoctoral Fellowships from twenty-four applicants; and six Junior Fellowships from eleven applicants. The smaller awards of Research Support Grants and Educational Programme Grants received a combined number of sixty-two applications and twenty-eight grants were made.

The Conservation Fellowship for the academic year 2015/2016 of £25,000 was awarded by the Director of Studies to Gainsborough’s House for a Conservation and Research Project into Gainsborough’s painting practice.

Sir Charles Lock Eastlake, A View of Trajan’s Forum, Rome, 1821 Courtesy of the Yale Center for British Art, Paul Mellon Fund

Grant Awards Autumn 2015

At the October 2015 meeting of the Centre’s Advisory Council the following Grants were awarded:

Curatorial Research Grants

Institute of Contemporary Arts (ICA) was awarded £8,000 to help support a research curator to work on the project ICA Exhibition Histories

Southbank Centre, Hayward Gallery was awarded £7,500 to help support a research curator to work on the project Artistic History of the Hayward Gallery

Greenwich Foundation for the Old Royal Naval College was awarded £8,500 to help support a research curator to work on the project Painted Hall Conservation: Understanding Sir James Thornhill’s Masterpiece

National Museums Liverpool, Walker Art Gallery was awarded £10,000 to help support a research curator to work on the project Online Dictionary of the Liverpool Autumn Exhibitions and Spring Exhibitions (1871–1938)

National Horseracing Museum was awarded £10,000 to help support a research curator to work on the project British Sporting Art

Turner Contemporary was awarded £20,000 to help support a research curator to work on the project The Waste Land

The Munnings Art Museum was awarded £5,000 to help support a research curator to work on the project

Munnings’ Equine Oeuvre

Middlesbrough Institute of Modern Art (mima) was awarded £17,000 to help support a research curator to work on the project The New Boosbeck Industries: from Heartbreak Hill to High Street

Gainsborough’s House was awarded £20,000 to help support a research curator to work on the project Cataloguing and researching the collection of Gainsborough’s House

Digital Project Grants

Amy Jeffs was awarded £5,000 for work on the Digital Pilgrim Project (The British Museum’s collection of medieval pilgrims’ badges)

Buxton Museum and Art Gallery was awarded £10,000 for work on the project Depicting Derbyshire (Searchable catalogue of topographical views of Derbyshire)

Afterall, Central Saint Martins College, University of the Arts London was awarded £8,000 for work on the project The Other Story: British Art/ Exhibition Histories Online

Philip Cottrell/University College Dublin was awarded £5,000 for work on the project The George Scharf Manchester Art Treasures Sketchbooks 1856/7 (Online digital resource)

National Portrait Gallery was awarded £10,000 for work on the project Tudor and Jacobean Portraits (Online catalogue)

Courtauld Institute of Art was awarded £10,000 for work on the project Visualising British Art (Visualisation and advanced browsing of digital image catalogue)

Publication Grants (Author)

Anne Helmreich was awarded £1,700 towards the cost of publishing Nature's truth: photography, painting and science in Victorian Britain

Arnika Schmidt was awarded £2,000 towards the cost of publishing Nino Costa, 1826–1903: Transnational Exchange in European Landscape Painting

Ayla Lepine was awarded £1,500 towards the cost of publishing Medieval metropolis: the middle ages and modern architecture

Catherine Roach was awarded £3,000 towards the cost of publishing Pictures-within-pictures in nineteenthcentury Britain

Catriona Murray was awarded £1,500 towards the cost of publishing Imaging Stuart family politics: dynastic crisis and continuity

Christine Manley was awarded £2,000 towards the cost of publishing Twentieth century architects: Frederick Gibberd

Clare Backhouse was awarded £1,900 towards the cost of publishing Fashion and Popular Print in Early Modern England: Depicting Dress in Broadside Ballads

Alex Bremner was awarded £2,000 towards the cost of publishing Architecture and urbanism in the British Empire

Jane Kamensky was awarded £1,500 towards the cost of publishing Copley: a life in color

Martin Heale was awarded £500 towards the cost of publishing The abbots and priors of late Medieval and Reformation England

Michael Hunter was awarded £2,100 towards the cost of publishing The Image of Restoration Science: the frontispiece to Thomas Sprat’s ‘History of the Royal Society’, 1667

Temi Odumosu was awarded £2,700 towards the cost of publishing Africans in English caricature (1769–1819): Black Jokes, White Humour

Publication Grants (Publisher)

British Museum was awarded £7,000 towards the cost of publishing Natasha Awais-Dean: Bejewelled: men and jewellery in Tudor and Jacobean England

Leamington Spa Art Gallery and Museum was awarded £6,000 towards the cost of publishing Alice Swatton: The Art of Deception: The Work of the Leamington Camouflage Group in the Second World War

Royal Academy Publications was awarded £3,500 towards the cost of publishing Annette Wickham and Anna Frasca-Rath: John Gibson RA (1780–1866): the British Canova

I B Tauris was awarded £7,000 towards the cost of publishing Matt Lodder: Tattoo: An Art History

Liverpool University Press was awarded £5,000 towards the cost of publishing David Cross and Edward Morris: Public Sculpture of Lancashire and Cumbria

Penn State University Press was awarded £1,700 towards the cost of publishing

Anne Helmreich: Nature’s Truth: Photography, Painting, and Science In Victorian Britain

Yale University Press was awarded £5,000 towards the cost of publishing Robert Close, John Gifford and Frank A Walker: Buildings of Scotland Guide to Lanarkshire and Renfrewshire

Bitter Lemon Press was awarded £5,000 towards the cost of publishing Stephen Bann (ed.): Stonypath days: Letters between Ian Hamilton Finlay and Stephen Bann, January 1970–January 1972

LUX was awarded £6,700 towards the cost of publishing Mark Webber: Shoot Shoot Shoot: The First Decade of The London Film-Makers’ Co-Operative and British Avant-Garde Film 1966–1976

Corpus Vitrearum Medii Aevi was awarded £7,000 towards the cost of publishing Richard Marks: Windows and Wills: Glazing and Fenestration Bequests in Medieval England and Wales

Reaktion Books was awarded £3,500 towards the cost of publishing David Brown and Tom Williamson: Lancelot Brown and the Capability Men: Landscape Revolution in Eighteenth-Century England

Educational Programme Grants

National Gallery, London, was awarded £1,500 towards the costs of a two-day international conference Negotiating Art: Dealers and Museums 1855–2015

Centre for Eighteenth Century Studies, University of York was awarded £1,900 towards the costs of a one-day conference Domesticating the exotic/ exoticising the domestic: transmitting and depicting products and animals in the global eighteenth-century world

Coventry University was awarded £1,800 towards the costs of a one-day symposium ‘Visions of the North': Reinventing the Germanic 'North' in Nineteenth-Century British Art and Visual Culture

Downing College, University of Cambridge was awarded £1,600 towards the costs of a one-day symposium Generation Painting: Abstraction and British Art, 1955–65

Edwardian Culture Network was awarded £1,100 towards the costs of a one-day symposium Englishness and the Edwardian Landscape

Birkbeck College, University of London was awarded £1,500 towards the costs of a three-day international conference Leonardo in Britain: Collections and Reception

University of Melbourne was awarded £1,500 towards the costs of a threeday international conference Human Kind: Transforming Identity in British and Australian Portraits 1700–1914

Paul Mellon Centre Research Support Grants

Alison Clarke was awarded £900 for research on Authenticity and Attribution in the Agnew's and National Gallery Archives 1855–1932

Clarrie Wallis was awarded £1,300 for research on Rose Wylie

Deepthi Murali was awarded £2,000 for research on The Agentive Gift: Luxury Objects as Political Brokers and Cultural Mediators in Malabar–British Encounters, 1750–1850

Elizabeth Sarah Berkowitz was awarded £2,000 for research on Bloomsbury's Byzantium and the Writing of Modern Art

Emily Knight was awarded £900 for research on Casting Presence: the Laurence Hutton Collection of Life and Death Masks

Fiona Mann was awarded £1,100 for research on Edward Coley-BurneJones: Oil Painting Methods and Materials 1857–1898

Grant Lewis was awarded £400 for research on Heraldry and Decorative Painting in Renaissance Scotland

Jo Applin was awarded £1,700 for research on Alison Wilding

Kaara Peterson was awarded £600 for research on Pictures of Health: Portraying the Virgin Queen in Sixteenth and Seventeenth-Century English Art, Literature and Culture

Katherine Jackson was awarded £1,000 for research on Total Economy: The Artist Placement Group in 1970s Britain

Lucy Curzon was awarded £2,000 for research on Women Artists at War: Gender, Modernism and National Identity, 1939–45

Margaret Schmitz was awarded £1,200 for research on ‘Magnificent Martianlike Monsters': The Futurist City of Alvin Langdon Coburn

Paula Murphy was awarded £600 for research on British- and IrishAmerican sculptors of Civil War monuments in New York

Rebecca Senior was awarded £1,000 for research on Allegorising Race: Sir Richard Westmacott’s Monument to Lord William Bentinck (1839) and the Abolition of the Sati

Renate Dohmen was awarded £2,000 for research on British Art in the Colonies: The Case of the Bombay Art Society

Tiffany Charlotte Boyle was awarded £1,300 for research on AfroScots: Tracing the Presence of Black Artists in Scotland from the 1800s onwards

Barns-Graham Research Support Grant (Funded by the Barns-Graham Charitable Trust)

Sophie Hatchwell was awarded £2,000 for research on Robert Colquhoun and Robert MacBryde: the Neo-Romantic Body and the Second World War

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

Rees Arnott-Davies was awarded £2,000 for research on Virtual Museums: Medicine, Old Masters and Jan van Rymsdyk’s Museum Britannicum

Fellowship and Grants Awards Spring

2016

At the March 2016 meeting of the Centre’s Advisory Council the following Fellowships and Grants were awarded:

Rome Fellowship

Phillip Prodger, National Portrait Gallery was awarded £19,800 for research on Oscar Rejlander and British art photography in Rome (This fellowship was awarded following re-advertisement in June 2016 and not at the March 2016 meeting)

Mid-Career Fellowships

Isabelle Baudino, Magdalene College, Cambridge/ENS de Lyon was awarded £12,000 to prepare her book Imagining the Past: Historical Illustrations in Eighteenth-Century Britain

Joseph Monteyne, University of British Colombia was awarded £12,000 to prepare his book Gillray’s Romanticism: Vision and Violence in Late Georgian London

Mia Bagneris, Tulane University was awarded £12,000 to prepare her book Imagining the Oriental South: The Enslaved Mixed-Race Beauty in British Visual Culture after 1865

Mrinalini Rajagopalan, University of Pittsburgh was awarded £12,000 to prepare her book From Common Courtesan to Designing Dowager: The Architecture of Begum Samru, 1805–1836

Tessa Wild was awarded £12,000 to prepare her book Red House – William Morris’s ‘Palace of Art’

Postdoctoral Fellowships

Alice Dolan, School of Advanced Studies, University of London/UCL was awarded £8,000 to prepare her book The Fabric of Life: Linen and Life Cycle in English Daily Life, 1678–1810

Claudia Tobin was awarded £8,000 to prepare her book Modern Stillness

Devika Singh, University of Cambridge was awarded £8,000 to prepare her book Art in India in its Global Contexts

Irene Sunwoo, Chicago Architecture

Biennial was awarded £8,000 to prepare her book Architectural Associations: A Continuing Experiment in Pedagogy

James Legard was awarded £8,000 to prepare his book Architecture and Ambition: The Building of Blenheim Palace

John Chu, National Trust was awarded £8,000 to prepare his book The Fortunes of Fancy Painting in Eighteenth-Century England

Louise Hardiman was awarded £8,000 to prepare her book The Firebird’s Flight: Russian Art in Britain, 1851–1917

Pandora Syperek was awarded £8,000 to prepare her book Jewels of the Natural History Museum: Gender, Display and the Nonhuman, 1851–1901

Rebecca Wade was awarded £8,000 to prepare her book Domenico Brucciani and the Formatori of NineteenthCentury Britain

Junior Fellowships

Brigid von Preussen, Columbia University was awarded £7,500 to conduct research in the United Kingdom for her doctoral thesis The Antique Made New: Commercial Classicism in Late Georgian Britain

Emily Casey, University of Delaware was awarded £7,500 to conduct research in the United Kingdom for her doctoral thesis Waterscapes: Representing the Sea in the American Imagination, 1760–1815 (Emily Casey was awarded a 12-month fellowship from the Metropolitan Museum of Art, New York, and did not take up the PMC Fellowship)

Julia Lum, Yale University was awarded £7,500 to conduct research in the United Kingdom for her doctoral thesis Pacific Empire: Colonial Landscape Aesthetics and Oceania, 1788–1848

Kirsty Dootson, Yale University was awarded £7,500 to conduct research in the United Kingdom for her doctoral thesis Industrial Color: Chromatic Technologies in Britain, 1856–1971

Noah Gentele, Yale University was awarded £7,500 to conduct research in the United Kingdom for his doctoral thesis Napoleon and the Timelines of Modernity: The Form and Sense of the Past in France and Britain, 1783–1852

Sria Chatterjee, Princeton University was awarded £7,500 to conduct research in the United Kingdom for her doctoral thesis Making Nature Matter: case studies in the politics of art and ecology in modern India

Educational Programme Grants

Tate was awarded £1,500 towards a workshop on John Constable’s ‘Salisbury Cathedral from the Meadows’

University of Edinburgh, ESALA was awarded £2,000 towards a workshop on The 1980s in Britain: Towards an Architectural History

The Hepworth Wakefield was awarded £2,000 towards a symposium on Stanley Spencer: British Modernism and Religion

University of York was awarded £2,000 towards a conference on Sargentology: New Perspectives on the Works of John Singer Sargent

Dulwich Picture Gallery was awarded £2,000 towards a symposium on Never get Married!: A woman's experience of art institutions and the British art establishment between the wars

London College of Fashion was awarded £1,800 towards a conference on Exploring queer cultures and lifestyles in the creative arts in Britain c.1885–1967

Royal Institute of British Architects was awarded £500 towards a workshop on Leslie Martin – Art, Architecture and Academia

Kingston University was awarded £1,000 towards a symposium on Eadweard Muybridge in Kingston, 1894–1904

University of East Anglia was awarded £2,000 towards a conference on The Medieval Churches of Norwich

Vivid Projects was awarded £1,200 towards a symposium on AUTOICON: Reimaging Donald Rodney

Research Support Grants

Boris Sokolov was awarded £1,000 for research on British Sources for European and Russian Landscaping: Enlightenment to Romanticism

Brett Culbert was awarded £2,000 for research on Britain's Imperial Prospects and the Aesthetic Origins of the Scenographia Americana (1725–1775)

Caroline Dakers was awarded £500 for research on Recovering Fonthill: a cultural history

Claire Shepherd was awarded £1,100 for research on Surface Tensions: the painting techniques of Prunella Clough

Dervla MacManus was awarded £1,000 for research on Architectural Reveries: The Lantern Slides of Frederick Henry Evans

Hilary Matthews was awarded £1,000 for research on How did the British livestock paintings of the nineteenth century function within the society that produced them?

Jennifer Chuong was awarded £2,000 for research on The Projective Surface: Mottled Ceramic Surfaces in Late Eighteenth-Century Britain

Julien Domercq was awarded £2,000 for research on From Noble to Ignoble Savage: Early British Representations of the Pacific in Australian Collections

Lisa Haber-Thomson was awarded £2,000 for research on Architecture and judicial procedure in British prison buildings of the early 19th century

Meaghan Whitehead was awarded £2,000 for research on Painted Cycles in the Residences of Henry III of England, 1216–1272

Oliver Fearon was awarded £500 for research on Shield of Light: The Making and Experience of Heraldic Stained Glass Windows in the Houses of England's Minor Gentry c.1460–1620

Sarah Hendriks was awarded £500 for research on Buildings for Music in London: 1660–1750

Sileas Wood was awarded £300 for research on John Brand: Antiquary and Artist

Sophie Elisabeth Morris was awarded £2,000 for research on Drawn and Quartered: Anatomy and Print Culture in Seventeenth-Century London

Stephen Barber was awarded £1,900 for research on Eadweard Muybridge at the Chicago World's Columbian Exposition of 1893

Tamsin Foulkes was awarded £700 for research on Transcribing James Thornhill's Paris Notebook, 1717

Tom Young was awarded £2,000 for research on Autonomy to Assimilation: Art and the Politics of the East India Company 1813–1858

Veronica Uribe was awarded £1,500 for research on Joseph Brown junior and his travels in Colombia (1826–1841)

Academic Activities 2015–2016

Research Lunches 2015

13 November Brigid Von Preussen (Columbia University) Heads and Hands: Josiah Wedgwood’s Jasper Portrait Medallions

20 November Hana Leaper (Postdoctoral Fellow, Paul Mellon Centre) Statements of Artistic Identity in Vanessa Bell’s Self-Portraits

27 November Carla van de Puttelaar (Utrecht University) The Scougall Family, Scottish Portraiture of the Restoration Period

Research Seminars 2015

25 November Sandy Nairne (Former Director of the National Gallery) New Public Portraits – Icons and Idols at the National Portrait Gallery

2 December Martin Myrone (Tate) Portrait and Autograph: Replication, Authenticity and the Authority of the Image in the Work of H. P. Briggs (1792–1844)

16 December Karen Hearn (University College London) The National and Professional Identities of Cornelius Johnson (1593–1661)

Conference 2015

The Painting Room: The Artist’s Studio in Eighteenth-Century Britain

29–30 October 2015, Paul Mellon Centre and Gainsborough’s House

Giles Waterfield (Attingham Trust) The Painting Room: a Sketch

Mark Bills (Gainsborough’s House) The Chamber of Genius: Depictions of the Painting Room in Satire

Susan Sloman (Independent Scholar) ‘Like Arcadia’: Gainsborough's Painting Rooms

Matthew Craske (Oxford Brookes University) Wright of Derby’s Studio Practice

Karen Fielder (Portsmouth University) Where the ‘Pencil Gave and Heighten’d Graces’: the Social Life of the Painting Room

Peter Moore (Gainsborough’s House) Prints and Practice in Gainsborough’s Studio

Jane Munro (Fitzwilliam Museum) The Lay Figure: an ‘artful implement’ (Gerard de Lairesse)

Jonathan Yarker (Lowell Libson Ltd) The Role of Old Masters in the Eighteenth-Century Studio: the Example of Thomas Hudson

Mark Bills (Gainsborough’s House) Reviving an Artist’s Birthplace: A Capital Project for Gainsborough’s House

Rica Jones (Independent Scholar) Studio Practice and the Training of Painters: a Technical and Contextual Study of the Young Gainsborough

Hannah Williams (Queen Mary, University of London) Living in the Louvre: the Artist’s Studio in 18th-Century Paris

Edwina Ehrman (Victoria and Albert Museum) Costume in the Studio

Spike Bucklow (Hamilton Kerr Institute) Gainsborough's Materials with Reference to the Paints Cabinet at Gainsborough’s House

Kristina Mandy (Hamilton Kerr Institute) Thomas Gainsborough’s Copyist

George Shaw (Artist) Reflections on the Painting Room/Artist’s Studio

Conference 2015

Artists’ Film in Britain: From 1990 to today 5–7 November 2015, Whitechapel Gallery

Iwona Blazwick (Director, Whitechapel Gallery) Artists Moving Image work in Britain: A case study

Maeve Connolly (Dún Laoghaire Institute of Art, Design and Technology, Lecturer in Film Studies) Mined and Mediated Bodies: Acting in Artists’ Film

Lucy Reynolds (Central Saint Martins, University of the Arts London, Lecturer, Artist and Curator) Figure and Ground: En-gendering Formal Film

Unknown artist, Llannerch, Denbigshire, Wales, ca. 1667 Courtesy of the Yale Center for British Art, Paul Mellon Fund

Film and video on TV

Colin Perry, Gary Thomas, Portland Green, Jonathan Patkowski. Chaired by Rose Cupitt (Senior Manager, Film London)

Performing identities

Laura Castagnini, Ayanna Dozier, Rachel Garfield, Diana Smith Chaired by Lucy Reynolds

Modernism and Historiography

Inga Fraser, Alessandra Ferrini, Isabelle Wallace. Chaired by Erika Balsom

Presentations by artists George Barber, Nina Danino, Lindsay Seers, Smadar Dreyfus. Chaired by Gareth Evans (Adjunct Film Curator, Whitechapel Gallery)

Keynote by TJ Demos (Professor, History of Art and Visual Culture, University of California, Santa Cruz)

James Boaden (Department of History of Art, University of York)

Archives and Anachronisms in Queer Artists’ Moving Image

Shanay Jhaveri (Writer and Curator) On Sonia Khurana

Panel discussion with TJ Demos, James Boaden, Shanay Jhaveri. Chaired by Michele Pierson

In conversation between Ben Cook (Director LUX), Omar Kholeif and Sarah Perks (Artistic Director, HOME, Manchester)

‘Exhibition Histories and Curatorial Practice’

Presentations by Steven Cairns, Michael Maziere, Duncan Reekie, Andrew Vallance

Presentations by artist and theorist

Kodwo Eshun and critic and curator

Ed Halter Followed by panel discussion chaired by Erika Balsom

Evening Lecture 2015

11 November Paul Spencer-Longhurst (Paul Mellon Centre) Reflections on Richard Wilson Online

Conference 2015

Walter Sickert: The Document and the Documentary

4 December 2015, Paul Mellon Centre

Anna Gruetzner Robins (University of Reading) Sickert, Vauxcelles and the Colour of London

Carol Mavor (University of Manchester) Suspension of Disbelief: Walter Sickert’s A Dead Hare and Other Rabbits Out of Breath

Martin Hammer (University of Kent) The Silent Kingdom of Paint: Sickert and Hopper

David Peters Corbett (Sainsbury Institute of Art, University of East Anglia) Memory and Decreation: George Bellows and Walter Sickert to 1909

Emily Talbot (University of Michigan) The Perils of Painting Like a Camera: Walter Sickert’s Modern Realism in Painting

Sam Rose (University of Cambridge) Sickert’s Indeterminacy

William Rough (University of St Andrews) Cribbing from Shakespeare: Sickert in the 1930s

Merlin Seller (University of East Anglia) Jack and Jill: The Moving Image Halted

Research Lunches 2016

15 January Rachel Smith (Independent Scholar) Cross Paths and Currents: Cubist and Constructive work in wartime St Ives

5 February Allison Ksiazkiewicz (Postdoctoral Fellow, Paul Mellon Centre) Primitive forms and prospects: geological landscapes in late eighteenth- and early nineteenth-century Britain

19 February William Bainbridge (Postdoctoral Fellow, Paul Mellon Centre) Peaks and Pencils: Victorian Illustrations and Paintings of the Dolomite Mountains

26 February Helena Bonnett (Royal College of Art and Tate) and Jonathan Law (University of Kent) Screening and discussion of ‘Trewyn Studio’, a new film on Barbara Hepworth’s studio-museum

11 March Caroline Fuchs (Curatorial Fellow at the Bavarian State Painting Collections) With dots and rays: Autochrome photography and artistic expression in Britain

20 May James Legard (National Gallery) Ambitious Architecture: Rethinking the Meanings of Blenheim Palace

27 May Gwen Yarker (Independent Curator) Inquisitive Eyes: Recovering a Lost Chapter in British Art

10 June Katherine Field (Philip de László Catalogue Raisonné team) Philip Alexius de László: A Catalogue Raisonné in Progress

24 June Jessica Feather (Brian Allen Fellow, Paul Mellon Centre) Collecting watercolours: questions of landscape and Englishness, c.1890–1914

Research Seminars 2016

13 January Adrian Forty (Bartlett School of Architecture, UCL) Was Concrete Modern?

10 February Stephen Daniels (University of Nottingham) Surveying the City: John Britton’s ‘London Topography’, 1820–1840

24 February Ian Campbell (Senior Fellow, Paul Mellon Centre) Renaissances (and Baroque?) in Scottish architecture

9 March Elizabeth Darling (Oxford Brookes University) The Stuff of Radio: Material and Spatial Cultures of Sound in inter-war England

4 May Alixe Bovey (Courtauld Institute of Art) Manufacturing Giants: A Material History of Gogmagog and Corineus from the 15th century to the present

18 May Douglas Fordham (University of Virginia) Aquatint Empires

15 June Daniella Zalcman, Paul Rousseau, James Boaden, Richard Hornsey and Katharina Guenther Multiple meanings: the photographic double exposure in the work of John Deakin, Francis Bacon and Daniella Zalcman (A panel discussion)

29 June Natasha Eaton (Research Fellow, The Leverhulme Trust) The Conditional Image? Art and labour in India and the Indian Ocean, 1800–1947

Scholars’ Morning 2016

Jean-Etienne Liotard: Master of Truth

14 January 2016, Royal Academy of Arts

Speakers: MaryAnne Stevens, Christopher Baker, Duncan Bull, Clarissa Campbell-Orr, William Hauptman, Martin Postle

Conferences 2016

Rowlandson and After: Rethinking Graphic Satire

22 January 2016, Paul Mellon Centre and The Queens Gallery

Kate Grandjouan (Independent Scholar)

Thomas Rowlandson in the 1780s: The double professional route into comic art

Danielle Thom (Victoria and Albert Museum) Conspicuous Erections: Classical Sculpture and Rowlandson's Erotica

Nicholas Knowles (Independent Scholar) Pantomime Elephants, Spouters & Men Milliners: Rowlandson and the Theatre

Alison O’Byrne (University of York)

Reimagining the Art of Walking in London: Graphic Satire and the Streets in the Early Nineteenth Century

Carly Hegenbarth (Teaching Fellow, University of Birmingham) After Rowlandson: Catholic Emancipation and British Print Cultures, 1827

Christina Smylitopoulos (University of Guelph) Caricaturing Caricature: A Case of Study of Tegg, Cruikshank and Goya

Elenor Ling (The Fitzwilliam Museum)‘…a militant, but never a mercenary’: Ronald Searle and the History of Graphic Satire

David Rayson (Royal College of Art) Keynote Speaker

Introduction to High Spirits: The Comic Art of Thomas Rowlandson exhibition by Kate Heard (Senior Curator of Prints and Drawings at Royal Collection Trust)

Exhibiting Contemporary Art in Post-War Britain 1945–60

28–29 January 2016, Tate Britain

David Mellor ‘An Art of Living’: Exhibiting across the ‘Long Front of Culture’ in Spaces of Art and Profane Spectacle

Martin Hammer Food for artists

Jonathan Black (Senior Research Fellow in History of Art, Kingston University) Flying the Flag for the Figurative: The Beaux Art Gallery and the Promotion of the Kitchen Sink and Other Modes of 1950’s Realism

Alexander Massouras (Leverhulme Early Career Fellow, Ruskin School of Art, University of Oxford) Exhibiting the Young

Eleanor Clayton Living Today: Radical Exhibition Design in Wakefield, 1959

Andrew Stephenson (University of East London) – Keynote Speaker – The Fruits of our Policies: Art Exhibitions and state arts patronage in a Transitional Age, 1945–1959

Helen Leahy Exhibiting ‘Picasso’, 1960

James Finch (University of Kent and PhD candidate, Tate) Perpetuating the Transient: Giacometti's 1955 Arts Council exhibition

Simon Pierse (Senior Lecturer, Aberystwyth University) Australia the new Greece: Sidney Nolan’s 1957 exhibition at the Whitechapel Gallery

Clare Freestone Ida Kar, artistphotographer and Gallery One

Katherine Aspinall (Independent Scholar) Drawing Done with Intellectual Care: David Sylvester's Drawing Exhibitions and the Shaping of the Creative Individual

Alexandra Tommasini and Natalia Naish (Archivists, The Bridget Riley Art Foundation) The Graven Image (1959): Printmaking in Britain on the Threshold of the New

Lisa Tickner – Keynote Speaker – 1964: ‘A Big Year in Modern Art’

Animating the Georgian London Town House

17 March 2016, National Gallery

Desmond Shawe-Taylor – Keynote Speaker – Picture Displays at Carlton House

Matthew Jenkins and Charlotte Newman London in Pieces: Building Biographies in Georgian Mayfair

Neil Bingham The Regency Transformation of Burlington House, Piccadilly, documented through the architectural drawings of Samuel Ware

Jeremy Howard New Light on Norfolk House: The Decoration and furnishing of Norfolk House for the 9th Duke and Duchess of Norfolk

Anne Nellis Richter Glitter and Fashion in the ‘Louvre of London’: Animating Cleveland House

Peter Nelson Lindfield London’s Gothic Pineapple: 18 Arlington Street

Adriano Aymonino and Manolo Guerci – Keynote Speakers - London’s greatest mansion in the Strand: Northumberland House, the Urban Palace of the 1st Duke and Duchess of Northumberland

Joseph Friedman Town and Country: patterns of aristocratic collecting in Georgian England

Susannah Brooke The display and reception of private picture collections in London town houses, 1780-1830

Mark Purcell The town house library

Donato Esposito Artist in Residence: Joshua Reynolds at 47 Leicester Fields

Helen McCormack Animating Anatomy: 16 Great Windmill Street Westminster

Transforming Topography

6 May 2016, The British Library

Daniel Maudlin (University of Plymouth)

A Narrow View of Nature: the natural world experienced through early modern itineraries, travel maps and inns

Kelly Presutti (Massachusetts Institute of Technology) Louis Garneray and Topographical Painting as Border Control

Matthew Sangster (University of Birmingham) Accumulating London

Jenny Gaschke (Fine Art Curator, Bristol Museum and Art Gallery)

‘Available for useful purposes’: The Braikenridge Collection of Topographical Drawings in Bristol

Mikael Ahlund (Museum Gustavianum, Uppsala University Museum) Topography, Iron-Making and National Identity: A British-Swedish Comparison

Amy Concannon (University of Nottingham and Assistant Curator, British Art 1790–1850, Tate Britain) A Place for the ‘full exercise of the intellectual powers of a topographical writer’: Lambeth’s topographical image, c.1800–50

‘Topography Now’: Position papers and round-table discussion with Adrian Edwards (Head of Printed Heritage Collections, British Library), Jane Roberts (formerly Royal Collection, Windsor Castle), Stephen Daniels (University of Nottingham), John Barrell (Queen Mary, University of London) and Stephen Bann (University of Bristol)

Scholars’ Morning 2016

Light, Time, Legacy: Francis Towne’s Watercolours of Rome

9 June 2016, The British Museum and Paul Mellon Centre

Speakers: Richard Stephens, Jessica Feather, Timothy Wilcox

Conference 2016

Showing, Telling, Seeing: Exhibiting South Asia in Britain

30 June–1 July 2016, Paul Mellon Centre

Curatorial panel discussion: Deepak Ananth (Art Historian), Iwona Blazwick (Whitechapel Gallery), David Elliott (Curator and Writer), Geeta Kapur (Critic and Curator), Sharmini Pereira (Independent Curator) – moderated by Hammad Nasar (Asia Art Achive)

Susan Bean (formerly Peabody Essex Museum) Diverging Paths: Two Sculptors and their Reception at the Turn of the 20th Century

Sria Chatterjee (Princeton University) The politics of knowing, making and showing: the Festival of India in Britain and some afterlives

Holly Shaffer (Dartmouth College) Museum Bhavan

Lotte Hoek (Edinburgh University) and Sanjukta Sunderason (Leiden University) Journeying through Modernism: Travels and Transits of East Pakistani Artists in Early-1950s London

Writing about exhibitions panel discussion: Emilia Terracciano (Oxford University), Zehra Jumabhoy (Courtauld Institute of Art) and Shezad Dawood (Artist/FilmMaker) – moderated by Lucy Steeds (University of the Arts London)

Brinda Kumar (Cornell University) The Other Burlington Exhibition

Hilary Floe (University of Oxford) Myth and Reality: Oxford and India, 1982

Naiza Khan (Artist) and Karin Zitzewitz (Michigan State University) Nodal Connections: Triangle Network, Gasworks, and South Asian Artists in the UK

Eva Bentcheva (School of Oriental and African Studies London) Priceless Encounters, Costly Legacies: Motiroti’s Priceless (2007) as Contemporary Inquiry into Colonial Displays

Researching the Exhibition: Experience and event (panel discussion): Saloni Mathur, Carmen Julia (Spike Island, Bristol) and Sarah Turner (Paul Mellon Centre) – moderated by Claire Wintle (University of Brighton)

Alice Correia (University of Salford) South Asian Women Artists in Britain and the Politics of Articulation

Shanay Jhaveri Lionel Wendt

Respondents: Sabih Ahmed (Asia Art Archive), Nima Poovaya-Smith (Alchemy Anew), Daniel Rycroft (University of East Anglia), Alnoor Mitha (Manchester Metropolitan University), Leon Wainwright (The Open University)

Collections

The main emphasis this year was on the return of Research Collections material to the newly refurbished buildings in Bedford Square and on ensuring the environmental conditions in the new stores were stable and compliant with best practice in the field.

The summer and autumn were particularly busy periods, with Collections staff involved in advising on equipment for the new work spaces, as well as preparing for the logistics of the return of material from off-site storage. After months of careful planning and at least a week of heavy lifting, the first van-load of library stock – some 400 boxes – arrived back at the Centre on 8 October 2015. It took a full three days for the movers, working with Collections staff, to unpack and re-shelve the material. The Public Study Room was re-opened to readers on Monday 26 October.

Work on stabilising the environment in the archive stores continued throughout the year, and as yet the appropriate conditions have not been met. However, in order to provide a full service to readers, the key Archive Collections and a proportion of the Photographic Archive were returned to the Centre in December. This material is currently located around the two buildings. This situation did not affect in-person visits to the Public Study Room. The number of visits made between the date of re-opening (26 October 2015) and 30 June 2016 was 591, while the total number of new readers registered was 178. These figures compare well with those of 2013–2014 (the last full year open to the public) showing a one-fifth increase.

One of the most exciting aspects of the Centre’s expansion project from a Research Collections perspective is that the newly refurbished buildings include a permanent display space. This is located in the Drawing Room, a specially designated waiting area for visitors, next to reception on the ground floor. This space allows Collections staff to fulfil a long-held ambition: exhibiting material from the Library, Archive and Photographic Archive to those who may have been previously unaware of the Centre’s holdings.

There were three displays in 2015–2016, which were researched and organised by Collections staff. All displays were accompanied by a pamphlet, available in hard copy and online. In addition, events were organised to tie into

The interior of the Drawing Room set up for the Concrete and Controversy display at the Paul Mellon Centre

the relevant themes. Each display focused on a different subject, idea or strand found within the material in the Research Collections:

Concrete and Controversy: The Architecture of Connell Ward and Lucas, 26 October 2015–29 January 2016

John Cornforth: A Passion for Houses – Material on the Georgian Town House from the Cornforth Library donation, 8 February–26 May 2016

Yale in London 1977–2016: ‘A Remarkable Opportunity’, 6 June–26 August 2016

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

Charlotte Brunskill returned from maternity leave on 27 July, with Liz Moody – her maternity cover – departing to take up a new position at the Royal Society on 13 August. In September 2015, Frankie Drummond Charig began the distancelearning postgraduate diploma for Archives and Records Management, offered by Dundee University. Working four days a week as Archives and Library Assistant at the Centre, she has been granted one study day a week to pursue her course. She is due to complete the course in August 2017.

Throughout the year, Collections staff received training in digital preservation, oral history, archive cataloguing and emergency recovery procedures. They also continued to provide tours of the Research Collections, welcoming visitors from the Architectural Association, National Trust, Getty Research Institute, National Gallery, Royal Asiatic Society, Shakespeare’s Globe and the Asian Art Archives.

Tours aimed specifically at introducing students to the Research Collections were also organised. These included a general event open to students from across the country. In addition, sessions were held for MA students from the University of Buckingham (Adrian Tinniswood’s English Country House 1485–1945 and Jeremy Howard and Adriano Aymonino’s Art Market and the History of Collecting courses) and from Christie’s Education, London.

Library

A total of 1153 books, pamphlets and exhibition catalogues were accessioned during the year. Work on the Peter and Renate Nahum donation of books was completed in December 2015 and material identified as being in need of preservation was sent to the Centre’s freelance conservator, Angela Thompson. Catalogue records continued to be submitted to external union library catalogue COPAC and from 2016 onwards to the Serials Union Catalogue.

Donations of books and journals were received from Timothy Stephens (John Moore Painting Prize Catalogues), Jacob Simon and the Wilkinson Gallery. The library also acquired a number of exhibition catalogues from the Ikon Gallery and a complete collection of the British Art Show catalogues 1979–2015. Mary Smith continued cataloguing the auction catalogue collection formerly owned by Arthur Tooth & Sons. Gina Baber was employed on a freelance basis to assist with library accessioning for 3 hours per week from Tuesday 3 May 2016 (for 10 weeks).

Collected Archives

The focus this year was on achieving and maintaining a suitable environment in the newly refurbished archive stores. This involved working with the engineers and architects employed in the main build, as well as specialists who advised on how best to dry out the buildings. Industrial dehumidifiers were installed and conditions continuously monitored, with readings analysed weekly. By the end of June 2016, the fabric of the building had dried, but work continues to stabilise humidity and temperature levels.

Cataloguing of the Ellis Waterhouse, John Hayes and William Roberts Archives continued. To attract audiences perhaps less well acquainted with the Paul Mellon Centre and the field generally, Frankie Drummond Charig attended an event at Glasgow School of Art that focused on editing Wikipedia pages. Consequently, Wikipedia entries were updated or created for some of the individuals whose papers are held at the Centre. These included Ellis

Waterhouse, Brinsley Ford, Oliver Millar, Howard Colvin, Judy Egerton and Daphne Haldin. The Centre intends to continue this work in 2016–2017.

In order to reach wider audiences, descriptions of the Centre’s newly acquired archive collections were again submitted to external union catalogues including Discovery, the National Archives Catalogues and Archives Hub.

Institutional Archives

The programme of recording oral histories of former members of staff and others connected to the Centre continued. A number of interviews were recorded with Jules Prown, Professor Emeritus in the History of Art at Yale and a key figure in the Centre’s history.

The refurbishment project temporarily halted most of the traditional records management activities undertaken by Collections staff. However, new initiatives – such as British Art Studies – prompted Collections staff to raise, again, the issue of Digital Preservation. The Centre has not yet made provision for the long term preservation and accessibility of electronic records created in the course of its day-to-day work. These issues are now being responded to at the Centre.

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

The Centre Staff 2015–2016

Director of Studies

Mark

Hallett

This year saw the publication of Court, Country, City: Essays on British Art and Architecture 1660–1735, co-edited by Professor Hallett and published by Yale University Press as part of the YCBA’s Studies in British Art series. The book was the culmination of a major research project developed in collaboration with his two editors, Martin Myrone and Nigel Llewellyn, both of Tate Britain, and which generated a host of conferences, gallery displays and online publications.

Professor Hallett enjoyed a second year as Visiting Professor at the Courtauld Institute of Art, where he again co-taught the MA course Made in Britain: Forging a Visual Art for a Nation at War, 1790–1815 with Professor David Solkin.

The Director of Studies gave a lecture entitled ‘The Nomadic Eye: Travelling through Thomas Gainsborough’s Landscapes’ at the Morgan Library, the Courtauld Institute of Art and the University of York. He also helped organise the international conference ‘Portraiture as Interaction: the Spaces and Interfaces of British Art’, held at the Huntington Library in December 2015, and to which he gave the opening address.

Professor Hallett was invited to co-curate a major exhibition on the contemporary British artist George Shaw, which will take place at the Yale Center of British Art in the autumn of 2018.

Director of Studies, Mark Hallett, giving a speech to guests at the celebratory event on 3rd March 2016 which marked the completion of the refurbishment project

Deputy Director of Studies

Martin Postle

In summer and autumn of 2015 Dr Postle continued in his role as manager of the expansion project at the Paul Mellon Centre, whereby the Centre’s premises at number 16 Bedford Square were linked to the adjacent building at number 15, providing enhanced space for the Centre’s Collections and Archives. With Lyndsey Gherardi he supervised the completion of works and the move of staff from temporary offices at 12 Bedford Square into the newly refurbished premises.

In May 2016 Dr Postle travelled to Yale University to attend a series of events celebrating the reopening of the Yale Center for British Art. Over the course of the year Dr Postle continued to be involved in the initiation and planning of future courses for Yale undergraduate students at the Paul Mellon Centre. In Spring 2016 he taught the course entitled ‘British Art and Landscape’, which involved visits to Stourhead, Dedham Vale and a three-day field trip to Wales. He co-taught with Professor Mark Hallett the inaugural Public Lecture Course in the autumn of 2015, Satire to Spectacle: British Art in the Eighteenth Century, offering lectures on Thomas Gainsborough, Richard Wilson, Joshua Reynolds and William Blake. Dr Postle continued to sit on the Centre’s Publications Committee and to attend the Advisory Council of the Paul Mellon Centre, and liaised closely with Mary Peskett Smith on the Grants and Fellowships Programme. He also worked closely with Collections staff on the new Drawing Room Displays at the Centre. With Dr Sarah Victoria Turner, Dr Kate Retford and Dr Susanna Avery-Quash, Dr Postle coorganized the conference ‘Animating the London Georgian Town House’, which took place on 17–18 March 2016.

Dr Postle continued to make visits to regional museums in the UK, to discuss with museum directors and curators the role of the Paul Mellon Centre in promoting British art studies in museums, and to discover on a first-hand basis their future plans and aspirations for collections, exhibitions and displays. His visits included Plymouth Museum and Art Gallery, the Royal West of England Academy, Bristol, and Pallant House, Chichester.

Dr Postle pursued actively pursued his research interests, including the preparation of an essay on the cast collection of the Royal Academy for a forthcoming volume on the Academy’s collections, and a research paper on the fancy picture, which was presented at an international symposium, ‘Figures de Fantaisie’ held in Toulouse in November 2015, to coincide with the exhibition held at the Musée des Augustins. He also published an essay entitled ‘La tête de vieillard dans l’art Europeen: sacrée et profane’ in the book that accompanied

the exhibition. In January 2016 Dr Postle participated in the study morning at the Jean-Étienne Liotard exhibition at the Royal Academy, organized by the Paul Mellon Centre and the Royal Academy. He gave a short presentation on Liotard’s portraits of David Garrick and his wife, Eva Marie Veigel. He also undertook preliminary research and conducted a workshop on the Centre’s new research project, ‘Art in the British Country House: Collecting and Display’, together with the Centre’s Brian Allen Fellow, Dr Jessica Feather, who was appointed in October 2015. Dr Postle also made preliminary investigations at a number of country houses, including Trewithen and Port Eliot, Cornwall, Doddington Hall, Lincolnshire, and Castle Howard, Yorkshire.

Dr Postle continued to serve on the following committees and boards:

Editorial Board, British Art Studies

Expert Advisor, Reviewing Committee on the Export of Works of Art

International Advisory Board, The British Art Journal

Governor of Dr Johnson’s House

Trustee of the Compton Verney Collection Settlement

Board Member of ‘Aspire’ (touring exhibition project for Constable’s Salisbury Cathedral from the Meadows)

Deputy Director for Research

Sarah Victoria Turner

In addition to Dr Turner’s duties as the Deputy Director for Research at the Paul Mellon Centre and as Co-Editor of British Art Studies, she participated in numerous events outside of the Paul Mellon Centre as an active researcher in the field of British art. These included being invited to be one of two respondents at an international colloquium on ‘Bertel Thorvaldsen and Britain’ held at the Accademia di Danimarca and British School at Rome in January 2016. She also participated as a respondent at the ‘Revisiting Picturing Blackness’ conference at Tate Britain, TRAIN and Chelsea School of Art in April 2016.

Dr Turner continues to work with Professor Hallett on the research for a major exhibition in 2018 marking 250 years of the Royal Academy’s Summer Exhibitions.

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

In the period covered by the report, Dr Turner published two articles:

‘The Poetics of Permanence: Inscriptions, Poetry and Memorials of the First World War’, Sculpture Journal, 24:1 (2015), DOI: 10.3828/sj.2015.24.1.6

‘“Reuniting What Never Should Have Been Separated”: The Arts and Crafts Movements, Modernism and Sculpture in Britain 1890–1914’, in Martina Droth and Peter Trippi (eds), Change/Continuity: Writing about Art in Britain Before and After 1900, Nineteenth-Century Art Worldwide, 14: 2 (Summer 2015)

She also completed and submitted the manuscripts for two co-edited books that will be published in 2017:

“What is to become of the Crystal Palace?”: The Crystal Palace after 1851, co-edited with Kate Nichols (Manchester: Manchester University Press, currently in press)

Enchanted Modernities: Theosophy, the Arts and the American West, co-edited with James Mansell and Christopher Scheer (Lopen: Fulgur, currently in press)

Editorial Assistant

Postdoctoral Fellow

Hana Leaper

Hana Leaper gained her PhD in July 2014 from the University of Liverpool. She joined the Centre in November 2014 from the Charleston Trust where she was a curatorial fellow working on cataloguing, curating and conserving the Angelica Garnett Gift. Dr Leaper has also lectured in English literature and art history at the University of Liverpool and on the art and design course at the University of Wolverhampton. She continues to lecture and has delivered classes on both our Yale in London programme and the Courtauld Making the Modern MA.

Since joining the PMC team, Dr Leaper has worked on the formation and launch of British Art Studies, our new online journal, first published in November 2015.

Dr Leaper regularly writes online content and as well as co-founding the ongoing Charleston Attic blog and contributing frequently to the Paul Mellon Centre News page, she has written a number of Tate Summary texts on twentieth-century art. With the support of the Centre, she co-founded an Early Career Research Network for postdoctoral researchers working in the field of British art history. Together with Sophie Hatchwell of the University of Bristol she has developed the ECR blog and organises regular events to facilitate networking and advancing key skills.

Dr Leaper has lectured and published extensively on British modernist art, particularly on Vanessa Bell and the Bloomsbury group, and on Sybil Andrews and the Grosvenor School linocut artists. Recent and forthcoming publications include; ‘‘‘A real and vital art of to-morrow”: hand-printed linocuts in the age of mass reproducibility’, in Modernist Cultures special edition Modernism in Public, ed. Rod Rosenquist and Alice Wood (Edinburgh University Press, 2016); and Sybil Andrews Linocuts: A Complete Catalogue (Lund Humphries, 2015).

Allen Fellow

Jessica Feather

Jessica Feather gained her AHRC-funded PhD from the University of Reading in March 2015, with a thesis entitled ‘A modern taste in watercolour: critics, collectors and curators, c.1890–1912’. Prior to returning to academia, Dr Feather was Curator of Works on Paper at the Walker Art Gallery, Liverpool (2001–9), where she was the main author and editor of the catalogue raisoneé British Drawings and Watercolours: Lord Leverhulme’s Collection in the Lady Lever Art Gallery (Liverpool University Press, 2010).

Dr Feather began her appointment as Brian Allen Postdoctoral Fellow in October 2015, where she works on two PMC-generated flagship research projects. The first, led by Mark Hallett and Sarah Victoria Turner, explores the history of the Summer Exhibition at the Royal Academy, in preparation for a major exhibition to be held at the Royal Academy in 2018, as well as an online publication. In this capacity, Dr Feather is acting both as research assistant for the exhibition and co-editor for the online project.

The second project, led by Martin Postle, explores the formation and nature of collecting, and strategies of display relating to art in the British Country House from the sixteenth century to the present day. Focused around a number of case-studies of individual houses, Dr Feather has assisted on all aspects relating to the conception and development of this project, which will result in an online publication, planned for 2019.

In addition to her work on PMC projects, Dr Feather pursued her own research and scholarly interests. She continued to work with Dr Kim Sloan on curating the exhibition Places of the Mind: British Landscape Drawings and Watercolours 1850–1950, which will open at the British Museum in February 2017 and for which she has written a chapter in the accompanying book. She also contributed an interview with the documentary-photographer Neil Libbert to the book Unseen: Photography by Wolf Suschitzky, Dorothy Bohm and Neil Libbert, which accompanied an exhibition at the Ben Uri Art Gallery in the Summer of 2015. She was invited to act as a respondent at the Francis Towne Scholars Morning (June 2015).

Librarian

Emma Floyd

The Librarian continued to serve as an Ordinary Member on the Art Libraries Society (ARLIS UK/Ireland Council) and as Secretary of the London Art History Libraries Forum.

Archivist and Records Manager

Charlotte Brunskill

The Archivist and Records Manager continued to provide expert advice to a number of external institutions including, in particular, Dr Johnson’s House Museum and – in a freelance capacity – the British Film Institute. She also taught on the Working with Archives two-day course organised by the Whitechapel Gallery in March 2016.

Cumulative List of Publications since 1970

1971

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

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

1972

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

1973

Eric Adams Francis Danby: Varieties of Poetic Landscape

1974

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

1975

Leonée & Richard Ormond Lord Leighton

Hans Hammelmann Book Illustrators in Eighteenth-century England

1976

M. H. Port The Houses of Parliament

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

Andrew Saint Richard Norman Shaw

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

1977

Nicholas Penny Church Monuments in Romantic England

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

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

1978–84

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

1978

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

1979

Anthony Quiney John Loughborough Pearson

William Vaughan German Romanticism & English Art

George P. Landow William Holman Hunt and Typological Symbolism

1980

Kathryn Moore Heleniak William Mulready

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

1981

William L. Pressly The Life & Art of James Barry

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

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

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

Ed. Virginia Surtees The Diary of Ford Madox Brown

1982

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

Benedict Read Victorian Sculpture

1983

Susan Beattie The New Sculpture

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

1984

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

Terry Friedman James Gibbs

1985

Richard Dorment Alfred Gilbert

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

1987

Cecily Langdale Gwen John

Michael McCarthy The Origins of the Gothic Revival

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

1988

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

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

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

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

1989

Clive Wainwright The Romantic Interior

1991

Christopher Gilbert English Vernacular Furniture 1750–1900

Henry Robert Morland, Woman Reading by a Paper-Bell Shade, 1766 Courtesy of the Yale Center for British Art, Paul Mellon Fund

1992

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

1993

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

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

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

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

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

1994

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

Charles Harrison English Art and Modernism 1900–1939

John Schofield Medieval London Houses

Nigel Everett The Tory View of Landscape

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

1995

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

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

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

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

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

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

Giles Worsley Classical Architecture in Britain: The Heroic Age

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

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

1996

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

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

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

Ian Bristow Interior House Painting Colours & Technology 1615–1840

Ian Bristow Architectural Colour in British Interiors 1615–1840

Charlotte Klonk Science & the Perception of Nature

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

1997

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

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

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

Timothy Clayton The English Print 1688–1802

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

Ed. Ronald Paulson William Hogarth: The Analysis of Beauty

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

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

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

1998

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

Evelyn Newby The Diary of Joseph Farington: Index

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

James Ayres Building the Georgian City

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

1999

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

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

Howard Colvin Essays in English Architectural History

Michael Rosenthal The Art of Thomas Gainsborough

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

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

Nicholas Cooper Houses of the Gentry 1480–1680

Alastair Smart, ed. John Ingamells

Allan Ramsay: A Complete Catalogue of his Paintings

2000

Peter Fergusson & Stuart Harrison Rievaulx Abbey

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

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

John Summerson Inigo Jones (rev. ed.)

Ruth Bomberg Walter Sickert Prints

Paul Edwards Wyndham Lewis: Painter and Writer

Roy Strong The Artist and the Garden

Ed. Chris Brooks The Albert Memorial

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

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

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

Ed. John Hayes The Letters of Thomas Gainsborough

Alastair Grieve Whistler’s Venice

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

2001

Stefan Muthesius The Postwar University: Utopianist Campus and College

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

Todd Longstaffe-Gowan The London Town Garden 1700–1840

Allen Staley The Pre-Raphaelite Landscape

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

Eileen Harris The Genius of Robert Adam: His Interiors

Edward McParland Public Architecture in Ireland 1680–1760

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

David Solkin Art on the Line

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

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

2002

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

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

Sara Stevenson The Personal Art of David Octavius Hill

Anne Crookshank & the Knight of Glin Ireland’s Painters

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

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

Susan Sloman Gainsborough in Bath

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

Vaughan Hart Nicholas Hawksmoor

2003

Emmanuel Cooper Bernard Leach: Life & Work

Colum Hourihane Gothic Art in Ireland 1169–1550

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

John Summerson, ed. Howard Colvin Georgian London

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

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

Kathryn A. Morrison English Shops and Shopping

Simon Thurley Hampton Court: A Social and Architectural History

2004

Richard Ormond & Elaine Kilmurray

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

Anthony Quiney Town Houses of Medieval Britain

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

Peter Guillery The Small House in 18thCentury London

Bruce Laughton William Coldstream

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

Sanford Schwartz William Nicholson

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

Sue Malvern Modern Art, Britain and the Great War

Fiona Donovan Rubens and England

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

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

Giles Worsley The British Stable

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

John Cornforth Early Georgian Interiors

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

Susan Foister Holbein and England

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

Paula Henderson The Tudor House and Garden

Martin Hammer Bacon and Sutherland

2005

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

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

Edward Morris French Art in NineteenthCentury Britain

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

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

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

Michael Levey Sir Thomas Lawrence

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

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

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

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

Angela Rosenthal Angelica Kauffman, Art and Sensibility

2006

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

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

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

Wendy Baron Sickert Paintings and Drawings

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

Richard Ormond & Elaine Kilmurray

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

Giles Worsley Inigo Jones and the European Classicist Tradition

The Knight of Glin and James Peill Irish Furniture

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

2007

John Harris Moving Rooms: The Trade in Architectural Salvages

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

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

Judy Egerton George Stubbs, Painter

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

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

Diana Donald Picturing Animals in Britain

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

2008

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

Maurice Howard The Building of Elizabethan and Jacobean England

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

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

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

Dian Kriz Slavery, Sugar and the Culture of Refinement

Vaughan Hart Sir John Vanbrugh: Storyteller in Stone

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

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

Patrick Noon Richard Parkes Bonington: the complete paintings

2009

Caroline Arscott William Morris and Edward Burne-Jones: Interlacings

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

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

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

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

Rachel Stewart The Town House in Georgian London

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

Mark Girouard Elizabethan Architecture

Robert Hewison Ruskin on Venice

Jason M. Kelly The Society of Dilettanti

2010

Celina Fox The Arts of Industry in the Age of Enlightenment

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

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

Paula Murphy Nineteenth-century Irish Sculpture, Native Genius Reaffirmed

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

Christiana Payne John Brett: PreRaphaelite Landscape Painter

Andrew Saint Richard Norman Shaw (rev. ed.)

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

Eds. Morna O’Neill and Michael Hatt

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

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

Tomás Ó Carragáin Churches in Early Medieval Ireland

Philip Temple The Charterhouse, Survey of London Monograph 18

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

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

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

2011

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

John Goodall The English Castle

Richard Fawcett The Architecture of the Scottish Medieval Church

Sharman Kadish The Synagogues of Britain and Ireland

Elizaveta Renne State Hermitage Museum

Catalogue: Sixteenth- to NineteenthCentury British Painting

Terry Friedman The Eighteenth-Century Church in Britain

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

Mary Webster Johan Zoffany

David Coke & Alan Borg Vauxhall Gardens: A History

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

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

Vaughan Hart Inigo Jones: The Architect of Kings

Peter Fergusson Canterbury Cathedral Priory in the Age of Becket

Patrick Noon Richard Parkes Bonington: The Complete Drawings

2012

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

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

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

Mark Crinson Stirling and Gowan: Architecture from Austerity to Affluence

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

Emmanuel Cooper Lucie Rie: Modernist Potter

John Martin Robinson James Wyatt, Architect to George III

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

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

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

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

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

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

2013

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

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

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

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

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

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

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

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

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

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

2014

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

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

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

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

Mark Hallett Reynolds: Portraiture in Action

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

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

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

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

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

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

2015

David Brown Durham Cathedral: History, Fabric and Culture

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

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

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

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

William Vaughan Samuel Palmer: Shadows on the Wall

Peter Cormack Arts & Crafts Stained Glass

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

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

David H. Solkin Art in Britain 1660-1815

Marina Lopato British Silver: State Hermitage Museum Catalogue

2016

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 Raisonne, 2 vols.

Mark Hallett, Nigel Llewellyn, Martin Myrone Court, Country, City: Essays on British Art and Architecture, 1660-1735

Patricia McCarthy Life in the Country House in Georgian Ireland

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

Updated to June 2016

The Paul Mellon Centre for Studies in British Art 2015–2016

Board of Governors

Governors

Peter Salovey President of Yale University

Benjamin Polak

Provost of the University

Shauna King

Vice President for Finance and Business Operations

(Retired 31 August 2015)

Stephen Murphy

Vice President for Finance and Chief Financial Officer of the University

(Appointed 15 February 2016)

Amy Meyers

Director of the Yale Center for British Art

Board of Governors

Members

Tim Barringer

Paul Mellon Professor of History of Art

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

Jonathan Holloway Dean of Yale College; Edmund

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

Jules D. Prown

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

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

J. Lloyd Suttle Deputy Provost for Academic Resources

Keith Wrightson

Randolph W. Townsend, Jr. Professor of History

Advisory Council

Iwona Blazwick

Whitechapel Gallery

Alixe Bovey

The Courtauld Institute of Art

Christopher Breward

Edinburgh College of Art

David Peters Corbett

University of East Anglia

Anthony Geraghty

University of York

Michael Hatt

University of Warwick

Richard Marks

University of York

Martin Myrone

Tate Britain

Andrew Saint

The Bartlett School of Architecture

MaryAnne Stevens

Royal Academy of Arts

Shearer West

University of Sheffield

Alison Yarrington

University of Loughborough