newsletter - issue 27

The Paul Mellon Centre for Studies in British Art

NEWSLETTERYale University December 2008 Issue 27

A Conference at the Paul Mellon Centre, 26 – 27 March 2009The Intimate Portrait Drawings, Miniatures and Pastels from Ramsay to LawrencePrivate Viewing and Public Display

Sir Thomas Lawrence, Mary Hamilton (detail), 1789, The British Museum

The Paul Mellon Centre Staff Director of Studies: Brian Allen Assistant Director for Academic Activities: Martin PostleAssistant Director for Administration: Kasha Jenkinson Librarian: Emma Floyd Archivist: Emma Lauze IT Officer: Maisoon RehaniAdministrative Assistant: Ella Fleming Yale-in-London Coordinator: Viv Redhead Grants Administrator: Mary Peskett Smith Editor Special Projects: Guilland Sutherland Special Projects: Hugh Belsey, Elizabeth Einberg, John Ingamells Advisory Council: Caroline Arscott, Paul Binski, Julius Bryant, Andrew Causey, Philippa Glanville, Mark Hallett, Maurice Howard, SandyNairne, Marcia Pointon, Elizabeth Prettejohn, Duncan Robinson, Michael Rosenthal. Company Registered in England 983028 Registered Charity 313838

16 Bedford Square, London WC1B 3JA Tel: 020 7580 0311 Fax: 020 7366 6730 www.paul-mellon-centre.ac.uk

The conference will address issues arising from theexhibition ‘The Intimate Portrait: Drawings, Miniaturesand Pastels from Ramsay to Lawrence’ (Scottish NationalPortrait Gallery, Edinburgh, 25 October 2008 to 1 February2009; the British Museum, Prints and Drawings Gallery,London, 5 March to 31 May 2009). Organized jointly bythe National Galleries of Scotland and the BritishMuseum and drawn from their collections, this is thefirst major exhibition in Britain to focus on this little-studied genre. The intimate portrait played a muchgreater role than might be expected at a time whenvisual culture was dominated by the very public art ofpainted and sculpted portraiture. In domestic spacessuch as sitting rooms, studies, bedrooms and closets,smaller portraits on paper and ivory were at the heart ofa more private conversation. But portrait drawings,miniatures and pastels also had a role in the publicsphere, shown in vast numbers at the Royal Academy,often contentiously in the same rooms as the oils.

The conference will begin with an evening walkthrough the exhibition led by the curators, Kim Sloan,Curator of British Drawings and Water colours before1880 at the British Museum, and Stephen Lloyd, SeniorCurator at the Scottish National Portrait Gallery,followed by a reception at the Paul Mellon Centre.On the following day, conference speakers will raisequestions of intimate vision, the intimate portrait andthe erotic, methods, media, commissioning and display,and the late 19th-century international art-marketrevival for this type of portraiture.

newsletter 27 R3 fin:newsletter 2 28/11/08 08:27

THE PAUL MELLON CENTRE CONFERENCE

Conference Programme

Thursday 26 March18.00 Viewing of the exhibition, ‘The Intimate

Portrait’, Room 90, the British MuseumIf the Prints and Drawings Gallery (Room90 on the 4th floor) is open that eveningplease meet there; if not please gather inthe North (Montague Street) Entrance tothe Museum, at 18.00 sharp.

19.15- Wine reception for delegates and speakers at20.45 the Paul Mellon Centre, 16 Bedford Square

Friday 27 March09.15 Registration

09.45 Welcome by Brian Allen, Director of Studies,the Paul Mellon Centre

09.50 Introduction to the conference by Kim Sloan(co-curator of ‘The Intimate Portrait’ andCurator, Department of Prints and Drawings,British Museum)

09.55 Morning Session introduced and chaired byLucy Peltz (18th Century Curator, theNational Portrait Gallery)

10.00 Hanneke Grootenboer (Lecturer, Historyof Art Department, University of Oxford)‘Kisses Springing from Her eye’: On IntimateVision of Eye Miniatures

10.40 Katherine Coombs (Katherine Coombs, Curator,Paintings, Victoria and Albert Museum) Theeighteenth-century miniature as ‘intimate portrait’:a consideration of the diminutive and the minute

11.20 Coffee

11.50 Marcia Pointon (Professor Emeritus of Historyof Art at the University of Manchester, andHonorary Research Fellow at the CourtauldInstitute of Art, London) Thinking about intimacyand portraiture

12.30 Lunch

14.00 Afternoon session introduced and chairedby Peter Funnell (19th Century Curator,the National Portrait Gallery)

14.10 Constance McPhee (Curator of Prints andDrawings, the Metropolitan Museum of Art,New York), and Elizabeth Barker (Directorand Chief Curator at the Mead Art Museumat Amherst College, Mass., USA) Fancy Pieceor Portrait Study? A Pastel Head by Wright ofDerby in the Metropolitan Museum of Art

14.50 Ruth Kenny (University of Nottingham)The intimate and the commercial: Hugh DouglasHamilton and Pastel Portraiture c. 1760-1790

15.30 Tea

16.00 Jacob Simon (Chief Curator, the NationalPortrait Gallery), Marketing and displayingportraits on paper in 18th-century Britain

16.40 Stephen Lloyd (co-curator of ‘IntimatePortraits’ and Senior Curator at the ScottishNational Portrait Gallery, Edinburgh) Expertsand Plutocrats: The revival in the internationalart-market for British eighteenth-century portraitdrawings and miniatures c.1890-1935

17.15 Panel and audience discussion chaired byShearer West (Director of Research, AHRC)

18.00- Wine reception19.30

Full conference fee, including coffee, lunch, tea andwine reception: £40. Student and Senior Citizenconcessions are available at a reduced rate of £20.To register for the conference please checkavailability with Ella Fleming at the Paul MellonCentre. Tel: 020 7580 0311 Fax: 020 7636 6730Email: [email protected] - then senda cheque made payable to the Paul Mellon Centreto: 16 Bedford Square, London, WC1B 3JA, andinclude a stamped addressed envelope.

The Intimate Portrait

2


THE PAUL MELLON LECTURES 2009

Revised Lecture Programme, Wednesday at 6.30 pm

21st January: ‘Subjects I consider’d as writers do.’William Hogarth

28th January: ‘He can never be a great artist who isgrossly illiterate.’ Joshua Reynolds

4th February: ‘From the window I am writing I see allthose sweet fields...’ John Constable

11th February: ‘Painting and Poetry ... reflect and heighteneach other’s beauties.’ JMW Turner

18th February: ‘I dare not pretend to be anything otherthan the Secretary; the Authors are inEternity.’ William Blake

Pen and Pencil: Writing and Paintingin England, 1750-1850

The Paul Mellon Lecturesby Duncan Robinson Master, Magdalene College, Cambridge

In these lectures, Duncan Robinson attempts to show theimportance of literature in the broadest sense, in thedevelopment of the visual arts in Britain. For Hogarth‘my picture was my stage,’ and his scenes from life as hesaw it paved the way for that narrative tradition in Englishpainting so beloved of the Victorians. From his lectern,Reynolds not only discoursed on art but raised the bar forhis profession by insisting that the student at the RoyalAcademy Schools must ‘warm his imagination with thebest productions of ancient and modern poetry.’ ForGainsborough, Reynolds’s opposite in every sense,intimate correspondence took the place of formal lecture;from the letters he wrote to his friends we gain an appre-ciation of the man as well as insights into his painting. Andthe same holds true of Constable. By contrast, Turner’sappreciation of poetry encouraged him to pen his own’Fallacies of Hope.’ The final lecture is devoted tovisionaries and dreamers, to artists for whom, like Blake,the literary and the visual are inseparable in the unity oftheir art.

William Hogarth, The Painter and his Pug, 1745 ©Tate, London 2008

The cost of the lectures is £5/£3 concessions or£20/£15 for the whole series. Tickets may be bookedeither: online, www.nationalgallery.org.uk/what; bypost, cheques made payable to The National Gallery andsent to Advance Tickets sales, the National Gallery,Trafalgar Square, London WC2N 5DN; in person, from

the Advance Tickets and Audio Guide desks, Level O,Getty Entrance; on the day, any remaining tickets willbe on sale half an hour before the start of each event,payment by cash or cheque only. For information only, please telephone the NationalGallery at 020 7747 2888.

3


THE PAUL MELLON CENTRE GRANT AWARDS

At the October 2008 meeting of the Centre’s AdvisoryCouncil, the following grants were awarded:

CURATORIAL RESEARCH GRANTS

Castle Howard Estate to help support a part-time researchcurator for two years to work on an exhibition,catalogue and conference on George Howard,9th Earl of Carlisle (1843-1911)

Musée du Louvre to support the final year of work onD’Outre Manche: a database of British Works ofArt in French Collections

York Museums Trust to support a part-time researchcurator for two years to work on an exhibitionon William Etty (1787-1849)

EDUCATIONAL PROGRAMME GRANTS

Birmingham Museum & Art Gallery ‘MatthewBoulton Bicentenary’ a public lectureprogramme at Birmingham Museum and ArtGallery between May and September 2009

Cambridge Victorian Studies Group, CambridgeUniversity ‘From Plunder to Preservation:Britain and the ‘Heritage’ of Empire,c.1820-1940’ an international conference atKing’s College, Cambridge, 21-22 March 2009

Tate Britain ‘Van Dyck and the Aristocratic Image’an international conference at Tate Britain,26-27 March 2009

Université Paris Diderot ‘William Blake’ an internationalconference at the Institute for English Studies,Université Paris Diderot, 29-30 May 2009

University of York ‘Anglo-American: ArtisticExchange between Britain and the USA’ aninternational conference at King’s Manor &Humanities Research Centre, University ofYork, 23-25 July 2009

RESEARCH SUPPORT GRANTS

Ruth Cribb towards research and travel costs in theUSA for her doctoral thesis ‘Eric Gill andtransformative practices in British Sculpture1909-1940: networks, contexts andcontradictions’

Amy Hale towards research and travel costs in the UKfor a publication and exhibition on the work ofIthell Colquhoun

Marina Lopato towards research and travel costs inthe UK for a ‘Catalogue of British Silver in theHermitage Museum’

Lucinda Middleton towards research and travel costsin the UK for an exhibition on ‘Henry Bone,his workshop and family’

Temi-Tope Odumosu towards research and travelcosts in the USA for her doctoral thesis ‘TheBlack Joke: Iconographies of African People in18th and 19th century English Satirical Prints’

John Potvin towards research and travel costs in theUK for an article on ‘Lord Ronald Sutherland-Gower: Artist, Dilettante Art Historian,Collector, Decorator’

Robert Proctor towards research and travel costs in theUK for a book on ‘Roman Catholic ChurchArchitecture in Britain, 1955 to 1975’

Kate Retford towards research and travel costs in theUK for a book on ‘David Allan and theConversation Piece in Britain, c.1720-1790’

Salisbury and South Wiltshire Museum Trusttowards research and travel costs in the USAand Europe for an exhibition on ‘Constableand Salisbury’

Giovanni Santucci towards research and travel costsin the UK for work on ‘The Largest TalmanAlbum: a nexus between Catholic andAnglican ecclesiastical architecture’

Amy Sargeant towards research and travel costs inthe UK for a conference paper and article on‘Port Sunlight: Art, Advertising and Industry’

Evelyn Silber towards research and travel costs in theUK to work on ‘Selling the moderns inBritain: the Leicester Galleries and thechanging face of dealing and collecting inLondon 1900-1960’

Chiara Teolato towards research and travel costs inthe UK to work on ‘Roman DecorativeBronzes and the Taste for the Antique in theBritish Country House (1750-1820)’

Gwen Yarker towards research and travel costs in theUK for an exhibition of 18th centuryportraiture ‘Georgian Faces’

PUBLICATION GRANTS (AUTHOR)Tarnya Cooper Citizen Portrait: Portrait Painting and the

Urban Elites of Tudor and Jacobean Englandand Wales

Katy Deepwell Women Artists in Britain between theTwo World Wars: ‘A Fair Field and No Favour’

Paul Dobraszczyk Into the Belly of the Beast: ExploringLondon’s Victorian Sewers

Grant Awards

4


THE PAUL MELLON CENTRE GRANT AWARDS

Magdalen Evans Utmost Fidelity, the Painting Lives ofMarianne and Adrian Stokes

Frances Fowle Dealing in Impressionism: A Biography ofAlexander Reid

Elizabeth Goldring The Intellectual and Cultural Worldof the Early Modern Inns of Court

Michael Hunter Printed Images in Early Modern Britain:Essays in Interpretation

Berta Joncus & Jeremy Barlow ‘The Stage’s Glory’:John Rich (1692-1761)

John McAleer Representing Africa: Landscape, explorationand empire in southern Africa, 1780-1870

Matthew Payne & James Payne Regarding ThomasRowlandson, 1757-1827: His Life, Work andAcquaintance

William Pressly James Barry (1741-1806): HistoryPainter

Kevin Sharpe Representations of Revolutions: Imagesof Kings and Commonwealths, 1603-1660

Sam Smiles Sir Joshua Reynolds: A Life in ArtBanmali Tandan British Architecture in Calcutta in the

Georgian Age: An Illustrated GazetteerKristina Taylor & Robert Peel Three Hundred Years of

the Bute Family Landscapes

PUBLICATION GRANTS (PUBLISHER)Beazley Archive, University of Oxford Julia Kagan,

The history of gem engraving in Britain fromantiquity to the present

Ben Uri Gallery, London Jewish Museum of ArtSarah MacDougall & Rachel Dickson (Eds.)The Forced Journey: Artists in Exile in Britain,c.1933–45

Birmingham Museum & Art Gallery Shena Mason (Ed.)Matthew Boulton: selling what all the world desires

British School at Rome Robert Coates-Stephens &Valerie Scott, Images from the Past: Rome in thePhotographs of Peter Paul Mackay 1890-1901

British School at Rome David Marshall, SusanRussell and Karin Wolfe (Eds.) RomaBritannica: Art Patronage and Cultural Exchangein eighteenth-century Rome

Cheltenham Art Gallery and Museum Sophia Wilson& Anne Strathie (Eds.) Hugh Willoughby:The Man who loved Picassos

Corcoran Gallery of Art, Washington, D.C. PhilipBrookman (Ed.) Helios: The Art of EadweardMuybridge

Dorset Natural History & Archaeological SocietyGwen Yarker, Georgian Faces

Editions Nicolas Chaudun Pascal Dupuy, Lescaricatures anglaises face à la Révolution françaiseet à l’Empire. Collections du Musée Carnavalet

Francis Boutle Publishers Hazel Harradence &Ronald Perry, Silvanus Trevail: Cornish Architectand Entrepreneur

Georg Olms Verlag Grischka Petri, Arrangement inBusiness: the Art Markets and the Career of James McNeill Whistler

Hogarth Arts Ltd Matthew Payne & James Payne,Regarding Thomas Rowlandson, 1757-1827.His Life, Work and Acquaintance

Manchester University Press Katy Deepwell, WomenArtists in Britain between the Two World Wars: ‘A Fair Field and No Favour’

Master Drawings Association Hugh Belsey, A secondsupplement to John Hayes’s The Drawings ofThomas Gainsborough

National Galleries of Scotland Christopher Baker,Catalogue of English Drawings and Watercolours,1600-1900

National Maritime Museum Publishing Pieter vander Merwe (Ed.) The Queen’s House: A social andarchitectural history

Nottingham City Museums & Galleries JohnBonehill & Stephen Daniels (Eds.) PicturingBritain: Paul Sandby 1731-1809

Oxford University Press (India) Jennifer Howes,Illustrating India: The Early ColonialInvestigations of Colin Mackenzie (1784-1821)

La Providence: The French Hospital, RochesterTessa Murdoch & Randolph Vigne, The FrenchHospital in England: Its Huguenot History andCollections

Public Monuments and Sculpture Association PhilipWard-Jackson, Public Sculpture of Westminster

Tate Publishing Martin Myrone (Ed.) William Blake:The 1809 Descriptive Catalogue

Sansom & Company Ltd Sam Smiles (Ed.) Sir JoshuaReynolds: A Life in Art

Spire Books Ltd Paul Dobraszczyk, Into the Belly ofthe Beast: Exploring London’s Victorian Sewers

Walpole Society Walpole Society Journal 2009

Yale University Press Kevin Sharpe, Representations ofRevolutions: Images of Kings andCommonwealths, 1603-1660

5


THE PAUL MELLON CENTRE PUBLICATIONS

Richard Parkes Bonington: The Complete Paintingsby Patrick Noon

Only twenty-five at the time of his death in 1828, youngRichard Parkes Bonington nevertheless was a seminalfigure in the development of modernism in nineteenth-century French painting. By birth he was Anglo-French,and he epitomized the new spirit of internationalismin which Constable was honored by the Academy inParis in 1824; Bonington was there to witness theevent. Mediating between the two traditions, heexplored the potential of watercolour for freshtransient landscapes and drew inspiration not only fromDelacroix but also from the work of Walter Scott andByron in his history paintings.

This catalogue raisonné of his oil and watercolourpaintings represents the first attempt to establish andpresent the artist’s complete known oeuvre. Drawing ontwenty-five years of research, Patrick Noon catalogues,analyzes, and reproduces 400 artworks now indisputablyattributed to Bonington, many of which have neverbefore been published.

Patrick Noon is Patrick and Aimee Butler Curator ofPaintings and Modern Sculpture, Minneapolis Instituteof Arts.

September 2008ISBN 978-0-300-13421-6£85

Elizabethan Architecture: Its Rise and Fall,1540–1640 by Mark Girouard

Elizabethan and Jacobean architecture—not the friendly,unassuming architecture of the vernacular but theuniquely strange and exciting buildings put up by thegreat and powerful—is a phenomenon as remarkable asthe literature which accompanied it; the literature ofShakespeare, Spenser, Sidney, Marlow, Jonson, Campionand others.

In this beautiful and fascinating book, Girouarddiscusses social structure and the way of life behind it,the evolution of the house plan, the excitement ofEnglish patrons and craftsmen as they learnt aboutthe classic Five Orders and the buildings of AncientRome, the surprising wealth of architectural drawingswhich survive from the period, the inroads of foreigncraftsmen who brought new fashions in ornament,but also the strength of the native tradition whichwas creatively integrated with the ‘antique’ style.Behind the book is a vivid consciousness of the Europeanscene: Italy, France, central Europe and above all theLow Countries and their influence on England. Butthe principal argument of the book is the uniqueindividuality of the English achievement.

Mark Girouard is the leading historian of Elizabethanand Jacobean architecture. His books include Life in theEnglish Country House, Town and Country, The VictorianCountry House and The English Town, among many others.

June 2009 ISBN 978-0-300-09386-5 £45.00

6


THE PAUL MELLON CENTRE PUBLICATIONS

The Town House in Georgian London by Rachel Stewart

This book takes a fresh look at a familiar building type,the town house in eighteenth-century London, andinvestigates the circumstances in which individuals madedecisions about living in London. It uncovers whatoccupants of town houses thought about their property,why and how they chose or built it, paid for it, used it,decorated it and sold or bequeathed it, and what uses it hadfor them beyond simply accommodation. This book takesas a starting point the houseowner, occupant or architect’sclient, and through extensive and original use ofanecdotal evidence opens up a wealth of unforeseenvalues, uses and connections attaching to the house andhow it functioned in the context of family relations,financial, legal and property transactions, as well as in theconstruction of personal identity. Stewart reveals thenegative press attention the town house received in itsown time and demonstrates how the house was associatedwith notions of transience, changeability, imperfection,luxury, and selfishness. By stepping into the previouslyunexplored world of the houseowner, the book offersan entirely original reading of a familiar type of building.

Rachel Stewart is Director, Centre for CareerManagement Skills, University of Reading.

Mar 2009ISBN 978-0-300-15277-7£30.00

John Singer Sargent, volume 6, Venetian Figuresand Landscapes 1898-1913 by Richard Ormond and Elaine Kilmurray

Throughout his career, and particularly in the periodfrom 1898 to 1913, John Singer Sargent painted thespectacular architecture and scenes of everyday lifein Venice, as he sat alongside the Grand Canal or ina gondola in the sleepy side canals. This lavishlyillustrated book presents all the luminous masterworksthat Sargent completed during that fertile fifteen-yearperiod: oils and watercolours that reveal his taste for theRenaissance, Baroque, and high style in art andarchitecture as they were seen in the city’s unique light.

The book reproduces and documents 141 works,including several that are published for the first time.An authoritative essay explores the aesthetics ofSargent’s Venetian work, places it in the context of hisoeuvre as a whole, explains Sargent’s relationships withhis patrons in Venice, and discusses the exhibitions andmarketing of this work in London and New York.The book also provides a map of Venice marking everyknown location that Sargent painted and dozens ofcontemporary photographs of the sites.

Richard Ormond, formerly Director of the NationalMaritime Musem, Greenwich, is an independent arthistorian. He is great-nephew of John Singer Sargent.Elaine Kilmurray is co-author of a number of booksand exhibition catalogues on John Singer Sargent.

Mar 2009ISBN 978-0-300-14140-5£50.00

7


ya l e c e n t e r f o r b r i t i s h a r t

New Haven, ConnecticutFull details of the following exhibitions and programs can be found at www.yale.edu/ycba, by telephoning 001 203 432 2800, or by e-mailing [email protected].

exhib it ions at the center

Benjamin West and the Venetian Secret, through 4 January 2009Co-organized by the Yale Center for British Art and the Yale University Art Gallery

Sun, Wind, and Rain: The Art of David Cox, through 4 January 2009 Co-organized by the Yale Center for British Art and Birmingham Museums & Art Gallery, where it will be on view from 31 January through 3 May 2009.

“Endless forms”: Charles Darwin, Natural Science and the Visual ArtsYale Center for British Art: 12 February–3 May 2009Fitzwilliam Museum: 16 June–4 October 2009Organized by the Fitzwilliam Museum, University of Cambridge, in associ-ation with the Yale Center for British Art. A fully illustrated publication will be published by the Fitzwilliam Museum and the Yale Center for British Art in association with Yale University Press.

Paintings from the Reign of Victoria: The Royal Holloway Collection, London7 May–26 July 2009Organized and circulated by Art Services International, Alexandria, Virginia

publ icat ions

The History of British Art: 600–1600, 1600–1870, 1870–nowGeneral editor, David BindmanThis illustrated three-volume work provides a critical overview of British art from early Saxon times to the present. Written by a team of interna-tional scholars, each title includes essays, maps, chronologies, and more. Published by Tate Britain in association with the Yale Center for British Art and Tate Publishing. It is distributed in North America by Yale University Press.

John Talman: An Early-Eighteenth-Century ConnoisseurStudies in British Art Vol 19Edited by Cinzia Maria SiccaThis is the nineteenth in a series of occasional volumes devoted to studies in British art, published by the Yale Center for British Art and the Paul Mellon Centre for Studies in British Art and distributed by Yale University Press.

selected lectures

s i r john soane ’ s mus eum foundat ion l ectureTuesday, 13 January 2009, at 6:30 pmRobert A. M. Stern, architect and Dean of the Yale School of Architec-ture, will discuss his designs for 15 Central Park West, New York, and the Comcast Center in Philadelphia. Co-organized by the Yale Center for British Art and Sir John Soane’s Museum Foundation. Union Club, New York City; reservations required; tickets are $30/$15 concessions. To reserve call 212 223 3012 or e-mail [email protected].

paul me l lon l ecture s Pen and Pencil: Writing and Painting in England, 1750–1850Tuesdays–Thursdays, 14–28 April 2009, at 5:30 pmDuncan Robinson, Master of Magdalene College, University of CambridgeThe Paul Mellon Lectures are given biennially first at the National Gallery in London, and, with the support of the Paul Mellon Centre, again at the Yale Center for British Art.

andrew w. mellon foundation sen ior v is it ing scholars

February 2009: Professor Dame Gillian Beer, King Edward VII Professor of English Literature and President of Clare Hall (ret.), University of Cambridge

April 2009: David Bindman, Professor Emeritus of the History of Art, University College, London

v is it ing scholars

January 2009Viccy Coltman, Senior Lecturer, History of Art, University of Edinburgh’s School of Arts, Culture, and Environment

Karen Hellman, PhD candidate, The Graduate Center, City University of New York

Davide Lombardo, Adjunct Professor of Metropolitan Studies, New York University in Florence

January–February 2009Marianne Clerc, Lecturer, Department of the History of Art, Université Pierre Mendès-France Grenoble II

February–March 2009Ellenor Alcorn, Independent Curator and Freelance Writer, and Consultant Curator for the Gans Collection of English Silver, Virginia Museum of Fine Arts in Richmond

Anke Kattner, PhD candidate, Ludwig-Maximilians-Universitat, Munich, Germany

March–June 2009Stacy Sloboda, Assistant Professor of Art History, Southern Illinois University, Carbondale

April 2009Jeremy Melius, PhD candidate, University of California at Berkeley

Sebastian Mitchell, Lecturer in English Literature, University of Birmingham

William Dyce, Pegwell Bay, Kent—A Recollection of October 5th, 1858 (detail), 1858-60, oil on canvas, Tate, London


newsletter - issue 27

Documents