The Paul Mellon Centre for Studies in British Art

NEWSLETTERYale University May 2014 Issue 39

This conference will explore the ways in which artists andpatrons in Britain devised and introduced new or distinctiveimagery, styles and techniques, as well as novel approaches tobringing different media together. It is concerned with themechanisms of innovation, with inventive and imaginativeprocesses, and with the relations between conventions andindividual expression. The conversation will therefore alsoaddress the very notions of sameness and difference in medievalart and architecture, and how these may be evaluated andexplained historically.

The event is being organised by the Paul Mellon Centre, withSandy Heslop (University of East Anglia), Jessica Berenbeim(University of Oxford), Lloyd DeBeer and Naomi Speakman(The British Museum).

The Paul Mellon Centre Staff Director of Studies: Mark Hallett Deputy Director of Studies: Martin Postle

Assistant Director for Finance and Administration: Sarah Ruddick Assistant Director for Research: Sarah Victoria Turner

Events Co-ordinator and Director’s Assistant: Ella Fleming Yale-in-London Coordinator: Nermin Abdulla Librarian: Emma Floyd

Archivist and Records Manager: Charlotte Brunskill Archives and Library Assistant: Jenny Hill Archives and Library Assistant: Frankie

Drummond Picture Research and Online Cataloguing: Maisoon Rehani Administrative Assistant: Lyndsey Gherardi

Fellowships and Grants Manager: Mary Peskett Smith Editor Research Projects: Guilland Sutherland

Senior Research Fellows, Special Projects: Hugh Belsey, Elizabeth Einberg, Alex Kidson, Eric Shanes, Paul Spencer-Longhurst

Advisory Council: Iwona Blazwick, Alixe Bovey, David Peters Corbett, Penelope Curtis, Michael Hatt, Nigel Llewellyn, Richard Marks,

Andrew Moore, Gavin Stamp, Christine Stevenson, Shearer West, Alison Yarrington

Company Registered in England 983028 Registered Charity 313838

16 Bedford Square, London WC1B 3JA Tel: 020 7580 0311 Fax: 020 7636 6730 www.paul-mellon-centre.ac.uk

Engraved silver seal matrix of Robert Fitzwalter, c.1213-19. British Museum

Ivory triptych, made in England, probably Exeter, 1330-40 (detail). British Museum

Invention and Imaginationin British Art andArchitecture, 600-1500A major international conferenceto be held at the Paul Mellon Centre & the British Museum30 October - 1 November 2014

Sessions and events will takeplace at the British Museumand the Paul Mellon Centre.More details about theprogramme and how to bookwill be advertised on theCentre’s website and via ourmailing list.

THE PAUL MELLON CENTRE ACADEMIC ACTIVITIES

RESEARCH LUNCHES

Fridays, 12.30–2.30 PMThe Summer programme of research lunches is geared todoctoral students and junior scholars working on thehistory of British art and architecture. They are intendedto be informal events in which individual doctoralstudents and scholars talk for half an hour about theirprojects, and engage in animated discussion with theirpeers. A sandwich lunch will be provided by the Centre.We hope that this series will help foster a sense ofcommunity amongst PhD students and junior colleaguesfrom a wide range of institutions, and bring researcherstogether in a collegial and friendly atmosphere.

9th MayCora Gilroy-Ware (Independent Scholar/Tate)‘A song the sweeter for a taste of pain’: The Cult of theNymph in early 19th-century Britain

23rd MayJamie Mulherron (National Museums Scotland)Being and Nothingness: Perceptions of Lace 1550-1850

6th JuneSarah Longair (British Museum)Mskiti ya Bwana Sinclair: Designing a Museum in BritishColonial Zanzibar�

20th JuneNick Grindle (University College London)George Morland: In the Margins

4th JulyCatherine Spencer (University of St Andrews)Prunella Clough’s ‘Structures of Mysterious Purpose’:Abstraction and Post-industrialization

Research Programmes Summer 2014

RESEARCH SEMINARS

Wednesdays, 6.00–8.00 PMOur Summer series of research seminars will featurepapers given by distinguished historians of British artand architecture. Seminars typically take the form ofhour-long talks, followed by questions and drinks, and aregeared to scholars, curators, conservators, art-tradeprofessionals and research students working on thehistory of British art.

30th AprilJonathan Foyle (World Monuments Fund)Paradise Regained: The Rediscovered State Bed of HenryVII and Elizabeth of York as Royal Self-Image in 1485

14th MayKate Retford (Birkbeck College, University of London)‘Bonds of unity and friendship’: Kinship and theConversation Piece in 18th-Century England

28th MayMorna O’Neill (Wake Forest University)The Decorative Art of Display: The Case of Hugh Lane

11th JuneSandy Heslop (University of East Anglia)Symmetry, Antithesis and Empathy in the St Albans Psalter

25th JuneOne Object, Three Voices Mark Catesby’s Natural History: The Art, the Science, the Publication Henrietta McBurney Ryan (Senior Fellow, PMC)Charles Jarvis (Natural History Museum)Leslie K. Overstreet (Smithsonian Institution, Washington)

Details about the Research Seminars and ResearchLunches can also be found on the Centre’s website,www.paul-mellon-centre.ac.uk

It is essential that anyone who plans to attendindividual research seminars and research lunchesemail the Centre’s Events Co-ordinator, Ella Fleming,at least two days in advance:

efleming@paul-mellon-centre.ac.ukState Bed of Henry VII and Elizabeth of York. Baltic oak, before 1486.

THE PAUL MELLON CENTRE ACADEMIC ACTIVITIES

THE EDUCATED EYE? CONNOISSEURSHIP NOW

Friday 2 May 2014

Last year, the Centre held a networking meeting withprofessionals from the art trade. One of the issues ofintensive discussion around the table was the role andvalue of connoisseurship today. We decided that thiswould be a lively subject for a conference and, as a result,the programme for Connoisseurship Now was developed. Speakers from different spheres – art dealers, museum

curators, conservators, arts journalists and academics –will give personal ‘position papers’ based on their ownprofessional perspectives and experiences of the role andrelevance of connoisseurship in today’s art world. Issues tobe explored include the question of the ‘eye’; the value oftechnical knowledge and the role of conservation; the roleof connoisseurship in the marketplace, including questions of attribution and market value; connoisseurshipand collecting; connoisseurship and art theory;connoisseurship and art-historical scholarship; andconnoisseurship's relevance to contemporary art.This one-day conference will address the matter of

connoisseurship in relation to historic, modern andcontemporary British art studies and promises to be alively and stimulating day.

Forthcoming Research Events Summer 2014

ONE OBJECT, THREE VOICES

The One Object, Three Voices seminar series wasinaugurated last Autumn Term with a fascinating trio ofdiscussions around the medieval rood screen of St Helen’sChurch, Ranworth. The series continued this Spring witha timely session focusing on the Cenotaph with differentperspectives on the history of the project, its preservationand legacies given by architectural historian GavinStamp, conservator David Odgers and Head ofDesignation at English Heritage, Roger Bowdler. The next seminar in this series will be held on 25 June

to examine Mark Catesby’s Natural History of Carolina,Florida and the Bahama Islands, 1731-1743. Among theparticipants is Henrietta McBurney Ryan, one of theCentre’s Senior Fellows this year. She will be joined byCharles Jarvis (Natural History Museum) and Leslie K.Overstreet (Smithsonian Institution, Washington).

Unknown artist, The Connoisseur, 1830, lithograph and watercolour.Yale Center for British Art, gift of Max and Barbara Wilk

Mark Catesby, The ivory-billed woodpecker and willow oak,

pen & ink with w/c on paper, 37.5 x 27.1 cm.

The Royal Collection © 2014

Her Majesty Queen Elizabeth II / The Bridgeman Art Library

ECONOMIES OF LINE: EXPLORING THE ‘GRAPHIC’ IN BRITISH ART

31 January 2014

On Friday 31 January we hosted a workshop for PhDstudents, early career researchers and cataloguersworking on the graphic arts in Britain entitled Economiesof Line: Exploring the ‘Graphic’ in British Art. This eventwas organised in collaboration with Yale graduatestudent Esther Chadwick and British Museum curatorSheila O'Connell. Following on from presentations, theworkshop moved across to the Prints and DrawingsDepartment at the British Museum where thecataloguing team spoke about their current projects andthe whole group had the chance to look closely togetherat the prints and drawings we had encountered in thepresentations. It was a very productive forum in which toshare ideas about researching and working with printsand drawings and we hope to continue the conversationsstarted at this workshop further in the future.

IN CIRCULATION: JOHN SINGLETON COPLEY ANDBENJAMIN WEST IN ENGLAND, FRANCE AND AMERICA

28 March 2014

This symposium was not only enjoyed by the audiencewho gathered in our Library but also by an internationalcommunity of students, curators and researchers whowatched it via a live-streamed broadcast over the web.Working with colleagues from the Museum of Fine Arts(MFA) in Houston and the Terra Foundation, we shapedan event that was stimulated by the exhibition AmericanAdversaries: West and Copley in a Transatlantic World, heldat the MFA Houston (October 2013–January 2014).Speakers addressed the transnational trajectories of theseartists’ careers, and the ‘live chat’ function allowed peopleto ask questions of the speakers and give feedback on theevent from wherever in the world they were watching! Aswell as the lively speakers and audience in London, wewere joined over the internet by groups who hadgathered together at the MFA in Houston, the YaleCenter for British Art and the University of Virginia, aswell as individuals who tuned in from their own homes. The whole event is available to watch online:

http://new.livestream.com/mfah/events/2857600?query=copley&cat=eventAfter the success of our first live broadcast, we plan to

stream more of our events over the internet to allow anever-growing international community interested inBritish art to connect with our events and researchprogramme. The Centre is extremely grateful to the TerraFoundation for American Art for funding this event and tocolleagues at the MFA, Houston, for all their input.

ARTISTIC PRACTICE IN 16TH-CENTURY BRITAIN: A WORKSHOP

24-25 March 2014

The study of artistic practice in sixteenth-century Britainhas been the topic of rich and rewarding research in thepast few years. Collaborating with Tarnya Cooper, ChiefCurator at the National Portrait Gallery, and her team onthe Making Art in Tudor Britain project, as well as ourcolleagues at the Yale Center for British Art, the Centrehosted a two-day workshop to assess the state of the fieldand future research questions. Representatives frommajor collections and conservation institutes, as well asindependent scholars and conservators, came together togive reports on the status of their technical projects andto ask broader questions about the mechanisms forsharing the findings of this research, as well as to askwhat new questions this information will prompt in thefuture. We are planning further events on Tudor art andwill post details of these on the website and in futurenewsletters.

Recent Research Events (January-April 2014)

THE PAUL MELLON CENTRE ACADEMIC ACTIVITIES

Emblematic Portrait of Sir Christopher Hatton, ascribed to the

workshop of William Segar, c.1580, detail (Northampton Borough

Council, Northampton Museum and Art Gallery).

© National Portrait Gallery, London

Photographic reproductions of works of art enablecomparative analysis as well as documenting changes inthe condition of individual objects. The importance of suchphotographs has long been recognised here: creating aphotographic archive was among the first activitiesundertaken by the Paul Mellon Foundation following itsestablishment in the 1960s. Today, the Centre’s Photographic Archive contains

approximately 150,000 reference photographs of Britishpaintings, decorative painting, sculpture, drawings andprints, and covers the period 1500-1900, with somematerial relating to the twentieth century. It is animportant resource for researchers, as the images ofteninclude provenance information on the mounts.An examination of the types of images created and

collected demonstrates how the collection has changedover the past fifty years. Initially the Foundationemployed in-house photographers to take black and whiteimages of works in salerooms, temporary exhibitions andprivate collections for researchers and for use in theCentre’s publications. In the 1970s images were acquiredfrom existing negatives of works in public collections, aswell as from auction houses, in order to give thecollection a more rounded focus on British art. From the1980s images continued to be added from all thesesources, as well as the Courtauld’s Photographic Survey,and in recent years by the addition of colour images takenfrom saleroom catalogues. In 2009 we acquired the TatePhotographic Archive, established by curators as aninternal research resource.As well as continuing to provide access to these

hard-copy images, the Centre, like other significantphotographic archive collections, is currently consideringhow best to capture, preserve and make availableborn-digital images for future research.

The importance of photography as a medium for thestudy of British art is also evident in the ArchiveCollections held at the Centre. These archives contain ahigh predominance of images collected by eminent arthistorians in the course of their research. The imagesoften document a lifetime of research on a particularsubject – some are rare and many are heavily annotated.Of particular significance are the M. Knoedler and Co.images from the Frank Simpson Archive. These datefrom c.1900 and document works passing through thesaleroom at that time. Likewise the Ellis WaterhouseArchive contains over three thousand images, heavilyannotated by Waterhouse and reflecting research,conducted throughout his lifetime, into sixteenth- toeighteenth-century British art.

All of the above-mentioned collections are available forconsultation by appointment. Further details can befound on our website: seewww.paul-mellon-centre.ac.uk/12/

THE PAUL MELLON CENTRE COLLECTIONS

Photographic Collections at the Paul Mellon Centre

Recto and verso of a photograph from the Ellis Waterhouse Archive

An image from the Paul Mellon Centre Photographic Archive

SENIOR FELLOWSHIPS

Caroline Arscott, The Courtauld Institute of Art, toprepare her book The Substantial Cosmos

Ann Compton to prepare her book A Collective Art: TheMakers and Methods of Sculpture in Britain c.1851-1940

ROME FELLOWSHIP

Anne Bush, University of Hawaii at Manoa, for researchin Rome on A ‘Modern Means to Accurate Knowledge’, JohnHenry Parker’s Historical Photographs of Rome

MID-CAREER FELLOWSHIPS

Elizabeth Darling, Oxford Brookes University, forresearch on From Networks to Receivers: Material andSpatial Cultures of Broadcasting in inter-war England

Douglas Fordham, University of Virginia, for research onThe World of British Art: Notes from the Field circa 1800

Martin Myrone, Tate, for research on Henry PerronetBriggs (1791-1844): The Moment of Eclecticism in BritishHistory Painting c.1811-1832

POSTDOCTORAL FELLOWSHIPS

Jasmine Kilburn-Toppin to prepare her book CraftingArtisanal Identities in Early Modern London: The Spatial,Material and Social Practices of Guild Communities,c.1560-1640

Arlene Leis to prepare her book Sarah Sophia Banks:Femininity, Sociability and the Practice of Collecting in lateGeorgian England

Alexander Massouras to prepare his book The Plaster Castand the Reproduction of Culture in the Twentieth Century

Henry Miller to prepare his book The Film Art Movementin Britain, 1917-1940

Arnika Schmidt to prepare her book Nino Costa(1826-1903) and Transnational Exchange in 19th-centuryEuropean Landscape Painting

Sylvie Simonds to prepare her book A CounterculturalMovement: Examining Carolee Schneemann’s Kinetic Theatrebetween 1963-1970

Sarah Thomas to prepare her book Witnessing Slavery:Travelling Artists in an Age of Abolition

JUNIOR FELLOWSHIPS

Kara Fiedorek, Institute of Fine Arts, New York, toconduct research in the United Kingdom for her doctoralthesis Priests of the Sun: Photography and ReligiousThought, 1860-1910

Holly Shaffer, Yale University, to conduct research in theUnited Kingdom for her doctoral thesis ‘Men and gods, andthings’: Maratha Art and Moor’s ‘Hindu Pantheon’ (1810)

EDUCATIONAL PROGRAMME GRANTS

Buckinghamshire New University/University of Yorkgrant towards a symposium, 11-12 April 2014: PrimitiveRenaissances: Northern European Art at the Fin de Siècle

Corpus Vitrearum Medii Aevi, grant towards acolloquium, 7-11 July 2014: Corpus Vitrearum, XXVIIInternational Colloquium

National Gallery, London, grant towards a symposium,28 Nov 2014: William Hazlitt’s Art Criticism

Royal West of England Academy, grant towards aprogramme of art history lectures, May/June 2014: ThePower of the Sea: lecture series

St Mary’s University, Twickenham, grant towards asymposium, 26 April 2014: Emblems and Enigma: TheHeraldic Imagination

RESEARCH SUPPORT GRANTS

Eleanor Chan for research in the United Kingdom and theUnited States on ‘Aesthesis’ in post-Reformation England

John Cooper for research in the United Kingdom onImperial Balls: The Arts of Sex, War, and Dancing in India,England and the Caribbean, 1780-1870

Olexandra Dovzhyk for research in Moscow on TheReception of Aubrey Beardsley in Russia

Christiane Hille for research in the United Kingdom onWork of Faith rather than Sense. Ostensorium of Art,Alchemy and Christian Thought: The Elizabethan Miniature

Holly James-Maddocks for research in the UnitedKingdom on From Manuscript to Print: The Work ofEngland’s Illuminators in Incunables, c.1460-1500

Carla Mazzarelli for research in the United Kingdom onA Jesuit Art Agent in eighteenth-century Rome: NewResearches on Father John Thorpe (1726-1792)

Simon Pierse for research in Australia on The Abbey ArtCentre (1945-55): Avant-garde meets Primitive in New Barnet

Alexandra Quantrill for research in the United Kingdomon Research, Technique, and Production in the Practice ofFoster Associates, 1979-1986

Catherine Roach for research in the United Kingdom onThe British Institution: A History

Gemma Romain for research in the United Kingdom andJamaica on Patrick Nelson: Politics, War and Love in the Lifeof a Jamaican Migrant

Michael Snodin for research in the United Kingdom andthe United States on Designing British Silver

Irene Sunwoo for research in the United Kingdom on TheArchitectural Association: A Continuing Experiment inArchitectural Education

THE PAUL MELLON CENTRE FELLOWSHIPS AND GRANTS

Fellowship and Grant AwardsAt the March 2014 meeting of the Centre’s Advisory Council the following Fellowships and Grants were awarded:

In the newsletter for May 2013 (Issue 36) I reported on thenew initiative launched by the Paul Mellon Centre for visitsto regional museums focusing on institutions withsignificant holdings of British art. I am pleased to relatethat since we began in November 2012 my colleague, MaryPeskett Smith, and I have now visited over twenty-fivemuseums up and down the country, listening to directorsand curators talk about their collections, displays, andexhibition plans, and spreading the word about the ways inwhich the Mellon Centre can support scholarship andresearch activities. Once more we were impressed greatlyby the enterprise and industry of those we met, as well asbeing made aware of the severe financial constraints andpressures upon museums and their staff.In the summer of 2013 we visited the Russell-Cotes Art

Gallery and Museum, Bournemouth, the Beaney House ofArt and Knowledge, Canterbury, Kelmscott Manor,Gloucs. and Cheltenham Art Gallery and Museum. Visitsin the autumn and winter included the Laing Art Galleryand Hatton Gallery, Newcastle upon Tyne, the Shipley ArtGallery, Gateshead, Tullie House Museum and ArtGallery, Carlisle, the Cooper Gallery, Barnsley, the GravesGallery, Sheffield, the Hunterian, Glasgow, and the FerensArt Gallery, Hull. So far this year we have been to the WattsGallery, Compton, Gainsborough’s House, Sudbury, andthe William Morris Gallery, Walthamstow. Somemuseums, such as Cheltenham, were in the throes ofpreparation for a major re-launch (hence the need for hardhats). Others, notably the Beaney, Canterbury, had recentlyundergone refurbishment and rebranding; while others,including Gainsborough’s House, are looking forward toexpansion and revitalisation.

Among the mostimpressive andidiosyncratic regionalmuseums, and onewhich typifies thechallenges faced bysuch institutions isthe Russell-Cotes.The brainchild ofMerton Cotes, Mayorof Bournemouth, themuseum opened in1901. The strength ofthe collection lies inVictorian British art,both paintings andsculpture. A favouriteartist of the founder was Edwin Long, several of whose vast, and at timestitillating, paintings dominate the larger galleries. On my visit I met Susan Hayward, who has worked at

the gallery since 2006. As was evidenced by the cage ofscaffolding around the building and the plastic bucketsscattered on the conservatory floor, the biggest immediatechallenge faced by the Russell-Cotes is maintenance. Thebuilding, which suffered severe flooding a few years ago, isnow undergoing a programme of essential renovation. AsSue told me, the hope was to combine the renovation witha more ambitious project of refurbishment. However, thepressing need to address the problem of the leaking roofhas meant that this will have to wait. There is a plan inplace to raise £12 million for more extensive renovationof this grade II* listed building, but this will take someyears to realize.The Russell-Cotes runs two exhibitions per year, and

these are of direct relevance to the collection. Sue Haywardand I discussed the museum’s future exhibition plans. Imentioned that once these plans were firmed up, Sueshould contact the Paul Mellon Centre to apply for a grantto support them. I am pleased to report that in September2013 we awarded a Curatorial Research Grant to theRussell-Cotes to support a research curator for three yearson the project Slade Painters in Dorset I: The Edwardians andSlade Painters in Dorset II: Between the Wars.

Martin Postle

Miriam Volmert for research in the United Kingdom andthe United States on Memory in Motion: Concepts ofRemembering and Forgetting in 18th-century Grand TourPortraits

Katherine Wheeler for research in the United Kingdomon Graphic Intercessors: Essays on the History of theArchitectural Working Drawing

REGIONAL MUSEUMS THE PAUL MELLON CENTRE

Regional Museum Visits

Fellowships and Grants cont.

Mary Peskett Smith with Jane Lillystone, Museum Arts & Tourism Manager, Cheltenham Art Gallery

Russell-Cotes Art Gallery and Museum,Bournemouth

EXHIBIT IONS

OPENING

“Of Green Leaf, Bird, and Flower”: Artists’ Books and the Natural World15 MAY–10 AUGUST

Looking at the ways in which self-taught naturalists and artists recorded and observed the natural world around them from the sixteenth century to the present, this exhibition examines the intersections of artistic and scientific interest. Organzied by the Center and curated by Elisabeth Fairman, Senior Curator of Rare Books and Manuscripts, the exhibition includes an accompanying book, designed to evoke an early naturalist’s field guide. The book is edited by Elisabeth Fairman and published by the Center, in association with Yale University Press.

Bruce Davidson | Paul Caponigro: Two American Photographers in Britain and Ireland 26 JUNE–14 SEPTEMBER This exhibition pairs for the first time works by Paul Caponigro (b. 1932) and Bruce Davidson (b. 1933), two of the most distinguished photographers of their generation. It includes approximately 140 of their photographs taken in Britain between 1960 and the early 1990s. The exhibition is co-organized by the Center and The Huntington Library, Art Collections, and Botanical Gardens, where it will be on display from 8 November 2014 through 23 February 2015. Curated by Scott Wilcox, Chief Curator of Art Collections and Senior Curator of Prints and Drawings at the Center, and Jennifer A. Watts, Curator of Photography at The Huntington, it is accompanied by a fully-illustrated catalogue edited by the curators.

CONTINUING

Fame and Friendship: Pope, Roubiliac, and the Portrait Bust in Eighteenth-Century BritainTHROUGH 19 MAY

This exhibition explores the convergence between authorship, portraiture, and the sculpted image in particular by bringing together a wide range of works that foreground Pope’s celebrity status. Co-organized by the Center and Waddesdon Manor (The Rothschild Collection), where it will be on view from 18 June to 26 October, the exhibition has been curated by Malcolm Baker, Distinguished Professor of the History of Art at the University of California, Riverside, and Honorary Senior Research Fellow at the Victoria and Albert Museum, London. The organizing curator at the Center is Martina Droth, Associate Director of Research and Education, and Curator of Sculptor; and, at Waddesdon Manor, Juliet Carey, Curator of Paintings and Sculpture.

Richard Wilson and the Transformation of European Landscape PaintingTHROUGH 1 JUNE

This is the first major exhibition devoted to Richard Wilson in more than thirty years. Co-organized with Amgueddfa Cymru–National Museum Wales, where it will be on view from 5 July to 26 October, the exhibition has been co-curated by Robin Simon, Honorary Professor of English, University College London, and Editor, The British Art Journal, and Martin Postle, Deputy Director of Studies, Paul Mellon Centre for Studies in British Art. The organizing curator at the Center is Scott Wilcox, Chief Curator of Art Collections and Senior Curator of Prints and Drawings; and, at Amgueddfa Cymru–National Museum Wales, Oliver Fairclough, Keeper of Art. The exhibition is also accompanied by a book of the same title.

Art in Focus: WalesTHROUGH 10 AUGUST

This Art in Focus exhibition explores the history of interest in Welsh landscape, ruins, and the bardic tradition through oil paintings, finished watercolors, and plein-air sketches from the Center’s collections. It has been curated by Yale University undergraduate student guides under the guidance of Eleanor Hughes, Associate Director of Exhibitions and Publications, and Associate Curator; Linda Friedlaender, Curator of Education; and Jaime Ursic, Assistant Curator of Education.

James Bolton (1735–1799), ?House Wren (Troglodytes aedon, with a specimen from the Rose Family (Rosaceae), Peacock butterflies (Nymphalis io), both closed and open, and butterfly chrysalis, larva caterpillar, daddy-long legs, spider (Phalangida) egg case, and Snout Beetle, from the natural history cabinet of Anna Blackburne, ca. 1768, watercolor and gouache over graphite on parchment, Yale Center for British Art, Paul Mellon Fund, in honor of Jane and Richard C. Levin, President of Yale University (1993–2013)

ya l e c e n t e r f o r b r i t i s h a r t For complete details of the following exhibitions and programs, please visit britishart.yale.edu, phone +1 203 432 2800, or email ycba.info@yale.edu.1080 Chapel Street, New Haven, Connecticut 06520 USA

LECTURES

EXHIBITION OPENING LECTURE

WEDNESDAY, 14 MAY, 5 :30 PM

A Place Within a PlaceEileen Hogan, artist and Professor of Fine Art, Camberwell, Chelsea, and Wimbledon Colleges of Art, University of the Arts London

LECTURE AND BOOK SIGNING

WEDNESDAY, 21 MAY, 5 :30 PM

Ian Hamilton Finlay and the Idea of Classical LandscapeStephen Bann, Emeritus Professor of History of Art, University of Bristol

EXHIBITION OPENING LECTURE

WEDNESDAY, 25 JUNE, 5 :30 PM

Bruce Davidson and Paul Caponigro: A ConversationThis lecture will be held at the Yale University Art Gallery, New Haven, Connecticut.

ANDREW CARNDUFF RITCHIE LECTURE

THURSDAY, 29 MAY, 5 :30 PM

The Emperor as Commander: A Roman Military Statue at the Yale University Art GalleryPaul Zanker, Professor of History of Art, Scuola Normale Superiore, Pisa. This lecture will be held at the Yale University Art Gallery.