Talk and Book Launch on ‘Longford Castle: The Treasures and the Collectors’, National Gallery, London, Friday 13 October 2017

When: Friday 13 October, 6–7pm, followed by a drinks reception

Where: National Gallery, Sainsbury Wing Theatre, followed by Conference Room 1

Admission Free

More details and booking:

The evening begins with a short interview between Lord Radnor, the owner of Longford Castle and Susanna Avery-Quash, Senior Research Curator (History of Collecting) at the National Gallery. The author of the book ‘Longford Castle: The Treasures and the Collectors’, art historian Amelia Smith, will then give a lecture and the event will end with a drinks reception (in Sainsbury Wing Conference Room 1), where attendees will have the opportunity to buy a copy of Amelia Smith’s book, signed by the author.

About Longford Castle

Longford Castle sits on the banks of the River Avon in Wiltshire, and is home to a world-class collection including works by Holbein, Claude, Poussin, Gainsborough and Reynolds. The National Gallery has a long-standing relationship with the Castle, having acquired and enjoyed works of art from its collection over the years.

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Study Day: Carlingford and Waldegrave, British Library, London, 29 September 2017

What: Carlingford and Waldegrave Study Day
Where: Foyle Visitor and Learning Centre, The British Library, 96 Euston Road, London
When:  – 
Free: to book a place please follow this link:

A study day to celebrate the British Library’s acquisition of the correspondence of Chichester Fortescue, Lord Carlingford and Frances, Countess Waldegrave

Last year the British Library acquired over 8,000 letters sent to Chichester Fortescue, Lord Carlingford (1823-98) and Frances, Countess Waldegrave (1821-79). Waldegrave was one of the six daughters of the famous tenor singer John Braham. She married four times in total, to John Waldegrave, his brother George Waldegrave, George Granville Vernon Harcourt and to Chichester Fortescue. She was a keen political hostess and actively promoted her fourth husband Chichester Fortescue’s career in the Liberal Party. Chichester Fortescue had a distinguished political career including appointments as Under Secretary of State for the Colonies, President of the Board of Trade, Lord Privy Seal and finally President of the Council.

This acquisition complements the manuscript materials kept among the Strachey papers at Somerset Heritage centre and permits us to gain a full picture of a remarkable couple whose contacts and whose interests touched on many aspects of politics, society and the arts in the 1850s, 1860s and 1870s. Specialists from a range of fields will explore the contexts which can be illuminated by this voluminous archive, including Liberal party networks in England and Ireland, metropolitan elite sociability, cosmopolitan friendships with French princes, the power of the Victorian hostess and mid-century art collecting.

Speakers include: Angus Hawkins, Kim Reynolds, Philip Mansel, David Craig, Sara Lodge, Claire Leighton, Nino Strachey, Tom Stammers, Silvia Davoli, Tom Mayberry, Laura Walker and Stephen Noble.

Lunch is not provided at this event.

In association with the University of Durham.

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Reprinting: The Origins of Museums, edited by O. Impey and A. MacGregor

Origins advert-1

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Reminder: SocHistColl AGM and Annual Lecture, 14 September 2017




6 Queen Square, Bloomsbury, London WC1N 3AT

The AGM will take place at 5.30 pm.

It will be followed by a Lecture on ‘Charles I: King and Collector’ by Desmond Shawe-Taylor, Surveyor of the Queen’s Pictures


Charles I’s collection is the most important formed by any British monarch; inventories drawn up by Abraham van der Doort in 1639 and the trustees of the Commonwealth Sales in 1649-51 make it the most comprehensively documented. The collection is the subject of a forthcoming exhibition at the Royal Academy (February 2018). The lecture will introduce the range of the collection and try to reconstruct its display in some of the more important spaces. This will provide insight into where the King’s taste lay and how it might have different from that of his Queen, Henrietta Maria. Though sold by Cromwell, Charles’s collection was not (relatively speaking) a political issue. The lecture will ask what sort of visual culture Britain might have developed had the Civil War not intervened.

OUR SPEAKER: Desmond Shawe-Taylor
Desmond Shawe-Taylor has been Surveyor of The Queen’s Pictures since 2005, before which he was Director of Dulwich Picture Gallery. He has curated exhibitions at the Queen’s Gallery in Edinburgh and London: Bruegel to Rubens (2008); The Conversation Piece; Scenes of Fashionable Life (2009); Dutch Landscapes (2010) The First Georgians; Art and Monarchy 1714-60 (2014) and Masters of the Everyday; Dutch artists in the Age of Vermeer (2015). He is co-curating the Royal Academy exhibition Charles I; King and Collector.  

After the lecture there will be a reception to which all members of the Society are invited. Members are kindly asked to let us know if they will be coming to the evening and staying for the reception for catering purposes at:

Anyone wishing to join the Society between now and 1 October should email

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Scholarship, Francis Haskell Memorial Fund, The Burlington Magazine Foundation, 2017

Haskell 2017 ad

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CFP: Medievalism and the Rediscovery of Medieval Art, International Congress on Medieval Studies, Kalamazoo 2018

mermaidFrom archaeology to the archive, medieval studies can be traced through various discoveries – from the physical uncovering of artifacts and collections that shift the canon, to periods of concentrated, sometimes unprecedented, attention received by an artist, medium, region or particular artifact. Parallel to these physical and theoretical discoveries, the reuse and display of medieval styles, motifs and objects has brought scholarly discovery into contemporary discourse, and the reception of medieval objects into areas beyond academia. Each generation has their own vision of the Middle Ages, from Horace Walpole to William Morris, from J.R.R. Tolkien to George R.R. Martin. Through the imitation and inspiration of the past, figures interested in medieval art have added their own preoccupations into how the period is understood, from the sixteenth century up to the present day. The same is true of scholars and collectors, who have promoted particular geographical or political agendas in their study and favouring of particular schools, regions, countries, and empires.

At a time when facts seem flexible and the consensus seems fragmented, a consideration of the agendas behind the presentation of medieval studies seems timely. We are interested in the phenomenon of discovery as event, narrative, academic and artistic moment, in how discoveries alter how we understand history and shift disciplines. Discoveries often teach us as much about the society doing the discovering as the objects being discovered, in both the field of medieval studies and the broader picture of medieval art reception. As such, it seems appropriate to consider academic discovery and popular discovery side by side. How might one affect the other? What parallels can be drawn between different kinds of discoveries?

This session seeks papers about how such discoveries can be and are engendered, and how contemporary concerns affect the presentation or process of scholarly and popular discovery. Possible topics might include the re-use of medieval or medievalising motifs in subsequent centuries and contemporary culture, medievalising restorations, particular medieval collectors or collections, the appropriation of medieval aesthetics, old objects in new settings, case studies of particular discoveries or rediscoveries, the changing display of medieval artifacts, and how political and geographical agendas affect the reception of medieval art.

Please send a 300-word abstract, together with your CV, to and, by September 15th.

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CFP: Seminars in the History of Collecting, Wallace Collection, 2017-2018

CFP Wallace Collection Collecting 2018

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CFP: Women Artists Shows.Salons.Societies, Paris, 8-9 December 2017

What: Call for Papers:WAS – Women Artists Shows.Salons.Societies; Group Exhibitions of Women Artists 1876-1976
When: 8 and 9 December 2017
Deadline to submit proposal: 15 September 2017
Where: Paris, Auditorium Jeu de Paume

Call for Papers:
WAS – Women Artists Shows.Salons.Societies
Group Exhibitions of Women Artists 1876-1976

In partnership with the Artl@s project, AWARE introduces WAS (Women Artists Shows.Salons.Societies), a research project focusing on group exhibitions of women artists. Our ambition is to build a descriptive and analytical catalogue of these exhibitions from the end of the 19th to the end of the 20th century and to start reflecting on their specific history, through the study of the evolution of the social, cultural, and institutional conditions that permitted or made them necessary through the analysis of the various levels of mediation and organisation at work in these shows, or also through the examination of their symbolical functioning and critical response.

This first symposium, which will launch the program, considers a moment when the chronology of women group shows is less known (the more recent period will be the subject of a later symposium). Starting with the first Woman Pavilion run by women within the Centennial International Exhibition of 1876 in Philadelphia to the exhibition Women artists 1550-1950 organised in 1976-1977 by Ann Sutherland Harris and Linda Nochlin at the Los Angeles County Museum of Art, this symposium seeks to examine the phenomenon of collective exhibitions of women artists in all its extent and diversity:
• international exhibitions such as Les femmes artistes d’Europe exposent au Jeu de Paume in 1937, the 80 anniversary of which we shall celebrate this year,
• or national like Contribuição da Mulher às Artes Plasticas no País organised in 1960 by Mario Pedrosa at the Museu de Arte Moderna in São Paulo,
• exhibitions organised by the artists themselves, like the Women’s International Art Club at the Grafton Galleries, London in 1900,
• or organised by gallerists, like Exhibition by 31 Women by Peggy Guggenheim in 1943 at her gallery, Art of this Century,
• or organised by museums like Women in art at the Contemporary Arts Museum in Houston in 1953,
• historical retrospectives like Exposition rétrospective d’art féminin organised by the sculptor Charlotte Besnard in 1908 at the Lyceum in Paris
• or contemporary art shows such as Greek women painters, in 1933 at the Galerie de Nina Papazafeiropoulou-Rok in Athens.

The goal of this first symposium is to establish a chronology and a geography of group exhibitions of women artists, to attempt a reconstruction and a cartography of their place and networks in the modern art world thanks to the digital technology of Artl@s (a global database of exhibition catalogues, with integrated geographical and
quantitative analysis) and more classical resources.

The presentations can be either problematised case studies or larger analyses interrogating, for instance, the processes of professionalisation, the critical or commercial reception of these exhibitions, their position vis-à-vis the avant-gardes or historiography.

Each paper will last 20 minutes. They will be published following examination by an editorial committee, in a special issue of the Artl@s Bulletin, which is co-published by the Centre National pour la Recherche Scientifique, the Ecole normale supérieure . and Purdue University Press.

Researchers working on collective exhibitions of women artists interested in this program, but unable to attend this first symposium are kindly encouraged to contact the scientific committee to inform them about their research.

Paper proposals:
Proposals for papers are to be sent to by 15 September 2017 at the latest. They should be in the form of a résumé (2000 characters max.), preceded by a title and accompanied by a curriculum vitae that includes a list of publications. Notification of acceptance will be sent by 29th September 2017 at the
latest. The papers can be written in either French or English.

Scientific committee:
Catherine Dossin, Associate Professor, Purdue University, Lafayette
(United Sates), vice director of d’Artl@s (project based at ENS-Ulm) Camille Morineau, President of AWARE, director of exhibitions and collections at the Monnaie de Paris Hanna Alkema, Head of scientific programs for AWARE

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MGHG AGM and Annual Lecture, 21 September 2017, London

The inaugural Annual MGHG (Museums and Galleries History Group) lecture  will take place on 21st September 2017 at Senate House, University of London.

Professor Ludmilla Jordanova (Durham University) will speak on: ‘Museums, Galleries and the Power of Portraits’

AGM – 4pm

Refreshments – 4.30pm

Lecture – 5-6pm



Members – Free

Non-Member – £9.00

Student Non-Member – £5.00

More Information:


Twitter @musgalhistgroup

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Launch of new art history mapping platform

A new, open-source platform, Mapping Paintings (, allows users to map the movement of artworks across space and time. Developed by Jodi Cranston and generously funded by the Kress Foundation, the platform encourages any user to join the community and to contribute data and share their research projects!  Projects can also remain private.

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