Call for Entries in the Art Market Dictionary

Call for Entries sent by Katja Richter <Katja.Richter@degruyter.com>

<http://www.artmarketdictionary.info>

The Art Market Dictionary (AMD) is the first reference work providing encompassing information on commercial art galleries, dealers, auction houses, fairs and advisers in Europe, the USA and Canada in the 20th and 21st centuries. Its c. 5,000 entries present basic data, overviews of company / individual histories and networks, information about artists exhibited / represented, bibliographies and archival information. Due to appear in 2019, the AMD will be published as an online searchable database and in print.

Written by an established international network of hundreds of authors, the AMD is edited by Johannes Nathan together with fourteen international Section Editors and a dedicated editorial team at De Gruyter Publishers, Berlin. The AMD is also supported by a distinguished international advisory board and a number of specialized institutions such as the Getty Research Institute, the Zentralinstitut für Kunstgeschichte, or the Archives of American Art.

Thanks to fantastic support from authors and institutions worldwide, we will soon accomplish the remaining steps and are now calling scholars and students who may have been unaware of the AMD. We are currently particularly focused on North American, Italian, French, Netherlandish, and Belgian subjects. However, authors with expertise in other areas are also welcome to send inquiries as a few further entries are still unassigned. We are also keen to get in contact with authors who may be willing to write several entries on selected areas.

Authors’ remuneration depends on the number of entries they write. If you would like to request more information or to contribute, please visit the AMD’s website at artmarketdictionary.info or contact Emily Evans, AMD Editor: e.evans@artmarketdictionary.info

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CFP: Collecting Medieval Sculptures, deadline 15 August 2017

Musée du Louvre, Paris, November 23 – 24, 2017
Deadline: Aug 15, 2017

Ards Study Day 2017
Collecting Medieval Sculpture

Ards, M-Museum Leuven (B) is launching a Call for papers for the 4th annual colloquium ‘Current research in medieval and renaissance sculpture’, which will be held in the Musée du Louvre in Paris (FR) on November 24th  2017.

During the colloquium we will be having keynote speakers on the topic and a selection of submitted papers in plenum. One day before, on November 23rd, we will have the opportunity to visit the magnificent collection of medieval sculpture in the Arts décoratifs Museum in Paris as well as other suggested excursions.

This year we are inviting all researchers and curators working specifically on and with specific sculpture collections or collectors to submit papers. Firstly, we want to take a look at collecting medieval sculpture. How did or do medieval sculpture collections get formed? How has medieval sculpture been collected in the past (including in the middle ages and renaissance period) and how is this evolving right now? We know the prices on the art market are slowly rising as medieval sculpture is becoming increasingly more interesting as an investment. Can we take a closer look at what’s happening in that area? In december 2014 the Getty Museum acquired a rare medieval alabaster sculpture of Saint Philip by the Master of the Rimini Altarpiece at Sotheby’s for no less than 542,500 GBP. If a small statuette by an anonymous master can generate this kind of money at a sale, this must mean the ‘market’ for medieval sculpture is shifting thoroughly.
Moreover, does the exhibition or publication of medieval sculpture influence this trend? It is a fact that the more we know about an art piece or artist, the more interesting it becomes to buy or exhibit them. What are the motifs or instigating factors for museums and private collectors to collect this intrinsiquely religiously inspired and therefore (?) ‘less attractive’ discipline. Links can be drawn to the abolition of churchly instances at the end of the 19th century and the gothic revival in the 19th century, the export of mainland patrimony to the United Kingdom.

Would you like to submit a paper for this conference? Your proposal can be of an art-historical, historical as well as a technical or scientific nature. Multidisciplinarity is encouraged.

Priority will be given to speakers presenting new findings and contributions relevant to the specific conference theme. The conference committee, consisting of sculpture curators from M – Museum Leuven will select papers for the conference. Submissions that are not selected for presentation in plenum, can still be taken into consideration for (digital) poster presentation.There are no fees, nor retribution of transport and/or lodging costs for the selected papers. After the conference, presentations will be shared online with the Ards-network on the website, so please make sure your pictures are copyright cleared.

How to submit your proposal?
– Write in English or French. Presentations are given in English or French.
– Include a short CV.
– Max. 500 words for abstracts (excl. authors name(s) and contact details).
– E-mail to marjan.debaene@leuven.be.
– Deadline: 31.08.17.

Successful applicants will receive a notification by 15.09.17.
For more info, visit www.ards.be

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5 PhD scholarships available, deadline 10 August 2017

What: The interdisciplinary doctoral research group “Art, Culture and Markets
–History of European Culture from the 18th Century to the Present”
Where: the Center for European History and Cultural Studies (ZEGK) at the
University of Heidelberg
When: Application deadline: 10 August 2017; PhD programme begins in October 2017

The interdisciplinary doctoral research group “Art, Culture and Markets –History of European Culture from the 18th Century to the Present” of the Center for European History and Cultural Studies (ZEGK) at the University of Heidelberg is funded by the Landesgraduiertenförderung and delighted to grant five scholarships starting from October 2017 that may be held for up to three years. Consisting of a monthly stipend
of 1.000€, the scholarships additionally encompass a lump sum payment of 110€ per month for material and travel expenses and, if necessary, a family allowance (all payments are in accordance with the Landesgraduiertenförderungsgesetz of 23rd July 2008).

The doctoral research group will examine the interweavings of culture and economy in Europe in a diachronic perspective via referring to the examples of markets for art, music, and religion. It will be supported by the professorships for Economic and Social History, Public History, History of the Early Modern Period, Early Modern and Contemporary Art History, Musicology, and for Religious Studies. The group’s interdisciplinary shaped projects will be supervised by two professors of the respective disciplines and will discuss three central research questions: How are ideas and concepts of the relationship of culture and market shaped? Which historical manifestation of cultural industry might be detected? Are there reciprocal impacts between economic practices and artistic-cultural production discernible, and if so, how are these intertwinings carved out? An accompanying study program will support the scientific qualification of the scholarship holders and help them to get their bearings at the beginning of their academic careers. The development and implementation of the projects will crop up in an interdisciplinary environment.

In addition to the usual application documents in English or German, a proof of an above-average final degree (M.A. or equivalents) in one of the subjects engaged, a short proposal of the interdisciplinary PhD-Project (max. 5.000 characters without spaces) and certificated language skills in all required languages as well as in English are expected. The elected scholars will necessarily have to live on-site in order to participate in the study program.

The applications shall be submitted online via a joint PDF-file to the spokespersons of the doctoral research group Prof. Dr. Katja Patzel-Mattern and Prof. Dr. Cord Arendes, att. Mr. Nils Steffen (email: nils.steffen@zegk.uni-heidelberg.de). The application deadline is 10th August 2017. Subsequently, interviews will take place at the end of August, probably at 24th August.

In areas where women are underrepresented, the University of Heidelberg is striving to increase the proportion of women and therefore strongly encourages qualified women to participate in the application process. Disabled persons with corresponding aptitude for the positions will be favoured.

———

Kontakt/Contact
Prof. Dr. Katja Patzel-Mattern, Prof. Dr. Cord Arendes
Ruprecht-Karls-Universität Heidelberg
Zentrum für Europäische Geschichts- und Kulturwissenschaft

Mail:
katja.patzel-mattern@zegk.uni-heidelberg.de
cord.arendes@zegk.uni-heidelberg.de

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Invitation to Agnew’s Lectures at Spencer House, 1 July, London

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Collecting and Display Workshop, 7 July 2017, London

Collectors & Collections: Display & Taste in the Modern & Contemporary Period

Coromina Untitled
Roberto Coromina, Untitled, 2002, oil on paper, Courtesy Magnan Projects, New York

Where: Institute of Historical Research, Senate House, Malet St, London, WC1E 7HU
When: 7 July 2017
How to register? Please see below the programme.

 

9.30 Registration

MORNING SESSION: Chair Dr. Dora Thornton, Curator of the Waddesdon Bequest and Renaissance Europe, British Museum

9.45 Opening remarks

10.00- Lina Malfona, Adjunct Professor, Sapienza University, Rome: A City as a collection: the urban model of Villa Adriana 

10.30 Anna Seidel, Hamburg: The presentation of the Peretti Montalto sculpture collection in the time of Gianlorenzo Bernini 

11.00 Coffee

11.20 Eva Dolezel: Gründler’s Constellations. Ethnographica in the Cabinet of Curiosities of the Francke Foundation in Halle 

11.50 Dr. Margaret Samu, Lecturer, The New School Parsons School of Design, NYC:
Venus in Fur: Art Collecting and the Female Nude in C18th-19th Russia 

12.10 Dr. Annalea Tunesi, Independent Scholar: The polymath Aleardo Aleardi (1812-78) 

12.45 Discussion

13.00 Buffet Lunch

 

14.00 AFTERNOON SESSION: Chair Dr. Anna Dempster, Head of Academic Programmes, Royal Academy of Arts, London

14.15 Dr. Jennifer Tonkovich, Eugene and Clare Thaw Curator in the Department of Drawings and Prints at the Morgan Library & Museum, NYC. The Brash Connoisseur: Hans Calmann and Collecting Old Master Drawings 1937-73

14.45 Dr Rachel King, Glasgow Life: “A bas-relief from Nineveh, a bronze of Zadkine, an Aztec mask in black stone, a Gothic Madonna and Child”: Sydney Burney sells stone and sculpture 

15.15 Dr. Selina Blasco, Professor in Contemporary Art History, Research and Artistic Practices and Design History, Fine Arts Faculty, Complutense University of Madrid: Interiors with figures: the collections of idols and African masks in the studios of early avant-garde artists 

15.45-16.00 Tea

16.00 Yuhua Ding, PhD. Candidate, Cornell University, NY: Collectors of Shitao: Reimaging a Chinese Master 

16.30 Dr. Olga Nefedova, Associate professor – Higher School of Economics, Moscow Introduction of the Orientalist Art movement in the Middle East: alien culture  or common heritage? 

1700 Dr. Nizan Shaked, Associate Professor of Contemporary Art History, Museum and Curatorial studies, and Head of the Museum Studies Program in the School of Art at California State University Long Beach: In the Name of the Public: Museums and the collection of contemporary art 

17.30 Discussion and conclusion 18.00 Drinks reception

_____________________________________________________________________________________________

Booking fee (including lunch, tea & evening reception) £50 

Booking fee for students £25 Conference dinner on Friday evening £30 

To book please contact a.turpin@iesa.edu to book and for payment instructions. Please book by 30 June for catering purposes 

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Book Review: Heinrich Graf von Brühl (1700-1763). Ein sächsischer Mäzen in Europa

Heinrich Graf von Brühl (1700-1763). Ein sächsischer Mäzen in Europa, Dresden, Sandstein Verlag, 2017, 547 pages Picture1

Published by Ute Koch and Cristina Ruggero, this book is the outcome of a symposium that took place in Dresden and Rome in March 2014, on the occasion of the 250th anniversary of the death of Henry, Count of Brühl (1700-1763). Prime minister of king of Poland Augustus III, the Count of Brühl long suffered a negative image due to the situation of bankruptcy which he left at his death, following the Seven Years’ war. He nonetheless played a fundamental role in the artistic field, an aspect of the statesman’s life which is here reassessed and analysed in detail. The self-propagandist image of the Saxon prime minister is clearly reflected by the publication of family trees and above all his residences, be it that of Dresden (known for the famous “Brühl terrace”) and his further properties in Forst-Pförten and in Warsaw. While Brühl’s name is associated with the foundation of the celebrated Meissen porcelain manufactory (the “table fountain” from the V&A museum being a fascinating example of the kind), his attempt to establish a mosaic manufactory in Saxony is less often remembered. The Count of Brühl assembled a collection of tapestries and a library, but it was above all his impressive paintings gallery that made his fame. This is testified by their publication during Brühl’s lifetime and their acquisition for the Russian Impress Catherine the Great through her agent Andre Belloselsky. Brühl’s correspondence with the Bolognese painter Luigi Crespi partly reveals the manner how he formed his paintings collection around 1750. One may shed more light about Brühl’s taste through his relationships with scholars such as Bianconi or Winckelmann; Count Algarotti’s commission of Tiepolo’s famous pair of paintings even hint to Brühl’s sympathies for the masonic lodge. A further way to situate Count of Brühl among 18th century Saxon and Polish art lovers is provided by an analysis of the art market in Leipzig, Jablonowski’s collection of antique gems and Count of Hoym’s paintings gallery.

François Marandet, lecturer, IESA Paris

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Book Review: Jeanette Hanisee Gabriel’s Micromosaics

Micromosaics_private_collections.png

Micromosaics: Private Collections

Jeanette Hanisee Gabriel

Published by Brian McCarthy in the United States, 2016, US $125.00

ISBN 978 5136 12591

 

 

Since the beginning of the 20th Century the art of micromosaics gradually has become a lost art due to the introduction of less expensive and physically taxing production techniques.  Its beginning was in Rome and with the Vatican Mosaic Studio in the 16th Century based on a quest to preserve the damaged paintings in the Basilica of St. Peter steadily eroded by the stifling, humid conditions along the Tiber River.   What the restorers found was that the mosaic altarpieces remained robustly intact while the paint was peeling off the rotting frames of the religious paintings.  This led to the art of painting in mosaic combined with the labour-intensive production of enamel for this specific purpose.  The production of fired enamel would take the form of ‘cubes’ and, the even more delicate, enamel thread.

The first micromosaics thus were altarpieces of paintings in St. Peter’s Basilica by such artists as Raphael, Caravaggio, Reni, and Poussin that took over one hundred years to complete.   These first religious micromosaic works of art were then followed by depictions of history paintings and, in the late 1700’s, with depictions of secular themes.

It was the younger members of the European Royalty in the 18th Century, in continuation of their cultural education, so partaking in ‘The Grand Tour’ to the ‘eternal city’, who were responsible for importantly raising interest in the collecting of micromosaics.    Unfortunately, what these cultural explorers found was one of the dirtiest cities in all of Europe.  Nonetheless, these conditions did not dissuade rich royal and aristocratic foreigners, and from all of the leading nations in Europe, to congregate in Rome so including patrons, collectors, scholars, and artists.

The Vatican Workshop eventually became a commercial enterprise selling miniature altarpieces of St. Peter’s as well as portraits of the popes that were then given as diplomatic gifts.   It was the royal families of Russia, Britain, Sweden and Spain, among other royal households, who were the most proficient early collectors.    The Holy Roman Emperor, Joseph II, returned to his collections mosaic tabletops, as did Princess Sophia Albertina of Sweden, who visited Rome in 1793.   Numerous mosaics also were collected by Napoleon Bonaparte and members of his extended family.

Members of Russian royalty and of the aristocracy especially were keen collectors and the Hermitage Museum includes a mosaic portrait of Empress Elizabeth from the early 18th Century as well as micromosaic tabletops from 1791 given to Catherine the Great by Countess Ekaterina Skvaronskaia, the wife of the Russian Ambassador to Naples.    However, the most prolific collector of micromosaics, and probably of all time, was Czar Nicholas I.

In 2011, Sotheby’s sold Lot 254: ‘An Important Italian Micromosaic Table by Gioacchino Barberi after Alexander Orlovski made around 1830 to 1833 ’ for a record sale price of        US $ 1,986,500 (including Buyer’s Premium).   It was Nicholas I who organised its purchase, and who also may have commissioned the table, given its important military theme of the Russo-Turkish War of 1828 -1829.   Based on archives found at the Russian State Historical Archive in St. Petersburg, Michelangelo Barberi and his brother, Gioacchino, already were known to the imperial court as well as to the Czar since in 1826 Czar Nicholas I was in correspondence with Gioacchnino, to secure Michelangelo Barberi’s famous micromosaic table, ‘Triumph of Cupid’ made in 1823.

It was Michelangelo Barberi, following in his prolific father’s footsteps, Giuseppe Francesco Camillo Barberi (1746-1809), who became the predominant and greatest micromosaic artist in history.   Michelangelo’s fame was genuinely grounded on his originality and genius as a painter in mosaics.      In the Appendix, the author makes an important scholarly contribution by including a short biography on Michelangelo Barberi.  This includes a presentation of the little known personal relationship between Michelangelo and the Russian Princess, Zinaida Volkonsky (1789-1862).    Zinaida earlier had become romantically entangled with Czar Alexander I following Zinaida’s appointment as a Lady-in-Waiting to the Dowager Empress, Maria Feodorovna, mother of Alexander I.    A marriage of convenience was organised by the imperial household to Prince Nikita Volkonsky but it was not a happy one.   Zinaida and Michelangelo, who both were musically inclined, journeyed together to Paris in 1815 and would spend the next nine years together in Moscow, Paris, and in Rome.     In 1867 by the end of his life, Michelangelo Barberi was renowned as the pre-eminent artist of his day, and of any other period, receiving a series of prizes including the ‘Order of St. Sylvester’ from Pope Pius IX.   Michelangelo’s landmark book in 1856, ‘Alcuni Musaici Usciti Dallo Studio  del Cav. Michel’Angelo Barberi’ boldly lays out his philosophy that a true artist needs to foremost communicate cultural and artistic wisdom to his audience.

In regards to the illustrious table that sold at Sotheby’s in 2011, it eventually found its way from the Russian imperial collection into the Demidoff collections in Tuscany since it featured as Lot 316 at the ‘The Villa di San Donato Sale of the Century’ organised by Prince Paul Demidoff, 2nd Prince of San Donato, on 5 May 1880.   The speculation is that Czar Alexandre II deaccessioned the masterpiece, so sold the piece to the Demidoffs, finding it not to his artistic taste.   Successive generations of Demidoffs were collectors of micromosaic masterpieces starting with Nicholas Demidoff (1773-1828) who was followed by his sons, Paul Demidoff (1798 – 1840) and Anatole Demidoff, 1st Prince of San Donato (1813-1870).   It was Anatole who commissioned from Michelangelo Barberi a series of micromosaic pavements in front of various fireplaces at Villa di San Donato.   Anatole’s nephew, Paul Demidoff, continued the engagement commissioning similar micromosaic works from Michelangelo Barberi for Villa Demidoff / Pratolino.

The author, Jeanette Hanisee Gabriel, with this important work importantly contributes towards the history of collections.   This richly illustrated book depicts over 250 micromosaic masterpieces and from private collections from around the world that have been catalogued under the separate headings of Tables, Pictures, Plaques, Boxes, Jewellery, and Miscellaneous.    With this work, the author has rendered a tremendous service to scholars, auction houses, and collectors of this highly important, but scarce, art of micromosaics.

Alexandre Tissot Demidoff

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Conference Report: Private Collecting, Public Display

The-National-Gallery-when-at-Mr-JJ-Angersteins-House-Pall-Mall-1824-34-Frederick-MacKenzie_detail-340x162

Private Collecting, Public Display: Art Markets and Museums was the 2-day inaugural conference hosted by the Research Centre for the Study of the Art and Antiques Market at University of Leeds on 30-31 March 2017.

 

With eighty delegates from a variety of academic and cultural institutions in attendance, it was an international affair. With seven themed panels, ranging from the birth of the museum, to deaccessioning and questions surrounding ‘museum quality’, a roundtable session featuring a dealer, private collector, and museum curator, and a powerful keynote from Dr Susanna Avery-Quash, Senior Research Curator (History of Collecting) at the National Gallery. Dr Avery-Quash opened her keynote by promoting the notion of collaboration between the academic fields of the history of collections and the art market, citing a variety of recent conferences, publications, and scholarly programmes. In fact, the notion of collaboration re-appeared throughout the conference as speakers discussed relationships between agents, dealers, and collectors, as well as the interdependency between museums and the art market, in aiding the transition from private collection, to public display. Drawing the conference to a close on the final day, Dr Mark Westgarth, Director of the Centre, summarised the key themes, and looked forward to continuing conversations and collaborations between the scholarly fields of art markets, museums, and the histories of collecting.

Caroline McCaffrey-Howarth

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CFP: New Horizons in French Porcelain, 1690-2000, 20-21 October 2017, The Wallace Collection, London

The French Porcelain Society is pleased to announce this year’s two-day symposium, entitled: ‘Saint-Cloud to Bernardaud: New Horizons in French Porcelain, 1690–2000’.

It will be chaired by Dr Aileen Dawson, former Curator, The British Museum, London, and will take place on 20–21 October 2017 at The Wallace Collection, London.

Deadline to send a proposal: Jun 15, 2017

The symposium will present new research on French porcelain factories outside royal or state control. At times unjustly neglected in favour of the royal manufactory at Sèvres, these earliest factories operated from the late seventeenth century; many continue in production today. They include, but are not limited, to Saint–Cloud, Villeroy, Mennecy, Niderviller, the Paris factories, such as Dihl, Schoelcher and Dagoty,
and Limoges factories operating during the 19th century and up to the present day. Subjects for consideration include: locations, size, capitalisation, techniques of manufacture, employment of artists and designers, marketing, and clientele, each deserving of greater scholarly attention.

The French Porcelain Society encourages networking between academic researchers and museum professionals. Proposals are welcomed from doctoral candidates in art history as well as curators, collectors, and researchers; we are also pleased to receive papers from colleagues working in literature, philosophy, and history. Speakers confirmed to date include Sonia Banting, Howard Coutts, Aileen Dawson, Virginie
Desrante, Nicole Duchon, Cyrille Froissart, Errol Manners, Audrey Gay-Mazuel, Hélène Huret, Tamara Préaud, and John Whitehead.

Themes for papers may include
• History of collecting (public and private) and connoisseurship
• Historical, political and socio-economic background to French porcelain production
• Design sources, production trends, fashion
• Cross-cultural influences
• Porcelain used as diplomatic gifts
• Domestic uses, tablewares and the history of dining
• Literary and theatrical themes, especially in figure production
• Porcelain as sculpture at Niderviller and other factories
• The art market

Papers should be between 20 and 50 minutes in length and fully illustrated. They may be presented in English or French. Please send a 300-word abstract with a short CV in the form of a PDF file to Aileen Dawson at aileendawson@hotmail.com by 15th June 2017.

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PhD Studentship, Art Patronage and Court Influence, 1660-1714, University of Oxford and Tate

Application deadline: May 22, 2017

Tate has up to five fully funded AHRC Collaborative Doctoral Partnership (CDP) studentships to allocate each year. We are currently inviting applications for the following full-time collaborative PhD studentship:

Art Patronage and Court Influence 1660–1714

Principal supervisor: Dr Hannah Smith (History Faculty and St Hilda’s College, University of Oxford)
Second supervisor: Tabitha Barber (Tate)

The History Faculty, Oxford University, in collaboration with Tate, is pleased to offer an AHRC-funded Collaborative Doctoral Partnership award, starting in October 2017.

The award will enable a student to pursue doctoral research in early modern court studies and visual culture while gaining first-hand experience of work within a museum setting. The successful candidate will be enrolled at and receive their degree from the University of Oxford.

Project
The Art Patronage and Court Influence 1660–1714 doctoral project will investigate and analyse courtier art patronage from 1660 to 1714, and interrogate the still prevailing scholarly view that by 1714 the court had declined as a sphere of cultural influence.

Until recently, it has been the supposition that by 1714 the court had waned as a vital force in politics and cultural influence. Instead of the court being the leader in terms of fashion and art patronage, to which others aspired, new avenues opened up as alternatives, notably with the growth of the public sphere. Now, however, new research has shown that this appraisal is unduly negative. Queen Anne’s court, and
those of her successors, were in fact far more culturally active and aware than has been credited, and throughout the period the court remained the location where political networks might be established and political and social status reinforced.

While new research has focused on individual monarchs, the collecting and commissioning activities of those attending court have been largely neglected by scholars, leaving significant gaps in our knowledge and understanding. This project will aim to address this gap. The successful candidate will be encouraged to explore, through a series of case studies, the collecting and commissioning activities of
significant individuals that speak to questions concerning court culture. The individuals could be female and male courtiers, great aristocrats, influential royal household officers and politicians, as well as figures seemingly beyond the court such as wealthy City merchants and financiers. Relevant sources such as inventories, accounts, diaries and letters, as well as the art itself in country house collections, will be used to address the central question – whether, or the extent to which, the court remained a relevant source of inspiration and aspiration; whether alternative art patronage networks opened; and the possible types of interaction between such networks.

The student will have scope to develop their interests widely within the parameters suggested above. More specifically, the project will develop alongside an exhibition English Baroque 1660–1714 in preparation at Tate Britain. The student will assist in the development of this exhibition. It is expected that the student’s contribution will
include developing case studies which provide evidence to underpin and enhance our understanding of particular aspects of the show and its arguments; presenting research as part of Tate’s talks and tours; as well as other forms of engagement. In addition, it is also expected that the student will research and write summary texts on relevant artworks in Tate’s collection for Tate’s website following internal guidelines. This will provide the student with early opportunities to publish research and gain experience in writing for the public and specialists.

Eligibility criteria
Applications are invited from candidates with a strong academic background in a relevant area of British art history and/or history. Applicants should hold (or expect to achieve), in a relevant area of British history and/or art history, a Master’s degree with merit or distinction and either a 1st Class or Upper 2nd Class Honours degree.
The award is funded through the AHRC Collaborative Doctoral Partnership programme and is subject to the AHRC’s terms (all candidates should check the AHRC eligibility guidelines to confirm their eligibility for funding). The studentship includes tuition fees up to the standard Home/EU amount and an annual maintenance grant. Note that overseas students are not eligible for AHRC awards (except under specific
circumstances) and EU students need to assess whether they are eligible for fees and maintenance or fees only. The AHRC doctoral award does not include funds for travel but please note that the student will be able to apply for external grants that would help to enable travel in the region. Collaborative Doctoral Partnership awards provide funding for 3.5 years, including a period of six months for research training.

Application procedure
Applications should be made through the Faculty of History by inserting the reference code 17AHRC-CDA in the Departmental Studentship Applications section of the standard University graduate application. You will need to apply for both the programme and this studentship via the main university online graduate application form, and pay the application fee. To access the application form and application guide please visit our online prospectus at www.graduate.ox.ac.uk/apply.

Candidates who have already been offered a place on the DPhil in History or DPhil in History of Art and wish to be considered for this studentship are invited to submit an expression of interest to the History Graduate Office (graduate.admissions@history.ox.ac.uk) by the deadline.
Candidates may be required to write a summary text as part of the interview process.

Application deadline: 22 May 2017
Interviews: 13 June 2017 at Tate Britain

Further information
The successful student will join a large cohort of doctoral students at Oxford University as well as a thriving research community at Tate.

Click here for more information about doctoral students at Tate.
Informal enquiries are welcomed by Dr Hannah Smith
(hannah.smith@st-hildas.ox.ac.uk) and Tabitha Barber
(tabitha.barber@tate.org.uk).

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