DRAWING ROOM DISPLAYS

The Brian Sewell Archive An Introduction

8 May - 8 September 2017

Item 22 Introduction

This display features material from Sewell’s early childhood to the the Brian Sewell Archive which end of his days. From passports to was donated to the Paul Mellon diaries, press-cuttings, postcards, Centre in July 2016. The work photographs, programmes, letters, of reviewing the collection has and even a portrait [see item 1], it is been ongoing since it entered the all here: the rich tapestry of a life. building and—whilst this task is not This display contains only a small yet complete—the key aim of this selection from the huge volume display is to provide an introduction and wealth of material. Alongside to the archive. With the display now a biographical section, the items open and the archive collection chosen fall into three main themes available for consultation, this is the which reflect, perhaps, some of the first time that any of the items have most important aspects of his life been seen by the public. and the contents of the archive. Despite a cull undertaken by These are: “the Blunt affair”; travel; Sewell as his health deteriorated, and art criticism and controversy. the archive contains material from There was, of course, a across his life, thereby reflecting huge amount that did not the Centre’s current acquisition make the “final cut”. A more policy in this area.1 When the detailed summary can be found material was transferred to the in the boxlist available on our Centre, it comprised a total of website, but a few highlights seventy bankers boxes. It was include material relating to: The already known that the first forty of Transatlantic Review, the literary these contained material relating to magazine run by Sewell’s friend Sewell’s journalistic output, with the Joseph F. McCrindle (including contents having been meticulously letters from John Updike, Iris arranged by him into two main Murdoch, Samuel Beckett etc.); sequences: the largest concerning Sewell’s extensive research art and the arts and a smaller group on fakes and forgeries; his of material concerning his writings television, radio, and theatre on any other subject matter. The work; his huge and diverse range remaining thirty boxes contained of friends and acquaintances a diverse range of completely (including John Craxton, Tom unorganized material dating from Keating, and Charles Saatchi, to

2 name but a few) as well as, of Wall, to left of display text course, his love of dogs and cars. The archive documents not 1 only Sewell’s own life and work, Zsuzsi Roboz, “Brian Sewell—Stormy but also reveals much about Weather”, 2002, sanguine and the art world in the UK from the charcoal on paper, 66 × 51cm AR: TN1 1950s to the 2010s. This fact was clearly recognized by his friends during his lifetime. A letter sent to Sewell in 2012 from Julia Gahlin, an independent dealer and friend, implores Sewell,

“please do not destroy your papers. The future may have a use for them that we alive in our present cannot conceive of”

—a sentiment with which all who have worked on the collection would wholeheartedly agree.2 The Brian Sewell Archive is yet to be catalogued in detail, but if you are interested in consulting it, please contact collections staff by emailing collections@paul-mellon- centre.ac.uk

3

Upright Display Case

Brian Sewell: A Biography

Brian Sewell was born Brian Perkins Sewell’s early years were on 15 July 1931. He was brought up dominated by trips to the theatre, in Kensington, West London, by his ballet, opera, galleries, and mother Mary Jessica Perkins and— museums of London, where he from 1936—his stepfather, Robert was exposed to a wide range of Sewell. Although the relationship artistic and cultural experiences. with his mother was not always It was on one of these trips, at a happy one, he was incredibly the age of four, that he was taken close to her throughout her life. to the National Gallery and was Significantly, the archive contains held spellbound by Murillo’s The not only material compiled and Heavenly Earth and Trinities and collected by Sewell, but also a Dürer’s The Madonna with the volume of material generated by his Iris. The programmes for these mother. Alongside items she sent to events—often marked “Brian & him [see item 2], there is material Mammy” and with the names that she carefully collected, cut out of anyone else in attendance, and set aside for his interest, as together with the date—were well as the records she made of the clearly important to him as they events in his life [see item 10]. survived the cull and have been Educated at home until the age carefully preserved [see item 3]. of eleven, Sewell’s childhood was unconventional and somewhat disjointed. He grew up not knowing the identity of his real father, changing his name from Perkins to Sewell in 1942. It was only on his mother’s death that the identity of his real father—the composer Philip Heseltine, whose pen name was Peter Warlock—was revealed to him. Warlock killed himself seven months before his son was born.

Item 2 5

Item 3

At the age of eleven Sewell became compulsory National Service and he a day boy at Haberdashers’ Aske’s, an received his commission in 1953, at independent school in Hampstead. He the rank of Subaltern. Demobilized in was a reluctant and wilful pupil who did 1954, he described his two years in not always make a good impression on the army as one of the happiest times his masters. By the age of seventeen of his life. There he learned how to he was studying English, History, Art, get on with people and formed lasting and French. His school reports from friendships with some of his fellow this time—preserved in the archive— soldiers, in particular John Peile and hint at the skills that were later to earn Nigel Hensman [see item 5]. him a living [see item 4]: Sewell was offered a place to read history at Oxford, but chose instead English: “the liveliness of his ideas to enrol at the Courtauld Institute and quickness of appreciation are of Art in London—a decision that pleasing” altered the entire course of his life. Excelling at his studies, he developed English History: “most of his a keen eye and a passion for the written work is very promising subjects that were to fascinate him but some of his essays are wild for the rest of his life. In 1955 he went and uncontrolled.” travelling with five fellow students on a mini “grand tour” [see item 6]. In 1952 Sewell joined the Royal Army Service Corps to complete Item 5

It was also at the Courtauld that unofficial spokesperson and he first came to the attention of sheltered him from the press. Anthony Blunt (Director, 1947–74). Material in the archive reveals that Sewell found Blunt an inspiration media coverage of this episode and the two formed a strong was extensive. It also shows how friendship that was to last for the invasive this was for Sewell: on rest of their lives. Material from 17 November 1979, for example, the archive reveals that from 1958 Sewell’s mother noted that there onwards Sewell regularly sought were sixteen callers (phone and Blunt’s advice on professional in-person) to the house [see item matters and they frequently 10]. For more about this episode dined together and spoke on the see pages 16-19 and the small telephone [see item 8]. display case. After graduating Sewell took It was Sewell’s honesty and a job at Christie’s, where he outspokenness throughout the specialized in Old Master paintings “Blunt affair” that led to his first and drawings [see item 7]. He job as a critic. Tina Brown, editor enjoyed the work of attribution, of Tatler magazine, offered him but was never entirely happy in £100 to write a thousand words the position, believing that “the for the magazine ten times a job is not really worth doing” [see year. His first piece, a review of item 8]. In 1967 he established an exhibition of works by Dalí at himself as an independent dealer, the Tate Gallery, was published and continued buying, selling and in June 1980 [see item 11]. collecting art for the rest of his life [see item 9]. It was Sewell’s friendship with Blunt that first brought him to public attention. In November 1979, when Blunt was exposed as the fourth man in the Cambridge spy ring, Sewell acted as his

Item 4 9

Item 10 Sewell remained at Tatler until the route many Grand Tourists of 1990, but had meanwhile secured the eighteenth century would have additional writing responsibilities. taken. To listen to an excerpt from Most significantly, in 1984 he this programme please scan the became a critic for the Evening QR code on page 15 [see item 15]. Standard, and was commissioned In this excerpt Sewell discusses to write on both the arts and the city of Turin (which was often a multitude of other subjects. an early sojourn on the itinerary) He was hugely successful in the and its abundance of churches. He role, winning many awards and visits the Church of San Lorenzo publishing two compendium and describes what it would have volumes of some of his best work been like for a young Grand Tourist [see item 12]. For more about to be faced with the grandeur of a Sewell’s journalism see pages 24- Catholic church for the first time, 32 and the large display case. having grown up in Protestant Alongside his articles, Sewell England . authored several books, including By the time Sewell died in 2015 a two-volume autobiography. He he was a public figure. Through was also a well-known television his independent dealing activities personality. The archive contains and his famously discriminating a huge amount of related material eye he had built up a considerable including initial proposals, scripts, private collection of works of art, correspondence with the relevant the majority of which was sold at media and publishing companies, Christie’s [see item 14]. A handful as well as personal and travel of works also entered the National memorabilia [see item 13]. Gallery and the British Museum. His work on the documentary His obituaries identified him The Naked Pilgrim in 2003 won the variously as an art critic, collector, Sandford St Martin Trust award for and an art historian: all of these best religious programme. Other roles are reflected in the content documentaries and TV appearances of the archive. followed, including—some fifty years after his first trip as a Courtauld student—Brian Sewell’s Grand Tour in 2006. The programme was written and presented by Sewell and followed him as he travelled

12 Shelf 1 Shelf 2

2 5 Black-and-white photograph of Brian Black-and-white photograph taken at Sewell, aged approximately two years Mons in October 1953 showing Sewell old AR: TN2a, and postcard sent to him (back row, second on the right) and his by his mother on his second birthday, friends John Peile (front row, far right) 15 July 1933 AR: TN2b and Nigel Hensman (middle row, fourth from the left) AR: TN5 3 Programmes for Lydia Kyasht’s Russian 6 Ballet at the Vaudeville Theatre AR: TN3a Typed itinerary of Sewell’s “grand tour” and Cinderella at the London Coliseum taken in 1955 with fellow students from AR: TN3b. Both with hand-written the Courtauld Institute of Art AR: TN6 annotations by Sewell’s mother, 1940

4 7 Haberdashers’ Aske’s School report for Christie’s The Oldest Fine Art Auctioneers Sewell, 1949 AR: TN4 in the World, c. 1960s. Image on page 9 shows Sewell with David Carritt and William Mostyn-Owen, both Old Master experts at Christie’s AR: TN7

Item 2

Shelf 3 Shelf 4

8 11 Second page of a letter from Sewell Sewell’s first review for Tatler magazine, to his mother regarding his work at June 1980 AR: TN11 Christie’s and his friendship with Blunt, nd AR: TN8 12 Brian Sewell, Naked Emperors: 9 Criticisms of English Contemporary Art. Handwritten ledger recording Sewell’s London: Quartet, 2012 AR: TN12 independent buying and selling activities with regard to bronzes, 13 c. 1970s AR: TN9a , and an exhibition Map of Rome included amongst catalogue: Drawings by Old Masters: 29 research material for Brian Sewell’s April 1969 until 16 May 1969... at 11 Bury Grand Tour (2006) AR: TN13 Street, St. James’s... in association with Brian Sewell, 1969 AR: TN9b 14 10 Christie’s, Brian Sewell: Critic & Two pages of handwritten notes by Collector, King Street 27 September Sewell’s mother recording the number 2016. London: Christie’s, 2016 AR: TN14 of phone calls and in-person visits to the home they shared between 08.40 Tablet on table and 14.00 on Saturday 17 November 1979 following Blunt’s exposure as the fourth man AR: TN10 15 Excerpt from Brian Sewell’s Grand Tour, 2006, Episode 1: Turin, 2 minutes 29 seconds © WAG TV, 2006 LR: Audio Visual

Scan the QR code below to see Sewell discussing the Church of San Lorenzo in Turin.

Or watch via our website: http://www. paul-mellon-centre.ac.uk/whats-on/ forthcoming/sewell-archive-display

Item 13 15 Small Display Case

The “Blunt Affair”

Alongside his work as an art The archive contains a critic, Sewell is perhaps most considerable amount of material well-known for his role in relating to the “Blunt affair”, the “Blunt affair”. It is widely the majority of it—as one might acknowledged that Sewell’s expect—documenting it from decision to act as Blunt’s Sewell’s point of view. The first unofficial spokesperson following references to Blunt appear in the Blunt’s exposure as a Soviet spy material that dates from the 1950s. in 1979 had an immediate impact Diary entries, postcards, and letters on Sewell’s life, thrusting him into from this time frequently include the public eye. What is perhaps casual mentions of him. It is clear less recognized is the fact that that the friendship which began Sewell’s actions at this time at the Courtauld was cemented continued to have repercussions during the following two decades. right until the end of his life. By the time of Blunt’s exposure

16 Item 16

in 1979, Sewell recorded in his Sewell that appeared in The Times autobiography that they were on 17 November 1979, as well as speaking at least once a day. material that reveals how Sewell’s The archive contains an explosion defence of his friend was perceived of material from this period. This by the public. The responses comprises predominantly press- range enormously and were often cuttings relating to the exposure, the extreme. Contained in the archive, vast majority focusing on Blunt but for example, are two Christmas a small handful revealing something cards sent as hate mail to Sewell of Sewell’s role [see item 16]. It the “sewer rat” [see item 18] as well also includes a further glut of press as—somewhat bizarrely—student material following Blunt’s death responses to a comprehension in 1983 [see item 17]. Additional exercise set by a teacher at a items also include a typed copy Paddington school based on of the famous letter written by newspaper articles of the time.

17 Sewell continued to receive and being”, there is very little material collect material relating to Blunt written by Sewell in a private for the rest of his life. Over the capacity directly on the subject.3 years he was frequently contacted Most remarkably, perhaps, given by authors, researchers, and the the length of their friendship, the media, all keen to investigate the archive contains only one letter “affair” and believing that he held from Blunt himself. This was penned untold secrets. He also received to Rita Kipling, a former student at testimony from individuals for whom the Courtauld [see item 21]. the exposure of the Cambridge This note—and the way that it spies prompted personal accounts made its way into the archive—is of the political climate in Britain in representative of much of the the 1930s [see item 19]. Blunt related material and, indeed, Perhaps most touching are Sewell’s continued role in the the letters received from Blunt’s affair: Kipling sent it to Sewell friends, acquaintances, and family. some thirty years later because Many reveal Sewell’s role as a she recognized that Blunt had conduit: passing correspondence enriched both their lives. If there or good wishes to Blunt. Others— was any correspondence between including most notably a handful Sewell and Blunt it is not to be penned by Wilfred and Christopher, found here. Work on the collection Blunt’s brothers [see item 20]— post-acquisition has revealed that were sent in praise of Sewell’s for this aspect of Sewell’s life in actions in publicly defending his particular, the archive contains a friend. All reveal something of broken narrative. It seems entirely the climate of the time in which probable that the Blunt material any public recognition of Blunt’s was amongst that destroyed by achievements or significance as an Sewell as his health declined. art historian was difficult to express. Apart from a letter written in 1981 in which Sewell reveals that “for the first time since the affair erupted I am fearful for him... Anthony has an ice-cold strand to his nature that is separate from his functions as an art historian and an affectionate and lively human

18 Item 18

Item 22

Travel

Travel played a large part in Sewell’s extensively. Sometimes he travelled life. The three cancelled passports for work—receiving commissions to in the archive are peppered with write about particular locations and stamps which trace his progress experiences—and sometimes entirely around the world [item 22]. independently. The archive contains Each of these passports gives his a huge amount of related material: profession as “Art Historian”—an research material, photographs, occupation that inspired travel maps, and travel memorabilia (such across the globe. as tickets, guidebooks, and so on) In addition to the “grand tour” [see item 13]. taken with his fellow Courtauld However, perhaps the most students, and the trips he undertook exciting aspect of this particular as part of his role when working section of material are the fourteen for Christie’s, Sewell travelled travel diaries dating from the late

20 1970s through to the 1990s. These and read as dialogue, or are just record trips to many European hastily scrawled brief notes, Sewell destinations, as well as to South writes about his experiences with Africa, Pakistan, Tunisia, Algeria, incredible clarity. If the reader and to his beloved Turkey. Sewell is able to decipher the jagged journeyed widely throughout Turkey, and sometimes difficult to read visiting it frequently and sometimes handwriting, they are rewarded with several times a year. He took a rich taste of his adventures. particular pleasure in escaping “the Sewell became an expert on tyranny of Western Art”, revelling in the history and culture of Turkey the archaeological sites and culture and today, the diaries, his various of the region.4 In his autobiography articles, together with South from Outsider II..., he describes how his Ephesus: Travels through Aegean interest in Turkey was first sparked Turkey, are a useful record of the by reading Kinglake’s Eöthen whilst at changing fortunes of the region. Haberdashers’ Aske’s, as “a leitmotif of my life for fully 15 years” (page 93). Sewell used many of his travel diaries to document information Item 22 about the ancient sites and museums he visited, often recording—in detail—things that interested him. For example, on a visit to the Danish artist Michael Ancher’s house in August 1986, he sketches one of the exhibits: an unusual shaped chair [see item 23]. On other occasions he drew the landscapes he passed through [see item 24] and noted what the weather conditions were. The diaries are laced with personal experiences, minor disasters, and witty aides-memoires. For example, his sense of surprise is evident from the note “Swans? In Pakistan?”.5 Whether his comments are detailed

21 16 21 Cutting from The Kensington News and Letter to Rita Kipling from Anthony Blunt, Post, 23 November 1979 AR: TN15 5 September 1980 AR: TN20

17 22 Cutting from The Guardian, 28 March 1983, Three cancelled passports belonging to mounted and annotated by Sewell AR: TN16 Sewell, 1970s to 1990s AR: TN21a–c

18 23 Christmas card “hate mail” sent to Sewell Sewell’s travel diary recording a visit to in the early 1980s AR: TN17 Michael Ancher’s house in Denmark, August 1986 AR: TN22 19 Personal account of the political climate 24 in Britain in the 1930s written by Margery Sewell’s travel diary recording a visit to Saranda Green, sent to Philip Howard, literary in Albania, 7 September 1988 AR: TN23 editor, The Times, 9 March 1983 AR: TN18

20 Letter to Sewell from Christopher Blunt, 30 August 1984, expressing “the greatest appreciation from both of us for the defence of Anthony Blunt...” AR: TN19

22 Item 24

Large Display Case

Sewell as a Journalist and Critic

Sewell earned his living from This near complete run of the journalism for the last thirty-five articles authored by Sewell presents years of his life and was hugely an incredibly valuable resource successful in this role. He won the for anyone studying the cultural press award for Critic of the Year landscape, tastes, and preferences, (1988 and 1994), Arts Journalist of particularly of London, during this the Year (1994), the Hawthornden period. In addition, the fact that Prize for Art Criticism (1995), and the he revisited the same subject many Foreign Press Award (Arts) in 2000. times, means that—when seen By the time he died, he was widely together—his articles reveal how his known as “Britain’s most famous and views, as well as those of society, controversial art critic.”6 were changing. He is best known for his writings The vast majority of these on art, but his work was much wider articles were written for the Evening than this. He wrote extensively for a Standard. Sewell worked for the huge range of publications—from Il newspaper from 1984 until the Giornale dell’Arte to The Oldie—and end of his life in 2015 and, despite on subjects as diverse as Titian to many attempts from other papers the BBC’s The Great British Bake to poach him, he remained loyal Off. His likes and dislikes were to the Standard. Alongside the also often unexpected: he was correspondence concerning these impressed with the work of Jake rejected offers of employment, the and Dinos Chapman and liked David archive contains one document that Beckham. His writing, particularly explains his reasons for remaining on the postures of political leaders, with the paper. In a questionnaire won him the Orwell Prize for completed in 2000 for an art college political writing (2003). student, Mrs Pughe-Morgan (mother Sewell’s output was prodigious. His of the famous Piers!), Sewell is articles are arranged alphabetically by presented with “a final question subject into files that usually contain from my son: when are you going one typed copy of his article (always to quit that ghastly little local paper completed on his distinctive manual and work for him” [see item 25]. typewriter) [see item 31]; as well as Sewell’s response, printed overleaf, one published copy of the article [see encapsulates much about him and item 30] and research notes and any his work, and indeed the material to correspondence relating to the piece. be found in his archive:

Item 29 25 “I write for the Evening Standard because it was the first paper to offer work, because successive editors have been loyal and indulgent and because it reaches the audience I wish to reach— deep into the House of Commons, the Lords, Buckingham Palace, the major galleries, art trade and so on... My London audience, straphanging home in the Underground, I seek to amuse, inform, enlighten, encourage and delight, and sometimes to outrage—and that I achieve this I know from the three hundred or so letters I receive every week, from the amount of assistance asked by art students and from letters like your own…” [see item 26].

26 Sewell took the discipline of artists, critics, art historians, and art criticism and his role as an art dealers to write a letter to the critic very seriously. He wrote many Evening Standard demanding that articles on the subject, rejecting he be sacked. Thus began a public the view of Lawrence Gowing that furore which had huge media “the duty of a critic is to lavish coverage [see item 27]. unalloyed praise upon the artist”, This episode did Sewell no and asserting his belief instead that damage. On the contrary, two it was the art critic’s duty to “use months later he won the press his eye and experience to tell the award for Critic of the Year for truth... To cry ‘rubbish’ may indeed the second time. Significantly, be the only honest response.”7 This no other art critic had won this view he advocated many times, in even once. His public profile many situations, reiterating that was raised, his readership he was only interested in “straight increased, and a selection of pieces based on art history his most controversial articles and good hard looking” and, in was published in book form in addition, asserting that “writers 1994 as The Reviews that Caused should write and editors edit.”8 the Rumpus and Other Pieces His articles are characterized [see item 28]. Over the years, by a distinctive, eloquent style of his reputation as the critic writing. He researched his subjects who waged a wittily acerbic extensively and always insisted on war against what he viewed visiting an exhibition and reading as the inanities of modern the catalogue before putting pen conceptual art was solidified. A to paper. Above all, his articles follow-up compendium, Naked were honest—sometimes brutally Emperors: Criticisms of English so—and often controversial. The Contemporary Art was published powerfulness of his work was in 2012 [see item 12]. recognized in January 1994 when a review of Tate’s exhibition Writing on the Wall prompted thirty-five

27

Whilst the public aspect of exhibition [see item 32]. It is also Sewell’s role as a critic is very clear that although he was publicly familiar and well-documented, one sometimes a figure of fun, because of the most exciting things about of his mannered pronunciation and the archive is that it also reveals the outspokenness, scholars and artists private side of his occupation, as alike valued Sewell’s opinion. The well as facets of his personality not archive contains, for example, a readily apparent. As Sewell noted letter from Nicholas Penny, dated in his questionnaire answers to 13 February 2008, shortly after Mrs Pughe-Morgan [see item 26], he took up the Directorship at the he received “three hundred or so National Gallery, where he solicits letters” each week. As a result, over Sewell’s opinions. In this letter, the years he corresponded and Penny writes, “you keep a keen eye built friendships with an enormous on the national collection so I am and diverse group of individuals: always interested in your views” from key establishment figures [see item 33]. Likewise, a letter to young and upcoming artists. from the artist Polly Hope states These letters are often incredibly that “you appear to be the only illuminating—the authors discussing person alive who can write about their inspirations, aspirations, and art” [see item 34]. He took this frustrations. Those from artists influence seriously, sponsoring and sometimes even include examples nurturing those he thought had of their work [see item 29]. talent, supporting projects and It is clear that as a critic Sewell ventures he felt were worthwhile. was powerful: material in the archive reveals, for example, that he was able to influence, for better or for worse, the success of a fund- raising campaign [see item 30], the trajectory of an artist’s career [see item 31], and the footfall at an

Item 29 29

Sewell’s work as an art critic 25 also meant that he received many Final page of a questionnaire sent by invitations to lecture on the value Gabrielle Pughe-Morgan to Sewell, 6 of art history as an academic February 2000 AR: TN24 discipline, something he felt strongly about. Material in the 26 archive reveals he believed that Page 5 of Sewell’s response to Gabrielle a new, critical form was needed Pughe-Morgan, 10 January 2000 AR: TN25 based on authenticity and quality, but that above all it was important 27 to “teach judgment so that a man Cutting from The Sunday Telegraph, may justify himself when he says I 9 January 1994 AR: TN26a, and The know what I like.”9 Spectator, 15 January 1994 AR: TN26b The Brian Sewell Archive is rich and diverse in both content and 28 coverage and reveals much about Brian Sewell, The Reviews that Caused the networks and complexities of the Rumpus and other pieces. London: the UK art world from 1950 onwards. Bloomsbury, 1994 AR: TN27 It also offers a unique insight into the work and processes of a critic, 29 and the private responses to this Selection of work sent to Sewell from the very public discipline. artists clockwise from top left: decorated envelope from Andrew Norris, June 1994 AR: TN28a; card from Phil Tyler, 2011 AR: TN28b; invitation from Irma Irsara, 2011 AR: TN28c; card from Brian Lewis, 2011 AR: TN28d

30 Colour proof copy of Sewell’s Evening Standard article, 7 November 2008, supporting the National Gallery’s campaign to acquire Titian’s Diana and Actaeon AR: TN29a; and first page of a letter from Nicholas Penny, Director of the National Gallery, 8 February 2009, thanking Sewell for writing about the campaign “with exceptional eloquence” which inspired “some astonishing support” AR: TN29b

Item 33 31 Notes 31 Photocopy of first page of Sewell’s review 1. It is the Paul Mellon Centre’s policy to for Mini Metro, 19 September 2002, titled collect, wherever possible, material that “Christopher Bramham” AR: TN30a, a letter reflects the whole of an individual’s life from Christopher Bramham, 9 December (rather than just their research output). 2002, thanking him for his kind article 2. Letter from Julia Gahlin to Sewell, 31 AR: TN30b, and an undated letter from December 2012 AR:TN34. Bramham outlining his first encounter with 3. Letter from Sewell to Magnus Lucien Freud and revealing his growing Linklater, journalist, dated 7 friendship with Sewell AR: TN30c November 1981 AR: TN34a. 4. Quoted from Sewell, South from 32 Ephesus, blurb on jacket AR: TN35. Photocopy of page 5 of Sewell’s review 5. Sewell’s travel diary for Pakistan, of a book accompanying an exhibition at September 1994; Naples, September the National Gallery written for Tatler, 7 1995; and Paris, June–July 1999. See January 1987 AR: TN31a, and a letter from visit to Pakistan AR: TN36. Neil MacGregor, Director of the National 6. Rachel Cooke, “We pee on things and Gallery, 31 March 1987, acknowledging call it art”, The Guardian, 13 November that Sewell’s review might affect 2005 AR: TN37. attendance at the exhibition AR: TN31b 7. Brian Sewell, “The duties of an art 33 critic’, The Daily Telegraph, 2 March Letter from Nicholas Penny, Director of the 1993 AR: TN38. National Gallery, 13 February 2008 AR: TN32 8. Letter from Sewell to Min Hogg, editor of World of Interiors, dated 17 June 1985 AR: TN39. 34 9. Lecture notes for talks given to First page of a letter from Polly art masters at Harrow and Millfield Hope, 29 January 2005 AR: TN33 schools, 1998 AR: TN40.

Acknowledgements

Display and text prepared by: Charlotte Brunskill, Jenny Hill and Bryony Botwright-Rance. With special thanks to Frankie Drummond Charig, May Peskett Smith and Stephen O’Toole.

32 AR: TN44 Sewell playing with his dogs in Kensington Gardens, c. 1970s The Centre is confident that it has carried out due diligence in its use of copyrighted material as required by the UK Copyright, Designs and Patents Act 1988 (as amended).

If you have any queries relating to the Centre’s use of intellectual property, please contact: [email protected]

For more information about our research Collections see our website: www.paul-mellon-centre.ac.uk. Alternatively contact us by email at [email protected] or phone 020 7580 0311

34