BULLETIN ASSOCIATION OF ART HISTORIANS

Editor: Clare Pumfrey, 40 Sillwood Road, Brighton BN1 2LE Tel: 0273 29433 Advertising Manager: Kate Woodhead, Dog and Partridge House, Byley, Cheshire CW10 9NJ Tel: 0606 835517

NEWS REPORT CHAIR'S REPORT 1991-1992

Now that my established term (sentence?) have necessarily been under review, and stages of the Congress (and who with David of three years as Chair has been served, I we anticipate that new and clearer terms Bindman is responsible for the academic can confirm that three years is about right. will be agreed. We have been pressing for planning), the Executive determined that I do wonder if it is necessary for the Chair the eventual re-uniting of the duties of the its willingness to undertake a major role in also to act automatically as Chairperson of DPA with the job of advertising manager CIHA 2000 was dependent on the reform the Board of Art History, particularly if for Art History, which is subject to a direct of how the National Committees are large amounts of travel are involved, but contract with Blackwell and which Pamela appointed. The issues are to be discussed this will be a consideration for the new had retained even after she had left the post at the Berlin CIHA Congress in July. Executive and incoming Chair. of DPA. Blackwell accepted that there was The business of the Association becomes a logic in the current DPA working on the Subcommittees ever more complex, reflecting the increa• advertising for Art History, and an It is a matter of concern that pressure on agreement has been reached between all sing complexities and pressures of the members in their workplaces makes it more the parties involved to the effect that Kate academic 'business', in whatever capacity difficult to find active participants in the Woodhead will take over the advertising we are involved. I have certainly been subcommittees, which are so vital to the for 1993, starting in September 1992. aware of times when general professional Association's business. After the near demise of the Students' Subcommittee, pressures have eroded my efficacy as a We warmly thank Kate for her achieve• happily resurrected by Saul Peake and his servant of the Association during the final ments, dedication and patience in her first helpers, and the brief vacuum in the year of my tenure. A number of significant year as DPA. Universities' Subcommittee, it is now the issues that we hoped would have been turn of the Museums' Subcommittee to resolved by this time are still outstanding, CIHA dissolve itself through inaction. With the including the slide-copyright question, the The relationship between the Association retiral of the highly effective Maurice artists' papers register and the South Africa and the British National Committee of the Davies, no-one appeared to be immediately Appeal. However, a number of other issues Comite International d'Histoire de l'Art willing to step into the breach, and the have been taken forward with more positive has been problematical, and needs to be Subcommittee needs to be reconstituted. results. resolved in the light of the decision taken in 1990 to hold the large International There can be no doubt about the importance of retaining and enlarging our membership Director of Publicity and Congress in in 2000. The in Museums and Galleries, not least to Administration Association is supporting John White, Chair maintain a dialogue between members in Probably the most important development of the National Committee and member of different but complementary fields of for the members in 1991-1992 has been the CIHA Bureau, in his attempt to reform employment. the arrival of Kate Woodhead as DPA. the constitution of CIHA so that the National taking over from Pamela Courtney, who Committees can be comprised of elected - has done so much to establish the members from the professional associations Bookfair and Autumn Conference Association in its present thriving form. in each country. In discussions with John As members will recall, it proved The duties and remuneration of the DPA House, who is looking after the setting-up impossible to hold the 1991 Bookfair at a

1 NEWS REPORT

time and venue to coincide with the Annual selfless work, but I think few of us fully focus of discussion in both the relevant Conference. The Bookfair was eventually appreciate the tremendous commitment subcommittees, which have been working held on 8-9 November at the National required to handle all the many submissions hard in joint harness, under the guidance of Gallery, London, to coincide with the (in all conceivable shapes and forms), to their respective Chairs, Monica Puloy and Conference 'Staying on Course1 which we extract comments from recalcitrant Will Vaughan, to respond to the rapid organised jointly with the Museums' referees, to meet the remorseless deadlines, developments. The previous existence of Association and the Museum Trainers' to j uggle material so as to achieve a balanced separate subcommittees for universities Forum. representation of research, to monitor the and polytechnics/colleges is necessarily The Bookfair, organised by Yvonne publishing procedure, and above all to deal leading to a rethinking of our subcommittee Courtney, was held in what proved to be expeditiously and humanely with authors. structure. It is clear that the Association rather cramped premises in the foyer and Neil has shown great dedication to the must remain continuously alert to the entrance spaces of the Orchard Street highest professional standards in all these special problems posed for art history by entrance. A good number of exhibitors areas, and the continued international the changes, and play as active a role as participated, but the financial success was success of Art History at a time when possible in shaping official opinion and severely dented by a bill for extra wardening recession has been severely affecting many policies. etc. of over £1,000 from the National journals is a testimony to his success in The first direct effort of the unified Gallery. A working party led by the Chair ensuring that it is a journal which continues system will be seen in the Research undertook a review of the Bookfair, and to make a distinctive contribution to the Selectivity Review. The Association, following its report the Executive decided discipline. through the Chair, responded to the that: Moves are underway to appoint a consultative document issued by the UFC, • the Bookfair should coincide with the successor to Neil (suggestions and stressing the need for a balanced represent• annual London conference, whenever applications welcome), though we are under ation on the subject review panels, and for possible; no illusions that finding a suitable Editor greater accountability. In what must be • the chief purpose of the Bookfair should will be easy. seen (at least cautiously) as a promising be reaffirmed as bringing publishers, move, the Association has subsequently their products and the membership into South Africa Appeal been invited to submit 5-8 names for the direct contact; The Appeal Committee - Eric Fernie panel. • the ideal of a single, stable, affordable (Chair), Simon Miller (secretary), Hazel venue for successive years was unlikely Clark, Sarat Maharaj and Tag Gronberg - Copyright and the making of slides to be realised; are to be warmly thanked for their work, The initial optimism of the Copyright • the organiser should be appointed on a and we are pleased to acknowledge Shelley Licensing Agency that this issue could be \ competitive basis through advert• Sacks's supportive offer to sell sets of settled reasonably simply through the isement, should work for a set fee and be prints of her work in aid of the Appeal. existing licensing arrangements has proved accountable to the Executive through However, in spite of these efforts, and unfounded. It is clear that a change in the the DPA. general expressions of support from law is needed, so that the Act directly The Conference, which looked at issues members, we have not come close to raising addresses the making of slides for raised by training courses for Museum and the kind of money needed to provide a educational purposes rather than apparently Gallery staff (organised on the Assoc• scholarship. The Appeal Committee is to catching slides in provisions intended for iation's side by Maurice Davies) was recommend to the Executive, in due course, other purposes. A report by me is publ ished recognised as a considerable success in the best and most appropriate use to be in the Bulletin summarising the current ventilating issues in a complex and rapidly made of the existing contributions. The position. It is the intention of the CLA to evolving area of education, and we relative lack of success comes as a work with ourselves and other interested gratefully acknowledge the substantial help considerable dis-appointment in view of parties for a change in the law. we received from the Museums' Assoc• the Association's previously expressed iation and the valuable support of the wish to do something positive in the context National Art Slide Library and Museum Trainers' Form. of the continued problems of inequality in National Art Library • South Africa. There now sadly seems to be a routine of Art History disputes between the Victoria and Albert This year marks the end of Neil The end of the binary divide Museum and members of the profession. Mc William's term as Editorof/lA7///*.s7r>ry. The challenge presented by the radical The latest problem has been caused by the I am sure all members will recognise that reorganisation in the structures and funding Museum's decision to transfer the Slide the editorship involves a large amount of of higher education have provided a major Library to Leicester Polytechnic. The NEWS REPORT

decision was announced one day after the destruction of cultural property in the unceasing battle with the VAT-man. meeting of the V & A and AAH Liaison conflict in the former state of Yugoslavia. Undertaking the work of Chair, alongside Committee, at which it was not mentioned. It is perhaps symptomatic of the nature of my other commitments, would not have The transfer will clearly have a major impact the conflict that none of the letters has been possible without the excellent clerical on our freelance members, and on lecturers drawn a response or acknowledgment. assistance provided by Eileen Breen in St and teachers working in under-resourced Andrews. I am most grateful to all members institutions. A working party chaired by 1994 Conference of the Executive for patiently enduring Will Vaughan has been attempting to reach Although the idea of holding an annual meetings of a length for which the Chair an agreement which will ameliorate the conference in Holland remains attractive, feels guilty, and particularly to the retiring most severe problems, though progress has the logistics and finance are sufficiently members: Monica Puloy, who has chaired been very difficult. uncertain that we would be unwise to the Polytechnics and Colleges Sub• A further problem arose when it was embark on the plans for 1994, particularly committee with exemplary care; Joanna announced that students would be rationed since the Dutch Association is responsible Woodall, whose organisation of the 1991 to five visits per year to the Arts Library. for the CIHA Congress in the same year. London conference typifies her whole• Joanna Woodall, on behalf of the Executive, There are, happily, indications that an hearted commitment to the Association's is investigating the possibility of this rigid invitation to Birmingham may be forth• activities; Tag Gronberg, organiser of the limit being exceeded on the specific coming (on the initiative of the Poly• 1989 London Conference, who has recommendation of a tutor. technic). continued to provide unstinted service to It is a matter for continued regret that the the work of the Executive; and Saul Peake, Association should find itself in repeated Thanks cheery reviver of the student group (who, conflict with the V & A. The Association I wish to offer sincerest thanks, both on degree and grant willing, might still be has suspended its participation in the behalf of the Association and personally, with us next year). For my part, I have Liaison Committee until there are clear to the executive officers of the Association, enjoyed my time as Chair - or at least some indications that the Committee can begin Liz Miller and Theo Cowdell, for the of the time! My best wishes go to Nigel to play a really useful role in heading off tremendous service they have provided Llewellyn, whom I am sure will receive the such disputes. and personal support they have given me. same notable support from the membership Theo himself would emphasise that as has been offered to me. Yugoslavia considerable thanks, as always, are due to The Chair wrote on the Association's behalf Peter Crocker for his tireless devotion to Martin Kemp to various interested parties about the our financial affairs and for conducting an

SLIDES AND COPYRIGHT

Members will probably be aware that the (new or extended) provisions. In discussion 3 Access to slides held by educational 1988 Copyright Act makes no adequate with interested parties, a number of key organisations, by outside organisations provision for the making of slides for issues have emerged: and individuals presents further educational purposes from published problems. material, and that the stocking of a slide 1 The making of a slide by an individual 4 The use of slides by lecturers outside the library is therefore caught up in provisions lecturer for a specifically defined immediate educational ambience of the designed for other purposes. It was initially educational purpose (e.g. for a particular institution (e.g. a public lecture) is hoped that the existing licensing system, lecture) might be permissible under the problematic. operated by the Copyright Licensing existing Act, but it would be rare for the 5 Identification of the copyright holder Agency, might be readily extended to cover use of a slide to be so restricted in for published images is fraught with the making of slides, but this no longer normal practice. difficulties, since the holders are not seems to be the case. The particular 2 The storage and subsequent use of slides always acknowledged in the publi• problems posed by the making of slides presents real problems under the Act cations, and, even if the holders could be and by the storage of visual material in and no slide library is likely to be able to identified, few if any libraries have the other accessible forms using new tech• meet the Act's provisions in full if it resources to obtain (and to pay for) all nologies, will need to be covered by specific continues to make slides. the permissions. NEWS REPORT

6 Organisations representing copyright There appear to be two possible charges which the publisher or author might holders have expressed two main solutions. The first and simplest would be not feel willing to bear. The CLA has concerns: (i) any image that is repro• to reach agreement with publishers that the successfully reached agreement along the duced and stored represents a loss of standard form for the obtaining of proposed lines with publishers in Sweden, control over the potential use of the permissions to reproduce copyright images by operating a special tariff for each slide image for commercial purposes and may should include a clause permitting the equivalent to 125 paper copy pages, and occasion a loss of legitimate income; additional repro-duction of the illustrations for an overhead projector transparency a (ii) second- or third-hand reproduction for defined and restricted educational tariff equivalent to 75 copies. It is to be of an image results in its degradation. purposes on a strictly limited scale. The hoped that discussions between the various 7 Book librarians and their representative regulation of such use might be covered by representative bodies and publishers will organisations do not necessarily have a an agreement similar to that which currently result in a similar agreement. community of interest with lecturers in applies to photo-copying. The advantage If this first solution cannot be made to facilitating the making of slides from of this method would be that permission work, the only other answer appears to be books and periodicals (and may indeed would become a standard feature of existing to collaborate with interested parties in be actively unsympathetic to the use of procedures rather than needing elaborate seeking to change the law so that it will books etc. for this purpose), unless the new mech-anisms or a change in the law. permit the making of slides for bona fide librarians are responsible for an The potential difficulties are that copyright educational purposes, conditional upon integrated resource of visual and written holders might either refuse to accept the strictly controlled access and subsequent material. additional clause or might make heftier use. In this case, the law would need to incorporate a separate provision for 'fair dealing' with respect to slides and other forms of storage of visual material. In the meantime, almost all existing makers and users of slides will continue to find themselves in the uneasy position of falling foul of provisions in the 1988 Act which were not designed to cover the making of slides. Our legal advice is that it would be difficult for a copyright holder to demonstrate that substantial damage had been done by the making and use of a slide for educational purposes, but this does not mean that legal action is unthinkable. Respecting the concerns expressed by copyright holders about the 4leakage' of images from slide collections into the commercial arena, the Slide Library in St Andrews now displays a prominent notice to the effect that the images are subject to copyright and should not be further reproduced or used for non-educational purposes or made accessible for exploit• The above sculpture, by Lorna Green, entitled Die Kluft (The Gap), was on show at the ation in a commercial context. Such a Leeds Conference. It grew out of her participation in the 5th Women's Art Historians notice does not circumvent the law, but it Conference in Hamburg in 1991, one of the aims of which was to set up a dialogue does at least, in the interim, demonstrate between artists and art historians. While this aim was, in Lorna Green's opinion, to a our good faith to copyright holders. certain extent fulfilled, she, and many of the artists at the Hamburg conference, still felt that art historians were insufficiently concerned about the work of contemporary artists. Martin Kemp The triangular construction on the right alludes to the artwork (by reference to Carl Andre's bricks), while on the left is a pile of art historical journals (including, most conspicuously, Art History).

4 NEWS REPORT LOOKING AHEAD

Several important issues were discussed at some final decisions had to be made about planning the conference programme is that the meeting of the Executive Committee the conference programme. The arrange• these events should make intellectual debate held on 15th June 1992: ments for London 1993 are described about art history accessible to the elsewhere in the Bulletin. For the first membership and to others in various ways Future strategy time, the AAH will confer in a gallery and that the papers, sections and themes Following the Hon. Treasurer's paper, rather than in a classroom; it should be an covered should, over time, reflect the widest published in the last Bulletin, the EC agreed extremely interesting event, with the possible range of interests. I would be very that there should be as wide a ranging emphasis very much on engagement with happy to receive your thoughts about discussion as possible within the Asso• the objects in a context of ideas. There possible themes and 'bids' for future ciation about its future plans. How might should also be a splendid Bookfair. We venues. the AAH better represent the interests of decided that the arguments against holding In addition, the EC is always happy to the membership? How should the the 1994 conference in Holland were simply receive suggestions for the co-sponsorship Secretariat and the EC function? How too strong and we have abandoned that of shorter conferences, symposia or other should the Association increase its income venture in the face of an attractive invitation events. in order to provide additional services? from Birmingham, where the focus will be These matters are partly to do with on 'Art and Industry, Past and Future'. Artists' Papers Register management and partly to do with style. If Theo Cowdell and Robert Gibbs are, For many years, the AAH has been trying any AAH members wish to make sugg• however, looking into the possibilities of a to launch this complex and important estions about the future plans to the AAH, short symposium in Prague in September project. Adequate funding has not been the way that it is run and its aims and 1994, so we are not discounting entirely a found for the full project, so a smaller ambitions, please do so, in writing, to the foreign excursion in that year. London will version is now being planned. Hon. Secretary, by the end of August. again be the venue in 1995 and wherever we meet I hope that there will be a good Nigel Llewellyn Conferences deal of attention paid to non-European art Chair As time seemed to be passing rather faster and to the so-called Applied Arts. than was comfortable, the EC felt that The basic principles we are adopting in August 1992

CONFERENCE NEWS

DRAWING CONCLUSIONS ON VALUE AND MEANING America - Europe - China 27 November 1992 School of World Art Studies and Museology, University of East Anglia

A one-ciay symposium is to be held to Fraser, Professor Martin Kemp, Deanna Kate Carreno coincide with the exhibition from the British Petherbridge, Professor Roderick Whitfield. Drawing Conclusions Museum, 'Florentine Drawing in the Age The cost of the conference is £10.00, Sainsbury Centre for Visual Arts of Michelangelo', in the Crescent Wing of concessions and students £3.00, Friends of University of East Anglia the Sainsbury Centre for Visual Arts. the Sainsbury Centre £5.00. Lunch £5.00. NR4 7TJ Speakers will be as follows: Dr Francis Send application and fee to: Ames-Lewis, Dr Richard Cocke, Dr Val

5 CONFERENCE NEWS LONDON CONFERENCE 1993 IDENTITY AND DISPLAY Artistic, national and sexual identities and aesthetic, anthropological and other notions of display 22-24 April 1993 Tate Gallery

The Conference academic sessions and Book Fair will be held at the Tate Gallery. Plenaries and parties will be held at other locations in central London. As well as academic sessions with formal papers, there will be a number of special sessions and panel discussions. Details of these and the plenary sessions will be given in the November Bulletin. Proposals for contributions to academic sessions are warmly invited and initial contact should be made with the session conveners no later than 1 October 1992. Upon acceptance, speakers will be expected to produce a formal proposal of no more than 250 words by 15 November 1992. Conveners: Richard Humphreys (Tate Gallery) and David Bindman (University College, London) Administrator: Sylvia Lahav (Tate Gallery) The AAH Conference Office, Tate Gallery, Millbank, London SW1P 4RG Telephone: 071 821 1313 ext. 354 Fax: 071 931 0440 Book Fair: Savita Ayling

1 Art in Bourgeois Society: 1790-1850 Convener: Bruce Boucher, Department of 4 Documenting the Face? The Portrait - An International Perspective History of Art, University College, London, as Historical Artefact WC1E6BT Convener: Andrew Hemingway, Conveners: Shearer West, University of Department of History of Art, University The conservation of historic buildings and Leicester, University Road, Leicester LEI College London, Gower Street, London monuments is a popular subject, but 7 RH; Karen Hearn, Tate Gallery, Millbank, WC1E6BT confusion exists over the techniques and London SW1P4RG objectives of those who work in this field. The aim of this session is to provide a This session will examine the problems This session will examine the use of forum for comparative analysis of how the connected with the restoration of historic portraits by historians of all kinds. It will different paths of development taken by buildings on a European scale, both from consider what portraits can reveal about bourgeois societies in the crucial phase of the point of view of historians of art and history and historical identity, as well as formation 1790-1850 affected artistic architecture and of conservators. Among the methodological problems raised by their practices and institutions. Papers are invited the topics considered will be the different appropriation as 'documents'. The session addressing both developments in individual treatment of interiors and exteriors of will not be confined to a particular period states (Britain, France, Germany and the buildings, the problem of infilling, and the or methodology, and papers should US) and comparing development between reconstruction of historic buildings in represent a wide range of specialist interests them. Central Europe after the war. and theoretical concerns. Suggested topics for consideration include: state policy on the arts, the 3 Displays of Identity: Museums and 5 Genealogy of Beauty functions of the arts in public buildings, Making Histories academies and professionalisation, dev• Convener: Stephen Bann, University of elopments in patronage and the art market, Convener: John Murdoch, Assistant at Canterbury, The University, exhibitions and the definition of the art Director, Collections, Victoria and Albert Canterbury, Kent public, art theory and art criticism, the Museum, South Kensington, London SW7 function of art in domestic settings and art 2RL This session seeks to use insights from galleries and the changing functions of a authors such as Freud, Barthes, Derrida different genre. This session will explore the creation of and Damisch in order to go beyond the identities for nation states, peoples or obvious point that beauty is an historically 2 Conservation and its discontents: individuals through the collection and constructed notion. In taking into account The restoration of historic buildings in through the display of significant objects the fact that judgements of beauty are Europe in museums. inevitably gender-based, it also seeks to

6 CONFERENCE NEWS

open up the theoretical issues which are through costume and commemoration; 10 Representing Human Rights entailed by the removal of beauty from the courtly advice literature modifying natural to the cultural sphere. Paris, who behaviour, and the gendered character of Convener: Helen Weston, Department of gave the apple to the Goddess of Beauty that behaviour; ; and the ethical History of Art, University College London, and rejected the worldly power offered to and political nature of royal, courtly, or Gower Street, London WC 1 6BT him by her competitors, was also the chivalric display. legendary instigator of the Trojan War. This session aims to highlight some of the Judgement is etymologically related to 8 Metaphor and Power campaigns fought for recognition of identity crisis, and beauty has an unsettling, and for the right to representation, by ambivalent aspect which neither philosophy Conveners: Tamar Garb and Briony Fer, enlightened men and women of the late nor psychoanalysis has quite succeeded in University College London, Gower Street, eighteenth and early nineteenth centuries dispelling. London WC1 6BT in Europe and its colonies. Contributors are invited to address this issue in terms of 6 Identity, Meaning, Display: The This session will be concerned with the imagery representing either an acknow• Conservation Connection ways in which visual representation relates ledgement of, or an affront to, human rights to questions of sexual difference and the in the period (death penalty, territorial Conveners: Rica Jones and Anna Southall, mechanics of power. We are concerned rights, women's rights, rights of blacks, Conservation Department, Tate Gallery, with the processes by which representation rights of the mentally ill etc.). Millbank, London SW1P 4RG; Libby both gives form to meaning and deforms it. Sheldon, Department of History of Art, If a state prior to representation can be 11 The Englishness of English Art University College, Gower Street, London symbolised by the pre-Oedipal moment, a WC1E6BT fantasy of plenitude which pre-dates Conveners: Barry Curtis and Steve separation, then is representation always a Johnstone, School of Historical and Related How much influence does conservation form of violation, a post-Oedipal enacting Studies, Middlesex University, Cat Hill, have on the way we perceive, interpret and of existing power relations? Barnet, Herts EN4 8HT display works of fine and decorative art? How might the re-writing of the Oedipal Equally, how much are the practice and scenario in recent feminist theory affect Papers will address the 'peculiarity' of ethics of conservation influenced by our understanding of representation and its English visual culture-histories, practices, associated disciplines? We would welcome symbolic origins? institutions, centres and margins. 'English' contributions from conservators, art Papers are invited in two main areas: imaging will be explored in relation to its historians, technical historians, curators, • the violence of representation and the contradictions - empirical/visionary, dealers, practising artists and critics. representation of violence; violence/ everyday/exotic, picturesque/sublime - its violation/veiling; resistance to ideology and its trans• 7 Issues of Medieval Decorum • maternal and paternal metaphors in formations of the 'foreign'. Particular representation and critical theory; the attention will be devoted to the ways in Convener: Paul Binski, History of Art visual languages of difference and which diaspora and minority cultures have Department, University of Manchester, power. reformulated the visible and visual in Manchester M13 9PL anthropological and personal/politically 9 Mythologies of the Artist informed images. This session will consider notions of social The strand will speculate on how the and aesthetic constraint in the medieval Convener: Virginia Button, Tate Gallery, past in the present has determined the visual period, with reference to behaviour, dress, Millbank, London SW1P 4RG economy of Englishness and assess the architecture and ethics. significance of emergent configurations It will explore the development of social An international scope is proposed for and their relation to 'the Market', New and aesthetic constraints, paying particular discussions of formations of artistic identity Technologies, Europe, 'World Culture', attention to the cultural construction of since 1600, with particular reference to Tourism and 'Fun'. 'conspicuous consumption' in the high formal training, the complex development 4 medieval period. Central to the session of art worlds' and theories of self and 12 'Visualising Masculinities9: Inter• will be the following topics: tradition and creativity. rogating the codings of the 'masculine9 language of appraisal of medieval archi• tecture in the Romanesque and Gothic Convener: Andrew Stephenson, Oxford periods; forms of display engendered Polytechnic, Headington, Oxford OX3 OBP

7 CONFERENCE NEWS

Much recent writing has scrutinised social domination/artistic power, and issues misguided and untenable position on the 'masculinity' and its social and cultural related to the (self) representation of explanatory power of critical and historical constructs and argued for a plurality of homosexual identities. accounts of art? At the very least the 'masculine' identities. It has considered impulse to define various modes of art the ways in which the myths of 'mascu• 13 'When' is Art History? history and criticism as 'merely' literary linity' have been reworked and reproduced, presupposes a line of intellectual dev- and the vested interests which they have Convener: Michael Corris, Department of elopment antagonistic to the alleged served. History of Art, University College London, 'liberatory' impact on such practices of This session seeks to examine the Gower Street, London WC1E 6BT recent critical theory. divergent, often competing, ways in which We invite contributors to address a 'mascu-linities' and male bodies have been Art criticism - and, by implication, certain variety of methodological issues facing the imaged and coded within visual culture at modes of exposition in the history of art - contemporary practice of criticism and different historical moments. It will have been called a 'literary sub-genre'. history of art including, but not limited to: question how 'maleness' has been How art critics and art historians respond speculation on conditions of adequacy for historically constructed and reproduced to such a challenge reveals something of critical or historical discourse in art, within public and private domains and how the nature of their ambitions for their explication of the historical development it has featured as central to debates about respective practices. But is the criticism and response to recent influential models, gender, race and nationhood. Alternatively, warranted? Does it mesh with real and and evalutation and elaboration of the papers might analyse a whole range of profound doubts about the cognitive and cognitive and epistemological claim of related topics, such as the ways in which epistemological status of the criticism and specific modes of contemporary critical codes of'manliness' are/were reproduced, history of art? Or, is this challenge merely and historical discourse. the connections between 'masculinity' and an attempt to promote a particularly

MUSEUMS ASSOCIATION ANNUAL CONFERENCE A sense of place - museums in the landscape 14-18 September 1992 Pavilions, Plymouth

In 1991 over 600 delegates came to chance to view the Trade Fair, which public's sense of place. Newcastle for the biggest single event in displays over 80 of the museum world's The site of this year's conference is a the museums community calendar. Like major suppliers. new conference venue (Plymouth its predecessor, the 1992 conference is set The whole week is an opportunity to Pavilions) in the city centre close to the to promote interest and raise standards. meet old and new friends and colleagues, hotels and guest houses. This year there is the chance to listen to and to exchange experiences and to benefit take part in over 25 sessions during the from the annual collaboration of all that is For further information week, including keynote addresses, good and worthwhile in British museums. Those desiring more information and a lunchtime lectures and concurrent sessions. The conference is set in a large city booking form should contact: Receptions and study tours will range surrounded by a rural area of low population Mrs Rachel Shah from Exeter to Truro, giving delegates dependent largely on agriculture and Conference and Seminar Assistant ample opportunity to take in the wide variety tourism. In such circumstances museums' The Museums Association of museums in the area. There is also an collections often take on an immediate 42 Clerkenwell Close opportunity for delegates to sign up for a association with the cultural and natural London weekend looking at museums in Brittany. landscape. The conference will explore EC 1R OP A From the evening of Monday 14 these interrelationships and discuss what Telephone: 071-250 1836 September until the afternoon of role museums can and should play in Wednesday 16 September there will be the chronicling, reflecting and displaying the

8 CONFERENCE NEWS

PROBLEMS IN STORAGE 5 October 1992 The Burrell Collection, Pollok Country Park, Glasgow A one-day meeting organised by Glasgow Museums on problems relating to the storage of museum and art gallery collections

Programme Dr Norman Tennent (Glasgow University The registration fee will be £45 (£25 for May Cassar (Museums & Galleries Chemistry Department) students), to include morning coffee, lunch Commission) Efflorescence - A Growing Problem: and afternoon tea. Please add £10 if Environmental Strategies for Museum Problems of Deterioration of Artefacts in applying after 21 September. Cheques Collection Storage Store as a Result of Attack by Acetic Acid should be made payable to: Storage Meeting, Glasgow City Council, and sent Stewart Kidd (Fire Prevention Association) Cecily Grzywacz (Getty Conservation with the completed booking form to: Disaster Planning in Museums and Institute) Sheila O'Hara Galleries Acid Vapour - Pollutant Monitoring in Glasgow Museums Both Storage and Display Cabinets Art Gallery and Museum, Kelvingrove Frank Howie (Natural History Museum) Glasgow G3 8AG Pest Management: A Strategy for Tel: 041-357 3929 ext. 239 Collections Fax: 041-357 4537

FRONTIERS New Alignments in the Visual Arts Nouveaux Alignements dans les Arts Plastiques 15-19 September 1992 A conference hosted by the University of Kent, Canterbury

This conference will examine the changing The Frontiers conference aims to provide conference please contact: perspectives for the visual arts in a united a forum which attracts participation from a Nicholette Goff Europe and debate the possibilities offered wide number of European countries and The Gulbenkian Theatre by new alignments in cultural, national and draws on the expertise of policy-makers, University of Kent regional boundaries. administrators, arts providers and practising Canterbury The conference will ask, 'what will the artists. Keynote speakers from Belgium, Kent practical and- intellectual implications be Austria, Spain, Germany, France, Ireland Telephone: (0227) 764000 ext 7768 for artists and cultural workers as ideas and England have already been invited and or about national barriers shift?' The more contacts are currently being followed (0634)576260 management of change will be crucial in up. The conference will have places for the growth and development of cultural 200 residential delegates and 100 non• affiliations and formation of policy and residential delegates. Early booking is legislation on cultural matters in Europe. It advised due to limited places available. is important that artists and administrators Full details, including list of speakers and share knowledge and resources and develop conference agenda, will be forwarded to networks which facilitate trans-regional delegates nearer the date. development in the visual arts. Collab• The Frontiers conference is funded by orative policy on issues such as public art, South East Arts and Kent County Council commissions and awards, and VAT and Arts and Libraries, with additional funding tax is as important as the critical evaluation from The Arts Council of Great Britain. If of practice. you would like to discuss any aspect of the CONFERENCE NEWS

REMBRANDT: THE MASTER AND HIS WORKSHOP A Report on a Symposium on Recent Technical Research 22-23 May 1992 The National Gallery, London

In May a public lecture was given at the outset of the symposium that although it paintings department at the Museum of Art National Gallery entitled 'That's enough was desirable to find systems of procedures at Cleveland. This paper particularly Rembrandt' - a reaction to the amount of which explained Rembrandt's practice, confronted issues raised in the 'workshop' coverage the artist has received recently often the artist reached exceptional section of the exhibition. because of the Rembrandt Research Project solutions which eluded categorisation. An understanding of the techniques of (RRP), and the large exhibitions of his Arthur J Wheelock of the National the young Rembrandt was deepened by a work which finished their European tour in Gallery of Art, Washington also took issue comparison with the technique of Jan London. The symposium held later the with what he saw as attempts at too rigid Lievens made by Melanie Gifford, Head of same month to disseminate the most up-to- categorisation by scrutinising the works of Paintings Conservation at the Walters Art date technical analysis of the artist's the RRP. He questioned the 'ABC Gallery, Baltimore. She showed, with paintings, however, provided an effective hierarchy of attributions used in its Corpus, special reference to Lieven's The Lute answer to any suggestions of overkill. It and by discussing four paintings in Player from the collection with which she showed in a number of instances how the Washington illustrated how these alpha• works, the importance of the precedence of Project and exhibitions, far from draining betic groupings did not comfortably cater Lievens for some of the nuances of enthusiasm for Rembrandt studies, have for the varying and rich degrees of Rembrandt's procedures. acted as a fruitful stimulus for art historians collaboration he perceived in and around Among the studies of individual ands conservators. Rembrandt's work. paintings by the artist was that of Joseph The organisers, Dr Christopher Brown, Technical surveys across the range of Fronek, a Senior Paintings Conservator Dr Ashok Roy and David Bomford of the the artist's and his contemporaries' output from the Los Angeles County Museum of National Gallery, succeeded in securing included that of the Rijksmuseum conser• Art, who scrutinised the Raising of Lazarus, speakers from Europe and America, vator Martin Bijl, who explained his which belongs to his institution. He including representatives of the RRP and on-going research into the manner in which considered the complex evolution of this almost the entire conservation department the proportions, and more specifically the work which has been the subject of a recent of the Rijksmuseum, Amsterdam. Their sizes of supports, could help determine exhibition at the County Museum. The research divided broadly into three types: their point of manufacture. He explained organisation of a future Rembrandt studies of individual pictures by the artist, how this was possible because of local exhibition, to be held in 1993 at the considerations of the thorny questions variations in standard measurements and Rijksmuseum, Amsterdam, was announced surrounding the relationship between his the precision with which they were adhered by Wouter Kloek, the Director of the output and that of his studio, and broader to. Bijl also considered how study of this paintings department there. It will present discussions of contemporary technical sort could be used to estimate the original infor-mation about the genesis and later practices and appropriate modern method• dimensions of supports which had been history of seven paintings from the ologies. later altered. collection which have recently been the The survey papers often addressed Dr Claus Grimm, Director of the Haus subject of a campaign of conservation and questions which also had applicability der Bayerischen Geschichte, Munich dis• restoration. beyond the arena of Rembrandt scholarship. cussed differences between Rembrandt's One of these pictures, the Still Life with Dr Ernst van der Wetering of the RRP techniques on wood and canvas, and Peacocks, was discussed in London by a discussed the interconnections between Raymond White of the National Gallery, Rijksmuseum conservator. The process of style and technique and the various means London shared some of the results of his compositional simplification involved in by which the two serve the illusion recent examination of paint media used by its creation was outlined and later alterations Rembrandt sought to create. Expanding on Rembrandt and his circle. to the image, including the painting over of his exhibition catalogue essay he turned to Discussion of the relationships between areas of blood that offended 19th century writers on art (leading back to Vasari) and the work of the artist and that of his studio sensibilities, discussed. In addition, the * contemporary training practices to establish and immediate followers notably included intriguing suggestion was proffered that criteria which could be used to discuss this a reassessment of the painting attributed to the picture's perspective may be conceived achievement. He usefully warned at the Jouderville by Mr Alan Chong. head of the so that it should be viewed from an oblique

10 CONFERENCE NEWS

angle; this adds weight to the argument that associated with Rembrandt's practice. the Dead Christ. the work would originally have been set Contributions to the symposium on A precis such as this gives little into a specific part of the decoration of a single works also included those by Norma indication of the usefulness of the room. Johnson (Chief Fine Art Conservator at conference papers. If the wishes of the Other novel speculations which were Glasgow's Art Gallery and Museum), who sponsor, Dr T Kawai (Japanese Institute given an airing at the conference included outlined her study of Rembrandt's Man in for Economics & Industry) to publish them the theory of Huber van Sonnenberg Armour, Karin Groen (RRP), who discussed are realised, then a mixed but valuable (Metropolitan Museum of Art, NY) that the Staalmeeters and other late Rembrandts adjunct to the Rembrandt literature, which some form of cartoon or 'tracing' may in Amsterdam, Martin Royalton-Kisch builds in a positive fashion upon recent have been used to transfer part of the design (British Museum), who reconsidered the controversies, will become available. from the St Petersberg to the Munich version National Gallery's Ecce Homo, and John of Abraham's Sacrifice. This procedure Nash (University of Essex), who reflected Christopher Baker appears to have never previously been on the National Gallery's La mentation over The National Gallery, London

TRAVELLERS' TALES Narratives of Home and Displacement 20-21 November 1992 Clore Auditorium, Tate Gallery A conference organised by BLOCK publications in association with the Tate Gallery and the Arts Council

This Conference will be the second in the At various times most of us have opportunities to review recent work on the series organised by BLOCK publications experienced ourselves, or others, as tourists, discourses of tourism, travel and cultural in association with the Tate Gallery and the with all the inequalitites of economic and politics, the effects of global integrations Arts Council (after 'Futures', November cultural privilege that relation implies. and local resistances and the ways in which 1990). It will also result in the publication, Travellers' tales can be comfortable or records, memorials and signs have been by Routledge, of Conference papers and unsettling-they traverse and seek to specify used to describe the experience of contributions. (Futures will be published the boundless, the interstitial and the encountering the 'other'. in Autumn 1992.) intimate; they are exercises in projection In recent years cultural theorists have and introjection, colonisation and resist• Invited speakers include: Iain Chambers, been increasingly concerned with reform• ance, integration and alienation - in all Annie Coombes, James Donald, Mike ulating notions of core and periphery and cases they involve operations of power. Featherstone, Stuart Hall, Sarat Maharaj, with analysing the discursive and political The intention of'Travellers' Tales', as Griselda Pollock, Adrian Rifkin, Martine implications of identity, difference and with 'Futures', is to make connections Segalen, Trinh Minh-ha, Peter Wollen, otherness. across theoretical fields of enquiry, drawing Slavoj Zizek. Travel, cultural displacement and the on contributions from anthropology and new mobilities of capital and the sign have ethnography, from cultural theorists, Further information (September 1992 focused attention on the issues at stake in historians, practitioners and critics of visual onwards) from: 'touring' other cultures and the political culture. The issues will be addressed 'Travellers' Tales' implications of practices which attempt to through a series of thematic debates, Sylvia Lahav fix and fetishise their meanings. organised under the following headings: Education Department Travellers' tales in the forms of memoirs, Imag(in)ing Identity: Diaspora or Dera- Tate Gallery guides, journalism, strategic reports or cination; Global Villages: Nomads and Millbank academically validated ethnographies Tourists; 'Native Guides': Ethnographic London SW1P4RG negotiate between identity, cultural Transactions; and Souvenirs: Bringing it Telephone: 071-821 1313 ext. 354 affiliation and encounters with otherness. All Back Home. These will provide

11 ANNOUNCEMENTS

Bulletin of the National Gallery Students' in Prague Subcommittee

The first issue of the Bulletin ofthe National CSOB, a.s. As the new chair of the Students' Gallery in Prague was published last year. Na pfikope 14 Committee I am interested in any ideas Largely in English, it includes papers by Praha or suggestions that the student members international contributors. Czechoslovakia of the AAH have for the association The Editor, Roman Prahl, plans to Account no. 62 174 and the committee. Enthusiastic, active publish three issues in two years, and invites students are also needed to be members unsolicited manuscripts in all major For the credit of the Bulletin Ndrodni galerie of the committee. languages. Articles appearing in the bulletin v Praze. I look forward to hearing from you. are indexed in the BHA. Please send, addressed to him at: (Subscription requests should be send Narodni galerie simultaneously to the Bulletin Ndrodni Ruth Brompton Hradcanske namesti 15 galerie v Praze, at the address of the gallery, Department of History of Art and 119 04Praha 1 given above.) Design Czechoslovakia. University Flaxman Building Annual subscription rates (including College Row surface mail): DM13 (Europe) or $9.00 Stoke-on-Trent (overseas). Cheques should be made Staffordshire payable to:

The Society of Historians of British Art

During the annual meeting of the College listed, as well as available fellowships and students) to: Art Association in Chicago this year the grants, recent or upcoming exhibitions or Jack Brown Society of Historians of British Art was meetings and notes and queries. The Art Institute of Chicago founded. It arose out of a feeling of isolation The society wishes to be officially Michigan Avenue at Adams Street among CAA members concerned with affiliated with the CAA and is currently Chicago British art, and a desire to promote British establishing by-laws regarding the IL 60603 art topics at CAA meetings. professional purpose of the society (a USA The initial membership numbered 23 necessary step towards affiliation) which (making the cheque payable to The Institute art historians and graduate students and it will be voted on no later than the next CAA of Chicago). was unanimously agreed that the society session in Seattle. Officers have been should welcome those engaged in scholar• elected as follows: Jody Lamb (Ohio Anyone wanting further information should ship regarding any aspect of British art, University) is President, Debra Mancoff write to: including prints and drawings, painting, (Beloit College) is Vice-president, Laurel Jody Lamb sculpture, architecture, photography and Bradley (School of the Art Institute of School of Art the decorative arts. Chicago) is Secretary and Jack Brown (Art 436 Seigfred Hall The major service of the society will be Institute of Chicago) is Treasurer. The Ohio University Yale Center for British Art has made a * a professional newsletter. This will include Athens generous donation as the society's first information regarding members and their OH 45701 Institutional Member and Martha Tedeschi current interests, plus other newsworthy USA. information, such as grants received, papers of the Art Institute has been instrumental in given, new positions and recent publi• the founding of this society. cations. Relevant American and British Anyone interested in joining should send dissertations begun and completed will be a cheque for $10.00 ($5.00 for graduate

12

• ANNOUNCEMENTS

Feminist Arts and Grants and Fellowships for Studies in Histories Network British Art

You are invited to become a member Various Grants and Fellowships, as set out These grants are not available to research of the newly founded Feminist Arts below, are administered by the Paul Mellon students nor to meet the production costs of and Histories Network, the aim of Centre for Studies in British Art and/or the books (including illustration costs), except which is to assist individuals in and out Yale Center for British Art, for studies in in the case of books published for the Paul of educational, curatorial and practical any branch of British art, architecture or Mellon Centre by Yale University Press. activities to meet and support feminist design before 1970. Full particulars of work. amounts, conditions, eligibility^ etc. may Fellowships are of three kinds: There will be a register of interested be obtained from: 1 One-month visiting Fellowships to the members of the network, who may Director of Studies Yale Center for British Art, New Haven meet in their towns or areas for seminars Paul Mellon Centre (expenses and accommodation paid, and other special events. 20 Bloomsbury Square application deadline 31 December for The network plans to hold an London WC1A2NP the following academic year; not for international conference biennially in Telephone 071-580-0311. research students); different regions throughout the 2 The Andrew W. Mellon Fellowship country, on the model of the German Grants (maximum approximately ($12,000, deadline 15 January) for a Women Art Historians conference. £2,000, application deadlines 1 March and research student, normally British, to The annual subscription is £5.00 15 October) are made for two main spend an academic year attached to the (waged) and £2.00 (unwaged). This purposes: Yale Center for British Art; will be used to fund post and publicity. 1 the printing of catalogues for exhibitions 3 The Paul Mellon Centre Fellowship Membership requests should be sent put on by small and comparatively small ($12,000, deadline 2 January) for a to: museums and galleries in Britain; research student enrolled at an American Professor Griselda Pollock 2 travel expenses and photographic costs university to spend an academic year in Department of Fine Art incurred by individual British scholars London. University of Leeds engaged in research. Leeds LS22 9JT.

INFORMATION

The Royal Commission on Historical Manuscripts - Accessions to Repositories

The following list of major archive Cornwall Record Office, County Hall, typographer: corresp and papers (D3562) collections acquired by British repositories Truro TR1 3 AY during 1991 has been abstracted from John Sansom, architect, Liskeard: plans of University Library, Archives and Special Accessions to Repositories, an annual churches and public buildings 1840-20th Collections, 5 The College, Durham DH1 publication compiled by the Royal cent (X 847) 3EQ Commission on Historical Manuscripts and Hayton, Lee & Braddock, architects, published by HMSO. Some collections Cumbria Record Office, County Offices, Durham: papers rel to work as architects to may not yet be available for research and Kendal LA9 4RQ the diocese of Durham 1935-89 (HLB any enquiries should be directed to the , author and artist: corresp papers) relevant repositories. with H Fletcher and HD Rawnsley 1875- 85 (WDX/1039) Centre for Kentish Studies, County Hall, Cheshire Record Office, Duke Street, MEN 1XQ Chester CHI 1RL Derbyshire Record Office, Edcuation Educational Institute of Design, Craft and Crewe Music and Arts Society: records Department, County Offices, Matlock Technology, Kent branch: records 1912- incl minutes and accounts 1946-91 (D DE4 3 A G 72 (Ch98) 4627) John Biggs (1909-88), wood engraver and

13 INFORMATION

Leicestershire Record Office, 57New Walk, family papers 1896-1952 (9125) Sylvia Legge, author: literary papers rel to Leicester LEI 7JB Felicity Samuel Gallery, London: corresp the family life of Thomas Sturge Moore Leicester and Leicestershire Photographic and business papers 1971-85 (914) (1870-1944), writer and wood engraver Society records 1883-1991 (DE 3868) (ULL MS 916) Victoria and Albert Museum, Archive of Imperial War Museum, Lambeth Road, Art and Design, 23 Blythe Road, London British Architectural Library, Royal London SE1 6HZ W14 0QF Institute of British Architects, 66 Portland RJ Bailey, commercial artist: letters and Crafts Council records 1971-86 (AAD 4- Place, London WIN 4AD drawings rel to service on the Western 1991) Thomas Hardwick (addnl): sketchbooks Front, Salonika and South Russia 1914-19 (3) of topographical drawings of Rome Nelson and Edith Dawson, silversmiths 1776-77 (Acc/1991.17) Tate Gallery Archive, Millbank, London and decorative artists (addnl): designs, SW1P 4RG papers and corresp c 1904-39 (AAD 9- Stephen Wright: design for the grotto at Wells Wintemute Coates, architect: corresp 1991) Oaklands Park, 1765 (Acc/1991.8) rel to history of Unit One artists group 1933-35 (9120) Harold Felber, fashion designer: season West Midlands, Birmingham Central books for the House of Benner 1961-65, Library, Archives Division, Chamberlain CGH Dicker, painter: letters to his aunts rel and sketches c 1930-80 (AAD 13-1991) Square, Birmingham B3 3HQ to life as a student at the Slade School of West Midlands Arts: records incl minutes Fine Art 1925-29 (9119) Moira Forsyth (1905-91), and application registers 1957-89 (MS artist: designs, papers and corresp (AAD 1620) Peter Fuller, art critic and editor of Modern 10-1991) Painting: corresp and MSS cl960-90 Coventry City Record Office, Mandela (9123) Sigrid Hunt (later Roesen), fashion House, Bayley Lane, Coventry CVI 5RG illustrator and editor: drawings and papers Coventry Photographic Society: minutes, Henri Gaudier-Brzeska, sculptor: corresp 1938-71 (AAD 2-1991) attendance books and competition records with Kitty Smith 1907-15 (9115) 1944-58 (Acc 1509) Gaby Schreiber (^1991), consultant Max Gordon, architect: corresp and papers designer for industry: papers, diaries and Sandwell District Libraries, Local Studies rel to his art collection 1975-90 (9127) designs (AAD 11-1991) Centre, Smethwick Library, High Street, Smethwick, Warley B66 1AB Sir Geoffrey Alan Jellicoe, architect: Sutton Archive Section, Central Library, Sandwell Arts Council: papers 1988-90 corresp with Ben Nicholson rel to St Nicholas Wav, Sutton, Surrey SMI IE A (Acc 9111) collaboration on a landscape design project Frederick Cavendish-Pearson, architect, 1960-72 (919) Sutton: records rel to Sutton Garden Suburb Wolverhampton Borough Archives, Central c 1908-50 (Acc 107) Library, Snow Hill, Wolverhampton WV1 Eileen Mayo, painter, illustrator and writer: 3 AX records incl corresp, drawings and proof Westminster C/7v Archives, Maiylebone Anthony Twentyman (1906-88), sculptor: wood-engravings 1923-51 (916) Library, Maiylebone Road, London NW1 papers rel to art and artists incl Barbara 5PS Hepworth and John Piper (Acc 841) Charlotte Murray, collector: corresp with Christopher Wright, art historian: papers and rel to Stanley Spencer 1945-70 (9118) c 1974-90 (Acc 1628) Liverpool University, Archives Unit, PO Box 147, Liverpool L69 3BX LadyfcPeter' Norton, collector and founder Westminster City Archives, Victoria Charles John Allen (1862-1936), sculptor: member of the Institute of Contemporary Library, 160 Buckingham Palace Road, papers (D556) Arts: records incl corresp c 1950-72 (9113) London SW1W9UD William Soper & Son, enamellers and Staffordshire Record Office, County Sir William Newenham Montague Orphen, enamel painters: formula and account books Buildings, Eastgate Street, ST 16 painter: letters to Sir William McComish c 1848-1901 (Acc 1627) * 2LZ rel to his portrait 1917-28 (9126) Sir Jeffry Wyatville, architect: plans for University of London Library, Senate alterations to Teddesley Hall 1818 (D5036) Dame Ethel Sands, painter: corresp and House, Malet Street, London WC1E 7HU

14 INFORMATION

Warwickshire County Record Office, Glamorgan Record Office, County Hall, Highland Regional Archive, Inverness Priory Park, Cape Road, Warwick CV34 Cathays Park, Cardiff CF I 3NE Branch Library, Farraline Park, Inverness 4JS Contemporary Art Society for Wales: IVI INH Leamington College of Art: headmaster's minutes and exhibition catalogues 1937— Inverness Art Society records 1950-90 report book 1930^18 90 (D/D CASW) National Library of Scotland, Department West Yorkshire Archive Service, Kirklees, Gwynedd Archives Service, Caernarfon of Manuscripts, George IV Bridge, Central Library, Princess Alexandra Walk, Area Record Office, County Offices, Edinburgh EH I IEW Ruddersfield HD>/ 2SU Shirehall Street, Caernarfon LL55 1SH Aitken, Dott & Son, fine art dealers, Sykes family of Huddersfield, artists: North Wales Arts Association: files c 1960- Edinburgh: records c 1875-1955 (Acc papers c 1880-1991 (KC520) 89 10421)

Liddle Collection, Edward Boyle Library, Dumfries Archive Centre, 33 Burns Street, Edinburgh Festival Guild records 1960-80 University of Leeds, Leeds LS2 9JT Dumfries DG1 2PS (Acc 10441) Guy Maynard Liddell (1892-1958), public Walter Newall, architect: corresp, sketch• servant: World War I photograph and sketch books and drawings 1819-59 (GGD Scottish Record Office, HM General albums 130-31) Register House, Edinburgh EH I 3YY Dick-Cunyngham family, baronets, of ADVERTISEMENT Prestonfield, Midlothian (addnl): papers 1627-1917, incl corresp rel to Sir Robert Keith Dick-Cunyngham's art collecting in Italy 1844-^7 (DG1/1123)

Strathclyde Regional Archives, Mitchell Library, North Street, Glasgow G3 7DN •••••• Milngavie Art Club records 1915-84 (TD1236)

Perth and Kinross District Archive, — the system that i - _ Sandeman Library, 16 Kinnoull Street, helps you Store, Perth PHI 5ET Protect & Find Perthshire Art Association minutes your photographs 1924-84

• ARCHIVAL PROTECTION - our photo filing National Library of Ireland, Kildare Street, pages are made from polypropylene — a Dublin 2 chemically inert material that guarantees safe Edmund William Burton, father of the long term protection. painter Samuel Frederick Burton: diaries • WIDE RANGE — we offer pages to fit in either 1804-08 (Ms. 32,485) filing cabinet or ring binder for every size of transparency, negative or print, from 35mm up to A4. • EASE OF USE - with a labelled filing cabinet system you can find any slide at once — and over 14,000 slides fit in just one average filing cabinet. FREE SAMPLE PACK on request Nicholas Hunter Limited Unit 8, Oxford Business Centre, Oxford OX1 1TB Tel. 0865 727292. Fax 0865 200051

15 Executive Committee 1992-1993

Chair: Elected 1991 Freelance subcommittee: Dr Nigel Llewellyn Fran Hannah Clare Ford-Wille School of European Studies Dr Deirdre Robson 1A Bowerdean Street University of Sussex Dr Charles Saumarez Smith London Falmer SW6 3TN Brighton BN1 9QN Elected 1992 Tel: 0273 606755x2014 Robert Gibbs Artists' Papers Register Professor Toshio Watanabe Dr Rowan Watson Hon Secretary: Angela Weight Special Collections Elizabeth Miller National Art Library Prints Drawings and Paintings CHAIRS OF SUBCOMMITTEES Victoria and Albert Museum Collection London Victoria and Albert Museum Schools subcommittee: SW7 2RL South Kensington Howard Hollands London SW7 2RL 16 Canonbury Road Art Galleries and Museums Tel: 071 938 8612/8616 Enfield Subcommittee Working Party Middlesex Elizabeth Miller Hon Treasurer: EN1 5LN Charles Saumarez Smith Dr Theo Cowdell Angela Weight 47 Kenwood Park Road Students subcommittee: Sheffield Ruth Brompton 1992 Leeds Conference Conveners S7 1NE History of Art and Design Dr Jonathan Harris Tel: 0742 55409 Staffordshire University Anthony Hughes Flaxman Building Director of Publicity and College Road 1993 London Conference Administration: Stoke-on-Trent Conveners Kate Woodhead Staffordshire Professor David Bindman Dog and Partridge House Richard Humphreys Byley Polytechnics, Colleges and Cheshire Universities 1993 London Conference CW10 9NJ Joint Chairs: Administrator Tel: 0606 835517 Gillian Elinor Syliva Lahav Department of Art and Design Assistant Treasurer: Peter Crocker Polytechnic of East London Greengate House Editor of Art History: Dr Neil Greengate Street McWilliam London El3 Editor of Bulletin: Clare Pumfrey Tel: 081 590 7722

1989-92 AAH Chair, Ex-officio: Professor William Vaughan Professor Martin Kemp Department of History of Art Birkbeck College Elected/Co-opted 1990 43 Gordon Square Lesley Kerman London Liam Kelly WC1H0PD Sarat Maharaj Tel: 071 631 6127