Entries Tagged as 'london'

Lecturer in the History of Art (UCL, London)

JOB: Lecturer in the History of Art and Material Studies, University College of London.

The History of Art department is seeking to appoint a full-time lecturer in the History of Art and Material Studies. UCL offers a unique single honours History of Art and Material Studies degree with a strong component of lab-based/workshop orientated work for students wishing to explore issues of materiality, technique, technical analysis and object based enquiry as well as associated theoretical, historical and ethical questions. We welcome applications from people with a PhD or equivalent, as well as significant experience in some aspect of the areas described above.

Applicants from the fields of conservation (of any medium including architecture and the built environment), technical art history and material analysis, would be particularly welcome. An interest in developing lab-based/workshop orientated teaching in these areas is essential. Additional experience in collection management, curatorial practice, studio practice or cultural heritage would be an advantage.

The successful candidate would join a thriving department with close links to London’s museum and gallery networks and in a university with its own important collections. They would contribute to teaching, take on administrative responsibility, be research active and generate  research income by actively pursuing and applying for appropriate  research grants.

Salary will be on either the UCL scheme Grade 7 (£35,557 – £38,595 inclusive of LW of £2,806 per annum) or Grade 8 (£39,668 – £49,501 inclusive of LW of £2,806) depending on experience.

Applications are to be made on line. If you have any queries about the application procedure, please contact Jessica Dain.

Application deadline: 6 February 2012. Interviews will be held on 12 March in London at the UCL History of Art Department.

Source: H-ArtHist

Leonardo da Vinci Painter at the Court of Milan

EXHIBITION: Leonardo da Vinci: Painter at the Court of Milan, London, The National Gallery, 9 November 2011 – 5 February 2012. Organized by Luke Syson.

Leonardo da Vinci: Painter at the Court of Milan is the most complete display of Leonardo’s rare surviving paintings ever held. This unprecedented exhibition – the first of its kind anywhere in the world – brings together sensational international loans never before seen in the UK.

While numerous exhibitions have looked at Leonardo da Vinci as an inventor, scientist or draughtsman, this is the first to be dedicated to his aims and techniques as a painter. Inspired by the recently restored National Gallery painting, The Virgin of the Rocks, this exhibition focuses on Leonardo as an artist. In particular it concentrates on the work he produced as court painter to Duke Lodovico Sforza in Milan in the late 1480s and 1490s.

As a painter, Leonardo aimed to convince viewers of the reality of what they were seeing while still aspiring to create ideals of beauty – particularly in his exquisite portraits – and, in his religious works, to convey a sense of awe-inspiring mystery.

Featuring the finest paintings and drawings by Leonardo and his followers, the exhibition examines Leonardo’s pursuit for perfection in his representation of the human form.  Works on display include  La Belle Ferronière (Musée du Louvre, Paris), the Madonna Litta (Hermitage, Saint Petersburg) and  Saint Jerome (Pinacoteca Vaticana, Rome).

The two versions of Leonardo’s Virgin of the Rocks – belonging to the National Gallery and the Louvre – will also be shown together for the first time. Find out more about the two paintings.

The final part of the exhibition features a near-contemporary, full-scale copy of Leonardo’s famous Last Supper, on loan from the Royal Academy. Seen alongside all the surviving preparatory drawings made by Leonardo for the Last Supper, visitors will discover how such a large-scale painting was designed and executed.

An audio guide for Leonardo da Vinci: Painter at the Court of Milan will be available from exhibition ticket desks. A free exhibition guide will be available to visitors, which provides an overview of the exhibition and includes labels of all the paintings on display.

The exhibition has been reviewed by CHARLES ROBERTSON, The Burlington Magazine, volume CLIV, number 1307, February 2012, pp. 132 and 133.

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Christie’s: London, 23 November 2011

AUCTION: Valuable Printed Books and Manuscripts. Christie’s (8 King Street, St Jame’s, London), 23 November 2011.

The following entries are of particular interest:

Lot 2
ASCENSION OF CHRIST, historiated initial P on a leaf from an Antiphonal, in Latin, ILLUMINATED MANUSCRIPT ON VELLUM
Estimate £7,000 – £10,000 ($10,962 – $15,660)
[Arezzo, c.1280-1300]

505 x 325mm. The initial containing the half-length figure of Christ clad in rich robes of blue and green, his right hand raised in blessing, framed by a mandorla and borne by two angels, below him five apostles, their heads and left hands raised to the skies in adoration; eight lines written in black ink in a gothic bookhand below eight lines of music of square notation on a four-line stave of red, rubrics in red, a single one-line flourished initial on the recto and three on the verso (some marginal browning and staining, ink on recto slightly faded).

This leaf came from the Temporal section of an Antiphonal where the initial opened the Responsory ‘Post passionem suam per dies quadraginta’ from matins for the feast of the Ascension. The rich, colourful palette and the style of composition, with the foliage extensions and the delicate, mournful expressions of the figures, are characteristic of contemporary central Italian manuscript illumination. It can be associated with four other leaves, identical in style, decoration and measurement, which Carl Nordenfalk and subsequently Roberta Passalacqua ascribed to central Italy, possibly Arezzo, during the late thirteenth century. It is likely that all of these were taken from the same Antiphonal or series of Antiphonals: an initial V with the Assumption previously in the Lehman collection (Pia Palladino, Treasures of a Lost Art, 2003, no 1); an initial A with the Three Marys at the Tomb in the National Gallery of Art, Washington (B-18, 760); an initial H with the Nativity in the Cini Collection, Venice (Coll. Hoepli min.x, Cod A, Antiphonarium); and an initial I with a monk holding an aspergillum in the Free Library, Philadelphia (Lewis EM 68:1).

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Devotion by Design (exhibition)

EXHIBITION: Devotion by Design: Italian Altarpieces before 1500, London, The National Gallery (Sainsbury Wing), 6 July – 2 October 2011. Admission free. Catalogue by Scott Nethersole.

As part of a programme of summer shows focusing on the National Gallery’s collection, Devotion by Design explores the function, the original location, and the development of altarpieces in Italy during the late Middle Ages and the early Renaissance.

These objects furnished altars in churches and were not originally intended to hang in a gallery as we see them today. Instead, they were created for a specific sacred context, forming the focus of devotion for worshippers.

Using the Gallery’s own collection, this exhibition investigates the development of altarpieces, looking at changes in form, style and type. It examines not only the evolution of their physical structure but also their relationship to their frames and to the monumental architecture that surrounded them.

A small section of Devotion by Design will be dedicated to altarpiece fragments, explaining the role different elements of altarpieces played in the overall ensemble. The exhibition examines the reasons why altarpieces came to be dismembered (often with the dissolution of religious institutions in the 18th and 19th centuries) and the methods that art historians now use to reassemble them.

Devotion by Design showcases altarpieces by well-known artists such as Piero della Francesca, but includes many which are less familiar. It revisits works in the National Gallery Collection in a fresh and innovative light, drawing on the wealth of scholarship undertaken in this field in recent years.

The exhibition has been reviewed by PETER HUMPHREY in The Burlington Magazine, vol. CLIII, n. 1303, October 2011, pp. 684-685.

Learn more about the exhibition

Permanent Job at the Wallace Collection

JOB: Curator of Old Masters Pictures, Permanent Position, Wallace Collection, London, UK, c. £31,000 to £37,000.

As part of a small curatorial team reporting to the Collections and Academic Director, the Curator of Old Masters Pictures will be responsible for the care of the Wallace Collection’s pictures up to 1800, including paintings, drawings and watercolours and miniatures.

The role: The post holder will be required to undertake research into their area of the collection and to develop the Wallace Collection’s reputation as a centre for excellence and scholarship, helping to promote understanding and enjoyment of this Collection and fostering and encouraging the study of Old Master paintings and French 18th-century collecting, arts and culture.  The post holder will also be expected to help the Director and the Collections and Academic Director to promote the Wallace Collection’s international status as a great museum and centre for the study of eighteenth-century paintings and decorative arts.

The person: The Curator of Old Masters Pictures will need to have a demonstrable record in the study of paintings with a specialization in one of the strong areas of the Collection.  The post-holder will need in particular to have:

– A Ph.D. or an equivalent publication and research record
– An excellent knowledge and understanding of paintings
– A publication record and a love of research
– Excellent written and spoken communications skills
– Fluency in spoken and written English.
– Good knowledge of written and spoken French
– Good knowledge of at least another major European language
– Lecturing experience
– Ability to work as a member of a small team
– The ability to network nationally and internationally
– A conscientious and meticulous approach towards record-keeping.

Other desirable qualities:
– Flexibility
– Ability to learn quickly on the job
– Cheerful and positive approach to life.

For full details of the post and an application form please e-mail your name and address to personnel@wallacecollection.org or write to the Personnel Manager, The Wallace Collection, Hertford House, Manchester Square, London W1U 3BN.

Application deadline: 12 August 2011.

Visit the Wallace collection’s website.

Andrea del Verrocchio’s First Surviving Painting

LUKE SYSON and JILL DUNKERTON, ‘Andrea del Verrocchio’s first surviving panel painting and other early works’, in The Burlington Magazine, volume CLIII, number 1299, June 2011, pp. 368-378.

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Christie’s: London, 6 July 2011

AUCTION – The Arcana Collection: Exceptional Illuminated Manuscripts, Part III, Christie’s (8 King Street, St Jame’s, London) Wednesday, 6 July 2011.

Scintillating, colourful, richly embellished illuminated manuscripts are meticulously crafted works of art treasured by bibliophiles, connoisseurs of Old Master drawings, prints and jewelry alike. The 6 July sale allows collectors of books, manuscripts and other forms of art to discover the universal appeal of these lovely creations, and admire every line and detail – from the luminous colours to the exquisite modelling, the distinguished provenance of each piece, and ultimately, the inherent beauty in these wonderful pieces of art.

The following entries are of particular interest:

Lot 2
ST BARBARA, miniature by the MASTER OF MONZA, on a cutting from a Lives of the Saints, in Latin, ILLUMINATED MANUSCRIPT ON VELLUM [Lombardy, c.1280-85] 79 x 60mm. The saint shown holding a palm of martyrdom standing beside a tower, with an accompanying initial ‘B’, fragment of text and rubric above. Remnants of seven lines of fragmentary text in a gothic bookhand on verso (slight fading of pigment to top of tower). Card mount.

Lot 3
BISHOP SAINT, probably ST BONIFACE, miniature by the MASTER OF MONZA on a cutting from a Lives of the Saints, in Latin, ILLUMINATED MANUSCRIPT ON VELLUM [Lombardy, c.1280-85] 72 x 62mm. The saint holding a crozier and standing before a tower, with an accompanying initial ‘B’. Remnants of seven lines of fragmentary text in a gothic hand on verso (slight losses of pigment to green garment and white crozier). Card mount. The text on the reverse comes from a passage early on in the life of St Erasmus (‘Post hac iubente [angelo ad civ]itatem suam rediit’, CLXXXVIII, 5) in Bartholomew of Trent’s Liber epilogorum; this miniature, bearing the initial ‘B’, must therefore have been intended to illustrate the following life, that of St Boniface.

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The London Rare Books School, 2011

COURSES: , The London Rare Books School (LRBS), Summer School 2011. Week 1: 27 June – 1 July; Week 2: 4 July – 8 July. Course Director: Professor Simon Eliot.

In 2011, the Institute of English Studies in the University of London will run the London Rare Books School (LRBS), a series of five-day, intensive courses on a variety of book-related subjects to be taught in and around Senate House, which is the centre of the University of London’s federal system. The courses will be taught by internationally renowned scholars associated with the Institute’s Centre for Manuscript and Print Studies, using the unrivalled library and museum resources of London, including the British Library, the British Museum, the Victoria and Albert Museum, the University of London Research Library Services, and many more. All courses will stress the materiality of the book so you can expect to have close encounters with remarkable books and other artefacts from some of the world’s greatest collections.

Each course on offer will consist of thirteen seminars, amounting in all to twenty hours of teaching time spread between Monday afternoon and Friday afternoon. It is thereofore only possible to take one course per week. There will be timetabled ‘library time’ that will allow students to explore the rich resources of the University’s Senate House Library, one of the UK’s major research libraries. There will also be an evening programme with an opening reception and talk, a  book history lecture, and receptions hosted by major London antiquarian booksellers.

Each class will be restricted to a maximum of twelve students in order to ensure that everyone has plenty of opportunity to talk to the teachers and to get very close to the books.

The courses planned are:

Week 1: 27 June – 1 July
1. The Book in the Ancient World
Course tutors: Dr Irving Finkel, Dr Matthew Nicholls, Dr Marigold Norbye, Dr. Kathryn E. Piquette and Alan Cole, Curator of the Museum of Writing
2. Children’s Books, 1450-1980
Course tutor: Jill Shefrin
3. European Bookbinding
Course tutor: Professor Nicholas Pickwoad
4. A History of Maps and Mapping
Course tutors: Dr Catherine Delano-Smith and Sarah Tyacke
5. An Introduction to Bibliography
Course tutor: Professor Anthony Edwards
6. The Medieval Book
Course tutor: Professor Michelle Brown
7. The Printed Book in Europe: 1450-2000
Course tutor: Professor John Feather.

Week 2: 4 – 8 July
1. The Anglo-Saxon and Carolingian Book, c.600-1050
Course tutors: Course Tutors: Professor Michelle Brown, Professor David Ganz, Professor Jane Roberts.
2. An Introduction to Illustration and its Technologies
Course tutors: Dr Rowan Watson and Paul Goldman. Some classes will be taken by invited experts
3. Modern First Editions; Dealing, Collecting and the Market
Course tutor: Mr Laurence Worms (Ash Rare Books)
4. Modern Literary Manuscripts
Course tutor: Dr Wim Van Mierlo
5. Reading, Writing and Sending Texts 1400-1919
Course tutors: Professor John Barnard, Alan Cole, Professor Simon Eliot and Professor Iain Stevenson
6. The History and Practice of Hand Press Printing 1450-1830
Course tutor: Nigel Roche.

Learn more and apply

The London Palaeography Summer School, 2011

COURSES: The London Palaeography Summer School, 20-24 June 2011. Course director: Professor Michelle Brown; Academic Coordinator: Dr Marigold Norbye.

The London Palaeography Summer School is a series of intensive courses in Palaeography and Diplomatic. Courses range from a half to two days duration and are given by experts in their respective fields from a wide range of institutions. Subject areas include Latin palaeography, Medieaval music notation, pigments, German palaeography, Papal diplomatic, illuminated manuscripts and Books of Hours.

The Summer School is hosted by the Centre for Manuscript and Print Studies (School of Advanced Study, Institute of English Studies, University of London) with the co-operation of the British Library, the Calligraphy and Lettering Arts Society, the Institute of Historical Research, Senate House Library, the Warburg Institute, University College, King’s College London and the Victoria and Albert Museum. Most classes will take place in seminar rooms located in Senate House (Malet Street, London, WC1E 7HU). One of the courses will take place in the Victoria and Albert Museum.

The School of Advanced Study does not have its own halls of residence.

Monday 20 June
* A History of Latin scripts
Dr James Willoughby (New College, Oxford)
* Textual Edition I: Latin
Miss Carlotta Dionisotti (KCL)
Half-day (morning). It is possible to take this as part of a full-day course on Textual edition, or as a half-day course.
* Textual Edition II: vernacular
Prof. Anthony Edwards (De Montfort University)
Half-day (afternoon). It is possible to take this as part of a full-day course on Textual Edition, or as a half-day course.
* Medieval and Tudor Sources for English Local History
Dr Nigel Ramsay (UCL)
Full day
* An Introduction to Ottoman Palaeography and Epigraphy
Dr Georgios C. Liakopoulos (University of Athens)
Full day.

Tuesday 21 June
* Reading and interpretation of vernacular documents and records, 1500-1750
Miss Elizabeth Danbury (UCL)
Half-day (morning)
* An Introduction to Greek Palaeography
Dr Charalambos Dendrinos (Royal Holloway, University of London)
Full day
* Introduction to the Practices of Describing and Cataloguing Western Medieval Manuscripts
Dr Hanna Vorholt (Warburg Institute)
Half day course (morning)
* Tools and materials of mediaeval craft manuscript makers
Ms Patricia Lovett (Calligraphy and Lettering Arts Society)
Half day (afternoon)
* Liturgical and Devotional Manuscripts I
Dr Jenny Stratford (IHR) and Dr Rowan Watson (V&A)
One or two-day course. It is possible to take day one only of this course
A display of medieval writing materials, presented by Alan Cole, Chair of the Museum of Writing, will be exhibited during the lunch breaks on Tuesday 21 June and Thursday 23 June, and is open to all participants of the Summer School.

Wednesday 22 June
* English Palaeography
Dr Debby Banham (Birkbeck and Cambridge)
Full day. It is possible to take this as a half-day course on Anglo-Saxon Palaeography (morning) or Middle English Palaeography (afternoon).
* Identifying the Provenance of Medieval MSS I: An Introduction to Using Medieval and Early Modern Evidence
Mr Peter Kidd
Half day (morning). It is possible to take this as part of a full-day course on Identifying the Provenance, or as a half-day course.
* Identifying the Provenance of Medieval MSS II: An Introduction to Using Printed Catalogues
Mr Peter Kidd
Half day (afternoon). It is possible to take this as part of a full-day course on Identifying the Provenance, or as a half-day course.
* Liturgical and Devotional Manuscripts II
Dr Jenny Stratford (IHR) and Dr Rowan Watson (V&A). Day two of two-day course.
Day two is normally available only for those who have taken day one.

Thursday 23 June
* Quills and Calligraphy (a practical course)
Ms Patricia Lovett (Calligraphy and Lettering Arts Society).
Full day (including practical skills)
* Introduction to Latin Palaeography
Dr Marigold Norbye (UCL)
Full day
* Reading and Writing Medieval Manuscripts: folio layouts in context
Dr Anna Somfai (Central European University)
Full day.
A display of medieval writing materials, presented by Alan Cole, Chair of the Museum of Writing, will be exhibited during the lunch breaks on Tuesday 21 June and Thursday 23 June, and is open to all participants of the Summer School.

Friday 24 June
* Entering Sacred Text: Prefatory images in Insular, Carolingian, Anglo-Saxon and Ottonian Bible manuscripts
Dr Carol Farr
Full day.
* German Palaeography
Dr Dorothea McEwan (Warburg Institute) and Dr Claudia Wedepohl (Warburg Institute)
Full day
* Intermediate Latin Palaeography
Dr Marigold Norbye (UCL)
Full day.

Click here for further details and the application form

Christie’s: London, 8 June 2011

AUCTION: Valuable Books and Manuscripts, Christie’s (8 King Street, St. Jame’s, London), 8 June 2011, 2:30 PM, 81 lots.

The following entries are of particular interest:

Lot 2
ST JEROME IN THE DESERT, full-page miniature on a leaf from a prayerbook in Latin, ILLUMINATED MANUSCRIPT ON VELLUM [northern Italy, third quarter 15th century]150 x 120mm. The saint shown kneeling and looking up at an apparition of the Crucifix; verso with 13-line suffrage to St Sebastian in a gothic bookhand, a two-line illuminated initial with gold sprays (the white or silver of the sea oxidized, small hole to lower left corner, upper left edge with a small rust-stained loss). Window-mounted, framed and glazed, etc. …

Lot 3
SAINT JAMES AND SAINT JOHN THE EVANGELIST, two cuttings from an ILLUMINATED CHOIRBOOK ON VELLUM [Lombardy, c.1470-80]89 x 68mm and 90 x 71mm. Both the Evangelist, reading his Gospel, and St James, holding a pilgrim’s staff and book, are shown standing before a pink wall on a marble ground, with trees and a starry sky beyond, traces of initial staves at the upper edges; versos with remains of text and music of square notation (each with small pinhole at upper corner and remnants of glue at upper edge, the latter affecting James’s halo and surrounding sky). Each window-mounted, framed and glazed, etc. ….

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June Seminars at the Warburg Institute

Three Seminars in June at the Warburg Institute (Woburn Square, London WC1H). All Seminars start at 4.30 p.m. in the Lecture Room. Admission free.

6 June: LISA MONNAS, Angels and Theatrical Dress in Fifteenth-century Florentine Painting, with Particular Reference to Verrocchio

13 June: DONAL COOPER, Blood in the Frari: Art, Ritual and Empire in Renaissance Venice

20 June: CHIARA FRANCESCHINI, Children’s Games in the Renaissance.

Visit the website of the Warbug Insititute

Full-time Scholarship at the Courtauld Institute

The Courtauld Institute of Art (Somerset House, Strand, London) and the Marie-Louise von Motesiczky Charitable Trust are pleased to announce a new PhD scholarship for full-time study.

Eligibility: The scholarship will be open to a student studying for a PhD on the subject of women artists (or a single woman artist) of any period in art history. Candidates from any country are eligible and we will accept applications from PhD candidates newly applying for places this June (2011).

Scholarship amount: The scholarship will be the sum of £28,890 per annum to cover the living costs and tuition fees for an overseas student, or the sum of £19,400 per annum to cover the living costs and tuition fees for a UK/EU student.

Scholarship period: Three academic years for a student starting a research degree in the academic year 2011/12 (Students whose PhDs are in progress at The Courtauld are also eligible to apply for this award for one or two years dependent on the year in which they commenced their PhD).

Award: The Marie-Louise von Motesiczky Charitable Trust Scholarship(s) will be awarded by The Courtauld Scholarship Committee on academic merit, with consideration given to the financial circumstances of the student.

Application deadline: 5 June 2011.

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