Thanks to a 2016-17 Travel Grant from the Lewis Walpole Library (taken in April 2017) I was able to conduct crucial primary research for two monograph projects: the first, which develops research from my PhD thesis to think about the social and emotional life of the home in the late eighteenth and nineteenth centuries, and the second, my postdoctoral project, which is provisionally titled Collage before Modernism: Art, Intimacy and Identity in Britain and North America, 1700-1900. The book will be the first study to focus on the complex relationship between emotion, identity, and the production of collage during this period, and will explore how the asking how its creation reflected and constructed the interests, intimacies, and identities of its makers.
Specifically, a Lewis Walpole Library Travel Grant enabled me to conduct research for chapters for each project, which variously examine the reception and production of Strawberry Hill in scrapbooks and extra-illustrated texts made within the circle of Horace Walpole, Anne Seymour Damer, and Mary and Agnes Berry; and the familial production of commonplace books and albums in the eighteenth and nineteenth-centuries. For the first of these chapters, I consulted the notebooks, scrapbooks, and correspondence of Anne Seymour Damer, Mary Berry, Agnes Berry, and Horace Walpole, as well as a number of extra-illustrated volumes of Walpole’s A Description of the Villa of Horace Walpole. Examining these manuscript volumes and published texts not only allowed me to unpack and trace the various relationships between this social group, but also to think about how these relationships were constructed and reflected in these collaged objects. I was also able to consult a range of supporting literature, such as the ‘Astley Collection of Strawberry Hill Pieces’, and the ‘Rarities from Strawberry Hill’, which allowed me to place these volumes within a broader context of literary and material production coming from, or centring on, Strawberry Hill. Visiting the library also gave me the chance to examine the famous Beauclerk Cabinet (1783-4), a fascinating piece of furniture, which, like the extra-illustrated copies of the Description, demonstrates how the very fabric of Strawberry Hill was shaped by collaborative and creative endeavour.
For the second of the chapters, I examined the library’s collections of albums and commonplace books, focusing on those that were familially produced, or which particularly pertained to the expression of emotion. The latter included LWL MSS Vol. 18, a manuscript collection of poems, elegies, verses on the subjects of solitude, death, and the nature of humanity, whose carefully selected inclusions will allow me to consider how commonplace books’ excerpted texts reflect and construct contemporaries’ emotional lives during this period. I also looked at the Library’s recent acquisition, LWL MSS Vol. 223, a boxed series of sixty-five manuscript notecards that functions like a commonplace book, bearing several hands and thereby attesting to the communal nature of its production.
I also spent time looking at the Library’s broader collection of commonplace books and albums. which allowed me to conduct important comparative research. Some of these were particularly revealing for thinking through some of the technologies of commonplacing during this period, especially in terms of how contemporaries themselves conceived of these practices. For example, Sir Henry Edward Bunbury’s commonplace book, ‘Omnium gatherum’, comprising original verse, extracts, costume, epigrams, bon mots, traits (LWL MSS File 81), features a highly reflexive, hand-drawn title page, depicting the collector of the volume’s inclusions standing over a pile of rocks labelled with words that evoke the manuscript’s contents.
Spending time looking at these manuscripts in person was invaluable to my research, as it allowed me to explore issues of materiality, and to think about how these objects were constructed, viewed, and handled at the time that they were made. Going forward, I’ll spend time reviewing and reflecting upon the photographs and notes taken at the Library, researching the manuscripts’ various inclusions further and thinking about the volumes in relation to research conducted at other institutions, such as Yale Center for British Art. I’m hugely excited to utilise my findings as I finish my first book and continue the research into my second, and would like to thank the Lewis Walpole Library for making this research possible.
I’m thrilled to announce that from September 2017 until August 2018 I will be joining the University of Edinburgh’s Institute for Advanced Studies in the Humanities as a Postdoctoral Research Fellow. The fellowship is ten months long, but includes a two-month interruption for my fellowships at the Huntington and the Harry Ransom Center. The fellowship will allow me to conduct research for my postdoctoral research project, Collage before Modernism: Art, Intimacy and Identity in Britain and North America, 1700-1900. I’ll post more about my time at IASH as I take up the Fellowship.
I’m thrilled to have been awarded a Harry Ransom Center Short Term Research Fellowship in the Humanities to conduct research on my postdoctoral research project on collage before modernism. The Harry Ransom Center has a wealth of collections relevant to the project, including the infamous (but rather unstudied) Durenstein! Blood Book, created by John Bingley Garland in 1854 and given to his daughter shortly after. The ‘Blood Book’ is just one object I’ll be looking at during my month-long research fellowship at the Center, which I’ll be taking in 2018.
I’m thrilled to have been awarded a Huntington Library Short Term Fellowship for the 2017-2018 academic year. The award will allow me to conduct research for my postdoctoral project Collage before Modernism. The broader project will provide an unprecedented history of ‘assemblage’ produced in Britain, North America, and British India between 1700 and 1900. Employing an inclusive definition of the term, the project will examine a variety of material and literary forms of assemblage, including paper collage, shellwork, scrapbooking, and photocollage, and will explore how their production reflected the intimacies, interests, and identities of their makers.
The Fellowship will facilitate research for several aspects of the broader project, including an examination of a number of scrapbooks, commonplace books (both manuscript and published), and albums in the Library’s collections. I’ll also be looking at the correspondence of Robert Southey, Charles Lamb, and Elizabeth Montagu, and a number of grangerized books.
First up, I really enjoyed watching Dr Juliet Shields’ fortuitously timed lecture, ‘Did Sir Walter Scott Invent Scotland?’, which comes just ahead of my lectures on Scott’s legacy, visual representation, and his home of Abbotsford, which begin next week.
Secondly, I’m excited to see the National Museum of Scotland’s new free exhibition, Scottish pottery: Art and Innovation, which examines the wide range of pottery produced in the last 250 years.
I was interested to see that The John Rylands Library is hosting the event Rip It Up: A Celebration of the Counter-Culture, which includes a zine workshop. Thanks to their evocative collaged forms, zines are something that I’m becoming increasingly interested in. Due to their strong counter-cultural, extra-canonical nature, the production and consumption of zines can be a useful way to explore minority and non-heteronormative identity, something that I’d like to investigate in the future.
I’m looking forward to spending a few hours reading the latest volume of the Cahiers Victoriens et Édouardiens journal, a special issue entitled Object Lessons: The Victorians and the Material Text.
The Morgan Library’s new exhibition, I’m Nobody! Who are you? The Life and Poetry of Emily Dickinson, examines twenty-four poems as well as ‘an array of visual material, including hand-cut silhouettes, photographs and daguerreotypes, contemporary illustrations, and other items that speak to the rich intellectual and cultural environment in which Dickinson lived and worked’.
This post about the wallpaper collector Suzanne Lipschutz is full of beautiful examples of vintage wallpapers.
I enjoyed reading a number of blog posts this week, including Shane Doyle’s post for Notches Blog (which is a perennial favourite of mine) ‘Local Sexual Cultures and the Response to HIV/AIDS Along the Uganda-Tanzania Border‘, which explores the history of how HIV understood within African communities. Hailey Maxwell’s post ‘DECAPITATION IN THE “LOW” SURREALIST REVOLUTION‘ is fascinating exploration of what ‘revolution’ is.
The following workshops and conferences also caught my eye this week:
CFP: International Design Organisations (Brighton, 8-10 Nov 17)
CFP: On the Matter of Blackness in Europe: Transnational Perspectives (May 4-5, 2017)
CFP: Corporeal Materiality (Dallas, 8 Apr 17)
CFP: David B. Warren Symposium on American Material Culture and the Texas Experience
CONF: Private Collecting and Public Display (Leeds, 30-31 Mar 17)
CONF: Symbolic Articulation (London, 10 Mar 17)
CFP: Culture on the Move in Edwardian Britain (Lancaster, 8-9
CFP: The material culture of exploration and academic travel, 1700-1900
Finally, I was thrilled to see that the National Trust and National Archives are hosting the event, ‘Queer city: London club culture 1918 – 1967‘, which will re-create the interiors of The Caravan, London’s queer-friendly members club of 1934.
This week the Bodleian Library’s John Johnson Collection of printed ephemera tweeted the following question on behalf of their visiting scholar Jill Shefrin.
— John Johnson Coll (@jjcollephemera) January 24, 2017
Shefrin is currently undertaking a major research project on writing blanks, objects which are are ephemeral, yet important pieces of visual and material culture. The post received several responses, unearthing some truly beautiful examples of the genre:
— Stephen Barker (@Stephen25367746) January 24, 2017
— Sandy Rich (@MrSandyRich) January 26, 2017
This got me thinking about my own research into the ephemeral, specifically my postdoctoral project on collage and assemblage before the twentieth century. Aside from the research I’ve completed as part of the project’s pilot study (which I discuss here and here), so far I’ve mostly be concerned with finding out what collaged objects survive in what collections. This has meant many a rewarding hour trawling museum and library catalogues, and has led to some really exciting discoveries that I’m anxious to research further over the next few years.
It’s because of this richness—the huge variety of collaged objects preserved in museum collections today—that I’m convinced that many many more examples must be out there, both in museum and private collections. As the project progresses, I fully intend to follow the John Johnson Collection’s example and use Twitter, Facebook and other forms of social media to try and unearth as many examples of collage from colleagues, research institutions, and the public more broadly.
As my research on collage is inherently concerned with ideas of intimacy and identity, I’m particularly keen to learn about personal, private objects – objects that might have passed down through several generations, rich with inherited meaning, yet whose private (i.e. non-institutional) nature might mean that these stories are never heard. Accordingly, I’m becoming increasingly interested in the prospect of creating a kind of crowdsourced ‘database’ of collaged objects, where individuals can submit objects, images, stories, and reflections. The contours of such a project will obviously need further delineation, but I feel like it could make a fascinating counterpart to the more ‘academic’ aspects of this project. As ever, I’ll be posting more about my various research projects as they develop, and stay tuned for a post on ‘the book proposal’ coming asap.
First up this week, is the Victoria & Albert Museum’s exhibition Lockwood Kipling: Arts and Crafts in the Punjab and London, a fascinating exploration of the life, work and lasting impact of John Lockwood Kipling (1837 – 1911), an artist, writer, museum director, teacher, conservationist and influential figure in the Arts and Crafts movement. The exhibition includes a wide array of objects, including book plates, jewellery, furniture, photographs, and other forms of decorative art. The exhibition is complemented by the conference The Many Careers of John Lockwood Kipling (25 Feb), and runs until 2 April.
Secondly, I enjoyed Pat Thomson’s post, ‘What does a book proposal reviewer do?‘. Having recently acted as a reader for a press, while concurrently having my own book proposal under review at another, the ideas in this post are something I’ve been thinking about a lot.
I was interested to note two complementary conferences on issues of photography and materiality, the first Photo Archives VI: The Place of Photography (Oxford, 20-21 Apr 17), and the second, Photo-Objects. On the Materiality of Photographs and Photo-Archives in the Humanities and Sciences (Florence, 15-17 Feb 16). As I continue my new research on photocollage, I’m becoming increasingly concerned with the idea of photograph-as-object, something that these conferences also look to explore.
As a keen advocate of academic blogging, I read Jeanne de Montbaston’s post Why do academic blogging? with interest. I find it particularly interesting that so much of de Montbaston’s teaching and research output starts life in the blog post form. I’m keen to experiment with blogging from the early stages of my research process for my new project on collage.
I’m eager to hear more about the newly-launched Eighteenth-century Arts Education Research Network (EAERN), which recently received funding from the Royal Society of Edinburgh. The network ‘brings together an international community of researchers in music, art, literature, history, and dance to share approaches to investigate eighteenth-century arts educational materials‘.
The following conferences, seminars, and CFPs also caught my eye:
CFP: At Close Quarters: Experiencing the Domestic, c.1400-1600
CFP: Beyond Between Men: Homosociality Across Time
CFP: Imagined Forms: Models and Material Culture, UD-CMCS/Hagley; November 2017
Programme: Edinburgh’s Nineteenth-Century Research Seminars
CFP: Mapping Black Mobilities and Identities in the Long 19th Century
CFP: Harts & Minds, Vol.3, Issue 2 (2017) ‘Embodied Masculinities’
CFP: Arthur Symons at the Fin de Siècle (21 July 2017)
CFP: Beyond the Home: New Histories of Domestic Servants (Oxford, 8 September 2017)
CFP: Printmaking in America, 1800-1865 (Gloucester, 28 Oct 17)
CFP: Full Circle: The Medal in Art History (New York, 8-9 Sep 17)