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This Report covers the period of August 2003 to July 2004: a far from typical year for the Museum. Attendance figures of 116,418 are misleading; more than 40,000 of those visitors were recorded in one month, July, when the Museum re-opened upon completion of the Courtyard Development. For the first five months, only the Founder's Building was open to the public and then for the next five months, January to May 2004, all of the galleries were closed. On 1 June while work continued on the re-installation of many of the galleries, the main entrance opened, together with the new entrance leading into the Armoury and the Courtyard. Finally, on the evening of 5 July more than a thousand people joined our Chairman and Liz Forgan, Chairman of the Heritage Lottery Fund (HLF), to celebrate the re-launch and to preview Lasting Impressions: Collecting French Impressionism for Cambridge, the exhibition organized by Jane Munro, Senior Assistant Keeper in the Department of Paintings, Drawings and Prints, to initiate the new Mellon Gallery for temporary exhibitions. Like the building itself, this attracted widespread acclaim and received 53,066 visitors before it closed in September. Reactions to the Courtyard and to the improvements it has introduced throughout the Museum, including the re-lighting of the first-floor galleries, have been invariably positive. We are grateful to our architects, John Miller and Partners, whose ingenious and elegant scheme has added almost three thousand square metres of new and renovated space within the existing buildings.
In October, three senior officers were appointed as Assistant Directors to head each of the three Divisions which were introduced as part of a comprehensive staff re-structuring, Margaret Greeves (Central Services), Ian McClure (Conservation), and David Scrase (Collections). Julia Poole was Acting Keeper of Applied Arts following the retirement of Robin Crighton, until 1 April, from which date she was appointed as Keeper. In December, Jacqueline Hay was appointed Administrative Officer (Finance), a new post funded by the Museums, Libraries, and Archives Council (MLA) under the 'Renaissance in the Regions' initiative. Three members of staff were promoted during the year: Stella Panayotova from Assistant Keeper to Keeper, Department of Manuscripts and Printed Books; Martin Allen, formerly a technician in the Department of Coins and Medals, to Assistant Keeper in that Department; and Elizabeth Fielden, Library Assistant, competed successfully for the new post of Assistant Keeper (Librarian). Julian Baker was appointed from 1 March to a post funded through the Portable Antiquities Service, shared with the Ashmolean Museum in Oxford, of Finds Adviser of Medieval and Post-Medieval Coins. In July, James Lin was appointed Assistant Keeper in the Department of Applied Arts, with effect from 1 September. By then, and in time for the re-opening of the Museum, the number of both full-time and part-time attendants was increased and appointments were made to new Assistant staff posts in Education and Security.
In the year under review, we were obliged to cover a shortfall of £140,000, or 6.5% of running costs from reserves. Partial closure reduced income from Fitzwilliam Museum Enterprises and visitors' contributions to a mere 3% of expenditure, and although the Museum was successful in attracting grants and donations in excess of £1 million, most of that income was project-related. Funding from the Arts and Humanities Research Board (AHRB) amounted to £980,000, which covered 46% of running costs. The Chest contributed £467,000 (22%), and interest on investments provided a further £291,000 (13%). By next year we expect the financial position of the Museum to be more stable although we are anticipating a further though smaller deficit which will be an additional charge upon our reserves.
In addition to covering the cost of the Finance Officer's post, 'Renaissance in the Regions' enabled us to build the capacity of our Education Service, and we are grateful for the guarantee of funding for both heads of expenditure until 2006. In the spring, the MLA also confirmed a further grant of £108,637 under the Designation Challenge Fund. This is to enable work to continue on documentation to 2006. Among the research grants we received during the year, two made by the AHRB deserve particular mention. The first is to the Cambridge Illuminations project under the direction of Dr Paul Binski, Professor Nigel Morgan, and Dr Stella Panayotova, which provides £306,360 during the period from October 2003 to September 2006 to employ two research associates and one research assistant to work on the catalogue of all western medieval illuminated manuscripts in Cambridge. The second, announced in March, provides the Department of Coins and Medals with £286,924 over five years to cover the costs of employing a research associate and of bringing scholars to Cambridge from overseas to work on the Medieval Coinage project.
We are indebted to the National Endowment for Science, Technology, and the Arts for grants totalling £93,530 towards the development of Learning on the Move and for the provision of a wireless network, server, and tags to deliver information electronically to visitors in the galleries. To this Toshiba added the gift of the first fifteen hand-held computers, or e-guides, to enable the pilot scheme to be launched at the time of the re-opening.
We are particularly grateful to both the City of Cambridge and Cambridgeshire County Council for their continued support. In addition to meeting the cost of running the Development Office, the Fitzwilliam Museum Trust also paid for Phillips Profile to act as Marketing Consultants for the re-launching of the Museum. The Friends of the Fitzwilliam not only contributed to acquisitions, they also raised funds for label holders in the galleries and new postcards, and contributed to the cost of four large terracotta plant pots for the Courtyard and of furniture for the Friends' Room.
The Department of Antiquities acknowledges the support of the Costakis and Leto Severis Foundation, the Worshipful Company of Grocers, and the Tomasso Brothers. From the HLF, the Garfield Weston Foundation and the DCMS/Wolfson Museums and Galleries Improvement Fund the Museum has received more than £900,000 towards the cost of renovating and re-installing the new Egyptian galleries. The Department of Coins and Medals continues to benefit from the generosity of the Honorary Keeper, Professor Grierson, the former Keeper, Professor Buttrey, and a large number of supporters among whom Mr Christopher Jeeps deserves particular mention. The Department of Manuscripts and Printed Books acknowledges the continuous support of Professor James Marrow, Honorary Keeper, and Dr Emily Rose Marrow, and the generosity of Mr Mel Seiden, the late Mrs Mary Willis Parry and her executors, and the East of England Museums Libraries and Archives Council.
We acknowledge gratefully the allocation to the Museum of the bronze sculpture of Comedy and Tragedy by Sir Alfred Gilbert (1854-1934), following its acceptance by HM Government in lieu of inheritance tax on the estate of the late Mrs Davey. Among bequests received during the year, two were of particular significance. From the estate of the late Bryan Robertson we were offered an interesting group of works by artists he admired and actively promoted during his lifetime, including Prunella Clough, John Hoyland, Paul Huxley, Phillip King, Edward Middleditch, and Gary Wragg. Through the good offices of Dr McKitterick, acting as Executor of the late John Dreyfus, we received many hundreds of books, among them illustrated editions and private press books as well as books on typography, to which Mrs Pavloff and Mrs Redigolo, daughters of Mr Dreyfus, kindly added as a gift in memory of their father a drawing of Corfe Castle, dated 1930, by Barnett Freedman. We were also pleased to receive as a bequest a particularly appealing portrait miniature of a young man by Jacob Spornberg (1768-1840) from the late Mrs E. M. L. Turner, Rubens's Study for 'The Campaign against Lisinius' from the late B. C. R. Nicholl, and two watercolours from John Cornforth.
Gifts received during the year ranged from a fragment of an Egyptian wooden anthropoid coffin datable to the twenty-first dynasty, c. 1000 BC, given by Mrs Anne Peers, to contemporary glass and ceramics reflecting both the eclectic taste and the generosity of Sir Nicholas and Lady Goodison. We are grateful to Mrs Barley Davies for a mahogany corner cabinet designed by Sidney Barnsley (1863-1926) given in memory of her mother Dr Janet Roscoe (née Gimson). Once again Professors Grierson and Buttrey took the lead among donors to the Department of Coins and Medals, followed by Mr Chick, Mr Jeeps, and Mr and Mrs Marcus Phillips. The Honorary Keeper of Portrait Miniatures, Mr Graham Reynolds, presented the Royal Academy prize medal designed by Thomas Pingo that was awarded to the painter C. R. Leslie in 1814, and Dr Tuukka Talvio gave two recent medals from Finland. We were also pleased to receive from Paul and Bente Withers of Galata Coins the gift of the Rogers Collection of Toy Money comprising some 2,000 items from the nineteenth and twentieth centuries replicating coins, tokens, counters, and banknotes in metal, ivory, wood, rubber, plastic, cardboard, and paper. Professor and Dr Henderson compounded their gift of an eighth-century silver penny of Aldfrith of Northumbria (CM2172-1997) by presenting the drawing of it by Anne Gyrite Schütt which Professor Henderson commissioned as a frontispiece for his book, Vision and Image in Early Christian England (Cambridge, 1999).
We are fortunate to have a number of donors whose names appear regularly in our acknowledgements. They include Sir Ivor and Lady Batchelor who gave drawings by Sir Edwin Landseer (1802-1873), Ford Madox Brown (1821-1893), William Henry Hunt (1790-1864), Thomas Rowlandson (1756-1827), and George Belcher (1875-1947) as well as a nineteenth-century glass vase painted in enamels, possibly Bohemian. Likewise Michael Jaye gave two watercolours in memory of Mrs Angela Crookenden by Andrew Wilson (1780-1848), a pencil drawing by James Ward (1769-1859), one in chalk by Honoré Daumier (1808-1879), a small oil on card by David Cox (1783-1859), and a group of twenty-three drawings by Eyre Crowe (1824-1910). As usual his gifts came to us through Cambridge in America, as did the contribution towards the purchase of the drawing by Fra Angelico from Mark Fisch and his gift of a drawing by Girolamo da Carpi. So too did those of our Honorary Keepers of American Prints, Dave and Reba Williams, who presented a further fifty-three prints to the collection they have built up for us almost single-handedly. Sir Alan Bowness gave a drawing by Frank Dobson (1888-1963) in addition to printed works in various media by Terry Frost (1915-2003), David Hockney (b. 1937), Wolfgang Schulze Wols (1913-1951) and Peter de Francia (b. 1921). Finally it is important to record the generosity of several members of staff, including Martin Allen, Stella Panayotova, and David Scrase.
To Jak Katalan, through Cambridge in America, we are indebted for Three studies of a woman by Henri-Felix Philippoteaux (1815-1884), and to Christopher Mendez for the etching of St Jerome in the Wilderness by a follower of Guido Reni (1572-1642). Marianne and Paul Joannides presented The Prize, a lithograph by Keith McIntyre (b. 1959), in memory of Sylvia Stevenson, and likewise John Lishawa gave a Portrait of a lady in oils on paper by George Augustus Wallis (1761-1841), in memory of his late wife, Kate Lishawa. The artist Peri Schwartz (b. 1951) presented one of his monotypes, 'Que viene el Coco' from Goya 1977, and Peter Coker (1926-2004) added two further lithographs associated with his Parisian Suite of 2002. We note with sadness his recent death and take this opportunity to record our gratitude for the gifts he made to the museum over many years.
Gifts from the Friends of the Fitzwilliam were as various and plentiful as ever, ranging from medieval coins to contemporary art. Their funds enabled us to acquire among other rarities the silver seal matrix of Helena, Prioress of St Radegund's Priory, Cambridge, 1284-99, two pieces of Vietnamese pottery (late fifteenth to early sixteenth century), and a spectacular double-sided Pectoral Cross in silver, set with opal, chalcedony, amethyst, and sapphire, enamelled on the verso, by Sybil Dunlop and Henry de Koningh, c. 1930. In October they gave a rare print of the actor Ichikawa Kodanji IV as the ghost of Asakura Tÿgo by Kuniyoshi and in January four prints from Yoshitoshi's Thirty-two aspects of customs and manners published in 1888. Notable among their twentieth-century acquisitions are the bronze Cockerell of 1955 by Bernard Meadows, and Prunella Clough's watercolour of Shoreline Defences painted c. 1941-42. Contemporary purchases made with Friends' funds include Claire Curneen's Blue Series Lady of 2002 in transfer-printed porcelain and Hughie O'Donoghue's set of seven carborundum colour prints, Postcard from Milan, 2003. We offer special thanks to Charles Booth-Clibborn who gave three prints by Damien Hirst (b. 1965) in celebration of the opening of the Courtyard, Omelette from The Last Supper series of thirteen screenprints published in 1999 and two etchings printed in colour from multiple plates, I get around and Lavender Baby from the portfolio In the Spin, published in 2002. Finally, we record our gratitude to the Master and Fellows of Jesus College, Cambridge, for giving to the Museum an album containing seventy-two Japanese prints from the period 1840-70.
For purchases, we were as indebted as usual to the National Art Collections Fund and the Purchase Grant Fund administered on behalf of Resource/MLA by the Victoria and Albert Museum. In October, the Purchase Grant Fund shared with us the cost of a basalt herm bearing a portrait of the Pharaoh Ptolemy XV (Caesarion). On several occasions acquisitions were supported by both Funds; each contributed towards the cost of purchasing Frédéric Bazille's study in chalks of a Black woman with peonies, fifteen Anglo-Saxon silver coins of King Offa of Mercia, and a remarkable fifteenth-century alabaster relief of the Head of John the Baptist on a Salver which came, in all probability, from Nottingham. In addition the NACF made grants towards the purchase of a bronze culverin, or small cannon, signed by Pollonio di Niccolo of Perugia and dated 1533, a drawing of The dead Christ attributed to Fra Angelico, and one of a standing figure of a saint by Bandini, and a set of three stage proofs of Picasso's etching of Sueño y Mentira de Franco (Dreams and Lies of Franco) of 1937. In each of these cases, the Museum was able to meet a proportion of the cost from one or more of its restricted trust funds for acquisitions. Often yielding only modest sums as income, these are nonetheless invaluable in providing the seed corn for major acquisitions which in turn attracts significant amounts of external funding.
After lending numerous works to museums, galleries, and historic properties open to the public during the Museum's partial closure, we are in the process of recalling them. On the other hand we continue to lend to Colleges and University Departments with suitably secure premises paintings from the reserves for which we have no immediate plans for display. And although building works restricted the Museum's ability to service loans to temporary exhibitions, we were able to accede to a number of important requests. In all some 144 objects travelled to some 44 destinations, world-wide.
We are grateful to the Trustees of the Henry Moore Foundation for lending the large Reclining figure in fibreglass which occupies the lawn in front of the Marlay galleries so effectively. Its arrival was timed to coincide with the re-opening of the museum in July. We were also pleased to display for six months five paintings by Sir Anthony van Dyck belonging to the Trustees of the Rt. Hon. Olive, Countess Fitzwilliam's Chattels Settlement of 1966. A number of lenders prefer, for obvious reasons, to remain anonymous, but that does not prevent us from thanking the owners of the second-century AD relief from Hadrian's villa, Tivoli, of the longcase clock by William Withers, London, c. 1770-80, and of the pair of English rococo carved and gilt mirrors, c. 1760.
We reported last year that the Fitzwilliam Museum, on behalf of the museums of the University of Cambridge, has become one of four 'hub' museums in the East of England as part of 'Renaissance in the Regions', a national programme which attracts government funding for regional museums. The Museum has used this extra support to reinforce its central and curatorial services, to improve displays, to promote access to knowledge and information, to extend the range of our audiences, and to increase the number of school-age children who visit the Museum. In due course, our education programmes will assist non-hub museums, and, as and when additional funding is made available, we will be in a position to offer conservation and curatorial services across the region.
In April, the East of England Museums, Libraries and Archives Council (EEMLAC) was formed to bring the three sectors together and, by so doing, to reflect regionally their organization at a national level under MLA. The hub museums have worked with EEMLAC to develop complementary plans for museum education and outreach. Together they have produced a learning strategy and have published a manifesto Sparking Inspiration, which is designed to promote partnerships between museums and the education sector.
We are grateful in particular to the Assistant Director, Margaret Greeves, and to the Head of Education, Frances Sword, who have taken the lead in working with our regional partners throughout the year. They have found that working with hub colleagues has been both challenging and rewarding.
During the first half of the year the Education Department offered a full programme of activities for schools and adult learners. Art in Context, the weekly series of lunch-time gallery talks given by members of the curatorial staff, continued to attract large numbers of visitors, while Art Speak catered for those who prefer less formal and more conversational encounters with works of art. While the Museum was closed, Frances Sword and her colleagues not only prepared for the re-opening in the summer, they also laid ambitious plans to extend their offerings, within the Museum and beyond. For schools, they devised a new range of gallery teaching sessions, a new range of written resources for teachers and pupils which has been made available on the website and new publicity materials. Working with our hub partners they developed two programmes, Wordscapes and Transformers. The first of these two-year projects aims to encourage museum educators across the Eastern Region to use their collections to stimulate creative writing by school-aged pupils, while the second explores the physics of colour and light within the context of religious beliefs. We are particularly pleased that Transformers has been accepted as a research project by the Faculty of Education. In planning new courses for adults, the Education Department were mindful of the far greater flexibility provided by the new classroom and studio in the Courtyard building, while a grant of £5,000 from South Cambridgeshire District Council enabled them to design and produce Fitz Kits, plastic boxes which contain sets of six 'family-friendly' activities. The success of all of these initiatives was plainly evident in the months of June and July when the doors re-opened to admit visitors in record numbers. At the same time, we note with appreciation that the Education staff's involvement with community groups expanded during the year to become one of their most important areas of work. After many months of preparation, working with the staff of the Oncology Department at Addenbrooke's Hospital, they undertook sessions with cancer patients there. Visits to Fulbourn Hospital and Kneesworth House Psychiatric Hospital resulted in patients from both attending sessions in the Museum, and the relationship with the Alzheimer's Society which began during the autumn continued to flourish, with the planning of practical sessions in the studio as well as talks in the galleries. Finally, working with English Churches Housing, the Museum and Kettle's Yard continued to offer a day each month for homeless people. In reporting on the work of her Department, Frances Sword stresses its collaborative nature and pays tribute to colleagues in the Museum and elsewhere. We join her in thanking them all, including the members of the Education Advisory Committee, but we reserve a special vote of thanks for her and her dedicated staff.
Over the year the number of records on Adlib, the Museum's centralized collections database, increased by approximately 12% from 88,000 to 98,500. As well as helping the Museum to carry out its duty of care for the collections, this represents another important step in making collections information more accessible to researchers and the public. The public access catalogue has remained one of the most heavily used areas of the website. There has been a marked increase in the use of the website overall, with the number of users during the quarter up to July 2004 standing at 229,106 compared to 62,345 over the same period the previous year. In April 2004, a further award of £108,637 was made by MLA through the Designation Challenge Fund to fund the employment of a Documentation Assistant and part-time photographer, as well as to contribute towards the Documentation Manager's post during 2004-06.
We were delighted to welcome Loyd Grossman to the Museum on 28 June to launch both Pharos, our Web-based resource offering rich layers of interpretation and connections between objects, and our new handheld, multimedia e-Guides for visitors to the Museum. These two initiatives have helped to establish for the Fitzwilliam a leading role in the use of new technology to create access to museum collections information and interpretation.
The Institute accepted six interns for the year 2003-04; from Spain, Italy, the UK, Australia, and the USA. All received funding, either from their home country or from the Institute's internship funds established by the Getty Foundation and other charities, including the Newton Trust. This was a larger than usual number and reflected the increased studio workload.
Three major projects occupied the studio; the preparation of paintings for the reopening of the Foundling Museum in London, including three paintings from the Court Room, by Highmore, Hayman, and Wills, the continuation of work on the Westminster Retable, and the completion of major projects for the opening of the Museum on completion of the Courtyard Development. The conservation and restoration of the Triptych, Scenes from the Life of the Virgin, mentioned in last year's report, was completed. The late fifteenth-century Spanish panel The Road to Calvary, proved to be in excellent condition, under the thick discoloured varnish that was removed as part of the cleaning and has been the subject of considerable renewed interest. The cleaning of Murillo's Vision of Fra Lauterio was started after tests and discussions with curatorial staff, and will be finished next year.
A grant from the Museum's Raymond and Beverly S. Sackler Fund supported a two-day workshop on a group of early Italian Paintings from the Museum's collection which were studied and discussed among curatorial and conservation colleagues from the Museum and the Yale University Art Gallery. The project will continue with a visit of conservators from the Institute to Yale, Harvard, and the Lehman collection at the Metropolitan Museum in New York.
The monograph on the Thornham Parva Retable was published in association with Harvey Miller early in 2004. In June, the Institute was awarded the Pilgrim Trust Award for Conservation for its work on the Retable.
The operating deficit was reduced this year to just over £12,000, due to increased income from studio work. The Institute has a considerable amount of work for 2004-05, but it is unlikely that this trend will continue. Initial discussions have taken place on the Institute's position within the RAM for the University which has revealed several issues that have to be addressed, not least how the large spaces that our students need during the course of their studies should be costed.
A detailed report on Teaching Activities has been received by us and forwarded to the central bodies. It underlines the importance of the collections for teaching and research generally and the extent to which members of staff contribute directly to University teaching. Collectively they gave more than seventy lectures or classes to undergraduates and graduate students of the University in several faculties including Architecture and History of Art, Classics, English, Archaeology and Anthropology, History, Modern and Medieval Languages, Oriental Studies, and Theology. They gave another twenty or so talks or papers to other HEIs including King's and University Colleges, London, Anglia Polytechnic University, the Freie Universität, Berlin, and Northern Illinois University. Outside the sector, they spoke on at least fifty occasions to organizations ranging from the Society of Antiquaries to local radio stations. In addition to offering undergraduate supervisions and advising graduate students, six members of staff acted as assessors or examiners in this University or elsewhere. The following list of publications attests to both the research activity of the staff and their wider responsibilities as academic curators:
Martin Allen, 'England, Wales and Scotland: Medieval', in A Survey of Numismatic Research 1996-2001, ed. C. Alfaro and A. Burnett (Madrid, 2003), pp. 405-22.
Martin Allen, review of Ian Blanchard, Mining, Metallurgy and Minting in the Middle Ages. Vol. 2. Afro-European Supremacy, 1125-1225 (Stuttgart, 2001), in English Historical Review, 118 (2003), pp. 1037-8.
Martin Allen, 'Coins and jetons', in Botolph Bridge Excavations 1999 and 2000: Post-excavation Assessment and Updated Project Design, Cambridgeshire County Council Report No. PXA 28, ed. S. Kemp and P. Spoerry (Cambridge, 2002), Appendices, pp. 11-12.
Martin Allen, review of M. M. Archibald and B. J. Cook, English Medieval Coin Hoards: I. Cross and Crosslets, Short Cross and Long Cross Hoards, Numismatic Chronicle 163 (1993), pp. 421-4.
Martin Allen, 'English coin hoards, 1158-1544', British Numismatic Journal 72 (2002), pp. 24-84.
Martin Allen and Stephen P. Doolan, 'Finds from Dunwich', British Numismatic Journal 72 (2002), pp. 85-94.
Martin Allen and Mark Blackburn, 155 entries in 'Coin Register 2002', edited by Richard Abdy, Martin Allen and Anna Gannon, British Numismatic Journal 72 (2002), pp. 189-212.
Martin Allen, 'The archbishop of York's mint after the Norman Conquest', Northern History, 41 (2004), pp. 21-34.
Sally-Ann Ashton, 'Foreigners at Memphis? Petrie's racial types' and 'The Ptolemaic royal image and the Egyptian traditions' in W. J. Tait (ed.) Never had the like occurred. Egypt's view of its past. Encounters with Ancient Egypt. UCL Press.
Sally-Ann Ashton, 'Review of Paul E Stanwick, Portraits of the Ptolemies' in Egyptian Archaeology no. 23: p. 42.
Sally-Ann Ashton, Petrie's Ptolemaic and Roman Memphis (Archetype Press London, 2003)
Sally-Ann Ashton, 'Faience and the Ptolemaic royal cults: further fragments and thoughts' in N. Bonacasa et al eds. Faraoni come Dei. Tolemei come Faraoni. Atti del V Congresso Internazionale Italo-Egiziano. Torino 8-12 Deicembre 2001. (Museo Egizio Turin 2003): pp. 334-339.
Sally-Ann Ashton, 'Ptolemaic Alexandria and the Egyptian Tradition' in A. Hirst and M. Silk eds. Alexandria. Real and Imagined, Centre for Hellenic Studies King's College London publication 5. (Ashgate, 2004): pp. 15-40.
Mark Blackburn, 'Productive sites and the pattern of coin loss in England, 600-1180', Markets in Early Medieval Europe: Trading and 'Productive' Sites, 650-850, ed. T. Pestell and K. Ulmschneider (Macclesfield, 2003), pp. 20-36.
Mark Blackburn, 'Alfred's coinage reforms in context', in Alfred the Great, ed. T. Reuter (Aldershot, 2003), pp. 199-217.
Mark Blackburn, 'Anglo-Saxon shilling', National Art Collections Fund Review 2002, p. 74.
Mark Blackburn and Hugh Pagan, 'The St Edmund coinage in the light of a parcel from a hoard of St Edmund pennies', British Numismatic Journal 72 (2002), pp. 1-14.
Mark Blackburn, 'The coinage of Scandinavian York', in R. A. Hall et al., Aspects of Anglo-Scandinavian York (Archaeology of York 8/4; York, 2004), pp. 325-349.
Simon Bobak: 'The Limitations and Possibilities of Strip-Lining' in Alternatives to Lining, Preprints of the BAPCR & UKIC Paintings Section joint conference, Tate Britain, London, 19 September 2003, pp. 15-20.
Spike Bucklow: 'The Thornham Parva Retable: A summary of the technique', in A. Massing, ed., The Thornham Parva Retable. Technique, conservation and context of an English medieval painting. Cambridge/London, 2003, pp. 28-46.
'The Thornham Parva Retable: Condition', idem, pp. 68-73.
'The Thornham Parva Retable: its diverse arts', idem, pp. 137-141.
'The Thornham Parva Retable: Patterns of loss: retrospective condition monitoring', idem, pp. 209-218.
'The Thornham Parva Retable: Boards dimensions', idem, pp. 222-4.
'The Thornham Parva Retable: Analysis of the chalk grounds', idem, pp. 225-6.
'The Thornham Parva Retable: Lead isotope ratio', idem, p. 226.
'The Thornham Parva Retable: Questioning the visibility of underdrawing: a reflection of method in art history', idem, pp. 227-9.
Spike Bucklow: 'Cleaning theories, traditional and modern', Kunsttechnologie, 18, 1, 2004, pp. 38-50.
Lucilla Burn, 'Les Tanagréennes de Cnide et Halicarnasse' in V. Jeanmet (ed.), Tanagra (Paris, 2003), 260-2, also catalogue entries ibid., pp. 106, 152, 164, 223, 262, 284, nos. 61, 99, 112, 162, 202, 203, 221.
Lucilla Burn, 'Words and Pictures: the Classification of Greek Vases' in K. Sloan (ed.), Enlightenment: Discovering the World in the Eighteenth Century (London, 2003), pp. 140-9.
Julie Dawson, 'Conservation in the Tombs of the Nobles: aspects of the past, issues for the present' in The Theban Necropolis: Past, Present and Future (Proceedings of the conference held at the British Museum in July 2000) ed. N. Strudwick and J. Taylor (BMP, London, 2003), pp. 210-217.
Julie Dawson, 'Taking care of Sennefri: the conservation of Theban Tomb 99' in Egyptology at the dawn of the twenty-first century (Proceedings of the Eighth International Congress of Egyptologists, Cairo, 2000), ed. Z. Hawass and L. Pinch Brock (American University in Cairo Press, Cairo, 2003), Vol 3: pp. 157-165.
William R. Day, Jr, 'Population growth and productivity: rural-urban migration and the expansion of the manufacturing sector in thirteenth century Florence', in Labour and Labour Markets between Town and Countryside (Middle Ages - 19th century), ed. Bruno Blondé, Eric Vanhaute, and Michèle Galand (Turnhout, 2001), pp. 82-110.
William R. Day, Jr, Review of Sergio Tognetti, Un industria di lusso al servizio del grande commercio. Il mercato dei drappi serici e della seta nella Firenze del Quattrocento (Florence, 2002), in Archivio storico italiano 161.3 (2003).
Craig Hartley, Lucian Freud Etchings 1946-2004, exhibition catalogue published by the Fitzwilliam Museum and The National Galleries of Scotland in association with Marlborough Graphics, 2004.
Mary Kempski: 'The Thornham Parva Retable: The paint layers', in A. Massing, ed., The Thornham Parva Retable. Technique, conservation and context of an English medieval painting. Cambridge/London, 2003, pp. 54-68.
'The Thornham Parva Retable: Treatment', idem, pp. 74-92.
'Reconstruction of St Edmund: towards an understanding of the visibility of the underdrawing and a demonstration of the paint layer technique', idem, pp. 134-6.
'A technical comparison of the Thornham Parva Retable with contemporary paintings', idem, pp. 143-4.
Evangeline Markou, (with Hermary A.) 'Les boucles d'oreilles bijoux masculins à Chypre et en méditerranée orientale (VIIe - IVe siècles avant J.-C.)', in Cahier du Centre d'Etudes Chypriotes (CCEC) 33 (2003), pp. 211-236.
A. Massing (Ed). 'Painting and Practice - The Thornham Parva Retable Technique, conservation and context of an English medieval painting', Harvey-Miller/Brepols, Cambridge, London, 2003.
Ann Massing: 'A Short History of Tempera Painting', in Making Medieval Art, Phillip Lindley Ed, Shaun Tyas, Donington, 2003, pp. 30-41.
Ian McClure: 'The Thornham Parva Retable: a conservation narrative' in A. Massing, ed., The Thornham Parva Retable. technique, conservation and context of an English medieval painting. Cambridge/London, 2003, pp. 15-18.
Ian McClure: 'The Thornham Parva Retable: Providing a safe environment within the church', idem, pp. 202-8.
Martine Meuwese, review of M. Coker Joslin and C. Coker Joslin Watson, The Egerton Genesis (London and Toronto, 2001), Studies in Iconography 25, (2004), pp. 296-299.
Jane Munro, French Impressionists, Cambridge, 2003.
Jane Munro, 'Samuel Palmer, Autumn Landscape with a View to the Sea', p. 83.
Jane Munro, 'Lasting Impressions', Christie's International Magazine, June 2004, pp. 12-15.
Jane Munro, 'Lasting Impressions', Christie's International Magazine, June/July/August 2004, p. 18.
Jane Munro, Lasting Impressions, Collecting French Impressionism for Cambridge, exhibition guide, Cambridge, June 2004.
Shaun Osborne, Towards Electronic Cataloguing, in EEMAIL, the new quarterly journal of the East of England Museums, Archives and Libraries Council (EEMLAC).
Stella Panayotova, review of Peter Kidd, Medieval Manuscripts from the Collection of T. R. Buchanan in the Bodleian Library, Oxford (Oxford, 2001), in The Book Collector 53.2 (Summer 2004), pp. 311-2.
Julia E. Poole, 'The Identification of Maiolica from Sanseverino', Faenza, LXXXIX, fasc. I-VI, (2003), pp. 93-9.
Julia E. Poole, in the National Art Collections Fund Review 2003, p. 78 'Apollonio di Nicolo Perusini, Culverin or Canon' and p. 143 'Nicholas and Judith Goodison Gift, Fitzwilliam Museum, Cambridge'.
Adrian Popescu, 4 entries in Treasure Annual Report 2001.
Adrian Popescu, O rara moneda elenistica de argint batuta la Istros, (A rare silver Hellenistic coin struck at Istros), in Buletinul Societatii Numismatice Române (BSNR), 92-97, 1998-2003, 146-151, pp. 351-3.
Adrian Popescu, Un 'cistofor' de la Caracalla descoperit la Tomis, (A 'cistophorus' of Caracalla discovered at Tomis), in BSNR, 92-97, 1998-2003, 146-151, pp. 375-7 (in collaboration with G. Talmatchi).
Adrian Popescu, Multiplu de aur de la Constantin cel Mare gasit în sudul Daciei (Gold multiple of Constantine the Great found in Southern Dacia), in BSNR, 92-7, 1998-2003, 146-151, pp. 379-382.
Adrian Popescu, Descoperiri monetare. Die Münzfunde in Feldioara-Marienburg. Contributii arheologice la istoria Tarii Bârsei. Archäologische Beiträge zur Geschichte des Burzenlandes, Bucharest, 2004, pp. 64-8, 83-4, 130-4, 249-250.
Duncan Robinson, 'Thomas Kerrich (1748-1828): Portrait of a Magdalene Artist', in Magdalene College Magazine, 2002-03, pp. 53-64.
Duncan Robinson, 'The Fitzwilliam Museum Re-opens its Doors', History Today, vol. 54 (7), July 2004, pp. 4-5.
Duncan Robinson et al, The Burlington Magazine, Volume CXLVI, Number 1216, July 2004. 'Recent Acquisitions (1995-2004) at the Fitzwilliam Museum Cambridge', Special Supplement, pp. 505-512.
Marie Louise Sauerberg: Translation of Professor Winfried Heiber's 'The thread-by-thread tear mending method', in Alternatives to Lining, Preprints of the BAPCR & UKIC Paintings Section joint conference, Tate Britain, London, 19th September 2003, pp. 35-48. (The article is an abridged and revised version of the paper in German, 'Die Rißverklebung', Zeitschrift für Kunsttechnologie und Konservierung, Jahrgang 10 (1996) Heft 1, pp. 117-146).
David Scrase, Book review: Italian Drawings from the National Gallery of Canada by David Franklin, The Burlington Magazine, Vol. CXLV, November 2003, p. 805.
David Scrase, A drawing by Giovanni Francesco Nagli, known as il Centino in Arte Collezionismo Conservazione. Scritti in onore di Marco Chiarini, Giunti, Florence, 2004, pp. 305-6.
David Scrase, in the National Art Collection Fund Review, 2003, 'Attributed to Fra Angelico, The Dead Christ', p. 84.
Elina Screen, 'The 'Ratto' parcel: a find of eleventh-century French coins from Italy', Numismatic Chronicle 163 (1993), pp. 349-53.
David Scruton, Defining the Question: Approaches to Providing Online Collections Information at the Fitzwilliam Museum, in EVA 2003 Conference Proceedings, London, 2003.
Renate Woudhuysen: Book review in Studies in Conservation: 'Michael Graf von der Goltz, Kunsterhaltung Machtkonflikte; Gemälde-Restaurierung zur Zeit der Weimarer Republik. [Art conservation - conflicts of power, the conservation of paintings during the Weimar Republic], Berlin, Reimer, 2002.'
Exhibitions, Events, and Courses leaflet and Schools Information leaflets were published (17 May). Posters and an introduction to the Lasting Impressions exhibition followed.
The completion of the Courtyard Development marks a turning-point in the Museum's history. It enables us to re-confirm our commitment to the Founder's prescription for 'the increase of learning', and to do so in new and exciting ways. We join the authors of 'Renaissance in the Regions' in believing that university museums have enormous potential as engines of scholarship, reaching out far beyond the confines of their immediate academic environments. In the years ahead it is important that we in Cambridge continue to invest in our museums in order to demonstrate the value we place upon them and to attract the external funding which is crucial for future developments. Among other things, we must rise to the challenge before us, to provide regional services which are consistent with our reputation for the highest standards in the care and interpretation of collections. With designated collections, and a staff to match, the Fitzwilliam Museum has never been better prepared; we look forward with a renewed sense of purpose.
|ANNE LONSDALE (Chairman)||JOHN BROWN||PAUL CARTLEDGE|
|RICHARD CORK||DEBORAH HOWARD||CAROLINE HUMPHREY|
|JOHN KEATLEY||JEAN MICHEL MASSING||DAVID MCKITTERICK|
|VERONICA SUTHERLAND||RICHARD WILSON|
|(as at October 2004)|
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Cambridge University Reporter 05 August 2005
Copyright © 2011 The Chancellor, Masters and Scholars of the University of Cambridge.