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02/03 FoREwoRd LizMiLLer

04/05 RESEARCH FoR ExHIBITIoNS HeatHerwickstudio:

designingtHeextraodinary AbrAhAMThoMAs tHeHouseofannieLennox VicToriAbroAkes BaLLgowns:

BritisHgLamoursince1950 orieLcuLLenAndsonneTsTAnfiLL tHeartofHoLLywoodcostume deborAhnAdooLMAnLAndis tudors,stuartsand tHerussiantsars TessAMurdoch ottomanart–aninternationaL

styLe TiMsTAnLey

16/17 PUBLICATIoNS ANd MEdIA curatingHistory-Lite:

modernBritisHtHeatrein100PLays kATedorney HandmadeinBritain:

aBBcandV&aPartnersHiP JoAnnAnorMAn artsandcraftsstainedgLass PeTercorMAck designsforemBroidery MoirAThunder musLin soniAAshMore medieVaLiVories1200–1500 PAuLWiLLiAMson

28/29 CoLLECTIoNS ANd LEARNINg RESEARCH

PoPart brendAkeneghAn wHatstudentssketcHintHe V&agaLLeries MornAhinTon

32/33 UNIVERSITy CoLLABoRATIoNS uniVersityofBrigHton,

contemPorarydesign guyJuLier uniVersityoftHearts,artists

workingintHemuseum LindAsAndino uniVersityofsussex,disPLaying

musicworksHoP fLorAdennis LondoncoLLegeoffasHion,design

forPerformance donATeLLAbArbieri

40/41 ExCHANgES V&a/kunstHistoriscHesmuseum,

Vienna MichAeLAnoLL

42/43 gRAdUATE RESEARCH coLLaBoratiVedoctoraLaward

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44/45 APPENdIx sTAff honorAryfeLLoWs honorAryseniorfeLLoWs benefAcTors

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ThisisthesixtheditionoftheV&Aresearchbulletin,highlightingsomeoftheresearchprojectsundertakenbycurators,conservationscientists,educators,fellowsandvisitingscholarsintheMuseumduring2011.Theresearchdescribedherewillbedisseminatedinexhibitions,books,catalogues,conferencepapers,discussionevents,televisionprogrammesandappsinthecomingmonthsandyears.

otheractivitiesin2011ithasnotbeenpossibletoincludeherehavecontributedtothemaintenanceofavibrantresearchcultureattheV&A.forexample,workinprogressseminarsontopicsasdiverseasMultilingualinscriptionsinMedievaliberiaandcuratingsexuality,aswellasroundtablediscussionsonsubjectssuchasLouisXiV(inrelationtotheforthcomingeurope1600-1800galleries)orinterpretingtheAfricacollectionsattheV&A.

Afulllistingof2011outputsfromacrosstheMuseumcanbefoundontheV&Awebsiteatwww.vam.ac.uk/content/articles/r/research-reports/includingdetailsofthethirdissueoftheV&A’sonlineJournalwhichcanbeaccesseddirectlyathttp://www.vam.ac.uk/content/journals/research-journal/issue-03/.

inseptemberchristopherbrewardtookuphisnewpostasPrincipalofedinburghcollegeofArt.Justasthisbulletinwasgoingtopress,glennAdamsonwasappointedashissuccessorasV&Aheadofresearch.Wewishthembothwellintheirnewroles.inJanuary2012,LizMillerwillbetransferringfromtheresearchdepartmenttojointheteamworkingonnewV&Agalleriescoveringeurope1600–1800openingattheendof2014.

newsofstaffandstudentresearchacrosstheAsian,Modern,andrenaissancepathwaysoftheV&A/rcAhistoryofdesignProgrammecanbefoundinthesisterbulletinofthispublicationandbothareavailabletodownloadatwww.vam.ac.uk/page/r/research/.

Wehopeyouenjoythissnapshotofthe2011scholarlyactivitiescentredontheV&A’scollections.Wethankoursponsors,academicpartners,staffandstudentsfortheparttheyhaveallplayedinresearchattheV&A.

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Lantern of the Central Tower, V&A

Anexhibitioninsummer2012willbethefirstevermajorretrospectiveontheworkofheatherwickstudio.rejectingconventionalclassificationasapractice,heatherwickandhisteamexplorethethresholdsbetweenstandarddesigncategories.celebratingthepurejoyofcreating3-dimensionalformsacrossawidevarietyofscales,theheatherwickstudiohasearnedareputationforcreatingstunningandingeniousworksthatspanabreathtakingrangeofdisciplines,fromarchitecture,furniture,productdesignandfashion,toengineering,sculpture,transportandurbanplanning.Theteam’sworktodateincludesaspinningchair,arollingbridge,anexpandablezipbag,apowerstation,an‘endless’bench,aJapanesetemple,anolympiccauldronandabrandnewbusforLondon.

Theexhibitionwillexamineawiderangeofprojects,fromheatherwick’sexploratorystudentworkthroughtoearlyukcommissionsandrecentarchitecturalprojectsabroadwhichhaveenhancedthestudio’sinternationalprofile.Muchoftheresearchtodatehasbeenbasedattheheatherwickstudioinking’scrosswhereextensiveaccesstothestudioarchivehasbeengranted.Asaresult,theexhibitionwillfeatureawiderangeofworkshopartefacts,frommaquettesandprototypestofull-scalematerialfragmentsandpresentationmodels,thusofferingarareinsightintothestudio’sthoughtprocessesanddesignmethodologies.Theexhibitionwillconveythestudio’spassionateengagementwithmaterialsresearchandcommitmenttoexploringinnovativeprototypingandfabricationmethodsaspartofadistinctiveandcollaborativedesignprocesswhichplacesthe‘workshop’attheheartofthestudio’sactivities.

ABRAHAM THoMASWordAndiMAge/reseArchdePArTMenT

HEATHERwICk STUdIo: dESIgNINg THE ExTRAoRdINARysponsoredbyernst&young

04/05Interior view of the UK Pavilion at the Shanghai World Expo. Heatherwick Studio, 2010. Photograph Iwan Baan

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forthe18monthsleadinguptoseptember2011theV&A’sdepartmentofTheatreandPerformancehavebeencollaboratingwithperformerAnnieLennoxonanexcitingandinteractivedisplayexploringtheartist’simageandcreativeinfluences.

ThedisplaycomplementstheV&A’sbroaderprogrammeandislinkedthematicallytoPostmodernism: Style and Subversion 1970–1990 towhichLennoxhasalsolentakeycostume.

Theobjects,selectedfromLennox’sarchiveincludeaccessoriesandcostumes(mostnotably,threeiconicmasculinesuits),handwrittenlyricsandmusicmanuscripts,personalnotebooksandaselectionofawardsrangingfromthegrAMMystoanoscar.ephemerafromthepoliticalcausesLennoxhaschampionedsuchasthesingcampaignforhiV/Aidsawareness,awiderangeofAVmaterialincludinglargeformatprojectionschoreographedbyLennox,musicvideosandaspeciallymadeV&AfilmofAnnieinconversationwillalsobeondisplay.

Althoughsmall,The House of Annie Lennox providesanimmersivevisitorexperience.Themotifofa‘house’,isatitsheartandthedisplayisconstructedaroundtheconceptofroomsinwhichdifferentfacetsofLennox’sworkaredisplayed.Mostexcitinglyofall,Lennoxvisitsoccasionally.sheusesthedeskinthehousetowork,whereshecanbeviewedbyvisitors.four-wallprojections,ascentmachineand‘peepholes’addtotheimmersiveexperienceforvisitors.

Thedisplayhasalsomadefulluseofdigitalopportunitiesavailablethroughoutthemuseum.boththeV&Awebsiteandchannelhavebeenusedtoprovideadditionalcontent.AQrcodeonanaccompanyinginformationleafletwilllinktomaterialthatisupdatedthroughoutthecourseofthedisplay.The‘house’itselfhasbeenprovidedwithfacilitiestoenablelivewebandvideochatstotakeplacewithinit.

VICToRIA BRoACkES TheATre&PerforMAnce/reseArchdePArTMenT

THE HoUSE oF ANNIE LENNox

06/07Union Jack Suit, Annie Lennox Collection, The House of Annie Lennox exhibition, V&A, 2011

TheV&A’sforthcomingpublicationisacollaborationbetweentheV&Aandfashionphotographerdavidhughes.forthisproject,hughesphotographedovertwodozenballgownsfromthe1950stothe2010s.hughesemployeddynamicmannequinposesandspeciallycommissionedpropsfortheseevocativeimages,whicharethepublication’svisualfocus.AnintroductionbyMagdakeaney,curatorofLondoncollegeoffashion’sfashionspacegallerysetshughes’imagesincontext.essaysbyV&Acuratorsoriolecullenandsonnetstanfillexploretheballgownasaparticularlybritishgarment.

orioleculleninvestigatestheimportanceoftheballgownforLondon’sfashiondesigners.fromthepost-warperiodtotoday,andforacertaingroupinsociety,britain’scomplexsocialseasonofballs,weddingsandcharityeventshasprovideditsdesignerswiththeopportunitytocreateelaborate,tour de forceeveningwear.inmorerecentyears,theballroomhasbeenreplacedbytheredcarpet.Thoughthecontexthaschanged,theballgownstillremainsastapleinmanydesigners’collections.

sonnetstanfillexplorestheballgownandformaldressingfromtheclient’sperspective.basedoninterviewswithclientswhodonatedtheirdressestotheV&Aandonaccountsinperiodicalsoftheday,thisessayprovidesinsightsintotheclient/designerrelationshipandtheballgown’simportanceasanexpressionofpersonaltaste,statusandprotocol.

oRIoLE CULLEN ANd SoNNET STANFILLfurniTure,TeXTiLesAndfAshion

BALLgowNS: BRITISH gLAMoUR SINCE 1950sponsoredbycoutts

08/09 Silk and velvet ball gown, Murray Arbeid, 1986, T.672-1996

The2012V&AexhibitionThe Art of Hollywood Costume Design willfeatureoveronehundredunforgettablecharactersfromonehundredyearsofhollywoodfilmmakingfrom1912to2012,andwillbethelargestexhibitionofitskindevermountedineurope.

Whenafilmcapturesthepublic’simagination,thecostumescanigniteworldwidefashiontrendsandinfluenceglobalculture.byexaminingthecreativematerialsandcorroboratingevidenceincludingfirstpersoninterviews,theexhibitionhopestoshinealightontheprocessofcostumedesignforthecinemaandthevitalroledesignersplayinhelpingthedirectortellthestory.

Thehistoriccontext,creativecollaboration,andthesearchforthecharacterarekey-topicsofthisexhibition.casestudiesinclude,adeconstructionofcostumesincludingprocessdrawings,andinterviewswithdirectorsMartinscorsese,MikenicholsandTimburtonwiththeircostumecollaborators,sandyPowell,AnnrothandcolleenAtwood.exploringdifferentgenrestheexhibitionwillalsofocusonthetransformationalgiftsofMerylstreepandrobertdeniro.

importantloansofcinemacostumehavebeensourcedfromthecinemathequefrancaise,thedeutschekinemathek,thebritishfilminstitute,thefashioninstituteofTechnology,theLosAngelesMuseumofArt,thestudioarchivesofsony,universal,Paramount,Warnerbros,20thcenturyfox,Lucasfilm,andfromaninternationalgroupofprivatecollectors.

TheexhibitioncataloguewillfeaturecontributionsfromAcademyAwardwinningcostumedesigners,distinguishedcostumeandcinemahistorians,costumecollectors,studioandmuseumarchivistsandcurators,bloggersandculturalcommentators.

dEBoRAH NAdooLMAN LANdISuniVersiTyofcALiforniA,LosAngeLes/reseArchdePArTMenT

THE ART oF HoLLywood CoSTUME dESIgN

10/11

Funny girl (1968)Costume Designer Irene SharaffFanny Brice (Barbara Streisand)

Tudors,stuartsandtherussianTsars;Lifeatcourt1509–1685,attheV&Ain2013,formspartofanongoingprogrammeofexhibitionexchangeswiththekremlinArmouriesMuseum.spectacularenglishsilver,inmiraculouslypristinecondition,presentedbysuccessiveenglishambassadorsasgiftstotheTsars,andsoldonbehalfofcharlesibybritishmerchantsoftheMuscovycompanytoTsarMikaylovich,willbeshownalongsideportraitsoftheTsarsandrussiandiplomatsfromtheMoscowstatehistoricalMuseumandofbritishdiplomatsandmerchantsfromenglishcollections.Afterabreakindiplomaticrelationsfollowingtheexecutionofcharlesi,thesuccessfulembassyledbytheearlofcarlisletoMoscowin1664re-establisheddiplomaticandculturalrelationsbetweenenglandandrussiawiththevisittoLondonoftherussianambassadorPotemkinin1681–2.recentdiscoveriesincludetheearliestprintedmapofMuscovy,publishedinLondonin1562.

Anaccompanyingbookinrussianandenglish,jointlyeditedbyolgadmitrievaandTessaMurdoch,willincludeessaysonculturaldiplomacy,armsandarmour,heraldry,textiles,jewellery,miniatures,andthekremlinTudorandstuartsilver.AtwodayconferenceattheV&A,inJune2013,inassociationwiththeLondon-basedsocietyforcourtstudiesandhistoricroyalPalaces,willcelebratethehistoryofrussianandbritishculturalrelationsthroughevidenceoflifeatcourtandtradebetweenthetwonations.

TESSA MURdoCHscuLPTure,MeTALWork,cerAMicsAndgLAss

TUdoRS, STUARTS ANd THE RUSSIAN TSARS

12/13Miniature of Charles I as Prince of Wales by Balthazar Gerbier, 1616, purchased with funds from the Captain Murray Bequest, P.47-1935

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AmajorexplorationofottomanartisscheduledattheV&Ain2014.Thiswillbeourfirstopportunityin160yearstoshowthefullrangeofourholdingsandtofilloutthehistoryofottomanartthroughaloanexhibition.

inTurkey,ottomanartisusuallyunderstoodasanimportantphaseinthehistoryofTurkicartwhileinWesternmuseums,itisusuallyunderstoodasanimportantphaseofislamicart.ThelatterishowitdisplayedintheJameelgalleryofislamicArtattheV&A.elsewhereintheMuseum–inthenewceramicsgalleries,forexample–wecanviewottomandecorativeartasadistinctive,self-sufficientproductionthatisthepeerofothergreattraditions,withwhichitinteracted.

Ataleofinteractionisprovidedbytheceramicsfromthesmalltownofiznik.inthe15thand16thcenturies,ottomanpottersborrowedtechnologicalanddesignideasfromtraditionsasdiverseaschineseblue-and-whiteporcelainanditalianmaiolica,creatingvesselsandtilesthatwereindemandinternationally.

insomeareas,though,suchastheottomantraditionofcalligraphyintheArabicscript,theexternalrelationshipwaslimitedtootherMuslimcultures,andottomanmastersexpressedadistinctiveidentitythathadastrongideologicalcharge.ThissamechargelimitedWesternculturalpenetrationoftheempire,sothatoilpaintingandfigurativesculpture,eventhatinlowrelief,foundnoconsistentpatronagebefore1800.

TIM STANLEyAsiA/reseArchdePArTMenT

oTToMAN ART – AN INTERNATIoNAL STyLE

Tile-top table, a single polygonal tile in a contemporary walnut frame with marquetry of ebony and ivory and mother-of-pearl covers for nails, Turkey, probably Istanbul, c.1560, c.19-1987

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in2010theTheatre&Performancedepartmentacquiredthearchiveofprolifictheatrephotographerdouglash.Jeffery,oneofthefirstphotographerstoattendrehearsalsaswellasphotocalls.Jeffery,whobeganhiscareerinthe1950sandcontinuedtoworkupuntilhisdeathin2009,capturedmanyofthemosticonicproductionsinpost-wartheatre.Therichnessofthiscollection,combinedwithotherphotographicarchivesheldbythedepartmentgivesusanunparalleledvisualrecordofperformancefromthe1930stothepresent.

Productionstillsenshrineperformancesinthepublicmemoryofferingadistillationoftheeventandtheperformerswhocreatedit.TheJefferycollectioninspiredustocreateaninteractivehistoryoftheatrefrom1945–2010designedfortablets(e.g.theiPad)whichwouldallowustobringtogetherphotographs,designsandtextinafreshandinteractiveway.TitledModern British Theatre in a 100 Plays itfocusesonplaysthatshapedpost-wartheatrehistoryinsomeway(byprovokingpublicoutcry,breakingnewground,markingthebeginningofaperformer’s,writer’sordirector’scareer).foreachplaythereisasummaryofthemainthemesandcriticalreception,detailsofthefirstcastandthenarangeofphotographsfromthefirstproductionillustratingthemainthemesoftheplay.bypublishingonatabletweareabletocombineawealthofmaterialandlettheuserdecidehowtoviewit:bydecade,theme,playoreven,withoutthetextatall.Astheproject’scurator,theprospectofusersaccessingthepictureswithoutreadingmycarefullywordedexplanationsisanovelonebutwemustmovewiththetimes,andinthecaseofthisproject,thatmovementisliteral,asimagesslideupanddownatthetouchofafinger.

kATE doRNEyTheATreAndPerforMAnce/reseArchdePArTMenT

CURATINg HISToRy-LITE: ModERN BRITISH THEATRE IN A 100 PLAyS

Enron by Lucy Prebble, photographed by Graham Brandon, 2010

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fromautumn2011toautumn2012,theV&AisworkingwiththebbctopresentHandmade in Britain,ayear-longseasonofprogrammingonbbc4exploringthehistoryofbritishartistryandcraftsmanshipacrossthedecorativearts.itisthemostwide-rangingandambitiousexplorationofthedecorativeartstobeundertakenonbritishtelevision.

inthreeseries,Handmade in Britainfocusesonkeydisciplinesinthedecorativearts,startinginautumn2011withathree-partseriesonceramicsandasingleprogrammeonstainedglass,beforemovingontometalworkforspring2012andwoodforautumn2012.Lookingateachmediuminturn,theprogrammesexamineandunpicksomeofthestoriesbehindhand-craftedobjectsmadetofulfilapracticalfunction,butalsotoserveanaestheticpurposeasdecorativeworksofart.ThroughtheexaminationofobjectsfromtheV&A’scollections,interviewswithV&Acuratorsandcontributionsfromcontemporarypractitioners,theprogrammesalsolookatparticularskillsandtechniques,bothhistoricalandcontemporary,andtheirusetocreateparticularartisticeffects.

Throughouttheseason,Handmade in Britainalsoexploresthehistorical,socialandculturalcontextbehindthemakingandconsumptionofsuchobjects.itlooksattheriseofbritainasaproducerofluxurygoods,andexploreshowthehistoryofdesigninbritainisastoryofmulticulturalismandglobalisation.

TocomplementtheHandmade in Britainseason,theV&Aishostingaseriesofeventsaswellascreatingonlinecontentandanin-gallerymobilewebexperience.TheculminationoftheseasonwillalsobemarkedbyaHandmade in BritainpublicationproducedbyV&APublishing.

JoANNA NoRMANreseArchdePArTMenT

HANdMAdE IN BRITAIN: A BBC ANd V&A PARTNERSHIP

Big White Jug, Alison Britton, earthenware, hand-built, 1987, C.233-1987 18/19

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designingandmakingstainedglassforreligiousandsecularbuildingswasasignificantaspectoftheArts&craftsMovement.Thisbook–thefirststudyofthesubject–demonstratesthatinnovationsinaestheticsandpracticeduringthe1880s–1940sfundamentallytransformedthewaystainedglasswasthoughtabout,aswellashowitlooked,inbritain,irelandandtheusA.

AmajorthemeofthebookishowArts&craftsdesigner-makersperceivedtheirrelationshipwithhistoricaltradition.rejectingthegothicrevival’simitativeandcommercialisedhistoricism,theylookedtothemedievalcraftasadynamicsourceofinspirationforamodern,expressiveartform.Theirwindowswereusuallymadeinworkshopsstaffedbysmall,collaborativeteamsofworkers,orsometimesasingleartistoperatingonher/hisown.PersonalinvolvementinbothmakinganddesigningwastheArts&craftsideal,embodiedespeciallyinthecareersofchristopherWhall(1849–1924)andMaryLowndes(1856–1929),twoofthemostinfluentialpioneersinregeneratingearly20th-centurystainedglass.Whall’sself-confessed‘disciple’,charlesJ.connick(1875–1945),brilliantlyadaptedArts&craftspreceptstotheAmericancontextinhisbostonstudio.

TheV&A’scollectionsareparticularlyrichinvisualandarchivalmaterial,includingdesignsbychristopherWhallandhispupils,examplesofWhall’sstainedglassandhissurvivingpapers.ThearchivesofLowndes&drury,thestudioco-foundedbyMaryLowndesin1897,andoftheglassmanufacturersandwindowmakersJamesPowell&sons,alsoheldbytheMuseum,provideaninvaluablesourceforthenarrative,documentingtheevolvingArts&craftsapproachtomaterialsandproductionmethodsaswellasdetailsofspecificcommissions.

PETER CoRMACkreseArchdePArTMenT

ARTS & CRAFTS STAINEd gLASS

St Chad and St Agatha by Christopher Whall (1849-1924), versions of windows made for a glazing scheme in the Lady Chapel of Gloucester Cathedral, 1901, C.87 & 88-1978,bequeathed by Mr C. J. Whall

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ThisisthefirstbooktointroducetheV&A’scollectionsofprofessionaldrawnandprinteddesignsforembroiderycoveringthefieldsoffashion,accessories,andfurnishingsfromthesixteenthcenturytothepresentday.Arrangedintofivesections,thebookincludesanintroduction;designingforembroidery;fashion;accessories;andfurnishing.Thesectionsarearrangedthematicallyandthenchronologicallywithineachsectiondealingwiththedesignandrelatedtextileorgarment.Thesectiononaccessoriesdealswithcategories,suchashatstoshowcontinuityordifferenceindesignthroughthecenturies.

Thefocusofthisresearch,aidedbytranslationsfromarchaiclanguageshasenableddiscoveriestobemaderelatingtosixteenth-,seventeenth-andeighteenth-centuryembroiderydesignsintheV&Acollections.Thesediscoveriesincludereattributions;evidenceforreviseddating;anunderstandingofthemulti-purposenatureofpatternbooksforavarietyoftechniquesandcrafts;andtheappropriationofdesignsforaspecificcraftinonepatternbookbeingusedforembroiderypatternsbyanotherdesigner.suchappropriationprovidesalinkbetweenseventeenth-centuryfrenchandenglishdesign.genealogicalresearchhasrevealedbiographiesandvarietiesofartisticpractice.identificationofdesignsforpartsofgarmentshasinvolvedclosestudyofdress.Arare,nineteenth-centuryenglishdesignforabodiceinthestyleofartisticdresshasbeenidentified.Thecareerpracticeofembroiderersthroughthecenturiesisilluminatedbytheirsidelineinprinteddesigns,orbytheirdrawingsandcollectionsthattheymadeofdesigns.

MoRIA THUNdERWordAndiMAgedePArTMenT

EMBRoIdERy dESIgNS FoR FASHIoN ANd FURNISHINg FRoM THE VICToRIA ANd ALBERT MUSEUM

Cartoon for needle work picture, ‘Love with bow surrounded by children and standing beneath a cloud of doves’ by Edward Burne-Jones, c.1880, E.838-1937, given by the Hon. Mrs Margaret Post

TheV&AhasaccumulatedafineifsomewhatunrecognisedcollectionofaroundathousandmuslinobjectsinitssouthAsianandeuropeantextileandfashioncollections.ihavebeeninvestigatingtheirwidercontextforaV&Abook.

researchhastakenmefromV&Astoreroomstovillagesinbengalwhereweaversarerevivingjamdani orfiguredmuslinweaving.inindia,muslinwasaprizedfabricwornattheMughalcourt,referredtobysuchromanticepithetsas‘wovenair’and‘eveningdew’.itwaswidelyexportedtotheancientandmedievalworld.intheseventeenthcentury,muslindrewthebritisheastindiacompanyintotheinteriorofbengalandbecameakeyvehicleforthecompany’seconomiccontrol,recordedinthesometimesindecipherableindiaofficerecords.

Acenturylater,manufacturersinManchesterandglasgow,astonishedatthedelicacyofthehand-loomedindianfabric,eventuallyachievedmachine-madeversionswhichundercutindianproducers,whilenotachievingthefinequalityoftheirlaboriouswork.

supportedbythePasoldfoundation,ihaveinvestigatedmanufacturers’archivesinglasgow,PaisleyandManchester.internettrawlinghasledmetothesourceofmuslinmanufactureineighteenthcenturyfranceandswitzerland,where,asinscotlandandireland,anextensiveruralembroideryindustrydeveloped.

intermsofwesterndress,thesymbolismofmuslinwaswellunderstoodbyeighteenthcenturyaristocratsplayingatsimplicity,inneo-classicaldressstyles.AnunexpectedfindattheMuseumhasbeenthe1809wardrobeaccountsofempressJosephineinthenationalArtLibrary.Muslinwaswornintothetwentiethcentury,andchildren’sclothinginparticulariswell-representedintheMuseum’scollections.

SoNIA ASHMoREreseArchdePArTMenT

MUSLIN

24/25Man’s Robe (Jama), white cotton robe with a skirt made up of 277 triangular panels, Bharatpur, c.1855, 05567 (IS)

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followingthepublicationin2010ofthefirstvolumeofatwo-partcatalogueoftheV&A’scollectionofmedievalivorycarvings,coveringtheyears400-1200,workisnowinprogressoncataloguingthegothicivories.Thereareabout300piecesinthispartofthecollection,oneofthemajorholdingsofthematerialinanymuseumandonlymatchedbythecollectionsinParisandnewyork.Theobjectswerelastpublishedincatalogueformin1929andsincethatdatenotonlyhavemanynewacquisitionsjoinedthecollectionbutthestudyofgothicivorieshasbeentransformed,withmanyimportantarticles,cataloguesandexhibitionsonthesubjectinthelastfewdecades.

TheworkisbeingcarriedoutbyPaulWilliamsonandglyndavies,thelattertheholderofanexternally-fundedthree-yearresearchcuratorshipgenerouslysupportedbyThomsonWorksofArtandpublicationisplannedfor2014.Thecatalogue,takinginivorycarvingsfrom1200-1550,willbedividedintotwolargeparts-religiousandsecularcarvings-andthenbydifferentcategoriesofobjects,includingstatuettes,diptychs,triptychs,crosiers,caskets,mirror-backs,combsandothertypesofcarvings;withinthesesectionsthematerialwillbearrangedchronologicallyandcross-referencedsothatthesculpturesofparticularworkshopscanberelatedtooneanotherregardlessoftheobjecttype.itistheintentionthattheuserofthecataloguewillthereforebeabletonavigatethematerialmostprofitablyandefficiently,andeverysectionwillbeprefacedwithanintroductoryessay,providinganoverviewofthesubjectandabibliography.

TheMuseumisparticularlyrichinfrenchanditaliangothicivories,withthemostcomprehensivecollectionofcarvingsoftheembriachiworkshopinexistence,andnewevidenceforlinkingpieceswithgermany,thenetherlandsandenglandwillbebroughtforward.TheLategothicperiod,from1400-1550isalsoanareaofstrengthandrecentdiscoverieswilladdmuchinformationtostudyofthesubject.Theexistenceoflargenumbersofforgeriesandcopieshasbedevilledscholarsofgothicivories,soin-depthdiscussionwillbeprovidedforivoriesofdubiousauthenticity,andagoodnumberofthecarvingswillbedatedbyradiocarbonanalysisexecutedbytheuniversityofoxford.

PAUL wILLIAMSoNscuLPTure,MeTALWork,cerAMics&gLAss

MEdIEVAL IVoRy CARVINgS: goTHIC

Virgin and Child, French (Paris), circa 1250-60. 209-1867

28/29Pastilli Chair, circular yellow molded fiberglass form, designed by Eero Aarnio, manufactured by Asko, Finland, 1968, Circ.13-1969

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ThePopart(PreservationofPlasticArtefactsinmuseumcollections)projectisaneu-fundedcollaborativeprojectundertheenvironmentProgramme.formoreinformationpleaseseehttp://popart.mnhn.fr.Thereare13partnersand8countriesinvolved.TheV&Aisoneof3collectionsinvolved–theothertwobeingThenationalMuseumofdenmarkandthenetherlandsculturalheritageAgency(rce).Theprojecthasatotalbudgetofmorethan€2million.Themainaimsoftheprojectare:toimproveconservationandmaintenanceofplasticobjectsinmuseumcollectionsandtoevaluateandestablishrecommendedpracticesandrisksassociatedforexhibiting,cleaningandrestoringtheseartefacts.Plastics,whichwerefirstusedtoimitateexpensivenaturalmaterials,arenowmaterialsintheirownright.Asplasticsarethematerialsofchoiceinmanycontemporaryobjectsaswellasinmanyoftheearliericonicdesignobjects,theirpresenceisinescapableincollections.however,comparedtothemoretraditionalmaterialssuchaswood,metal,glassetc.,someofthemcanbeunstable.Theycanalsobeproblematicintermsofconservationtreatmentssuchascleaning,adhesionorconsolidation.inaddition,theycanpresentproblemsintermsofdisplayconditions.Thisisthefirstprojecttoaddresstheseissueswithacoherentstrategy.

BRENdA kENEgHANconserVATiondePArTMenT

wHAT STUdENTS SkETCH IN V&A gALLERIES

ThisresearchaddressesthequestionofwhichobjectsArtanddesignstudentssketchwhentheyvisittheV&Aandwhatusetheymakeofthosedrawingsaftertheirvisit.Thefocusispost-schoolfoundationlevelstudents–chosenbecausedrawingandvisualresearchskillsareactivelytaughtatthisstage,includingbygroupvisitstomuseumsandgalleries.

Thereisconcernintheeducationsectoraboutstudents’relativelypoordrawingskillsonentrytohighereducation,duetotheprevalenceofdigitalmedia,andtheteachingofdrawingisbecomingamatterofsomeconcerntotutors.ThisresearchprojectexaminesthenatureofthegallerysketchingexperienceincludingotherstudentactivitieswhiletheyareattheMuseum(forexample,makingnotesortakingphotographs)andtutors’expectations.

Twogroupsofstudentshavebeenincludedinthestudy:onefromcentralstMartin’sandonefromkensingtonandchelseacollege.TheresearchhasusedqualitativemethodsofonetooneinterviewsconductedbothattheMuseumandafterwardsbackinthecollege,combinedwithobservationandanalysisofthestudents’drawings.Thishasbeensupplementedbyaliteraturereview,whichincludestheV&A’shistoryasaneducationalinstitutioninitsoriginalincarnationastheteachingcollectionofthegovernmentschoolsofdesign.Afinalreportisdueinearly2012andthefindingswillinformtheLearningprogrammeaswellasgallerydesignandinterpretationwherestudentsareakeyaudience.

MoRNA HINToN LeArningdePArTMenT

30/31The Glass Gallery; looking eastwards with students, drawing from one of the displays

32/33SZDSZ [Szabad Demokrátak Szövetsége] poster by László Haris and Péter Pócs, colour offset lithograph, Hungary, 1989, E.144-1991, given by Mücsarnok, Budapest, through Kristina Terger

dESIgN ACTIVISM ANd SoCIAL CHANgE

Theincreasingpullofconcernssuchasclimatechange,peakoil,migrationandurbanisationandthepushofglobaleconomicrecessionhasmeantthatmanydesignersaroundtheworldaredevelopingmoresocially-,environmentally-andpolitically-engagedworkingmethods.nowadays,‘designactivism’isfrequentlyusedtodenotetheseinterests.

Whilstthisterm‘designactivism’isrelativelynew,ithasalonghistoricalpedigree.onemightviewtheaspirationsofthenineteenthcenturydesignreformistswhowerecloselyconnectedwiththeV&Aas‘activist’.forthem,designwastobeafilteringsystem:theybelievedthatconsidereddesigncouldcurbwhattheyperceivedweretheexcessesoftheindustrialrevolutionthatwasresultinginamorallyimpoverishedworld.fastforwardtothe1970s,andoneseesthatseveralitalianradicalgroups–alsorepresentedintheV&A’s2011Postmodernismexhibition–theorisedthatdesigncouldbeusedtoreworkconsumerculture.indeed,theirideasprefiguredmanyofthepeer-to-peerdigitalnetworksystemsthatwehavetoday.

bygoingbackwards,perhapswecanfindwaysbywhichthemuseum’scommunitycangoforwards.Thusthe2011conferenceofthedesignhistorysociety–whichiconvened–wasonthethemeof‘designActivismandsocialchange’.stagedinbarcelona,itincludedpapersonsuchdiversetopicsastheimpactofradicaldesigninnorway,anarchistprintinlate19thcenturyfrance,thegraphiclanguageofpunkinsãoPaulo,andsocialinnovationinindia.Assuch,itprovidedanopportunitytobringnewscholarshipfromdesignhistoryandcontemporarypracticetogether.

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ARTIST woRk IN THE MUSEUM

Aseminarentitled‘ArtistsWorkintheMuseum’washeldatchelseacollegeofArtinMarch2011,tolaunchresearchintotheimpactofartschool-educatedstaffonthecultureandidentityofmuseumsandgalleriesinthepost-warperiod.TheseminarrepresentedacollaborationbetweentheV&A’sresearchandLearningdepartmentsandthecamberwell/chelsea/Wimbledon[ccW]graduateschooloftheuniversityoftheArts.itwasorganisedbydrLindasandinoandMatildaPye.

AcademicsfromtheccWgraduateschoolwerejoinedbyformerandcurrentcuratorsfromtheV&A,thenaturalhistoryMuseum,thenationalgallery,theWallacecollection,Tate,andtheWhitechapelArtgallery.ThekeynotewasdeliveredbyProfessorPaulgreenhalghwhoreflectedonhowhisstudiesasapainteratreadinguniversityhadinfluencedhisroleasacurator.currentlydirectorofthesainsburyinstituteandrefsub-panelchairforArt&design:history,Practice&Theory,hiscareerrepresentedtheprincipalthemesinformingtheseminar.

-Whatfactors(personal,cultural,historical)makemuseumsasustainablelocationfortheemploymentofartists?

-Whataretheskillsthatartistsbringtothemuseumenvironment?

-Whatimpactdotheirnetworkshaveonmuseumsassitesandenginesofculturalcapitalandexchange?

researchintothisareawillextendthecurrentccW/V&AoralhistoryprojectdesignedtobuildanunderstandingoftheV&Athroughthelifehistoriesofitscurators.

LINdA SANdINo ccWgrAduATeschooL,uniVersiTyofTheArTs/reseArchdePArTMenT

V&A Interior, Leighton Frescoes Gallery, Rooms 107-109 34/35

‘dISPLAyINg MUSIC’

increasingly,museumsandgalleriesrecognizethevalueofincludingamusicaldimensionintheirvisualdisplays.Whetherrecordingsorliveconcertperformancesofmusicthatrelatetoworksonshow,orcommissionsofnewpiecesrespondingtoobjectsorgalleryspaces,theadditionofmusiccanenhanceandtransformvisitors’museumexperiences,furtheringhistoricalunderstandingandencouragingimaginativeandemotionalresponsestoexhibits.Thequestionofhowtointegratemusicintobothpermanentgallerydisplaysandtemporaryexhibitionshas,however,receivedlittlecriticalattention.fromtheselectionofmusicalcontenttoitsmodeofdelivery(particularlyinaneraofrapidly-changingtechnologies),thisareademandsfurtherthoughtandinvestigation.

Aone-dayworkshopheldintheresearchdepartmentinJuly2011providedthecatalystforaninitialseriesofdiscussions.fundedbytheAhrc,aspartofanearlycareerfellowshipawardedtofloradennis,theworkshopbroughttogetherparticipantsfromavarietyofbackgrounds(museumcuratorsandeducators,academics,soundengineers,performers,composersandsoundartists)andinstitutions(includingtheV&A,britishMuseum,nationalgallery,courtauld,horniman,royalcollegeofMusic,newberryLibrary,chicago,birkbeckandtheuniversityofsussex).Participantsreflectedontheirdiverseexperiencesofhavingworkedwithmusicinmuseumcontexts,presentingexamplesofspecificprojectsandconsideringthebenefitstheybrought,alongsidethepracticalandintellectualchallengesposed.Therichvarietyofconversations,freshideasandvaluablenewperceptionsthatthedayinspiredwillbedevelopedfurtherinaplannedseriesofseminarsonthesubject.

FLoRA dENNISuniVersiTyofsusseX/reseArchdePArTMenT

Violin (back view), bearing The Coat of Arms of James II, the front attributable to Barak Norman, c.1710, the back, neck & head attributable to Ralph Agutter, c.1685, 34-1869 36/37

dESIgN FoR PERFoRMANCE

‘oldintonew’isashortdanceperformancedevisedinitiallyinresponsetoanimageoffataldamageinflictedonachild’sslipperbynestingmoths’larvae.Theimage,showingthealmosttotaldisintegrationofachild’sslipper,withtheotherslipperofthepairleftintact,wasshowninPreventiveconservatorValblyth’slecture,partoftheinductionfornewstafftotheV&A.herlecturerevealedtheMuseumanewtome.behindthescenestheprotectionoftheobjectsinitscareimpliedconstantactiontoensuretheirsurvivalagainstacontinuousthreatofdecay.

Acostumebasedperformance‘oldintonew’wasinspiredbythisstruggle,asabeautifulgarmentrevealsitselfaseaten,intheunfoldingofpleatsandintheliningofitscape.Theperformanceexploresthegarmentastransformedandasrevealed,throughmovementandinteractionbetweenperformerandcostume.‘Transformationandrevelation’,theexhibitionsupportedbytheV&ATheatreandPerformancedepartment,representedtheukatthePragueQuadrennialofPerformancedesignandspaceinJune2011,invited‘oldintonew’tobeperformedinitsspace.boththeexhibitionandtheperformancewillbeshownintheV&Ain2012.

ThisinspirationfortheconstructionofthecostumewasdrawnfromdiversehistoricalgarmentscollectedbytheMuseum,rangingfrombalenciagacapestothepleatsandfoldsintheskirtsof18thcenturymantuas.Theeffectthatwasprojectedtotheaudiencewitnessingtheperformancewasthatofexteriorandfaçade,concealingitsoppositewithinitself.

doNATELLA BARBIERILondoncoLLegeoffAshion/reseArchdePArTMenT

Evening ensemble which comprises a sleeveless dress and matching cape by Cristóbal Balenciaga, Paris, 1967, T.39A-197438/39

V&A / kUNSTHISToRISCHES MUSEUM, VIENNA

inthespringof2011theV&AandthekunsthistorischesMuseum,Viennalaunchedanexchangeprogramme,andiamproudtohavebeenchosenasthefirstmemberofstafffromViennatoparticipate.ThesixweeksispentattheV&Awereatrulyenrichingexperience,bothformyprofessionalcareerandpersonally.

Myworkasagraphicdesignerinamuseumplacesmeattheintersectionwhereartworksandaudience,scholarsandvisitorsmeetandinteract.ThisiswhyiwasinterestedinworkingattheV&A,amuseumthatcombinesoutstandingcollectionsandexcitingexhibitionswithanexcellentdidacticpresentation.

duringthefirstpartofmystayiassistedthedesignTeam.Workingonseveralprojectsconcurrentlyandbeingpartoftheday-to-dayroutineofferedmanifoldinsightsbothintothedifferentcreativeprocessesatworkthereandthemuseum’sorganisationalstructure.iwasdeeplyimpressedbythehighstandardofdesignandtheemphasisonqualityandsustainabilityiencountered.

forseveralweeksiwasthenhostedbyV&AenterprisesandbecameacquaintedwiththeworkingsoftheMuseumshopdesignTeamandV&APublishing.interviewsandextensivediscussionsprovidedin-depthknowledgeabouttheV&A’spublicationlistanditsproductplacementstrategy.

itwasatrulyfascinatingexperiencetotracethemuseum’sapproachtoinspirationandmotivationthroughitshistoryfromitsfoundationtothepresentday.Todaythismissionisnotonlymanifestedthroughitspermanentcollectionsbutalsobyitswide-rangingprogrammeofeventsandlectures.itwasafascinatingexperiencetohavebeenpartofthisculturalinstitutionforalimitedperiodoftime,andiverymuchhopethatthisexchangeprogrammewillcontinueandresultinafruitfulexchangeofknowledgeandinspirationbetweenourtwomuseums.

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40/41Schaurig Schön – Ungeheuerliches in der Kunst, graphic design by Michaela Noll, Kunsthistorisches Museum, Vienna, 2011

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CoLLABoRATIVE doCToRAL RESEARCH

STEVE BRowNroyALcoLLegeofArT/VicToriAAndALberTMuseuMdialoguesbetweendecorationandform:newPotentialforceramicsofferedbyimagebasedTechnologies

LESLEy dELANEyuniVersiTycoLLegeLondon/VicToriAAndALberTMuseuMTheMakingofthebookinthe19thcentury:children’sPublishinganditsText,Technologyandillustration

ALISTAIR gRANTuniVersiTyofsusseX/VicToriAAndALberTMuseuMelectroplateandelectrotype,1840tothepresent

MARy gUyATTQueenMAry,uniVersiTyofLondon/VicToriAAndALberTMuseuMThechildintheWorld:empire,diasporaandglobalcitizenship

HUI – yINg kERRroyALcoLLegeofArT/VicToriAAndALberTMuseuMJapanesedesigninthebubbleeconomy

STEPHEN kNoTTroyALcoLLegeofArT/VicToriAAndALberTMuseuMspotthedifference:concealingthe‘ever–same’inmodernadornmentusinghistoricallyconstructedillusions

JULIA LoHMANNroyALcoLLegeofArT/VicToriAAndALberTMuseuMemergingdesignPracticeandcurating:ParadigmsandParameters

ELEANoR PAREMAINbirkbeckcoLLege/VicToriAAndALberTMuseuMThehistoryoftheTricycleTheatre:Audience,identityandAgency

EdITH MARIE PASqUIERroyALcoLLegeofArT/VicToriAAndALberTMuseuMdiscourseofPhotographyintheV&Acollections

CATHERINE RoSSIroyALcoLLegeofArT/VicToriAAndALberTMuseuMTheTransitionofModernity:ThePractice,disseminationandconsumptionofModerncraftinitaly

gILLIAN RUSSELLroyALcoLLegeofArT/VicToriAAndALberTMuseuMemergingdesignPracticeandcurating:ParadigmsandParameters

CATHERINE SPEIgHTuniVersiTyofbrighTon/VicToriAAndALberTMuseuMLearningattheinterface:opportunitiesandbarrierstouniversityandMuseumcollaborationsforinnovativeandcreativeLearning

NICoLA STyLIANoUcheLseAcoLLegeofArTAnddesign/VicToriAAndALberTMuseuMcollectingArtefactsfromtheAfricandiaspora:V&A,itspredecessorinstitutionsandtheimpactofthebritishempirefromitsinceptiontothe21stcentury

EMILIA TERRACCIANocourTAuLdinsTiTuTeofArT/VicToriAAndALberTMuseuMbeyondthegaze:collectinganddisplayingModernandcontemporarysouthAsianArtintheuk

ELAINE TIERNEyuniVersiTyofsusseX/VicToriAAndALberTMuseuMstrategiesforcelebration:designingfestivalsinLondonandParis1660–1715

JoANNA wEddELLuniVersiTyofbrighTon/VicToriAAndALberTMuseuMdisseminatingdesign:TheV&A’sdesigncollectionsandnationalcirculation,1945tothepresent

A female doll from Germany, c.1900, given by Miss Florence Burton, MISC.2-1962

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INTERNAL SECoNdMENTSCooMBS, kATHERINEbriTishWATercoLoursfroMTheV&A1750–1950doRNEy, kATEbriTishPerforMAnce1948–2012ELLIoT, LAURAdesignsAndAudiencesATTheV&AinThe20ThcenTuryNIgHTINgALE, EITHNE MuseuMs,eQuALiTyAndsociALJusTiceowENS, SUSANbriTishdrAWingsSANI, ELISATreAsuresofrenAissAnceMAioLicATHUNdER, MoIRAeMbroiderydesignforfAshionAndfurnishingfroMTheV&AwATSoN, RowANiLLuMinATedMAnuscriPTscATALoguewEISS, MARTALighTsfroMTheMiddLeeAsT:conTeMPorAryPhoTogrAPhy

dIgITAL PRoJECTS

NoRMAN, JoANNAbbc4hAndMAdeinbriTAinco-ordinATorSULLIVAN, gREgdicTionAryofbriTishscuLPTorsonLine(suPPorTedbyThePAuLMeLLoncenTre)

FUNdEd FELLowSHIPSCoRMACk, PETERAMericAnfriendsofTheV&AfeLLoWinArTsAndcrAfTssTAinedgLAssSTRoNgE, SUSANLeVerhuLMefeLLoW,JAhAngir’sTrAVeLsAndMoghuLcourTArTs

ExCHANgESHowARd, MAURICE(susseX)V&A/susseXuniVersiTyeXchAngefeLLoWdoddS, doUg ANd SHANNoN, LoUISE(V&A)V&A/susseXuniVersiTyeXchAngefeLLoWswILCox, SCoTT(yALecenTerforbriTishArT)V&A/ycbAeXchAngefeLLoWMCSHANE, ANgELA(V&A)V&A/ycbAeXchAngefeLLoWREEdER, JAN(MeT)V&A/MeTroPoLiTAnMuseuMeXchAngefeLLoWkENNEdy, kIRSTIN(V&A)V&A/MeTroPoLiTAnMuseuMeXchAngefeLLoWNICkSoN, ToM(york)V&A/uniVersiTyofyorkeXchAngefeLLoWNoLL, MICHAELA(kunsThisTorischesMuseuM)V&A/kunsThisTorischesMuseuMViennA,eXchAngefeLLoWEVANS, MARk(V&A)V&A/kunsThisTorischesMuseuMViennA,eXchAngefeLLoW

CoRE STAFFAdAMSoN, gLENNheAdofreseArchfroMnoVeMber2011BREwARd, CHRISToPHERheAdofreseArchTosePTeMber2011MILLER, LIzdePuTyheAdofreseArchTodeceMber2011woodFIELd, HELENreseArchAdMinisTrATor

V&A/RCA CoURSEAJMAR, woLLHEIM, MARTAAcTingheAdofPosTgrAduATesTudiesMCSHANE, ANgELAcourseTuTorgUTH, CHRISTINEcourseTuTorCHECkETTS, RICHARdcourseTuTorToJune2011RoyALL, kATRINA ANd LoNg, LoRAINEcourseAdMinisTrATors

JoINT FELLowSHIPSBARBIERI, doNATELLALondoncoLLegeoffAshion/V&AfeLLoWindesignforPerforMAnceJULIER. gUyuniVersiTyofbrighTon/V&AfeLLoWinconTeMPorArydesignPARTINgToN, MATTHEwuniVersiTyofWesTengLAnd/V&AfeLLoWin20cAndconTeMPorArycrAfTSANdINo, LINdAuniVersiTyofTheArTs,London/V&AorALhisToryfeLLoWTULLoCH, CARoLuniVersiTyofTheArTs,London/V&AfeLLoWinbLAckVisuALcuLTure

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ExHIBITIoN TEAMS

THE CULT oF BEAUTy: THE AESTHETIC MoVEMENT IN BRITAIN 1860–1900sTePhencALLoWAy,esMÉWhiTTAkerPoSTModERNISM: STyLE ANd SUBVERSIoNgLennAdAMson,JAnePAViTT,oLiVerWinchesTerBRITISH dESIgN, 1948–2012chrisToPherbreWArd,ghisLAineWood,LiLycroWTherTHE ART oF HoLLywood CoSTUMEdeborAhnAdooLMAnLAndis,keiThLodWickINdIA dESIgN NowdiViAPATeL,orLAhousTon-JibodAVId BowIEVicToriAbroAkes,kAThrynJohnsonoTToMAN ART – AN INTERNATIoNAL STyLETiMsTAnLeyHEATHERwICk STUdIo: dESIgNINg THE ExTRAoRdINARyAbrAhAMThoMAs

VISITINg FELLowSMARR, ALExANdERroberTh.sMiThscuLPTurefeLLoWASHMoRE, SoNIAMusLinPubLicATion

VISITINg SCHoLARSCÀNdIdA SMITH, RICHARdorALhisTory/PosTModernisMCoMPToN, ANNcAsTsAndMATeriALcuLTuresLASSER, ETHANTheobJecTLAb:neWAPProAchesTodecorATiVeArTdisPLAysAndinTerPreTATionSCHMIdT, BENJAMINeXoTicPLeAsures:geogrAPhyAndThedecorATiVeArTs1650–1750gARB, TAMARfiguresAndficTions:conTeMPorArysouThAfricAnPhoTogrAPhy

HoNoRARy FELLowS

dR FLoRA dENNIS(susseXuniVersiTy)PRoFESSoR ULRICH LEHMAN(uniVersiTyofcreATiVeArTs)JENNIFER oPIEJENNIFER wEARdENdR SUzANNE FAgENCE CooPER

HoNoRARy SENIoR FELLowS

THoMAS HEATHERwICkSIR PAUL SMITH

PRoFESSoR CHRISToPHER BREwARd(uniVersiTyofedinburgh)PRoFESSoR MALCoLM BAkER(uniVersiTyofcALiforniA,riVerside)ANTHoNy BURToNMARIAN CAMPBELLPRoFESSoR MARgoT FINN(uniVersiTyofWArWick)SIR CHRISToPHER FRAyLINgPRoFESSoR PAUL gREENHALgH(ueAsAinsburycenTreforVisuALArTs)PRoFESSoR MARk HAwoRTH-BooTHPRoFESSoR MAURICE HowARd(uniVersiTyofsusseX)PRoFESSoR PARTHA MITTER(uniVersiTyofsusseX)dR CARoLyN SARgENTSoNSIR Roy STRoNgPRoFESSoR JoHN STyLES(uniVersiyofherTfordshire)dR SUSAN wEBER(bArdgrAduATecenTre,neWyork)PRoFESSoR EVELyN wELCH(QueenMAry,uniVersiTyofLondon)

THE V&A IS gRATEFUL To THE FoLLowINg BENEFACToRS FoR THEIR SUPPoRT oF RESEARCH ACTIVITIES IN THE MUSEUM:

TheArTsAndhuMAniTiesreseArchcounciLThebAndTrusTTheboniTATrusTcouTTsTheenidLinderfoundATionernsT&youngfrenchPorceLAinsocieTyThefriendsofTheV&AsAMfoggThegeTTyfoundATionh.goLdie&coLTddrhiLdALeWisirAnheriTAgefoundATionMrMohAMMedAbduLLATifJAMeeLThePAuLMeLLoncenTreforsTudiesin briTishArTTheMuseuMs,LibrAriesAndArchiVescounciLnehruTrusTJohnrPAdgeTTPAuLAndJiLLruddockMrALirezAsArikhAniTheAMericAnfriendsofTheV&AThrough ThegenerosiTyofroberTh.sMiThThecAnAdiAnfriendsofTheV&AThroughThegenerosiTyofThoMsonWorksofArTToMAssobroThersfineArTukTheToshibAinTernATionALfoundATionTheuniVersiTyofbrighTonTheyALecenTerforbriTishArTuniVersiTyofeAsTLondonTheuniVersiTyofsusseXTheuniVersiTyofWesTengLAndTheWArnecurATorshiPforchiLdren’s LiTerATure:frederickWArne&coPATriciAWengrAfLTd.

AndoThersWhoWishToreMAinAnonyMous

V&ASouth kenSingtonLondon Sw7 2RL+44 (0)20 7942 2000www.vam.ac.uk

V&A MUSEUM oF CHILdHoodcambRidge heath RoadLondon e2 9Pa+44 (0)20 8983 5200