Exhibition | Isabelle de Borchgrave
From The Frick Pittsburgh:
Isabelle de Borchgrave: Fashioning Art from Paper
Dixon Gallery and Gardens, Memphis, 15 October 2017 — 7 January 2018
The Society of the Four Arts, Palm Beach, 27 January — 15 April 2018
Oklahoma City Museum of Art, 16 June — 9 September 2018
The Frick Art Museum, Pittsburgh, 13 October 2018 — 6 January 2019
The Baker Museum, Artis, Naples, February — May 2019
Curated by Dennita Sewell
Isabelle de Borchgrave, Banyan and Waistcoat, 1998; inspired by a banyan and waistcoat ca. 1730 worn by Peter the Great of Russia.
Co-organized by the Frick in collaboration with four other American museums, this major exhibition presents the full breadth of de Borchgrave’s exploration of historical costume through contemporary paper sculpture. If you’ve never seen the artist’s work, you will be delighted by these breathtaking, life-size renditions of historic clothing created completely from artfully painted, pleated, crumpled, and manipulated paper.
From replicas of Renaissance Italian gowns to recreations of the fantastical modernist costumes of the Ballet Russes, Isabelle de Borchgrave’s work is meticulously crafted and astonishingly beautiful. The artist’s interest in creating paper costumes was sparked by a visit to the Metropolitan Museum of Art in 1994, where she found herself inspired by the historic costumes on display. Back in her studio, she began to experiment with creating renditions of the pieces in paper. Since then, de Borchgrave’s paper costumes have been featured in major exhibitions around the world.
This immersive exhibition celebrates the breadth of de Borchgrave’s work with costume and fashion history and is designed to introduce her work to a wider audience. De Borchgrave’s paper sculptures are masterpieces of trompe l’oeil—even upon close inspection it is often difficult to discern that the costumes are made of paper. At the Frick, de Borchgrave’s work will be exhibited throughout the museum, creating a dialogue with the museum’s collection. Joining the exhibition will be the Frick’s recently commissioned piece inspired by one of our best-known masterpieces—Peter Paul Rubens’ Portrait of Charlotte- Marguerite de Montmorency, Princess of Condé.
The exhibition will include examples from all the artist’s major series, beginning with her exploration of 300 years of fashion history in the works created for Papiers à la Mode. The works from her Splendors of the Medici series are inspired by Italian Renaissance costumes portrayed in Old Master paintings. Her next series, The World of Mariano Fortuny explored the work of the iconoclastic Spanish fashion designer, famously based in Venice, and her most recent series, Les Ballet Russes features fantastical modernist costumes designed by artists like Picasso, Bakst, and Matisse. The Frick’s recent commission will be the only new piece included in the exhibition. A fully illustrated color catalogue accompanies the exhibition.
Research Lunch | Wolf Burchard on Italian Royal Furniture
From the PMC:
Wolf Burchard, Italian Royal Furniture at Attingham Park
Paul Mellon Centre for Studies in British Art, London, 2 October 2018
Attingham Park, Shropshire was home to eight generations of the Berwick family, before it was bequeathed to the National Trust in 1947. Its collection comprises a remarkable assemblage of early 19th-century Italian gilt-wood furniture, acquired by William Noel Hill, 3rd Lord Berwick during his diplomatic missions in Sardinia, Turin, and Naples between 1808 and 1833. The pièce de résistance of his furniture is a neo-classical daybed, which—for generations— was thought to have belonged to Caroline Murat, sister of Napoleon. New research, however, reveals that it actually belonged to Maria Theresa, Queen of Sardinia and niece of Marie Antoinette of France. Wolf Burchard’s lecture disentangles the fascinating history of Maria Theresa’s furniture—which is associated with two palazzi in Milan and Genoa as well as the leading architects of the day, Giocondo Albertolli and Carlo Randoni—and how it came to Attingham.
The Fellows Lunches are a series of free lunchtime research talks given by recipients of Paul Mellon Centre Fellowships and Grants. All are welcome, but please book a ticket in advance. 1:00–2:00pm, Seminar Room, Paul Mellon Centre.
Wolf Burchard is Furniture Research Curator at the National Trust. In 2015, the Trust’s Furniture Research and Cataloguing Project received generous funding from the Paul Mellon Centre and the Royal Oak Foundation. Burchard was previously Curatorial Assistant at the Royal Collection Trust from 2009 to 2014. He studied history of art and architecture at the universities of Tübingen, Vienna and the Courtauld Institute of Art, from which he holds an MA and PhD. He is the author of The Sovereign Artist: Charles Le Brun and the Image of Louis XIV (Paul Holberton Publishing 2016), publishes and regularly lectures on the art and architectural patronage at the British, French and German courts; he is on the board of trustees of the Georgian Group and the Furniture History Society as well as on the vetting panels of TEFAF Maastricht and New York, and Masterpiece Art Fair.
Exhibition | The Chocolate Girl by Liotard
Notice of the exhibition appeared at Enfilade in April, but here are the details for the catalogue, published in association with Hirmer Verlag:
Stephan Koja and Roland Enke, eds., ‘The Most Beautiful Pastel Ever Seen’: The Chocolate Girl by Jean-Étienne Liotard in the Dresden Gemäldegalerie (Munich: Hirmer Verlag, 2018), 272 pages, ISBN: 978-3777431369, $42.
The Chocolate Girl is one of the most famous works by the Swiss artist Jean-Étienne Liotard. This richly illustrated volume leads the reader through the age in which it was created during the French-inspired Rococo and into the Vienna of Empress Maria Theresia, where the work was painted. It also explains the art of pastel painting, in which this enchanting work has been executed. The painting had a tremendous effect in those days and still does so today. Even during Liotard’s life (1702–1789) his pastel painting was highly valued, as the description by the most famous pastel artist Rosalba Carriera as “the most beautiful pastel” demonstrates. The Chocolate Girl shows a simple, unknown domestic servant, until then a rarely chosen subject. In its sober and precise observation it reflects the art of the Enlightenment as well as anticipating the realism of the nineteenth century. Chocolate itself, always associated with pleasure, contributes further to the particular charm. Characteristic works from other creative periods complete the overview of Liotard’s oeuvre.
New Book | Collecting the Past: British Collectors
From Routledge:
Toby Burrows and Cynthia Johnston, eds., Collecting the Past: British Collectors and their Collections from the 18th to the 20th Centuries (New York: Routledge, 2018), 144 pages, ISBN: 978-0815382348, $60.
Today’s libraries and museums are heavily indebted to the passions and obsessions of numerous individual collectors who devoted their lives to amassing collections of books, manuscripts, artworks, and other culturally significant objects. Collecting the Past brings together the latest research on a wide range of significant British collectors from the eighteenth to the twentieth centuries, including Hans Sloane, Sarah Sophia Banks, Thomas Phillipps, Sydney Cockerell, J. P. Morgan Jr., Alfred Chester Beatty, and R. E. Hart.
Contributors to the volume examine the phenomenon of collecting in a variety of settings and across a range of different materials. Considering the aims and motives that led these collectors to assemble such remarkable collections, the book also examines the history of these collections after the collector’s death. Particular attention is given to the often complicated relationship between collectors and the public institutions that subsequently came to house their collections. Situated within the framework of cultural collecting more generally, this book offers an authoritative series of essays on key collectors.
Toby Burrows is Senior Researcher at the University of Oxford and a Senior Honorary Research Fellow at the University of Western Australia.
Cynthia Johnston is Lecturer in the History of the Book and Communications at the Institute of English Studies, School of Advanced Study, University of London.
C O N T E N T S
1 Toby Burrows and Cynthia Johnston, Collecting the Past: Manuscript and Book Collecting in the Nineteenth and Twentieth Centuries
2 Alice Marples, Creating and Keeping a National Treasure: The Changing Uses of Hans Sloane’s Collection in the Eighteenth Century
3 Arlene Leis, Sarah Sophia Banks: A ‘Truly Interesting Collection of Visiting Cards and Co.’
4 Toby Burrows, ‘There Never Was Such a Collector Since the World Began’: A New Look at Sir Thomas Phillipps
5 Laura Cleaver and Danielle Magnusson, American Collectors and the Trade in Medieval Illuminated Manuscripts in London, 1919–1939: J. P. Morgan Junior, A. Chester Beatty, and Bernard Quaritch Ltd.
6 Stella Panayotova, Sydney Cockerell: A Bibliophile Director-Collector
7 Cynthia Johnston, Spending a Fortune: Robert Edward Hart, Bibliophile and Numismatist, An Industrialist Collector in Blackburn, Lancashire
8 Karen Attar, Ossified Collections: The Past Encapsulated in British Institutions Today
Exhibition | Tudors to Windsors: British Royal Portraits
From the MFAH:
Tudors to Windsors: British Royal Portraits
Museum of Fine Arts, Houston, 7 October 2018 — 27 January 2019
Bendigo Art Gallery, 16 March — 14 July 2019
Tudors to Windsors: British Royal Portraits from Holbein to Warhol sheds new light on changing ideas of monarchy and nationhood in Britain. The exhibition features portraits of British royalty spanning 500 years, by artists from Hans Holbein and Sir Joshua Reynolds to Annie Leibovitz and Andy Warhol.
In a sweeping survey, Tudors to Windsors covers the cavalcade of kings, queens, princes, and princesses who have graced the British crown. The MFAH is the only U.S. venue to host this unprecedented exhibition, part of a major partnership with the National Portrait Gallery in London. Some 150 objects—most never before seen outside of England—tell the story of Britain’s monarchy through masterworks of painting, sculpture, and photography.
Visitors have an extraordinary opportunity to come face-to-face with the fascinating figures of British royalty. Tudors to Windsors explores four royal dynasties: the House of Tudor (1485–1603), the House of Stuart (1603–1714), the House of Hanover (1714–1901), and the present-day House of Windsor. Among the many works of art on view are portraits featuring King Henry VIII, Queen Elizabeth I, King George I, Queen Victoria, Queen Elizabeth II, Princess Diana, and Prince William.
Tudors to Windsors: British Royal Portraits, with an introduction by David Cannadine (London: National Portrait Gallery, 2018), 240 pages, ISBN 978-1855147560, $50.
Call for Nominations | Eldredge Book Prize
2019 Charles C. Eldredge Prize
Nominations due by 1 December 2018
The Smithsonian American Art Museum is now accepting nominations for the 2019 Charles C. Eldredge Prize. The prize is given annually by the museum for outstanding scholarship in the field of American art. A cash award of $3,000 is made to the author of a recent book-length publication that provides new insights into works of art, the artists who made them, or aspects of history and theory that enrich our understanding of the artistic heritage of the United States. The Eldredge Prize seeks to recognize originality and thoroughness of research, excellence of writing, clarity of method, and significance for professional or public audiences. It is especially meant to honor those authors who deepen or focus debates in the field, or who broaden the discipline by reaching beyond traditional boundaries.
Single-author books devoted to any aspect of the visual arts of the United States and published in the three previous calendar years (2016–2018) are eligible. To nominate a book, please send a one-page letter explaining the work’s significance to the field of American art history and discussing the quality of the author’s scholarship and methodology. Nominations by authors or publishers for their own books will not be considered. The deadline for nominations is December 1, 2018. Please send them to: The Charles C. Eldredge Prize, Research and Scholars Center, Smithsonian American Art Museum, P.O. Box 37012, MRC 970, Washington, D.C. 20013-7012. Nominations will also be accepted by email: eldredge@si.edu, or fax: (202) 633-8373. For more information about the prize, please visit americanart.si.edu/research/awards/eldredge.
The museum will host a lecture by University of Texas at Austin professor Susan Rather, winner of the 2018 Eldredge Prize, on February 7, 2019, at 4pm. The talk will be related to Rather’s award-winning book, The American School: Artists and Status in the Late Colonial and Early National Era. It will also be available via webcast.
Material Fictions, Special Issues of ECF, 2018–19
The editors are pleased to announce the upcoming publication of a special issue of Eighteenth-Century Fiction:
Material Fictions, a Special Issue of Eighteenth-Century Fiction
Edited by Eugenia Zuroski (McMaster University) and Michael Yonan (University of Missouri)
Eugenia Zuroski and Michael Yonan, Material Fictions: A Dialogue as Introduction
Articles in Part 1 — ECF 31.1 (Fall 2018)
• Elizabeth Kowaleski Wallace, ‘Character Resolved into Clay’: The Toby Jug, Eighteenth-Century English Ceramics, and the Rise of Consumer Culture
• Emily M. West, Animal Things, Human Language, and Children’s Education
• Freya Gowrley, Craft(ing) Narratives: Specimens, Souvenirs, and ‘Morsels’ in A la Ronde’s Specimen Table
• Conny Cassity, Caught by the Throat: Anti-slavery Assemblages in Paul et Virginie and Belinda
• Emma Newport, The Fictility of Porcelain: Making and Shaping Meaning in Lady Dorothea Banks’s ‘Dairy Book’
• Joann Gohmann, Colonizing through Clay: A Case Study of the Pineapple in British Material Culture
• Tili Boon Cuillé, Of Mind and Matter in Charles Duclos’s Acajou et Zirphile
• Emma Peacocke, Puppets, Waxworks, and a Wooden Dramatis Personae: Eighteenth-Century Material Culture and Philosophical History in William Godwin’s Fleetwood
Articles in Part 2 — ECF 31.2 (Winter 2019), forthcoming
• Chloe Wigston Smith, Bodkin Aesthetics: Small Things in the Eighteenth Century
• Timothy Campbell, Soft Materiality: Dress and Material Fiction in T.S. Surr’s A Winter in London
• Tracey Hutchings-Goetz, The Glove as Fetish Object in Eighteenth-Century Fiction and Culture
• Alicia Kerfoot, Virtuous Footwear: Pamela’s Shoe Heel and Cinderilla’s ‘Little Glass Slipper’
• Samuel Diener, Eighteenth-Century Pipes and the Erasure of the Disposable Object
• Ula Lukszo Klein, Dildos and Material Sapphism in the Eighteenth Century
• Alicia Caticha, ‘Neither Poets, Painters, nor Sculptors’: Classical Mimesis and the Art of Female Hairdressing in Eighteenth-Century France
• Sean Silver, Afterword: What Do We Mean by ‘Material’?
Williamsburg Acquires Silver Teapot
Teapot, 1771–72, marked by Andrew Fogelberg, Swedish/English, working ca. 1767–deceased ca. 1815; sterling silver and wood (Colonial Williamsburg, gift of Angus Sladen of Hampshire, England, a descendant of the fourth earl of Dunmore, 2018-128).
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Press release (17 September 2018) from Colonial Williamsburg:
A small, delicately engraved, silver teapot that belonged to the Scottish nobleman John Murray (ca. 1730–1809), fourth earl of Dunmore and Virginia’s last royal governor, which descended through Lord Dunmore’s family, is now part of the Colonial Williamsburg Foundation’s collection. Engraved with the Murray family armorial crest beneath an earl’s coronet, it was made in London in 1771–72 under the sponsorship of the Swedish-born silversmith Andrew Fogelberg. This gift is the first example of silver marked by Fogelberg to enter the collection.
“This remarkable teapot owned by Virginia’s last royal governor represents our nation’s history in a unique way that enables us to authentically tell America’s enduring story,” said Mitchell B. Reiss, president and CEO of the Colonial Williamsburg Foundation. “Gifts such as this one permit us to better convey the human dimension of our country’s history in an exceptional manner.”
Lord Dunmore, a Scottish peer initially sent to the colonies as royal governor of New York, was transferred to Virginia less than one year later as King George III’s representative in the same capacity. He had a strife-filled time in Williamsburg from 1771 to 1776. Dunmore likely acquired the teapot during the earliest years of his residency in the colonies, before his family joined him from Scotland in 1774. Although there is no written documentation to prove that this teapot was used in Virginia, the likelihood that it was is quite strong. The diminutive scale of the teapot would have been suitable for Lord Dunmore’s personal use while in the colonies before his family’s arrival.
All semblance of peaceful governance in Virginia ended when Dunmore seized the colony’s store of gunpowder in April 1775. Notoriously unpopular and sensing the danger of an armed rebellion, Dunmore took his family and some of their small valuables and fled the Governor’s Palace two months later. Lady Dunmore and their children returned to Britain and Dunmore lodged on an English warship anchored in the Chesapeake Bay. In the process, he abandoned most of his household furnishings and personal property. It is believed that the Fogelberg teapot returned to Britain with the family, as it passed down among his descendants until it was given to Colonial Williamsburg recently.
“Only a handful of objects have come down to us from Lord Dunmore’s time in the Governor’s Palace,” said Ronald L. Hurst, the Foundation’s Carlisle H. Humelsine chief curator and vice president for collections, conservation, and museums. “Given his explosive role in Virginia’s Revolutionary uprising, Dunmore’s personal possessions are now powerful interpretive tools. This well-preserved teapot comes as a very important addition to our collections.”
Diminutive in size and cylindrical in shape, the teapot is engraved with arcaded columns beneath a shell and acanthus border. The proper right side is engraved with the Murray family crest as used by the earls of Dunmore: a bearded man holding in his right hand a sword and in his left a key; above is an earl’s coronet with five pearls on raised stalks interspersed with four strawberry leaves. This unique combination of elements, together with the date of the teapot, identifies it as the property of John Murray, the fourth earl of Dunmore and royal governor of Virginia.
The teapot has a loose—rather than hinged—lid, perhaps indicative of the Swedish background of its silversmith/sponsor Andrew Fogelberg, as this feature is more typically found on Scandinavian, Baltic and Continental vessels. Few objects from Fogelberg’s shop survive, and he is best remembered today as the master who trained the better-known English silversmith Paul Storr.
“This teapot tells a fascinating story,” said Janine E. Skerry, senior curator of metals at the Colonial Williamsburg Foundation. “Made in the shop of a Swedish-born craftsman working in London, it was used in Virginia by a Scottish nobleman on the eve of the American Revolution. It then traveled back to Britain only to be rediscovered almost 250 years later.”
The teapot is a gift of Angus Sladen of Hampshire, England, a descendent of the fourth earl of Dunmore. It descended to him via Lady Evelyn Cobbold, née Murray (1867–1963), daughter of the seventh earl of Dunmore and Lady Gertrude Coke, daughter of the second earl of Leicester. “I have a great love of and admiration for the United States,” said Mr. Sladen. “It seemed clear to me that this small object most probably witnessed part of American Revolutionary history. Colonial Williamsburg, with its great collections and knowledgeable curators and experts, seemed the ideal home for it, and I felt it might mean a great deal to [its] visitors.”
The Dunmore teapot will be included in a multimedia exhibition focused on objects made or used in Williamsburg scheduled to open at the Art Museums of Colonial Williamsburg in 2019.
New Book | Marbled Paper
From Oak Knoll Press:
Richard Wolfe, Marbled Paper: Its History, Techniques, and Patterns (New Castle, Delaware: Oak Knoll Press, 2018), 245 pages, ISBN: 978-1584563600, $95.
Second edition with corrections, from the original edition published in 1990 by the University of Pennsylvania Press (a publication of the A.S.W. Rosenbach Fellowship in Bibliography). With over 350 color and 80 black-and-white illustrations, and a new Foreword by Sidney Berger.
Richard J. Wolfe (1928–2017) was a rare book librarian, practicing marbler, and collector of marbled papers and books about marbling. This book is the result of more than twenty-five years of research and practical experience. Wolfe personally tracked down and sorted out historical records of marbling from their original sources, and he drew on his own extensive experience as a practitioner to write eloquently on technical and stylistic questions. The resulting study meticulously reconstructs the rise and fall of the craft and recounts its history, techniques, and patterns in such a way as to put all aspects of this fascinating craft in proper perspective.
When first published, Marbled Paper was immediately recognized as the most comprehensive study of marbling to that point, and its status as the standard history of the subject has not been diminished by more recent works. For that reason, and with the goal of making it available again to scholars, students, and practitioners of marbling, Oak Knoll Press is pleased to be able to present this second edition in cooperation with the Wolfe family, completed with minor corrections left by the author.
Exhibition | Ladies of Quality and Distinction
Press release for the exhibition now on view at The Foundling:
Ladies of Quality and Distinction
The Foundling Museum, London, 21 September 2018 — 20 January 2019
Andrea Soldi, Portrait of Isabella Duchess of Manchester, 1738 (London: Whitfield Fine Art).
This autumn, for the first time, visitors to the Foundling Museum will have an opportunity to discover portraits and stories of the remarkable women who supported the establishment and running of London’s Foundling Hospital. Marking 100 years of female suffrage, Ladies of Quality and Distinction resets the focus of the Hospital’s story and radically re-hangs the Museum’s Picture Gallery.
Despite its male face, women permeate every aspect of the Hospital story—as mothers, supporters, wet nurses, staff, apprentice masters, artists, musicians, craftsmen, and foundlings. Yet for almost 300 years, history has placed these women as a footnote in the story. The Museum is redressing this balance by bringing these overlooked stories to the fore.
Following a successful campaign via Art Happens, the Art Fund’s crowdfunding platform, the Museum brings together portraits of the ‘ladies of quality and distinction’ who signed Thomas Coram’s original petition to King George II in 1735, calling for the establishment of a Foundling Hospital. Working closely with eighteenth-century specialist Elizabeth Einberg, the Museum has identified portraits of these duchesses in public and private collections across the UK. Hung together for the first time, these paintings will temporarily replace the portraits of male governors that line the walls of the Museum’s Picture Gallery, reuniting the Ladies on the site of the charity they helped establish, and highlighting their role in shaping British society today. Included are magnificent court portraits by leading eighteenth-century painters William Hogarth, Thomas Hudson, and Godfrey Kneller. The majority of the portraits are in private collections, having remained within the family or ancestral home. Some paintings have not been on public display for many years.
Downstairs in the Museum’s exhibition gallery, the lives of the women who supported the day-to-day running of the institution will be brought to life. Women worked in many different roles at the Hospital, from laundresses and scullery maids, to cooks and matrons. Beyond its walls the organisation was supported by a small army of wet nurses who fostered the children in their infancy, as well as inspectors who supervised them. It was not until the twentieth century that the first woman was appointed Governor. Nevertheless, many female supporters of similar social class to the Hospital Governors gave valued advice, particularly around the proper care of infants, girls, and female staff.
Highlighted stories include: Mrs Prudence West, a female inspector and the only woman to run a branch Hospital; Miss Eleanor Barnes, one of the earliest female Governors of the Hospital; Mrs Elizabeth Leicester, an early matron of the Foundling Hospital who oversaw some of its most challenging years; and Jane Pett, a dry nurse highly acclaimed for her exceptional care.
Caro Howell, Director of the Foundling Museum said: “Women of every social class permeate every aspect of the Foundling Hospital story. After centuries of omission, their revolutionary, catalytic and invaluable contributions can at last be celebrated. We are incredibly grateful to the 336 donors who supported our Art Happens campaign to make this important exhibition possible.”
This exhibition forms part of the Museum’s year-long programme of exhibitions, displays, and events to mark the centenary of female suffrage, by celebrating women’s contribution to British society, culture, and philanthropy from the 1720s to the present day. The Museum raised over £20,000 towards this exhibition through a successful Art Happens crowdfunding campaign. The Museum is incredibly grateful to all our exhibition donors, including the 336 donors who gave to our Art Happens campaign, our main corporate exhibition sponsor Saxton Bampfylde, and to Art Fund, whose support made conservation of paintings loaned for this exhibition possible.
P R O G R A M M I N G
Georgian Women
The Foundling Museum, London, 19 October 2018
Discover what it meant to be a woman during this period and how three writers have brought the era to life. Speakers include Imogen Hermes Gowar, author of the Women’s Prize for Fiction shortlisted novel The Mermaid and Mrs Hancock; writer and television presenter Janet Ellis, author of The Butcher’s Hook; and Katharine Grant, whose novel Sedition was described by The Guardian as “subversive and unmissable.” Cash bar on the night. The programme begins at 19:00 (doors open at 18:30). Tickets £15 (£12.50 concessions and Foundling Friends). Details, including booking information, are available here.
Film Screening: The Duchess
The Foundling Museum, London, 9 November 2018
Join us for a unique cinema experience and enjoy the sensational 18th-century drama The Duchess, screened in the Picture Gallery. Keira Knightley and Ralph Fiennes star in this film exploring the life of Georgiana Spencer, Duchess of Devonshire, as she struggles to protect her children from her unscrupulous husband and social pressures, and find her independence. The film begins at 19:00. Tickets are £12. Details, including booking information, are available here.
Wikithon: Ladies Of Quality & Distinction
The Foundling Museum, London, 17 November 2018
Join our Wikipedia edit-a-thon and help us bring the overlooked stories of women and the Foundling Hospital to the fore. Bring your laptop and prepare with our Edit-a-thon guide. Led by researchers from the project Editing the Long Nineteenth Century: Recovering Women in the Digital Age in partnership with the Birkbeck Centre for Nineteenth-Century Studies, the session begins at 13:00 and lasts until 16:00; it is free, but booking is essential. This event is part of the Being Human Festival, organized by the School of Advanced Study, University of London, in partnership with the Arts & Humanities Research Council and the British Academy.
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