Autumn 2023

Collaborative Project Grants

• Queen Mary, University of London and University of Aberdeen for the collaborative research project Women Making Art in Post-war Britain, ca. 1945–1974
• Queen’s University Belfast and Twentieth Century Society (C20) for the collaborative research project Miners’ Modernism: Mapping the Social Impact and Legacy of Pithead Baths

Conservation Project Research Grants 

• Hamilton Kerr Institute, Fitzwilliam Museum towards conservation work on Leonora Carrington’s Tempera Paintings, 1945–47

Curatorial Research Grants

• Camden Art Centre for the curatorial research project Caught in the Middle
• Compton Verney House Charity for the curatorial research project Reimagining Compton Verney’s Folk Art Collection
• Delaware Art Museum for the curatorial research project Simeon Solomon: Queer and Jewish in Victorian London
• Museums Northumberland for the curatorial research project PP XC – 90 Years of the Pitmen Painters
• Whitechapel Gallery for the project Expanding the Contemporary British Art Canon: New Research, Exhibitions and Publications on the Work of Hamad Butt, Joy Gregory and Gavin Jantjes

Digital Project Grants

• Association of Historians of Nineteenth-Century Art (on behalf of the scholarly open-access journal Nineteenth-Century Art Worldwide) for the digital project Annotating the New Union Club: Anti-racist Ethics and Curation for Digital Art Histories
• Kingston University for the digital project The Shadow of Ruination: The Expression of Post-war, Diasporic Anxiety Through Modernist Catholic Churches in Britain
• The Photographers’ Gallery for the digital project Thinking, Mindless, Unthinking Photography: A Contemporary Perspective
• University of Edinburgh for the digital project Windows on the Past: Digital Analysis of Window Design in Later Medieval England

Publication Grants

• Alborz Dianat for author costs towards the publication Walter Gropius in Britain: Emigration and Collaborations
• Giulia Smith and Manchester University Press for author and publisher costs towards the publication Caribbean Eco-Aesthetics
• Otto Saumarez Smith and Lund Humphries for author and publisher costs towards the publication The Modern British City
• Altair Brandon-Salmon for author costs towards the article Wastelands: East End Bombsites in Postwar Photography
• Meghan Kobza for author costs towards the publication Masquerade: Unmasking Georgian London
• The Chinese University of Hong Kong Press for publisher costs towards the publication Form Follows Fever: Malaria and the Construction of Hong Kong, 1841–1849
• Hilary Fraser for author costs towards the publication The Renaissance: Studies in Art and Poetry (Collected Works of Walter Pater, Volume 1)
• Michael Sappol for author costs towards the publication Queer Anatomies: Aesthetics and Desire in the Anatomical Image 1700–1900
• Ego Ahaiwe Sowinski and The Hepworth Wakefield for author and publisher costs towards the publication Ron Moody: His Universe
• National Galleries of Scotland for publisher costs towards Everlyn Nicodemus
• Dominic Johnson for author costs towards Hamad Butt: Apprehensions
• Catherine Spencer for author costs towards Grassroots Artmaking: Political Struggle and Activist Art in the UK, 1960–present
• Marian Campbel for author costs towards Limoges Enamels – French Art in Medieval England, with a Gazetteer of Limoges Enamels Found in England
• Drawing Room for publisher costs towards The Time of Our Lives – Drawing and Feminism
• Michael Clegg for author costs towards The AIA 1951 Lithographs: Contesting National Identity in Intermodern Prints
• Michael Ohajuru (Canbury Press) for author costs towards The John Blanke Project
• Nottingham Contemporary for author and publisher costs towards Donald Rodney, 2025
• Yale University Press for publisher costs towards The Mack: Charles Rennie Mackintosh and the Glasgow School of Art
• Christina Smylitopoulos and McGill-Queen's University Press for author and publisher costs towards The Accidental Patron: Thomas Tegg, Late Georgian Graphic Satire, and the Aesthetics of Modernity
• Whitechapel Gallery for author and publisher costs towards Whitechapel Gallery: A Legacy in Public Education 1979–1990 (WIP title only)
• Baltic Centre for Contemporary Art for publisher costs towards Franki Raffles: Photography, Activism, Campaign Works
• National Museums Liverpool for publisher and author costs towards Black (working title)
• The Hunterian for publisher costs towards Digging in Another Time: Derek Jarman's Modern Nature

Andrew Wyld Research Support Grants 

• Alan Mitchell (Cambridge University) for research on the project Works on Paper by Phoebe Anna Traquair
• Jennifer Marine (University of Virginia) for research on the project Seeing the Supernatural in Victorian England

Research Support Grants 

• Marion Bélouard (Institut National d'Histoire de l'Art (INHA) / Université de Limoges) for research on the project On the Wings of Albion. John James Audubon in Great Britain: Art, Natural History and Learned Societies (1826–1839)
• Lisa Brown (Independent scholar) for research on the project The Mural Works of Henry Collins and Joyce Pallot
• Lucy Chiswell (The University of Auckland) for research on the project Crossing Boundaries: Alethea Talbot Howard, Countess of Arundel (ca.1585–1654), and the Power of Female Patronage in Early Modern England
• Paola Colleoni (Hong Kong Baptist University) for research on the project Gothic at the Crossroads
• Bryony Coombs (The University of Edinburgh) for research on the project Scotland on Parchment: Scraped, Limned, and Bound. Manuscripts and Their Images in Late-Medieval Scotland
• Miara Fraikin (KU Leuven) for research on the project State Bedrooms and Domestic Sleeping Rooms at the English Royal Court
• Imogen Hart (Independent scholar) for research on the project Race in the English Arts and Crafts Movement
• Phoebe Herland (Institute of Fine Arts, New York University) for research on the project For the Record: Barney Bubbles and the Graphic Counterculture
• Lucy Howie (University of St Andrews) for research on the project Disability, Sexuality and the Politics of Representation: A Reconsideration of Jo Spence’s Photo Therapy in 1980s Britain
• James Moir (Independent scholar) for research on the project Berkhamsted's Father & Son Architects: The Rew Legacy
• Gerardine Mulcahy-Parker (Independent scholar) for research on the project David Remfry’s Early Years
• Carole Nataf (Courtauld Institute of Art) for research on the project Gum Arabic: Visualizing Transparency from the West-African Sahel to Paris and London Art Studios in the Eighteenth Century
• Joy Onyejiako (SOAS University of London) for research on the project West African Links in Tudor Elizabethan Decorative Arts and Architecture
• Aurélie Petiot (Université Paris Nanterre) for research on the project Transposition of Locatedness
• Nóra Veszprémi (Masaryk University, Brno) for research on the project Transnational Memory in the Home: Staffordshire Ceramic Figurines of the Hungarian Revolutionary Lajos Kossuth
• Matthew Wells (University of Manchester) for research on the project The Carpet, the Office, an Environment: Work in 1960s British Architecture
• Melanie Williams (University of East Anglia) for research on the project Muriel Box: Feminist Aesthetics, Women's Filmmaking and British Cinema
• Christopher Williams-Wynn (Kunsthistorisches Institut in Florenz – Max-Planck-Institut and the Stiftung Preußischer Kulturbesitz) for research on the project The Geometry of Social Relations: How Stephen Willats’s Cybernetic Techniques Remade the Artist, Audience and City in the 1970s
• Lauren Working (University of York) for research on the project Painted Fancies: Women, Plantation, and the Aesthetics of Empire in Early Stuart England

Event Support Grants 

• Leeds Museums and Galleries towards the “Public Houses? What Makes Civic Custodianship of Historic House Museums in Britain Different and Where Next?” conference
• Letchworth Heritage Foundation towards the “Amal Ghosh Bridge” symposium
• Pallant House Gallery towards “The Shape of Things: Still Life in British Art 1650 to 2024” symposium
• Royal Holloway, University of London towards “The Performing Object: Ceramics as Performance” symposium
• The Photographers’ Gallery towards the “Bert Hardy: Picturing Britain” conference
• University of Westminster towards “Women in Revolt: Radical Acts, Contemporary Resonances conference