THE HANOVER GALLERY & QUEER REPRESENTATION
I delivered my paper on The Hanover Gallery & Queer Representation for the Association of Art Historians Conference in 2021, as part of a seminal on Female* Art Dealers in Mid-20th Century Britain, co-organised by Abi Shapiro of the Hepworth Wakefield and Sarah Turner of the Paul Mellon Centre for Studies on British Art.
You can read this paper here.
RADICAL FEMALE ROLE MODELS: A BLUEPRINT FOR SUCCESS AS AN 'OUTSIDER'
For Sotheby's Institute of Art I wrote an abridged version of my talk on the influence and inspiration of pioneering gallerist Johanna (Mutter) Ey for Erica Brausen. The paper looks at three key points of commonality: "Palma de Mallorca, the paradise where one can behave as one wanted"; "The edge of being women and outsiders"; and "Pushing the boundaries of modern art".
This abridged paper can be read here.
Please contact me for the full and unabridged paper.
BRAVE NEW VISIONS EXHIBITION CATALOGUE
I designed and wrote the exhibition catalogue for Brave New Visions (hosted by Sotheby's, 17 July - 9 August, 2019). The catalogue includes contributions from Sue Grayson Ford, MBE and scholar, Dr. Anna Nyburg.
The Brave New Visions catalogue is, in many instances, the first referenced biography of the émigré art dealers whom it takes as its subject: Andras Kalman (Crane Kalman Gallery); Carl Braunschweig (Exhibition of German-Jewish Artists' Work, 1934); Charles and Peter Gimpel (Gimpel Fils); Erica Brausen (Hanover Gallery); Harry Fischer and Gilbert Lloyd (Marlborough Fine Art); Annely Juda (Molton, Hamilton and Annely Juda Fine Art); Gustav Delbanco and Henry Roland (Roland, Browse & Delbanco); Paul Wengraf (Arcade Gallery); Jack Bilbo (Modern Art Gallery); and Lea Bondi-Jaray (St. George's Gallery).
It can be accessed at https://issuu.com/bravenewvisions/docs/brave_new_visions
M.LITT THESIS: ERICA BRAUSEN AND THE HANOVER GALLERY (1948-1973)
I wrote my thesis on Erica Brausen and the Hanover Gallery, as part of my M. Litt in Museum & Gallery Studies from the University of St. Andrews.
The majority of literature on Brausen and the Hanover Gallery is ‘Bacon-centric’. Bacon’s biographies and two catalogues raisonnés capture Brausen and the Hanover from 1946, when Brausen first purchased Bacon’s work, to 1959, when Bacon left the gallery. Beyond this thirteen-year period, information is limited and largely inaccurate. Chapter one is the first academic biography of Erica Brausen and history of the Hanover Gallery. Chapter two looks into the deep links between the Hanover Gallery and artists who entered the canon in the twentieth century.
The third chapter of this thesis focuses on what I believe makes the Hanover more than just a successful gallery. This chapter looks at the platform that the gallery offered to queer artists during a time when male homosexual behaviour was criminally prosecuted and female homosexuality was unacknowledged.
I have produced three main appendices to this thesis: a full listing of the Hanover Gallery's exhibitions, a breakdown of the artists exhibited in these exhibitions, and a full list of the exhibitions held at the Gimpel und Hanover Galerie. These are intended to support this thesis, and provide a basis for future research.
Please contact me for any research queries pertaining to Erica Brausen or the Hanover Gallery, and I will be delighted to provide a copy of my thesis.