To publish outstanding original research on British art (interpreted in the widest sense), adopting all approaches to the discipline, and with a particular view to seeing British art in a wider international context. To encourage and support the work of younger scholars.
Main articles are usually 3,000 – 7,500 words, but it is a policy of the journal to consider longer articles up to 20,000 words; shorter articles up to 3,000 words.
Research articles will be refereed.

Editorial Board

Dr Martin Postle
Paul Mellon Centre for
Studies in British Art, London
Professor Allen Staley
Columbia University, New York

Emeritus Professor William Pressly
University of Maryland
Professor Emeritus Aileen Ribeiro
Professor Emeritus David Bindman

Graham Beal
Healdsburg CA
Olivier Meslay
Clark Art Institute, Williamstown MA

Professor Linda Colley
Princeton University

Professor Christopher Brown

Dr Timothy Standring
Denver Art Museum

Professor Michael JK Walsh
Nanyang Technological University, Singapore

Professsor Paul Binski
University of Cambridge
Sir Charles Saumarez Smith
Professor Edward Chaney
Southampton Institute
Professor Emeritus Duncan Macmillan
Professor Tim Barringer
Yale University
Professor Pamela Gerrish Nunn
Christchurch, New Zealand
Sir Timothy Clifford

Dr Simon Thurley


Not less than 88pp editorial plus advertising, art gloss paper 130 gsm in black and white and colour; cover 300 gsm two-colour laminated gloss; perfect bound.

Staff and publication details

The British Art Journal is published three times a year. It was founded in Autumn 1999, with two issues in the first volume, but there have been three in each volume since then. The volumes appear annually, although in practice the issues may run over into a following calendar year, which does not affect the subscription entitlement of three issues per subscription.

Editor: Robin Simon

Art Director: David N Hodgson

Associate Editor (Reviews): Simon Poë

Associate Editor (Books): Martin Hopkinson

Consultant Editor (USA): John Wilson

Advertising: David N Hodgson



St Cecilia (BJ 160) by Sir Edward Burne-Jones, made by Morris & Co, c1900.
Stained and painted glass, 213.5 x 75.5 cm. Princeton University Art Museum,
museum purchase, Surdna Fund (y1974-84). Photo Princeton University Art Museum
See article by Anne Anderson, on pp72-82 and this issues Featured Article



2 | Gainsborough’s House, Sudbury
A major new art centre


3 | Fintan Cullen
Ireland and British portraiture
The case of Mansergh St George

8 | William Hauptman 
Encountering European painting in London
The Lichfield House Exhibition of 1851 and its forerunners. Part I

32 | Susan Sloman 
The ‘infant’ drawings of Sir Thomas Lawrence (1769–1830)

42 | Jonathan Foyle and Peter N Lindfield
A forger’s folly? 
The productions of George Shaw (1810–76) for Chetham’s Library, Manchester

51 | Simon Spier
Between Fine Art and Design

York School of Design, 1842–1855

58 | Patricia R Andrew 
In the frame?
The funeral parson in A Harlot’s Progress by William Hogarth (1697–1764)

62 | Allister Neher
John Bell (1763–1820)
Anatomist and art theorist

72 | Anne Anderson
Dearman Birchall’s House Beautiful
The St Cecilia windows for Bowden Hall, a collaboration between Morris & Co and Aldam Heaton

83 | David Greenwood
Dearman bookplates and bonding
An early woodcut by Georgie Gaskin (1866–1934)


86 | Alexander Clayton-Payne
The re-emergence of a painting by Benjamin West (1738–1820)


93 | Martin Hopkinson 
George Rawson
Charles Rennie Mackintosh in Italy


95 | ­ Robin Simon
Ekaterina Karavaeva
Power, Diplomacy and Culture at the Court of Henry VIII


95 | RB Watson
 ‘Hubert Arthur Finney: Out of the Shadows’
The Lightbox, Woking, 9 January–21 March 2021