Cataloguing and Digitising the Jim Murrell Archive

Jim Murrell

For anyone working on the topic of early modern portrait miniatures, 2019 was an exciting year, seeing the fruition of much new research in exhibitions and publications, including the large exhibition Elizabethan Treasures: Miniatures by Hilliard and Oliver (21 Feb 2019 – 19 May 2019), which introduced a new generation to this art form at the National Portrait Gallery, London; Elizabeth Goldring’s much-awaited biography, Nicholas Hilliard: Life of an Artist, (New Haven, London: Yale University Press, 2019); and Cambridge’s very own focused display, Secrets of a Silent Miniaturist: Technical Analysis of Isaac Oliver’s Miniatures at the Fitzwilliam Museum. In Cambridge, work on miniatures continues with the technical analysis of Oliver’s work and, as part of this project, the digitisation of the hitherto largely unexplored archive of Jim Murrell (1934–1994), housed at the Hamilton Kerr Institute (HKI).

A selection of the Fitzwilliam Museum’s miniatures, show-casing some of the recent discoveries on the work of Isaac Oliver, in the Rothschild Gallery of Medieval & Renaissance Art (Gallery 32)

Vernon James Murrell, known as Jim, was a conservator of miniatures and wax objects at the Victoria and Albert Museum, London (V&A) from 1961 until his retirement in 1994. Murrell worked on the V&A’s National Collection of portrait miniatures as well as examples in private and other public international collections. He wrote and contributed towards a number of key publications, in which he shared his technical knowledge of miniatures.  These include John Murdoch et al., The English Miniature (New Haven, London: Yale University Press, 1981); Roy Strong and V. J. Murrell, Artists of the Tudor Court: The Portrait Miniature Rediscovered, 1520–1620 (London: V&A, 1983); and The Way Howe to Lymne: Tudor Miniatures Observed (London: V&A, 1983). His edition of Edward Norgate’s seventeenth-century treatise Miniatura, or The Art of Limning, co-authored with Jeffrey M. Muller, was published posthumously (New Haven, London: Yale University Press, 1997). Murrell’s work pioneered the technical study of miniatures and the communication of his findings to non-specialist audiences, and continues to be used today by art historians and new audiences.

A selection of the two-hundred-plus files, books and boxes in the Jim Murrell Archive at the Hamilton Kerr Institute

The archive contains Murrell’s notes, sketches, slides, and lectures, most of which have not yet been published, as well as secondary reading materials.It  reveals adesire to understand how miniatures were made, the materials and techniques which were used to create them, and Murrell’s curiosity concerning the technical interest in miniatures in early modern Britain. His notes reveal how artists created miniatures, what pigments were employed for the paints, and how the artist applied the paint to the support. Murrell transcribed copies of historical manuscripts and annotated them to indicate where recipes were unique, had been copied from other treatises, and where they offered a variation on existing knowledge. These annotations highlight the ways in which information circulated amongst artists, patrons and other interested readers in early modern England. Information about the painting of portrait miniatures can also be found within a variety of written materials on other topics, including commonplace books, books of coats of arms and heraldry, and books on plants.

The archive was donated to the HKI by Jim’s wife, Ann Murrell Ballantyne, a restorer of medieval wall paintings, in June 1999. Access to the archive is currently greatly limited but plans are afoot to create an archive centre at the HKI. In the meantime, however, and for those who are not able to travel to the HKI, it is hoped that the digitised version will soon be available online, providing access to reproductions of Murrell’s notes and sketches.1

Lindsey Cox digitising the Jim Murrell Archive at the Hamilton Kerr Institute

Between April and December 2019, I digitised over five thousand images from the archive. The images were captured using DocScan, a free mobile phone scanning app which was installed on a Sony Xperia XA1. Docscan works with the mobile camera and does not require a flatbed scanner.  This would make it a good option for researchers visiting archives where no scanner is available or where scanning may damage the original. Often, the DocScan app could detect the outlines of a page and suggested where to crop and edit the images before saving to the phone. I found that this function worked better with pages of typed text than with notebooks of faint, pencilled sketches or notes. Once the images had been captured and edited, they were saved as PDF files and transferred to a computer. This made it easier to view the image to check for focus and cropping. Sometimes images needed to be taken again to ensure legibility, which was the main priority of this project. Digitising the archive will not only increase accessibility, but also help decipher Murrell’s notes: his script is tidy but sometimes very small, and is therefore easier to read once it has been magnified on the computer. Digitisation will also help to ensure the longevity of Murrell’s knowledge, should anything ever happen to damage the original material.

Image showing a page from one of Murrell’s notebooks

The image above shows a digitised page from one of Murrell’s notebooks in which he has included notes and sketches from the V&A collection of portrait miniatures. The upper image shows Murrell’s sketch of an unknown lady painted by the enamel miniature artist, Christian Friedrich Zincke, c. 1705–1745, 46 mm x 38 mm (P.37-1931). With the benefit of viewing the original painting under magnification combined with his technical knowledge of how these works were created, Murrell has noted that the sitter’s blue dress was painted ‘wet-in-wet’, a painting technique in which paint layers are applied one after the other, before the previous layerhas dried. This technique is used to create a very smooth appearance with no visible brushstrokes. Murrell also noted this highly finished effect in the pale grey ‘floating’ background of the miniature, and the almost invisible washes laid down to create the features of the figure. Below this in Murrell’s notebook is a sketch of a second miniature by Zincke: Charles, 2nd Duke of Grafton, c. 1730, enamel on metal, 45 mm x 37 mm (Evans 320). Again, Murrell’s close observation of the work reveals the techniques whereby Zincke achieved his smooth effects. The background is noted as ‘very softly stippled’,a technique of using small dots or short strokes of the paintbrushwhereas  vertical hatching (closely drawn lines) and ‘sharp dotted stipples’ are used by the painter to model the sitter’s face. The different sorts of marks are clearly represented in Murrell’s sketch. The notebook contains further sketches and notes on miniatures by Zincke and his contemporaries.

The archive now exists in its original state and, largely, as a series of digitised files. With further funding, it will be possible to make these digitised files available for public viewing online. It is hoped that providing the Murrell archive with an online presence will provide an ongoing legacy and foster  the revival of interest in miniatures. The funding for the digitisation work undertaken so far was granted by the British Academy Small Research Grant scheme and the Fitzwilliam Museum’s Marlay Group, as part of an ongoing technical research project on Isaac Oliver.

If you want to know more or contribute to the project, please get in touch by emailing portraitminiatures@fitzmuseum.cam.ac.uk.

Bibliography

DocScan http://docscan.ifunplay.com/

Elizabeth Goldring, Nicholas Hilliard: Life of an Artist, (New Haven, London: Yale University Press, 2019)

Jeffrey M. Muller and Jim Murrell, Edward Norgate: Miniatura, or, the Art of Limning (New Haven, London: Yale University Press, 1997)

Jim Murrell, The Way Howe to Lymne: Tudor Miniatures Observed (London: The Victoria and Albert Museum, 1983)

Roy Strong and V. J. Murrell, Artists of the Tudor Court: The Portrait Miniature Rediscovered, 1520–1620 (London: V&A, 1983)

John Murdoch, Jim Murrell, Patrick J. Noon and Roy Strong, The English Miniature (New Haven, London: Yale University Press, 1981)

 

LEDs part 2

How LEDs are now very much earning their keep. Conservation viewing aids and other useful pieces of equipment.

Definition of ‘light’: The natural agent that stimulates sight and makes things visible; the key words here being ‘makes things visible’.

Definition of to ‘illuminate’: to enlighten, as with knowledge, to make lucid or clear.

With such a large, diverse and dynamic collection here at the Fitzwilliam1it is hardly surprising that a lot of time is given over to preparing new displays, reviewing items destined for loan and supporting, at times complex in-house exhibitions.

Conservators are required to examine objects extremely closely and quite a lot of their time is spent carefully recording this information. Assessments are made with regard both damage and decay and then to diligently note perceivable change, especially over time. Furthermore, we must be able to establish the construction of an object, the materials that have been used, such as paper and drawing media, and in some instances even the order in which these have been applied.

Although light can be extremely damaging to a wide range of museum objects, its power with regard to illuminating collections can be fascinating and at times, revelatory. As such, both good light and good optics are essential.

Stand alone inspection lamps

To help in these tasks, the museum has recently acquired several stand – alone LED photographic lamps 2. These have replaced older fluorescent lamps which by comparison are somewhat harsh, one directional and at times prone to heating up.

Botticini, Francesco 1446-1497 (Florence). Virgin Adoring the Child, Tempera with gold on a wooden panel, M.10. Task lit using a versatile LED photographic lamp.

Useful features include: an ability to adjust both the levels of illumination and colour temperature and integrated rechargeable batteries, which offer the unit much greater flexibility of use.

A digital display on the back shows how this particular lamp is fully powered, it has a brightness setting of 71 % and a colour temperature of 4100 degrees Kelvin.

For conservators, the technology is now very much out there and the  options available are multiplying all the time. To some extent, the process of selection will be determined by personal preference and in many cases, the cost. Speaking from experience, investing in a good stand (one that is both stable and mobile) will pay dividends. The wheels on ours seem to have a mind of their own and tend to travel in only the one direction!

Hand held LED inspection lamps

The Docter Aspherilux Midi rechargeable LED Torch 3

German-made and the quality really shines through.

A compact torch which gives bright, directional light of even intensity. The metal casing is robust, the body is well balanced and the unit contains integrated rechargeable batteries. The only problem you may have with this particular torch is ‘holding onto it’. In our museum, at very least, useful things become popular with others!

Ambient studio lighting.
A strong and informative (directional) raking light.

This clearly shows the power of ‘raking light’ in revealing the paper undulations, embedded creases, ingrained dirt and other interesting surface textures. Invaluable!

Shown below is a portrait miniature of Charles, 1st Marquis Cornwallis (1738-1805), No 3922. Watercolour on ivory, by John Smart (British artist, 1741-1811) within a decorative gold locket, glazed. Dimensions: 67 x 52 mm.

Condition appears fine, or is it?
On closer inspection (lit by a strong raking light – underside of the cover glass) ‘all is not well’. Click on the image to enlarge.

The black arrow above shows a passage of glass clouding and although subtle, this is important, being indicative of the onset of glass disease4. If this condition is left indefinitely, especially in a poor environment, the sequence of deterioration would become very much more dramatic. As such, by having noticed the change and ideally acting accordingly, this is an important first step in any good preservation plan.

Ultra Violet LED lamp5

A compact Ultra Violet LED torch (Nite Ize, USA)

On occasion, examining an object under Ultra Violet light can be extremely rewarding as illustrated by the 16th century portrait miniature, shown below. In this case the yellowy – green fluorescence indicates  passages of loss, earlier damage and discrete later additions. This particular ‘visual marker’ is indicative of a 19th century pigment, Chinese White (zinc oxide)6.

Photographed in daylight.

Portrait miniature of Henry Frederick, Prince of Wales by Isaac Oliver (British artist, 1556(?)-1617) 3903. Watercolour on vellum laid to card. Dimensions: 52 x 40 mm.

Photographed under Ultra Violet where the edge damage and later additions are clearly visible. Click on the image to enlarge.

Magnifiers

An Optivisor is a useful and inexpensive viewing aid, costing approximately £30-50. This is the sort of thing that one often reaches for whilst inspecting an object at close quarters and is commonly used by paintings conservators engaged in detailed image reintegration -restorations.

Various lenses are available offering different powers of magnification and are easily interchanged. Personally, I have found x 4 most helpful for some of the more detailed conservation tasks.

In recent months here at the Fitzwilliam we have been taking a closer look at many of our miniature paintings7and for this task, I have found a small hand-held magnifier especially useful8.

Leuchtturm-Lighthouse frameless LED Illuminated Magnifier.
Seeing things in a better light.

Portrait miniature of an unknown man, PD.958-1963. Watercolour on ivory  by John Smart (British artist, 1741-1811) within a decorative gold locket, glazed. Dimensions: 38 x 32 mm.

Examining such small works as these under magnification and in good light, helps enormously in their interpretation. Close inspection is invaluable and may reveal all sorts of ‘collection care issues’; such as friable media and/or loss, the onset of glass disease or perhaps even, invasive mould growth (see the detailed image shown below).

An 18th century miniature portrait.

Portrait Miniature of Sir Joshua Reynolds by James Nixon, British artist, c.1741(?)-1812, No 3800. Watercolour on ivory, within a locket, glazed. Dimensions: 80 x 64 mm.

Scale in life: 40 x 60 mm (detail)

Detail of the same, showing invasive and unsightly mould to the surface. Click on the image to enlarge.

Under closer scrutiny, surface mould growth is clearly visible. Spotting this type of damage and taking the necessary action (ideally addressing the mould and being especially vigilant with regard ‘storage conditions’) is important, in any progressive collections care plan .

Conservators are naturally inquisitive creatures and often, through necessity, have had to evolve and adapt. The profession is relatively small and sadly, all too often poorly resourced. As such, borrowing ideas from others is especially satisfying and all the more so when this saves a little money.

LED Light panel – light box 

By way of example our studio recently purchased an LED ceiling light panel9,a chance find at a local electrical outlet. Although most frequently used in schools and hospitals, this even light source has now become our ‘go to’ studio light box.

A fortuitous find: how LED ceiling light panels are now doubling up as a useful, low profile, light box. A reliable, inexpensive source of transmitted light.

Transmitted light (light shone through a surface, such as a paper) is especially helpful in revealing certain characteristics that otherwise may remained hidden, such as a maker’s watermark or perhaps even, the date of manufacture.

A fan shown on an unilluminated LED light panel, nothing spectacular in itself.

 

The same in transmitted light. Note the physical damage (various losses and tears), information with regard the fan’s structure and the delicate fretwork pattern (small pieces of paper cut out by hand). Click on the image to enlarge.

 

In detail, unilluminated.

 

In detail, illuminated (showing the power of ‘transmitted light’)

M.219-2015: 18th century Italian chinoiserie fan. One of 600 or so, rich and varied fans recently acquired by the Fitzwilliam (2015)10.

As conservators we look for clues with regard the paper type, the process of manufacture, the probable age and perhaps even, a place of origin. This not only helps in our better understanding an object it may sometimes lead to more precise authentication.

Below is a watercolour by JMW Turner, photographed in day light.

Venice, storm at sunset by J M W Turner (British artist, British artist, 1775-1851) watercolour and bodycolour, Size 222 x 320 mm. Given by John Ruskin in 1861, No 590.
The same watercolour, photographed in transmitted light, using an LED light panel. Click on the image to enlarge.

When viewed in transmitted light the paper shown above is clearly wove11 and looking more closely, a maker’s watermark ‘J Whatman 1834’ can be seen, which is both of help and significance. Turner is known to have visited Venice on at least three occasions, in 1819, 1833 and 1840, although recent research has suggested that he was also there between 1835 and 1839. The light shining through the paper reveals an extensive inscription written on the back of the watercolour (possibly in Ruskin’s hand) and also gives useful insight into Turner’s working methods where he has scratched back the paper, creating highlights of both the Venice skyline and turbulence seen in in the sky and breaking waves.     

Dated watermarks do not prove the date of production but do provide a reference point of sorts, and it would be reasonable to assume that the work by Turner shown above could not have been produced any earlier. It could, however, have been produced several years later. Some artists are known to have preferred using a seasoned or aged paper, whereas others may have returned some years later to work up an incomplete sketch.

I hope that some of the illustrations presented above are of help and may stimulate others to look more closely and with that all-important ‘questioning eye’.

 

Acknowledgement: My thanks go to several kind colleagues for reading the text, helping with IT issues and for gently nudging me back on course.