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Conference paper (unpublished)
William Morris and La Vie Seigneuriale: New light on the revival of tapestry weaving in England
The artist and designer William Morris taught himself to weave in 1879 and went on to produce some of the most celebrated tapestries of the 19th century. But how far can Morris’s writings on the revival of Medieval craft be accepted as the ethos behind his tapestries? Previously overlooked evidence...Wyld, Helen
English tapestry, La Vie Seigneuriale , Tapestry, William Morris, Weaving, England, Medieval craft revival, European tapestry, 19th century , and Arts and crafts
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2022
Conference paper (unpublished)
A Five-Star Model for Linked Humanities Data Usability
Middle, Sarah
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Conference paper (unpublished)
Confronting colonial histories and legacies in Egyptian and Sudanese collections at National Museums Scotland
Maitland, Margaret
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2010
Conference paper (unpublished)
Questioning the Votadini
Goldberg, D Martin
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2010
Conference paper (unpublished)
Making sense of Scottish Neolithic pottery
Sheridan, J A
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2010
Conference paper (unpublished)
'In Search of Our Ancestors': the Mary Boyle Story
Saville, Alan
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2010
Conference paper (unpublished)
'Jet’ manufacturing site at Portpatrick
Hunter, Fraser
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Conference paper (unpublished)
Keeping natural history collections healthy: preventing deterioration in store and on display
Ogilvie, Ticca M A
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2010
Conference paper (unpublished)
The circulation of museum objects
The paper discusses the spaces of production and use of a photographic image, depicting two African elephants and their human attendant, produced in the Royal Scottish Museum in 1907. The translation of the image and its appropriation into different material forms – as photographic print, half-tone newsprint illustration, and embellished...Swinney, Geoffrey N
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2014
Conference paper (unpublished)
Recycled Objects: Exhibiting Africa in Scotland.
Those acts of assembling, juxtaposing and exhibiting objects, which constitute the western museum, have themselves been conceptualised as artistic processes which produce the museum as a form of ‘public art’ (Hein, 2006). Such an holistic concept is fundamentally geographical: the place and placement of objects creating new aesthetic and discursive...Swinney, Geoffrey N