Victoria and Albert Museum

The world’s greatest museum of art and design

Opening times

10.00 to 17.45 daily
10.00 to 22.00 Fridays

Archive

Author: Paula Nuttall (Director of Late Medieval to Early Renaissance Year Course)
This statuette of the Virgin Mary with the dead Christ on her knee is a small masterpiece of alabaster carving. Just under 40 cm in height, it was made in the Southern Netherlands by a sculptor known, slightly confusingly, as the Master of Rimini (after an alabaster Crucifixion scene now in a museum in Frankfurt, which comes from a church outside Rimini in Italy). This master has recently been...
Author: Dawn Hoskin (Assistant Curator)
This second blog entry follows the exciting (and relieving!) recent news that our project has been successful in our bid to the HLF (Heritage Lottery Fund) for funding to support the completion of the galleries. As well as a reason for celebration, this achievement provides a good moment to briefly reflect on how far the project has already come since its initial inception back in November 2009....
Author: Christopher Wilk (Keeper - Furniture, Textiles and Fashion)
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By Christopher Wilk, Keeper, Furniture, Textiles & Fashion Department.In an installation commissioned for Tate Britain’s major Kurt Schwitters exhibition, the artist Adam Chodzko has reconfigured the V&A’s Kaufmann Office designed by American architect Frank Lloyd Wright. Designed in 1937, the office was used by Edgar Kaufmann in his Pittsburgh department store until his death...
Author: Nicholas Smith (Archivist)
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Did you know that Henry Cole (1808-1882), the V&A’s first director, started his professional career as an archivist – ‘sub-commissioner’ was his actual job title – in the Records Commission (the forerunner of the National Archives)? Here he undertook the important archival work of calendaring, indexing, sorting, transcribing, and preserving records; and when the...
Author: Marisa Smith (Programme Manager)
To complement the major exhibition Hollywood Costumes, the V&A worked with Synergy Theatre Project to deliver on-site costume design classes for ex prisoners. These 4 sessions were designed to give an insight into the role of the costume designer, with particular focus upon the collaborative nature of this profession. We were delighted to welcome costume designer Jane Petrie (credits include...
Author: Rebecca English (Assistant Programme Manager)
This year we introduced new Art & Design workshops for Primary Schools. One of those sessions, Pop Up Stories, is led by Sarah Bridgland , a graphic artist and former student from the Royal College of Art, who works in 3D collage. We worked with Sarah to develop a session which would allow pupils to explore stories hidden in the V&A’s collections and get lost in a world of...
Author: Rebecca English (Assistant Programme Manager)
Last October, I posted about Graphic Gathering, a new project for schools. The project aimed to give secondary students an insight into design at Higher Education and industry level by answering a real-life brief delivered by V&A and D&AD. On the 5th of February we welcomed back participating schools from across the UK to present their responses to the D&AD White Pencil Open brief....
Author: Paula Nuttall (Director of Late Medieval to Early Renaissance Year Course)
This week’s object is a book, a deluxe manuscript copy of Pliny the Elder’s Natural History, written and illuminated in the 1460s, probably in Rome, for the Sienese scholar and lawyer Gregorio Lolli Piccolomini, a cousin of Pope Pius II, who became papal secretary in 1459 – one of several family members appointed to lucrative posts in Pius’s administration. It’s a...
Figure 1: V&A inventory number 29876.4Juan Dolívar after Jean Bérain the ElderPossibly after a tapestry design by Jean Bérain the Elder1685-1693 Every year around Valentine’s Day images of Cupid begin to appear on cards and in shops advertising gifts to buy for our loved ones.Known as Eros in Greek mythology and Amor in Roman mythology, Cupid comes from the Latin ‘Cupido’,...
Author: Sue Prichard (Operations Manager - Furniture Textiles and Fashion)
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By Sue PrichardWhen I agreed to give the lunchtime lecture ‘Making Love at the V&A’ I had no idea the title would generate such a flurry of anticipation, and indeed trepidation. 'Timeout’ appeared to be a little disappointed, describing it as ‘perhaps unfortunately not what it sounds like’. One member of the audience made no bones about it ‘I hope this...
Author: Daniel Milford Cottam (Cataloguer Word and Image Department)
Fortune after Hippolyte Lalaisse, Paris, c.1855. Hand-coloured lithograph.E.2869-1938 Whilst writing up the cantinière and vivandière blog posts, another three hand-coloured lithographs from the 1850s came to light. These images are particularly interesting, not only because their artist (Hippolyte Lalaisse) is identified, but because they offer further opportunities to compare the cantinière to...
Author: Paula Nuttall (Director of Late Medieval to Early Renaissance Year Course)
I tend to find that textiles, especially liturgical vestments like this chasuble, don’t initially spark an excited response from viewers – which is a pity, as they’re well worth taking the time to look at. Perhaps one reason textiles don’t get a good press is that relatively few from this period survive, and those that do are often fragmentary or much faded. One of the...

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