Celina Fox (born 4 May 1947) is an independent scholar specialising in the history of London in the 18th and 19th centuries.[1] She held the role of Keeper of Paintings, Prints and Drawings at the Museum of London.[2]
Education and scholarship
Fox read history at Newnham College, Cambridge, graduating in 1969.[3] She was a recipient of a Kennedy Scholarship in the same year, which involved a spell studying at Harvard University.[4] She earned her DPhil from Oxford University in 1974, with a thesis titled Graphic Journalism in England during the 1830s and 1840s.[5] She was a recipient of a Wingate scholarship in 2004.[6] She received a research support grant from the Paul Mellon Centre in 2005 for research in the US and Sweden on the art of industry.[7] Fox was a scholar at the Yale Center for British Art in 2012.[8] She received a fellowship scholarship from the Lewis Walpole Library, Yale, in the same year for the Northern Grand Tour.[9]
Career
Fox was a founding curator for the Museum of London in the 1970s.[10] In 1982, together with Professor Aileen Ribeiro, she organised an exhibition on the eighteenth-century masquerade. In 1987, as the museum's Keeper of Paintings, Prints and Drawings she wrote Londoners, a substantial book to accompany an exhibition of the same name. The exhibition was the first to “concentrate entirely on the inhabitants of the metropolis as they have been depicted in paintings, drawings and prints throughout the ages.”[11] By c.1990 she was assistant director of the museum. In 1992 she was the coordinator of the exhibition London: World City, 1800-1842 that was staged at the Kulturstiftung Ruhr, Villa Hügel, Essen, the largest British loan exhibition ever staged in Germany.[12][13]
Fox was vice-chair for the Blue Plaques Panel[17] of English Heritage.[18] In 2013 she spoke out about the panel's budget being cut by 50%, saying “I fear Thurley’s proposals will lead to a dumbing down of the blue plaques scheme, by eroding the numbers and quality of those who assess the candidates.”[19] She resigned the following year, along with Dr Margaret Pelling, in protest, citing that the scheme was “being dismantled and its previous achievements discredited.”[20]
Awards
2011 – Peter Neaverson Award for The Arts of Industry in the Age of Enlightenment[21]
2012 – Historians of British Art (HBA) Book Award for exemplary scholarship on the period before 1800[22]
Publications
Author
Education (1977) with P and G Ford, pub. Irish University Press, Dublin
Masquerade (1983) with Aileen Ribeiro and Valerie Cumming, pub. Museum of London, London ISBN978-0904818093
The Arts of Industry in the Age of Enlightenment (2009) pub. Yale University Press, New Haven, in association with the Paul Mellon Centre for Studies in British Art ISBN978-0300160420
Designs (2009) with John Minshaw and Paul Redman, pub. Frances Lincoln, London ISBN978-0711229778
Editor, contributor
The Victorian City: Images and Realities (1973), pub. Routledge, London ISBN978-0710073747
London’s Pride: the glorious history of the capital’s gardens (1990) pub. The Museum of London, London ISBN978-1854700322
London – World City, 1800-1840 (1992) editor, author of introduction, pub. Yale University Press, New Haven ISBN978-0300052848
Silver: History and Design (1997), pub. Harry N Abrams, New York ISBN9780810944718
An Oxford companion to the Romantic Age: British culture, 1776-1832 (2001), pub. Oxford University Press, Oxford ISBN978-0198122975
Elegant Eating: Four hundred years of dining in style (2002), pub. V&A Publications, London ISBN978-0810965935
London 1753 (2003), pub. British Museum Press, London ISBN978-1567922479
The Wisdom of George the Third: Papers from a Symposium at the Queen’s Gallery (2004), pub. Royal Collection, London ISBN978-1902163727
Oxford Dictionary of National Biography: From the Earliest Times to 2000 (2004) pub. Oxford University Press, Oxford ISBN978-0198613947
Auctioneers who made art history (2014), pub. Hatje Cantz, Stuttgart ISBN978-3775739030
Other writing
Fox has contributed to the following journals and magazines:
In 1993, she spoke out against the choice of Charles Saumarez Smith as the new director for the National Portrait Gallery. In reference to the overlooking of the then deputy director Malcolm Rogers she said it showed “an extraordinary lack of judgment and is mischievously wasteful of talent. I don’t know any other country that would behave like this when there was an obvious candidate with no marks against him.”[37]
In 1999, Fox suggested Nelson Mandela for Trafalgar Square's fourth plinth, saying that he was “universally thought of as a major figure of the 20th century.” She also suggested moving the statue of George IV, as “a less heroic figure is hard to imagine.”[38]
Fox joined Simon Jenkins for several of his research tours when he was compiling England's Thousand Best Houses (2004)[39]
and England's Thousand Best Churches (2009).[40]
She is on the editorial board of Print Quarterly[41] and a trustee of the Harlech Scholar's Trust.[42]
^Tyrkus, Michael J (2012). Contemporary Authors Vol 314. Detroit, USA: Gale. p. 167. ISBN978-1414460963.
^Lord Charteris (April 1984). "The work of the National Heritage Memorial Fund". Journal of the Royal Society of Arts (Vol. 132 No. 5333 ed.). London, UK: Royal Society of Arts. p. 337.
^Margaret Bergen (1997). "Strategies for Survival: St. Petersburg Museums in the Market Economy". The Urban Age (Vol. 4 No. 4 ed.). London, UK: The World Bank. p. 16.
^"Miscellany". International Journal of Heritage Studies (Vol. 4 No. 2 ed.). London, UK: Intellect Ltd. 1998. p. 4.
^"In the frame". The Daily Telegraph. London, UK. 13 April 1993. p. 17.
^Celina Fox (May 1978). "The Development of Social Reportage in English Periodical Illustration during the 1840s and early 1850s". Past and Present (Vol. 5 ed.). Oxford, UK: Oxford University Press. pp. 90–111.
^Celina Fox (February 1977). "Plymouth and Plymouthians". Urban History (Vol. 5 ed.). London, UK: Urban History Association. p. 172.
^Celina Fox (Summer 1995). "Battle of the Railings". AA Files (No. 29 ed.). London, UK: Architectural Association School of Architecture. pp. 50–60.