Margaret Dalivalle

2013-2014 Beinecke Visiting Fellow

James M Osborn Fellow
Margaret Dalivalle

OSBORN MS fb122 ‘COOPER DRAWINGS’: A technical examination and identification of the models for an important group of seventeenth-century English traced drawings deriving from the studio of Richard Gibson, miniaturist.

Originally trained as a fine artist, Margaret Dalivalle read History of Art at Oxford University where her Masters Degree (Italian Renaissance) was supervised by Prof. Martin Kemp, and her 2011 doctoral thesis, ‘Borrowed comlinesse’: Copying from pictures in seventeenth-century England, was supervised by Dr Susan Foister, National Gallery, London.

Margaret was a member of the team of scholars researching the recently rediscovered Leonardo da Vinci Salvator Mundi, exhibited at the National Gallery, London, in 2011. She specialises in research into Renaissance paintings in early British collections, and is currently investigating a mythological painting by Titian, another new discovery.

She is an invited workgroup member of Authentication in Art, whose 2014 Congress takes place on 7- 9 May at the Louwan Museum, The Hague, where she will present a paper on the evolution of connoisseurship in England and the Low Countries at the end of the seventeenth century.

Major research interests include: the functions and status of copies in art, the history of the idea of artistic originality and the development of connoisseurship, and Renaissance and early modern artists’ commercial and studio practice.

During the period of the fellowship she will be examining a puzzling set of copy-drawings apparently deriving from the studio of a late seventeenth-century English artist. With the help of staff at the Beinecke, Yale University Art Gallery, and the Yale Center for British Art, she plans to undertake a detailed technical analysis of the drawings, reconciling them to procedures described in early modern artists’ manuals. Identification of the models for the traced drawings will elucidate the commercial practices of artists in seventeenth-century England, and the attendant concerns of art collectors.




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