British Models of Art Collecting and the American Response: Reflections Across the Pond, 1st Edition (Paperback) book cover

British Models of Art Collecting and the American Response

Reflections Across the Pond, 1st Edition

Edited by Inge Reist


282 pages | 42 Color Illus. | 13 B/W Illus.

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Paperback: 9781138310346
pub: 2017-10-12
Hardback: 9781472438065
pub: 2014-09-28

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British Models of Art Collecting and the American Response - Reflections Across the Pond presents 14 essays by distinguished art - and cultural - historians. Collectively, they examine points of similarity and difference in the approaches to art collecting practiced in Britain and the United States. Unlike most of their Continental European counterparts, the English and Americans have historically been exceptionally open to collecting the art made by and for other cultures. At the same time, they developed a tradition of opening private collections to a public eager for educational and cultural advancement. Approximately half the essays examine the trends and market forces that dominated the British art collecting scene of the nineteenth century, such as the Orléans sale and the shift away from aristocratic collections to those of the new urban merchant class. The essays that focus on American collectors use biographical sketches of collectors and dealers, as well as case studies of specific transactions to demonstrate how collectors in the United States embraced and embellished on the British model to develop their own, often philanthropic approach to art collecting.

Table of Contents

Contents: Introduction, Inge Reist. Part I Reflections Across the Pond: Pictures across the pond: perspectives and retrospectives, Sir David Cannadine; The revolving door: four centuries of British collecting, James Stourton. Part II The British Model: Conversing with history: the Orléans Collection arrives in Britain, Jordana Pomeroy; James Irvine: picture buying in Italy for William Buchanan and Arthur Champernowne, Hugh Brigstocke; Aristocrats and others: collectors of influence in 18th-century England, Arthur MacGregor; A decade of change and compromise: John Smith (1781-1855) and the selling of old master paintings in the 1830s, Julia Armstrong-Totten; ‘Le goût Rothschild’: the origins and influences of a collecting style, Michael Hall; The 4th Marquess of Hertford and Sir Richard Wallace as collectors: chalk and cheese? Or father and son?, Jeremy Warren; Collecting and connoisseurship in England, 1840-1900: the case of J.C. Robinson, Jonathan Conlin. Part III Americans Embrace and Embellish the British Model: British aspirations on the Chesapeake Bay: Robert Gilmor, Jr (1774-1848) of Baltimore and collecting in the Anglo-American community of the new republic, Lance Humphries; The London picture trade and Knoedler & Co: supplying Dutch old masters to America, 1900-1914, M.J. Ripps; The one that got away: Holbein’s Christina of Denmark and British portraits in the Frick Collection, Ross Finocchio; The long good-bye: heritage and threat in Anglo-America, Neil Harris; Henry E. Huntington: an American model for collecting art and instituting cultural philanthropy, Shelley M. Bennett. Bibliography; Index.

About the Editor

Inge Reist, PhD Columbia University, is Director of the Center for the History of Collecting, The Frick Collection and Frick Art Reference Library, New York.

About the Series

The Histories of Material Culture and Collecting, 1700-1950

The Histories of Material Culture and Collecting provides a forum for the broad study of object acquisition and collecting practices in their global dimensions from 1700 to 1950. The series seeks to illuminate the intersections between material culture studies, art history, and the history of collecting. It takes as its starting point the idea that objects both contributed to the formation of knowledge in the past and likewise contribute to our understanding of the past today. The human relationship to objects has proven a rich field of scholarly inquiry, with much recent scholarship either anthropological or sociological rather than art historical in perspective. Underpinning this series is the idea that the physical nature of objects contributes substantially to their social meanings, and therefore that the visual, tactile, and sensual dimensions of objects are critical to their interpretation. This series therefore seeks to bridge anthropology and art history, sociology and aesthetics. It encompasses the following areas of concern: 1. Material culture in its broadest dimension, including the high arts of painting and sculpture, the decorative arts (furniture, ceramics, metalwork, etc.), and everyday objects of all kinds. 2. Collecting practices, be they institutionalized activities associated with museums, governmental authorities, and religious entities, or collecting done by individuals and social groups. 3. The role of objects in defining self, community, and difference in an increasingly international and globalized world, with cross-cultural exchange and travel the central modes of object transfer. 4. Objects as constitutive of historical narratives, be they devised by historical figures seeking to understand their past or in the form of modern scholarly narratives. The series publishes interdisciplinary and comparative research on objects that addresses one or more of these perspectives and includes monographs, thematic studies, and edited volumes of essays.

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Subject Categories

BISAC Subject Codes/Headings:
ART / History / Romanticism
ART / Museum Studies