British Models of Art Collecting and the American Response
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Anglo-American cultural exchange
Antoine Watteau
art market history
Arthur MacGregor
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B01=Inge Reist
Berlin Altes Museum
British Collector
Category1=Non-Fiction
Category=ACV
Category=AGA
Category=AGC
collection
collections
COP=United Kingdom
Delivery_Delivery within 10-20 working days
Dulwich Picture Gallery
eq_art-fashion-photography
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eq_nobargain
eq_non-fiction
french
French Decorative Arts
frick
Frick Collection
gilmor
Guido Reni
Gustav Friedrich Waagen
hertford
Houghton Hall
Hugh Brigstocke
International Art Market
James Stourton
Jeremy Warren
John Hoppner
John Smiths
Jonathan Conlin
Jordana Pomeroy
Joseph Duveen
Julia Armstrong-Totten
Lance Humphries
Language_English
lord
Lord Hertford
M. J. Ripps
Michael Hall
National Art Collections Fund
Neil Harris
nineteenth-century connoisseurship
Oilon Canvas
old master paintings trade
PA=Available
philanthropic collecting practices
Price_€100 and above
private art collections
PS=Active
revolution
robert
Robert Gilmor
Ross Finocchio
Sculpture Gallery
Settled Land Act
Shelley M. Bennett
Sir David Cannadine
softlaunch
Strawberry Hill
Superb
transatlantic art collecting trends
Van Dyck's Portrait
wallace
Wallace Collection
Wilton House
Young Men
Product details
- ISBN 9781472438065
- Weight: 854g
- Dimensions: 174 x 246mm
- Publication Date: 28 Sep 2014
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
- Language: English
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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.
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.
