Private Collecting, Exhibitions, and the Shaping of Art History in London

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A01=Stacey J. Pierson
Age Group_Uncategorized
Age Group_Uncategorized
art collecting history
art historiography
art history
Author_Stacey J. Pierson
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British art institutions
Burlington Fine Arts Club
Category1=Non-Fiction
Category=ACXD2
Category=AGA
Category=AGC
Ceramics Exhibition
Chinese Ceramics
Chinese Porcelain
Club's Exhibitions
Club’s Exhibitions
collectors group
connoisseurship studies
COP=United Kingdom
cross-cultural art exchange
curatorial methodologies
Delivery_Pre-order
Egypt Exhibition
Egyptian art
England
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=2
eq_nobargain
eq_non-fiction
Exhibition Catalogue
exhibition catalogues
Exhibition Committee
exhibitions
fine arts
General Committee Minutes
Gentlemen's Club
Gentlemen’s Club
George Salting
Great Cumberland Place
Greek Ceramic
Hilton Price
Indigenous American Art
Language_English
London
Morgan Library
Museum Boijmans Van Beuningen
museum display practices
National Art Collections Fund
nineteenth century
nineteenth century London art exhibitions
PA=Temporarily unavailable
Persian art
Pitt Rivers Museum
Price_€50 to €100
Primitive Art
private collecting
PS=Active
Rembrandt Etchings
Royal Academy
Sir William Drake
softlaunch
South Kensington Museum
twentieth century

Product details

  • ISBN 9780367331429
  • Weight: 460g
  • Dimensions: 174 x 246mm
  • Publication Date: 04 Jun 2019
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Paperback
  • Language: English
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The Burlington Fine Arts Club was founded in London in 1866 as a gentlemen’s club with a singular remit – to exhibit members’ art collections. Exhibitions were proposed, organized, and furnished by a group of prominent members of British society who included aristocrats, artists, bankers, politicians, and museum curators. Exhibitions at their grand house in Mayfair brought many private collections and collectors to light, using members’ social connections to draw upon the finest and most diverse objects available. Through their unique mode of presentation, which brought museum-style display and interpretation to a grand domestic-style gallery space, they also brought two forms of curatorial and art historical practice together in one unusual setting, enabling an unrestricted form of connoisseurship, where new categories of art were defined and old ones expanded. The history of this remarkable group of people has yet to be presented and is explored here for the first time. Through a framework of exhibition themes ranging from Florentine painting to Ancient Egyptian art, a study of lenders, objects, and their interpretation paints a picture of private collecting activities, connoisseurship, and art world practice that is surprisingly diverse and interconnected.

Stacey J. Pierson is a Senior Lecturer in the department of Art and Archaeology at the School of Oriental and African Studies, University of London. Her areas of specialization include ceramic history (China) and the history of collecting and display. Her most recent publication was From Object to Concept: Global Consumption and the Transformation of Ming Porcelain, 2013.

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