New Book | British Models of Art Collecting and the American Response

Posted in books by Editor on March 15, 2015

From Ashgate:

Inge Reist, ed., British Models of Art Collecting and the American Response: Reflections Across the Pond (Aldershot: Ashgate, 2014), 282 pages, ISBN: 978-1472438065.

9781472438065_p0_v1_s600British 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.

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Introduction, Inge Reist

Part I—Reflections Across the Pond
1  Pictures across the Pond: Perspectives and Retrospectives, Sir David Cannadine
2  The Revolving Door: Four Centuries of British Collecting, James Stourton

Part II—The British Model: Conversing with History
3  The Orléans Collection arrives in Britain, Jordana Pomeroy
4  James Irvine: Picture Buying in Italy for William Buchanan and Arthur Champernowne, Hugh Brigstocke
5  Aristocrats and Others: Collectors of Influence in 18th-Century England, Arthur MacGregor
6  A Decade of Change and Compromise: John Smith (1781–1855) and the Selling of Old Master Paintings in the 1830s, Julia Armstrong-Totten
7  ‘Le Goût Rothschild’: The Origins and Influences of a Collecting Style, Michael Hall
8  The 4th Marquess of Hertford and Sir Richard Wallace as Collectors: Chalk and Cheese? Or Father and Son?, Jeremy Warren
9  Collecting and Connoisseurship in England, 1840–1900: The Case of J. C. Robinson, Jonathan Conlin

Part III—Americans Embrace and Embellish the British Model
10  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
11  The London Picture Trade and Knoedler & Co: Supplying Dutch Old Masters to America, 1900–1914, M. J. Ripps
12  The One That Got Away: Holbein’s Christina of Denmark and British Portraits in The Frick Collection, Ross Finocchio
13  The Long Good-bye: Heritage and Threat in Anglo-America, Neil Harris
14  Henry E. Huntington: An American Model for Collecting Art and Instituting Cultural Philanthropy, Shelley Bennett


Call for Papers | Printmaking in Scotland in the 18th Century

Posted in Calls for Papers by Editor on March 15, 2015

From H-ArtHist:

Printmaking in Scotland in the 18th Century
University of St Andrews, 4 December 2015

Proposals due by 1 June 2015

This conference will explore the rich world of printmaking and its development in Scotland in the 18th century. While a good deal of research exists on printmaking in England there is very little on the relationships between artists, printmakers, publishers and collectors in Scotland.

Besides contributions on the work of individual artists, we seek in particular to explore the development of a market for prints. We invite papers on all aspects of the subject, but we are especially interested in contributions that will address the following questions:
• Who were the engravers and etchers, the teachers, publishers, dealers, collectors of prints and suppliers of materials?
• How was the print trade between Scotland, London, and the Continent supported?
• Were there printmakers working outside Edinburgh and Glasgow?
• Where could artists see the work of other printmakers?
• What kind of prints were they making: landscapes and prospects, antiquities, portraits, satires, drawing manuals, book illustrations and book plates, trade cards?
• In what ways did prints contribute to the ‘discovery’ of Scotland, the Jacobite cause?

To submit a proposal for a 20-minute presentation, please send an abstract not exceeding 300 words and a one-page CV to avg1@st-andrews.ac.uk. A selection of papers will be edited for publication by the conference organisers. For further details, contact: Ann Gunn, School of Art History, University of St Andrews: avg1@st-andrews.ac.uk.