A Great Commerce in Curious Paintings: the role and practices of art dealers and agents in the reception and re-evaluation of pre-1500 European painti

好奇绘画中的伟大商业：艺术品经销商和代理商在接受和重新评估 1500 年之前的欧洲绘画中的作用和实践

• 批准号: 2120378
• 金额: --
• 依托单位: University of Leeds
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2018
• 资助国家: 英国
• 起止时间: 2018 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2120378
• 关键词: Great; Commerce; Curious; Paintings; role

This project will draw upon my existing research interest in, specifically, collecting early Italian paintings in the nineteenth century; providing the opportunity to make a serious, scholarly contribution to the field. Currently, as Assistant Curator of Paintings at Royal Collection Trust, I am furthering research into the pre-1500 Italian paintings. Through this, I have explored Prince Albert's pioneering collecting of 'Primitive' works - using the 2010 Royal Collection Trust exhibition Victoria and Albert: Art and Love as a point of departure. This narrative is of course in part tied to the formation of the National Gallery's collection, not least through the acceptance of Queen Victoria's donation of twenty-five paintings in 1863. Prince Albert's role as consort inevitably limited his ability to travel freely, and I am particularly interested in his relationships with agents and dealers in order to acquire 'Ancient Masters' in the 1840s and 1850s. This includes the networks often engineered by Albert's artistic advisor Ludwig Gruner, who in turn used dealers on the Continent, as well as the relationships with collectors such as Warner Ottley for example. To date, I have given a lecture on Prince Albert and Collecting Early Italian Painting; assisted in curating a display of gold-ground panels at the Cumberland Art Gallery in Hampton Court Palace; and am about to publish a respective 'Collection Online Trail' for the Royal Collection Trust's website.Secondly, this project knits together my proven research interest with my enthusiasm for working with museum collections and archives. During my National Gallery Curatorial Traineeship (2015-2017), I was based at the Ferens Art Gallery in Hull for sixteen months, where I implemented focused research and display projects around a group of twenty Old Master paintings, dating between 1300 and 1700 from the English, Netherlandish, Italian and French Schools. In particular, I established a body of research around Pietro Lorenzetti's gold-ground panel Christ between Saints Paul and Peter (c.1320), bought by the Ferens in 2013. Acquired as a 'Simone Martini' for the collection of the 7th Earl Cowper at Panshanger Manor, certainly before 1913, I worked through the Panshanger Archives (Hertfordshire) in order to further the painting's provenance - thus honing my archive and primary research skills. Extracts from Earl Cowper's diary of his travels around Italy revealed the extent of his networks of agents and contacts - both pre-existing, and those formed on a more fortuitous, ad-hoc basis - as well as his wistful admiration of figures such as Charles Fairfax Murray: 'I felt the want of a Murray very much to tell one the names of the busts' (Rome). This research area formed only one strand of a wide-ranging project. Thus, I would relish the opportunity to have the extended time and resources to conduct a highly-detailed study into the roles and practices of art dealers and agents in collecting early works, as well as importantly expanding my focus to encompass early German and Netherlandish paintings.

这个项目将借鉴我现有的研究兴趣，具体来说，收集19世纪早期意大利绘画；提供对该领域作出严肃的学术贡献的机会。目前，作为皇家收藏信托的绘画助理策展人，我正在进一步研究1500年前的意大利绘画。通过这种方式，我探索了阿尔伯特亲王开创性的“原始”作品收藏——以2010年皇家收藏信托展览“维多利亚和阿尔伯特：艺术与爱”为出发点。当然，这种叙述部分与国家美术馆收藏的形成有关，尤其是通过接受维多利亚女王在1863年捐赠的25幅画。阿尔伯特亲王作为配偶的角色不可避免地限制了他自由旅行的能力，我对他在19世纪40年代和50年代为了获得“古代大师”而与代理商和经销商的关系特别感兴趣。这包括艾伯特的艺术顾问路德维希·格鲁纳（Ludwig Gruner）经常设计的网络，后者又利用欧洲大陆的经销商，以及与华纳·奥特利（Warner Ottley）等收藏家的关系。到目前为止，我已经做了一个关于阿尔伯特亲王和收集早期意大利绘画的讲座；协助策划了汉普顿宫坎伯兰艺术画廊的金光镶板展览；我也将在皇家收藏信托基金的网站上发布一篇各自的“在线收藏指南”。其次，这个项目将我的研究兴趣与我对博物馆藏品和档案工作的热情结合在一起。在我的国家美术馆策展培训期间（2015-2017），我在赫尔的Ferens艺术画廊工作了16个月，在那里我围绕一组20幅古老的大师绘画进行了重点研究和展示项目，这些绘画可以追溯到1300年到1700年之间，来自英国、荷兰、意大利和法国的学校。特别是，我建立了一个关于彼得罗·洛伦泽蒂（Pietro Lorenzetti）的金光镶板《基督在圣徒保罗和彼得之间》（约1320年）的研究体系，这幅画于2013年被费伦夫妇买下。作为“Simone Martini”的收藏，这幅画是在1913年之前被第七代考伯伯爵在盘尚庄园购得的，我在盘尚档案馆（赫特福德郡）工作，以进一步了解这幅画的来源，从而磨练了我的档案和基本的研究技能。厄尔·考伯在意大利旅行日记的摘录揭示了他的代理人和联系人网络的范围——既有现成的，也有偶然形成的，特别的基础——以及他对查尔斯·费尔法克斯·默里（Charles Fairfax Murray）等人物的向往：“我觉得穆雷非常想告诉一个人半身像的名字”（罗马）。这个研究领域只是一个广泛项目的一部分。因此，我很高兴有机会有更多的时间和资源来对艺术经销商和代理商在收集早期作品中的角色和做法进行非常详细的研究，同时重要的是扩大我的关注范围，包括早期德国和荷兰绘画。