William Burrell, Thomas & Drake and the Transatlantic Trade in Stained Glass, 1900-1950

工业家和鉴赏家威廉·伯勒尔爵士（1861-1958）的中世纪彩色玻璃收藏品包括700多件，是世界上同类博物馆中第三大收藏品。作为1944年捐赠给格拉斯哥市的更广泛的收藏品的一部分，在1900年至1950年期间形成了很大一部分，Burrell系列的核心彩色玻璃具有卓越的品质和世界性的意义。在格罗夫纳的收藏家和交易商托马斯（1856-1923）的帮助下，伯勒尔能够从欧洲一些最重要的遗址和纪念碑中获得宝藏，包括Abbot Suger的圣丹尼斯，诺维奇的圣彼得曼克罗夫特和鲁昂的教堂。托马斯同时也为美国的主要收藏家提供玻璃，包括乔治D。普拉特、埃德塞尔福特和大都会博物馆。这段非凡关系中的第三位人物是玻璃工和彩色玻璃修复师威尔弗雷德·德雷克（Wilfred Drake，1879-1948），伯勒尔的大部分藏品都是通过他的手传递的。托马斯和德雷克形成了一个商业伙伴关系，在托马斯去世后，他的儿子罗伊格罗夫纳托马斯继续。总部设在纽约，罗伊格罗夫纳托马斯把业务变成了一个真正的跨大西洋贸易，与德雷克担任英国主播。三巨头继续收集整个第二次世界大战和收购在1939年的彩色玻璃博帕德在德国从收集破产的威廉兰多夫赫斯特伯勒尔的收集“最好的私人收藏的存在”。自1983年新的Burrell Collection大楼开业以来，Burrell彩色玻璃皇冠上最精美的珠宝一直在公开展示。尽管学术兴趣集中在收集在这个时候（特别是马克1985年），没有完整和深入的调查收集尚未尝试。博物馆启动了一个新的库存项目和全面的状况调查，现在提供了一个机会，以解决这一空白，并开放收集公众访问和享受前所未有的。通过探索伯勒尔和他的代理人之间的关系，借鉴伯勒尔的购买书籍，博物馆的广泛档案之间的通信伯勒尔，托马斯和德雷克，连同最近被玻璃工匠公司购买的托马斯和德雷克的库存书籍，这个项目将探索该系列的起源及其与其他伟大的收藏家，鉴赏家，经销商和博物馆馆长的收藏活动的关系。它将详细揭示伯勒尔收藏的镶板与其他博物馆（特别是纽约的大都会博物馆和伦敦的维多利亚和阿尔伯特博物馆）的相关作品之间的联系。第一次的修复者在世界上伟大的博物馆收藏的形成中的作用将被审查。该项目将为这一世界级的藏品提供新的视角，提高博物馆参观者的欣赏和理解，同时有助于探索藏品的“数字回归”过程。在准备本申请时引用或参考的作品：Cannon，琳达，Burrell收藏的彩色玻璃（爱丁堡，1991年）海沃德，简，谢泼德，玛丽和克拉克，辛西娅，英国和法国中世纪彩色玻璃在大都会艺术博物馆收藏（伦敦& Turnhout，2003），2 vols.Journal of the British Society of Master Glass Painters 1：1（1924），29-31，Obituary of Grosvenor MargarasMarks，Richard，Burrell：收藏家的肖像（格拉斯哥1985年，1988年修订版）威尔斯，威廉，染色和彩绘玻璃[在]伯勒尔收藏（格拉斯哥，1962）《布勒尔收藏中的彩绘纹章玻璃》（Stained and Painted Heraldic Glass [in the] Burrell Collection）（格拉斯哥，1962）

Comprising over 700 pieces, the medieval stained glass collection of industrialist and connoisseur Sir William Burrell (1861-1958) is the third largest museum collection of its kind in the world. Formed largely in the years 1900-1950 as part of a much more extensive collection donated to the city of Glasgow in 1944, the stained glass at the heart of the Burrell collection is of exceptional quality and world-wide significance. Assisted by Glasgow-based collector and dealer Grosvenor Thomas (1856-1923), Burrell was able to acquire treasures from some of Europe's most important sites and monuments, including Abbot Suger's St Denis, St Peter Mancroft in Norwich, and the churches of Rouen. Thomas was at the same time supplying glass to major US collectors, including George D. Pratt, Edsel Ford and the Metropolitan Museum. The third figure in this extraordinary relationship was glazier and stained glass restorer Wilfred Drake (1879-1948), through whose hands most of the Burrell Collection passed. Thomas and Drake formed a business partnership that was continued after Thomas's death by his son, Roy Grosvenor Thomas. Based in New York, Roy Grosvenor Thomas turned the business into a truly transatlantic trade, with Drake acting as British anchorman. The triumvirate continued to collect throughout the Second World War and the acquisition in 1939 of stained glass from Boppard in Germany from the collection of the bankrupt William Randolph Hearst made Burrell's collection 'the finest private collection in existence'. The finest jewels in Burrell's stained glass crown have been on public display since the opening of the new Burrell Collection building in 1983. Despite the scholarly interest focussed on the collection at this time (notably Marks 1985), no complete and in depth survey of the collection has yet been attempted. The Museum's initiation of a new inventory project and comprehensive condition survey now provides an opportunity to address this lacuna and to open up the collection for public access and enjoyment as never before.Through the exploration of the relationship between Burrell and his agents, drawing on Burrell's purchase books, the Museum's extensive archive of correspondence between Burrell, Thomas and Drake, together with the newly accessible stock books of Thomas & Drake, recently purchased by the Worshipful Company of Glaziers, this project will explore the origins of the collection and its relationship with the collecting activity of other great collectors, connoisseurs, dealers and Museum curators. It will reveal in detail the connections between the panels in the Burrell collection and related pieces in other museums (notably the Metropolitan Museum in New York and the Victoria & Albert in London). For the first time the role of the restorer in the formation of the great museum collections of the world will be examined. The project will shed new light on this world-ranking collection, enhancing the enjoyment and understanding of museum visitors, while at the same time contributing to the process of exploring 'digital repatriation' of the collection. Works cited or refered to in the preparation of this application:Cannon, Linda, Stained Glass in the Burrell Collection (Edinburgh, 1991)Hayward, Jane, Shepard, Mary and Clark, Cynthia, English and French Medieval Stained Glass in the Collection of the Metropolitan Museum of Art (London & Turnhout, 2003), 2 vols.Journal of the British Society of Master Glass Painters 1:1 (1924), 29-31, Obituary of Grosvenor ThomasMarks, Richard, Burrell: Portrait of a Collector (Glasgow 1985, rev 1988)Wells, William, Stained and Painted Glass [in the] Burrell Collection (Glasgow, 1962)Stained and Painted Heraldic Glass [in the] Burrell Collection (Glasgow, 1962)