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

这个项目将利用我现有的研究兴趣，特别是收集早期意大利绘画在十九世纪，提供了机会，使一个严重的，学术贡献的领域。目前，作为皇家收藏信托基金会绘画助理馆长，我正在进一步研究1500年前的意大利绘画。通过这一点，我探索了阿尔伯特亲王的“原始”作品的开创性收集-使用2010年皇家收藏信托展览维多利亚和阿尔伯特：艺术与爱情作为出发点。当然，这种叙述在一定程度上与国家美术馆藏品的形成有关，尤其是通过接受维多利亚女王1863年捐赠的25幅画作。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。这包括阿尔伯特的艺术顾问路德维希·格鲁纳（Ludwig Gruner）经常设计的网络，他反过来又利用欧洲大陆的经销商，以及与华纳·斯卡利（Warner Bristley）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;在汉普顿宫的坎伯兰美术馆协助策划了一个金色背景的面板展览;并且即将在皇家收藏信托的网站上发布一个相应的“收藏在线跟踪”。其次，这个项目将我已经证明的研究兴趣与我对博物馆收藏和档案馆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），我在船体的Ferens美术馆工作了16个月，在那里我围绕一组20幅古代大师画作进行了重点研究和展示项目，这些画作可以追溯到1300年至1700年之间，来自英国，荷兰，意大利和法国学校。特别是，我建立了一个围绕彼得罗·洛伦泽蒂（Pietro Lorenzetti）的黄金地面面板基督之间的圣徒保罗和彼得（c.1320）的研究机构，2013年由费伦夫妇购买。作为第七代考珀伯爵在潘尚尔庄园收藏的“西蒙娜·马提尼”，我在1913年之前就获得了这幅画，我通过潘尚尔档案馆（赫特福德郡）工作，以进一步了解这幅画的出处-从而磨练了我的档案和主要研究技能。考珀伯爵在意大利各地旅行的日记摘录揭示了他的代理人和联系人网络的范围--既有预先存在的，也有那些在更偶然的、临时的基础上形成的--以及他对查尔斯·费尔法克斯·默里等人物的渴望崇拜：“我觉得默里非常想告诉我半身像的名字”（罗马）。这个研究领域只是一个广泛项目的一部分。因此，我希望有机会有更多的时间和资源来进行一个高度详细的研究，以了解艺术经销商和代理商在收集早期作品中的作用和做法，并将我的重点扩大到包括早期德国和荷兰绘画。

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.