History seminars at the IHR
Collecting & Display (100BC to AD1700)
Convenors: Dr Andrea Galdy, Susan Bracken, Adriana Turpin
Venue: Torrington Room, 104, Senate House, South block, first floor, unless otherwise stated.
Time: Monday, 6.00pm
Edith Beatty's Collection of French Decorative Arts at Baroda House, Kensington Palace Gardens: A Case Study of Collecting and Display in Britain During the First Half of the Twentieth Century
This seminar will examine the French eighteenth century decorative arts collection of Edith Beatty (1888-1952). In 1913, Edith married Chester Beatty, an American mining millionaire. The couple lived at Baroda House, Kensington Palace Gardens and they each formed collections. This seminar will describe Edith's decorative arts collection and trace her collecting habits. The influence of the art market on this collection and the resulting acquisition of objects with real and invented French Royal provenance will be discussed. The display of Edith's decorative arts collection will be examined, placing these objects in the context of the couple's collection as a whole. Edith and Chester have been described as the most important collectors of Van Gogh in Britain in the 1930s. At Baroda House, Van Gogh's Still Life: Vase with Fourteen Sunflowers (Seiji Togo Memorial Sompo Japan Museum of Art) hung above eighteenth century seat furniture and was flanked by a pair of celadon vases with gilt-bronze mounts now in The Metropolitan Museum of Art.
The Buccleuch Collection of Portrait Miniatures: aspects of Victorian and Edwardian antiquarianism, emulation and display at Montagu House, Whitehall
Dr. Stephen Lloyd
After the Royal Collection, the portrait miniatures in the Buccleuch collection can be considered as one of the two most important aristocratic collections to have remained mostly intact in Britain. Building on a core of around 150 miniatures inherited from his Scott (Buccleuch) and Montagu ancestors, Walter Francis, 5th Duke of Buccleuch and 7th Duke of Queensberry (1806-1884), acquired another 600 miniatures, with a number of other important examples being acquired by his son William, 6th Duke of Buccleuch (1831-1914). Using the London printsellers and art dealers P. & D. Colnaghi & Co., the collection was built-up systematically over a period of 60 years, alongside a substantial assemblage of prints, both historical portraits (i.e. Reynolds), those by old masters (Rembrandt) and others by contemporary artists (Wilkie and Landseer). The collection of miniatures is well-known for its outstanding group of Tudor and Stuart works by artists such as Holbein, Horenbout, Hilliard, Isaac and Peter Oliver, John Hoskins and Samuel Cooper (the famous unfinished portrait of Oliver Cromwell). While antiquarianism and the continuance of dynastic memory were significant aspects in the development of the collection, this paper will argue that emulation of other prestigious collections, such as those formed by Horace Walpole at Strawberry Hill and by Queen Victoria was an important factor in the lavish displays of framed groups of miniatures shown in the Gallery and other private spaces of the Buccleuch family's London residence in Whitehall.
A two-day workshop at the Institute of Historical Research and The Wallace Collection
The Collector and his Circle
Tuesday 1 July at the Institute of Historical Research
Wednesday 2 July at the Wallace Collection
To book please go to the following link:http://www.wallacecollection.org/whatson