Colloque : “Private Collecting and Public Display”.

Adriaan de Lelie, La galerie d'art de Jan Gildemeester, 1794 – 1795, huile sur bois, 63,7 x 85,7 cm,  Amsterdam, Rijksmuseum.

Adriaan de Lelie, La galerie d’art de Jan Gildemeester, 1794 – 1795, huile sur bois, 63,7 x 85,7 cm, Amsterdam, Rijksmuseum.

Type : colloque.
Date : 30 et 31 mars 2017.
Lieu : Leeds, University of Leeds.

The Centre for the Study of the Art and Antiques Market at the University of Leeds is delighted to announce that registration is now open for an international two-day conference exploring the relationship between the ‘private’ and ‘public’ spheres of the art market and the museum. This interdisciplinary conference offers the opportunity to hear new research in the fields of art market studies, museum studies, and the histories of collecting. Registration information is available here. For any further information, please contact

Programme :

Jeudi 30 mars 2017 :

9.00 Registration.

9.30 Welcome, Mark Westgarth, Director, Centre for the Study of the Art & Antiques Market, University of Leeds.

9.45 I | Birth of the Museum
• Marie Tavinor (Christie’s Education, London), The ‘Potent Tate’ and the Founding of the Tate Gallery: An Insight into Taste and the Politics of Donation in Late Victorian England.
• Margaraet Iacono (The Frick Collection, New York), Going Public: The Frick Collection’s Transformation from Private Home to House Museum.
• Helen Glaister (Victoria & Albert Museum, London), From Buxted Park to South Kensington and Beyond: The Ionides Collection of Chinese Export Porcelain.

11.00 Coffee and tea.

11.30 II | Legacy through Display: From Private to Public
• Nicole Cochrane (University of Hull), Ancient Sculpture and the Narratives of Collecting: (Re)Contextualizing Museum Space.
• Alison Clarke (University of Liverpool / National Gallery London), Pure Eighteenth-Century Art Unspoiled by Any Element Foreign to Its Nature: The Agnew’s Exhibitions of The Frick Fragonards.
• Isobel MacDonald (University of Glasgow / The Burrell Collection), Tracing The Development of the Burrell Collection from Deed of Gift (1944) to Pollok Park, Glasgow (Present Day).

12.45 Lunch.

1.45 III | Dealers and Markets: Thinking of the Past, Looking towards the Future
• Pamella Guerdat (University of Neuchatel, Paris), A Heritage under Construction: René Gimpel’s (1881–1945) Roles between Private Collectors and Public Museums.
• Ana Mântua (Dr Anastácio Gonçalves House Museum, Lisbon), One Man’s Choices and the Portuguese Art Market, 1925–1965.
• Kerry Harker and John Wright (University of Leeds), Blurring the Boundaries: Reconsidering ‘Public’ and ‘Private’ in the Alternative Art Market Activities of Artist-Led Groups, Organisations, and Collectives

3.00 IV | Power, Influence, and Agency: A Critical Look at Private Collections Going Public
• Pier Paolo (IES Abroad Italy, Rome), From Objects of Devotion to Icons of Beauty: The Institution of the National Museum in the Vatican at the Time of the Roman Republic, 1798–99.
• Verda Bingol (Istanbul Technical University), From the Cradle to the Museum: The Elgiz Collection.
• Dorothy Barenscott (Independent Art Historian), Steve Wynn: Art Collecting and Exhibition, ‘Vegas Style’.

4.15 Coffee and tea.

4.45 Keynote Address
• Susanna Avery-Quash, Senior Research Curator (History of Collecting), National Gallery London.

6.00 Drinks Reception.

Vendredi 31 mars 2017 :

9.00 Registration

9.40 V | The Visibility of Private Collections within the Public Arena
• Marcela Drien (Universidad Adolfo Ibáñez, Chile), Exhibiting Domestic Museums: Chilean Art Collectors at Santiago’s Exposicion Internacional of 1875.
• Rasmus Kjaerboe (Ribe Art Museum, Denmark), Collecting To Be Modern: The Early Twentieth-Century Art Collections of Prince Eugen, Ernest Thiel, and Klas Fåhraeus.
• Kathryn Brown (University of Loughborough), Patrimony and Patronage: Collecting and Exhibiting Contemporary Art in France.

11.00 Coffee and tea.

11.30 VI | Museum Quality? Deaccessioning Museums onto the Art Market
• Gareth Fletcher (Sotheby’s Institute of Art, London), But Is It Really Museum Quality? – Evaluating the Impact of Institutional Provenance within the International Art Market.
• Nicola Sinclair (University of York), ‘You Have Culled One or Two Beauties But the Memorial of Art Is Gone’: How (Not) To Translate Paintings of Historical Value from Private to Public Collections and back again in Mid-Nineteenth-Century Britain.
• Martin Hartung (ETH Zürich, Switzerland), A Philanthropic Legacy: The Controversial Case of DIA in New York.

12.45 Lunch.

1.45 VII | Private Collections and Public Museums: Working across Boundaries
• Kate Beats (University of Cambridge), Cambridge’s First Museums: The Private College Collections behind the Public Museums in Cambridge.
• Helen Ritchie (Fitzwilliam Museum, Cambridge), The Frua-Valsecchi Collection at The Fitzwilliam Museum: A Case Study.
• Tom Boggis (Holburne Museum, Bath), Public Collection, Private House: Display of the Heveningham Furniture Collection in the Twentieth Century.

3:00 Coffee and tea.

3.30 Round Table Discussion.

5.00 Closing Remarks.

Citer ce billet
Maxime Georges Métraux (2017, 30 janvier). Colloque : “Private Collecting and Public Display”. Groupe de Recherche en Histoire de l'Art Moderne. Consulté le 20 juin 2024, à l’adresse

Maxime Georges Métraux

Doctorant en Histoire de l'art moderne (Université Paris IV –Sorbonne, Centre André Chastel – UMR 8150). Expert pour la galerie Hubert Duchemin et chargé d’enseignement à l'Université Paris-Est Marne-la-Vallée. Commissaire scientifique de l’exposition "Chic Emprise : Cultures, usages et sociabilités du tabac du XVIe au XVIIIe siècle" (22 juin - 23 septembre 2019) au musée du Nouveau Monde de La Rochelle.

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