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Collecting And Dynastic Ambition

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Author: Susan Bracken
Publisher: Cambridge Scholars Pub
ISBN:
Size: 29.20 MB
Format: PDF
Category : Art
Languages : en
Pages : 143
View: 3122


Dynastic Ambition, the desire to advance one's family fortune and reputation, is the reason for all kinds of sometimes bewildering behaviour and activities. Within the study of the history of collecting, many and various motives have been given that underlie the patronage and collecting of art, from personal to public, private to princely, self-interest to philanthropy. A growing interest in the commissioning, collecting and display of art in the early modern period has led to new discussions of the motivation of princes and rulers for the collecting and display of art. Recent historians of patronage have turned to economic motivations for patronage and the development of markets in art objects. Collecting, it can be argued, goes together with genealogy; the old ruling houses mostly owned rich collections of a wide range of possessions attesting to the age and power of their lineage. The individual saw himself as part of a succession and his patronage often emphasized these dynastic links. That collecting itself could involve dynastic considerations has been less commented upon than the particular concerns of the individual. However, collecting was regarded as a princely pastime and the volume of objects in one's collection in conjunction with the value of the items and the age of the collection in general attested to the nobility of the owner's family. Hence the scions of the ruling houses of Europe were keen to extend their family's collections and willing to spend considerable amounts of money in order to do so. Many of these collectors amassed artworks of different kinds and provenance. Antiquities, contemporary paintings and sculpture, armour and weapons, plants, animals, and objects of virtue were gathered together and displayed in residences across Europe. If a piece was particularly old or came from an exotic part of the world, it immediately acquired additional political value as part of a court culture that was firmly based on etiquette, questions of precedence, and appropriate display of splendour and wealth. This volume, the first in a series of four, presents six articles that explore the role of collecting and collections of ruling families within a time frame that runs from the late Roman Republic to the eighteenth century and within a geographical area that encompasses not only the Italian peninsula but also the Electoral court of Saxony.

Die Sammlungen Der Ludwig Maximilians Universit T M Nchen Gestern Und Heute

Die Sammlungen der Ludwig Maximilians Universit  t M  nchen gestern und heute PDF

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Author: Claudius Stein
Publisher: utzverlag GmbH
ISBN: 3831647747
Size: 59.52 MB
Format: PDF, ePub
Category : History
Languages : de
Pages : 522
View: 1961


Die Ludwig-Maximilians-Universität München stellt, was wissenschaftliche Sammlungen an Hochschulen betrifft, einen Sonderfall dar: Sammlungen erwuchsen nicht nur am aktuellen Standort, sondern auch an den früheren Sitzen Ingolstadt (1472–1800) und Landshut (1800–1826). Die Universität Ingolstadt verfügte als erste europäische Hohe Schule über eine eigene Kunstkammer (1573), aus der sich alle anderen Sammlungen entwickelten. Um 1800 war der mit der Ausdifferenzierung der Einzeldisziplinen einhergehende Sammlungskanon an der LMU voll ausgeprägt. Die Verlegung in die Haupt- und Residenzstadt München 1826 gab den Ausschlag für die nachfolgende Zusammenlegung vieler universitärer Sammlungen mit ihren staatlichen Pendants. Schwere Verluste am Sammlungsgut sind auf den zweimaligen Umzug sowie auf den Zweiten Weltkrieg zurückzuführen. Die rasante technische Entwicklung der Gegenwart lässt historische Universitätssammlungen außerdem nicht selten als überflüssig erscheinen. Intention dieser Veröffentlichung ist es, anhand detaillierter Untersuchungen zur Geschichte und zu den Beständen auf das in den LMU-Sammlungen ruhende Potential aufmerksam zu machen und eine bessere Nutzung herbeizuführen.

Collecting And Museology

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Author: Andrea M. Gáldy
Publisher: Cambridge Scholars Publishing
ISBN: 1527544680
Size: 38.52 MB
Format: PDF, Kindle
Category : Art
Languages : en
Pages : 220
View: 2635


To celebrate the first ten years of the international forum Collecting and Display, as well as the launch of a dedicated series of publications “Collecting Histories”, in 2014, a conference dedicated to new directions in terms of collecting, display, visitor experience and the use of modern media in today’s museums was held at museums of the city of Memmingen in Bavaria. Speakers looked into whether and how the engagement with the history of collections, in their diverse permutations, has influenced and modified modern museology. This volume looks forward towards a future which oftentimes looks bleak due to funding cuts, lack of appreciation of cultural history and a sometimes dubious art trade in times of looting and vandalism. On the positive side, the future of museums and museology nonetheless offers exciting prospects as far as diverse possibilities of display, as well as museology courses taught at universities worldwide, are concerned; not to forget the rising visitor numbers at many of the great museums worldwide. Collecting and Display (www.collectinganddisplay.com) is an international forum founded by three scholars in 2004. The group has been running a research seminar at the Institute of Historical Research at the University of London since 2005 and in Florence from 2008 to 2012. The forum has organised international summer conferences in London, Ottobeuren, Florence, Irsee and Jerusalem since 2006.

Women Patrons And Collectors

Women Patrons and Collectors PDF

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Author: Susan Bracken
Publisher: Cambridge Scholars Pub
ISBN: 9781443834643
Size: 80.58 MB
Format: PDF, Docs
Category : Art
Languages : en
Pages : 198
View: 7629


As the present volume shows, women, particularly aristocratic women,not only resisted this discrimination through the ages, but also built important collections and used them to their own advantage, in order to make statements about their lineage, power,cultural heritage or religious preferences. That is not to say that there was not an increasing number of middle-class women who became draughtswomen, painters and natural scientists and who found it equally beneficial for their chosen profession to collect. In every case, the female collector chose to collect and what to collect; she chose how and where to present the collection and she also decided when to dispose of objects, thereby occasionally taking on a curatorial role. Women have been seen as gatherers of furnishings, jewellery, dress and objects of domestic life.

Collecting East And West

Collecting East and West PDF

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Author: Susan Bracken
Publisher: Cambridge Scholars Publishing
ISBN: 1443852597
Size: 75.98 MB
Format: PDF, ePub, Docs
Category : Art
Languages : en
Pages : 250
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If collecting the rare and valuable is an entirely normal trait of human behaviour, amassing objects from far-away places has also long played a role in the history of collecting. “East” and “West”, or “North” and “South”, for that matter, are of course entirely relative to one’s particular geographical position. Therefore, it is interesting that collecting exotic objects is an endeavour that unites humanity over millennia and round the globe. The ancient Assyrians did so as assiduously as eighteenth-century collectors in Paris or London; Chinese emperors collected Western art and artefacts at a time when Western collectors started to gather ceramics, lacquered furniture, or South-East Asian prints. Key factors were, of course, increasingly frequent contact and an ever growing knowledge about the “other” and about the other’s artistic production. Of particular interest to the mission of this working group is the fact that the building of collections was only part of the endeavour but that, in many cases, the objects imported at huge cost and logistic effort were meant to be displayed in surroundings reminiscent of their original habitat, even though their exact original context may have been open to debate and their final exhibition surroundings may have been unrecognisable to anyone from their former home. Western collectors built Chinese cabinets for their exotic treasures, often complemented by depictions of Oriental tea parties. Less familiar is perhaps the fact that, from the seventeenth century onwards, Chinese emperors displayed their European collectibles in palaces built for them for this purpose in Western architectural style. The essays in the present volume, therefore, attempt to connect the collections of exotic objects with the forms of display adopted by collectors and institutions and thus chart the levels of increasingly informed and intimate encounters between East and West, scholars and collectors, art lovers and institutions from the early first millennium BC to the early twentieth century and from South-East Asia to North-Western Europe.

Collecting East And West

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Author: Susan Bracken
Publisher: Cambridge Scholars Pub
ISBN: 9781443847797
Size: 36.41 MB
Format: PDF, ePub, Docs
Category : Art
Languages : en
Pages : 210
View: 339


If collecting the rare and valuable is an entirely normal trait of human behaviour, amassing objects from far-away places has also long played a role in the history of collecting. "East" and "West", or "North" and "South", for that matter, are of course entirely relative to one's particular geographical position. Therefore, it is interesting that collecting exotic objects is an endeavour that unites humanity over millennia and round the globe. The ancient Assyrians did so as assiduously as eighteenth-century collectors in Paris or London; Chinese emperors collected Western art and artefacts at a time when Western collectors started to gather ceramics, lacquered furniture, or South-East Asian prints. Key factors were, of course, increasingly frequent contact and an ever growing knowledge about the "other" and about the other's artistic production. Of particular interest to the mission of this working group is the fact that the building of collections was only part of the endeavour but that, in many cases, the objects imported at huge cost and logistic effort were meant to be displayed in surroundings reminiscent of their original habitat, even though their exact original context may have been open to debate and their final exhibition surroundings may have been unrecognisable to anyone from their former home. Western collectors built Chinese cabinets for their exotic treasures, often complemented by depictions of Oriental tea parties. Less familiar is perhaps the fact that, from the seventeenth century onwards, Chinese emperors displayed their European collectibles in palaces built for them for this purpose in Western architectural style. The essays in the present volume, therefore, attempt to connect the collections of exotic objects with the forms of display adopted by collectors and institutions and thus chart the levels of increasingly informed and intimate encounters between East and West, scholars and collectors, art lovers and institutions from the early first millennium BC to the early twentieth century and from South-East Asia to North-Western Europe.

Concepts Of Value In European Material Culture 1500 1900

Concepts of Value in European Material Culture  1500 1900 PDF

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Author: Bert De Munck
Publisher: Routledge
ISBN: 1317162404
Size: 57.22 MB
Format: PDF, ePub, Mobi
Category : History
Languages : en
Pages : 304
View: 5892


In contemporary society it would seem self-evident that people allow the market to determine the values of products and services. For everything from a loaf of bread to a work of art to a simple haircut, value is expressed in monetary terms and seen as determined primarily by the 'objective' interplay between supply and demand. Yet this 'price-mechanism' is itself embedded in conventions and frames of reference which differed according to time, place and product type. Moreover, the dominance of the conventions of utility maximising and calculative homo economicus is a relatively new phenomenon, and one which directly correlates to the steady advent of capitalism in early modern Europe. This volume brings together scholars with expertise in a variety of related fields, including economic history, the history of consumption and material culture, art history, and the history of collecting, to explore changing concepts of value from the early modern period to the nineteenth century and present a new view on the advent of modern economic practices. Jointly, they fundamentally challenge traditional historical narratives about the rise of our contemporary market economy and consumer society.

Collecting And The Princely Apartment

Collecting and the Princely Apartment PDF

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Author: Susan Bracken
Publisher: Cambridge Scholars Publishing
ISBN: 1527551318
Size: 57.65 MB
Format: PDF, Mobi
Category : Language Arts & Disciplines
Languages : en
Pages : 240
View: 3073


Collecting is an obsession that goes back to the mists of history. While spare time and spare cash seem an absolute necessity for this kind of activity, every collector has his or her own approach to the formation of a collection. The way in which one’s treasures are displayed is another important instance in which one collector differs from another. Glass cases, niches, trays, cupboards, or drawers have been adopted; sometimes cards offer information on the subject, its age and provenance; an overall theme may have prompted the choice of the actual objects displayed together; security reasons suggest one room over another. While some collectors keep their treasures as close as possible—in their bedroom, throughout their living quarters, or in a locked up closet nearby—others may find that they want to be able to show off their collection without being disturbed by visitors in the rooms in which they actually spend most of their time. Certainly, our notions of private and public have changed considerably over the centuries and this has had an impact on questions of display and on the separation of particular parts of the house from other less accessible ones, in particular in great houses that allow for the establishment of a museum. The museum, in such cases, is quite separate from the living quarters, for example situated on the ground floor off the main hall. Not all displays were so defined; there were many forms of exhibition just as there were many forms of collections. The aims and ambitions of the collector are often discussed in terms of the display of their collections; in part because we believe that analysing how a collection was shown and how it was received are key contributors to our understanding the role and purpose of the collection. In lieu of any other documentation, inventories, sales catalogues and wills remain essential tools for the historian of collecting, both in terms of what was owned and where it was housed. This volume, the second in a series of four, presents ten articles that explore the connection between collections and their display in, near, or separate from the princely apartment within a time frame that runs from the sixteenth century to the early nineteenth and within a geographical area that includes courts on the Italian peninsula, in England, France, The Netherlands and Germany.

Szepter Ketten Und Pokale Die Insignien Der Ludwig Maximilians Universit T Ingolstadt Landshut M Nchen

Szepter  Ketten und Pokale  die Insignien der Ludwig Maximilians Universit  t Ingolstadt     Landshut     M  nchen PDF

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Author: Katharina Weigand
Publisher: utzverlag GmbH
ISBN: 3831648581
Size: 11.55 MB
Format: PDF, ePub, Mobi
Category : History
Languages : de
Pages : 350
View: 2737


Universitäre Insignien – das waren im Alten Reich, als die Universitäten noch als Institutionen eigenen Rechts agieren konnten, Herrschafts- und Standeszeichen, die ihrem rechtmäßigen Träger Autorität und Identität verliehen. Zu diesen Insignien gehörten die universitären Siegel ebenso wie Teile der Amtskleidung des Rektors, die Szepter der Fakultäten, die Kassenschlüssel, der Rektorenbecher, die Matrikelbücher und vieles mehr. Verwendet wurden die Insignien u.a. bei der Einführung eines neuen Rektors, bei der Aufnahme neuer Studenten, aber auch wenn es galt, die Disziplin innerhalb der Universität aufrechtzuerhalten. Mit der Durchsetzung des modernen Staates zu Beginn des 19. Jahrhunderts wurden den Hohen Schulen ihre autonomen Rechte genommen, womit gleichzeitig die Insignien ihren Rechtscharakter verlieren mußten. Und doch bewahren die meisten Universitäten – so sie denn wie die Münchner Ludwig-Maximilians-Universität noch über eigene althergebrachte Insignien verfügen – diese mit besonderer Sorgfalt. Um die Geschichte einiger ausgewählter Insignien der LMU und um den Wandel bei ihrer Verwendung geht es im vorliegenden Band.

Collecting Prints And Drawings

Collecting Prints and Drawings PDF

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Author: Sylvia Heudecker
Publisher: Cambridge Scholars Publishing
ISBN: 1527526542
Size: 13.99 MB
Format: PDF, ePub, Mobi
Category : Art
Languages : en
Pages : 441
View: 5665


Cabinets of prints and drawings are found in the earliest art collections of Early Modern Europe. From the sixteenth century onwards, some of them acquired such fame that the necessity for an ordered and scientific display meant that a dedicated keeper was occasionally employed to ensure that fellow enthusiasts, as well as visiting diplomats, courtiers and artists, might have access to the print room. Often collected and displayed together with drawings, the prints formed a substantial part of princely collections which sometimes achieved astounding longevity as a specialised group of collectibles, such as the Florentine Gabinetto Disegni e Stampe at the Uffizi (GDSU). Prints and drawings, both bought and commissioned, were collected by princes and by private amateurs. Like the rest of their collections, the prints and drawings were usually preserved and displayed as part of, or near, the owner’s library in close proximity to scientific instruments, cut gems or small sculptural works of art. Both prints and drawings not only documented an encyclopaedic approach to the knowledge available at the time, but also depicted parts of the collections in the form of a paper museum. Prints and drawings also served as a guide to the collections. They spread their fame, and the renown of their owners, across Europe and into new worlds of collecting, both East and West. This volume explores issues such as: when, how and why did cabinets of prints and drawings become a specialised part of princely and private collections? How important were collections of prints and drawings for the self-representation of a prince or connoisseur among specialists and social peers? Is the presentation of a picture hanging in a gallery, for example by Charles Eisen for the Royal Galleries at Dresden, to be treated as documentary evidence? Are there notable differences in the approach to collecting, presentation and preservation of prints and drawings in diverse parts of the world? What was the afterlife of such collections up to the present day?

Collecting Nature

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Author: Andrea Gáldy
Publisher: Cambridge Scholars Publishing
ISBN: 1443875082
Size: 65.19 MB
Format: PDF, Kindle
Category : Art
Languages : en
Pages : 195
View: 7485


Nature can be collected in many forms and shapes: live animals have been locked up in cages, displayed in zoos and menageries and their hides and dried body parts have been used as part of installations in galleries and studies. Plants from far-away countries have been cultivated in botanical gardens and in hothouses. Furthermore, the depiction of medicinal plants and of prized animals was regarded as an important part of the decorative schemes, in an attempt to bring nature indoors. Recent research has also shown that artificialia and naturalia were displayed side by side in early modern Europe—sometimes in the company of scientifica—and that the exhibition set-up often included a complex arrangement of stables, kennels, aviaries, art gallery and library. Villas and country houses displayed favourite horses as well as paintings and antiquities. Botanical gardens and gardens of simples at monastic foundations and universities imposed order and intellectual scope to the cultivation of many new species imported to Europe during the age of exploration. Of particular interest to the mission of this working group is the fact that so many collections of naturalia were displayed in close proximity to other collecting categories, according to a similar choreography as well as according to a similar logistical set-up. Thus, the collections, outdoors as well as indoors, resemble one another in terms of labels adopted and discussions conducted on the respective merits of order and categorisation. The essays in the present volume, therefore, connect art, nature and science by tracing objects, as well as the practices of collecting and display from the early kunst- und wunderkammern to the more scientific aspirations and publications of the eighteenth century. Indoor as well as outdoor locations of collecting are considered as well as the dissemination of objects and knowledge in the form of books during a period, which gradually led from an intrinsic, if untidy, connection between art and nature towards a new world of clear, if unhappy, divisions.

Collecting And Provenance

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Author: Andrea M. Gáldy
Publisher: Cambridge Scholars Publishing
ISBN: 1527571335
Size: 56.28 MB
Format: PDF, ePub
Category : Art
Languages : en
Pages : 319
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This collection of essays highlights the enduring significance of provenance and its implications for historians and art historians, as well as students and researchers engaged in museum studies. It also offers an opportunity to demonstrate its relevance to other fields of expertise, such as conservation, visual culture studies, aesthetics, authentication and connoisseurship versus technology as a means of establishing attributions and detecting forgeries. Provenance is still of vital importance to jurisdiction, whether it concerns property law or ownership. It also remains topical because of the ongoing debates over looted art in the 1930s and 1940s and the illicit trade in antiquities conducted from Iraq and Syria by terrorist groups.

Agnolo Bronzino

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Author: Andrea M. Gáldy
Publisher: Cambridge Scholars Publishing
ISBN: 1443866350
Size: 46.63 MB
Format: PDF, ePub, Mobi
Category : Art
Languages : en
Pages : 180
View: 2846


The Florentine artist Agnolo Bronzino (1503–1572) has long been celebrated as the consummate court painter and his sumptuous portrayals of Duke Cosimo de’ Medici and Duchess Eleonora de Toledo have become icons of Italian Renaissance art. In this volume, an international assembly of scholars advances modern perceptions of Bronzino’s art by applying fresh research paradigms not only to the well-known portraits, but also to other painted subjects, frescoes, and tapestries within the context of ancient Roman precedents, Renaissance European court culture, and postmodernist theory. The seven essays supplement two recent Bronzino exhibitions in New York and Florence (2010) by addressing Bronzino’s portraiture, creative process, and tapestry production as well as past and present attitudes towards nudity, sexuality, landscapes, and poetic satire in Bronzino’s imagery.

Art Markets Agents And Collectors

Art Markets  Agents and Collectors PDF

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Author: Adriana Turpin
Publisher: Bloomsbury Publishing USA
ISBN: 1501348892
Size: 15.56 MB
Format: PDF, ePub, Docs
Category : Antiques & Collectibles
Languages : en
Pages : 400
View: 1599


Art Markets, Agents and Collectors brings together a wide variety of case studies, based on letters and detailed archival research, which nuance the history of the art market and the role of the collector within it. Using diaries, account books and other archival sources, the contributions to this volume show how agents set up networks and acquired works of art, often developing the taste and knowledge of the collectors for whom they were working. They are therefore seen as important actors in the market, having a specific role that separates them from auctioneers, dealers, museum curators or amateurs, while at the same time acknowledging and analyzing the dual positions that many held. Each chronological period is introduced by a contextual essay, written by a leading expert in the field, which sets out the art market in the period concerned and the ways in which agents functioned. This book is an invaluable tool for those needing a broader introduction to the intricate workings of the art market.

Sculpture Collections In Europe And The United States 1500 1930

Sculpture Collections in Europe and the United States 1500 1930 PDF

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Author:
Publisher: BRILL
ISBN: 9004458840
Size: 69.89 MB
Format: PDF, Docs
Category : Art
Languages : en
Pages : 360
View: 7738


Exploring the various forms taken by sculpture collections, this volume presents new research on collectors, modes of display, and the aesthetics of viewing sculpture, making a notable addition to the literature on the history of sculpture and art collecting as a cultural phenomenon.

Roscoe And Italy

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Author: Stella Fletcher
Publisher: Routledge
ISBN: 1317061217
Size: 13.23 MB
Format: PDF, Mobi
Category : History
Languages : en
Pages : 266
View: 5092


Anglo-Italian cultural connections in the eighteenth and nineteenth centuries have been the subject of numerous studies in recent decades. Within that wider body of literature, there has been a growing emphasis on appreciation of the history and culture of Renaissance Italy, especially in nineteenth-century Britain. In 1954 J.R. Hale's England and the Italian Renaissance was a pioneering account of the subject, followed in 1992 by Hilary Fraser's monograph The Victorians and Renaissance Italy and in 2005 by Victorian and Edwardian Responses to the Italian Renaissance, edited by John E. Law and Lene Østermark-Johansen. There is, however, an obvious gap in the literature concerning the pivotal figure of William Roscoe (1753-1831), the first English-language biographer of Lorenzo de' Medici and of Pope Leo X. The Life of Lorenzo de' Medici called the Magnificent proved to be so popular as to prompt the claim that Roscoe effectively invented the Italian Renaissance as it has become understood by subsequent generations of readers in the English-speaking world. This collection of ten essays redresses the balance by examining Roscoe as biographer, as a connoisseur of Italian literature and as a collector of Italian works of art.

Deaccessioning And Its Discontents

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Author: Martin Gammon
Publisher: MIT Press
ISBN: 0262037580
Size: 45.51 MB
Format: PDF, ePub, Docs
Category : Art
Languages : en
Pages : 448
View: 1827


The first history of the deaccession of objects from museum collections that defends deaccession as an essential component of museum practice. Museums often stir controversy when they deaccession works—formally remove objects from permanent collections—with some critics accusing them of betraying civic virtue and the public trust. In fact, Martin Gammon argues in Deaccessioning and Its Discontents, deaccession has been an essential component of the museum experiment for centuries. Gammon offers the first critical history of deaccessioning by museums from the seventeenth to the twenty-first century, and exposes the hyperbolic extremes of “deaccession denial”—the assumption that deaccession is always wrong—and “deaccession apology”—when museums justify deaccession by finding some fault in the object—as symptoms of the same misunderstanding of the role of deaccessions in proper museum practice. He chronicles a series of deaccession events in Britain and the United States that range from the disastrous to the beneficial, and proposes a typology of principles to guide future deaccessions. Gammon describes the liquidation of the British Royal Collections after Charles I's execution—when masterworks were used as barter to pay the king's unpaid bills—as establishing a precedent for future deaccessions. He recounts, among other episodes, U.S. Civil War veterans who tried to reclaim their severed limbs from museum displays; the 1972 “Hoving affair,” when the Metropolitan Museum of Art sold a number of works to pay for a Velázquez portrait; and Brandeis University's decision (later reversed) to close its Rose Art Museum and sell its entire collection of contemporary art. An appendix provides the first extensive listing of notable deaccessions since the seventeenth century. Gammon ultimately argues that vibrant museums must evolve, embracing change, loss, and reinvention.

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