Italian family of artists, architects and collectors . Pietro Bagatti Valsecchi (b Milan, 15 April 1802; d Milan, 27 Nov 1864) was adopted by Baron Lattanzio Valsecchi and assumed the latter’s surname and inherited his estate. He gained a degree in mathematics and physics but later devoted himself to painting miniatures on ivory, enamel, glass, metal and porcelain, specializing in these techniques in Paris and Geneva. Returning to Milan, he soon gained considerable recognition for such work and took part in major exhibitions. In 1837 he presented a group of works at the Salon in Paris, including a miniature copy on ivory of Francesco Hayez’s Mary Queen of Scots Mounting the Scaffold (1827; Milan, Bagatti Valsecchi Col.) and a copy on porcelain of Francesco Podesti’s Raphael’s Studio (Milan, Bib. Ambrosiana). In 1842 he was made a noble of the Austrian Empire for his artistic achievements, and the Emperor Ferdinand acquired one of his paintings on porcelain, ...
Laura Mattioli Rossi
David Blayney Brown
(b Great Dunmow, Essex, Nov 6, 1753; d Coleorton, Leics, Feb 7, 1827).
Amateur painter and draughtsman, collector and patron. He was the quintessential amateur, whose interests extended to literature and drama as well as to art; he became the leading arbiter of taste of his day. The painter Thomas Hearne described him as the ‘supreme dictator on works of art’. While Beaumont strongly supported new trends in poetry and did much to foster the careers of William Wordsworth and Samuel Coleridge, he maintained essentially 18th-century standards in his connoisseurship. His love of art had begun at Eton College, where he was taught drawing by Alexander Cozens; it was confirmed in 1771 by a meeting with the engraver William Woollett and Hearne, then Woollett’s pupil. Subsequently Beaumont was guided by a succession of distinguished artists including John Robert Cozens, Joshua Reynolds, Thomas Gainsborough, Richard Wilson, Thomas Jones, Joseph Farington, Benjamin West, Thomas Girtin and John Constable. His own work, of which there is a large collection in the ...
Iain Gordon Brown and Duncan Macmillan
Scottish family of patrons, collectors, and amateur draughtsmen and architects. For 200 years, through five generations, they had a vital influence on the development of taste and patronage in Scotland. The family’s wealth and its artistic inclinations were founded in the early 17th century by (1) John Clerk (i), a merchant and art dealer who bought the Penicuik estate in 1646. His son Sir John Clerk (1649–1722) was created 1st Baronet of Penicuik in 1679. The 1st Baronet’s son (2) Sir John Clerk, 2nd Baronet of Penicuik, was a lawyer, keen antiquary, amateur architect and writer as well as patron and collector; he was responsible for building Mavisbank House, Lothian, in the 1720s. The 2nd Baronet’s eldest son (3) Sir James Clerk, 3rd Baronet of Penicuik, rebuilt Penicuik House and commissioned Alexander Runciman to decorate its interiors, including Ossian’s Hall. Sir James Clerk’s younger brother was (4) John Clerk (ii) of Eldin, a talented amateur etcher and draughtsman, whose son ...
E. A. Christensen
(b Laxfield, Suffolk, Oct 24, 1787; d London, Oct 13, 1847).
British architect, designer, writer and collector. He trained as a builder and from 1814 worked independently as an architect in London, his practice consisting mainly of church restorations. He published many books on design and architecture: his designs for ornamental metalwork appeared as Ornamental Metal Worker’s Director (1823), and his lithographs of Gothic mouldings, finials and other details, published as Working Drawings of Gothic Ornaments (), provided architects with models for Gothic capitals and carvings; his publications on architecture include Westminster Hall (1822) and Plans…of the Chapel of King Henry the Seventh (1822–9).
During the 1840s Cottingham designed a variety of pieces of Gothic furniture for his friend, John Harrison of Snelston Hall, Derbys, some of which incorporated fragments of authentic Gothic carving. His design (London, V&A) for a drawing-room cabinet for Snelston Hall, although not strictly archaeological, was based on existing examples of Gothic detailing. Cottingham’s discovery of a series of medieval tiles in the Chapter House at Westminster Abbey stimulated a revival of encaustic tiles, subsequently produced by such firms as Minton; he designed such tiles for ...
Robert W. Rydell
Beginning with the Great Exhibition in London in 1851, world’s fairs (often called universal expositions, international exhibitions, or world expos) became mainstays of the modern world. By 1900, dozens of cities around the globe ranging from Paris to Philadelphia to Calcutta (now Kolkata) played host to these spectacles. By 1945 a worldwide audience of about one billion people had attended these events, underscoring their popularity and potential to influence mass audiences on a global scale. World’s fairs put new technologies and consumer products on display, they introduced new forms of entertainment, and they reflected the empire-building ambitions of many nations. World’s fairs can be understood from many perspectives, but fundamental is the recognition that these complex festivals of modernity were, at the core, built environments and cultural landscapes of dazzling complexity that served as laboratories for architects, designers, and urban planners (see also Exhibition architecture).
The first bona fide world’s fair held in the USA took place in Philadelphia in ...
(b Manchester, Jan 18, 1823; d Bishopstoke, Hants, Aug 12, 1891).
English industrialist, patron, collector and exhibition organizer. Having developed the London businesses of his father, William Fairbairn (1789–1874), the pioneer engineer and manufacturer of industrial machinery, he settled in Manchester in the 1850s and began collecting contemporary paintings. He is particularly associated with William Holman Hunt, whose Awakening Conscience (1853; London, Tate) Fairbairn bought from the artist in 1854, although he requested that the woman’s apparently anguished expression be repainted. Hunt was also persuaded to modify The Scapegoat (1854; Port Sunlight, Lady Lever A.G.). In 1864, Fairbairn commissioned Hunt to paint the Children’s Holiday (1864; Torre Abbey, Torbay, Devon), a group portrait of the Fairbairn family taking tea in a landscape setting. In 1873 he negotiated the sale of the Shadow of Death (1870–3; Manchester, C.A.G.) to Thos Agnew & Son’s.
Otherwise Fairbairn preferred landscapes and historical genre scenes in a precise Pre-Raphaelite style, for instance ...
Lillian B. Miller
(b Nassau, May 20, 1846; d Brookline, MA, Sept 22, 1926).
American engineer, patron and collector. He was educated in Providence, RI, in Paris and at the Phillips Academy in Andover, MA. He studied engineering and in 1873 became superintendent of the western division of the Boston waterworks, where he was instrumental in bringing about the sanitation of the water supply.
FitzGerald had studied sculpture in Paris as a young boy, and his love of art manifested itself in the creation of a collection of contemporary works by American, Dutch, Norwegian, Spanish, and in particular, French artists. He was an early friend of Claude Monet and owned numerous works by him, including Mme Monet and Child (1875), Fishing Boats at Etretat, Hills of Vétheuil on the Seine (1880) and Sunset on the Seine: Winter Effect (1880). Other Impressionist artists whose works appeared in his collection included Auguste Renoir, Edgar Degas, Camille Pissarro and Alfred Sisley. FitzGerald was an admirer and friend of the American painter ...
Place where works of art are displayed. In a commercial gallery, works of art are displayed for the purposes of sale (for information on non-commercial art galleries see Display of art and Museum, §I). Historically, artworks were commissioned by patrons directly from an artist and produced in his workshop. In the Netherlands, the economic boom following the conclusion of the Eighty Years’ War with Spain (1648) led to rising demand for art. Patrons began buying from dealers, some of whom produced illustrated catalogues. Antwerp became the centre of the art world. Galleries for the display and viewing of art appeared in paintings by Teniers family, §2 and Bruegel family, §3, although these were private not commercial spaces, or imaginary constructions.
The Paris Salon, which had been organized by the Académie Royale de Peinture et Sculpture since 1667, was opened to the public for the first time in ...
Peter Boutourline Young
(b Vienna, May 12, 1839; d Baden-Baden, Dec 19, 1909).
Austrian architect, engineer, architectural historian and writer. He studied engineering in Paris and in 1860 entered the Bauakademie, Berlin, where he was a pupil of Friedrich Adler. He made two study trips to Italy in his youth. He devoted himself mainly to historical research, renouncing his practical activities as an architect. Many of his numerous studies are still invaluable reference works for scholars of French and German architecture of the 15th and 16th centuries. Geymueller was profoundly influenced by the Swiss art historian Jacob Burckhardt. His Les Projets primitifs pour la basilique de Saint-Pierre de Rome (1875) was based on the discovery and study of previously unpublished drawings by Bramante and Raphael for St Peter’s in Rome. He collaborated with Karl Martin von Stegmann in writing, and then edited, Die Architektur der Renaissance in Toscana (1885–1907), a comprehensive work that had originally been the idea of four young German artists who had joined together to form the ...
English family of architects, patrons and collectors. Principally noted for their interest in garden design and architecture as represented in the family estate at Wrest Park, Beds, many generations of the family were active as statesmen and parliamentarians. Among the important works of art once owned by the family are Claude Lorrain’s Coast View of the Embarkation of Carlo and Ubaldo (Toronto, A. G. Ont.) and Anthony van Dyck’s portrait of the Balbi Children (London, N.G.). In 1676 Anthony, 11th Earl Grey (b 1645; d 19 Aug 1702), designed and built a new north front for the Elizabethan house at Wrest; during the late 1680s he began making Baroque formal gardens to the south of it. His son, Henry Grey, 12th Earl of Kent (b 1671; d 5 June 1740), whose Grand Tour in 1690–91 had included a visit to Rome, inherited the estate on his father’s death and resumed work on the gardens in ...
(b Göttingen, June 26, 1848; d Berlin, May 11, 1904).
German architect. He started his architectural training at the Polytechnikum in Hannover in 1868. After the interruption of the Franco-Prussian War (1870–71) he completed his studies under the prominent Gothic Revival architects Conrad Wilhelm Hase in Hannover and Friedrich von Schmidt in Vienna before working (1876–9) under Johannes Otzen, another Gothic Revivalist, on his Bergkirche at Wiesbaden. In 1879 Grisebach embarked on tours of France, Spain and Italy, and on his return to Germany he settled in Berlin and set up his own practice, designing mainly private houses and commercial buildings. He received a number of commissions from the newly rich industrialists, for whom he designed large houses, for example the Villa Springmann (1890–91; destr.) at Elberfeld and the Villa Levin (1899–1900) at Michelstrasse 4, Göttingen. In these buildings he was influenced by English domestic design, the plan of Villa Springmann, for example, being an almost exact copy of an English country-house plan published in ...
Margaret Moore Booker
The Historic American Buildings Survey (HABS) and the Historic American Engineering Record (HAER) constitute a public archival collection consisting of more than 556,900 measured drawings, large-format photographs and written histories for more than 38,600 historic structures and sites in the US dating from Pre-Columbian times to the 20th century. Maintained by the Library of Congress in Washington, D.C., the HABS collection is one of the largest national surveys of its kind in the world. It serves as a vital resource for students of American architecture and is a crucial aid to historic preservationists. Its success reflects the importance and great need to document America’s surviving architectural and engineering masterpieces, particularly those that might be threatened with alteration, demolition or development.
In 1933, during the Great Depression, HABS was initiated by the Works Progress Administration (WPA) as a short-term, federal relief project. Under the program—the brainchild of architect Charles E. Peterson—unemployed architects and draftsmen were hired to record systematically historic buildings through accurate, scale, measured drawings and photographs and written historic documentation. The program was (and continues to be) co-sponsored by the National Park Service (NPS), the American Institute of Architects (AIA), and the Library of Congress. Unlike most Depression-era federal assistance projects that disappeared once federal emergency funding ended, HABS survived and flourishes today....
(b London, Feb 18, 1864; d Florence, April 14, 1916).
English collector, art historian, designer and architect. He joined the architectural practice of A(rthur) H(eygate) Mackmurdo as an associate in 1883 and was a partner from 1885 to 1890. Together they were leading members of the Century Guild of Artists (c. 1883–92). At this time he developed his skills as a graphic artist, creating designs for textiles, furniture and objects (e.g. London, William Morris Gal.), as well as decorative initial letters and elegant foliar and zoomorphic motifs that appeared in the Century Guild Hobby Horse magazine. The Horne–Mackmurdo partnership produced plans for Brewhouse Yard at Eton College and also for a series of houses in Uxbridge Road, London (both unexecuted). In 1889 Mrs Russell Gurney commissioned Horne to design the Chapel of the Ascension in Bayswater Road, London, decorated by Frederic Shields (destr. World War II).
The turning-point in Horne’s life and artistic development came when he was commissioned by the London publisher George Bell to write a monograph on Botticelli; for this reason he began making sporadic visits to Florence in ...
Iain Gordon Brown
Iain Gordon Brown
(b 1849; d 1927).
German industrialist, collector and patron. He owned a light engineering company in Berlin. In the 1890s he started buying work of the modern Munich school. However, his most active period as a collector occurred between 1907 and 1914, when he played a key role in the promotion of avant-garde art in Germany. This was partly due to a family connection: his niece Elizabeth Gerhardt was married to August Macke. In 1907 Macke came to Berlin and introduced Koehler to modern ideas about painting, including those of Julius Meier-Graefe. Koehler now bought work by the French Impressionists and their German admirers such as Max Liebermann and Max Slevogt. In July 1910, shortly after meeting him, he offered Franz Marc a monthly stipend in return for pictures. This arrangement lasted until Marc’s death in 1914 and led to the acquisition of at least 36 paintings. Koehler was the only buyer at the first ...
Myroslava M. Mudrak
(b Vorozhba, Kharkiv province, Jan 12, 1873; d Caracas, Venezuela, Nov 15, 1952).
Ukrainian architect, painter, illustrator and collector. He received no systematic artistic education and first became known because of his interest in Ukrainian folklore. His prizewinning design for the City Council building in Poltava (1900) formed the basis of a new style, founded on traditions of Ukrainian folk art, and initiated a movement in Ukrainian architecture. Among his other buildings are the People’s House in Lokhvitsa (1904) and the Shevchenko Memorial Museum in Kaniv (1931–4). As a painter, he was influenced by the French Impressionists. The pure, harmonious colours of his southern Ukrainian landscapes convey the lyrical atmosphere of his native land, and he took part in the annual exhibitions of the Union of Russian Watercolourists in St Petersburg (1899–1902) and in the exhibitions of Kiev painters (1910–13). Krychevsky was one of the founders of contemporary Ukrainian book design, reviving the technique of the woodcut and producing over 80 cover designs. He produced set and costume designs for 15 plays and operas in the Sadovs’ky Theatre in Kiev (...
[Karl Anton Leo Ludwig]
(b Vienna, Nov 4, 1848; d Vienna, July 15, 1933).
Polish archaeologist, writer, collector and patron, active in Austria. As an archaeologist his main interest lay in the architectural ruins of the late Roman Empire in Anatolia. In 1884 he organized an expedition of which he later published an account, Stadt Pamphyliens und Pisidiens. Sketches made by Jacek Malczewski (e.g. Warsaw, Royal Castle; mainly watercolours) are also records of the expedition. Lanckoroński and Malczewski later toured Italy and travelled to Munich together. Other artists patronized by Lanckoroński included Antoni Madeyski (1862–1939), Henryk Rodakowski and Hans Makart. During 1888 and 1889 Lanckoroński made a round-the-world voyage and subsequently published a diary of this trip, entitled Rund um die Erde. He brought back to Vienna various works of art, mainly sculptures and textiles. Between 1890 and 1895 a Baroque Revival palace was built for him in Vienna to designs by Ferdinand Fellner and Hermann Hellmer (1849–1919). In it Lanckoroński installed paintings, mainly Dutch and French, that he had inherited and Italian paintings he had purchased (e.g. Masaccio’s ...
Lilian M. C. Randall
(b Baltimore, MD, May 29, 1824; d Paris, Dec 16, 1909).
American agent and collector. The son of a publisher and book illustrator, Fielding Lucas jr (d 1854), he worked as an engineer for the New York–New Haven Railroad, the Central Railroad of New Jersey and the Croton Aqueduct Board. In 1856 he inherited a sum sufficient to free him to pursue his interest in the arts. The following year he moved to Paris, never to return to America. In Paris, Lucas gained widespread respect in art circles through his work as agent to several American collectors and art dealers. By the mid-1880s he had expended about half a million francs at the behest of William T. Walters, a prosperous businessman also from Baltimore. Lucas was actively involved in the formation of Walters’s collection of 19th-century art, noted for its outstanding works by French Realist, Academic and Barbizon school artists, with works commissioned from such artists as Honoré Daumier, ...