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The Museum of French Monuments 1795–1816. ‘Killing art to make history’

The Museum of French Monuments 1795–1816. ‘Killing art to make history’ Book Reviews partaking and fashion thereof, accompanied by com- collectors. An early enthusiast, Meissen Porcelain pelling historical accounts. Charles Truman efficiently Manufactory director Count Heinrich von Brühl’s and vividly describes the gold box epicentre that was collection of mainly porcelain boxes and its fate are Paris in the eighteenth and nineteenth centuries – a examined by Ute Christina Koch. Kathryn Jones sizeable topic to address – through the city’s history surveys gold boxes in the British Royal Collection, of production, development of leading workshops revealing that acquisitions come through both per- and rise of speciality artists, designers and craftsmen, sonal and political means, while Pippa Shirley credited with bringing the genre of gold boxes to the introduces the assemblage formed by one of the artistic fore. Recognizing the innovations and talents most well-known European collecting families, the that specific craftsmen and workshops brought to gold Rothschilds. Finally, Reinier Baarsen’s chapter on box production, Vincent Bastien’s chapter chronicles the pitfalls of collectors’ pursuits serves as a caution- the establishment and succession of the Ducrollay ary yet informative account of questionable authen- family workshop, celebrated for their renowned work ticity and dubious provenance. and grand international clientele. Subsequent work- shop owners http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of the History of Collections Oxford University Press

The Museum of French Monuments 1795–1816. ‘Killing art to make history’

Stammers, Tom
Journal of the History of Collections , Volume 27 (1) – Mar 27, 2015
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Publisher
Oxford University Press
Copyright
© The Author 2014. Published by Oxford University Press. All rights reserved.
Subject
Book Review
ISSN
0954-6650
eISSN
1477-8564
DOI
10.1093/jhc/fhu068
Publisher site
See Article on Publisher Site

Abstract

Book Reviews partaking and fashion thereof, accompanied by com- collectors. An early enthusiast, Meissen Porcelain pelling historical accounts. Charles Truman efficiently Manufactory director Count Heinrich von Brühl’s and vividly describes the gold box epicentre that was collection of mainly porcelain boxes and its fate are Paris in the eighteenth and nineteenth centuries – a examined by Ute Christina Koch. Kathryn Jones sizeable topic to address – through the city’s history surveys gold boxes in the British Royal Collection, of production, development of leading workshops revealing that acquisitions come through both per- and rise of speciality artists, designers and craftsmen, sonal and political means, while Pippa Shirley credited with bringing the genre of gold boxes to the introduces the assemblage formed by one of the artistic fore. Recognizing the innovations and talents most well-known European collecting families, the that specific craftsmen and workshops brought to gold Rothschilds. Finally, Reinier Baarsen’s chapter on box production, Vincent Bastien’s chapter chronicles the pitfalls of collectors’ pursuits serves as a caution- the establishment and succession of the Ducrollay ary yet informative account of questionable authen- family workshop, celebrated for their renowned work ticity and dubious provenance. and grand international clientele. Subsequent work- shop owners

Journal

Journal of the History of Collections – Oxford University Press

Published: Mar 27, 2015

There are no references for this article.