Regency Collectors

摄政时代收藏家：19世纪初英国的古典大师作品收藏与陈列

出版商 ‏ : Ad Ilissvm

出版日期 : ‎ 2025年11月18日

版本 : ‎ 第 1 版

语言 : 法语

印刷长度 : 224 页

ISBN-10 : ‎ 1915401178

ISBN-13 : ‎ 978-1915401175

商品重量 : 1 克

尺寸 : 24 x 0.1 x 28 厘米

页面参数仅供参考，具体以实物为准

摄政时期是英国收藏古典大师画作历史上至关重要的时期。

法国大革命后的政治动荡迫使法国和意大利贵族收藏家放弃继承的财产，古典大师作品以前所未有的数量和质量涌入伦敦艺术市场。本书介绍了当时七个英国收藏家的案例研究，追溯了他们的收藏形成过程，并分析了引领他们收藏的品味。本书还探讨了这些新藏家如何展示他们的藏品，以及如何将它们整合成一个新的整体。

彼得·亨弗雷 (Peter Humfrey) 详细研究了七位摄政时期收藏家——第四代达恩利伯爵、第二代格罗夫纳伯爵、阿玛贝尔·德·格雷、理查德·科尔特·霍尔爵士、菲利普·约翰·迈尔斯、塞缪尔·罗杰斯和第五代考珀伯爵。当然，他们全都来自上流社会。然而，除了许多其他相似之处外，他们也表现出一些显著的不同。他们既有上等贵族，也有下等贵族，还有绅士阶层；他们的财富（和收藏）是通过继承获得的，但也是通过再创造的；可以预见的是，大多数收藏家都是男性，但这里要讨论的一位是女性；有些人选择将藏品存放在伦敦市中心，而其他人则存放在乡下的住所；在时尚品味的范围内，这七位收藏家在学校、规模和主题的选择上表现出截然不同的优先顺序。毫无疑问，这里选择的收藏家也是出于不同的考虑，时尚、金融投资、政治和社会的自我推销——此外，大概还有审美愉悦——都发挥了作用。

每个案例研究都附有附录，列出了他们收藏的画作。这些附录可以概括摄政时期收藏家的主流品味。在意大利画作中，卡拉奇家族及其博洛尼亚追随者（多梅尼基诺、阿尔巴尼、圭多·雷尼、圭尔奇诺）尤为引人注目。其他备受追捧的古典大师作品包括普桑、克劳德和杜盖特，而萨尔瓦托·罗萨那对比鲜明、充满野性的风景画对浪漫主义一代也同样具有吸引力。

The Regency was a period of crucial importance in the history of collecting Old Master paintings in England.

As the owners of aristocratic collections in France and Italy were forced by the political upheavals following the French Revolution to part with their inherited possessions, Old Masters arrived on the London art market in unprecedented quantity and quality. This book presents seven case studies of English collectors of the period, tracing how their collections were formed, and analysing the taste that guided them. Also discussed here are how these new owners displayed their acquisitions and how they sought to organise them into a new unity.

Peter Humfrey examines in detail seven notable Regency collectors – the 4th Earl Darnley, the 2nd Earl Grosvenor, Amabel de Grey, Sir Richard Colt Hoare, Philip John Miles, Samuel Rogers, and the 5th Earl Cowper. All were of course from the upper ranks of society. They nevertheless show, as well as many other similarities, several telling differences. They were from both the higher and lesser nobility, and the gentry; they acquired their fortunes (and collections) through inheritance, but also made them anew; predictably, most of the collectors were men, but one to be discussed here was a woman; some chose to house their collections in central London, but others at their seats in the country; and within the parameters of fashionable taste, the seven show rather different priorities in their choices of schools, scale, and subject matter. No doubt, too, the collectors selected here were motivated by different considerations, and fashion, financial investment, and political and social self-promotion – in addition, presumably, to aesthetic pleasure – must all have played a part.

For each case study an Appendix lists the paintings they acquired. Together the appendices may serve to give a general idea of the prevailing taste among collectors during the Regency period. Among the Italian paintings, the Carracci and their Bolognese followers (Domenichino, Albani, Guido Reni, Guercino) feature prominently. Other highly sought-after Old Masters included Poussin, Claude and Dughet, and no less attractive to the Romantic generation were the contrastingly wild landscapes of Salvator Rosa.

彼得·汉弗莱是圣安德鲁斯大学艺术史名誉教授，曾于1977年至2012年在该校任教。他撰写过许多关于威尼斯文艺复兴艺术的著作和文章，包括《文艺复兴时期威尼斯的祭坛画》（耶鲁大学出版社，1993年）和展览图录《维托雷·卡帕乔》（2002年）。与本书更相关的是，他编辑了《从雷诺兹到罗斯金，提香在英国的接受》（Brepols出版社，2013年），并著有《斯塔福德画廊：摄政时期伦敦最伟大的艺术收藏》（Unicorn出版社，2019年）。

Peter Humfrey is Emeritus Professor of Art History, University of St Andrews, where he taught from 1977 to 2012. His many books and articles on Venetian Renaissance art include The Altarpiece in Renaissance Venice (Yale UP, 1993) and the exhibition catalogue, Vittore Carpaccio (2002). More relevantly to the present book, he edited the volume The Reception of Titian in Britain from Reynolds to Ruskin (Brepols, 2013), and he is the author of The Stafford Gallery: The Greatest Art Collection of Regency London (Unicorn, 2019).