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Alfred Felton - The will and estate of Alfred Felton - The art bequest - The collections today with suggestions for filling important gaps - Exhibitions of Felton acquisitions, 1938 - Members of the Felton Bequests' Committee, 1904-61 - Overseas expert advisers to the Felton Bequests' Committee.
In 1901 the Australian colonies came together to form a new nation which, for the next twenty-six years, was governed from Melbourne. It was a small city, a place where people knew each other-not just the people who mattered, but those who didn't yet-where small changes loomed large and the import of big changes could scarcely be imagined. Yet in the extraordinary first quarter of the twentieth century the world lurched headlong into a new era. And this overgrown town, in all but name the nation's capital, oversaw the birth of modern Australia. In Capital, Kristin Otto describes how it happened. She looks at the developments that shaped the world we know today- from the story of Helena Rubinstein and the invention of the cosmetics industry, to the world's first feature film, to confectionery king Mac Robertson, packaging pioneer and author of the city's first motor car fatality. And she traces, with the lightest of touches, the web of influence, friendship and sheer coincidence that held it alltogether. For anyone who knowsMelbourne, Capital will be a fascinating conversation with an old friend. For anyone who doesn't, it will be a compelling introduction to a new one.
Foreign Currency Volatility and the Market for French Modernist Art examines how the collapse of the French franc in the decades following the First World War impacted the supply and demand dynamics of the market for French modernist art.
In South Africa, with its highly contested and changing understandings of national identity, its National Gallery is no less a contested space. A History of the Iziko South African National Gallery considers questions of artistic and cultural identity, from the late 19th century to the present day. It explores how the gallery has understood its function and its public, as a ‘national’ gallery from 1930 and, before that, the chief gallery of the Cape Colony. This question is investigated through a study of the gallery’s administration, collection and exhibition practices over the last 150 years. What is understood by and expected of a national gallery varies considerably worldwide. Should it regard itself as part of a broad international cultural discourse, or should it be representative of a specifically national – or even regional – identity? The gallery is a microcosm of the greater debate: how the South African nation relates to the larger world and how, if at all, it understands the concept of a shared culture. In the last 20 years, Museum Studies have become a major part of the field of Cultural Studies. There is a vast literature on what might be called the ‘history’ museum, but far less on the art museum or gallery. To date, there has been no large-scale historical inquiry into the Iziko SANG, the country’s national gallery. The absence of such a history marks a serious gap in the literature, which this study aims to fill.
Includes entries for maps and atlases.