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The article focuses on Izabella Czartoryska-Działyńska, a prominent 19th-century female art collector, highlighting her extensive art collections and her efforts to make them publicly accessible. Topics discussed include her diverse interests in art, collaboration with experts, and her role in challenging gender norms in collecting.

This article focuses on a selection of nineteenth-century female art critics and connoisseurs who were prominent art writers of their day but whose contribution to the critical history of sculpture has since fallen out of view. I argue that women modelled a sculptural discourse that was distinctive, often personally driven and biographically inflected, and gendered. They deployed various forms of life writing – biography, autobiography, memoir, personal reminiscence,Bildungsroman, letters, gallery journals – as a vehicle for connoisseurship about sculpture. Cosmopolitan in outlook, they understood the importance of personal networks in both the production and the reception of art. Furthermore, female writers responded to the corporeal connections between viewers, models and figurative sculpture in their work. Writing about the three-dimensional representation of the human body in sculptural form enabled women to comment obliquely on issues such as female creativity, sexuality and education. [ABSTRACT FROM PUBLISHER]

The article presents a profile of the African American dentist, art collector and patron Dianne Whitfield Locke. Particular focus is paid to Whitfield Locke's activities as a collector of African American art dating from the 19th- to the 21st-century. The author notes the various mentors who have guided Whitfield Locke in her collecting activities, most notably the artist and printmaker Lou Stovall. Highlights of the collection are briefly described.

The author describes a visit to the Washington, D.C. home of the African American art collector Dianne Whitfield Locke. The author notes that Whitfield Locke, a practicing dentist, first became interested in acquiring African American art after meeting the printmaker and artist Lou Stovall. Highlights of the collection are briefly discussed, including works by artists such as Romare Bearden, Robert S. Duncanson and Richmond Barthé.

The article presents a profile of the African American attorney and art collector Antoinette Young. The author describes a visit to Young's home in Norfolk, Virginia where she has assembled a collection primarily focused on the work of contemporary African American artists as well as artists from the African diaspora. Highlights from the collection are discussed including works by Glenn Ligon, Ellen Gallagher, Ken Wright and Elsa Gebreyesus. Comments by Young regarding her collection and the artists she most admires are included.

The article presents a profile of the African American art collector and attorney Schwanda Rountree. Focused primarily on abstraction, Rountree's collection includes the work of various contemporary African American and African artists including Shinique Smith, Yinka Shonibare and Felandus Thames. It is noted that the first work she ever bought, in 2006, was a painting by the artist Victor Ehikhamenor. Rountree educates herself about art by reading leading art journals, searching online auction records and using the Internet to stay informed about happenings in the art world. Comments by Rountree regarding her collection and the artists she most admires are included.

Following the Civil War, the wealthy plantation owner Adelicia Acklen redecorated her villa, Belmont, near Nashville, Tennessee, with white marble ideal sculptures by the American sculptors Randolph Rogers, Chauncey Ives, Joseph Mozier, and William Rinehart. During the war, Acklen had compromised her reputation as a genteel Southern lady by bargaining with Union officers in order to sell her cotton at exorbitant wartime rates. By purchasing and displaying a collection of statues that embodied the ideal of true womanhood, Acklen hoped to publicly redomesticate both her home and herself and to express her affinity for the ideology of the Lost Cause. [ABSTRACT FROM AUTHOR]

The article discusses the collection of ceramic artwork by the marchesa of Mantua Isabella d'Este during the Italian Renaissance. Emphasis is given to the collection of maiolica dishes within Renaissance-era Italian courts. Specifically, the author compares two sets of maiolica depicting narrative scenes, one made for Isabella's collection and the other for the collection of her son, Frederico II of Gonzaga, duke of Mantua. The author attributes the making of these dishes to Italian ceramicist Nicola da Urbino. The political aspects of art collecting in the Mantuan court are described.

A personal narrative is presented which explores the author's experiences as a female art collector.

The article discusses various reports published within the issue including one on contemporary artist-collector Tomoko Takahasi, one on the collecting habits of Empress Elisabeth of Austria, and one on the art collection of author Gertrude Stein.

The article discusses the art collection of writer Gertrude Stein and examines how both networking and collecting functioned in the economy of Stein's artistic success. The author looks at Stein's evolution from a collector of paintings, sculptures, and artists, into an object of collection herself. The role Spanish painter Pablo Picasso played in Stein's collection is examined. The author addresses how Stein arranged her collection within 27 rue de Fleurus, her house, in Paris, France. The article also discusses the concept of genius related to Stein.

The article discusses married women art collectors in 1950s Chicago, Illinois, specifically Mary Lasker Block and Muriel Kallis Steinberg Newman. The author explains that married women were rarely considered collectors in their own right. The author states that this lack of recognition was caused by social norms and economic restrictions on women. The author examines Block and Newman's dependence on their husbands' income and their willingness to spend it on art. Art collecting as a form of shopping for women is addressed. The article also looks at the psychological connections women make to objects they collect and how they use them to explore sublimated desires.

The article discusses 19th century visual artist Eliza Greatorex and her friend and patron Martha Mitchell. The art collection of Mitchell is detailed and the author explains how Mitchell cultivated women artists. Biographical information on Mitchell is provided, beginning with her birth in Massachusetts in 1818. The author looks at how Mitchell's upbringing helped her appreciate art and culture. The author states that Mitchell's support of women artists was conjoined to their struggles for women's rights. Greatorex's relationship with Mitchell is detailed.

Walking up Exhibition Road, London, in March 2005, I trace the path of many of the millions of visitors to the Great Exhibition of 1851. I walk past the Victoria and Albert Museum, the Natural History Museum, the Science Museum, and, eventually, the Royal Geographical Society. Leaving the museum complexes of South Kensington behind me, I reach the corner of Kensington Gore and cross into Hyde Park. Making my way past the site of the Great Exhibition I walk towards the Serpentine Gallery. Once inside the gallery, I visit each of the four rooms of Tomoko Takahashi's installation in turn: Garden, Kitchen/HQ, Office and Reception (Figures 1,2, and 3 ). Architectural in scale, the artist's walk-in spaces have been constructed from a collection of over 7000 objects. Takahashi sourced many of these things from the museums and parks of the immediate area, others were sourced from skips, sheds, and second-hand shops across London. Entering these spaces, situated within this historically freighted exhibitionary terrain, I am suddenly very aware of myself being amidst objects. The books, cards, games, toys, and implements normally lived with, are collected here, laid out to view. I do not so much gaze on Takahashi's work as an empirical object as I actively experience the collection, moment by moment as a series of materialities and spaces. There is a density of objects and of experiences that eludes description. The state of mind it fosters is inconclusive, precise impressions slip away, and a sharper but somehow more effervescent consciousness emerges.1 [ABSTRACT FROM AUTHOR]

Since the nineteenth century, American women have distinguished themselves not only as art collectors, but also as the founders of museums. Isabella Stewart Gardner (1840-1924) was one of the earliest, and Peggy Guggenheim (1898-1979) is surely the best-known example. Even the foundation of the New York Museum of Modern Art can be traced to the initiative of three women collectors, Lillie P. Bliss (1864-1931), Abby Aldrich Rockefeller (1874-1948) and Mary Quinn Sullivan (1877-1939). By contrast, until well into the twentieth century, in Europe and Germany in particular, the collection and public presentation of art appears to have been a male-dominated field in which the activities of women like Helene Kroller-Muller (1869-1939) in the Netherlands represented an exception rather than the rule. Recent research demonstrates that Ingvild Goetz was the first woman in Germany not only to emerge as an independent collector of contemporary art, but also to found a private art museum in 1993. The aim of this article is to elucidate the individual preconditions, collecting strategies and forms of art mediation that led to Ingvild Goetz's internationally recognised reputation—due to the quality of her collection and art promotion—as the 'Grande Dame of German art collections', making her into a role model for young collectors like Julia Stoschek in Dusseldorf. [ABSTRACT FROM AUTHOR]

Mencia de Mendoza was undoubtedly one of the most outstanding collectors of the European Renaissance, amassing a range of artworks of the most diverse provenance, styles and types. This study of Mencia de Mendoza tries to determine who she was and how she built up her unique collection, the content of which was exceptional in terms of its size and quality, encompassing more than 200 paintings, 200 tapestries, countless gold and silver items both of a domestic and religious nature, curiosities and exotic items from the new continent, not to mention her jewellery of incalculable value. However, the artistic patronage of Mencia de Mendoza did not stop at acquiring works of art, but included more public initiatives, such as the University of Valencia project or the patronage of students from Valencia, on whom she bestowed grants for studying at different Spanish and European universities. At the same time, the Marchioness of Zenete emerges as a key figure for analysing artistic-cultural relations between Spain and the Low Countries in the first half of the sixteenth century. Her relationship with other Spaniards, both those living outside Spain, such as Felipe de Guevara or Juan Luis Vives, and those within, who acted as her intermediaries in the purchase of works of art, was also important in this respect. As patron and intermediary, Mencia de Mendoza acted as 'cultural ambassador' for Spanish art in Breda and for Flemish art in Castile and Aragon. [ABSTRACT FROM AUTHOR]

The figure of the female collector in Henry James's 1896 novel The Spoils of Poynton forms the basis of this contextual and theoretical analysis of collecting practices in the late nineteenth century, reading the text alongside letters and journals written by contemporary women collectors and in conjunction with fin-de-siecle theories of aesthetic response formulated by women. It discusses the contribution of the female collector to the field of cultural production and consumption and through this, to discourses of Victorian aestheticism. Central to this is a consideration of how collecting can be used as a representational strategy to explore aspects of gender identity and experience. Drawing on recent work in material culture studies, it shows how collections are used to explore gender differences, sexuality and the conflicts provoked by disparities in taste. After discussing the gendering of nineteenth-century collecting and the aesthetics of production and consumption as played out in the Spoils, the article goes on to explore collecting and corporeality in relation to the female collections depicted in the novel. Drawing on the theories of anthropomorphic aesthetics developed by Vernon Lee and Clementina Anstruther-Thomson, it examines how James uses the theme of collecting to explore different manifestations of the female body, gesturing to the multiple identities of the female aesthete. [ABSTRACT FROM AUTHOR]

Hariot Lady Dufferin (1843-1936) accompanied her husband to India during his Viceregency (1884-1888). While there she took up photography as a leisure activity in order to capture for posterity views of a country she greatly admired. This essay examines, from a post-colonial perspective, her private collection of photographs, encompassing landscapes, people, imperial acquisitions and more personal spaces. Using a Foucaultian argument, it considers how these photographs help to define the Vicereine's subject position, as an upper-class woman at the very centre of British rule in India, who was both surveyor and surveyed: she was privileged, yet, owing to the confines of gender, unable to express in written form any views on the affairs of state. Photography, however, offered her a useful visual language through which she could engage with the discourses of empire. [ABSTRACT FROM AUTHOR]

Focuses on the involvement of art historian and collector Samella Sanders Lewis in organizing art exhibitions at the Hampton University Museum in Hampton, Virginia. Private art collections of Lewis; Donation of Lewis' collections to the museum; Plans of Lewis to establish a comprehensive repository for sculptor Richmond Barthe.

The article discusses the work of the African American artist Samella Lewis, paying particular focus to a group of her paintings now in the collection of the African American collector Dianne Whitfield Locke. Specific works pictured and discussed include "Demons, Now and Then," "White House" and "Boy and Boats."

In this article, the author discusses the collection of African American sculpture amassed by the collector Dianne Whitfield Locke. Highlights of the collection are discussed, including works by artists such as William Edmondson and Richard Hunt. In addition, the author briefly comments on how the artist Lou Stovall and the artist and arts administrator Evangeline Montgomery have advised and mentored Locke in her collecting activities.