Alison Clarke, Ph.D. (2018), University of Liverpool/National Gallery, London, is Special Projects Manager at Newcastle University. Her work has appeared in Getty Research Journal, Victorian Network, and ‘Money in the Air’: Art Dealers and the Transatlantic Market, 1880-1930 (Getty, forthcoming).

• List of IllustrationsIntroduction1 On Institutions, Subjects and Dates2 On Sources and a Spatial MethodologySection I: Connoisseurship and Acquisition: The What, Where and How1 What? The Criteria of Connoisseurship1 Avoiding the ‘Limbo of Mistaken Acquisitions’: Attribution2 ‘Much Painted on & Spoilt by Some Vandal’: Condition and Restoration3 A ‘Very Dull’ Velázquez: Beauty and Aesthetics4 Selecting Typical Specimens: Representativeness and Importance5 ‘Should Think Unsaleable’: Negotiating Customer Appeal2 Where? Examining Paintings at Home and Abroad1 Beyond Texts: Moving on from Dematerialised Connoisseurship2 Mobility: Artworks and Connoisseurs3 The Spaces of Connoisseurship4 Spatial Factors Affecting Connoisseurship5 The Chronology of Connoisseurship3 How? The Supremacy of Visual Connoisseurship1 Categorisation and Comparison: Viewing Artworks in Person2 ‘My Treacherous Memory’: Comparison from Reproductions3 Visual Experience and the ‘Mental Canon’4 Provenance: Archives and Libraries as Alternative Spaces of Connoisseurship?5 A Lack of Evidence for Technical Testing6 Connoisseurship and a Model for Perceptual ExpertiseSection II: Connoisseurship and Display: Exhibiting Expertise4 The National Gallery and Display1 Public Ownership, Public Criticism2 The Trafalgar Square Building and its Extensions3 Walking through Art History: Rooms, Schools, Chronology and Hang4 The Aesthetics of Display: Décor and Lighting5 ‘Where Can These Pictures Be Hung?’ Disruptions to Display5 Agnew’s and Display1 Private Ownership, Public Reputation2 ‘Lent from Various Great Houses’: Special ExhibitionsConclusion and Final Thoughts1 A Cautionary TaleAppendixBibliographyPrimary SourcesSecondary SourcesIndex

Alison Clarke, Ph.D. (2018), University of Liverpool/National Gallery, London, is Special Projects Manager at Newcastle University. Her work has appeared in Getty Research Journal, Victorian Network, and ‘Money in the Air’: Art Dealers and the Transatlantic Market, 1880-1930 (Getty, forthcoming).

• List of IllustrationsIntroduction1 On Institutions, Subjects and Dates2 On Sources and a Spatial MethodologySection I: Connoisseurship and Acquisition: The What, Where and How1 What? The Criteria of Connoisseurship1 Avoiding the ‘Limbo of Mistaken Acquisitions’: Attribution2 ‘Much Painted on & Spoilt by Some Vandal’: Condition and Restoration3 A ‘Very Dull’ Velázquez: Beauty and Aesthetics4 Selecting Typical Specimens: Representativeness and Importance5 ‘Should Think Unsaleable’: Negotiating Customer Appeal2 Where? Examining Paintings at Home and Abroad1 Beyond Texts: Moving on from Dematerialised Connoisseurship2 Mobility: Artworks and Connoisseurs3 The Spaces of Connoisseurship4 Spatial Factors Affecting Connoisseurship5 The Chronology of Connoisseurship3 How? The Supremacy of Visual Connoisseurship1 Categorisation and Comparison: Viewing Artworks in Person2 ‘My Treacherous Memory’: Comparison from Reproductions3 Visual Experience and the ‘Mental Canon’4 Provenance: Archives and Libraries as Alternative Spaces of Connoisseurship?5 A Lack of Evidence for Technical Testing6 Connoisseurship and a Model for Perceptual ExpertiseSection II: Connoisseurship and Display: Exhibiting Expertise4 The National Gallery and Display1 Public Ownership, Public Criticism2 The Trafalgar Square Building and its Extensions3 Walking through Art History: Rooms, Schools, Chronology and Hang4 The Aesthetics of Display: Décor and Lighting5 ‘Where Can These Pictures Be Hung?’ Disruptions to Display5 Agnew’s and Display1 Private Ownership, Public Reputation2 ‘Lent from Various Great Houses’: Special ExhibitionsConclusion and Final Thoughts1 A Cautionary TaleAppendixBibliographyPrimary SourcesSecondary SourcesIndex

Alison Clarke, Ph.D. (2018), University of Liverpool/National Gallery, London, is Special Projects Manager at Newcastle University. Her work has appeared in Getty Research Journal, Victorian Network, and ‘Money in the Air’: Art Dealers and the Transatlantic Market, 1880-1930 (Getty, forthcoming).

• List of IllustrationsIntroduction1 On Institutions, Subjects and Dates2 On Sources and a Spatial MethodologySection I: Connoisseurship and Acquisition: The What, Where and How1 What? The Criteria of Connoisseurship1 Avoiding the ‘Limbo of Mistaken Acquisitions’: Attribution2 ‘Much Painted on & Spoilt by Some Vandal’: Condition and Restoration3 A ‘Very Dull’ Velázquez: Beauty and Aesthetics4 Selecting Typical Specimens: Representativeness and Importance5 ‘Should Think Unsaleable’: Negotiating Customer Appeal2 Where? Examining Paintings at Home and Abroad1 Beyond Texts: Moving on from Dematerialised Connoisseurship2 Mobility: Artworks and Connoisseurs3 The Spaces of Connoisseurship4 Spatial Factors Affecting Connoisseurship5 The Chronology of Connoisseurship3 How? The Supremacy of Visual Connoisseurship1 Categorisation and Comparison: Viewing Artworks in Person2 ‘My Treacherous Memory’: Comparison from Reproductions3 Visual Experience and the ‘Mental Canon’4 Provenance: Archives and Libraries as Alternative Spaces of Connoisseurship?5 A Lack of Evidence for Technical Testing6 Connoisseurship and a Model for Perceptual ExpertiseSection II: Connoisseurship and Display: Exhibiting Expertise4 The National Gallery and Display1 Public Ownership, Public Criticism2 The Trafalgar Square Building and its Extensions3 Walking through Art History: Rooms, Schools, Chronology and Hang4 The Aesthetics of Display: Décor and Lighting5 ‘Where Can These Pictures Be Hung?’ Disruptions to Display5 Agnew’s and Display1 Private Ownership, Public Reputation2 ‘Lent from Various Great Houses’: Special ExhibitionsConclusion and Final Thoughts1 A Cautionary TaleAppendixBibliographyPrimary SourcesSecondary SourcesIndex