The story of the father and son who created the extraordinary collection that became Baltimore's Walters Art Gallery. 
In the mid-nineteenth century, Baltimore businessman William Thompson Walters began to patronize the artists of Maryland. Today, the museum that bears his name―Baltimore's Walters Art Gallery―excels in fields as diverse as Egyptian bronzes, Byzantine silver, illuminated manuscripts, medieval carved ivories, early Renaissance paintings, Sèvres porcelains, Islamic metalwork, and Chinese ceramics. Surprisingly, the story of how William Walters and his son Henry created one of the finest privately assembled museums in the United States has not been told.
With this new book, William Johnston, the Walters's curator of eighteenth- and nineteenth-century art, restores William and Henry Walters to their rightful place among America's great art collectors. Drawing upon the knowledge of the early museum staff and gathering valuable information from the few other available sources, Johnston has painstakingly recreated the life and world of the Walterses.
Though Henry Walters moved easily in Baltimore and New York social circles, Johnston explains, he kept much to himself and generally purchased art away from the public's eye. Despite the Walterses' reticence, they had a significant influence on the development of American tastes and museums―William in his role as the first chairman of the Committee on Works of Art for the Corcoran Gallery in Washington, D.C., and Henry as the second vice-president of the Metropolitan Museum of Art in New York. Their personal collection differs from those of other, more familiar collectors, such as J. P. Morgan and Henry Clay Frick, in that Henry Walters intended from the very first that the collection form a museum to serve the public. When the museum first opened its doors in 1934, Johnston relates, many visitors were surprised by the collection's size and by its comprehensive representation of the history of art from the third millennium b.c. to the early twentieth century. 
Richly illustrated with black-and-white photographs and sixteen pages of full color, this book will fascinate anyone interested in Baltimore history, the history of museums and art collecting in America, and the art and culture of nineteenth-century America.

William and Henry Walters, the Reticent Collectors

Johnston, William R.

Reference

Johns Hopkins University Press

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This exquisite exhibition catalogue brings together over one hundred of Carl Fabergé’s most beautiful creations combining hardstones and other precious materials. The volume presents the history of the renowned jeweler's work using the rich mineral resources of Russia, from celebrated Easter eggs to delicate animal sculptures. These detailed masterpieces, many rarely exhibited, have been gathered from museums and private collections throughout the world. The intricacy of these minute pieces has a universal appeal that has charmed both Fabergé’s elite clientele and the public for over a century. Along with a comprehensive, full-colour catalogue of the exhibition organised by the Walters Art Museum, Baltimore, in collaboration with the Fabergé Arts Foundation, Washington D.C., are essays on the history of the house of Fabergé; Fabergé's illustrious clients and his hardstone; and a history of gem and hardstone production and decoration in Russia from the seventeenth to nineteenth centuries.

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Walters Art Gallery

The Walters Art Gallery was opened to the public on 16 June 1934, a result of the combined efforts of the unique father-and-son collectors, William and Henry Walters. William, Henry's father, was founder of the Atlantic Coast Line Railroad, and began to collect art mainly from France, the Far East and contemporary New York. By the end of his life, at the end of the 19th century, he had amassed one of America's major collections of both European and Asian art.Henry Walters expanded his father's collection, and in 1902 founded a museum. In 1909, he ventured further and opened a new gallery. This housed his collection of Greek ceramics and Roman sculpture, early Byzantine art, Medieval art, manuscripts and incunabula, Renaissance paintings, 18th century porcelain, 18th and 19th century paintings, and Asian art.

The Walters Art Gallery

Scala Books

The nineteenth-century holdings of the Walters Art Gallery are unique amongst museum art collections from this period. This new title presents the highlights from this collection. These include a series of paintings by the foremost masters of the Romantic era, J. A. D. Ingres and Eugene Delacroix, as well as landscapes by painters associated with the Barbizon school. Likewise, the "transportation" series of watercolors that William Walters bought from Honore Daumier in 1864 is generally recognized as the highpoint of nineteenth-century Realism. However, it is in the field of academic art, which dominated French art during the Second Empire (1852-70), that The Walters excels. The conflicts between the academic painters - especially Jean-Leon Gerome and Alexandre Cabanel - and the impressionists are demonstrated by the museum's collection. The author presents the work of Edouard Manet in close proximity to that of his teacher, Thomas Couture, and the landscapes of Claude Monet and Alfred Sisley are juxtaposed with a highly idealized, poetic vision of Egypt by Charles Gleyre, with whom they trained.

Nineteenth-Century Art: From Romanticism to Art Nouveau

Walters Art Gallery (Baltimore, M.D.)

History & Criticism

Nineteenth-Century Art: From Romanticism to Art Nouveau

Nineteenth-Century Art From Romanticism to Art Nouveau

Scala

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