Displayed in a redesigned space, Rosalinde and Arthur Gilbert’s expansive collection of decorative items is not only gorgeous, at last it boldly tackles the question of where these valuables came from
We periodically hear when a masterpiece is “saved for the nation”, usually when a museum is obliged to raise eye-watering sums to prevent the export or sale of an artwork deemed of national significance. Museums also occasionally purchase at auction for the same purpose. They are, however, swimming in a pool among the superwealthy, with many news-making record sales subsequently disappearing into someone’s private yacht or bathroom.
It is this marketplace that makes it a momentous occasion when an entire private collection is bequeathed to the nation, usually upon the benefactors’ death. From the Wallace Collection in the 19th century to the 2025 acquisition of the Schroder treasure by the Holburne museum in Bath, museums are willing custodians of collections of such quality as can only be acquired through capital vastly exceeding their own. How they choose to present that gift is a curatorial issue in itself.
