A Woman of No Importance?: Elizabeth Workman’s Collection of Impressionist and Post-Impressionist Art in Context

This article discusses Elizabeth Workman’s collection in the context of early reception Impressionism by women artists Britain and USA. In 1920s Russell Workman (1874–1962) was recognized as one most enlightened collectors her generation Britain; Percy Wyndham Lewis described ‘one only people England to understand French painting’. She began collecting well before more prominent such Samuel Courtauld several ways adventurous tastes. And yet today, not is important modern art all but forgotten, herself remains an invisible, unknown figure, occasionally listed provenance histories, often than under husband’s name. Born brought up Rhu, Dunbartonshire, lived London with husband Robert, a shipowner. Her included works Scottish contemporary artists, acquired from 1900s onwards, also Monet, Degas, Sisley, Renoir, Gauguin, Van Gogh, Toulouse-Lautrec, Vuillard, Matisse, Picasso, Braque, bulk which were bought through dealers Reid & Lefèvre just after First World War. However, when Robert’s business ran into financial difficulties late much dispersed, result that its full extent importance has never properly been recognized. Drawing on material family archive, information sale catalogues dealer stock books, this establishes comprehensive overview collection. Its aim reassess Elizabeth’s British collector interwar period identify individual tastes, taking consideration changing economic context. It draws parallels earlier patterns among previous generation, especially those whose contribution overshadowed activities spouse or agent.