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Arts & Communication Agnew family and 19 -century art market
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5. Intervening in the public art sphere Gallery not only provided artworks for this exhibition but
also assumed responsibility for collecting and organizing
Pezzini aptly characterizes the Agnew family merchants works from various parts of Britain during the exhibition.
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as “civic dealers.” Certain merchants demonstrated a These efforts helped the gallery establish connection
profound civic spirit during the Victorian era. By converting networks with numerous artists and collectors. 6
their economic capital into social capital, the middle class
established their identity and sought social acceptance. Hence, In addition, William Agnew was also responsible for
their commitment to social responsibility and improvement co-organizing overseas exhibitions, particularly in Mexico,
grew. Many affluent merchants and entrepreneurs contributed and lending artworks for display. Later, he maintained a
to society through philanthropic endeavors, community good relationship with the National Gallery, providing
development initiatives, and public utility projects, all aimed curatorial services that ranged from organizing touring
at fostering urban progress and ameliorating the living exhibitions and participating in auction bids to handling
standards of the working class. In the field of art, merchants transportation and framing or advising on exhibitions
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purchased artworks that reflected their personal cultivation. and displays. Furthermore, during auctions, apart from
After a purchase, some emerging merchants chose to accepting commissions, he generally avoided competing
donate their personal collections to museums or organize with public institutions.
exhibitions themselves to enhance their cultural influence William Agnew, with his dual roles as a Member of
and reputations. Therefore, some initiatives within the Agnew Parliament and an art dealer, adeptly built bridges between
family reflect characteristics typical of the middle class during different stakeholders. Integrating these political and
this period. Besides actively participating in social affairs such economic roles allowed him to navigate various exhibitions
as establishing hospitals and supporting canal excavations, and public institutions with ease, demonstrating a natural
Thomas and William Agnew also contributed to establishing affinity. As a member of the middle class, his public
significant exhibitions and public institutions in the art involvement in the art field not only highlighted his
market. Because of their special identity as art dealers, these reputation for fairness and justice but also highlighted his
activities secured a position comparable to that of a contestant recognized professional skills. This approach expanded the
influencing referees for the Agnews, thereby enhancing their customer base of the art market, enriching both his cultural
profits in the art market. capital and legitimacy while promoting the accumulation
In cities, such as Leeds, Manchester, and especially of financial capital. Consequently, it further solidified his
London, employers viewed art exhibitions as occasions of leadership position in the art trading domain.
rational entertainment with a public spirit. Consequently,
they distributed tickets to their workers to encourage 6. Conclusion
them to attend. There was a sharp increase in public Britain’s upper class remained remarkably stable for
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demand for art, leading to high attendance of exhibitions, an extended period. However, from the late-18 to the
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which became one of the most widely used mediums of 19 -century, the Industrial Revolution significantly altered
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dissemination in the art world. Britain’s social structure. With the burgeoning economic
For important exhibitions, Agnew’s Gallery not only strength of the middle class, their political and social
participated but also took on the role of partial organizer. status gradually increased, thereby evolving their needs in
Inspired by exhibitions in London, entrepreneurs in education, culture, and other domains. The middle class
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Manchester sought to enhance the city’s cultural prestige, emerged as an influential group in the professional art market
and several were willing to lend their collections to support and various popular art consumption events. The cultural
these exhibitions. Consequently, substantial funds were habits of the upper class expanded and spread downward, and
raised, leading to the “Art Treasures of the United Kingdom” the middle class aspired to continually convert their economic
exhibition being held at Old Trafford in Manchester on May capital into cultural and social capital. The taste and financial
5, 1857. prowess of this new consumer group had a discernible impact
on consumption categories within the art market.
The exhibition planners drew inspiration from
exhibitions of the British Institution for Promoting the As a precise forecaster of the Victorian-era art market,
Fine Arts in the United Kingdom, which featured works Agnew’s Gallery grasped the esthetic trends of the middle
by old masters from Spanish, German, Flemish, and class in Manchester and continuously expanded into fields
other schools of painting, alongside British modern art. such as modern art, prints, and replicas. Serving as a gateway
Organized under royal patronage, the exhibition garnered for entry into the art market, Agnew and Co. provided a
an enthusiastic response from citizens, significantly way for the middle class to mitigate market risks and build
influencing artistic taste in Victorian Britain. Agnew’s personal collections while collaborating with emerging

Volume 2 Issue 4 (2024) 6 doi: 10.36922/ac.2872