In the ever-evolving world of art and antiquities, a fascinating trend is emerging: a new generation of collectors is stepping into the spotlight. These modern antiquarians are redefining the landscape of collecting, driven by a profound appreciation for history, craftsmanship and the stories behind each piece. These contemporary enthusiasts blend traditional collecting with a fresh perspective, utilizing technology and social media to discover, share, and acquire treasures from the past. In this blog, we dive into the history of collectors and the new frontier they’re creating.
The Antiquarians of Yesteryear
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George IV of the United Kingdom (1762-1830), Regent 1811-20; reigned 1820-30. National Portrait Gallery, London. Source.
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Throughout most of history, the practice of connoisseurship and the collection of fine antiques and art were privileges reserved for the highly exclusive ruling class. This exclusivity explains why much of the world's finest silver and porcelain pieces are closely associated with royalty—only the ruling class could afford them. Some rulers balanced authority and wisdom while amassing refined collections, while others became distracted and lost in opulence.
King George IV exemplifies this pitfall into extravagance. Despite public disapproval of his overly luxurious lifestyle, his passion for art and artifacts was boundless. His collection encompassed intricate metalwork, luxurious textiles, grand furniture, exquisite ceramics and renowned paintings. George IV had a particular fondness for French craftsmanship, evident in his prized Boulle furniture and Sèvres porcelain. His collection even included a unique historical relic: Napoleon's cloak. He might be recorded as the most hated British royal of all time, but his immense collection makes up a significant portion of the beloved Royal Trust today.
The Rise of the Modern Antiquarians
With modernity’s bourgeoning middle class, particularly the upper middle class, a new cultural phenomenon emerged: the Grand Tour. This European adventure—de rigueur for young aristocrats from the 16th century onwards—explored the artistic and cultural riches of Europe, with a particular focus on France and Italy. Traveling was a privilege reserved for the wealthy, and the time spent abroad became an essential part of a young nobleman's education. They honed their language skills, immersed themselves in renowned art and architecture and formed valuable social connections. This experience fostered a generation of "gentleman scientists," authors, antiquarians and patrons of the arts. From antiques to micromosaics, many homes and galleries are fortunate to have objects from these grand adventures of yesteryear.
| Group of Houses by Edward Hopper. 1923. M.S. Rau. |
In the early 20th century, American artists and thinkers made a focused attempt to cultivate uniquely American art. Gone were the days of the belief that Europe was the only bastion of culture. Innovative American artists struggled to find venues for their work, but many wealthy collectors like Gertrude Vanderbilt Whitney—a sculptor and heiress of the prominent Vanderbilt family—recognized their plight and became a leading patron. She actively purchased works by living American artists, often ignored by traditional academies. In 1931, she founded the Whitney Museum of American Art, the first museum dedicated exclusively to American art. Her personal collection included 600 pieces by artists like Edward Hopper, Georgia O'Keeffe and Stuart Davis.
| Gertrude Vanderbilt Whitney by Robert Henri. 1916. Source. |
Contemporary Connoisseurship
During the 1980s and 1990s, the antiques market experienced a significant boom. A thriving economy, coupled with the popularity of shows like Antiques Roadshow, fueled a widespread allure for antiques. People clamored for heirlooms that promised previously unseen riches, captivated more by the art of the find than the economic value, though the latter was certainly generous. However, the Great Recession of 2007-2008 abruptly ended this boom, sending many antique and fine art dealers into a state of hibernation, uncertain if they would witness another surge.
Some experts, such as author and artist Michael Diaz-Griffith, believe a new boom is on the horizon, driven by a new generation of antiquarians: Millennials and Generation Z. In his book, Diaz-Griffith highlights the similar ethos, though different execution between this new cultural vanguard and their predecessors. These modern collectors are not concerned with adhering to a mold or the style of any particular movement—refusing to be told what to collect, and choosing instead based on their individual love for objects. There is also expanded creativity for displaying art and antique collections, with incredible, out-of-the-box arrangements dominating homes and galleries alike.
Gone are the social constraints dictating what a collector looks like or "should be." Instead, there is a renewed belief that beautiful objects from the past can and should surround us and imbue value into our daily lives.
A New Frontier
During the 2024 European Art Fair in Maastricht, The Netherlands, a notable panel discussion was titled "Bridging the Gap: Cultivating the Next Generation’s Passion for Old Masters and Beyond." The panel featured modern collectors and gallerists—all Millennials and Gen Z—representing various roles in the art world. Laura Kugel, Deputy Director of Galerie Kugel, highlighted the remarkable ways she has leveraged social media to share her passion for fine art and antiques. Her purpose is twofold: to draw people into her gallery and, perhaps more importantly, to reignite a love and fascination for these objects among the younger generation. For her, this mission feels profoundly vocational.
Indeed, social media has democratized fine art and antiques in a way that would feel incredibly foreign to all collectors before now. Patrons can now shop online and compare different gallery offerings from the comfort of their own homes. While this convenience simplifies the logistics of art brokerage, it can also diminish the vital experience of standing before a piece of art and seeing it with one's own eyes. Although the digital sphere can effectively make the world small in many positive ways, many art lovers worry that the emotional response to art is being deemed an "unnecessary" aspect.
| Silver Fusée Singing Bird Box by Charles Bruguier. Circa 1860. M.S. Rau. |
Another facet of the New Antiquarian movement is the emergence of small, self-starter dealers who scour estate sales and thrift stores for valuable treasures, promptly offering them online with a "Come and get it" message. These popular "vintage finds" social media accounts have created a platform for New Antiquarians who lack the capital or desire to establish a brick-and-mortar storefront. This approach allows curiosity to flourish online, providing a refreshing contrast to the overproduced influencer content that incessantly promotes mass-market products.
The feedback on our viral videos often reflects this sentiment, with comments such as, "Wow! Thank you! They don't make them like this anymore."
New Design Techniques
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A stand of a bouquiniste (a French term for second-hand books resellers) in Paris, near the Cathedral Notre-Dame of Paris. 2007. Source.
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What sets the New Antiquarians apart is their innovative approach to decorating their spaces. Homes are no longer expected to adhere to the traditional mold of previous generations—gone are the days when grand dining room tables and china cabinets were deemed necessary. While many young collectors still cherish china and silver, they are more inclined to think outside the conventional framework. It’s not uncommon to see a china cabinet next to a favorite living room bookshelf or silver pieces displayed alongside fine art in bathrooms.
For these modern collectors, the art of placement and selection is as significant as the objects themselves. Each piece must be situated in a way that feels authentic to the owner, sparking joy and reflecting their individuality.
A common misconception is that many antiques and art connoisseurs are stuck in the past. However, Diaz-Griffith argues that these new collectors embrace the modern, blending old and new with a fresh perspective to create unique displays that breathe new life into cherished pieces. Some even go further, actively re-contextualizing history through their curated collections. For instance, Baton Rouge, Louisiana-based collector Jeremy Simien has a passion for collecting portraits of previously unidentified Creole people. What began as a curiosity and homage to his heritage, the Creole of Southern Louisiana has become a driving force in his collecting and interior design ethos. These objects aren't just decorative—they're conversation starters, portals to the past and pivotal elements of a collective identity.
Are you inspired by the New Antiquarians? Be sure to check out our extensive collections of fine art, porcelain, French antiques, silver and more.
Want even more? Check out our blogs regarding the art of elevating your space with antiques and fine art:
