|Associate Professor (Modern European Cultural History) in the Department of History||+44 (0) 191 33 41071|
|Member of the Centre for Visual Arts and Culture|
Tom Stammers is a cultural historian of France in the long nineteenth century. His 2020 book The Purchase of the Past: Collecting Cultures in Post-Revolutionary Paris (Cambridge University Press) explores the politics of collecting, the art market and cultural heritage in nineteenth-century France. It was named the winner of the 2020 Gladstone Prize from the Royal Historical Society for the best first book on non-British history. He continues to publish work related to nineteenth-century collecting, connoisseurship, museum institutions and the historiography of art, with a particular interest in the work of Francis Haskell. He also publishes on the tangible traces, cultural memory and historiography of the French Revolution.
He has two major forthcoming projects. The first concerns the experiences of the Orleans dynasty in exile after 1848 and the transformation of the political culture of monarchism. Analysing the itineraries, liberal ideas, cosmopolitan friendships and collections of Louis-Philippe, comte de Paris (1838-94), this work work fits into a wider exploration of the global networks of nineteenth-century royalism.
The second project grows out of past research related to anti-Semitism, the art market and Jewish collectors in the late nineteenth century. Tom is co-investigator for the major AHRC grant "Jewish" Country Houses: Objects, Networks, People (2019-23), where has has responsbility for the strand dedicated to exploring Jewish collecting in modern Europe. The grant investigates the social, cultural and material world of Jewish country houses as a pan-European phenomenon, and involves collaborations with historic houses, galleries and heritage organisations in Britain and Europe. For more information, see: jch.history.ox.ac.uk.
He is a regular contributor and feature writer for the arts magazine Apollo, as well as other literary and arts reviews, and in January 2017 co-curated an exhibition at the Bowes Museum on 'The Allure of Napoleon'. He is the deputy director of CNCS and sits on the board of the Zurbaran Centre. In 2021-22, Tom will be co-director of the Durham Centre for Visual Arts and Cultures (CVAC) with Professor Christina Riggs. He has supervised a large number of graduate students, including on collaborative doctoral projects with the Bowes Museum and the National Gallery, London.
Tom is interested in a wide range of historiographical and theoretical controversies related to Europe in the long nineteenth century.
- France, c.1750-1900
- The French Revolutionary Tradition
- Heritage and Historical Consciousness
- Museums and Collecting
- Aesthetics and Politics
- The Enlightenment and European Romanticism
- Jewish Cultural History
- Counter-Revolutionary Thought and Culture c.1789-1900
- Britain and Continental Europe
- Visual and Material Culture
- Deakin Fellow (European Studies Centre Oxford/ Maison Francaise d'Oxford) 2015-16:
- Winner of the French History Best Article Prize 2008:
- Winner of the RHS Gladstone Prize 2021:
- Stammers, Thomas (2020). The Purchase of the Past: Collecting Cultures in Post-Revolutionary Paris c.1790–1890. Cambridge: Cambridge University Press.
Chapter in book
- Stammers, Tom (2021). Collecting and the Contemporary Antiquarian: Documenting the Present in Fin-de-Siecle Paris. In Time on a Human Scale: Experiencing the Present in Europe, c.1860-1930. Wright, J & Fryxell, A Oxford University Press. 121-155.
- Stammers, Thomas (2021). Salvage and Speculation: The London Art Market After the Franco-Prussian War (1870-71). In Museums, Modernity and Conflict. Museums and Collections in and of War since the Nineteenth Century. Hill, Kate London: Routledge. 15-38.
- Stammers, Tom (2021). Delecluze’s Augustus And Cinna: Painting and Performing Rome at the End of the Napoleonic Empire. In Representing the Past in the Art of the Long Nineteenth Century Historicism, Postmodernism, and Internationalism. Potter, Matthew C. Routledge. 48-69.
- Stammers, Tom (2017). Graphiksammler. In Lexikon der Revolutions-Ikonographie in der europäischen Druckgraphik (1789-1889). Reichardt, Rolf Münster: Rhema. 1: 149-166.
- Stammers, Tom (2016). The Myth of the Belle Madeleine: street culture and celebrity in nineteenth-century Paris. In Food Hawkers: Selling in the street from Antiquity to the Present. Calaresu, M. & Heuvel, Danielle van Abingdon, Oxon: Routledge. 136-164.
- Stammers, Tom (2016). Enlightenment Intersections in the work of Jeffrey Rubinoff. In The Art of Jeffrey Rubinoff. Fox, James Madeira Park, BC: Douglas & McIntyre. 153-168.
- Stammers, Tom (2016). Jean-Louis Soulavie: une collection de l'histoire immédiate. In Collectionner la Révolution française. Bertrand, Gilles Biard, Michel & Chevalier, Alain Paris: Société des Études Robespierristes. 81-93.
- Stammers, Tom (2014). Scavenging rococo: Trouvailles, Bibelots and Counter-Revolutionary Politics. In Rococo Echo: Art, History and Historiography from Cochin to Coppola. Hyde, M. & Scott,K. Voltaire Foundation, University of Oxford. 71-86.
- Stammers, Tom (2013). The Faubourg Saint-Antoine: Epicentre of Revolution? In The Cambridge Companion to the Literature of Paris. Milne, Anna-Louise Cambridge: Cambridge University Press. 52-70.
- Stammers, Tom (2013). Rendering the Rag-Picker in Nineteenth-Century Paris. In Generals and Beggars, Actors and Sovereigns: Portraits in Widely Circulating Prints from the XVII to XX Century. Milano, Alberto Tassotti. 393-99.
- Stammers, Tom (2008). The Refuse of the Revolution: Autograph Collecting in France 1789-1860. In Historicising the French Revolution. Armenteros,C., Blanning, T., DiVanna, I. & Dodds,D. Cambridge Scholars Publishing. 39-63.
- Pauline Prevost-Marcilhacy & Laura de Fuccia (2020). L’exception anglaise ? Constance Battersea et la philanthropie artistique des Rothschild d’outre-manche. De la sphère privée à la sphère publique, INHA, Paris, Publications de l'Institut national d'histoire de l'art.
- Stammers, Tom (2017). The Allure of Napoleon: Essays Inspired by the Collections of the Bowes Museum. Barnard Castle, The Bowes Museum.
- Stammers, Tom (2021). Women Collectors: Taste, Legacy and Cultural Philanthropy, 1850-1920. 19: Interdisciplinary Studies in the Long Nineteenth Century, 31
- Stammers, Tom & Davoli, Silvia (2019). 'Introduction: Jewish Collectors and Collecting'. Journal of the History of Collections, (Virtual Special Issue).
- Stammers, Tom (2021). Women Collectors and Cultural Philanthropy, 1850-1920. 19: Interdisciplinary Studies in the Long Nineteenth Century 31.
- Stammers, Tom (2020). La mondialisation de la Révolution française (vers 1930-1960) origines et eclipse d'un paradigme historiographique. Annales. Histoire, Sciences Sociales 74(2): 297-335.
- Stammers, Thomas (2019). Old French and new money: Jews and the aesthetics of the Old Regime in transnational perspective, c.1860–1910. Journal of Modern Jewish Studies 18(4): 489-512.
- Stammers, Tom (2019). The Homeless Heritage of the French Revolution, c.1789-1889. International Journal of Heritage Studies 25(5): 478-490.
- Stammers, Tom (2019). Transmitting the French Revolution: A Compulsive History. H-France Salon 11(18): 1-16.
- Stammers, Tom (2018). Facets of French Heritage: Selling the Crown Jewels in the Early Third Republic. The Journal of Modern History 90(1): 76-115.
- (2018). Historian, Patriot and Paragon of Taste: Baron Jean-Charles Davillier (1823–83) and the Study of Ceramics in Nineteenth-Century France. French Porcelain VII.
- Stammers, Tom (2018). From the Tuileries to Twickenham: The Orléans, Exile and Anglo-French Liberalism, c.1848–1880. English Historical Review 133(564): 1120-1154.
- Stammers, Tom (2014). Collectors, Catholics, and the Commune: Heritage and Counterrevolution, 1860-1890. French Historical Studies 37(1): 53-87.
- Stammers, Tom (2013). Salvaging and Archiving the French Revolution. E-France: New Perspectives on the French Revolution 4: 57-59.
- Stammers, Tom (2008). The Bric-à-Brac of the Old Regime: Collecting and Cultural History in post-revolutionary France. French History 22(3): 295-315.