The evacuation was timely, for in 1940 the Duveen Gallery was severely damaged by bombing.

Work also began on restoring the damaged Duveen Gallery.

The re-opened Joseph Duveen, 1st Baron Duveen | Duveen Gallery, ( 1980 )

In 1962 the Duveen Gallery was finally restored and the Parthenon Sculptures were moved back into it, once again at the heart of the museum.

In 1910 the main part of the Turner Bequest, which includes unfinished paintings and drawings, was rehoused in the Duveen Turner Wing at the Tate Gallery.

After that endorsed the Tate Gallery's Clore Gallery wing as the solution ( on the lines of the Duveen wing of 1910 ), to the controversy of what should be done with the Turner Bequest, Selby Whittingham resigned from that and founded the Independent Turner Society.

A teacher and young pupils at The British Museum Duveen Gallery

Amongst other things he built the Duveen Gallery of the British Museum to house the Elgin Marbles and a major extension to the Tate Gallery.

Duveen played a large part in forming many of the collections that are now in American museums, for example the Frick Collection in New York, the Frank P. Wood collection at the Art Gallery of Ontario, the Huntington Library, and the Mellon and Kress collections now in the National Gallery of Art in Washington and elsewhere.

This object was purchased by Calouste Gulbenkian on December 13-16, 1921 from Frederik Muller & Cie through the well-known art dealer Joseph Duveen.

An avid art lover, he acquired, thorough art dealer Joseph Duveen, a collection of paintings and sculpture, primarily of the Italian Baroque school.

Duveen also advised Stotesbury in purchases of French sculpture to decorate the huge mansion.

Ironically, the Allendale Nativity caused the rupture in the 1930s between Lord Duveen, who sold it to Andrew Mellon as a Giorgione, and his expert Bernard Berenson, who insisted it was an early Titian.

State Britain was installed inside the Duveen Hall of Tate Britain in January 2007.

Berenson was quiet and deliberating by nature, which sometimes caused friction between him and the boisterous Duveen.

Duveen was selling it as a Giorgione, but Berenson believed it to be an early Titian.

In 1923, Berenson was called to give expert witness in a famous case brought by Andrée Hahn against Duveen.

It was also revealed that Berenson, as well as other experts who had testified in Paris, such as Roger Fry and Sir Charles Holmes, had previously provided paid expertises to Duveen.

The French 18th-century furniture was purchased through Lord Duveen, who had guided Stotesbury in assembling the second of America's great collections of English portraits, and the floor was lined with exquisite Oriental rugs, also purchased under the guidance of Duveen.

A later version of the painting, on canvas, had been offered to the Kansas City Art Institute as the original, but was identified as a copy, on the basis of a photograph, by Sir Joseph Duveen, who permitted his remarks to be published in the New York World in 1920 ; the owner, Mrs Andrée Lardoux Hahn, sued for defamation of property in a notorious court case, which involved many of the major connoisseurs of the day, inspecting the two paintings side by side at the Louvre ; the case was eventually heard in New York before a jury selected for not knowing anything of Leonardo or Morellian connoisseurship, and settled for $ 60, 000 plus court expenses, which were considerable.

Joseph Duveen, 1st Baron Duveen ( 14 October 1869, Hull – 25 May 1939, London ), known as Sir Joseph Duveen, Bt, between 1927 and 1933, was a British art dealer, considered one of the most influential art dealers of all time.

Joseph Duveen was British by birth, the eldest of thirteen children of Sir Joseph Joel Duveen, a Jewish-Dutch immigrant who had set up a prosperous import business in Hull.

Duveen played an important role in selling to self-made industrialists on the notion that buying art was also buying upper-class status.

For his philanthropy he was knighted in 1919, created a Baronet, of Millbank in the City of Westminster, in 1927 and raised to the peerage as Baron Duveen, of Millbank in the City of Westminster, on 3 February 1933.

La Belle Ferronière, by Leonardo da Vinci ; the authenticity of another version of this painting was questioned by Duveen.

Sold at Christie's London on 13th July 1913, purchased by the dealers Duveen Brothers of New York for 40, 000 guineas ($ 206, 850 ), then a record price for any work of art sold in London.

He moved the Duveen company into the risky, but lucrative, trade in paintings and quickly became one of the world's leading art dealers due to his good eye, sharpened by his reliance on Bernard Berenson, and skilled salesmanship.

In 1920 Duveen was sued by Andrée Hahn for $ 500, 000 following his comments questioning the authenticity of a version of the Da Vinci painting La belle Ferronière that she planned to sell.

" The Guinnesses were subsequently ennobled in the 1890s ; Duveen had successfully flattered Mrs Guinness by addressing her as " Lady Guinness ".

In 1928, Bawden was commissioned by Sir Joseph Duveen at the rate of £ 1 per day to create a mural for the Refectory at Morley College, London with Ravilious and Charles Mahoney.

This has been elaborated by several authors who contributed to the theory: Gerard Duveen and Barbara Lloyd emphasized the articulation of the individual and the collective in micro-genetic processes of socialization, Wolfgang Wagner theorized about the role of action and social interaction in the construction of social representations, and Sandra Jovchelovitch proposed to regard social representations as a space in-between, at the cross-roads between the individual and society that is the public sphere, that links obejcts, subjects and activities.

Other important developments have been made by Caroline Howarth in linking Social identity theory with the theory of social representations, by Gerard Duveen in elaborating developmental aspects in relation to the micro-genesis of social representations of gender, and by Wolfgang Wagner in fathoming the relationship between discursive processes, collective behaviour patterns and the construction of social representations.

In about 1809 The Blue Boy entered the collection of the Earl Grosvenor and remained with his descendants until its sale by the second Duke of Westminster to the dealer Joseph Duveen in 1921.

* Social Representations: Explorations in Social Psychology ( edited by Gerard Duveen ), Polity Press, 2000

Duveen exploited his American clients ' wish for immortality through buying great works of art, an ambition in which they were successful: today only economic historians can name the rich partners of Frick, Mellon or Morgan.

American industrialist J. Paul Getty saw it, and bought it from Lord Duveen for approximately $ 70, 000 several years later.

The two are an airtight team until Hastings meets and marries Dulcie Duveen, a beautiful music hall performer half his age.

In 1931 the art dealer Sir Joseph Duveen offered funds to build a gallery for the Parthenon sculptures.

* 1869 – Joseph Duveen, British art dealer ( d. 1939 )

In 1926 and 1937, the art dealer and patron Joseph Duveen paid for two major expansions of the gallery building.

Despite his preference for auburn hair, and his Victorian ideas about not marrying outside one's class, he eventually falls in love with a dark-haired music-hall actress, singer, and acrobat, Dulcie Duveen.

Through a secret agreement in 1912, Berenson enjoyed a close relationship with Joseph Duveen, the period's most influential art dealer, who often relied heavily on Berenson's opinion to complete sales of works to prominent collectors who lacked knowledge of the field.

Beside assisting Duveen, Berenson also consulted for other important art dealerships, such as London's Colnaghi and, after his breakup with Duveen, New York's Wildenstein.

Duveen publicly rejected Hahn's Leonardo attribution of the painting, which he had never seen.

Duveen mustered Berenson's and other experts ' support for his opinion, dismissing Hahn's painting as a copy.

While Duveen, after a split verdict, ended up settling out of court with Hahn, the whole story damaged Berenson's reputation.

In the later 1920s Harold frequented the London salon of Lady Cunard, where at various times he encountered Ezra Pound, Joseph Duveen and the Irish novelist George Moore.