The archival resources digitally available to scholars have been transforming rapidly in the past few years, an evolution in evidence in museums and galleries as well as in the wider field of art history. This change was, at first, operational: as the use of the Internet becamemore widespread from the late 1990s onwards, museums, libraries and archives started to place their catalogues online. Then, in the first decade of the twenty-first century, projects were developed to digitise selected items from library and archive collections. Such projects enabled researchers to gain remote access to flat images of archival material, and the scope of these digitisation projects has only increased in recent years, with more images being added to websites across the world; attention is now turning to the examination and extraction of the data contained in those flat images. In 2014 the National Gallery Research Centre acquired the archive of the art dealers Thomas Agnew & Sons (Agnew’s). This was a significant acquisition: the firm has an illustrious history dating back to 1817, and has dealt in some major works of art, such as Diego Velazquez’s Rokeby Venus (London National Gallery) and Portrait of Philip IV (New York, Frick Collection), John Constable’s Salisbury Cathedral (Tate Britain) and J.M.W Turner’s Helvoetsluys (Tokyo Art Museum). Agnew’s archives, which date from the 1850s, represent one of the most comprehensive collection of an art dealership’s business records, containing stock books, day books, photographic records and correspondence as well as other types of miscellaneous records such as, for instance, comprehensive lists of works shipped to the United States from London. The acquisition of the Agnew’s Archive enhanced the existing rich holdings of the Research Centre in the field of the history of collecting. The Gallery’s library contains over 80,000 printed volumes, including a particularly excellent holding of books relating to private collections. Similarly, the archive not only comprises the Gallery’s institutional records but also numerous private collections, including the papers of Francis Haskell (1928–2000) and Nicholas Penny relating to the history of collecting. The Agnew’s Archive was catalogued between 2014 and 2016 and the resulting finding aid was published online in April 2016. At the same time the Gallery appointed two doctoral students, Alison Clarke and Barbara Pezzini, to undertake research in the archive under the Arts and Humanities Research Council’s Collaborative Doctoral Partnership scheme. Both these initiatives were intended to raise the profile of the archive and once underway, the Research Centre started to consider how it could

中文翻译：

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重构艺术：向多学科研究开放艺术品经销商的档案

过去几年，可供学者使用的数字档案资源发生了迅速变化，这是博物馆和画廊以及更广泛的艺术史领域证据的演变。这种变化起初是可操作的：随着互联网的使用从 1990 年代后期开始变得更加普遍，博物馆、图书馆和档案馆开始将他们的目录放在网上。然后，在 21 世纪的第一个十年，开发了一些项目，以将图书馆和档案馆藏品中的选定项目数字化。这些项目使研究人员能够远程访问档案材料的平面图像，而且这些数字化项目的范围在最近几年才有所增加，越来越多的图像被添加到世界各地的网站；现在注意力转向检查和提取这些平面图像中包含的数据。2014 年，国家美术馆研究中心收购了艺术品经销商 Thomas Agnew & Sons (Agnew's) 的档案。这是一次重要的收购：该公司的辉煌历史可以追溯到 1817 年，并且处理了一些主要的艺术作品，例如迭戈·贝拉斯克斯的 Rokeby Venus（伦敦国家美术馆）和菲利普四世肖像（纽约，弗里克收藏） ，约翰康斯特布尔的索尔兹伯里大教堂（泰特英国）和 JMW 特纳的 Helvoetsluys（东京艺术博物馆）。Agnew 的档案可追溯至 1850 年代，是艺术品经销商业务记录最全面的收藏之一，其中包括库存簿、日簿、照片记录和信件以及其他类型的杂项记录，例如，例如，从伦敦运往美国的作品的完整清单。阿格纽档案馆的收购增强了研究中心在收藏历史领域现有的丰富藏品。画廊的图书馆包含超过 80,000 册印刷书籍，其中包括与私人收藏有关的特别优秀的书籍。同样，档案馆不仅包括画廊的机构记录，还包括众多私人收藏，包括弗朗西斯·哈斯克尔（Francis Haskell，1928-2000）和尼古拉斯·彭尼 (Nicholas Penny) 与收藏历史有关的论文。阿格纽的档案在 2014 年至 2016 年间编目，由此产生的查找帮助于 2016 年 4 月在线发布。 与此同时，画廊任命了两名博士生，艾莉森克拉克和芭芭拉佩齐尼，在艺术与人文研究委员会的合作博士伙伴计划下对档案进行研究。这两项举措都旨在提高档案的知名度，一旦开始，研究中心就开始考虑如何