| Sumario: | 14 Frances Fowle, Elizabeth Workman's Collection 19: Interdisciplinary Studies in the Long Nineteenth Century, 31 (2020) <https://doi.org/10.16995/ntn.3001 > In one of very few surviving letters, written to the French dealer Paul Rosenberg in 1924, Robert makes a clear reference to Courbet's The Trellis of 1862 (Toledo Museum of Art), as belonging to Elizabeth. 3). 34 In summary, therefore, McTaggart aside, the bulk of the Workmans' Scottish pictures, up until the First World War, were acquired jointly, while the French pictures were purchased by Elizabeth, albeit on Robert's account. Before the First World War, it is impossible to tell whether Robert or Elizabeth was guiding their choice of Scottish paintings, since the purchase books always list Robert as the buyer, while the later collection sales attribute the entire collection to Elizabeth. For much of her life 23 Dimitri Salmon, '"Perhaps Courtauld's Most Trusted Adviser": Percy Moore Turner', in The Courtauld Collection: A Vision for Impressionism, ed. by Karen Serres (London: Fondation Louis Vuitton and Paul Holberton Publishing, 2019), p. 70. 24 Karen Serres, "Introduction: Samuel Courtauld, Champion of Impressionism", in The Courtauld Collection, ed. by Serres, pp. 1-13 (p. 3); and Salmon, p. 70.
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