Why Do Museums Never Sell Their Works to Private Buyers?

Museums are living historical artifacts that preserve, educate, and reflect places, society, and culture. They serve as vital institutions where people can learn about the past and appreciate the present. Despite this noble mission, the question arises: why can't museums sell their works of art to private buyers?

The Role of Museums in Society

Museums fulfill an essential role in society by preserving cultural heritage, fostering public education, and providing access to valuable works of art and artifacts. Education and cultural enrichment are at the heart of what museums aim to achieve. However, as society becomes less educated, the importance of these institutions only grows.

Public Access vs. Private Ownership

When individuals wish to own the exact pieces displayed in museums, they can often find similar items at auctions or antique stores. This means that museums do not sell their works to private collectors because doing so would conflict with their primary objective: ensuring that the works remain accessible to the public. Museums prioritize collective access and preservation over private ownership, recognizing that cultural artifacts have inherent value beyond their monetary worth.

Rare Exemptions and Controversies

Despite the general rule, there have been instances where museums have sold their works. These situations involve complex processes and often do not align with the usual practices of deaccessioning. Let's explore two notable examples.

The Currier Museum of Art: "Boy with Grapes and a Hat"

The Currier Museum of Art in Manchester, NH, acquired a painting titled "Boy with Grapes and a Hat" around 1630 by Judith Leyster. This acquisition showcases a rare instance where a museum has sold a piece that was previously owned privately. The piece's provenance is murky, but it is known to have been owned by television comedian Red Skelton in the 1950s and then given to the Los Angeles County Museum of Art. In 1977, it was likely sold to a private collector and disappeared from public view until its discovery by Dutch dealer Salomon Lilian. Lilian brokered the sale, allowing the Currier Museum of Art to acquire it.

The Baltimore Museum of Art: "Mr. Ace" by Yasuo Kuniyoshi

In 1989, the Baltimore Museum of Art deaccessioned "Mr. Ace," a work by Japanese artist Yasuo Kuniyoshi, which was then purchased by a private Japanese collector. This decision caused public outrage and highlighted the complexity and sensitivity of the deaccessioning process. The collector later used the work and other acquired pieces as the foundation for a private museum.

Challenges in Deaccessioning

The difficulty in deaccessioning works is significant, and very few pieces ultimately end up on the secondary market where they can be acquired by private collections. Museums often engage in exotic swap-plus-money deals that benefit all parties involved, further complicating the issue.

These examples and the broader context of museum practices illustrate the intricate balance between preserving cultural heritage, ensuring public access, and sometimes making difficult decisions to benefit multiple stakeholders.