Abstract
Though the story of the Royal Ontario Museum’s founding usually deals with Charles Trick Currelly and Sir Edmund Walker as the diarchy, it is also possible to rethink this figuration and place George Crofts also at the centre of the ROM’s history. His selfless collecting on behalf on the museum gave it a clear lead in establishing itself as a repository of East Asian objects. All these men exploited the arrangements made possible by a global empire, another factor in the ROM’s rise to cultural prominence. The linkages between their various activities show us a work-in-progress, a case study of the ways in which institutions embody from their beginning the questions of ownership and provenance that continue to concern cultural collectors.
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