An early family anecdote recalls that, as a young boy, Beatty caught the collection bug,
bidding at
auctions for mining samples. He recalled attending an auction with his father at the age of ten, and bidding ten
cents on a piece of pink
calcite. Before his move to
London, he had already started collecting Chinese
snuff bottles and Japanese
netsuke,
inro and
tsuba. Due to a condition of the lungs called
silicosis, which Beatty had acquired through his years working in American mines, he and his family wintered in the
Kingdom of Egypt, until the outbreak of
World War II, and after the war, in the
South of France. During his first trip to
Cairo in the winter of 1913/14, he became interested in
papyrus and
Islamic manuscripts. In 1931, an announcement in
The Times daily newspaper cast Beatty as a great collector. He had acquired an important collection of
Biblical manuscripts, now known as the
Chester Beatty Papyri. The discovery changed the existing understanding of pre-
Constantinian textural history. With the
New Testament books—Gospels and Acts (BP I), Pauline Epistles (BP II) and Revelation (BP III)—all dated to the third century, these documents were not only surprising for having survived the
Diocletian persecutions at the beginning of the next century, moved the understanding of when
Christians accepted the four
gospels as canonical to earlier than had previously been presumed. During a family voyage to
Japan and
China in 1917, Beatty acquired painted albums and scrolls, and he continued to purchase Chinese, Japanese and south-east Asian
manuscripts,
textiles and
artefacts, which he kept for the rest of his life. Beatty's reputation as a collector grew, and so did his network of advisers and agents. As in his business life, Beatty relied on the advice of experienced specialists but made the final decision on any purchase himself. By this time Edith was also establishing herself as a serious collector in her own right. While she was buying Impressionist and Post-Impressionist paintings and French furniture, Beatty was acquiring important Islamic material, including an exceptional collection of illuminated copies of the Quran, and Mughal, Turkish and Persian manuscripts. His Western holdings were enhanced by acquisitions of Coptic, Syriac, Armenian and Greek manuscripts. To his Asian holdings he added Tibetan, Thai, Burmese and Sumatran manuscripts. His eye was drawn to richly illustrated material, fine bindings and beautiful calligraphy, but he was also deeply committed to preserving texts for their historic value. He concerned himself only with works of the finest quality, and this became the hallmark of his collection. Initially, Beatty was a competitive force in the burgeoning
Orientalist art market of the early 20th century. The major library and museum institutions anticipated his presence when prospecting acquisitions. However, in 1925, he began what would later become a robust partnership with the
British Museum. Though in later cases he would purchase an object and simply donate it, for the manuscript now known as the Minto Album, he amicably agreed to split the folios. The lot was sold to
Sir Eric Maclagan,
Director of the British Museum, as part of a joint-purchase agreement for
$3,950. He had first picked the folios, the museum bought the remainder for $2000, and he charitably donated an addition folio. The Beattys were also patrons of the British Museum, donating nineteen
ancient Egyptian papyri to the Museum. Between 1939 and 1949, Beatty acquired over one hundred and forty 19th century paintings to display in the picture gallery of his London home. The gallery had been built as a result of the conversion of the stables to a library in 1934. The gallery linked the main house to the garden library. In 1940, he packed up the paintings and shipped them to
New York City for safekeeping during World War II. In 1949, he decided to donate part of his collection of French 19th-century paintings to the
Taoiseach of the day,
John A. Costello, for his support in facilitating his move from London. These are now part of the collection of the
National Gallery of Ireland. One of the paintings was an idealized version of peasant life called
The Gleaners by
Jules Breton. == Move to Dublin ==