JournalTOCs

Journal of the History of Collections
Journal Prestige (SJR): 0.161

Number of Followers: 12

Hybrid journal (It can contain Open Access articles)
ISSN (Print) 0954-6650 - ISSN (Online) 1477-8564
Published by Oxford University Press

[419 journals]

Books Received
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  Pages: 215 - 216
  PubDate: Sat, 05 Mar 2022 00:00:00 GMT
  DOI: 10.1093/jhc/fhab061
  Issue No: Vol. 34, No. 1 (2022)
Rediscovery of a Mesoamerican greenstone sculpture from the collection of
Ulisse Aldrovandi
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  Authors: Domenici D.
  Pages: 1 - 22
  Abstract: AbstractThis article presents a pre-Hispanic Mesoamerican greenstone sculpture, formerly held in the collection of Ulisse Aldrovandi (1522–1605) and recently rediscovered by the author in the storerooms of the Museo Civico Medievale in Bologna. After a discussion of Aldrovandi’s general attitude towards natural and cultural specimens from the New World, the article explores the ways in which the Bolognese polymath described and illustrated the sculpture in his Musaeum metallicum (1648), where he named it as ‘Idolum pileatum’. It is argued here that Aldrovandi’s main interest was not so much proto-anthropological as of a taxonomic kind, in line with his interest in material culture as both an antiquary and a natural historian. The last section of the article explores the sculpture’s cultural biography, reconstructing its collection history and also putting forward a hypothesis for the circumstances of its arrival in Bologna.
  PubDate: Thu, 18 Feb 2021 00:00:00 GMT
  DOI: 10.1093/jhc/fhab001
  Issue No: Vol. 34, No. 1 (2021)
Bernini’s painting collection: a reconstructed inventory
raisonné
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  Authors: Mormando F.
  Pages: 33 - 50
  Abstract: AbstractHere presented is the first comprehensive inventory of the paintings on display in Gian Lorenzo Bernini’s home by artists other than himself at the time of his death in November 1680. Although inventories of Bernini’s household dating from 1681 to 1771 have previously been published, none by itself is sufficient to provide a complete catalogue of the artist’s collection. By collating the family inventories with what is known of Bernini’s career, personal and professional relationships, the oeuvre of the artists identified in the inventories, and data from art market records and provenance databases, the author has compiled the most detailed description of Bernini’s collection so far available, including, wherever possible, proposed new attributions, more accurate subject descriptions, and indications of the present whereabouts of the works.
  PubDate: Wed, 03 Feb 2021 00:00:00 GMT
  DOI: 10.1093/jhc/fhaa057
  Issue No: Vol. 34, No. 1 (2021)
The Getty GnaiosA love story
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  Authors: Lapatin K.
  Pages: 51 - 70
  Abstract: AbstractAn amethyst intaglio depicting the Roman general Mark Antony and inscribed ‘Gnaios’ has been much lauded and frequently illustrated over the past fifty years. Other gems signed by this ancient engraver have been prized, replicated and forged for centuries. This article traces the amethyst, previously in the Ionides collection and acquired by the J. Paul Getty Museum in 2001, to the possession of Prince Stanislas Poniatowski, and demonstrates that, rather than dating to the late first century bc, it was cut by Giovanni Calandrelli between 1817 and 1824, apparently to complement a similarly inscribed gem thought to depict Cleopatra. The amethyst’s reception exemplifies the desire of collectors to possess creations of renowned artists, scholars eager to construct compelling narratives around superb works of art, and over-optimistic reliance on expert authority. ‘Master Gnaios’ even appears in well-researched historical fiction. Thus, the Getty gem is another demonstration of the enduring and transformative power of outstanding forgeries.
  PubDate: Sat, 20 Mar 2021 00:00:00 GMT
  DOI: 10.1093/jhc/fhaa049
  Issue No: Vol. 34, No. 1 (2021)
From merchant to elite artist and collectorYan Xinhou, his family, and a
collection’s journey to the Herbert F. Johnson Museum of Art
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  Authors: Ding Y.
  Pages: 71 - 84
  Abstract: AbstractThis paper reports the first academic research on the collection of Yan Xinhou (1838–1906), a prominent gentry–merchant from the second half of the nineteenth century. It presents the Yan collection, now housed at the Herbert F. Johnson Museum of Art at Cornell University, and tells a fascinating story of the Yan family and how their collection came to the United States during the early twentieth century. More importantly, it provides a starting point for future explorations of the taste, collecting practices and social relations of the late Qing merchants. The collection contains thirty-two works of Ming and Qing dynasty painting and calligraphy, including calligraphy items by Zhang Ruitu (1570–1641), Jiang Chenying (1628–1699) and Qian Bojiong (1738–1812); paintings by Wang Shimin (1592–1680), Xiao Yuncong (1596–1673), Wang Wu (1632-1690), Ma Quan (active 1800s), Shangguan Zhou (1665–c.1749), Zheng Xie (1693–1765), Hua Yan (1682–1756), Xi Gang (1746–1803), Pan Simu (1756–after 1843), Zhao Wei (1746–1825), Qian Du (1764–1845), Gai Qi (1773–1828) and Wu Xizai (1799–1870).
  PubDate: Mon, 17 May 2021 00:00:00 GMT
  DOI: 10.1093/jhc/fhab008
  Issue No: Vol. 34, No. 1 (2021)
‘Ordinary’, ‘insignificant’ and ‘useless’ artefacts from Rome
and AthensTrading antiquities and reshaping scholarship in the long
nineteenth century
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  Authors: Mannoni C.
  Pages: 85 - 94
  Abstract: AbstractThe edicts relating to the protection of antiquities and works of art published in the Papal States and in Greece in the nineteenth century were the first inclusive regulations in the world on the management and supervision of cultural heritage. Their aim was to control and reduce the massive exportation of artefacts that had despoiled both countries. However, the continuing stream of exports that followed the issuing of these regulations shows that their impact was limited. Questions of taste and aesthetics were introduced that allowed the disposal of the ‘insignificant’, ‘useless’, ‘multiple’ and ‘ordinary’ pieces considered unworthy of protection. Analysis of several such cases approved for export from Rome and Athens identifies a number of legal loopholes and artistic formulae that were adduced in order to circumvent the edicts, and contributes to an understanding of the impact of new approaches to art history scholarship on both the law and the nineteenth-century art market.
  PubDate: Sat, 24 Apr 2021 00:00:00 GMT
  DOI: 10.1093/jhc/fhab014
  Issue No: Vol. 34, No. 1 (2021)
Displaying plaster casts, staging RomanizationThe Mostra Archeologica at
the Baths of Diocletian and nationalistic biases in Roman provincial
archaeology
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  Authors: Iannantuono K.
  Pages: 95 - 112
  Abstract: AbstractIn 1911, on the occasion of the fiftieth anniversary of the unification of Italy, a grand exhibition of Roman antiquities was hosted at the Baths of Diocletian in Rome. Rodolfo Lanciani, main agent behind the organization of this Mostra Archeologica, opted for exhibiting mainly reproductions of ancient monuments from the far-flung regions that once formed the Roman Empire. The aim was to reconstruct a coherent image of ancient Roman culture, directed towards the celebration of both the glorious Roman Empire and the expanding Italian one. By examining the selection of material exhibited and its display, this paper will analyse how early twentieth-century visions of the Roman past and the Italian present were reflected in the Mostra Archeologica. This analysis sheds light on the impact of these ideas and the nationalistic biases they introduced into the formulation of modern notions of Roman provincial art and archaeology.
  PubDate: Mon, 22 Mar 2021 00:00:00 GMT
  DOI: 10.1093/jhc/fhab011
  Issue No: Vol. 34, No. 1 (2021)
Hector de Garriod (1803–1883): a marchand amateur in Risorgimento
Italy
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  Authors: Giacomelli L.
  Pages: 113 - 126
  Abstract: AbstractBaron Hector de Garriod (1803–1883) was a Savoyard nobleman who resided in Florence for most of his life, from 1835 to 1883, taking an active part in the social and artistic life of the city in the years of the Risorgimento and after the unification of Italy. His correspondence, surviving in a private archive in Cortona, and other documents that have surfaced in Italy and elsewhere in Europe, shed fresh light on this interesting yet neglected marchand amateur – his activities as an art dealer, his relationships with international museum agents and his dealings with renowned art collectors. Specific attention is paid here to Garriod’s private collection, now kept at the Musée des Beaux-Arts in Chambéry, which represents one of the most important bequests of seventeenth-century Italian paintings to a French museum.
  PubDate: Thu, 18 Mar 2021 00:00:00 GMT
  DOI: 10.1093/jhc/fhab007
  Issue No: Vol. 34, No. 1 (2021)
Protecting private collections of paintings in France in the nineteenth
centuryConservation history viewed through the lens of patents
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  Authors: Jouves B.
  Pages: 127 - 140
  Abstract: AbstractBetween 1789 and 1870, the ways in which works of art and collections as a whole were to be preserved were debated at length in France by collectors and by a wide array of those with a professional interest. They had a common aim: to prevent works from alteration and degradation owing to their treatment and method of display in private collections. The promotion of such protective measures at a time when private apartments were becoming increasingly accessible to visitors confirms that an awareness of the idea of common heritage was beginning to emerge. The environment in which paintings were kept was a source of major concern for the amateur, especially when it came to protecting works of art within his private apartments or in the course of travel. In attempting to address these problems, several patents were filed in France that sought to promote treatments aimed at preserving important works in private ownership, and a number of strategies were put forward for the restoration and protection of works of art, the treatment of varnishes and the hanging of paintings in domestic spaces. Patents registered for a number of inventions enable some of these preservation processes to be identified in detail.
  PubDate: Thu, 18 Mar 2021 00:00:00 GMT
  DOI: 10.1093/jhc/fhab010
  Issue No: Vol. 34, No. 1 (2021)
The one that didn’t get awayNew light on the sale of Holbein’s
Duchess of Milan
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  Authors: Howard J.
  Pages: 141 - 156
  Abstract: AbstractThe sale of Holbein’s ‘Portrait of Christina, Duchess of Milan’ to Henry Clay Frick in 1909 – a painting that had been on long-term loan to the National Gallery in London from the Duke of Norfolk – and the painting’s eleventh-hour rescue, following a campaign by the National Art Collections Fund, became a national cause célèbre. Coming at a time of heightened sensitivities about the loss of Britain’s heritage and her declining importance as a world superpower, the threatened export of the painting provoked a huge outcry in the press, in which Frick, the Duke of Norfolk and the art dealers Colnaghi were cast in the role of villains in an Edwardian melodrama. However, new evidence presented in this article shows that the truth was considerably more complicated and prompts an examination of Edwardian debates about the protection of the national heritage.
  PubDate: Wed, 03 Mar 2021 00:00:00 GMT
  DOI: 10.1093/jhc/fhaa060
  Issue No: Vol. 34, No. 1 (2021)
The poet’s skullNational trauma, a passion for graves, and the
collecting of national memorabilia in early nineteenth-century Poland
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  Authors: Mencfel M.
  Pages: 157 - 174
  Abstract: AbstractThis essay discusses collections of historical memorabilia assembled in Poland at the end of the eighteenth and the beginning of the nineteenth century, which contained the physical remains (bones and hair) of historical figures. An analysis is offered of the traditions and circumstances that made it acceptable and possible for Polish antiquaries and collectors to open the tombs of eminent historical figures and to remove the contents of graves to private collections. Emphasis is placed on the role of national trauma, brought about by the crisis of the partition of Poland, culminating in 1795 in the demise of Poland as an independent state, which provided an impetus for the development of a distinctive historical consciousness. It is argued that while objects of this kind would cause moral and other dilemmas in other countries in Europe, such concerns were absent in Poland owing to its unique situation. Attention is also paid to changing attitudes throughout the nineteenth century, which influenced both the shape of historical collections and the manner of examining the corpses of historical figures. An explanation is offered for why, in the second half of the nineteenth century, despite the continuing exploration of tombs, the practice of collecting and displaying human remains and grave goods never gained wide public approval.
  PubDate: Thu, 11 Feb 2021 00:00:00 GMT
  DOI: 10.1093/jhc/fhaa040
  Issue No: Vol. 34, No. 1 (2021)
‘A matter of love’L. V. Randall (1893–1972), Montreal collector and
academic visionary
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  Authors: Herman N.
  Pages: 175 - 194
  Abstract: AbstractThis article examines the career and collection of Lewis V. Randall (1893–1972), a German-born Jewish banker turned Montrealer and amateur art historian. Though virtually forgotten today, Randall assembled the finest collection of Renaissance art ever held in Canada. This ensemble included drawings by Leonardo, Dürer, Patinir, Schongauer, Cranach, Rembrandt and Bosch, as well as manuscript illuminations, sculptures, panel paintings and stained glass. After the Second World War, Randall founded the art history department at the University of Montreal. Drawing on his extensive network of friends, which included Erwin Panofsky and André Chastel, he assembled a brilliant but short-lived cohort of francophone scholars around the fledgling department.
  PubDate: Fri, 05 Feb 2021 00:00:00 GMT
  DOI: 10.1093/jhc/fhaa039
  Issue No: Vol. 34, No. 1 (2021)
La Grande Galleria: spazio del sapere e rappresentazione del mondo
nell’età di Carlo Emanuele I di Savoia
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  Authors: Osborne T.
  Pages: 195 - 196
  Abstract: VaralloFranca and VivarelliMaurizio (eds.), La Grande Galleria: spazio del sapere e rappresentazione del mondo nell’età di Carlo Emanuele I di Savoia.Rome, Carocci Editore, 2019. isbn 978-88-430-8672-6. 413 pp., 26 b. & w. illus. €46.
  PubDate: Wed, 29 Sep 2021 00:00:00 GMT
  DOI: 10.1093/jhc/fhab035
  Issue No: Vol. 34, No. 1 (2021)
Antichità in giardino, giardini nell’antichità: studi sulla collezione
Giusti a Verona e sulla tradizione delle raccolte di antichità in
giardino
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  Authors: Mason P.
  Pages: 196 - 198
  Abstract: BuonopaneAlfredo, Namer Myriam Piluttiand SpertiLuigi (eds.), Antichità in giardino, giardini nell’antichità: studi sulla collezione Giusti a Verona e sulla tradizione delle raccolte di antichità in giardino. Rome, Giorgio Bretschneider Editore, 2020. isbn 978-88-7689-323-0. 176 pp., 64 b. & w. illus. €68.60.
  PubDate: Wed, 04 Aug 2021 00:00:00 GMT
  DOI: 10.1093/jhc/fhab034
  Issue No: Vol. 34, No. 1 (2021)
Rarities of these Lands. Art, trade, and diplomacy in the Dutch Republic
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  Authors: Gschwend A.
  Pages: 198 - 199
  Abstract: SwanClaudia, Rarities of these Lands. Art, trade, and diplomacy in the Dutch Republic. Princeton, Princeton University Press, 2021. isbn 978-0-6912-07964. 336 pp., 140 col. illus. £50.
  PubDate: Wed, 08 Dec 2021 00:00:00 GMT
  DOI: 10.1093/jhc/fhab053
  Issue No: Vol. 34, No. 1 (2021)
Illuminating Natural History: The art and science of Mark Catesby
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  Authors: MacGregor A.
  Pages: 199 - 201
  Abstract: McBurneyHenrietta, Illuminating Natural History: The art and science of Mark Catesby. London, Paul Mellon Centre for Studies in British Art, 2021. isbn978-1-913107-19-2. xii + 353 pp., 242 col. illus., 22 b. & w. illus. £40.
  PubDate: Wed, 11 Aug 2021 00:00:00 GMT
  DOI: 10.1093/jhc/fhab037
  Issue No: Vol. 34, No. 1 (2021)
Georg Forster: The South Seas at Wörlitz. Kulturstiftung
Dessau-Wörlitz
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  Authors: Coote J.
  Pages: 201 - 203
  Abstract: VorpahlFrank (ed.), Georg Forster: The South Seas at Wörlitz. Kulturstiftung Dessau-Wörlitz . Munich, Hirmer Verlag, 2019. isbn 978-3-7774-3314-1. 208 pp., 104 col. illus., 23 b. & w. illus. €39.95.
  PubDate: Mon, 16 Aug 2021 00:00:00 GMT
  DOI: 10.1093/jhc/fhab033
  Issue No: Vol. 34, No. 1 (2021)
Collecting Murillo in Britain and Ireland
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  Authors: Turpin A.
  Pages: 203 - 204
  Abstract: KentIsabelle (ed.), Collecting Murillo in Britain and Ireland. Madrid, Centro de Estudios Europa Hispánica, 2020. isbn 978-84-15345-96-4. 352 pp., 136 col. illus. €38.47.
  PubDate: Wed, 01 Sep 2021 00:00:00 GMT
  DOI: 10.1093/jhc/fhab039
  Issue No: Vol. 34, No. 1 (2021)
Collecting in the South Sea: The voyage of Bruni d’Entrecasteaux,
1791–1794.Tiki: Marquesan art and the Krusenstern expeditionResonant
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  Authors: Coote J.
  Pages: 204 - 207
  Abstract: DouglasBronwen, VeysFanny Wonu, and LythbergBillie (eds.), Collecting in the South Sea: The voyage of Bruni d’Entrecasteaux, 1791–1794.Pacific Presences 3. Leiden, Sidestone Press, 2018. isbn978-90-8890-575-9. 381 pp., 202 col. illus., 98 b. & w. illus. €180.00 (also available free online).
  PubDate: Mon, 22 Nov 2021 00:00:00 GMT
  DOI: 10.1093/jhc/fhab052
  Issue No: Vol. 34, No. 1 (2021)
Raphael: The Power of Renaissance Images: The Dresden tapestries and their
impactApostles in Prussia: The Raphael tapestries of the Bode-MuseumThe
Raphael Cartoons
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  Authors: Evans M.
  Pages: 207 - 210
  Abstract: KojaStephan with MohrLarissa (eds.), Raphael: The Power of Renaissance Images. The Dresden tapestries and their impact. Dresden, Sandstein Verlag; Staatliche Kunstsammlungen Dresden, 2020. isbn978-3-95498-552-4. 336 pp., 261 mostly col. illus. €48.00.
  PubDate: Mon, 16 Aug 2021 00:00:00 GMT
  DOI: 10.1093/jhc/fhab038
  Issue No: Vol. 34, No. 1 (2021)
The Museum Age in Austria-Hungary. Art and empire in the long nineteenth
century
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  Authors: Meijers D.
  Pages: 210 - 211
  Abstract: RampleyMatthew, ProkopovychMarkian and VeszprémiNóra, The Museum Age in Austria-Hungary. Art and empire in the long nineteenth century.University Park, pa, Penn State University Press, 2021. isbn978-0-271-08710-8. 304 pp., 47 b. & w. illus. $99.95.
  PubDate: Fri, 29 Oct 2021 00:00:00 GMT
  DOI: 10.1093/jhc/fhab046
  Issue No: Vol. 34, No. 1 (2021)
Old Masters Worldwide: Markets, movements and museums, 1789–1939
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  Authors: McEvansoneya P.
  Pages: 211 - 213
  Abstract: Avery-QuashSusanna and PezziniBarbara (eds.), Old Masters Worldwide: Markets, movements and museums, 1789–1939. London, Bloomsbury Visual Arts, 2021. isbn978-1-5013-4814-3. xviii + 300 pp., 75 b. & w. illus. £85.50.
  PubDate: Mon, 27 Sep 2021 00:00:00 GMT
  DOI: 10.1093/jhc/fhab040
  Issue No: Vol. 34, No. 1 (2021)
What’s Mine is Yours. Private collectors and public patronage in the
United States. Essays in honor of Inge Reist
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  Authors: Conlin J.
  Pages: 213 - 214
  Abstract: QuodbachEsmée (ed.), What’s Mine is Yours. Private collectors and public patronage in the United States. Essays in honor of Inge Reist. isbn 978-84-15245-99-5. New York, Center for the History of Collecting at the Frick Collection, 2021. 419 pp., 139 col. illus. $60.
  PubDate: Tue, 23 Nov 2021 00:00:00 GMT
  DOI: 10.1093/jhc/fhab051
  Issue No: Vol. 34, No. 1 (2021)
Duped or duplicitous' Bode, Bardini and the many Madonnas of South
Kensington
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  Authors: Catterson L.
  Pages: 217 - 217
  Abstract: In the originally published version of this manuscript, page 72, column 1, paragraph 2 notes a first published date of 1868; that date has been corrected to 1863. On page 79, column 1, paragraph 2 notes that the child grasps the Madonna’s right forearm; this has been corrected to child grasps the Madonna’s left forearm. Page 82, column 1, paragraph 1, notes that the terracotta was obtained by the South Kensington Museum from Galiardi in 1863; that date has been corrected to 1867. In note 1 the date range 1905–10 has been correct to 1905–15. Acknowledgements to Stefano Casciu, Marco Mozzo and Stefano Tasselli were added to the paper.
  PubDate: Mon, 09 Aug 2021 00:00:00 GMT
  DOI: 10.1093/jhc/fhab041
  Issue No: Vol. 34, No. 1 (2021)
‘An indefatigable intermediary’: Harold Woodbury Parsons (1882–1967)
and the formation of the European collections at the Cleveland Museum of
Art: part 2
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  Authors: Rowlands E.
  Pages: 217 - 217
  Abstract: The original article published in J Hist Collections; doi: 10.1093/jhc/fhz043
  PubDate: Wed, 28 Jul 2021 00:00:00 GMT
  DOI: 10.1093/jhc/fhab005
  Issue No: Vol. 34, No. 1 (2021)
Mystery and history: when did Catherine the Great purchase the Lyde Browne
collection'
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  Authors: Kruglov A.
  Pages: 218 - 218
  Abstract: In the original article published in J Hist Collections;
  PubDate: Tue, 20 Apr 2021 00:00:00 GMT
  DOI: 10.1093/jhc/fhab020
  Issue No: Vol. 34, No. 1 (2021)