Gian Giacomo Poldi Pezzoli (1822–1879) was one of the major Italian collectors of the second half of the nineteenth century. He set up a museum to show his collection in his native Milan, an art foundation that was the first private period-room museum in Europe. Here he brought together decorative arts and Old Masters from the Middle Ages to the eighteenth century in a display that was to inspire European and American collectors. His refined and up-to-date taste can be attributed to the remarkable international network of connoisseurs and antiquaries to which he belonged and the journeys he undertook, both of which this essay aims to trace.
{"title":"Gian Giacomo Poldi Pezzoli’s international network and models for a modern museum","authors":"Lavinia Maddalena Galli","doi":"10.1093/jhc/fhae029","DOIUrl":"https://doi.org/10.1093/jhc/fhae029","url":null,"abstract":"Gian Giacomo Poldi Pezzoli (1822–1879) was one of the major Italian collectors of the second half of the nineteenth century. He set up a museum to show his collection in his native Milan, an art foundation that was the first private period-room museum in Europe. Here he brought together decorative arts and Old Masters from the Middle Ages to the eighteenth century in a display that was to inspire European and American collectors. His refined and up-to-date taste can be attributed to the remarkable international network of connoisseurs and antiquaries to which he belonged and the journeys he undertook, both of which this essay aims to trace.","PeriodicalId":44098,"journal":{"name":"Journal of the History of Collections","volume":"32 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142192385","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article provides two concrete examples of the opening of the Milanese art market to the international stage at the time of Gian Giacomo Poldi Pezzoli. The main focus is on the career of Giuseppe Baslini (1817–1887), the most important art dealer in nineteenth-century Milan. A true self-made man, Baslini entertained close relations with the most eminent Milanese collectors of the time, including Poldi Pezzoli and the Bagatti Valsecchi brothers; his success was secured by the international market on three major axes – London, Paris and Berlin. The second example concerns the family company of the Grandi art dealers, during the same years. In 1877 Baslini’s brothers-in-law Carlo (1842–1914) and Antonio (1857–1923) Grandi inherited the company of their father, Antonio (1810–1877), which originally specialized in Old Master drawings and prints, but extended its interests to paintings and objets d’art soon after Baslini’s death. The Grandi correspondence, preserved by the heirs and recently donated to the Fondo per l’Ambiente Italiano, has provided the opportunity to reconstruct their business, which had an international dimension from its inception.
{"title":"Milanese antique dealers and the international market","authors":"Martina Colombi","doi":"10.1093/jhc/fhae016","DOIUrl":"https://doi.org/10.1093/jhc/fhae016","url":null,"abstract":"This article provides two concrete examples of the opening of the Milanese art market to the international stage at the time of Gian Giacomo Poldi Pezzoli. The main focus is on the career of Giuseppe Baslini (1817–1887), the most important art dealer in nineteenth-century Milan. A true self-made man, Baslini entertained close relations with the most eminent Milanese collectors of the time, including Poldi Pezzoli and the Bagatti Valsecchi brothers; his success was secured by the international market on three major axes – London, Paris and Berlin. The second example concerns the family company of the Grandi art dealers, during the same years. In 1877 Baslini’s brothers-in-law Carlo (1842–1914) and Antonio (1857–1923) Grandi inherited the company of their father, Antonio (1810–1877), which originally specialized in Old Master drawings and prints, but extended its interests to paintings and objets d’art soon after Baslini’s death. The Grandi correspondence, preserved by the heirs and recently donated to the Fondo per l’Ambiente Italiano, has provided the opportunity to reconstruct their business, which had an international dimension from its inception.","PeriodicalId":44098,"journal":{"name":"Journal of the History of Collections","volume":"44 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140565505","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article focuses on the abandoned project for a Museo d'Arte Industriale in Milan, conceived by the Associazione degli Industriali. Although the project was never accomplished, it eventually led to the creation of the Museo Artistico Municipale in 1878. At the time, the Associazione degli Industriali of which Gian Giacomo Poldi Pezzoli was a member, was trying to establish a network of international relationships with museums and cultural institutions such as the South Kensington Museum in London, in order to emulate them in creating a modern museum where their private collections would eventually find a home. This paper sets out the cultural and artistic background in which Poldi Pezzoli and other Milanese noblemen and collectors operated, and in which they tried to transform their private and historical collections into new public museums.
这篇文章的重点是米兰工业协会（Associazione degli Industriali）放弃的米兰工业艺术博物馆项目。虽然该项目从未完成，但最终促成了 1878 年市立艺术博物馆的创建。当时，吉安-贾科莫-波尔迪-佩佐利（Gian Giacomo Poldi Pezzoli）所在的工业协会正试图与伦敦南肯辛顿博物馆等博物馆和文化机构建立一个国际关系网络，以效仿它们创建一座现代博物馆，最终为其私人藏品找到安身之所。本文阐述了波尔迪-佩佐利和其他米兰贵族及收藏家的文化和艺术背景，以及他们试图将其私人和历史收藏转化为新的公共博物馆的过程。
{"title":"Gian Giacomo Poldi Pezzoli and the decorative arts","authors":"Francesca Tasso","doi":"10.1093/jhc/fhae009","DOIUrl":"https://doi.org/10.1093/jhc/fhae009","url":null,"abstract":"This article focuses on the abandoned project for a Museo d'Arte Industriale in Milan, conceived by the Associazione degli Industriali. Although the project was never accomplished, it eventually led to the creation of the Museo Artistico Municipale in 1878. At the time, the Associazione degli Industriali of which Gian Giacomo Poldi Pezzoli was a member, was trying to establish a network of international relationships with museums and cultural institutions such as the South Kensington Museum in London, in order to emulate them in creating a modern museum where their private collections would eventually find a home. This paper sets out the cultural and artistic background in which Poldi Pezzoli and other Milanese noblemen and collectors operated, and in which they tried to transform their private and historical collections into new public museums.","PeriodicalId":44098,"journal":{"name":"Journal of the History of Collections","volume":"26 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140566251","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The first director of the National Gallery in London, Sir Charles Eastlake (1793–1865), was an Italophile. His favourite Italian city was Venice, where he once thought of buying a second home. The city he knew best, having lived there for fourteen years from 1816, was Rome. However, between 1854 and 1864, Eastlake made twenty-three trips to Milan, meaning that during his decade as director of the National Gallery from 1855, he visited Milan more often than any other place. This article suggests that Milan became a crucial hub for Eastlake, as the place where he connected with individuals who played important roles in several interconnected areas. Milan was significant, first, as an area rich in private collections, offering fertile ground for the discovery of potential acquisitions and a place from where it was relatively easy to export paintings because German-speaking Austria, which occupied north Italy and the Veneto until 1866, was comparatively lax about imposing export restrictions; second, as a place where art-historical knowledge and connoisseurship could be developed; and third, as a leading centre of picture conservation and framing.
{"title":"Sir Charles Eastlake, the National Gallery and Milan: A study in connoisseurial networks","authors":"Susanna Avery-Quash","doi":"10.1093/jhc/fhae004","DOIUrl":"https://doi.org/10.1093/jhc/fhae004","url":null,"abstract":"The first director of the National Gallery in London, Sir Charles Eastlake (1793–1865), was an Italophile. His favourite Italian city was Venice, where he once thought of buying a second home. The city he knew best, having lived there for fourteen years from 1816, was Rome. However, between 1854 and 1864, Eastlake made twenty-three trips to Milan, meaning that during his decade as director of the National Gallery from 1855, he visited Milan more often than any other place. This article suggests that Milan became a crucial hub for Eastlake, as the place where he connected with individuals who played important roles in several interconnected areas. Milan was significant, first, as an area rich in private collections, offering fertile ground for the discovery of potential acquisitions and a place from where it was relatively easy to export paintings because German-speaking Austria, which occupied north Italy and the Veneto until 1866, was comparatively lax about imposing export restrictions; second, as a place where art-historical knowledge and connoisseurship could be developed; and third, as a leading centre of picture conservation and framing.","PeriodicalId":44098,"journal":{"name":"Journal of the History of Collections","volume":"23 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140169282","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Two albums of drawings by Lombard masters of the Renaissance period (sixteenth and early seventeenth centuries), the contents of which are now in museums in the Czech Republic and Slovakia, constitute one of the most valuable collections of drawings preserved in Bohemia from the seventeenth century. Apparently originally the property of Antonio Maria Viani (1555/60–1630), it remains impossible to identify with certainty who collected the drawings at some time before 1676 and pasted them into the two albums, or how they came to be in the possession of the Clary-Aldringen family, from whose hands they eventually passed into public ownership. The aim of this article is to trace the records of this extraordinary collection in the possession of the Clary-Aldringen family since 1676, and its fate after 1945. While one of the albums was later dismembered and the constituent drawings were variously treated, we have been able to trace almost the whole of this collection.
文艺复兴时期（十六世纪和十七世纪初）伦巴第大师的两本图画集现收藏在捷克共和国和斯洛伐克的博物馆中，是波希米亚十七世纪最珍贵的图画收藏之一。这些图画显然最初是安东尼奥-玛丽亚-维亚尼（Antonio Maria Viani，1555/60-1630 年）的财产，但目前仍无法确定是谁在 1676 年之前的某个时间收集了这些图画并将其粘贴到这两本画册中，也无法确定这些图画是如何落入克拉里-阿尔德林根家族手中的。本文旨在追溯自 1676 年以来克拉里-奥尔德林根家族所拥有的这一非凡藏品的记录，以及 1945 年之后的命运。虽然其中一本画册后来被肢解，组成图纸的处理方式也各不相同，但我们还是能够追溯到几乎全部的收藏。
{"title":"Two albums of drawings by Lombard masters of the sixteenth and early seventeenth centuries, from the estate of the Clary-Aldringen family","authors":"Eliška Zlatohlávková, Martin Zlatohlávek","doi":"10.1093/jhc/fhae003","DOIUrl":"https://doi.org/10.1093/jhc/fhae003","url":null,"abstract":"Two albums of drawings by Lombard masters of the Renaissance period (sixteenth and early seventeenth centuries), the contents of which are now in museums in the Czech Republic and Slovakia, constitute one of the most valuable collections of drawings preserved in Bohemia from the seventeenth century. Apparently originally the property of Antonio Maria Viani (1555/60–1630), it remains impossible to identify with certainty who collected the drawings at some time before 1676 and pasted them into the two albums, or how they came to be in the possession of the Clary-Aldringen family, from whose hands they eventually passed into public ownership. The aim of this article is to trace the records of this extraordinary collection in the possession of the Clary-Aldringen family since 1676, and its fate after 1945. While one of the albums was later dismembered and the constituent drawings were variously treated, we have been able to trace almost the whole of this collection.","PeriodicalId":44098,"journal":{"name":"Journal of the History of Collections","volume":"149 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139773331","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The purpose of this paper is to present an outline sketch of Carl Kallenberg, a little-known nineteenth-century collector of antiquities, and the circumstances of his purchase of Late Antique textiles from Egypt, and to summarize the further history of this ensemble. Calling on an essay published in 1890 by Kallenberg in Der Sammler and on an unpublished notebook of the antiquary and collector Robert Forrer, the paper examines the potential of these sources to complement our knowledge of the beginnings of interest in Late Antique textiles from Egypt, traces the provenance of Kallenberg’s specimens in early collections and assesses their possible whereabouts today.
{"title":"An unknown collector of Late Antique textiles from Egypt","authors":"Anna Głowa","doi":"10.1093/jhc/fhad012","DOIUrl":"https://doi.org/10.1093/jhc/fhad012","url":null,"abstract":"The purpose of this paper is to present an outline sketch of Carl Kallenberg, a little-known nineteenth-century collector of antiquities, and the circumstances of his purchase of Late Antique textiles from Egypt, and to summarize the further history of this ensemble. Calling on an essay published in 1890 by Kallenberg in Der Sammler and on an unpublished notebook of the antiquary and collector Robert Forrer, the paper examines the potential of these sources to complement our knowledge of the beginnings of interest in Late Antique textiles from Egypt, traces the provenance of Kallenberg’s specimens in early collections and assesses their possible whereabouts today.","PeriodicalId":44098,"journal":{"name":"Journal of the History of Collections","volume":"181 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139589589","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1593 Francesco Maria II della Rovere, Duke of Urbino, sent a number of diplomatic gifts to Philip II of Spain, intended for the crown prince, the future Philip III. The gifts included a silver model of a citadel accompanied by a set of compasses, the whereabouts of which are currently unknown; a small gilt-bronze sculptural group which has been identified with Giovanni Bandini’s The Hunt, today in the Prado Museum; and an illuminated manuscript recounting glorious episodes from the reign of the Emperor Charles V, Philip III’s grandfather, identified with British Library, Add. ms 33733, which contains miniatures possibly by Simonzio Lupi. A study of some of the inventories made in Madrid at the beginning of the seventeenth century has revealed that The Hunt and the illuminated manuscript might subsequently have belonged to persons close to the Duke of Lerma, Philip III’s prime minister – namely, Juan de Borja, the duke’s uncle, and Jerónimo Funes, the son-in-law of the secretary of state, Count of Villalonga, respectively.
1593 年，乌尔比诺公爵弗朗切斯科-玛丽亚二世-德拉罗韦雷向西班牙腓力二世赠送了许多外交礼物，这些礼物是为王储，也就是未来的腓力三世准备的。这些礼物包括一个银制的城堡模型和一套罗盘，目前下落不明；一个小型镀金青铜雕塑群，经鉴定为乔瓦尼-班迪尼的作品《狩猎》，现藏于普拉多博物馆；以及一份描绘了腓力三世的祖父查理五世皇帝在位时的光辉事迹的彩绘手稿，经鉴定为大英图书馆藏品，编号 ms 33733，其中的微型画可能出自 Simonzio Lupi 之手。对 17 世纪初在马德里制作的一些清单进行研究后发现，《狩猎》和彩绘手稿后来可能分别属于菲利普三世的首相莱尔马公爵的亲信--即公爵的叔叔胡安-德-博尔哈和国务秘书比利亚隆加伯爵的女婿杰罗尼莫-富内斯。
{"title":"Doubts and certainties about the Duke of Urbino’s diplomatic gifts to Prince Philip of Spain in 1593","authors":"Àngel Campos-Perales","doi":"10.1093/jhc/fhad052","DOIUrl":"https://doi.org/10.1093/jhc/fhad052","url":null,"abstract":"In 1593 Francesco Maria II della Rovere, Duke of Urbino, sent a number of diplomatic gifts to Philip II of Spain, intended for the crown prince, the future Philip III. The gifts included a silver model of a citadel accompanied by a set of compasses, the whereabouts of which are currently unknown; a small gilt-bronze sculptural group which has been identified with Giovanni Bandini’s The Hunt, today in the Prado Museum; and an illuminated manuscript recounting glorious episodes from the reign of the Emperor Charles V, Philip III’s grandfather, identified with British Library, Add. ms 33733, which contains miniatures possibly by Simonzio Lupi. A study of some of the inventories made in Madrid at the beginning of the seventeenth century has revealed that The Hunt and the illuminated manuscript might subsequently have belonged to persons close to the Duke of Lerma, Philip III’s prime minister – namely, Juan de Borja, the duke’s uncle, and Jerónimo Funes, the son-in-law of the secretary of state, Count of Villalonga, respectively.","PeriodicalId":44098,"journal":{"name":"Journal of the History of Collections","volume":"14 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139464836","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Raffaello e l’antico nella villa di Agostino Chigi","authors":"Piers Baker-Bates","doi":"10.1093/jhc/fhad047","DOIUrl":"https://doi.org/10.1093/jhc/fhad047","url":null,"abstract":"","PeriodicalId":44098,"journal":{"name":"Journal of the History of Collections","volume":"7 5","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-01-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139451311","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Architekturzeichnungen der Sammlung Albrecht Haupt","authors":"M. Evans","doi":"10.1093/jhc/fhad050","DOIUrl":"https://doi.org/10.1093/jhc/fhad050","url":null,"abstract":"","PeriodicalId":44098,"journal":{"name":"Journal of the History of Collections","volume":"50 4","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138946184","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Numismatic World in the Long Nineteenth Century","authors":"Jonathan Kagan","doi":"10.1093/jhc/fhad049","DOIUrl":"https://doi.org/10.1093/jhc/fhad049","url":null,"abstract":"","PeriodicalId":44098,"journal":{"name":"Journal of the History of Collections","volume":"54 40","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138946345","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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