{"title":"The Temple of Fame & Friendship: Portraits, music, and history in the C.P.E. Bach circle","authors":"Naomi J. Barker","doi":"10.1093/jhc/fhad026","DOIUrl":"https://doi.org/10.1093/jhc/fhad026","url":null,"abstract":"","PeriodicalId":44098,"journal":{"name":"Journal of the History of Collections","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45564297","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}
King William II of the Netherlands (1792–1849) created important art collections with the benefit of advice from leading dealers at home and abroad, for which special premises were built in one of the royal palaces in The Hague. Whenever the monarch was not in residence, these were made accessible to visitors. Following William’s sudden death in 1849 almost everything was sold and the paintings are now distributed around the world. An attempt is made here to reconstruct the contemporary presentation of these collections, both in The Hague and before that in the palace in Brussels; online appendices present, respectively, an account of the images of the collection in the Kneuterdijk Palace, The Hague (1842–1850); a chronological list of the acquisitions of William as prince and king in 1817–28 and 1837–48; and details of eleven paintings now in the Wallace Collection.
{"title":"The art collections and museum of King William II of the Netherlands (1792–1849)","authors":"E. Bergvelt","doi":"10.1093/jhc/fhad016","DOIUrl":"https://doi.org/10.1093/jhc/fhad016","url":null,"abstract":"\u0000 King William II of the Netherlands (1792–1849) created important art collections with the benefit of advice from leading dealers at home and abroad, for which special premises were built in one of the royal palaces in The Hague. Whenever the monarch was not in residence, these were made accessible to visitors. Following William’s sudden death in 1849 almost everything was sold and the paintings are now distributed around the world. An attempt is made here to reconstruct the contemporary presentation of these collections, both in The Hague and before that in the palace in Brussels; online appendices present, respectively, an account of the images of the collection in the Kneuterdijk Palace, The Hague (1842–1850); a chronological list of the acquisitions of William as prince and king in 1817–28 and 1837–48; and details of eleven paintings now in the Wallace Collection.","PeriodicalId":44098,"journal":{"name":"Journal of the History of Collections","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41600354","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}
Journal Article The Emergence of the Antique and Curiosity Dealer in Britain, 1815–1850: The commodification of historical objects Get access Mark Westgarth, The Emergence of the Antique and Curiosity Dealer in Britain, 1815–1850: The commodification of historical objects. London and New York, Routledge, 2020. isbn978–1–4094–0579–5. 191 pp., 36 b. & w. illus. £130. Kate Heard Kate Heard UK kate.heard@rct.uk Search for other works by this author on: Oxford Academic Google Scholar Journal of the History of Collections, fhad020, https://doi.org/10.1093/jhc/fhad020 Published: 30 May 2023
{"title":"The Emergence of the Antique and Curiosity Dealer in Britain, 1815–1850: The commodification of historical objects","authors":"Kate Heard","doi":"10.1093/jhc/fhad020","DOIUrl":"https://doi.org/10.1093/jhc/fhad020","url":null,"abstract":"Journal Article The Emergence of the Antique and Curiosity Dealer in Britain, 1815–1850: The commodification of historical objects Get access Mark Westgarth, The Emergence of the Antique and Curiosity Dealer in Britain, 1815–1850: The commodification of historical objects. London and New York, Routledge, 2020. isbn978–1–4094–0579–5. 191 pp., 36 b. & w. illus. £130. Kate Heard Kate Heard UK kate.heard@rct.uk Search for other works by this author on: Oxford Academic Google Scholar Journal of the History of Collections, fhad020, https://doi.org/10.1093/jhc/fhad020 Published: 30 May 2023","PeriodicalId":44098,"journal":{"name":"Journal of the History of Collections","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135643546","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":"Enriching the V&A: A collection of collections (1862–1914)","authors":"Peter Trippi","doi":"10.1093/jhc/fhad019","DOIUrl":"https://doi.org/10.1093/jhc/fhad019","url":null,"abstract":"","PeriodicalId":44098,"journal":{"name":"Journal of the History of Collections","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46641496","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":"Art Markets, Agents and Collectors: Collecting strategies in Europe and the United States, 1550–1950","authors":"J. Conlin","doi":"10.1093/jhc/fhad018","DOIUrl":"https://doi.org/10.1093/jhc/fhad018","url":null,"abstract":"","PeriodicalId":44098,"journal":{"name":"Journal of the History of Collections","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41972106","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}
Between 1853 and 1876, an unparalleled corpus of prints and photographs after the works of Raphael was assembled at the instigation of Prince Albert. Such an ambitious endeavour necessitated scrupulous bibliographic research, the assistance of art historians and artists, and international collaboration on a novel scale, as well as the harnessing of nascent photographic technologies. The Raphael Collection, recently digitized, remains a significant resource for the study of the artist’s oeuvre. This article sketches the genesis and development of the collection, considering, among other sources, previously uncited evidence in Queen Victoria’s journal. It then charts the collection’s fortunes after Albert’s death in 1861, drawing on unpublished correspondence between the prince’s librarians and royal courtiers, which illuminates the purpose, physical format and intended audience for the collection and its accompanying catalogue. Finally, it offers the first assessment of the early reception of the Raphael Collection among critics and Raphael scholars.
{"title":"Collecting Raphael in reproduction in the nineteenth century","authors":"Carly Collier","doi":"10.1093/jhc/fhac029","DOIUrl":"https://doi.org/10.1093/jhc/fhac029","url":null,"abstract":"Between 1853 and 1876, an unparalleled corpus of prints and photographs after the works of Raphael was assembled at the instigation of Prince Albert. Such an ambitious endeavour necessitated scrupulous bibliographic research, the assistance of art historians and artists, and international collaboration on a novel scale, as well as the harnessing of nascent photographic technologies. The Raphael Collection, recently digitized, remains a significant resource for the study of the artist’s oeuvre. This article sketches the genesis and development of the collection, considering, among other sources, previously uncited evidence in Queen Victoria’s journal. It then charts the collection’s fortunes after Albert’s death in 1861, drawing on unpublished correspondence between the prince’s librarians and royal courtiers, which illuminates the purpose, physical format and intended audience for the collection and its accompanying catalogue. Finally, it offers the first assessment of the early reception of the Raphael Collection among critics and Raphael scholars.","PeriodicalId":44098,"journal":{"name":"Journal of the History of Collections","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48304882","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 New York Market for French Art in the Gilded Age, 1867–1893","authors":"Barbara Lasic","doi":"10.1093/jhc/fhad017","DOIUrl":"https://doi.org/10.1093/jhc/fhad017","url":null,"abstract":"","PeriodicalId":44098,"journal":{"name":"Journal of the History of Collections","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43171470","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}
Hans Le Thoor of Amsterdam is known as a versatile art dealer, who conducted business in the Netherlands. In 1620 he made an ill-fated attempt to sell Dutch paintings to the King of Denmark, Christian IV (1577–1648), with the help of the ‘painter and spy’ Pieter Isaacsz (1569–1625). This study draws attention to the fact that, before this interesting episode, Le Thoor had been active in Central Europe in dealings with Emperor Rudolf II (1552–1612). The inventories of the Rudolfine collections list exotic objects, naturalia and Chinese paintings delivered by Le Thoor to the court in Prague in 1609. His experience in Prague had a bearing on the later attempted sale to the Danish king, to whom Le Thoor also tried to sell Rudolfine paintings that he had acquired in Brussels between 1618 and 1620 at the partial sell-off of the collection of Rudolf’s brother Archduke Albrecht (1559–1621). New information on Le Thoor’s life and business strategies has come to light through study of archival sources relating to his activities with the Habsburgs. As presented here, these findings advance our knowledge of the mode of operation and scale of international dealer networks in Le Thoor’s time.
阿姆斯特丹的Hans Le Thoor是一位多才多艺的艺术品经销商，他在荷兰开展业务。1620年，他在“画家兼间谍”Pieter Isaacsz（1569-1625）的帮助下，向丹麦国王克里斯蒂安四世（1577-1648）出售荷兰画作，这是一次命运多舛的尝试。这项研究引起了人们的注意，在这一有趣的事件发生之前，勒托一直活跃在中欧，与皇帝鲁道夫二世（1552-11612）打交道。Rudolfine藏品清单列出了1609年Le Thoor交付给布拉格宫廷的异国物品、自然和中国画。他在布拉格的经历与后来试图出售给丹麦国王有关，勒托还试图出售他在1618年至1620年间在布鲁塞尔购买的鲁道夫画作，当时鲁道夫的兄弟阿尔布雷奇特大公（1559–1621）的藏品被部分抛售。通过研究与勒托在哈布斯堡王朝的活动有关的档案来源，人们发现了有关勒托生活和商业战略的新信息。正如本文所述，这些发现促进了我们对勒托时代国际经销商网络的运营模式和规模的了解。
{"title":"The Amsterdam dealer Hans Le Thoor at the court of Emperor Rudolf II","authors":"Sylva Dobalová","doi":"10.1093/jhc/fhad010","DOIUrl":"https://doi.org/10.1093/jhc/fhad010","url":null,"abstract":"\u0000 Hans Le Thoor of Amsterdam is known as a versatile art dealer, who conducted business in the Netherlands. In 1620 he made an ill-fated attempt to sell Dutch paintings to the King of Denmark, Christian IV (1577–1648), with the help of the ‘painter and spy’ Pieter Isaacsz (1569–1625). This study draws attention to the fact that, before this interesting episode, Le Thoor had been active in Central Europe in dealings with Emperor Rudolf II (1552–1612). The inventories of the Rudolfine collections list exotic objects, naturalia and Chinese paintings delivered by Le Thoor to the court in Prague in 1609. His experience in Prague had a bearing on the later attempted sale to the Danish king, to whom Le Thoor also tried to sell Rudolfine paintings that he had acquired in Brussels between 1618 and 1620 at the partial sell-off of the collection of Rudolf’s brother Archduke Albrecht (1559–1621). New information on Le Thoor’s life and business strategies has come to light through study of archival sources relating to his activities with the Habsburgs. As presented here, these findings advance our knowledge of the mode of operation and scale of international dealer networks in Le Thoor’s time.","PeriodicalId":44098,"journal":{"name":"Journal of the History of Collections","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46466307","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":"Le musée: une histoire mondiale, 3 vols., i: Du trésor au musée; ii: L’ancrage européen; iii: À la conquête du monde","authors":"Stephen Bann","doi":"10.1093/jhc/fhad015","DOIUrl":"https://doi.org/10.1093/jhc/fhad015","url":null,"abstract":"","PeriodicalId":44098,"journal":{"name":"Journal of the History of Collections","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-04-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48583002","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 presents ‘prolegomena’ to a deeper study of picture collecting and portraiture in Florence through the lens of Niccolò Gaddi’s commissions between 1560 and 1591. Originating in the lost gallery in Casa dell’Orto, fifteen portraits are isolated here, for the first time, as having formed the nucleus of the collection that belonged to Niccolò. Partly comprising hitherto unpublished paintings, they allow for an analysis of provenances and the subjects’ dynastic history that sheds light on the commissions of Niccolò and his family members. This represents a first step in the reconstruction of one of the most important private collections in Florence associated with the court of Francesco I and Ferdinando I de’ Medici. Moreover, the micro-case of Gaddi’s ‘quadreria familiare’ may lead to a better understanding of portrait painting in the circle of the ‘Pittori dello Studiolo’, greatly beloved by this ‘gentilhuomo privato con ambizioni da qualsivoglia principe’.
本文通过尼科洛·加迪1560年至1591年间的委托，对佛罗伦萨的图片收藏和肖像画进行了更深入的研究。源于Casa dell‘Orto失落的画廊，15幅肖像画首次在这里被孤立，因为它们构成了属于尼科洛的藏品的核心。它们部分由迄今未出版的画作组成，可以分析来源和受试者的王朝历史，从而揭示尼科洛及其家族成员的委托。这是重建佛罗伦萨最重要的私人藏品之一的第一步，该藏品与弗朗切斯科一世和费迪南多·德美第奇的宫廷有关。此外，Gaddi的“quadreria family”的微观案例可能会让我们更好地理解“Pittori dello Studiolo”圈子里的肖像画，他深受这位“gentilhuomo privato con ambizioni da qualsivoglia principle”的喜爱。
{"title":"Family portraits from the lost Gaddi gallery: The Pittori dello Studiolo in the Florentine collection of Niccolò Gaddi","authors":"Mariaelena Floriani","doi":"10.1093/jhc/fhad007","DOIUrl":"https://doi.org/10.1093/jhc/fhad007","url":null,"abstract":"\u0000 This article presents ‘prolegomena’ to a deeper study of picture collecting and portraiture in Florence through the lens of Niccolò Gaddi’s commissions between 1560 and 1591. Originating in the lost gallery in Casa dell’Orto, fifteen portraits are isolated here, for the first time, as having formed the nucleus of the collection that belonged to Niccolò. Partly comprising hitherto unpublished paintings, they allow for an analysis of provenances and the subjects’ dynastic history that sheds light on the commissions of Niccolò and his family members. This represents a first step in the reconstruction of one of the most important private collections in Florence associated with the court of Francesco I and Ferdinando I de’ Medici. Moreover, the micro-case of Gaddi’s ‘quadreria familiare’ may lead to a better understanding of portrait painting in the circle of the ‘Pittori dello Studiolo’, greatly beloved by this ‘gentilhuomo privato con ambizioni da qualsivoglia principe’.","PeriodicalId":44098,"journal":{"name":"Journal of the History of Collections","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47729980","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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