Collecting and Collections

DOSSIÊ Resumo: Este texto discute a arqueologia praticada na Amazônia e seus temas correlatos, que incluem as pessoas e as comunidades; suas coisas e paisagens; a gestão dos acervos e a atuação das instituições. Diferencia as ideias de colecionismo e colecionamento dentro do contexto amazônico. Ao apresentar um projeto de pesquisa acadêmica vinculada ao Museu Goeldi, defende a gestão engajada e a guarda compartilhada dos acervos arqueológicos gera-dos. Propõe o conceito de arqueologia sensível, como uma arqueologia humilde, desalienada e, por conseguinte, comprometida e poderosa. Palavras-chave: Arqueologia Sensível. Acervos Arqueológicos. Gestão Engajada. "E você ainda acredita que é um doutor padre ou policial Que está contribuindo com sua parte para o nosso belo quadro social Eu é que não me sento no trono de um apartamento Ccom a boca escancarada cheia de dentes esperando a morte chegar"

In May 1936 eleven small objects that had arrived a few days earlier at the port of Piraeus aboard the ‘Sorrento’ were added to the Benaki  Museum inventory book with the numbers 2411 to 2420 and 2910. They were part of a donation of 452 ceramics, mostly Chinese, from the collection of George Eumorfopoulos (1863–1939), a British collector of Greek origin. Back in 1929, Eumorfopoulos, the most celebrated East Asian art collector of his generation, had offered 341 ceramics to the Greek nation and two years later these were included in the founding collection of the museum that Antonis Benakis (1873–1954) created in memory of his parents. The eleven ceramics of the 1936 donation, dated to between the eleventh and eighteenth centuries, were of Korean manufacture; they had already been published in 1928 in the lavish Eumorfopoulos Collection catalogue. This book examines these eleven ceramics as works of Goryeo and Joseon art but also as collector's items in the 20th century and as museum objects in the 21st century.

https://www.benakishop.gr/en/new-arrivals/keramiki-apo-tin-korea-sto-mouseio-mpenaki-sullogi-georgiou-eumorfopoulou-ceramics-from-korea-at-the-benaki-museum-the-george-eumorfopoulos-collection-bmm471.html

A book published on the occasion of the ‘Ceramics from Korea’ exhibition at the Benaki Museum / Pireos 138 in autumn 2021 (23 September – 7 November), celebrating 60 years of friendship between Korea and Greece (1961–2021).

Van Dyck’s paintings have been thoroughly analyzed in terms of style, iconography and patronage, but there has been no systematic analysis of how these pictures were recorded in Stuart inventories. Pictures attributed to Van Dyck are listed in several royal inventories from c.1639 to c.1688 – from those compiled by Abraham van der Doort c.1639 to the Commonwealth sale of 1649–51, to Charles II of c.1666–67, Henrietta Maria of 1669 and James II of c.1685–88. This article considers the subject matter and placement of Van Dyck’s pictures in a range of palace and room contexts, and charts change and continuity of display across the inventories. The article shows the potential for the close comparison of these royal inventories for understanding display, taste and dynastic politics at the Stuart court.

This chapter implements a neuroscientific approach to the psyche of collectors.  It is by a board certified neurologist and psychiatrist.  The file uploaded is a final proof with minor alternations that were made for the book itself.  They can be provided upon request.

Ignazio Enrico Hugford (1703-1778) was a painter of English origin who was trained under Anton Domenico Gabbiani. As art dealer and connoisseur, he was among the most important collectors of works on paper in eighteenth-century Florence and had prolific and wide-ranging contacts throughout Europe. He was in close touch with Francesco Maria Niccolò Gabburri, and his correspondents also included Pierre Jean Mariette and Giovanni Gaetano Bottari. Among the over three thousand drawings bequeathed to his heirs and acquired in 1779 for the Uffizi by its director Giuseppe Pelli Bencivenni, one hundred and five sheets were attributed to artists of non-Italian schools. The attentive descriptions of Pelli’s inventory, the characteristic framing applied by Hugford and his inscriptions on some of the sheets have made it possible to identify almost all of these drawings, now in the Gabinetto Disegni e Stampe degli Uffizi. Research has also revealed Hugford’s talent as connoisseur, his interest in certain artists, and how Northern European drawings were regarded in the Florence of his time. This group includes sheets attributed to the Germans Dürer and Holbein, the Flemings Spranger and Lucas van Leyden, the French Callot and La Fage, and the Portuguese Francisco Vieira. Although many of these attributions are no longer acceptable, the identification of individual drawings has made it possible to confirm their authorship, and in some cases to suggest new attributions.

Cette thèse parle d’Hommes, d’art et de société. Elle traite de l’histoire d’un banquier Juif ashkénaze né à Bonn en 1804 et de ses descendants. À travers l’étude de douze demeures et de leurs collections, elle raconte l’histoire d’une dynastie d’entrepreneurs qui, de l’ancien Ghetto de Bonn – 821 rue des Juifs – rejoignit le sommet de la haute société européenne. Portraiturés par Léon Bonnat, Carolus-Duran et Renoir, Meyer Joseph Cahen d’Anvers et ses enfants Édouard, Emma, Louis, Raphaël et Albert vécurent les conséquences de l’Affaire Dreyfus, s’efforçant d’exprimer la plénitude de leurs droits civils à travers la sociabilité et le mécénat. Dans leurs salons, en ville et à la campagne, les lecteurs croiseront les pas de Guy de Maupassant, Paul Bourget, Marcel Proust et César Franck, ou encore de Gabriele D’Annunzio et Matilde Serao. Au château de Champs-sur-Marne, à Torre Alfina et dans les autres demeures de la famille les architectes Destailleur et Giuseppe Partini, ou encore les paysagistes Henri et Achille Duchêne, surent plier la « grammaire » du Moyen Âge, de la Renaissance et du XVIIIe siècle au goût et aux ambitions de leurs commanditaires.

https://www.lgdj.fr/les-cahen-d-anvers-en-france-et-en-italie-9782370323743.html

[By Christopher Lotis and Michel D. Lee; Foreword by P.M. Taylor. This full book is uploaded here while the Smithsonian website, where it was published online, is being revised.]

An important theme of this volume is the relationship between ceramics and cultural identity, especially as it relates to a particular family’s collection, and also to the broader study of the personal and social aspects of collecting. The book thus forms a contribution not only to the study of Korea’s material heritage but also to Korean-American or Asian-American studies, and to the
history of collecting. It will surely be of interest to art as well as social historians, and to all those who appreciate the aesthetic quality of Korea’s ceramic art.

The authors’ “behind-the-scenes” study of this private collection included the creation of an extensive research database about it, not only the ceramics included in this volume but also paintings, costumes, bronze works, and many other objects that could form the basis for subsequent studies. The collection includes some important twentieth-century ceramics that have not been included within this volume; these await study alongside other works by contemporary artists in this wide-ranging
collection. As the authors emphasize, the component of the Chang collection selected for publication here has been extensively tested using thermoluminescence testing. For this reason, these objects constitute an important “type collection” of tested pieces for this type of materials analysis, against which other ceramic works may be compared.

This book should therefore serve as an important reference for work on its topic, as a unique and well-illustrated introduction to this private collection and its significance; and hopefully also as a stimulus for other studies within this and related private collections.

[NOTE: 2 photos, available in the print edition (p. 12), have been extracted from this online book because the copyright holder disallows online publication of those photos.]

The paper aims to analyze the connections among Pope Benedict XIV, Cardinal Silvio Valenti
Gonzaga, religious orders such as Calasanziani and Camilliani, and the Sicilian painters in
Rome, in order to reconstruct the nuanced and facetted plot of the cultural, social and religious
connections between Sicily and the Eternal City in 18th century.
This text intends to study the training and first commissions of Sebastiano Conca’s pupils Gaspare
Serenario and Salvatore Monosilio as well Marco Benefial’s pupils Gioacchino Martorana and
Mariano Rossi and Vito D’Anna during their roman career.
Furthermore, the paper wants to sketch out the crucial role played by the beatification and
canonization of Prospero Lambertini pointing out how these religious feasts shaped contemporary
artistic production and how Sicilian artists were chiefly involved in these commissions.

L’articolo si propone di analizzare i collegamenti tra Papa Benedetto XIV, Cardinal Silvio
Valenti Gonzaga, gli ordini religiosi come i Calasanziani e i Camilliani e i pittori siciliani
a Roma, con lo scopo di ricostruire, in tutte le sue sfumature e sfaccettature, la trama del
legame religioso tra la Sicilia e la Città Eterna nel XVIII secolo.
Si intende qui studiare la formazione e le prime commissioni agli allievi di Sebastiano
Conca, Gaspare Serenario e Salvatore Monosilio, e agli allievi di Marco Benefial,
Gioacchino Martorana, Mariano Rossi e Vito D’Anna, durante la loro carriera romana.
Inoltre, si vuole delineare il ruolo cruciale avuto dalla beatificazione e canonizzazione
di Prospero Lambertini, sottolineando come questi eventi religiosi abbiano influenzato
la produzione artistica contemporanea e come gli artisti siciliani furono attivamente
coinvolti nelle suddette commissioni.

This document provides the full text, there are only very few  image changes to the printed version. 

Contributions by

KONSTANTINOS CHATZIANTONIOU
JOACHIM GIERLICHS
FRANAK HILLOOWALA
KATHRYN KALEMKERIAN
SABA AL KUWARI
LISA MALCOM
JULES MCDEVITT
SHEIKHA AL NASSER
SUSAN REES
MICHELLE WALTON

in «Notizie di pittura raccolte dal Padre Resta». Il carteggio con Giuseppe Ghezzi e altri corrispondenti, a cura di Maria Rosa Pizzoni, Roma, UniversItalia, 2018, pp. 107-128.
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Su padre Sebastiano Resta e Leonardo da Vinci si veda anche: https://www.academia.edu/49350830/_Vero_lume_il_Leonardo_e_i_Leonardo_di_padre_Resta

Apart from a few notable exceptions, British painters from the late Victorian and Edwardian periods have suffered from the modernist historiography which deemed it parochial and unworthy of study. Recent developments in art history have generally revised such scathing opinion and have sought to reassess the artistic quality of many pre-WWI British painters.

While riding this wave of reappraisals, this dissertation is less interested in entering the aesthetic debate than disputing the domestic nature of late Victorian and Edwardian art. Indeed, by drawing from an interdisciplinary approach including cultural studies, cultural economics and art history, the present study aims at contextualising late Victorian and Edwardian painting in an international artistic environment in order to assess its critical and commercial success.

Due to its dual nature as exhibition and commercial platform as well as some strong Anglophile leaning in its early period, the Venice Biennale arguably provides an ideal case study. Over its eleven pre-war editions running between 1895 and 1914, it gradually shifted from late-comer to reference point in the international artistic arena. Chartering the evolution of the presence, reception and commercial results of British painters at Venice, this dissertation intends to shed more light on a sample of circa three hundred artists and their place within a segment of the international Belle époque art market.

Статья посвящена судьбе коллекции античных памятников, принадлежавшей одесскому штабс-капитану Е.А. Шуманскому, предложенной в начале XX в. для приобретения Императорскому Эрмитажу, отклоненной, но частично представленной на 12 сохранившихся фотографиях. В это собрание, составленное на рубеже XIX–XX вв., входили найденные в Северном Причерноморье, а также вывезенные из Италии и Греции предметы, среди которых имелись подделки. В результате обращения к архивным материалам Государственного Эрмитажа, Одесского археологического музея и ГАОО удалось выяснить, что 9 вещей из числа запечатленных на фотографиях предметов находятся ныне в Одесском археологическом музее. Сохранившиеся в фондах РГВИА, газетах и других изданиях начала XX в. сведения позволили уточнить подробности не вполне ординарной биографии Е.А. Шуманского — военного, коллекционера, публициста, монархиста и участника одесского шулерского синдиката по кличке «Наполеон». Этот персонаж характерен для своего времени, как и судьба его коллекции. В конце XIX–начале XX в. рост интереса к древностям и их коллекционированию достиг невиданного размаха среди широких слоев населения. Для удовлетворения потребностей этого рынка активизировались нелегальные раскопки на территории некрополей античных городов Северного Причерноморья, создавались подделки, перепродавались найденные в Греции и Италии артефакты. Благодаря появившимся в те годы многочисленным частным любительским коллекциям, древности оказывались в весьма удаленных краях Российской Империи, и многие из этих вещей до сих пор хранятся в местных музеях.

Vasko D.S. An Odessa Collector Eugene A. Shumansky and His Collection of Antiquities. Klio #11 (107) 2015, pp. 118–130.

The article tells about the collection of antiquities that was once held by an Odessa collector, junior captain (ober-lieutenant) E.A. Shumansky. It was unsuccessfully offered for sale to the Imperial Hermitage in the early XX century. This collection was partly represented on 12 preserved photographs. The antiquities were found in the Northern Black Sea region, some artifacts came from Italy and Greece, also including several forgeries. Nine items from this collection have been found in the OdessaArchaeologicalMuseum. The author has also got more specific information on the biography of E.A. Shumansky, who was not only an officer and an amateur collector, but also a writer and a monarchist. He was also known as «Napoleon» in the Odessa cardsharpers’ syndicate. This person and the fate of his collection are very typical for that time. In the end of the XIX–beginning of the XX centuries people in Russian Empire became very interested in collecting the ancient monuments. To fulfill the demand of this quick-growing market, the illegal excavations were activated, the forgeries were produced and some artifacts from Italy and Greece were resold. Because of a lot of collections of antiquities which were made and scattered across the Russian Empire some artifacts are able to be found in the local museums.

Mudéjar pieces of furniture with bone inlay (taracea) were favoured by art critics during the second
half of the 19th century. The fact that the technique was heir to sophisticated Islamic culture as well
as the delicacy of the work helped its prestige. Antique furniture with solid wood inlay and block
inlay were desirable merchandise for antique dealers. The main collectors, like Eusebi Güell, placed
them together with other pieces of ancient and modern art, creating ‘a nice variety’. Furthermore,
the success of the technique led to its restoration, recreation, copy and forgery. Workshops, such as
those of Gaspar Homar and Miguel Sastre, built and restored furniture with these types of handwork,
commonly referred under the name of tarsia in the Catalan documents.
Keywords: inlay, bone, Barcelona, furniture, workshops, M. Sastre

This article examines the exhibitions and sales of Yuanmingyuan (or "Summer Palace") loot taken from China in October 1860 by two soldiers in the Anglo-French armies-James Bruce, 8th Earl of Elgin (1811-1863) and Captain Jean-Louis de Negroni (b.1820). Both men displayed their collections before auctioning them-the former in the prestigious South Kensington Museum (now the V&A) in 1862; the latter in a well known exhibitionary site, the Crystal Palace in Sydenham in 1865. Such displays and public exhibitions were used as a device for enhancing the value of collections destined for the art market. This paper focuses on the commercial and exhibitionary practices at play in the dispersal of Elgin's and Negroni's collections of Summer Palace loot. It examines how these objects became enmeshed in the interacting system of auction, dealer and exhibitionary sphere, emphasising the role of auction houses, the significance of British press coverage in confirming the quality and value of collections, and the interrelationships with prominent sites of public display in 1860s and 1870s London.