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Smuggling the Renaissance
Smuggling the Renaissance: The Illicit Export of Artworks Out of Italy, 1861-1909explores the phenomenon of art spoliation in Italy following Unification (1861), when the international demand for Italian Renaissance artworks was at an all-time high but effective art protection legislation had not yet been passed.Making use of rich archival material Joanna Smalcerz narrates the complex and often dramatic struggle between the lawmakers of the new Italian State, and international curators (e.g., Wilhelm Bode), collectors (e.g., Isabella Stewart Gardner) and dealers (e.g., Stefano Bardini) who continuously orchestrated illicit schemes to export abroad Italian masterpieces. At the heart of the intertwinement of the art trade, art scholarship and art protection policies the author exposes the socio-psychological dynamics of unlawful collecting.
Wilhelm Bode and the Art Market
The volume exposes the modus operandi of Wilhelm Bode’s strategic involvement in the art market and the formation and dissolution of public and private collections, showcasing his complex agency within the art marketplace of the late nineteenth and early twentieth centuries.
Smuggling the Renaissance
Smuggling the Renaissance: The Illicit Export of Artworks Out of Italy, 1861-1909 explores the phenomenon of art spoliation in Italy following Unification (1861), when the international demand for Italian Renaissance artworks was at an all-time high but effective art protection legislation had not yet been passed. Making use of rich archival material Joanna Smalcerz narrates the complex and often dramatic struggle between the lawmakers of the new Italian State, and international curators (e.g., Wilhelm Bode), collectors (e.g., Isabella Stewart Gardner) and dealers (e.g., Stefano Bardini) who continuously orchestrated illicit schemes to export abroad Italian masterpieces. At the heart of the intertwinement of the art trade, art scholarship and art protection policies the author exposes the socio-psychological dynamics of unlawful collecting.
Italy for Sale
In the late nineteenth and early twentieth centuries, Italian Renaissance art, objects, and even the idea of Italy itself figured heavily both in the dynamic international art market and in the eyes of the general public. The alternative objects that were actively dispersed and collected -- authentic works, pastiches, Renaissance-inspired counterfeits, and reproductions -- in the diverse media of paint, plaster, terracotta, and photography, had a tremendous impact on visual culture across social strata. These essays examine less studied aspects of this market through the lens of just a few of the countless successful sales of objects out of Italy.
Italian Forgers
Italian Forgers takes an unorthodox approach to the fascinating topic of art forgery, focusing not on art forgery per se, but on the major forgery scandals that shifted the Italian art market in response to constant, and often intense, demand for Italian objects. By focusing on power dynamics that both precipitated forgery scandals and forged Italian cultural identities, this book connects the debates and discussions about three well-known Italian forgers—Giovanni Bastianini, Icilio Joni, and Alceo Dossena—to anchor and investigate the mechanics of the Italian art market from unification through the fascist era. Carol Helstosky examines foreign accounts of transactions and Italian writin...
Money in the Air
This volume explores the crucial role of art dealers in creating a transatlantic art market in the late nineteenth and early twentieth centuries. “There was money in the air, ever so much money,” wrote Henry James in 1907, reflecting on the American appetite for art acquisitions. Indeed, collectors such as Henry Clay Frick and Andrew W. Mellon are credited with bringing noteworthy European art to the United States, with their collections forming the backbone of major American museums today. But what of the dealers, who possessed the expertise in art and recognized the potential of developing a new market model on both sides of the Atlantic? Money in the Air investigates the often-overloo...
Wilhelm von Bode and the American Art Market
Based on an extensive and very meticulous study of different archives and the evaluation of original, previously unpublished, archival material, this book highlights the key aspects and trends of the European and American art markets in the late nineteenth and early twentieth centuries. In particular, the book focuses on how these markets influenced each other from the viewpoint of one of the most prominent museum directors of this period, Wilhelm von Bode (1845–1929). Given the complexity of the topic, the book is structured into two parts. The first part focuses on Bode’s interactions with the German banker and dedicated art collector based in Paris, Rudolphe Kann (1845–1905). The second part follows the sale of the Kann Collection to the dealer Joseph Duveen and follows on the relationship between Bode, Duveen and the American collectors. The book will be of interest to scholars working in art history, museum studies, and the art market.
Dealing Art on Both Sides of the Atlantic, 1860-1940
Dealing Art on Both Sides of the Atlantic, 1860-1940 aims to bring the marketplace dynamic into sharper focus with its essays which examine the many functionaries who participate in the art market network, among them, agents, scouts, intermediaries, restorers, fakers, decorators, advisers and experts. All of the essays are rooted in case studies which give voice to the various aspects of supply−from branding to marketing, from inventory to display, from restoration to pastiche to fabrication. Each is incredibly rich in their marshalling of primary sources and archival materials; in sum, they present an impressive array of new research. Contributors are: Fae Brauer, Denise M. Budd, Patrizia Cappellini, Lynn Catterson, Sebastien Chaffour, Laura D. Corey, Flaminia Gennari-Santori, Jacqueline Marie Musacchio, Joanna Smalcerz, Alexandra Provo, AnnaLea Tunesi, and Leanne Zalewski.
Van Gogh's Finale
A captivating and definitive account of the final days of Van Gogh's life and the incredible story of what followed. Divided into three parts, the book first examines the eventful days from the artists’ departure from the asylum in Saint-Remy and arrival in Auvers until the shooting which brought his life to an end. During this time Van Gogh completed 70 paintings in 70 days. The second part delves deeper into the story of the artist’s death, which has intrigued both experts and the public for years, revealing little-known stories and uncovering overlooked accounts. We then follow the story of how Van Gogh subsequently rose from relative obscurity to international renown and ultimately fame as one of the most recognisable and popular artists in the world. Leading Van Gogh specialist Martin Bailey writes with insight and intelligence, bringing these fateful days to life with colour and character as well as historical expertise, capturing the real sense of a tragic but meaningful life truly lived.
Edward Burne-Jones on Nature
This volume studies some of Edward Burne-Jones’s paintings, focusing specifically on his approach to nature, both through his observations about the real, physical world and through his symbolic interpretations of earthly and celestial realms. Burne-Jones’s appreciation for natural formations grew from his interests in astronomy and geography, and was expanded by his aesthetic sensibility for physical and metaphysical beauty. His drawings and watercolors carefully recorded the physical world he saw around him. These studies provided the background for a collection of paintings about landscapes with flora and fauna, and ignited an artistic furor that inspired the imagery he used in his allegorical, fantasy, and dream cycles about forests, winding paths, and sweet briar roses. This study focuses on two main ideas: Burne-Jones’s concept of ideal and artificial or magical nature expressed and represented in his drawings and paintings, and the way in which he fused his scientific knowledge about nature with some of the symbolism in his paintings.
