History of Collecting and Art Markets

Persian rugs, porcelain, clocks, furnitures, militia and exotics. On the flows of furniture from confiscated Moravian-Silesian castles in the auction house Karel Ditrich Brno 1948–1950

Political developments in the early post-war Czechoslovakia led to radical ownership-property and structural-social changes. The quantity of confiscated objects was received in the arts trade, or even directly on the foreign market, through both illegal and legal ways. The permanent, officially unrecorded flow of confiscated artistic assets into private hands led in August 1949 to nationalization of private auction houses under the "Antikva" trademark. The continuing illegal flows of artistic property caused clashes between ministries. Against the attempt to preserve "state cultural assets" in public institutions, the economic interests of the state in the economic crisis stood. The paper based on fragmentary preserved sources reconstructs the situation in the arts auction business between 1945 and 1951. The Brno-based company Karel Ditrich, whose auctions dealed the artistic assets from the estates and chateaux of southern and northern Moravia, serves as an example of the auction house handling the confiscated property.

The Book appeared at the occassion of the 125th anniversary of (nowadays) Museum August Kestner in Hannover / Germany, and was published by the museum's Freinds' Society "Antike & Gegenwart e.V." - It contains the following three chapters:  (1) Christian E. Loeben: 125 Jahre Kestner-Museum - Der Weg zum ersten städtischen Museum Hannovers und seine ersten 20 Jahre unter Direktor Carl Schuchhardt (pages 9-40); - (2) Lothar Sickel: Der Weg zum »Museum Kestnerianum« - August Kestners Testamente (41-63) - PLEASE NOTE: those pages have been replaced by an EXTENSIVELY CORRECTED version of L. Sickel's paper which appeared in: Hannoversche Geschichtsblätter - Neue Folge, Band 68 (2014), pages 130-146; - (3) Christian E. Loeben (unter Mitwirkung von Andrea Basse, Eva Gläser, Thorsten Henke, Anne Viola Siebert und Simone Vogt): Kestner-Museum — Museum August Kestner: Über 125 Jahre Museumschronik (65-77). - Different versions of all three contributions appeared in: Hannoversche Geschichtsblätter - Neue Folge, Band 68 (2014), pages 130-180. - (in German)

The study case offered by the international artists exhibits set in some private galleries in Milan in the 1920s reconsiders the triumph of a special form – the solo show – in the broadest context of the art system in Italy and encompasses art criticism, market and collecting taste in the light of the different (when not yet diverging) positions in the first decade of the fascist era.
By focusing on the role played by Vittorio Pica, “curator” and art critic (but also Secretary General of the Venice Biennale in the editions 1920-1926), the exhibitions set in the galleries Pesaro, Bardi and Bottega di Poesia will be discussed: the names proposed on those occasions (Bernard, Rassenfosse, Liebermann, Grigorieff...) confirm an “internationalist” line, peculiar and isolated, in which one can read reluctances, missteps and generous openings of a rather delicate handover in the Italian artistic culture of the immediate first post-war period.

This book chapter contextualises and discusses what is left of the correspondence between the artist, collector and dealer, Count Anton Maria Zanetti di Girolamo, or Zanetti the Elder (1680-1767) and the German connoisseur and collector, Baron Philipp von Stosch (1691-1757), active in Rome from 1715 to 1717 and 1722 to 1731, and in Florence from 1731 to his death in 1757. Only one letter, dated 3 October 1733, survives of their correspondence, but there is good reason to assume that the two kept in contact—at least intermittently—over the years. There are also indications that they met in person, at least once in Venice where Zanetti resided. Both Stosch and Zanetti operated as art agents and dealers and had several contacts in common among the more prominent European collectors of the period such as Philippe d’Orléans and Pierre Crozat in France, and Henry Howard, 4th Earl of Carlisle and Sir Andrew Fountaine in Britain. Notably they shared a genuine interest in ancient engraved gems, which they both collected. Stosch had early positioned himself as a leading expert in this field, which at the time was at the very heart of antiquarian interest, by publishing a fully illustrated systematic study of gems signed by ancient engravers (Gemmae antiquae caelatae / Pierres antiques gravées, Amsterdam: Bernard Picart 1724). A second volume was advertised, but never appeared. Zanetti, who was a skilled draughtsman, contributed at least one drawing of a gem to Stosch’s book project. Stosch collected thousands of such drawings for his project from several contemporary artists, but the collection was dispersed after his death and Zanetti may have supplied Stosch with other drawings of gems as well. Stosch, who had developed “a reputation” in Rome for training artists in the difficult art of careful visual documentation of gems, antiques and ancient monuments, was hard to impress and generally highly critical of the more or less inaccurate illustrations that the artists of the period produced, whether of ancient gems, medals, sculpture or frescoes. Zanetti, whose gem collection was published by Anton Francesco Gori in 1750 (Stosch’s was published by Winckelmann in 1760), owned several items that must have interested Stosch, especially the famous Antinous gem, now in the Getty Museum. He also owned three curious intaglios inscribed with names believed to be of famous ancient engravers that Stosch wanted to include in his project on signed gems: TEYKPOY, Teukros, and △IOC, abbr. for Dioskourides, both active in Rome towards the end of the first century BCE. So the two had reason to stay in touch. Using the content of the preserved letter as point of departure, the chapter discusses Zanetti’s and Stosch’s converging interests and projects.

Over the centuries, Western connoisseurs honed a fascination for objects from Asia, Africa, the Americas and the Pacific, many of which are part of public and private collections today. What trajectories did they follow, how were they acquired and dispersed? With the era of European expansion, a growing number of extra-European artefacts entered Western markets. Some were legally bought, others were plundered or appropriated in asymmetric power contexts during the colonial era. Subsequently, new market structures emerged in response to European and North American demands. This book provides insights into the methods and places of exchange, networks, prices, expertise, and valuation concepts, as well as the transfer of these artefacts. It focuses on interrelations and connections between art markets and collectors from the late modern period through to the mid-twentieth century.

Il presente articolo vuole analizzare le figure e i processi di vendita che hanno interessato alla metà del Settecento gli acquisti sul mercato romano del Conte di Caylus. La redazione del suo celebre “Recueil d’antiquités” è stato infatti reso possibile grazie, in primis, a Paolo Maria Paciaudi, intermediario per il conte sul mercato antiquario romano. Era questo personaggio a fare da tramite tra il conte e gli antiquari presenti a Roma, considerati disonesti e senza scrupoli. Grazie allo scambio epistolare avvenuto fra il Conte di Caylus e il Paciaudi tra il 1757 e il 1765 sappiamo che a completare le fasi di negoziazione intercorrevano anche altre due figure: l’intermediario finanziario e quello logistico. Alla ricostruzione di questa complessa ma precisa macchina organizzativa si affianca anche l’analisi del trasporto degli oggetti acquistati a Roma. Questi, che dovevano essere ben imballati in modo da arrivare integri a destinazione, superati i controlli alla dogana spesso tramite sotterfugi prendevano la via terrestre o quella marittima prima di arrivare in fine a Parigi.

In the first decade of the twentieth century John Pierpont Morgan assembled a collection of Renaissance bronzes which rapidly became the most important of its kind in private hands. The collection, which until 1912 was on loan to the Victoria and Albert Museum, was the result of joint efforts on the part of dealers, experts and Morgan himself to establish a record for the marketing, value and interpretation of Renaissance bronzes. In 1912 Morgan’s entire collection was shipped to New York and while it was on exhibition at the Metropolitan Museum of Art, it was dispersed. In order to analyse the cultural and economic implication of this transatlantic relocation, the article examines the making of Morgan’s collection of Renaissance bronzes within the context of European connoisseurship, its reception in New York, its acquisition and dispersal by Joseph Duveen and its partial purchase by Henry C. Frick, a collector of profoundly different character.

[FRA]
L’abbé et avocat Agostino Mariotti (1724-1806) était bien connu dans la Rome du XVIIIe siècle. Comme la plupart des ecclésiastiques de son temps, il s’agissait d’abord d’un érudit : avocat de la Congrégation Sacrée des Rites, homme de lettres, fin connaisseur des langues latine et grecque, bibliophile, numismate, membre de l’Académie de l’Arcadie, mais aussi expert d’antiquités et grand collectionneur. En l’espace de plusieurs années il avait constitué une importante collection dont le noyau principal était formé par le musée Sacré. Avec celle-ci, particulièrement riche de peintures de toutes époques, Mariotti avait pour ambition de raconter aussi bien l’histoire de l’Église que la « Perfezione del disegno » en utilisant comme pivot l’oeuvre de Michel-Ange.
Ce travail de thèse vise d’abord à reconstruire la figure de l’avocat Mariotti et de sa collection, et de les mettre en perspective avec le contexte culturel de la ville de Rome au XVIIIe siècle. Les nouvelles sources retrouvées ont donc permis d’analyser la grande richesse de la collection, en complétant les informations disponibles sur cette figure aux multiples facettes, tombée presque entièrement dans l’oubli après sa mort, malgré les nombreuses oeuvres de son recueil ayant rejoint les collections papales et se trouvant encore aujourd’hui conservées et exposées aux musées du Vatican.
La première partie de la thèse reconstruit donc la biographie d’Agostino Mariotti, avec une attention particulière pour sa production littéraire et à ses relations avec les érudits italiens et étrangers de son temps. Son réseau est donc constitué principalement par des personnes avec lesquelles il partage ses lieux préférés de sociabilité, à savoir des religieux, des membres de l’Académie d’Arcadie, des artistes de l’Académie de Saint-Luc, ou encore des jésuites malgré le rôle joué par Agostino dans la suppression de l’Ordre.
La deuxième partie se focalise sur la reconstruction de l’ensemble de la collection de Mariotti, partagée entre un musée Sacré, un musée Profane et un musée d’histoire naturelle. Les vastes sources documentaires retrouvées sont présentées et analysées afin de redonner au lecteur une image inédite et relativement exhaustive de cette riche et variée collection et ce, au-delà des seules peintures d’artistes « primitifs » pour lesquelles Agostino était connu jusqu’à nos jours.
La dernière partie suit la dispersion des oeuvres après la dissolution de la collection à la mort de son créateur. Une attention particulière est donnée à celles qui ont été vendues au Vatican en 1820, transaction pour laquelle nous disposons d’un grand nombre de sources documentaires et qui ont permis de connaître les estimations données lors de la vente. Une recherche complémentaire a aussi été menée pour identifier d’autres oeuvres actuellement conservées aux Musées du Vatican.
Grâce à notre travail, nous disposons maintenant d’une image bien plus accomplie de cet avocat consistorial et de sa collection qui était considérée à son époque comme « une des curiosités de Rome ».
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[ENG]
Abbot and lawyer Agostino Mariotti (1724-1806) was well known in 18th century Rome. Like most of the ecclesiastics of his time, he was first of all a scholar: lawyer of the Sacred Congregation of Rites, man of letters, expert of Latin and Greek languages, bibliophile, numismatist, member of the Academy of Arcadia and also specialist in antiques and great collector. Over the course of several years he had built up an important collection, the main core of which was the Sacred Museum. With his collection, particularly rich in paintings from all periods, Mariotti's project was to tell both the history of the Church and the “Perfezione del disegno”, using Michelangelo as a pivot.
The aim of this thesis is to reconstruct the figure of the lawyer Mariotti and his collection, putting everything in perspective with the cultural context of the city of Rome in the 18th century. The new sources found have therefore made it possible to analyse the great richness of the collection, by supplementing the information available about this multifaceted figure, almost entirely forgotten after his death, despite many works of art from his collection has been acquired by the Pope and are still preserved and exhibited today in the Vatican Museums.
The first part of the thesis therefore reconstructs the biography of Agostino Mariotti, with a particular attention to his literary production and his relationships with the Italian and foreign scholars of his time. His network is thus made up mainly of people with whom he shares his favourite places of sociability, namely religious, arcades, artists from the Academy of Saint Luke, or even Jesuits despite the role played by Agostino in the suppression of the Order.
The second part focusses on the reconstruction of the entire collection of Mariotti, shared between a Sacred Museum, a Profane Museum and a Museum of Natural History. The vast documentary sources found are presented and analysed in order to give the reader a new and more complete picture of this rich and varied collection, beyond the only paintings of "primitive" artists for which Agostino was known until today.
The last part follows the dispersion of the works of art after the dissolution of the collection on the death of its creator. Particular attention is given to those that were sold to the Vatican in 1820, a transaction for which we have a large number of documentary sources and which have also enabled us to know the estimates given during the sale. Further research was also carried out to identify other works currently kept in the Vatican Museums.
Thanks to our work, we now have a much more accomplished image of this consistorial lawyer and his collection which in his time was considered "one of the curiosities of Rome".

Carl Moll’s unusually long period of creativity – which lasted about sixty-five years – begins with the early years of the Wiener Moderne around the fin de siècle, which are shaped by the founding of the Secession, and goes on to include the collapse of the Habsburg Monarchy, the First Republic and its demise in the wake of the “Anschluss” with Nazi Germany, and the Second World War. An examination of the evolution of Moll’s painting throughout this lengthy period leads to the surprising conclusion that these historic upheavals were not reflected in his oeuvre, which is notable for its consistently high quality. Key artistic developments such as the birth of Viennese Jugendstil, the idea of the Gesamtkunstwerk, and the constant alignment with Western Modernism – with Impressionism, Neoimpressionism and Postimpressionism, and, finally, an openness to expressionist trends – had a greater impact upon his artistic work than the widespread political disorder of the day.

Inspired by the success of the first Art Markets Summer School held in Lyon in June 2019, a second edition of this unique research, training and networking experience will take place in July 2022 in Belgium.
A team of international experts from relevant fields such art history, economics, sociology, finance and digital humanities will engage with participants with an academic or professional interest in the global art market.

This book chapter discusses antiquarian and proto-archaeological activity in Rome and the Roman Campagna in the eighteenth and early nineteenth centuries. The first part traces and discusses more generally early field activity in and around the city and especially along the first stretch of the via Appia, from the Porta Capena in the Servian Wall to Bovillae at the twelfth milestone, by excavators ranging from Francesco Bianchini (columbaria of the freedmen of Livia and Augustus), Francesco de’ Ficoroni (Vigna Moroni) and Alessandro Albani (Anzio) early in the eighteenth century, to Thomas Jenkins (Centocelle, Quadraro), Gavin Hamilton (Pantanello, Villa of the Settebassi), Robert Fagan (tomb of Claudia Semne, Campo Iemini) and Venceslao and Pietro Pezzoli (Statuario/Villa dei Quintili) in the second half of the century, to Antonio Nibby (villa of Maxentius) and others in the early nineteenth century. It also discusses in depth the cultural heritage legislation of the Papal State and its supervising body, papal and private collecting, restoration, export and the art and antiquities market. The second part focuses on the Frattocchie area between the eleventh and twelfth milestone of the Appia Antica, especially the site of Bovillae and its rediscovery, documentation and partial destruction over the course of the nineteenth century. Sketching briefly the early field investigations of Robert Fagan in the area, at Grotta Vascella and on other lands belonging to the Colonna family, it moves on to the discovery, identification and documentation of the remains of the ancient site of Bovillae by Giuseppe Tambroni, Luigi Poletti and their team in the 1820s. The chapter ends with a brief outline of the successive destruction of the unearthed ancient structures and sections of the ancient Roman road, and of the documentary work carried out by Luigi Canina and Pietro Rosa in the early 1850s.

The dense mythology and the many entertaining but mostly malicious anecdotes that surrounded the enigmatic but widely influential Philipp von Stosch (1691-1757) already in his lifetime have made him one of the most interesting but also misrepresented—because still insufficiently studied—figures in the history of collecting. Once a key actor in the antiquarian circles of early eighteenth-century Rome and Florence, where he was based for most of his life, Stosch is now chiefly known as the author of a beautifully illustrated study of ancient engraved gems signed by their artists (Gemmae antiquae caelatae/Pierres antiques gravées, 1724), and as a prominent collector of gems catalogued and published by Johann Joachim Winckelmann. The full picture is of course much more complex. Born in Küstrin, Brandenburg, Stosch spent his early years travelling widely across Europe before settling permanently in Italy in the early 1720s. Through his contacts with leading figures in the Republic of Letters like François Fagel, Richard Bentley, Bernard de Montfaucon, Sebastiano Bianchi, Francesco Ficoroni, Anton Francesco Gori, and notably Alessandro Albani, he gained access—even where others had failed—to most principal collections of the time, and expertly positioned himself at the very centre of an extensive international network that included scholars, collectors, royalty, popes, clergymen, statesmen and more or less everyone worth knowing in the world of collecting and dealing. These contacts, who were expertly cultivated, kept Stosch exceptionally well-informed of everything that was happening in the field: no collection remained unknown to him and no items of any significance were excavated, came on the market, or changed hands without his knowledge. Initially encouraged by his patron François Fagel to start collecting coins and medals, Stosch soon turned to engraved gems, which he confessed to Fagel had become “ma passion… ma folie dominante”. After having established himself in Italy, his homes in Rome and later Florence became natural meeting-points for local antiquarian circles as well as for expatriates and grand tourists, and figured prominently in for example the travelogues of Charles de Brosses and Johann Georg Keyssler, the drawings and diaries of the artist Pier Leone Ghezzi, and the correspondence of the two Horaces (Walpole and Mann), Albani, Winckelmann, the Count Caylus, J.J. Barthélémy, and many others. While in Rome Stosch greatly widened his collecting interests to include ancient sculpture, paintings, drawings and prints, rare books and manuscripts, maps, naturalia, arms and armour. His fervent collecting activities culminated in his astonishing Topographical Atlas project, which at the time of his death comprised no less than 324 bound volumes of maps, prints and drawings documenting the buildings and monuments of Rome, including all the drawings left by the architect Francesco Borromini. Described by Carl Justi as an ‘oracle for collectors’ but ‘zurückhaltend im Punkt des Mein und Dein’, Stosch was an expert in promoting his own collections and very generous in allowing fellow collectors and antiquarians access to them for study purposes, but extremely reluctant to part with any of his cherished items unless offered something more attractive in return. ‘I find I cannot live without Stosch’s intaglia [sic] of the Gladiator with the vase’, wrote Horace Walpole yearningly in a letter to the British Envoy in Florence, Horace Mann, who was trying his best to procure that particular and other gems for his friend from Stosch’s closely guarded collections, to no avail. The gem in question was instead presented as a gift to Viscount Duncannon, the Earl of Bessborough, in return for securing Stosch’s pension from the British Crown. Because Stosch’s collecting was not funded by his dealing in antiquities alone, but notably by the money he received from the British government for spying on the Old Pretender, James Stuart, who was staying in Rome as the Pope’s guest. This latter assignment most likely contributed to Stosch’s forced exile from the city in 1731 and his move to Florence, where his constantly growing museo soon required separate housing in the palazzo Ramirez de Montalvo, where the local antiquarians, letterati and freemasons intersected with the city’s expatriate community and many foreign visitors. Stosch’s close association with the British, as an informant but also as co-founder of the first masonic lodge in Florence together with Horace Mann and others, made him especially well-connected among British expats, grand tourists and collectors. From time to time, Stosch also expressed the wish to leave Italy and settle in Britain and possibly obtain a position at Oxford, which he had once visited as the guest of Richard Bentley. Based on a current book project, this talk traces and analyses Philipp von Stosch’s collecting activities and network building, from his formative grand tour (1709-17), through his Roman (1722-31) and Florentine (1731-57) periods, to his death and the complicated and drawn-out sale of his vast estate. It also considers the afterlife of parts of Stosch’s rich collections, including the notorious affair of the valuable manuscripts that were later found to have been stolen from the Vatican Library.

The development of art dealing in early modern Venice is difficult to trace accurately, since artists were supposed to retail their own paintings, and no distinction between makers and dealers appears in early guild membership lists. Separate mention of the profession of painter-shopkeeper began only in the late seventeenth century, but the bulk of painting trade remained in the hands of artists. This paper aims to explain the development of this new profession and of its emergence into the painters’ guild in Venice, providing comparisons with other important art centers in early modern Europe.

While data-driven research has outlined the development of early modern art markets in Europe, the Iberian peninsula remains a lacuna in our knowledge. Seville fulfilled all the necessary prerequisites to support a sophisticated art trade. In the 16thand early 17thcenturies, it was a large metropolis of over 100,000 inhabitants, with a growing merchant class and access to foreign markets due to its role as port to the Indies. Yet its market for paintings remains understudied.

In this paper, we employ the conceptual framework of art market studies to reexamine the Sevillian art market in the 16th and 17th centuries with new evidence. First, we present the first relational database of Sevillian painters, developed by digitizing and mining twenty volumes of archival sources published from 1899 to 2006. Using this information, we provide estimates for the number of painters in the city from 1475-1700.We then divide the market into primary, secondary and tertiary sectors, and explore the evidence for the existence of other actors and institutions vital to the art trade. Finally, we finish by presenting multiple avenues for research that might be pursued in the future.

L’articolo si propone di aggiungere un ulteriore tassello al diversificato mondo romano dell’antiquaria settecentesca sia grazie allo sviluppo del materiale edito, che al ritrovamento di un cospicuo numero di informazioni inedite riguardanti la figura di Giacomo Bellotti (Roma 1708 - ivi 1792). Nipote del pittore Guillaume Courtois detto il Borgognone, Giacomo lavorava presso la famiglia Borghese continuando una tradizione iniziata dal padre. Questa posizione gli consentì, nell’arco di una cinquantina d’anni, di dedicarsi alle compravendite di reperti archeologi e agli scavi, come quelli compiuti lungo la via Appia o nella zona di Monte Porzio, all’epoca della famiglia Borghese. Il ritrovamento negli archivi romani del suo testamento ci consente anche di conoscere gli oggetti da lui posseduti tra i quali monete, statuette e quadri. Questi ultimi in particolare provengono in parte dall’eredità del nonno Guillaume Courtois ed in parte sono stati acquistati sul mercato romano, informazioni fondamentali per comprendere le sue scelte di gusto.
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The article here presented aims to add a further piece to the diversified antiquarian Roman world of the eighteenth century thanks to the analysis of the published material, as well as with the findings of a large number of unpublished sources concerning the figure of Giacomo Bellotti (Rome, 1708 - 1792). Grandson of the painter Guillaume Courtois called Borgognone, Giacomo worked for the Borghese family continuing a tradition begun by his father before him. This position enabled him, over a period of fifty years, to dedicate himself to the trade of archaeological artifacts and to the excavations, such as those carried out along the « via Appia » or in the area of Monte Porzio, at the time of the Borghese family. The findings in the Roman archives of his last will and testament allows us to discover the objects he possessed, including coins, statuettes and paintings. These latter in particular come in part from the legacy of Guillaume Courtois and partly from acquisitions on the Roman market, offering fundamental information to understand his taste’s choices.

The current paper analyses a concrete period in the biography of Władysław Tyszkiewicz, i. e. a period from 1907 to 1913, which he spent in Milan, Italy and which has not yet appeared as a main topic in historical researches. The text identifies the time and circumstances of the departure; it covers the main work principles of the count on establishment of antiques “Galleria Warowland”. During this research, a valuable resource was found: a catalogue from the auction held in 1913 in St. Moritz, Switzerland, which made it possible to identify the count’s collection assembled in Italy. Through additional material it was possible to determine some of works’ destiny. Tyszkiewicz went abroad involuntarily – due to his ideas that were not favourable for the tsarist government it was decided to exile him abroad. The count departed in December 1907, and promptly afterwards he established a small antique gallery “Galleria Warowland” in the Palace of Count Edouard Amman (today, Via Arrigo Boito 8) in the centre of Milan. Business prospered; therefore, it was relocated to more spacious premises – a car showroom at Via Allesandro Manzoni 10/Via Gerolamo Morone, where as many as eight reconstructed rooms were filled with antiquities. Success came – in 1912 the project for a gallery branch was ready and in 1913 the second gallery “Galleria Warowland” opened in Salsomaggiore Terme resort. The main principles of Western Europe art market were applied in trade of art works: cooperation with other galleries (like those led by antiquary Gustavo Gagliardi or Alfredo Geri) and restorers, individual orders; auctions were carried out and on their basis well-illustrated comprehensive catalogues were released. In 1912, Tyszkiewicz received permission to return to his homeland. Seemingly, this resulted in the sale of art works, which belonged to the count, in February 1913 in Sankt Moritz, Switzerland. From the auction catalogue it was found out that the collection consisted of Western European craftsmen of the 15–19th century: El Greco, Pietro Longhi, Veronese, Correggio, Caravaggio, Parmigianino, Canaletto, Scarsellino, Tiziano, Giambattista Tiepolo, etc. The count returned to Lithuania; however, he continued his business in Italy: the branch in Salsomaggiore operated until 1919 and the gallery in Milan until Tyszkiewicz’s death in 1936. During the period of exile, Tyszkiewicz turned from amateur into a professional gallery owner – he became a new figure in the Lithuanian cultural field. Still, he did not start the official antiques business after return. Presumably, it was prevented by the beginning of World War I, resulting in deterioration of the count’s financial condition and, finally, serious disease (multiple sclerosis). Nevertheless, it may be assumed that the business ongoing abroad eased the count’s difficult financial situation, and his contribution influenced the life of further generations – the main source of income of his daughter who lived in Warsaw was antiques trade.
KEY WORDS: Władysław Tyszkiewicz, “Galleria Warowland”, antique gallery, Milan, Salsomaggiore Terme, art collection, beginning of the 20th century

On the reverse of the oak panel of the little painting Virgin and Child with a Book, attributed to Jan van Eyck (and workshop?), and housed in the National Gallery of Victoria in Melbourne, is a small, red, oval seal. It shows a coat of arms: party per pale, on a terrace in base the Risen Christ with arms outstretched, and, on a terrace in base a tree surmounted by a mullet of six. These arms are here identified for the first time as those of the Collegio di San Lazzaro in Piacenza, Italy (now the Collegio Alberoni). Further, inventories show that the painting belonged to the Collegio's founder, Cardinal Giulio Alberoni (1664–1752), and formed part of the extensive and distinguished art collection housed in his Roman palazzo from at least 1735.

(ITALIANO)
Dopo cinquant'anni di silenzio questo studio torna sui bellissimi disegni delle "Teste di Cristo e degli apostoli" tratte dal "Cenacolo" di Leonardo del Musée de la Ville de Strasbourg, riaprendo il dibattito su una delle copie più precoci e fedeli del capolavoro vinciano, molto dibattuta tra Otto e Novecento ma trascurata dalla critica leonardista contemporanea.
La questione viene qui riesaminata sotto molteplici aspetti – attribuzione, datazione, tecnica esecutiva, funzione e provenienza della copia – con l’obiettivo di fornire una risposta più pertinente e articolata rispetto a quella data dagli studi antecedenti, orientati prevalentemente sull'attribuzione a Boltraffio, insostenibile dal punto di vista stilistico e obsoleta. Secondo la tesi qui formulata, invece, la delicata copia di Strasburgo è opera di un altro allievo di Leonardo, il giovane Giovanni Pietro Rizzoli detto Giampietrino, entrato nella bottega del maestro alla fine del Quattrocento e perfezionatosi sotto la sua guida negli anni del secondo soggiorno milanese.
L’attribuzione si basa sul rapporto stringente delle "Teste" di Strasburgo, studiate in singoli fogli nelle stesse dimensioni dell'originale, con quelle dipinte nel "Cenacolo" ad olio su tela dimensionato al murale della Royal Academy di Londra, la migliore delle copie antiche, che l’autrice ritiene abbia fatto le veci dell’originale stesso rapidamente degradato, servendo da modello per altre copie tra le quali quella di Tongerlo.
La copia di Londra è stata correttamente confermata a Giampietrino da David Alan Brown (1988) e datata dalla Geddo (1992) intorno al 1515, per la sua vicinanza stilistica al trittico di Ospedaletto Lodigiano, cardine della fase giovanile dell’artista. Ergo, la copia di Strasburgo, eseguita anch’essa in misura con l’originale, è opera precoce dello stesso Giampietrino, utilizzata per la realizzazione della copia di Londra ma non come cartone preparatorio, poiché i fogli non sono perforati. 
Il maggior grado di conformità al modello vinciano dei disegni rispetto alla versione dipinta, il "Cristo" imberbe e altri elementi inducono a ritenere che la copia di Strasburgo sia stata eseguita sotto la diretta supervisione di Leonardo, in un periodo coincidente con il suo secondo soggiorno milanese (1506/8-1513), e che abbia mediato il rapporto con l'originale della copia di Londra. Resta dubbio se i disegni siano stati concepiti in funzione della copia di Londra, oppure come opera autonoma, magari come saggio delle abilità del discepolo in materia di fisiognomica.
Non è un caso che questa prova sia stata affidata a Giampietrino, uno degli allievi più dotati di Leonardo, e che sia stata eseguita nella tecnica sperimentale del pastello, che lo stesso Leonardo aveva appreso a Milano nel 1499 dal collega francese Jean Perréal, e che aveva poi perfezionato con l’invenzione dei primi pastelli a cera. Lo suggeriscono due passi cruciali dei suoi manoscritti – il cosiddetto “Memorandum Ligny” e un’ignorata nota del "Codice Forster II" – qui collegati entrambi per la prima volta alla tecnica del pastello.
Lo studio riesamina anche le appassionanti vicende collezionistiche dei pastelli di Strasburgo alla luce delle fonti. La serie, oggi composta da sei pezzi ma originariamente integra in undici pezzi, è qui identificata con le “teste di Cristo e degli apostoli” “a pastello” menzionate da Lomazzo nel 1584, poi entrate nella collezione di Galeazzo Arconati, che ancora nel secolo XIX passavano per i cartoni originali di Leonardo preparatori per il murale. All’interno di questo percorso si individuano altri due snodi significativi: la comparsa improvvisa all’inizio dell’Ottocento dell’analoga serie ex Weimar, con sospetto di falso non ancora fugato, e il dimezzamento della serie, collegato ad uno smembramento ereditario avvenuto poco prima del 1892, quando Bode acquistò i pastelli per il Museo di Strasburgo.

(FRANÇAIS)
Après un demi-siècle d’oubli, cette étude revient sur les six "Têtes du Christ et des apôtres" dessinées d’après le "Cénacle" de Léonard de Vinci conservées au Musée de la ville de Strasbourg, autrefois objet d’un débat animé.
La première partie du travail reconstitue l’histoire passionnante de cette série de dessins, auparavant intègre, sur la base des sources et de la littérature. Elle provient de la collection célèbre de Galeazzo Arconati et est passée par les mains de collectionneurs et marchands de Milan à Venise, de Londres à Saint Petersburg et encore à Londres.
La deuxième partie analyse les dessins, de qualité très haute, réalisés aux crayons de couleur sur papier. Auparavant considérés comme les cartons d’origine du "Cénacle" de la main de Léonard lui-même, ils ont été ensuite attribués à Boltraffio. L’auteure les ramènes pour la première fois à Giampietrino, en établissant une liaison serrée entre ces têtes dessinées et celles peintes sur toile par ce peintre dans la "Cène" à la Royal Academy de Londres, la plus belle des copies du chef-d’œuvre.
La proximité de la "Cène" de Londres au triptyque d’Ospedaletto Lodigiano, datable vers 1515, le "Christ" imberbe, la comparaison avec l’œuvre graphique de Giampietrino et d’autres considérations suggèrent que les copies de Strasbourg ont été réalisées d’après l’original sous la supervision directe de Léonard, pendant son deuxième séjour à Milan (1506/8-1513), à savoir au début de la carrière de Gianpietrino.
L’étude conclut qu’il s’agit peut-être de la plus fidèle et d’une des plus anciennes parmi les copies survivantes du "Cénacle" ; une copie unique, faite pour l’exercice plutôt qu'en préparation de la copie de Londres par la main de l’un de ses disciples plus talentueux, avec la technique expérimentale du pastel que le maître avait appris à la fin de son premier séjour milanais de l’artiste français Jean Perréal.

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This lecture will look at the role and legacy of one of the most successful art dealers operating in the international secondary art market for Old Master paintings during the first half of the twentieth century: the Italian antiquario Alessandro Contini Bonacossi (1878-1955). Grounded in the discovery of primary archival evidence and set against the major historical events that unfolded during his lifetime, this work presents its findings by following a research process adopted to answer the following questions: who was Contini Bonacossi, what was his business network (where was he buying paintings, at what prices, and who were his clients), what was his modus operandi for selling and marketing his work, and what is his legacy. More broadly, in documenting Contini Bonacossi’s case, my research work in the field strives to rethink the role of art dealers, to look at them not solely as market professionals engaged in the dynamics of supply, demand and profit, but first and foremost as bearers and sellers of culture, whose activities were fully embedded in the socio-political environment of their time and so to acknowledge and extend knowledge about their active role in the international dissemination and interpretation of cultural heritage.

Steering Committee: Dr. Luca Giacomelli (Alma Mater Studiorum Università di Bologna), Dr. Claudio Gulli (Fondazione Palazzo Butera), Dr. Alice S. Legé (Independent Scholar and Assistant Curator at the Royal Palace of Caserta), Dr. Ginevra Odone (Independent Scholar), Valeria Paruzzo (Ph.D. candidate at Università degli Studi di Trento), Dr. Pier Ludovico Puddu (Researcher at Palacký University, Olomouc), Giuseppe Rizzo (Museum Assistant at The Uffizi Galleries and Ph.D candidate at the Rupert-Karls-Universität Heidelberg)

Sources about art markets and art trade are highly important for provenance research. The Zentralinstitut für Kunstgeschichte (ZI) in Munich/Germany, was bestowed with an extensive collection of annotated catalogues of the Munich-based auction house Hugo Helbing. In total, this collection comprises 698 catalogues from 1895 until 1937; 345 of which are fully annotated, 144 are partially or
The exhibition presents exemplarily some of the donated catalogues and provides information about the manifold activities of Hugo Helbing, the Jewish art dealer who was born in Munich on 23 April 1863 and who died here on 30 November 1938 from the effects of a brutal interrogation by the Gestapo (Secret State Police).
infrequently annotated, and only 209 contain no entries or annotations.

Fondée sur l’exploitation des archives de la galerie Sagot-Le Garrec conservées à la Bibliothèque de l’INHA (collections Jacques Doucet), cette contribution entend démontrer comment Edmond Sagot, en plus d’être le plus important marchand d’affiches de son époque sur la place parisienne, s’est également imposé comme un des principaux promoteurs de l’affiche artistique en province.

Porter un regard retrospectif sur la discipline archeologique souleve de nombreuses questions aujourd’hui au cœur de l’actualite, sur l’evolution des methodes scientifiques, sur les contextes historiques de leur production et sur l’histoire des collections europeennes et extra-europeennes. Cet ouvrage reunit une trentaine de specialistes qui temoignent de l’avancee des recherches dans ce domaine, autour de trois thematiques : la naissance de l’archeologie qui, pendant l’epoque des Lumieres et au debut du XIXe siecle, mena les erudits de la philologie et l’histoire ancienne vers l’archeologie de terrain et l’etude des artefacts ; le developpement de cette discipline dans le cadre des dynamiques de transferts culturels a partir du milieu du XIXe s. jusqu’a la Seconde Guerre mondiale ; son institutionnalisation depuis le debut du XIXe s. et ses liens avec les politiques nationales. Les auteurs souhaitent ainsi rendre un digne hommage a Eve Gran-Aymerich, dont les travaux ont contribue a faire de l’histoire de l’archeologie un veritable objet d’etude.

Nadezhda Evseevna Dobychina, whose name
is strongly associated with the Art Bureau, which
operated in St. Petersburg (Petrograd) from 1911
to 1919, possessed a significant collection of works
of art by her contemporaries. The central part
of the collection consisted of the works of the artists
of the “World of Art” (“Mir Iskusstva”) circle, as well
as the associations “Blue Rose” and “Union of Russian
Artists”. From the lists of the collection preserved
in the Dobychina’s archive, made at the initiative
of representatives of the Soviet state in 1919, 1924
and 1930, one can trace how the collection developed
in the first post-revolutionary decade. Nadezhda
Dobychina gave preference to figurative art, in her
property there were practically no abstract works,
and the leftist trends of the avant-garde were also not
represented. Most of the works kept by Dobychina
were graphics (watercolors, pencil drawings and
charcoal sketches), however, it should be noted
that a block of bright paintings, perfectly combined
in style and color, stood out in her collection (“Dawn”
by D.S. Stelletsky, “Heat” by M.S. Sariyan, “Portrait
of Dobychina” by N.I.Altman and others). The collection
changed over time, but its central part remained
unchanged despite all the vicissitudes of the owner’s
eventful life.

Porter un regard retrospectif sur la discipline archeologique souleve de nombreuses questions aujourd’hui au cœur de l’actualite, sur l’evolution des methodes scientifiques, sur les contextes historiques de leur production et sur l’histoire des collections europeennes et extra-europeennes. Cet ouvrage reunit une trentaine de specialistes qui temoignent de l’avancee des recherches dans ce domaine, autour de trois thematiques : la naissance de l’archeologie qui, pendant l’epoque des Lumieres et au debut du XIXe siecle, mena les erudits de la philologie et l’histoire ancienne vers l’archeologie de terrain et l’etude des artefacts ; le developpement de cette discipline dans le cadre des dynamiques de transferts culturels a partir du milieu du XIXe s. jusqu’a la Seconde Guerre mondiale ; son institutionnalisation depuis le debut du XIXe s. et ses liens avec les politiques nationales. Les auteurs souhaitent ainsi rendre un digne hommage a Eve Gran-Aymerich, dont les travaux ont contribue ...

This thesis , or final dissertation , was made to unveil the secret and unwritten history of the art  collection made in XIX century by the engraver Joseph Maria Longhi  ( 1768 - 1831 ) , of his passion of collector and how was possible that his  great array get dispersed in less than hundred years. Here there is the result of a research started in 2002 and finally ended with a great investigation held between 2009 and 2012 and the  challenging writing of the final dissertation. This work has an European, or best,  international  perspective and tries to deal with matters not only connected to the Museology, but also with the Iconography . This text is a particular instrument that was joined to the second volume.

Im Zeitalter gesellschaftlicher und kultureller Globalisierung zirkulieren Texte, Ideen und Theorien zwischen verschiedenen Kontexten, in denen sie auf mannigfache Weisen angeeignet, verstanden und verwendet werden. Sie sind in komplexe Produktions- und Konsumtionszusammenhänge eingebettet, die ihnen auf dem transnationalen Markt kultureller Produkte changierende Bedeutungen und wechselnde Werte verleihen.
Wissen und Ideen werden somit in zunehmend entgrenzten sozialen Räumen und hegemonialen Konstellationen produziert. Im Rahmen der globalen Aufnahme und Produktion von Ideen durchkreuzen sich alltagskulturelle und theoretische Referenzen. Dabei entstehen hybride Wissensformationen, die das Konzept homogener oder "`reiner"' Ideen obsolet erscheinen lassen.

Die Beiträge des vorliegenden Bandes widmen sich aus der Perspektive verschiedener geistes-, kultur- und sozialwissenschaftlicher Disziplinen der Beschreibung und Analyse der vielfältigen Ausformungen, Brechungen und Konsequenzen eines vielschichtigen Globalisierungsprozesses in den Feldern der Wissenschaft, Kultur, Ökonomie und Politik.

ISBN: 978-3-7774-2914-4

Braunschweig ‒ Berlin: beide Orte sind bedeutsame Kreuzungspunkte mit der Vita des Onkels Wilhelm von Bodes. Mit Braunschweig ist die Erinnerung an das kaiserliche Deutschland assoziiert, Berlin hingegen ist für Reidemeister das aufregend Neue, Moderne ‒ und zugleich das schwere Erbe seines Onkels. Aufregend ist vor allem die junge Kunst in Berlin, dem Ort der Freiheit für die Kunst.

Leopold Reidemeister gehört zu den herausragenden Persönlichkeiten der Kunst- und Museumsszene in Deutschland. Von 1945 bis 1957 war er Generaldirektor der Museen der Stadt Köln, danach bis 1964 Generaldirektor der Staatlichen Museen der Stiftung Preußischer Kulturbesitz. Zusammen mit Karl Schmidt-Rottluff und Erich Heckel gründete er das Brücke-Museum Berlin, das er von 1967 bis zu seinem Tod geleitet hat.
Er war ein Visionär, in seinem Denken und Handeln weitblickend. Schon in jungen Jahren Direktor des Museums für Ostasiatische Kunst in Berlin setzte er mit seinen Ausstellungen Maßstäbe. In Köln stellte er die Weichen für den Neubau des Wallraf-Richartz-Museums, in Berlin für den Neubau der Neuen Nationalgalerie. An beiden Wirkungsstätten war er bestrebt, durch zahlreiche Ankäufe die in die Sammlungen gerissenen Lücken zu füllen. Ein Höhepunkt in seinem Schaffen ist die Gründung des Brücke-Museums, dessen Gesamtkonzept ganz seiner Wiedergutmachungsstrategie entspricht.