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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.
Price: $207.00
Pages: 484
Publisher: Brill
Imprint: Brill
Series: Studies in the History of Collecting & Art Markets
Publication Date:
16 August 2023
ISBN: 9789004678620
Format: Hardcover
" The inexhaustible wealth of documentation in Stefano Bardini’s archives has once again enabled the editors to produce a work extremely rich in previously unpublished information. We can only praise this undertaking, and hope that it will continue to flourish, opening the door to other archive collections and thus enriching the knowledge we have today about collecting and the international art market."
Giancarla Cilmi in Journal of the History of Collections (2024).
Giancarla Cilmi in Journal of the History of Collections (2024).
Denise Budd, Ph.D. (2002) Columbia University, is an Associate Professor at Bergen Community College. Her subjects of her research and publications range from Leonardo da Vinci to, more recently, the Washington, D.C.-based tapestry dealer Charles Mather Ffoulke (1841-1909).
Lynn Catterson, Ph.D. (2002) Columbia University, lectures on Italian Renaissance art, the nineteenth-century art market and issues of authenticity. She has published widely on the Florentine dealer Stefano Bardini, his archive in Florence and his European and transatlantic business.
Lynn Catterson, Ph.D. (2002) Columbia University, lectures on Italian Renaissance art, the nineteenth-century art market and issues of authenticity. She has published widely on the Florentine dealer Stefano Bardini, his archive in Florence and his European and transatlantic business.