Description
Book SynopsisThis volume is a timely exploration of many facets of collecting and collectors. It brings together sixteen papers originally presented in two colloquia and a workshop at the 2017 Annual Meeting in Toronto. Part 1, Collecting and Presenting the Etruscans in North America, focuses on a select number of collecting narratives that demonstrate how the art and material culture of a then little-known Italic culture made its way to the United States during the mid- to late 19th and early 20th centuries. Part 2, Satis sit una aliqua gemma: Collecting Classical Gem from Antiquity through the 19th Century, explores the significance that collecting antique gems acquired across time and space, as well the reasons why these objects remained highly valued and sought-after collectibles from antiquity to the modern era. Part 3, Researching Ownership Histories for Antiquities in Museum Collections, draws attention to discoveries that have been made through provenance research, and also to the challenges that shape the investigation of provenance.
Table of ContentsSeries Editor's Preface
Part One: Collecting and Presenting the Etruscans in North America
Alexandra A. Carpino, Introduction
Helen Nagy, The Formation of the Etruscan Collection at the Museum of Fine Arts, Boston: The Strategies of Edward Robinson and Rodolfo Lanciani
Richard De Puma, The Metropolitan Museum of Art's Etruscans: Collecting from the 1870s to the Present
Lisa C. Pieraccini, Collecting Etruscans for California: The Story of Philanthropist Phoebe A. Hearst and Archaeologist Alfred Emerson
Claire Lyons, Italian Antiquities to American Museums: Notes on Collecting at the Turn of the Twentieth Century
Laetitia La Follette, The Impact of the 1970 UNESCO Convention on Unprovenanced Etruscan Artifacts in the United States
Part Two: Satis sit una aliqua gemma: Collecting Classical Gems from Antiquity through the 19th Century
Tiziana D'Angelo and Maya Muratov, Introduction
Roberta Casagrande-Kim, Dactyliothecae Romanae: Collecting Gems in Ancient Rome
Liliana Leopardi, Collecting Magical Gems in the Early Modern Period: From Infancy to Adulthood
Claudia Wagner, Collecting at Alnwick Castle: Engraved Gems in the Collection of the Duke of Northumberland
Tiziana D'Angelo and Maya Muratov, "Fraudulent Ingenuity": Charles W. King and 19th-Century Collections of Antique Gems
Part Three: Researching Ownership Histories for Antiquities in Museum Collections
David Saunders, Introduction
Caroline M. Rochleau, The Stratigraphy of Provenance
Judith Barr, The Pitfalls and Possibilities of Provenance Research: Historic Collections and the Art Market in the 20th Century
Seth Pevnick, The Tampa Poseidon = The Shugborough Neptune
Ann Blair Brownlee, Collecting Greek and Etruscan Vases in 19th Century Philadelphia
Sarah Costello and John Hopkins, A Collaborative Path for Research into Ancient and Heritage Objects
Paul Denis, Verifying a Provenance
Phoebe Segal, "Said to be from": Best Practices for Using Unscientific Findspot Information
