DOCSLIB.ORG

Cahn's Quarterly 3/2020

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cahn's Quarterly 3/2020 Cahn’s Quarterly 3/2020 English Edition Editorial Dear readers Over half a year has passed since the pandem- ic swept over us in the spring of 2020, bring- ing with it far-reaching consequences for our lives, both private and professional. Much that at first seemed utterly alien or inconceivable has since become normal, and the art market, too, has proved astonishingly adaptable. At the time of writing, art dealers are still largely prevented from using the channels through which they customarily operate. Many fairs and exhibitions have been cancelled or post- poned, and those that are taking place again have had to make numerous adjustments to guarantee the health and safety of both visi- tors and exhibitors alike. Packing for the Highlights International Art Fair Munich, October 2020. But it is not all bad. On the contrary, I think we can learn a lot of positive lessons from am deeply grateful. The videos even prompt- City project (artcity.online/visit-artcity#reg- this crisis. The slower pace of life that has ed some sales, and by no means just minor ister-form) as well as boosting our online been forced upon us is actually beneficial ones, despite the impossibility of inspecting presence at TEFAF (tefaf.com/visitors/sign_ in that we now have the time to look criti- the originals prior to purchase. I would there- up). cally at old habits. The carrousel of art fairs, fore like to take this opportunity to thank you for example, was turning too fast. There are for the trust placed in me. We have also start- In spite of – or perhaps because of – the pre- still too many such events, making it hard to ed using digital platforms like Instagram – dominance of the virtual necessitated by the know which ones to attend. And since fairs albeit rather reticently owing to my unease pandemic, more and more people are now are also a financial burden, the scaling back at the compulsion to be original. feeling the need to engage with art, and we had to do this year was not entirely un- conceivably even more so than before. I am welcome. There can be no doubt that because of the therefore looking forward to TEFAF Maas- current situation, the digitalization of the tricht coming up in the new year, which for As fairs are also our principal means of stay- art world is gaining pace much faster than all the restrictions promises to be a great ing in touch with customers, however, their it would have otherwise, and there are also event. TEFAF Maastricht 2021 will take place cancellation presented an opportunity to try signs that online shopping, as has long been in June 2021! out some creative alternatives. Right at the practiced in the clothing business, will soon start of the crisis we reached out by posting be standard practice in the art business, too. video messages, often filmed in a rather ad Virtual gallery visits that allow for live con- hoc fashion that gave preference to the au- versations and interaction with works of art thentic over the staged. We nevertheless re- are already being prepared in many places. ceived many positive responses, for which I We will therefore be taking part in the Art Our Online Auctions with Ancient Art In memoriam J. Robert Guy (1949-2020) Our next online auction using the platform We are also offering digital private pre- WertewandelLiveAuctioneers will take place in Decem- views via Zoom or WhatsApp. Please do It was with great sorrow that we bid ber. Two weeks prior to the auction you not hesitate to contact us to schedule such farewell to our esteemed friend and Von Marc Fehlmann will receive a link by e-mail which will an online meeting or if you have any other colleague, J. Robert Guy, who passed enable you to view the catalogue and to questions: [email protected] away this July. His life and work will place written bids. Furthermore, you will be the subject of a special feature in also be able to bid live online during the CQ4/2020. auction itself. CQ 1 Cahn’s Quarterly 3/2020 The Collector’s Point of View The Genesis of a Private Collection of Animals in Ancient Art By Peter Steinmann A BULL AND A FOAL. H. 11.3 cm. Terracotta. Greek, 5th cent. B.C. Sold A WINGED LION. L. 5.6 cm. Ivory. Eastern Greek, late 5th cent. B.C. Sold What prompted me to start collecting an- ness, patience and paternal indulgence of enriching. Owing to the lack of certain ba- cient art at the age of sixteen is a question several dealers. With my schoolboy’s and sics, not having a background in art history I am frequently asked. The answer is more later my student’s budget I cannot possi- can be a disadvantage; but it can also be an easily described than explained. I grew up bly have been of any economic interest to advantage as it allows you to approach the in a home steeped in a quintessentially Ba- them, yet they took the time to answer my matter impartially and to pursue parallels sel brand of humanism, and although my questions and let me spend hours examining and differences that transcend geographical, parents did not collect anything specific, their objects, even accepting reservations cultural and temporal boundaries. These are they did frequent art and antiquities fairs. and payment in instalments. The realization what give a collection in the making its in- We children were invited to go along too, that these gallery owners were not out to dividuality and what reflect the interests and if we wanted. And that’s when it happened. make a quick sale, but were themselves gen- the personality of the collector. And it is pre- Certain objects caught my eye, and then I uinely interested in the objects they sold no cisely this that makes private collections so discovered that some of them were actual- doubt helped deepen and affirm the interest charming in a way that museum collections ly affordable, even for my modest budget. that I had already developed. Sharing this are not. The foundation stone of my collection of with others of like mind still means a lot to animals in ancient art – a field that has re- me even today. I have long regarded my own collection as a mained a passion of mine to this day – was fragment – a fragment of the collection that an Egyptian amulet in the shape of a lion There is both an intellectual and an emotion- I would have liked to amass. Complement- dating from the Late Kingdom. It had been al side to building up a collection. We can ing the physically existent collection are damaged and glued back together again and reconstruct the everyday lives and the reli- those objects that are present only in my for more experienced collectors was but a gious-spiritual world of the Ancient Greeks mind. Some of these are pieces which, giv- paltry thing. For me, however, it was a work and Romans and the Ancient Egyptians at en the means, I would want to buy if ever of great charm and enigmatic beauty. The least up to a point. But what do we know they turned up on the market; but others are choice of theme was only natural, given that of the world of the Etruscans, of other Med- objects that I would no longer endeavour to I had been interested in animals since early iterranean cultures, of all the civilizations acquire. This is also true of certain objects childhood and would go on to study biology. in Western Asia and Mesopotamia, in Per- that are physically present in the collection. sia and Central Asia? Building a collection As I never sell anything, my collection still The leap from occasional buyer to collector of works from these cultures is quite a chal- contains items that I would not buy again, came about largely as a result of the kind- lenge for a layman; but it is also profoundly but that have come to matter to me none- 2 CQ Cahn’s Quarterly 3/2020 theless, whether through a story connected Gallery with them or as testimony to the develop- ment of my taste, my experience and hence of me as an individual. Every acquisition – and every non-acquisition, since they are also part of the collection history – is the Cahn Contemporary result of different factors that interact in different combinations and different inten- By Jean-David Cahn sities. Perhaps the object has a collection history or perhaps even a previous owner I know? Can I afford the piece? Is the ob- ject compatible with my current notion of how the collection should develop? Will this purchase render me unable to acquire a perhaps more desirable work that may soon come onto the market? And perhaps no less important is mood: the spontaneous associations that an object evokes in me, the personal events or stories that I connect it with. One key factor is the special fasci- nation that the animal (or chimera) holds for me personally; it must speak to me and stand out from all the others. If all of that is right, then I can only hope that the ob- ject is still unsold, because often I agonize for so long that someone else gets in there before me. What drives me deep down, however, is the beauty of these ancient objects, which even in these fast-paced times of ours still have In autumn 2020, the Dierking Gallery on Zurich’s Paradeplatz showed sculptures and models by the German artist, the capacity to stop us in our tracks, invit- Otto Boll, who was born in Issum near Geldern in 1952.
Load more

Recommended publications
  • PDF Hosted at the Radboud Repository of the Radboud University Nijmegen
    PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is an author's version which may differ from the publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/17184 Please be advised that this information was generated on 2021-09-30 and may be subject to change. Europa Romana. Volume dedicated to Professor Ioan Piso on his 60th Birthday THE CONSTRAINTS OF TRADITION DEPICTIONS OF HERCULES IN AUGUSTUS’ REIGN* By OLIVIER HEKSTER In the years immediately surrounding 27 BC, in Rome’s Campus Martius, the porticus Metelli and immediate surroundings were transformed into the porticus Octaviae.1 Though the new complex was named after Octavia, her brother paid for it.2 The decoration of the new porticus included a series of paintings on which the figure of Hercules was prominently present. The paintings included two of the best works of Artemon, one depicting the betrayal of Laomedon, the other ‘Heracles ascending to the sky with the consent of the gods’.3 A famous picture of Hesione by Antiphilos completed the series of Hercules-related paintings. Of that same artist, a painting was shown which depicted Alexander the Great, his father Phillip and Athena.4 At first sight, this all seems rather unsurprising. Naming a building after his sister fitted perfectly well within the Augustan building programme, in which members of the imperial family were regularly invoked. Artistically important decorations formed integral part of such new monuments. The incorporation of Herculean imagery in a building to Octavia might, however, have been noticeable.
    [Show full text]
  • Roman Art Kindle
    ROMAN ART PDF, EPUB, EBOOK Paul Zanker | 216 pages | 10 Jan 2012 | Getty Trust Publications | 9781606061015 | English | Santa Monica CA, United States Roman Art PDF Book If you don't know about Paracas textiles Construction of the Baths of Diocletian , for instance, monopolised the entire brick industry of Rome, for several years. Roman aqueducts , also based on the arch, were commonplace in the empire and essential transporters of water to large urban areas. The Romans also made frequent use of the semicircular arch, typically without resorting to mortar: relying instead on the precision of their stonework. The heads of the Marcus Aurelius figures are larger than normal, to show off their facial expressions. However it never lost its distinctive character, especially notable in such fields as architecture, portraiture, and historical relief. This led to a popular trend among the ancient Romans of including one or more such statues in the gardens and houses of wealthier patrons. With the authenticity of the medallion more firmly established, Joseph Breck was prepared to propose a late 3rd to early 4th century date for all of the brushed technique cobalt blue-backed portrait medallions, some of which also had Greek inscriptions in the Alexandrian dialect. They also served an important unifying force. Useing vivid colours it simulates the appearance of marble. From Wikipedia, the free encyclopedia. Sculpture: Types and Characteristics. A higher relief is used, permitting greater contrast between light and shadow. Further information: Roman portraiture. As another example of the lost "Golden Age", he singled out Peiraikos , "whose artistry is surpassed by only a very few But flagship buildings with domes were far from being the only architectural masterpieces built by Ancient Rome.
    [Show full text]
  • Karolina Michałowska a Digital Reconstruction of Roman Terracotta Reliefs : Recreating the Ancient Technique
    Karolina Michałowska A Digital Reconstruction of Roman Terracotta Reliefs : Recreating the Ancient Technique Światowit : rocznik poświęcony archeologii przeddziejowej i badaniom pierwotnej kultury polskiej i słowiańskiej 12 (53)/A, 39-52 2014 ŚWIAToWIT • XII (LIII) /A • 201 4 KARoLINA MIChAłoWSKA A D iGiTAL REConSTRuCTion oF RoMAn TERRACoTTA RELiEFS – R ECREATinG ThE AnCiEnT TEChniquE Keywords : Campana relief, digital reconstruction, poly - homogeneous, even, and naturally white marble chromy, sculpture, terracotta offers a surface that is not absorbent, does not undergo discoloration, and shimmers with inner lustre. Such a sur - face can be covered with a thin, translucent layer of paint or tinted wax and its texture can be quite easily manipulated. 1 The main purpose of this article is to present alter - This is in fact the very definition of a perfect painting native methods of digital reconstruction of the polychromy medium, especially for the tempera paint, which in case of of Ancient sculpture, based upon practical experience with any other material requires a carefully prepared ground materials and series of experiments designed to determine layer. physical properties of paints, grounds and binders. It Considering that the final painting effect depends focuses mainly on the Roman art of the Imperial Period greatly on the material used, the choice of a stone is not and compares different properties of marble and terracotta accidental. 2 The shade of marble influences the appearance sculpture and different applications of the same painting of a sculpture, even if it was entirely covered with paint techniques. The reconstructions of Roman terracotta – pigments can have their full visual impact only on a pale, reliefs presented below were based upon analyses of objects homogenous surface, and the warm or cold undertone of from the collection of the National Museum in Warsaw the marble affects the chromatic range of paint layers.
    [Show full text]
  • Und Theseus-Darstellungen Auf Campana-Reliefs
    Nathalie Möller-Titel Herakles- und Theseus-Darstellungen auf Campana-Reliefs Nathalie Möller-Titel Herakles- und Theseus- Darstellungen auf Campana-Reliefs Untersuchungen zur Adaption und Tradierung zweier griechischer Helden in römischer Zeit Zugl.: Dissertation, Universität Hamburg, 2017 u. d. T. Herakles- und Theseusdarstellungen auf Campana-Reliefs BIBLIOGRAFISCHE INFORMATION DER DEUTSCHEN NATIONALBIBLIOTHEK Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über https://portal.dnb.de abrufbar. ONLINE-AUSGABE Die Online-Ausgabe dieses Werkes ist eine Open-Access-Publikation und ist auf den Verlagswebseiten frei verfügbar. Die Deutsche Nationalbibliothek hat die Online-Ausgabe archiviert. Diese ist dauerhaft auf dem Archivserver der Deutschen Nationalbibliothek (https://portal.dnb.de/) verfügbar. DOI https://dx.doi.org/10.15460/HUP.HHD.004.197 PRINTAUSGABE ISBN 978-3-943423-70-9 LIZENZ Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Das Werk steht unter der Creative-Commons-Lizenz Namensnennung 4.0 International (CC BY 4.0, https://creativecommons.org/licenses/by/4.0/legalcode.de). Ausgenommen von der oben genannten Lizenz sind Teile, Abbildungen und sonstiges Drittmaterial, wenn anders gekennzeichnet. GESTALTUNG Merle Papenfuß SCHRIFT Gentium / Source Sans Pro DRUCK UND BINDUNG Books on Demand, Norderstedt VERLAG Hamburg University Press, Verlag der Staats- und Universitätsbibliothek Hamburg Carl von Ossietzky,
    [Show full text]
  • Gedanken Zu Obelisk Und Pulvinar in Darstellungen Des Circus Maximus in Rom
    Originalveröffentlichung in: H.-J. Drexhage (Hrsg.), Migratio et Commutatio. Studien zur Alten Geschichte und deren Nachleben. Thomas Pekäryzum 60. Geburtstag, St. Katharinen 1989, S. 265-279 Gedanken zu Obelisk und Pulvinar in Darstellungen des Circus Maximus in Rom Zwei Obelisken ließ Augustus 11/10 v. Chr. nach Rom bringen und mit einander entsprechen­ der Weihinschrift für Sol an der Basis aufstellen. Vom einen, der als Gnomon der Sonnenuhr des Augustus auf dem Marsfeld diente, ist aus der Antike offenbar nur eine Abbildung überlie­ 1 fen, am Sockel der Säule des Antoninus Pius . Der zweite der beiden, der im Circus Maximus aufgestellt wurde, ist dagegen in der Kaiserzeit öfter dargestellt, allerdings weniger des Obe­ 2 lisken selbst als der Zirkusrennen und Spiele wegen, die um ihn herum stattfanden . Die Reihe dieser Zirkusbilder setzt etwa mit der Zeit des Augustus ein. Das hat - auch ganz abgesehen von dem Aufschwung der Bildkunst Roms in dieser Zeit - seine guten Gründe. Denn eine ganze An­ zahl von Einzelmonumenten, die man auf diesen Zirkusbildern sieht, wurde erst zur Zeit des Augustus in dem von Caesar ganz neugebauten und von Augustus schon renovierten Circus Maximus errichtet, so neben dem Obelisken etwa zwei prunkvolle Zählapparaturen für die Runden, die sogenannten Eier und Delphine. Das einzige Monument, das Augustus trotz seiner umfangreichen Instandsetzungsarbeiten am Circus Maximus für sich selbst in seinen Res 3 Gestae in Anspruch nahm, das Pulvinar , wurde sonderbarerweise kaum jemals abgebildet. Allerdings wurde der Circus Maximus in den meisten Fällen - wenn nicht Uberhaupt nur Teile wie der Mittelstreifen mit seinen Monumenten zu sehen waren - in Blickrichtung vom Palatin aus abgebildet, so daß man gewöhnlich den in die Sitzreihen gegenüber auf dem Aventin ein­ gebauten Sol-Tempel sah, aber auch diesen erst seit Trajans Zeit.
    [Show full text]
  • The Bronze Athlete from Ephesos
    Technè La science au service de l’histoire de l’art et de la préservation des biens culturels 45 | 2017 Bronzes grecs et romains : études récentes sur la statuaire antique The Bronze Athlete from Ephesos: Archaeological Background and Aspects of Conservation L’athlète en bronze d’Éphèse, contexte archéologique et éléments de restauration Georg A. Plattner Electronic version URL: http://journals.openedition.org/techne/1255 DOI: 10.4000/techne.1255 ISSN: 2534-5168 Publisher C2RMF Printed version Date of publication: 1 May 2017 Number of pages: 34-45 ISBN: 978-2-7118-6408-9 ISSN: 1254-7867 Electronic reference Georg A. Plattner, « The Bronze Athlete from Ephesos: Archaeological Background and Aspects of Conservation », Technè [Online], 45 | 2017, Online since 19 December 2019, connection on 10 December 2020. URL : http://journals.openedition.org/techne/1255 ; DOI : https://doi.org/10.4000/ techne.1255 La revue Technè. La science au service de l’histoire de l’art et de la préservation des biens culturels est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Bronzes grecs et romains : études récentes sur la statuaire antique TECHNÈ n° 45, 2017 34 Fig. 1. Ephesian Athlete, bronze, H. 192 cm, second half of 1st cent. A.D., Kunsthistorisches Museum Vienna, Collection of Greek and Roman Antiquities, inv. no. VI 3168. © Kunsthistorisches Museum Vienna. Techne_n45_2.indd 34 23/11/2017 11:56 TECHNÈ n° 45, 2017 Bronzes grecs et romains : études récentes sur la statuaire antique Georg A. Plattner The Bronze Athlete from Ephesos: Archaeological Background and Aspects of Conservation L’athlète en bronze d’Éphèse, contexte archéologique et éléments de restauration Abstract.
    [Show full text]
  • Table of Contents
    The Collection of Antiquities of the American Academy in Rome Larissa Bonfante and Helen Nagy, editors With the collaboration of Jacquelyn Collins-Clinton https://www.press.umich.edu/7270894/collection_of_antiquities_of_the_american_academy_in_rome University of Michigan Press, 2016 CONTENTS List of Illustrations vii Preface and Acknowledgments xix PART I: THE COLLECTION: HISTORY AND CONTEXT 1. Americans Collecting Antiquities in Italy, ca. 1865–1920 (Richard D. De Puma) 3 2. The Collection of the American Academy in Rome (Larissa Bonfante and Helen Nagy) 13 3. The History of the Collection (Katherine A. Geffcken) 21 Appendix 3.1. A Personal Recollection about the Collection (Lawrence Richardson, jr.) 79 Appendix 3.2. Introduction to Catalogue of the Museum of the � American School of Classical Studies, 1904 (A. M. Harmon) 81 Appendix 3.3. Timbers from the Nemi Ships in the American Academy, Rome (Giulia Boetto) 83 PART II: HIGHLIGHTS OF THE COLLECTION The Cortile Bays (Jacquelyn Collins-Clinton) 87 4. Inscriptions and Sculpture 4.1. The Inscriptions (Charles L. Babcock) 90 4.2. An Etruscan Funerary Relief from Chiusi (Larissa Bonfante) 105 4.3. Greek and Roman Sculpture (Jacquelyn Collins-Clinton) 113 4.4. A Tetrarchic Frieze (David H. Wright) 131 5. Architectural Decoration 5.1. Etruscan and Roman Architectural Terracottas (Anna M. Moore) 136 5.2. Campana Reliefs (Shelley Stone) 148 5.3. Molded and Painted Plaster Fragments (Anne Laidlaw) 154 5.4. Decorated Marble Pier (David H. Wright) 167 The Collection of Antiquities of the American Academy in Rome Larissa Bonfante and Helen Nagy, editors With the collaboration of Jacquelyn Collins-Clinton https://www.press.umich.edu/7270894/collection_of_antiquities_of_the_american_academy_in_rome University of Michigan Press, 2016 vi CONTENTS 6.
    [Show full text]
  • Mater Caelaturae
    MATER CAELATURAE IMPRESSIONS FROM ANCIENT METALWORK Plasticen matrem caelaturae et statuariae scalpturaeque dixit. "Modelling," said Pasiteles, " is the mother of metal-chasing, of making statues, and of carving stone."' Not only did the artist make studies and preliminary models in clay and wax, but throughout all his activities, he reverted to the softer media for testing his work. This modelling obviously differs considerably from the routine modelling and mould-making by the coroplast engaged in making figurines of commercial character. Thus when the excavations produced from the debris of metalworking establishments moulds for bronze- casting and moulds and trial pieces taken from metal originals, they were easily recognized.! Though made of common clay, they retain with startling f reshness the imprint of lost masterpieces of ancient casting. Of the clay impressions taken from metal origi- nals only one is archaic. True to its age, it is a brilliant bit of modelling, a head not easy to forget, broken from a thin terracotta plaque (Fig. 1) .' It was found in a miscellaneous filling that offered no * ** ~~~~informationas to its date. A better preserved ex- Fig. 1. Headof Herakies ample from the Acropolis shows that the scene was the struggle of Herakles with the Nemean lion (Fig. 2).' The two pieces obviously derive from one original, though details, like the shape of the head, show that they come not only from different moulds but from different patrices. On the Agora piece traces of the paw of the lion clawing at the 1 Pliny, Nat. Hist., XXXV, 156. This paper has profited much by the interest of friends, especially Miss Talcott and Miss C.
    [Show full text]
  • PDF CQ English
    Cahn’s Quarterly 3/2020 English Edition Editorial Dear readers Over half a year has passed since the pandem- ic swept over us in the spring of 2020, bring- ing with it far-reaching consequences for our lives, both private and professional. Much that at first seemed utterly alien or inconceivable has since become normal, and the art market, too, has proved astonishingly adaptable. At the time of writing, art dealers are still largely prevented from using the channels through which they customarily operate. Many fairs and exhibitions have been cancelled or post- poned, and those that are taking place again have had to make numerous adjustments to guarantee the health and safety of both visi- tors and exhibitors alike. Packing for the Highlights International Art Fair Munich, October 2020. But it is not all bad. On the contrary, I think we can learn a lot of positive lessons from am deeply grateful. The videos even prompt- City project (artcity.online/visit-artcity#reg- this crisis. The slower pace of life that has ed some sales, and by no means just minor ister-form) as well as boosting our online been forced upon us is actually beneficial ones, despite the impossibility of inspecting presence at TEFAF (tefaf.com/visitors/sign_ in that we now have the time to look criti- the originals prior to purchase. I would there- up). cally at old habits. The carrousel of art fairs, fore like to take this opportunity to thank you for example, was turning too fast. There are for the trust placed in me.
    [Show full text]
  • Three Centuries of Hellenistic Terracottas 11
    THREE CENTURIES OF HELLENISTICTERRACOTTAS VII THE EARLY FIRST CENTURY B. C. (PLATES 1-6) T HE previous article in this series dealt with terracottas from the Agora from deposits that were sealed just after the capture of Athens by Sulla in 86 B.C.' We have now to consider the deposits that were composed of debris from the damage and destruction of that catastrophe. The presence of wall plaster, flooring, and roofing material as well as quantities of smashed household property, especially pottery, in these dumps attests the widespread havoc caused by the Roman soldiers. They, like the Persians before them and the more recent "occupying forces" after them, systema- tically threw rubbish into the wells and cisterns in order to foul the water supply and to annoy the survivors. The waste thus deposited must date at least as late as the time of the retreating army. Most of it, however, was in the houses when the invaders found them and contained at least some earlier material. On the other hand, since the deposits were not necessarily filled to the top on the day of the victory, a little post-Sullan material may well be presumed to have found its way into the dumps. The task of distinguishing old from new is not easy and would be impossible were the comparative material from other Sullan destructions not available. At best, how- ever, our results are tentative. It is hoped that further discoveries will fill in more facts. In this article we shall present the most important of these Sullan destruction deposits, which we shall designate the Kybele Cistern.
    [Show full text]
  • Antiques in the Collection of Sir Frederick Cook, Bart., at Doughty House, Richmond Author(S): Eugénie Strong Source: the Journal of Hellenic Studies, Vol
    Antiques in the Collection of Sir Frederick Cook, Bart., at Doughty House, Richmond Author(s): Eugénie Strong Source: The Journal of Hellenic Studies, Vol. 28 (1908), pp. 1-45 Published by: Society for the Promotion of Hellenic Studies Stable URL: http://www.jstor.org/stable/624554 Accessed: 12-11-2015 09:06 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Society for the Promotion of Hellenic Studies and Cambridge University Press are collaborating with JSTOR to digitize, preserve and extend access to The Journal of Hellenic Studies. http://www.jstor.org This content downloaded from 150.214.146.47 on Thu, 12 Nov 2015 09:06:32 UTC All use subject to JSTOR Terms and Conditions ANTIQUES IN THE COLLECTION OF SIR FREDERICK COOK, BART., AT DOUGHTY HOUSE, RICHMOND. [PLATESI.-XXIV.] THE monumental work of Professor Michaelis, Ancient Marbles in Great Britain, must always remain the basis of any study among English collections of antiques. But since its publication in 1882 not a few collections have changed hands, others have been dispersed, while others, more fortunate, have been enlarged; in these various processes much that was unknown even to Michaelis has come to light, and he himself soon supplemented his great work by two important papers printed in this Journal in 1884 and 1885.
    [Show full text]
  • Buildings on Roman Coins: Identification Problems1 (20 Figures)
    Jahrbuch für Numismatik und Geldgeschichte 67, 2017 STEFAN RITTER (Munich) Buildings on Roman coins: Identification problems1 (20 figures) I. The diversity of architectural representations on Roman coins Different approaches to architecture in Roman coin images Buildings and monuments on Roman coins are one of the most favorite topics in numismatic research. The reason is understandable: coin images are often the only source that gives us an impression of the appearance of largely lost buildings and monuments, so that they are a very attractive historical source not only for numismatists but for archaeologists and historians as well. For quite a long time the interest in these coin images was motivated by the assumption that the architectural depictions reflect the appearance of their models quite accurately, allowing us to reconstruct buildings and monuments that have not survived the ages.2 It was only in the 1990s that a more differentiated approach started to gain ground.3 Inspired by the general “visual” or “iconic turn”, scholars started to ask questions about the role and function of coin images in communication processes. The focus lies more and more on the different contexts – numismatic, historic and art historical ones – in which the coin images were produced and gained visibility, including 1 This paper is the modified version of the Ilse and Leo Mildenberg Memorial Lecture I held at the Harvard Art Museums on March 23, 2015. I am very grateful to Carmen Arnold- Biucchi for this invitation, and to Henry Heitmann-Gordon for proofreading my text. 2 For an appropriate and critical overview of the history of research on architectural representations on Roman coins see Elkins 2015b, pp.
    [Show full text]