Sculpture Collections in Europe and the United States 1500–1930

- 9789004458840 Downloaded from Brill.com08/19/2021 06:01:25PM via free access Studies in the History of Collecting & Art Markets

Editor in Chief

Christian Huemer (Belvedere Research Center, Vienna)

Editorial Board

Adelaide Duarte (Universidade NOVA de Lisboa) Anne Helmreich (Getty Foundation, Los Angeles) Hans van Miegroet (Duke University, Durham) Sophie Raux (Université de Lyon) Adriana Turpin (Institut d’Études Supérieures des Arts, London) Olav Velthuis (University of Amsterdam) Filip Vermeylen (Erasmus University, Rotterdam)

volume 10

The titles published in this series are listed at brill.com/hcam

- 9789004458840 Downloaded from Brill.com08/19/2021 06:01:25PM via free access - 9789004458840 Downloaded from Brill.com08/19/2021 06:01:25PM via free access Paris – The Musée du Louvre Main Hall (Le Cour Marly) by night Photo by Jorge Royan, licensed under Wikipedia Commons, Creative Commons License CC BY-SA 3.0

- 9789004458840 Downloaded from Brill.com08/19/2021 06:01:25PM via free access Sculpture Collections in Europe and the United States 1500–1930

Variety and Ambiguity

Edited by

Malcolm Baker Inge Reist

LEIDEN | BOSTON

- 9789004458840 Downloaded from Brill.com08/19/2021 06:01:25PM via free access Published in association with The Frick Collection. Printing was supported by the Henry Moore Foundation.

This book evolved from a symposium “Sculpture Collecting and Display, 1600–2000,” organized by the Center for the History of Collecting, that was held at The Frick Collection on May 19 and 20, 2017. Both the book and the symposium were made possible through the generous support of the Robert H. Smith Family Foundation.

Cover illustration: The Sculpture Gallery at Chatsworth. © The Devonshire Collections, Chatsworth. Reproduced by permission of Chatsworth Settlement Trustees.

The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/2021004809

Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface.

ISSN 2352-0485 ISBN 978-90-04-45846-8 (hardback) ISBN 978-90-04-45884-0 (e-book)

Copyright 2021 by Malcolm Baker and Inge Reist. Published by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi, Brill Sense, Hotei Publishing, mentis Verlag, Verlag Ferdinand Schöningh and Wilhelm Fink Verlag. Koninklijke Brill NV reserves the right to protect this publication against unauthorized use. Requests for re-use and/or translations must be addressed to Koninklijke Brill NV via brill.com or copyright.com.

This book is printed on acid-free paper and produced in a sustainable manner.

- 9789004458840 Downloaded from Brill.com08/19/2021 06:01:25PM via free access Contents

Foreword ix List of Illustrations xii Contributors xvii

Variety and Ambiguity: What Do We Mean by a “Sculpture Collection”? 1 Malcolm Baker

part 1 Sculpture in the Kunstkammer: Contexts, Formation, and Dispersal

1 Sculpture Collecting and the Kunstkammer 27 Thomas DaCosta Kaufmann

2 The Collecting of Small Bronze Sculptures in Late Renaissance Italy: The Canonici Collection 46 Jeremy Warren

3 Shifting Perceptions and Changing Frameworks: The Case of Francis van Bossuit and the Place of Small-Scale Sculpture in Ivory in the Sculpture Collection 80 Malcolm Baker

part 2 Garden Sculptures as Collections

4 Gentlemen Prefer Bronze: Garden Sculpture and Sculpture Gardens in Britain (1720–1860) 103 Julius Bryant

5 The Sculpture Gardens of Versailles, Marly, and Dresden: Magnificence and Its Limits 128 Betsy Rosasco

- 9789004458840 Downloaded from Brill.com08/19/2021 06:01:25PM via free access viii Contents

part 3 The Sculpture Gallery and Dedicated Spaces for Sculpture

6 The ‘Gallerie du S.r Girardon Sculpteur Ordinaire du Roy’ 157 Anne-Lise Desmas

7 Porcelain as Sculpture: Medium, Materiality, and the Categories of Eighteenth-Century Collecting 174 Michael Yonan

8 Art and Nature: The Country House Sculpture Gallery in the Post-Napoleonic Period 194 Alison Yarrington

part 4 The Changing Place of Sculpture in the Public Museum

9 The Public Art Gallery as Arena for Modern Sculpture 223 Alex Potts

10 Displaying Deceit: Alceo Dossena’s Tomb of Maria Catharina Sabello at the Museum of Fine Arts, Boston 254 Andrew McClellan and Marietta Cambareri

11 The Legacy of William Valentiner in Shaping the Display and Collecting of European Sculpture in American Museums, 1900–Present: Case Studies 276 Alan Phipps Darr

Bibliography 297 Index 330

- 9789004458840 Downloaded from Brill.com08/19/2021 06:01:25PM via free access Foreword

The genesis of this book can be traced over many years as several of us at the Frick Collection strove to define the very rich topic of collecting sculpture in a way that could be embraced by both specialists and a curious general pub- lic. The myriad, not always interconnected, ways sculpture has been valued by collectors and the variety of contexts in which sculpture has been viewed presented us with an embarrassment of riches as we wrestled with the goal of being inclusive while recognizing the need to bring focus to an amor- phous topic. A breakthrough came with a brainstorming session between Ian Wardropper, Malcolm Baker and Inge Reist, during which we shaped a sympo- sium involving some of the finest scholars in the field. Organized by the Center for the History of Collecting at The Frick Collection and Frick Art Reference Library, the symposium took place in May 2017.1 Initially, it was important to understand why collecting sculpture should be such a complex and challenging topic as compared to subjects the Center had addressed in earlier years, most of which had concentrated on collecting paintings of a particular period – the Italian Renaissance or the Dutch Golden Age, for example – or by a particular artist, such as El Greco.2 The answer was twofold: first, the exceptional vari- ety of media, scale, purpose and settings and secondly, the ambiguity of the reception sculpture had at different times and in different places, sometimes appreciated as fine art of the highest order, and in other contexts as merely a decorative accoutrement. The medium could indeed convey the message, as, for example, with small-scale sculptures in bronze, ivory, or porcelain, which

1 An account of the symposium was published by Julius Bryant in the Newsletter of the Public Monuments and Sculpture Association in the UK: https://3rd-dimensionpmsa.org.uk/ reviews/2017-07-06-symposium-sculpture-collecting-and-display-1600-2000. 2 The Frick Center for the History of Collecting has published numerous volumes on topics of this kind, for example, Collecting Spanish Art: Spain’s Golden Age and America’s Gilded Age, and El Greco Comes to America: The Discovery of a Modern Old Master, both eds., Inge Reist and José Luis Colomer (New York and Madrid: The Frick Collection and Centro Europa de Estudios Hispanica and Center for Spain in America, 2012 and 2017, respectively) and five volumes of the series The Frick Collection Studies in the History of Collecting in America published by The Frick Collection, New York, and Pennsylvania University Press, University Park: Holland’s Golden Age in America: Collecting the Art of Rembrandt, Vermeer, and Hals, ed. Esmée Quodbach (2014); A Market for Merchant Princes: Collecting Italian Renaissance Paintings in America, ed. Inge Reist (2015); Buying Baroque: Italian Seventeenth Century Paintings Come To America, ed. Edgar Peters Bowron (2017); The Americas Revealed: Collecting Colonial and Modern Latin American Art in the United States, ed. Edward J. Sullivan (2018); America and the Art of Flanders, ed. Esmée Quodbach (2020).

- 9789004458840 Downloaded from Brill.com08/19/2021 06:01:25PM via free access x Foreword might be displayed to furnish an interior or revered as high art. Such works were essential, even fetishized, components of the Kunstkammern of Princes for which competition among collectors could reach fever-pitch as each strove to outdo the other to obtain objects that demonstrated conspicuous virtuos- ity. Garden sculpture, though not unconnected to the smaller-scale sculpture, worked rather differently and provided unique opportunities to convey propa- gandistic objectives of absolute rulers, emulating as it often did the power that had long been attributed to antique statuary. The fact that displays of sculpture – much of it being public in nature – often impacted the daily life of spectators other than collectors in a way that painting and other fine arts seldom did, obliged us to take into account collect- ing by and for a larger public. Therefore, the sculpture commissions and col- lections that were intended for public display became a necessary component of our book, whether the garden sculptures of monarchs, commemorative por- trait sculptures, or the museum collections and displays that were developed during the nineteenth century. All of these issues, and more, are addressed by the authors who contributed to this volume. Recognizing that a single volume could not do justice to collecting sculp- ture across all periods and traditions, we concluded that our focus would be confined to sculpture collections in Europe and the United States and that we would not introduce collections of ancient or non-western works. Having thus defined the geographic and chronological scope of the volume, our efforts turned to establishing an orderly approach to our subject, dividing the book into four sections – Sculpture in the Kunstkammer: Contexts, Formation, and Dispersal; Garden Sculptures as Collections; The Sculpture Gallery and Dedicated Spaces for Sculpture; and The Changing Place of Sculpture in the Public Museum. In doing so, we recognize that, if read individually, each chap- ter of the book will present the most up-to-date treatment of a single category of sculpture collecting; but, perhaps more significantly, if the essays are read together, or section by section, they bring clarity to this rich and varied topic, collectively asserting that the broad range of sculpture collecting cuts across a broad swath of socio-political-economic and cultural history. The introduc- tion attempts to explore the variety and ambiguity of the issues, as well as the shifting aesthetic assumptions, underlying our interpretation of this diversity of collections. As is always the case in bringing a publication of this kind to light, many individuals and organizations should be acknowledged and thanked. Above all, we are indebted to the Robert H. Smith Family Foundation for its generous support of both the symposium that gave rise to this book and the publica- tion itself. We are also indebted to the Henry Moore Foundation for a generous

- 9789004458840 Downloaded from Brill.com08/19/2021 06:01:25PM via free access Foreword xi grant towards the publication. Ian Wardropper’s insights were invaluable in setting us on a path to successfully organizing the presentations and later the chapters of our book, and the Assistant Directors of the Center for the History of Collecting, Esmée Quodbach and Samantha Deutch were indis- pensable co-organizers, providing both practical and intellectual support to the project. As we have moved towards publication, we have benefitted greatly from the support given by Liesbeth Hugenholtz and Christian Huemer and Brill’s series, “Studies in the History of Collecting and Art Markets.” Needless to say, we are especially grateful to each of our authors – Julius Bryant, Alan Darr, Anne-Lise Desmas, Thomas Da Costa Kaufmann, Andrew McClellan & Marietta Cambareri, Alex Potts, Betsy Rosasco, Alison Yarrington, and Michael Yonan – not only for the depth of their scholarship, but also for their patience with the sometimes tiresome editorial process, and we hope that they are as pleased with the results as we are. While we, as co-editors, were assembling these essays, we were saddened to hear of the death of James David Draper, for many years a curator at The Metropolitan Museum of Art and an art historian whose scholarship encompassed so many aspects of the history of sculpture and the sculpture collections discussed here. It is to Jim’s memory that this volume is dedicated.

Malcolm Baker and Inge Reist

- 9789004458840 Downloaded from Brill.com08/19/2021 06:01:25PM via free access Illustrations

0.1 The Main Hall, Thorvaldsen Museum, Copenhagen 4 0.2 Willem van Haecht II. (1593–1637), The Gallery of Cornelis van der Geest (1555–1638), 1628, Oil on panel, 100 × 130 cm. Rubenshuis, Antwerp 9 0.3 The Sculpture Gallery, Woburn Abbey, with the sculpture collection in place 15 0.4 Stanza degli Imperatori, Capitoline Museum, Rome 19 0.5 Title page of Simon Thomassin, Receuil des Figures Groupes, Thermes, Fontaines, Vases, et autres Ornamens, Paris, 1694 22 1.1 View of the Antiquarium, Ambras Castle. Photo: Kunsthistorisches Museum, Vienna 32 1.2 View of the Antiquarium, Munich. © Bayerische Schösserverwaltung, Ulrich Pfeuffer, Munich 33 1.3 Giambologna, Nessus and Deianeira, (on display in Grünes Gewölbe, Dresden), Bronze, Height 422 cm. © Skulpturensammlung, Staatliche Kunstsammlungen Dresden, Photo: Arrigo Coppitz 37 1.4 Bartolomeus Spranger, Plan for the New (Spanish) Hall, Prague Munich, Staatliche Graphische Sammlung 1948:67. Published in Thomas DaCosta Kaufmann “The Kunstkammer as a Form of Representation: Remarks on the Collections of Rudolf II,” Art Journal 38 (1978), pp. 22–28 41 1.5 Albrecht Dürer, View of the Schatz of Maximilian I, Woodcut from the Triumphal Arch of Maximilian I, British Museum, London. © The Trustees of the British Museum 43 2.1 Title page of Copia del Testamento Solenne e Codicilli del Molto Illustro Signor Roberto Canonici, Ferrara 1632. Biblioteca Comunale Ariostea, Ferrara. Photo: Timothy Wilson 54 2.2 Female figure, North Italian, early 16th century. Skulpturensammlung und Museum für Byzantinische Kunst, Staatliche Museen Berlin (eigentum des Kaiser Friedrich Museumsvereins). Photo: bpk/Volker-H. Schneider 59 2.3 Sleeping Nymph, North Italian, Padua?, c. 1530–40. Skulpturensammlung und Museum für Byzantinische Kunst, Staatliche Museen Berlin. Photo: bpk/ Jörg P. Anders 61 2.4 Oil lamp, North Italian, early 16th century. Ashmolean Museum, Oxford. © Ashmolean Museum, University of Oxford 65 2.5 Four Etruscan bronzes found in Adria, before 1625. From Lorenzo Pignoria, Le Origini di Padova, Padua 1625 68 2.6 Elevation of one wall of the study of Andrea Vendramin, showing his collection of vases and other antiquities, 1627. From “De Sacrificiorum Et Triomphorum

- 9789004458840 Downloaded from Brill.com08/19/2021 06:01:25PM via free access Illustrations xiii

Vasculis,” 1627, Ms. D’orville 539, Fols. 5v.–6r. Oxford, Bodleian Library, University of Oxford 72 3.1 Georg Hainz (1630–1670 or 1631–1700), The Cabinet of Curiosities, 1664, Oil on canvas, 127 × 101 cm. Muzeul National Brukenthal, Sibiu, Romania (561) 82 3.2 Francis van Bossuit, Bathsheba, c. 1680–90, Ivory, 25 × 16.2 cm. Wallace Collection London 84 3.3 Title page of Antony Grill sale catalogue. National Art Library, Victoria and Albert Museum 88 3.4 Matthys Pool, Art’s Cabinet (title page). Private collection 93 3.5 Plate 79 from Art’s Cabinet 95 3.6 Plate 20 from Art’s Cabinet 98 4.1 Michael Rysbrack, Sunna and Thor c. 1728–30, Portland stone. Victoria and Albert Museum. Photo: the author 108 4.2 Andrew Carpenter, Meleager, c. 1725, Lead. Victoria and Albert Museum. Photo: the author 109 4.3 Caius Cibber, Boy Playing the Bagpipes, c. 1685, Portland stone. Victoria and Albert Museum. Photo: the author 110 4.4 Louis Francois Roubiliac, George Frederic Handel, 1738, Marble. Victoria and Albert Museum 113 4.5 William Hogarth, A Statuary’s Yard, from Analysis of Beauty, 1753, plate 1, engraving. Yale Center for British Art, Paul Mellon Collection 115 4.6 John Donowell, A View of the back front and part of the garden of the Earl of Burlington at Chiswick, c. 1753, Engraving. Yale Center for British Art, Paul Mellon Collection 122 5.1 Chateau de Versailles, from the garden side, with the Fountain of Latona. Etching, Israel Silvestre after Adam Perelle, c. 1680. Metropolitan Museum of Art. Image © The Metropolitan Museum of Art. Image source Art Resource, New York 133 5.2 Pierre Puget, Milo of Crotona. Musée du Louvre. Erich Lessing/Art Resource, New York 135 5.3 Sébastian Slodtz, Aristaeus and Proteus. Versailles. Marc Walter/Adoc-photos/ Art Resource New York 139 5.4 Pierre Denis Martin, Château of Marly. Versailles. Image RMN-Grand Palais/Art Resource, New York 144 5.5 Domenico Guidi, History Writing the Deeds of Louis XIV. Versailles. Image RMN-Grand Palais/Art Resource, New York 146 5.6 Balthasar Permoser, Hercules and Busiris. Grosser Garten, Dresden. SLUB/ Deutsche Fotothek/Hans Reinecke. http://www.deutschefotothek.de/ documents/obj/90050770 148

- 9789004458840 Downloaded from Brill.com08/19/2021 06:01:25PM via free access xiv Illustrations

5.7 Antonio Corradini, Apollo and Marsyas, from Dresden. Victoria and Albert Museum, London. Image © Victoria and Albert Museum, London 151 6.1 Plate I of the Gallerie: Veüe d’un des bouts de la Gallerie du S.r Girardon Sculpteur ordinaire du Roy 158 6.2 Plate II of the Gallerie. Veüe d’un des bouts de la Gallerie du S.r Girardon Sculpteur ordinaire du Roy 159 6.3 Plate IV of the Gallerie. Veüe d’un des Côtez de la Gallerie du S.r Girardon Sculpteur ordinaire du Roy 164 6.4 Plate VI of the Gallerie. Veüe de plusieurs morceaux des ouvrages faites par le S.r Girardon placez dans le milieu de sa Gallerie aux quells il a fait ajouter les architectures dessinés par le S.r Oppenort 165 6.5 Plate XI of the Gallerie. Suite du cabinet du S.r Girardon Sculpteur ordinaire du Roy 166 6.6 Artificial reconstitution of colors per medium of the objects for Plate IV (fig. 6.3) 169 7.1 Porcelain Cabinet, Charlottenburg Palace, Berlin, 1706. Photo: bpk Bildagentur/ Art Resource, NY 175 7.2 Japanisches Palais, Dresden, exterior view. Photo: Wikipedia Commons, Creative Commons CC0 1.0 Universal Public Domain Dedication/ Bernd Gross 177 7.3 Attr. Matthäus Daniel Pöppelmann, Design for a wall arrangement in the Japanisches Palais, Dresden, before 1730. Photo: Sächsisches Staatsarchiv, Hauptstaatsarchiv, Dresden 180 7.4 Plate from Daniel Marot, Nouvelles Cheminées faites en plusieurs endroits de la Hollande et Autres Provinces, 1703. Photo: Cooper Hewitt, Smithsonian Design Museum/Art Resource, NY 181 7.5 Zacharias Longuelune, Detail of a drawing for a wall arrangement in the Japanisches Palais, Dresden, c. 1735. Photo: Sächsisches Staatsarchiv, Hauptstaatsarchiv, Dresden 184 7.6 Medici Venus, Ginori Porcelain Manufactory, Doccia, c. 1745–1750. Museo di Doccia, Sesto Fiorentino, Italy. Photo: Museo di Doccia, Sesto Fiorentino/ Arrigo Coppitz 188 8.1 Sculpture Gallery, Chatsworth House, Derbyshire. View looking north towards the Orangery. Canova’s Endymion (front right), Albacini’s Wounded Achilles (front left). © The Devonshire Collections, Chatsworth. Reproduced by permission of Chatsworth Settlement Trustees 197 8.2 Eduard Gurk (1801–1841). The “Musaeum” in the Villa of Prince Clemens von Metternich. Rennweg, 1030 Vienna, 1836, Lithograph. Photo: Wolfram Siemann: Metternich. Stratege und Visionär. Eine Biografie (Munich: C. H. Beck, 2016). Public domain image through Wikimedia Commons 201

- 9789004458840 Downloaded from Brill.com08/19/2021 06:01:25PM via free access Illustrations xv

8.3 View across the Sculpture Gallery, Woburn Abbey to the Temple of the Graces. Photograph c. 1870s, Photo Album 8, From the Woburn Abbey Collection 208 8.4 John Le Ceux after J. G. Jackson, Exterior of the Sculpture Gallery, Woburn Abbey, published May 1827, etching, published by James Carpenter & Son, Old Bond Street, London. From the Woburn Abbey Collection 209 8.5 Thomas Phillips, George O’Brien Wyndham, 3rd Earl of Egremont (1751–1837) in the North Gallery, Petworth, 1839 (RA), Oil on canvas, 1870 × 1550 mm, Petworth House and Park, West Sussex. © National Trust 214 8.6 John Charles Felix Rossi, Celadon and Amelia, 1821 (RA), Marble, h: 1935 mm, Petworth House and Park, West Sussex. © National Trust 216 9.1 The sculpture gallery at the Luxembourg Museum, Photograph from a postcard, c. 1910. Private Collection. Left foreground set behind a seated female nude Rodin Thought (La Pensée); right foreground Jean-Léon Gérôme Tanagra; towards the rear to the right of centre Rodin Age of Bronze and further back Rodin St. John the Baptist. © Archives Charmet/Bridgeman Images 227 9.2 Exhibition of sculptures by Rodin installed in the recently opened West Hall of the Victoria and Albert museum in 1914, Aristotype photographic print, July 1914, 10.6 × 15.2 cm. Paris, Musée Rodin (Ph. 1926). © Musée Rodin 231 9.3 Joseph Nash, The Great Exhibition, Belgium, c. 1851, Watercolor and bodycolor over pencil, 33.0 × 48.5 cm. (sheet of paper), Royal Collection Trust (RCIN 919948). In the center Eugème Simonis equestrian statue of Godfrey de Bouillon; set behind and to the left of a green pedestal, Guillaume Geefs The Amorous Lion (Le Lion Amoureux). © Her Majesty Queen Elizabeth II 2020 233 9.4 Philip Henry Delamotte, photographer. Interior view of the transept, Crystal Palace Sydenham, albumenprint, 23.0 × 26.9, c. 1855–9, Victoria and Albert Museum, Prints and Drawings (Number 39287). Left of center towards the front John Bell Una and the Lion and above Carlo Marochetti equestrian statue of Richard Coeur de Lion. © Victoria and Albert Museum, London 235 9.5 Modern sculpture at Crystal Palace Sydenham, c. 1855, Daguerreotype. In the right foreground James Pradier Toilet of Atlanta (La Toilette d’Atante). Image from Forum Pradier https://www.jamespradier.com/Texts/Forum_Crystal _Palace.php 238 9.6 Philip Henry Delamott, attr., View in Court of Christian Monuments, c. 1855–59, Albumensilver print from glass negative, 7.9 × 8.1 cm. In the center foreground Canova Perseus. Gilman Collection, Museum Purchase, 2005 (2005.100.801 (18a)), New York, Metropolitan Museum of Art. © The Metropolitan Museum of Art/Art Resource/Scala, Florence 2020 239

- 9789004458840 Downloaded from Brill.com08/19/2021 06:01:25PM via free access xvi Illustrations

10.1 Renaissance-style tomb of Maria Catharina Sabello, Alceo Dossena (1878–1937), About 1920, Stone; Marble. Maria Antoinette Evans Fund, 24.150. Photograph © Museum of Fine Arts, Boston 256 10.2 One of two angels made to flank the Tomb of Maria Catharina Sabello, Alceo Dossena (1878–1937), about 1920, Marble. Present location unknown. Photograph Kunsthistorisches Institut, Florence 259 10.3 Madonna and Child, Alceo Dossena (1878–1937), early 20th century Polychrome wood. Bartlett Collection – Museum purchase with funds from the Francis Bartlett Donation of 1912, 27.212. Photograph © Museum of Fine Arts, Boston 262 10.4 Installation view of the Quincy Adams Shaw collection of Renaissance sculptures, Museum of Fine Arts, Boston, Evans Wing, Former Gallery XII, date of photograph unknown. Photograph © Museum of Fine Arts, Boston 265 10.5 Male Nude (David?), Unidentified artist, Italian, mid-sixteenth century, Wax. Gift of Elia Volpi, accepted as compensation, 29.1085. Photograph © Museum of Fine Arts, Boston 273 11.1 Photograph of William R. Valentiner at his desk about 1930. DIA Research Library and Archives image, under “Staff Portraits” 277 11.2 Valentiner’s 1923 concept installation for an Italian Renaissance gallery that integrates the various media proposed for the 1927 installation at the DIA. DIA Research Library and Archives scanned image, from William R. Valentiner, “New Period Rooms,” Bulletin of the Detroit Institute of Arts 4, no. 4, Jan. 1923: 27 283 11.3 Valentiner’s newly-installed Italian Renaissance gallery in 1927 for the new DIA Cret building, showing the Italian Renaissance sculpture, painting, ceramics, furniture, textiles, and other arts providing a cultural context for this collection. DIA Research Library and Archives scanned image, from Detroit Institute of Arts: The Architecture (Philadelphia: Innes & Sons, 1928), illustration no. 37 285 11.4 Attributed to Donatello, Madonna and Child, between ca. 1410 and 1420, Terracotta with original polychomy and gilding, Detroit Institute of Arts, Founders Society Purchase, Ralph Harman Booth Bequest Fund, 40.19 287 11.5 Italian Early Renaissance Tuscan Art, DIA gallery view, 2007–present. Detroit Institute of Arts photograph, 2007, D-7999-018.tif 294 11.6 16th Century Medici Court Art in Italy, DIA gallery view, 2007–present. Detroit Institute of Arts photograph, 2007, D-7999-022.tif 295

- 9789004458840 Downloaded from Brill.com08/19/2021 06:01:25PM via free access Contributors

Malcolm Baker Distinguished Professor Emeritus, Department of Art History, University of California, Riverside

Julius Bryant Keeper of Word & Image, Victoria and Albert Museum, London

Marietta Cambareri Curator of Decorative Arts and Sculpture and Jetskalina H. Phillips Curator of Judaica, Museum of Fine Arts, Boston

Alan P. Darr Senior Curator of the European Art Department and Walter B. Ford II Family Curator of European Sculpture & Decorative Arts, Detroit Institute of Arts

Anne-Lise Desmas Curator and Department Head of Sculpture and Decorative Arts, The J. Paul Getty Museum, Los Angeles

Thomas DaCosta Kaufmann Frederick Marquand Professor of Art and Archaeology, Princeton University, Princeton

Andrew McClellan Professor of Art History, Tufts University, Medford, MA

Alex Potts Max Loehr Collegiate Professor Emeritus, Department of History of Art, University of Michigan, Ann Arbor

Inge Reist Director Emerita, Center for the History of Collecting, The Frick Collection and Frick Art Reference Library, New York

Betsy J. Rosasco Research Curator of European Painting and Sculpture, Princeton University Art Museum

- 9789004458840 Downloaded from Brill.com08/19/2021 06:01:25PM via free access xviii Contributors

Jeremy Warren Honorary Curator of Sculpture, Ashmolean Museum, Oxford and Sculpture Research Curator, The National Trust

Alison Yarrington Professor Emerita of Art History, Loughborough University, Loughborough, England

Michael Yonan Alan Templeton Endowed Chair in European Art, 1600–1830, University of California, Davis

- 9789004458840 Downloaded from Brill.com08/19/2021 06:01:25PM via free access