History of Collecting

The article focuses on the Venetian painter Francesco Rizzo da Santacroce (Santa Croce, 1480/1485 – Venice, after 1545) and his workshop, proposing several additions to his documented oeuvre. Archival evidence, first brought to light by Gustav Ludwig in 1903, situates Rizzo in Venice from the early 1500s and records his inheritance of Francesco di Simone’ s workshop in 1508. His early works remain close to Bellinian models, while his style after 1520 shows a shift under the influence of Palma il Vecchio. Later production, however, becomes increasingly repetitive, dominated by small-scale sacre conversazioni created from drawings and earlier compositional schemes, and largely executed by the master’ s workshop. Particular attention is given to a group of paintings, some of which are here attributed for the first time to Rizzo or his workshop. The finest among them is the Virgin and Child with Saint Dominic and Saint Catherine of Siena, today in the Strossmayer Gallery of Old Masters of the Croatian Academy of Sciences and Arts in Zagreb, previously attributed to Filippo da Verona by Bernard Berenson. Building on earlier overlooked suggestions by Gabriel Térey and Grgo Gamulin, the painting is here reassigned to Rizzo. Comparative stylistic analysis demonstrates strong affinities with Rizzo’ s documented works and indicates limited workshop participation, while the specifically Dominican iconography suggests a commission by patrons from the order. Alongside the Zagreb panel, the article attributes to Rizzo and his workshop the Holy Family with Saint John the Baptist and Saint Jerome in the Episcopal Palace in Brescia, previously considered a work by Andrea Previtali. The Virgin and Child with Saint John the Baptist in the Monastery of Saint Francis in Šibenik is also associated for the first time with Francesco Rizzo and his workshop, although its modest quality suggests minimal intervention by the master himself. In addition, several panels in private collectionsand on the European art market are identified as products of the painter’ s serial workshop practice. These works are analysed in relation to Rizzo’ s established oeuvre, revealing both a reliance on Bellinian prototypes and the persistence of formulaic compositions aimed at provincial patrons, characteristic of Rizzo’ s later career.

The tomb of Rashepses, situated to the north of Netjerikhet’s Step Pyramid complex in Saqqara, was already known in the early 1800s. James Burton, who travelled in Egypt between 1820 and 1839, visited the tomb around 1827.
The first scientific-like exploration of the tomb was undertaken by Karl Richard Lepsius, who briefly excavated a small part of the tomb and copied some of its scenes and inscriptions. He also made a rough plan of the structure.
In 1907 and 1908 James E. Quibell pursued a small work in the mastaba. In his extremely brief report, he mentions the northern passage of the tomb, with numerous later burials. 
Since 2010 the exploration of the tomb has been continued by the team of the Supreme Council of the Antiquities headed by the principal investigator. Previously unknown parts of the mastaba were cleaned, including above all a room with a false-door. The newly explored parts of the tomb revealed a partly preserved relief decoration with remains of its original colors. In addition to the superstructure, also the burial chamber has been cleaned, which is beautifully decorated with paintings.

Dary Dominika Radziwiłła (1786-1813) dla puławskiej Świątyni Pamięci ze zbiorów Muzeum Książąt Czartoryskich w Krakowie w świetle wybranych źródeł Dominik Radziwiłł's (1786-1813) gifts to the Temple of the Sibyl at Puławy from the collection of the Czartoryski Museum in Kraków, based on selected sources Abstrakt: W artykule omówiono wyniki badań proweniencyjnych militariów ofiarowanych do Świątyni Sybilli w Puławach przez ordynata nieświeskiego i ołyckiego księcia Dominika Radziwiłła-wychowanka Adama Kazimierza Czartoryskiego, przyjaciela jego młodszego syna Konstantego, który wraz z nim obrał w swej wojskowej karierze kierunek napoleoński. Swą wierność Cesarzowi Francuzów przypłacił najpierw utratą znacznej części majątku w 1812 r., a nieco ponad rok później-własnym życiem. Analiza zachowanych archiwaliów pozwoliła na wyłonienie zespołu zabytków wywodzących się ze zbiorów radziwiłłowskich oraz przybliżenie nieznanych dotąd faktów na ich temat. Słowa kluczowe: Czartoryscy, dawna broń i barwa, Dominik Radziwiłł, kolekcjonerstwo, zamek w Nieświeżu.

Prawa autorskie (c) 2025 Kwartalnik Historii Kultury Materialnej

Giuseppe pavanello Comitato scientifico Francesco abbate • bernard aikema • irina artemieva • victoria avery • rosa barovier • Jean clair • roberto contini • keith christiansen • alberto craievich • Giovanni curatola • miGuel Falomir Faus • massimo Ferretti • alvar González-palacios • andreas henninG • larissa haskell • claudia kryza-Gersch • Justyna Guze • simonetta la barbera • donata levi • stéphane loire • lauro maGnani • anne markham schulz • Giuseppe pavanello • nicholas penny • louise rice • serena romano • pierre rosenberG • sebastian schütze • philip sohm • nico strinGa • michele tomasi • alessandro tomei Elaborazioni fotografiche: Giovanni Felle I contributi (anche quelli su invito), che devono presentare originalità e qualità di risultati e di metodologie, vengono sottoposti al vaglio del Comitato Scientifico e dei Revisori anonimi (con doppia valutazione "cieca"). Indispensabile il requisito dell'esclusività per la stampa in Ricche Minere. I testi dovranno rispettare le norme redazionali della rivista ed essere consegnati in formato Word; le immagini a corredo in formato digitale, ad alta risoluzione e libere da diritti, con relative didascalie in specifico file. Saranno accettati anche testi in lingua francese e inglese.

The essay is part of the exhibition catalogue "Il gran gioco del mondo. Giochi e stravaganze di Giuseppe Maria Mitelli (1634–1718) (Gradara, MARV, 2024–25)". The contribution examines the artistic profile and critical reception of Giuseppe Maria Mitelli, a prolific Bolognese printmaker whose over six hundred engravings—ranging from satire to allegory and popular games—offer a vivid account of Baroque society and enjoyed an unusual modern fortune, including exposure on Italian television.

Il 23 dicembre del 2018 una "Lucrezia" di Artemisia Gentileschi è passata sul mercato antiquario austriaco (Vienna, Palais Dorotheum, 23.10.2018, lotto n. 56). Il dipinto proveniva dalla collezione Jatta a Ruvo di Puglia dove era entrato in modo contestuale alla grande quantità di reperti antichi accumulati dalla famiglia rubastina sin dagli anni Trenta del XIX secolo. Senza dubbio un formidabile indicatore di gusto, il quadro può essere considerato rappresentativo di una stagione di cui si ha contezza soprattutto attraverso le carte legate al problema delle dispersioni post-unitarie. Esse, in effetti, restituiscono la questione di un collezionismo - con ogni evidenza non solo di matrice archeologica - sviluppatosi anche in contesti come quello della cosiddetta ‘Puglia storica’ agli inizi dell’Ottocento, una realtà che si dimostra in questo modo solo apparentemente periferica rispetto all’ipernodo partenopeo. Il fenomeno è a più riprese fotografato nelle comunicazioni epistolari intercorse tra la Direzione Generale delle Antichità e Belle Arti a Roma, la Prefettura di Bari e i diversi esperti a fare da ‘sentinelle’ presenti sul territorio. In tal senso, è del 1885 una lettera indirizzata dal prefetto di Bari al Ministero della Pubblica Istruzione che valuta con una prospettiva inusualmente storica le principali opere d’arte ancora presenti nelle quadrerie private dell’area, creando una linea di continuità tra le forme di collezionismo Sei-Settecentesche e quelle appunto primo-ottocentesche di cui il caso Jatta può essere considerato la punta avanzata

This contribution identifies the Brescian artist Andrea Torresani (c. 1695-1728) as the inventor of an etching by Bartolomeo Gazalis preserved in the Angelo Davoli prints cabinet of the Biblioteca Panizzi in Reggio Emilia. The etching is interesting both for its subject, as it is one of the oldest Italian depictions of the theatrical character of Pierrot, born in France as an evolution of Pedrolino only a few decades earlier, and in reference to Torresani’s artistic production. In fact, it allows us to add a new work to the catalogue of an artist who was highly esteemed during his lifetime but of whom we know little today: it is, in particular, a work referable to his fortunate Milanese period, circumscribable between the end of the 1710s and the first years of the following decade. The analysis of the rediscovered Pierrot becomes an opportunity to bring order to Torresani’s artistic career and to try to give a more precise chronological collocation to some of the artist’s drawings preserved in the Drawings department of the Castello Sforzesco in Milan and at the Accademia Carrara in Bergamo.

Study on the identification of the tapestry series of the "Story of Achilles" by Peter Paul Rubens, woven for José Lila Valdés, Marquis of Los Álamos del Guadalete through the correspondence and photographs that the archaeologist and hispanist George Bonsor sent to Archer Milton Huntington and which is preserved in The Hispanic Society of America

Unlike coins, medals were not bound by any restrictions of size or weight. Cast or struck, they were usually larger, thicker, and more three-dimensional than coins, usually with the obverse and/or reverse shaped in high relief. This phenomenon is especially noticeable in the three-quarter facing portraits frequently seen on medals. However, the compositional scheme of medals, usually similar to that of coins and quite repetitive, was definitively not a fixed standard (as evidenced by e.g. a variety of medal shapes, and inconsistency in the orientation of die axes). The paper focuses on some artistic devices resulting from the three-dimensionality of medals and those regarding their tangibility; it examines and briefly discusses the ways different medals were or could have been handled and perceived by their owners.

El proceso de secularización emprendido por los gobiernos republicanos durante el siglo XIX en Venezuela conllevó el expolio de los bienes de la Iglesia católica y muy especialmente de los conventos, tanto masculinos como femeninos. En muchos casos se optó por demoler estos edificios, algunos se utilizaron para fines distintos, o se procedió a remodelaciones que alteraron totalmente sus espacios para adaptarlos al gusto dominante, acabando con retablos e imágenes que se apreciaron como carentes de cualquier valor estético e histórico. El patrimonio artístico religioso conservado hasta ese entonces sufrió un proceso de dispersión y pérdida, sólo parcialmente salvado por la iniciativa de sacerdotes y coleccionistas privados. Entre estos se destacaron algunas personalidades convertidas en activas promotoras del estudio del arte colonial en las primeras décadas del siglo XX, bien sea través de la organización de exposiciones, la publicación de breves artículos en prensa o la creación de los museos del arte colonial en Venezuela. Todas estas iniciativas privadas sustituyeron la labor del Estado hasta la actualidad. La historia de este coleccionismo privado aún no se ha escrito, por lo que este artículo pretende brindar una primera aproximación al fenómeno.

Desde un primer acercamiento al estudio de la testamentaria de doña Ana Fernández de Córdoba y Figueroa (1608-1679), duquesa de Feria, se contribuye a la identificación y difusión del legado patrimonial que dio origen al Colegio Nuestra Señora de la Paz en Madrid (1679); una institución de la que fue fundadora y promotora. La historiografía moderna y contemporánea no ha tratado con profundidad ni la figura ni el quehacer filántropo de esta mujer. Las dos principales razones para indagar en su vida, a través de un estudio que no solo arroje luz sobre ella, sino también de los pormenores iniciales del Colegio que fundó; un acontecimiento de significación sociocultural en el Madrid del XVII. Desde un punto de vista metodológico, la investigación tiene un enfoque biográfico y se enmarca tanto dentro de la historia de las mujeres como de la historia de las instituciones caritativas modernas, analizándose la testamentaria vinculada con la duquesa, concretamente la parte material.

Meyer, Joachim. 2021. “From Trophy to Museum Object Collecting Islamic Arms and Armour.” In Fighting, Hunting, Impressing: Arms and Armour from the Islamic World 1500-1850, edited by Kjeld von Folsach, Joachim Meyer, and Peter Wandel, 47-57. Copenhagen: The David Collection.

Images shape the way we perceive the world and its individual regions. The Arctic has traditionally been pictured through the perspective of human heroism. Its medialisation started in the 16th century and had its first peak during the colonial and scientific polar expeditions around 1900. Currently, we find ourselves in a new boom of arctic medialisation, which is, however, less hero- than crisis-oriented. In a time of ecological and social catastrophes – such as climate change – the Arctic is becoming an icon in the critical reflection of the nature-human relationship since colonialism. In particular, indigenous artists of the Circumpolar North, i.e. the Arctic and the sub-Arctic, critically engage with the pictorial tradition of the North; they direct our attention to what has been blanked out in the historiography of polar exploration and national expansionism. In doing so, the link to heroic aesthetics and sublime romanticism highlights the often invisible and persistent violence inherent in the notion of the Arctic as an empty wilderness that expands boundlessly for the gaze of the heroic subject. This article examines the critical debate, but also the persistence of heroic imaginaries in contemporary arctic art. At the core of my argumentation lies an indigenous perspective on the Arctic as a colonised zone, which contrasts with the heroic fantasy of the region as untouched and uninhabited.

The work of making library collections and services more equitable is not a one-off task, but needs constant review and revision as perspectives and expectations change in the wider culture. Examples are three recent issues that have arisen in connection with Sotheby's Institute of Art's inhouse book classification scheme: our use of the concepts of the Dutch Golden Age, MENA/SWANA, and the Global South/Global North. It is clear that awareness of relevant trends in contemporary thought, and a willingness to examine critically how best to respond to such trends, support librarians in offering the best service they can to their patrons.

El avance de los estudios sobre las relaciones del Estado Pontificio con las distintas potencias europeas durante la Edad Moderna, pone cada vez más de manifiesto cómo éstas a menudo avanzaron o retrocedieron según la habilidad de quién estuviese al frente en cada momento de la representación diplomática de la Iglesia ante los distintos príncipes católicos, la nunciatura. Si bien la acción de los hombres que desempeñaron aquella función, los nuncios pontificios, es por lo general conocida en lo relativo a su faceta oficial, hasta el momento se ha prestado muy escasa atención al papel oficioso que con frecuencia ellos mismos ejercieron como agentes de la cultura durante sus respectivas misiones diplomáticas. Desde luego, tal actividad no estaba incluida entre sus obligaciones, sino que formaba parte de un ámbito privado en el que el nuncio expresaría y desarrollaría su propia personalidad, sus intereses y sus inquietudes. No obstante, sí resulta cierto que el propio estilo diplomático con el que se desenvolvía la nunciatura llevaba implícita una carga cultural no exenta de significaciones y trascendencia. La institución de la nunciatura pasó a tener un carácter estable durante el siglo XVI. A diferencia de los precedentes legados papales, los nuncios permanentes no tenían una única misión que cumplir, sino que eran destacados ante un * El presente trabajo es resultado parcial del proyecto de investigación sobre los nuncios en la corte de Felipe IV y su acción como mecenas y coleccionistas que promueve el Centro de Estudios Europa Hispánica de Madrid (CEEH). Quiero expresar mi más sincera gratitud a los organizadores de la obra Centros de poder italianos en la Monarquía Hispánica por haber considerado oportuna su inclusión.

Resumen: El nacimiento de la fama del artista durante la Edad Moderna se revela desde la actualidad como un fenómeno en buena medida dirigido y planificado. Este trabajo analiza el episodio concreto de la fama temprana del pintor boloñés Agostino Mitelli, causada entre otras circunstancias, por su temprana muerte en Madrid durante el mes de agosto de 1660. Para ello se han considerado diversos testimonios literarios y poéticos procedentes de fuentes de la época, todas ellas anteriores a 1667, año de la aparición de la oración II ...

Many sources testify to strictly defined places for lay women in the
church space, and that universal practice is attested in a group of
Ragusan sources dating from the 15th century. Descriptions and
contracts record the movement and location of females in the premises
of the most important churches in Dubrovnik, as well as their access to
churches from public space. The paper analyses the social stratification of
the female population underlying those spatial arrangements according to several criteria (age, social status), manifested in the respective
varied uses of church space. Fragmentarily conserved architectural
elements provide further insight into those practices, especially the
gallery for noblewomen attached to the Dominican church, which not
only transformed the lay part of the church (ecclesia laicorum) but
also shaped the area of the public access to the friary’s church by a
sophisticated arrangement of the stairway’s balustrade.

The toilette, or woman at her toilet, recurs across South Asian visual culture from rock-cut cave murals and temple surasundaris to Mughal albums and Pahari paintings where acts of beautification (alankarana) mediate aesthetics, ritual, gender, devotion, and power. This paper traces the motif’s long trajectory, showing how mirrors, cosmetics, and the solah shringara mark auspiciousness while shaping female visibility in domestic, courtly, and devotional contexts. In painting, zenana scenes offer voyeuristic access to male patrons. It contrasts the abundance of female grooming depictions with the relative absence of similar portrayals of men, highlighting the asymmetrical expectations placed upon gendered bodies. Yet notable exceptions - women self-portraitists, certain heroines, and poetess saints show how women can deploy adornment strategically. The paper situates toilette imagery within broader South Asian socio-cultural and gender frameworks and argues that these scenes remain a revealing lens on who is seen, how, and for whose benefit.

The development of modern European scholarship and art, more marked.in Austria and Germany, had produced by the early part of the twentieth century challenging innovations in art and the principles of art historical scholarship. Art history, in its quest to explicate the connections between art and mind, time and place, became a discipline that combined or connected various fields of enquiry to other historical moments. Hitler's accession to power in 1933 resulted in a major diaspora of Europeans, mostly German Jews, and one of the most critical dispersions of intellectuals ever recorded. Their relocation to many western countries, including Australia, resulted in major intellectual and cultural developments within those societies. By investigating selected case studies, this research illuminates the important contributions made by these individuals to the academic and cultural studies in Melbourne. Dr Ursula Hoff, a German art scholar, exiled from Hamburg, arrived in Melbourne ...

Kahnweiler and Rupf: The Story of a Friendship Between Paris and Bern

The exhibition at the Kunstmuseum Bern presents the history of the Rupf Collection - and Bernese art collecting - through the extraordinary friendship between Daniel-Henry Kahnweiler (1884–1979), a gallery owner born in Mannheim and based in Paris, and Hermann Rupf (1880–1962), a Bernese businessman and art collector.

They first met in 1901 as banking interns in Frankfurt, and by 1903 were already exploring Paris’s art scene together. Their friendship endured until Rupf’s death in 1962.

This paper aims to gather all information about the diptych of Mater Dolorosa and Christ Crowned with Thorns, which until 2023 stayed in the Provincial Museum of Pontevedra (Museo Provincial de Pontevedra) in Spain. The research addresses two aspects of the diptych: the controversy of its attribution to a circle of Albrecht Bouts or his follower and the diptych’s arrival at the Provincial Museum of Pontevedra. This study explains that this diptych’s former attributions cannot be supported due to his style and the new research about Bout’s workshop practices. Finally, it gathers all the documentary sources about its arrival at the Pontevedra Museum.

Bulletin du cercle d'études numismatiques Volume 57, n° 3 [ septembre -décembre 2020 ] Bruxelles Cercle d'études numismatiques « European Centre for Numismatic Studies » « Centre Européen d'Études Numismatiques » Siège social : 4, Boulevard de l'Empereur,

ABSTRACT
The Victoria and Albert Museum houses one of the world’s leading collections of
reproductions and plaster casts. In 2017, the refurbishment of its West Court, the gallery
displaying the arts of North Europe and Spain, offered the first opportunity since the Cast
Courts were created in 1873 to survey the collection, studying its conservation needs and
also the original manufacturing and collecting of these objects: how they were made, who
made them and why. This research revealed the figures behind their acquisition and also
discovered the names of long forgotten Spanish cast makers, who were key players on the
Spanish art scene in the 19th and 20th centuries.

RESUMEN
El Victoria and Albert Museum (V&A) alberga una de las colecciones de reproducciones
y vaciados en yeso más importante del mundo. La renovación de la exposición del West
Court dedicado a las creaciones del Norte de Europa y España ofreció la primera
oportunidad de revisar la colección desde su creación en 1873. Este trabajo incluyo el estudio
de sus necesidades de conservación, las técnicas utilizadas en su manufactura y como fueron
adquiridas: como fueron hechas, por quién y porqué. Esta investigación reveló a los
personajes que estuvieron detrás de su adquisición, y descubrió los nombres de los vaciadores
españoles, olvidados hace tiempo, que jugaron un papel fundamental en el panorama de arte
española de los siglos XIX y XX.

Contains 419 essays on historical events - from short, discrete events, such as battles or deaths, to longer, less definite events, such as the rise and fall of a culture that took place in the Ancient World, arranged in chronological order.

A partire da una selezione di casi espositivi ospitati dal 1970 al 1973 presso gli spazi della Galleria dell’Ariete di Milano lo studio indaga i diversi formati in cui la ricerca fotografica di Ugo Mulas è stata presentata e promossa da Beatrice Monti della Corte negli ultimi tre anni di vita del fotografo. Obiettivo della ricerca è quello di ripercorrere, in un contesto che ha esposto le sperimentazioni più aggiornate del decennio, la graduale affermazione tra la fine degli anni sessanta e l’inizio dei settanta di un mercato per la fotografia grazie alla progressiva evoluzione del lavoro di Mulas dal campo della documentazione artistica a quello dell’opera. L’analisi è centrata sulla mostra dedicata alle sue Verifiche organizzata nel dicembre del 1971 presso l’Ariete Grafica, un piccolo spazio prospiciente la medesima corte in cui si affaccia la Galleria dell’Ariete, dove a partire dal 1970 Beatrice Monti espone insieme a Giuliana Soprani edizioni e multipli commissionati ad artisti. Questo caso di studio rappresenta l’avvio di una nuova stagione nella collaborazione tra la gallerista e il fotografo, che documenta sin dalla seconda metà degli anni Cinquanta le attività dell’Ariete, ritraendo le opere e gli artisti, e fotografandone le mostre attraverso la puntuale registrazione di ogni fase del progetto espositivo, dall’allestimento alla sua inaugurazione. Nel triennio preso in esame, parallelamente all’affermazione delle ricerche concettuali, si assiste a una graduale traslazione nell’azione documentaria di Mulas del processo creativo: il fotografo diventa protagonista, e rispetto alla registrazione in studio degli anni sessanta inizia a documentare le performance in galleria così contribuendo ad integrare sempre più strutturalmente la fotografia nella sperimentazione artistica. Tra il marzo e l’aprile del 1970, fotografando l’azione di Michelangelo Pistoletto insieme a Maria Pioppi, Tommaso Trini e Franca Sacchi, in occasione della personale dell’artista all’Ariete intitolata Tutte le donne, lui stesso viene più volte ritratto negli scatti di Giorgio Colombo come nuovo attore nel processo di rifondazione del concetto di opera. Nell’aprile del 1971, poco prima della propria personale, curerà poi il catalogo della mostra di Pietro Consagra confermando un nuovo peso della fotografia nel formato espositivo del libro. Dopo la pubblicazione per le edizioni dell’Ariete Grafica del suo portfolio con le Verifiche 1 e 2, il suo lavoro fotografico è infine presentato a giugno del 1973 nello stand della galleria in occasione di Basel Internationale Kunstmesse accanto alle opere degli stessi artisti da lui documentati nel decennio precedente. L’indagine sarà sviluppata grazie alla consultazione di materiali documentari custoditi presso l’archivio della Galleria dell’Ariete nelle Special Collections del Getty Research Institute, e negli archivi fotografici di Beatrice Monti della Corte e di Giorgio Colombo.

Les numéros d'Histoire de l'art sont reversés en ligne, en libre accès, un an après leur parution imprimée. -Numéros 1 à 89 : Persée [persee.fr/collection/hista] -Numéros 90 à 91 : DeVisu [devisu.inha.fr/histoiredelart] Pour contacter un auteur ou un membre du comité de rédaction, s'adresser au secrétariat de rédaction.

In this work we explore the personal archive of the german born engineer Jorge von Hauenschild held at the Museo de Antropología, Universidad Nacional de Córdoba. Through an excavation of the museum archive, we recreate his life using the rich archival material and archaeological artifacts from the collection which bears his name. Most of these objects were collected during his field work in the decades 1920-40 in the province of Santiago del Estero, Argentina. We implement a cultural biographical approach (sensu Kopytoff) to reconstruct different important events during his lifetime. We argue that archives are critical in the knowledge production in archaeology and that we must invest more time in museum archaeology to investigate the history of the discipline. Our approach enabled us to engage and interact with archival source material and archaeological collections, to shed new light on how this scholar worked in the field context and how the latter studied his findings in a laboratory setting, through new and modern methods for that time.

NSU, Halle, Hanau und mehr – politische Morde mit rechtsextremem Hintergrund sind von beängstigender Gegenwart in der bundesdeutschen Geschichte. Dabei handelt es sich keinesfalls um Einzelfälle, vielmehr sind sie in einen größeren Kontext rechter Gewalttaten wie etwa der Brandanschläge von Solingen eingebettet. Wie kann und sollte die demokratische Gesellschaft auf lokaler Ebene damit umgehen? Was wurde aus der deutschen Geschichte gelernt und wo greift die Aufarbeitung noch zu kurz? Die Beiträge bieten dazu exemplarische und prinzipielle Ansätze aus interdisziplinärer Sichtweise und eröffnen so kritische Perspektiven auf die heutige Gedenkarbeit.

El libro “Efímero y virtual. Rescates digitales de artefactos provisionales” explora el uso de herramientas digitales para reconstruir visualmente estructuras efímeras históricas, como los arcos y altares temporales en eventos de los siglos XVI al XVIII. Este trabajo presenta catorce ensayos que abarcan temas desde metodologías para digitalizar obras perdidas hasta la recreación de espacios históricos, poniendo en relieve la importancia de una metodología rigurosa y científica para el rescate de memorias culturales a través de representaciones virtuales. Esta obra demuestra afinidad con el área de Historia del Arte al aportar una perspectiva innovadora sobre cómo las humanidades digitales pueden recuperar y reinterpretar el patrimonio efímero, proporcionando herramientas valiosas para comprender la estética, el simbolismo y las prácticas culturales de épocas pasadas. La reconstrucción de estos artefactos permite a los historiadores del arte acceder a interpretaciones más ricas de eventos históricos y estructuras temporales que de otro modo se perderían, fortaleciendo así la relación
entre el arte efímero y el conocimiento to histó

Príspevok stručne prezentuje umeleckú zbierku šľachtického rodu Andrássy - trebišovskej vetvy. Zameriava sa na pôvodný inventár trebišovského kaštieľa.
Andrássy collection, Art, Art history, Aristocracy collecting, Hungary nobles, Andrassy, Andrassy Gyula, Andrássy kastély, Terebes, Trebišov, Kaštieľ v Trebišove

In 1927, writing to Fiske Kimball, the director of the Philadelphia Museum of Art, Ugo, the son of the Florentine dealer Stefano Bardini (1836-1922), stated that he was not in the trade but merely trying to settle his father’s inventory.  Thus, from the death of his father, until his own in 1965, Ugo had his eye trained on the American museums as potential recipients of objects then in his galleries and storerooms to be aggressively transacted en masse out of Florence.  Since Ugo himself was not in the “business,” he kept diaries of those who visited his galleries, recording the names of any accompanying individuals, their taste, and of course, the negotiations for price.  Additionally, his correspondence paints a similar picture of objects desired by the Americans, as well as those selected and ultimately shipped across the Atlantic.  The archival material held in Florence in the Archivio Storico Eredità Bardini (ASEB) reveals that Ugo carefully cultivated relationships with, for example, Arthur Acton who frequently brought clients to Ugo, or the fabulously wealthy Samuel Kress; likewise, he tolerated more mundane ones, such as Contini Bonacossi, who was mainly interested in scores of picture frames, which he was mediating on behalf of Kress.  Since Ugo’s inventory was actually that of his father’s, in order to strengthen the credence and credibility of a transaction, Ugo would retrieve documents and photographs from his father’s files.  As such, Ugo’s papers contribute “posthumous” provenance information for objects originally acquired by Stefano Bardini.  Reaching far beyond Florence, the copious epistolary material between, for example, “A. Bremont” (aka Maurice de Bosdari aka Antoine Borel aka A. de Beauvoir) and Ugo provide numerous sketches of some of the many collectors, dealers, agents and intermediaries involved in the carriage of art and decorative art throughout Europe and across the Atlantic.

Esta tese tem como objetivo explorar as experiências colecionistas do fim do século XVIII e início do XIX, com o intuito de analisar os formatos de museus existentes naquele período. A pesquisa discorre sobre o colecionismo de História Natural durante esse intervalo e como ele
impactou a formação de importantes coleções, que serviram tanto para a fruição de seus proprietários quanto para o fomento de pesquisas sobre a natureza brasílica. O estudo propõe uma nova perspectiva sobre a história dos museus no Brasil, ampliando o olhar para exemplos anteriores ou paralelos à Casa de História Natural, ou Casa dos Pássaros, no Rio de Janeiro, frequentemente vista por estudiosos como o marco inaugural dos museus brasileiros. Nesse contexto, figuras como José Vieira Couto, D. Frei Cipriano de São José, Antônio de Araújo e Azevedo (Conde da Barca), José Bonifácio de Andrada e Silva e a Imperatriz D. Leopoldina
de Habsburgo-Bragança são analisadas com o objetivo de compreender a formação de seus museus e os desdobramentos para a ciência da época. Além disso, busca-se contribuir para o campo da História das Coleções e dos Museus no Brasil, ainda em desenvolvimento, e que se dedica a questões relevantes acerca do reflexo das coleções e dos museus na construção do conhecimento humano.

El presente trabajo tiene como propósito visibilizar los casos de cuatro artistas mujeres en el virreinato peruano, lo cual conllevaría a plantear nuevas interrogantes concernientes al estudio de la historia del arte de ese periodo. Es a partir del siglo XVII donde cabe identificar casos de mujeres asociados a la práctica del dibujo y la pintura, y en los que se advierten notorias diferencias sociales y económicas. Observamos aquí a tres viudas y el disímil caso de una mujer quien, a partir del prestigio social que ya ostentaba, buscó más bien obtener un reconocimiento mayor (avalado además por una institución de prestigio: la Academia de San Fernando de Madrid). Analizados desde una perspectiva de género, los casos de estas artistas pretenden enriquecer la percepción que se tiene sobre las mujeres en la sociedad y el arte virreinal peruano.

Las representaciones alegóricas de las distintas épocas del año han sido una constante en las creaciones plásticas desde la Antigüedad hasta nuestros días, como también lo es que sea la figura femenina el tema principal en este tipo de obras, que en muchas ocasiones eran decoraciones murales de los palacio señoriales.

The practice of forging ancient coins and medals was extensively
discussed as early as the 16th century. The first author to devote an entire chapter of his published 1555 work to this problem was Enea Vico (1523–1567). In the first half of the 17th century, Louis Savot (ca. 1579–1640) postulated the need to collect both ancient coins and their forgeries for comparative purposes. In the second half of the 17th century, two very popular textbooks on numismatics were published: Introduction à l’histoire, par la connoissance des médailles by Charles Patin (1633–1693) and La science des médailles by Louis Jobert (1637–1719).
The former distinguished three main types of forgeries, while the latter identified as many as nine types of forgeries and frauds related to ancient coins and medals.
The main purpose of this article is to identify specific coins that Jobert described as examples of the “seventh fraud”, which involves the alteration of the head and obverse legend of a more common coin (usually sestertius) into a rarer one.