Journal of the History of Collections - recent issues

Introduction: The art collector--between philanthropy and self-glorification

Rovers, E. — Thu, 22 Oct 2009 13:06:11 PDT

Collecting for posterity: Two Dutch art collectors in the nineteenth century and their bequests to the nation

Krul, W. — Thu, 22 Oct 2009 13:06:11 PDT

In the first half of the nineteenth century, collecting Old Masters was the most prestigious form of art collecting in the Netherlands, both because of the international fame of these artists and because of their status as national icons. Around mid-century, however, some Dutch collectors began to focus on contemporary European art. This paper will consider this shift in the context of changes in taste and the problem of national identity at that time. The banker Adriaan van der Hoop (1778–1854) and the coal merchant Carel Fodor (1801–60), both of whom left their collections to the city of Amsterdam, will be discussed as examples of this changing fashion.

'Splendid patriotism': Richard Wallace and the construction of the Wallace Collection

Lasic, B. — Thu, 22 Oct 2009 13:06:11 PDT

This article examines the transformation of the Wallace Collection, London, from private collection to national museum and the consecutive phases of its passage from the private to the public sphere. Set against the background of the late Victorian exhibitionary field, it argues that the collection's arrival in Britain in 1871 prompted a new era with the emphasis placed upon the collection's increased visibility and accessibility to a wider audience. It further examines the motives underlying the bequest of the Wallace Collection to the British nation and the tensions inherent in the transformation of a dynastic site into a national museum. Analysis of the methods of display and admission policies applied at the Wallace Collection also demonstrates that the museum was cast as an exemplar of high culture that materialized the collecting practices of three generations of connoisseurs but also spectacularized their art de vivre.

Collectors and why they collect: Isabella Stewart Gardner and her museum of art

Matthews, R. — Thu, 22 Oct 2009 13:06:11 PDT

Isabella Stewart Gardner had the words ‘c’est mon plaisir’ carved into the brickwork above the front door of her museum as a statement of her intention in forming her collection. Although superficially this may have been true, in this paper it is argued that subconsciously Gardner collected in response to losses experienced throughout her life. This theme is traced through her collecting of designer dresses by Charles Frederick Worth, costumes that allowed her to reinvent herself after the death of her only child, and through her collection of rare books that marked a time of intellectual development and renewal. It is argued that her losses led her to surround herself with painters, writers and musicians, thus forming a collection of young artists. The purchase of her first Old Master was influenced by the loss of her son, and the creation of her museum inextricably linked to the death of her husband.

The Musee Gustave Moreau: Collecting life and work as proof of a genius's contribution to art

Liefooghe, M. — Thu, 22 Oct 2009 13:06:11 PDT

When the Parisian painter Gustave Moreau died in 1898, he bequeathed his house and its consciously arranged collections to the French state on condition that the collection's integral character be maintained. Opened in 1904 as the Musée Gustave Moreau, the house made public the life and oeuvre of a painter whose seclusion had become legendary during his lifetime. Tied to Moreau's habit of collecting and reworking his own work, the format of a personal monographic museum emerged only in the last resort as a modification of an earlier planned retrospective exhibition. It is argued that Moreau's enterprise should be interpreted in connection with the art-historiographic paradigm of life and work rather than with any museographic format. Moreau's strategic bequest envisioned the presentation of his work as a lifetime achievement, the posthumous evaluation of which would ultimately prove him a genius and recognize his contribution to the history of art.

Bremen - Berlin - Weimar: Cooperation between German art collectors and museum directors c. 1900

Wimmer, D. — Thu, 22 Oct 2009 13:06:12 PDT

In late nineteenth-century Germany, museum friends’ associations and the cultural élite of the industrial centres of Germany supported public art collections, most of which were incorporated into municipal or federal agencies and governed by administrative experts such as Wilhelm von Bode (1845–1929) in Berlin and Gustav Pauli (1866–1938) in Bremen. The majority of German art collectors around 1900 relied not only on the expertise but also on the guidance of these museum directors as ‘public authorities’. This paper will explore how different individual and political preconditions, collecting strategies and forms of art mediation in late nineteenth- and early twentieth-century German art collecting in Bremen, Berlin and Weimar affected the interaction between museum directors, commercial agents and individuals of the old and new social élites, motivated by a form of philanthropic social and cultural accountability as well as by the pursuit of an established social position.

Karl Ernst Osthaus, Folkwang and the 'Hagener Impuls': Transcending the walls of the museum

Schulte, B. — Thu, 22 Oct 2009 13:06:12 PDT

The term ‘Hagener Impuls’ characterizes two decades in the history of the city of Hagen, when the city was a place of important developments in the arts. Between 1900 and 1921 Karl Ernst Osthaus tried to realize his vision ‘to make beauty once again the dominant force in life’ by several means – as museum founder, patron, agent and organizer in the field of the arts. Osthaus's initiative went beyond merely establishing the Folkwang Museum. The purpose of his ‘cultural mission’ was to improve the social situation in Hagen, an industrial town and Osthaus's birthplace. He placed his faith in art as a means of restructuring social life and set about attracting outstanding artists to Hagen, procuring them commissions, founding an artists’ colony, workshops and a teaching institute. He was particularly interested in architecture and town planning, since these provided the framework for implementing his utopian idea of society as a ‘Gesamtkunstwerk’.

The art dealer and collector as visionary: Discovering Vincent van Gogh in Wilhelmine Germany 1900-1914

Grodzinski, V. — Thu, 22 Oct 2009 13:06:12 PDT

The Berlin Jewish art dealer Paul Cassirer was the main instigator of the creation of a commercial market for Vincent van Gogh in Wilhelmine Germany. The narrative is set against the artist's controversial reception in the Netherlands and in Republican France, and follows his art's progress to Imperial Germany, where it was also received with considerable opposition, culminating in the Vinnen Protest of 1911. By contrast, the country also witnessed the enthusiastic acceptance of Van Gogh's work among liberal museum directors and Cassirer's client-collectors, a small but dedicated circle of modernist art patrons. The paper concludes that Wilhelmine patrons of Van Gogh were leaders of the European visual avant-garde, and by welcoming radical new art, they accepted its ideological component, which became an inspiration in their search for identity and modernity. This was especially the case among German Jewish patrons, who made up a disproportionately high percentage of Van Gogh patrons before 1914.

'I want this collection to be my monument': Henry Clay Frick and the formation of The Frick Collection

Quodbach, E. — Thu, 22 Oct 2009 13:06:12 PDT

Henry Clay Frick (1849–1919), a pioneer in the Pittsburgh coke and steel industries and an enormously successful financier, amassed one of the most magnificent collections of Old Master paintings of America's Gilded Age. The Frick Collection, housed in Frick's mansion in New York City, was bequeathed to the public in 1919 and opened in 1935 as a museum. In this paper, the author explores Frick's tastes and acquisitions, and considers his aspirations, not only as a leading collector in the early twentieth century but also as the founder of The Frick Collection, which he intended to be his ‘monument’

Monument to an industrialist's wife: Helene Kroller-Muller's motives for collecting

Rovers, E. — Thu, 22 Oct 2009 13:06:12 PDT

With her collection of modern art, the German-Dutch collector Helene Kröller-Müller (1869–1939) founded one of the first museums of modern art in Europe. It seems that the passion with which she collected sprang not so much from her love of art as from a personal pursuit of self-definition and recognition. This pursuit led Kröller-Müller to assemble an extraordinary collection of modern art that included almost 100 paintings by Vincent van Gogh (1853–90). It also led to Kröller-Müller's decision to make her collection accessible to the public, to found a museum of modern art and ultimately to leave this museum to the state of The Netherlands. In this way Kröller-Müller contributed to the reception of modern art in Europe.

Collecting connoisseurs and building to house a collection: The intriguing case of Dora Gordine (1895-1991)

Black, J. — Thu, 22 Oct 2009 13:06:12 PDT

The essay will explore how sculptor Dora Gordine (1895-1991) proved not only skilled in persuading collectors to buy her work, but also in befriending many of the leading European collectors and connoisseurs of her oeuvre. Such friendships conferred upon her a much-needed respectability, for many who knew her well remained unsure as to the exact details of her origins and past life in Eastern Europe. Marriage to the Hon. Richard Hare, allowed Gordine to build for herself, between 1935 and 1936, Dorich House – a miniature Art Deco stately home which served as a highly effective showcase for her work and then later (post World War II) for an impressive collection of nineteenth-century Russian and ancient Oriental objets d’art.

Collecting then and now: The English and some other collectors

Herrmann, F. — Thu, 22 Oct 2009 13:06:12 PDT

This paper sets out to show the generosity of spirit, particularly from the second half of the nineteenth century onwards, with which collectors in England enriched the country's museums. This was by piecemeal donations, as well as by the endowment of newly founded establishments, housing entire collections. As far as one can judge today, it was much more often a case of philanthropy than self-gratification. With a few major exceptions, it continued on a much reduced scale in recent times. The mood has changed among some giants of collecting, often those with exceptional commercial talents, for whom self-glorifying philanthropy—and tax advantages—are often the order of the day. This has been particularly true in America, where an extraordinary shift to collecting ‘contemporary’ art has until very recently dominated the scene. Self-glorification was certainly part of that pattern.

Federico Borromeo and the collections of Leone and Pompeo Leoni: A new document

Di Dio, K. H. — Fri, 24 Apr 2009 06:16:35 PDT

A hitherto unpublished document in the Biblioteca Ambrosiana concerning the collections gathered by the sculptors Leone Leoni (1509–90) and his son Pompeo (c.1541–1608), in Milan and Madrid, respectively, enables identifications of some of the objects, clarifies details of their transport and subsequent ownership and offers some indications regarding how Leoni acquired such prestigious objects. The document contains two lists: one is an inventory of the objects in the Leoni residence in Milan and the other is a record of the contents of the Pompeo's house in Madrid which were to be transported to Milan.

Ethnographica in early modern Kunstkammern and their perception

Bujok, E. — Fri, 24 Apr 2009 06:16:35 PDT

Ethnographic objects from all areas of the world formed an essential part of both royal and private Kunstkammern. In Munich, they made up one-seventh of the total number of objects. They were regarded with wonderment and curiosity in the same way as the European objects and were placed among them without distinction. Around 1670, this attitude gave way to more scientific approaches and classification systems: the ethnographica were increasingly separated, and no longer found a proper place in the new ordering systems. Unlike most of the royal cabinets, private collections tended to reflect a spirit of enquiry from the beginning. The inventories of the Kunstkammern represent an important source of information about the historical culture of many ethnic groups, and tell us which objects were brought to Europe, but there is little source material to show how these objects found their way into these collections.

Recently identified at Burton Constable Hall: The collection of William Dugood FRS--jeweller, scientist, freemason and spy

Connell, D. — Fri, 24 Apr 2009 06:16:35 PDT

The collection of the jeweller William Dugood (fl.1715–67) was purchased by William Constable in 1760 and survives at Burton Constable Hall. It includes geological specimens, manuscripts and thousands of casts taken from medals, ancient coins and engraved gems. This paper presents an account of the enigmatic William Dugood and considers the significance of his collection of casts, most of which he took from the Farnese numismatic and glyptic collections when employed as jeweller to the Duke of Parma in 1732–3.

Lord Elgin's firman

Williams, D. — Fri, 24 Apr 2009 06:16:35 PDT

This article examines one of the most crucial documents associated with the history of the collection of antiquities; the Ottoman firman granted in July 1801 to Lord Elgin in respect of the activities of his team of artists, architectural draftsmen and moulders on the Acropolis of Athens. The text of the preserved Italian translation is examined and the status of the lost original Ottoman Turkish document assessed. The process of and the background to the granting of the firman are also documented as far as possible. In addition, the manner in which the firman was first applied in Athens is examined, in particular the roles of the Revd Philip Hunt and the accompanying Ottoman official, Raschid Aga (the Mubàshir).

Exhibiting evolutionism: Darwinism and pseudo-darwinism in museum practice after 1859

MacGregor, A. — Fri, 24 Apr 2009 06:16:35 PDT

The implications of Charles Darwin's On the Origin of Species, published in 1859, might have been expected to elicit immediate and far-reaching responses in the museum world, as curators struggled to accommodate its revolutionary doctrines. In fact several decades pass before any tangible reaction can be traced, by which time it was in the fields of archaeology and anthropology as much as in natural history that the impact was most evident. Even then, however, the evolutionary schemes that were at first acknowledged often bore more relation to pre-Darwinian theories than to the rigorous logic of natural selection, and it was only in the years approaching the half-century of Darwin's publication that his message began to be presented in unalloyed form. Darwin's own involvement in collecting, his influence in the practice of a variety of related disciplines and his eventual impact on museum displays are here explored.

'A thing to be seen': Creating the Crampton collection of British watercolours in the 1850s

McEvansoneya, P. — Fri, 24 Apr 2009 06:16:35 PDT

A bundle of letters in the Print Room of the Ashmolean Museum details the assembly by the artist, George Sharp, on behalf of his friend and pupil, the diplomat John [later Sir John] Crampton, of a collection of watercolours by leading British artists, including David Cox and Copley Fielding. The letters, supplemented from other manuscript sources, document an unrecognized episode in the history of watercolour collecting. The initial destination of the collection was Washington where Crampton was well integrated, as a collector and able amateur artist, in the rapidly evolving art world. For Sharp, the collection served a number of purposes: it decorated Crampton's house; it demonstrated to Crampton's American friends the superiority of the British school of watercolour painting; it provided models for Crampton's own painting, and it was intended to hold its value as an investment.

Rescuing history from the nation: The untold origins of the Stockholm Museum of Far Eastern Antiquities

Johansson, P. — Fri, 24 Apr 2009 06:16:35 PDT

This article reveals the unknown history of the collections at the Stockholm Museum of Far Eastern Antiquities (MFEA). The Museum was founded with material from Johan Gunnar Andersson's archaeological excavations in China in the 1920s and for a long time Andersson's bi-national cooperation with the Chinese state was held up as an exemplary model for international museum collecting and archaeology. However, it is now clear that Andersson used the leverage of his position as a Chinese official to pressurize local populations into excavating ancient grave fields, causing demolition of 5,000-year-old burial grounds, and that he secretly sent an unscrupulous professional collector to China in order to procure antiques for the Museum. Indeed, it was because he had the support of the Chinese state that he was in a position to cause such extensive damage, often against the will of local Tibetan and Muslim communities.

A Genizah secret: The Count d'Hulst and letters revealing the race to recover the lost leaves of the original Ecclesiasticus

Jefferson, R. J. W. — Fri, 24 Apr 2009 06:16:35 PDT

The discovery of the Cairo Genizah manuscripts (over 200,000 fragmentary texts, mainly written in Hebrew and Arabic) in the late-nineteenth century is an enigmatic tale. The early collectors of this material, unaware of its exact provenance or keen to safeguard their access to it, did not divulge their sources. However, a selection of unpublished letters preserved in the Bodleian Library, in the archives of the Egypt Exploration Society and in the National Archives help piece together more of the story which will be revealed here for the first time. The letters concern the unacknowledged role of the mysterious Count d'Hulst in the recovery of sections of the Oxford Genizah collection; the race between two eminent scholars, Adolf Neubauer and Solomon Schechter, to discover the missing manuscript leaves of the original Hebrew Ecclesiasticus and the unspoken competition between the Libraries of Oxford and Cambridge to expand their Oriental collections.

The Egyptian Renaissance. The Afterlife of Ancient Egypt in Early Modern Italy

Whitehouse, H. — Fri, 24 Apr 2009 06:16:35 PDT

The Invention of Spain. Cultural Relations between Britain and Spain, 1770-1870

Calaresu, M. — Fri, 24 Apr 2009 06:16:35 PDT

The History of Natural History. An Annotated Bibliography

MacGregor, A. — Fri, 24 Apr 2009 06:16:35 PDT

Following Pausanias. The Quest for Greek Antiquity

Pretzler, M. — Fri, 24 Apr 2009 06:16:35 PDT

Fabricating the Antique. Neoclassicism in Britain, 1760-1800

Wiegel, H. — Fri, 24 Apr 2009 06:16:35 PDT

Acquired Tastes. 200 Years of Collecting for the Boston Athenaeum

Harrison, C. — Fri, 24 Apr 2009 06:16:35 PDT

The Lost World of James Smithson. Science, Revolution, and the Birth of the Smithsonian

Andrei, M. A. — Fri, 24 Apr 2009 06:16:35 PDT

Peter Oluf Brondsted (1780-1842). A Danish Classicist in his European Context

Pedersen, P. — Fri, 24 Apr 2009 06:16:35 PDT

1900 - The Year of Art Nouveau. Paris - Copenhagen/Copenhagen - Paris

Jackson, D. — Fri, 24 Apr 2009 06:16:35 PDT

Books received

Fri, 24 Apr 2009 06:16:35 PDT

Portrait collection and display in the English civic body, c.1540-1640

Tittler, R. — Thu, 23 Oct 2008 06:29:36 PDT

In the burgeoning scholarly literature on the history of collecting and display of art in England, very little attention has been paid to painting collections made by institutions rather than individuals. A survey of the acquisition, collection and display of paintings, especially portraits, in post-Reformation England shows that civic bodies such as towns and boroughs, livery companies, schools and university colleges also indulged in such activities. However, they did so for quite different reasons than contemporary individual collectors seeking to replicate and possess elements of neoclassical culture: men and women whom we associate with the ‘Renaissance’ and with the goal of self-fashioning.

Wonders of America: The curiosity cabinet as a site of representation and knowledge

Yaya, I. — Thu, 23 Oct 2008 06:29:36 PDT

This essay examines the representation of the New World in cabinets of curiosities throughout the sixteenth and seventeenth centuries. Despite the contrasting nature of these private collections and the varying degrees of access that European states had to such exotic objects, the characterization and assessment of the Americana displays a consistent similarity. It is argued here that the meaning of these items within the microcosm of the cabinets can be comprehended by the intellectual enterprise that sustained the gathering of curiosities and by the representation of Amerindian societies in moral history works.

The concept of the classical past in Tudor and early Stuart England

Kurtz, D. — Thu, 23 Oct 2008 06:29:36 PDT

Today the classical tradition is seen as a cultural phenomenon that began in sixth-century BC Greece, flourished under the Roman Empire, and survived the upheavals of late antiquity to be reborn in Renaissance Italy. Greek and Latin texts sustained knowledge and appreciation of a classical past that knew both great literature and great art. By the sixteenth century, most of the classical literature available to us today was known, and many texts were read by a cultured élite. Although some sculpture and architecture, principally in Rome, had remained above ground from antiquity, classical art was known during the Renaissance largely from classical texts that mentioned buildings, sculptures and paintings, which had long since disappeared. Until systematic archaeological excavations began in the later nineteenth century, the classical tradition was embodied in literature rather than art, and even today, the literature can be privileged. This paper will assess the importance of classical literature and art during the reigns of Henry VIII, Elizabeth I and James I. It will show that among northern European countries, England had an early and learned reception of the classical past. The Civil War that ended Charles I's reign dispersed collections, exiled some of the pivotal players in England's cultural development and interrupted the development of the British Grand Tour.

Grollier de Serviere, the brothers Monconys: Curiosity and collecting in seventeenth-century Lyon

Turner, A. — Thu, 23 Oct 2008 06:29:36 PDT

Of collections in seventeenth-century Lyon, we can know most about the collection of machine models created by Grollier de Servière, and the general collection amassed by the traveller Balthazar de Monconys and his brother Gaspard. Comparison of the eighteenth-century published catalogue of Grollier's collection with accounts given of it by contemporary visitors reveals changes in the perception and presentation of the collection between 1650 and 1710, while comparison of the two collections reveals differences in the nature of ‘curiosity’ even within the seventeenth century.

European collectors and Japanese merchants of lacquer in 'Old Japan': Collecting Japanese lacquer art in the Meiji period (1868-1912)

Bincsik, M. — Thu, 23 Oct 2008 06:29:36 PDT

During the Meiji period, following the opening of Japan's borders to foreign trade, not only did the Japanese lacquer trading system and the market undergo a marked change but so too did almost all the factors affecting collecting activities: the European reception of the aesthetics and history of Japanese lacquer art, the taste of the collectors, the structure of private collections, the systematization of museum collections, along with changes in the art canon in the second half of the nineteenth century. The patterns of collecting Japanese lacquer art in the second half of the nineteenth century cannot be understood in depth without discussing shortly its preliminaries in the seventeenth and eighteenth centuries, focusing also on the art historical reception of Japanese lacquer in Europe. Supplementary material relating to this article in the form of a list of dealers and distributors of lacquer in Japan during the Meiji period (1868–1912) is available at http://www.jhc.oxfordjournals.org/.

'The habit of their age': English genre painters, dress collecting, and museums, 1910-1914

Petrov, J. — Thu, 23 Oct 2008 06:29:36 PDT

In her recent books, Lou Taylor has highlighted the connection between the collecting of dress by late-Victorian and Edwardian genre painters and the later inclusion of their collections in museums of decorative arts such as the Victoria and Albert Museum (V & A) and the London Museum in the early-twentieth century. Drawing on this preliminary work, and using contemporary periodicals and archival sources, the histories of four specific collections are highlighted: at the London Museum the John Seymour Lucas, Edwin Austin Abbey and Ernest Crofts collections and at the V & A the Talbot Hughes collection, all acquired in the period 1910–14. The investigation aims to explain why dress, so often at that period derided as ephemeral and frivolous, was finally accepted as a legitimate subject for museum collections and focuses on the changing meanings of the dress object as it moved from the private to the public sphere.

If we would bring back to the imagination the spirits of the past, we must clothe them in the habit of their age, and neglect no detail, however slight, which would help to complete the picture.1

The fate of a nineteenth-century ischiopagus from Denmark

Meyer, I., Richter, J. — Thu, 23 Oct 2008 06:29:36 PDT

A taxidermic preparation of newborn Danish conjoined twins from 1848 is analyzed to clarify how the preparation originally was made and the causes of its present state of preservation. The analyses include macroscopic documentation, X-ray analysis, scanning electron microscopy with energy dispersive spectrometer, gas chromatography–mass spectrometry, identification of fibres and shrinkage temperature. The object is unique and has great presentation value: the context in which it might be exhibited is also discussed. It forms part of the collection begun by Professor Mathias Saxtorph (1740–1800), extended by his son, Professor Johan Saxtorph (1772–1840) and administered since that time by the Royal Maternity Hospital, Copenhagen.

What will survive of us are manuscripts: Collecting the papers of living British writers

Andrews, J. — Thu, 23 Oct 2008 06:29:36 PDT

This article looks at the policies of, and politics surrounding, the collecting of the literary manuscripts and archives of living and contemporary British writers. The changing institutional attitudes towards the idea of such a collection are charted – from the indifference of the early-twentieth century, to today's seemingly frenzied collecting – and consideration is also given to legislative solutions now being proposed to encourage writers to deposit their papers within the UK. The post-war efforts of figures such as Philip Larkin are crucial to an understanding of evolving attitudes in Britain towards collecting this material, and recently opened files from the Arts Council archives afford an understanding of the steps taken by Larkin and British Museum curators to build, and to define collecting criteria for, their unprecedented (in Britain) new collection.

Parvenu or honnete homme: The collecting practices of Germain-Louis de Chauvelin

Baxter, D. A. — Thu, 23 Oct 2008 06:29:36 PDT

The collecting practices of Germain-Louis de Chauvelin demonstrate the complex negotiations by which the self was represented in early-eighteenth-century France. An ambitious man, Chauvelin rose to the positions of Keeper of the Seals (1727) and Secretary of State for Foreign Affairs (1733), prior to his fall from political grace and exile (1737). Chauvelin's collection allows for an examination of the ways in which the cultivation of what might be termed a modern sensibility might, in Paris in the 1720–30s, earn for its practitioners the label of either honnête homme or parvenu, or, in the case of Chauvelin's own precarious career, both.

Collecting Asian art, defining gender roles: World War II, women curators and the politics of Asian art collections in the United States

Schlievert, C., Steuber, J. — Thu, 23 Oct 2008 06:29:36 PDT

This paper explores collecting and collections of Asian art during World War II to illustrate how women temporarily assumed leadership roles in American museums. It details abrupt changes experienced by museums following the departure of men in these traditionally male-dominated professions. For example, understood to be the ‘right man at the right place’ at the Nelson-Atkins Museum, Ruth Lindsay Hughes was appointed Acting Curator of the Oriental collection in 1942 after Curator Laurence Sickman was called to active service. The chronicled museum activities, showing how Hughes fashioned the Asian art and acquisitions combined with how she utilized the collection in the home front's wartime efforts, illustrate changes in the ways collections were curated and interpreted. Within this framework, the lens of gender brings into focus the wider context of how American collections of Asian art were incorporated into the complicated international war effort involving politics, dealers and museums.

L'armoire a sagesse. Bibliotheques et collections en Islam

Carey, M. — Thu, 23 Oct 2008 06:29:36 PDT

Portraits of Men and Ideas. Images of Science in Italy from the Renaissance to the Nineteenth Century

Mason, P. — Thu, 23 Oct 2008 06:29:36 PDT

Aedes Barberinae ad Quirinalem descriptae. Descrizione di Palazzo Barberini al Quirinale

Mason, P. — Thu, 23 Oct 2008 06:29:36 PDT

The Later Flemish Pictures in the Collection of Her Majesty the Queen

Brown, C. — Thu, 23 Oct 2008 06:29:36 PDT

Flora: The Erbario Miniato and Other Drawings

Egmond, F. — Thu, 23 Oct 2008 06:29:36 PDT

Imagining the Gallery. The Social Body of British Romanticism

Cale, L. — Thu, 23 Oct 2008 06:29:36 PDT

Colonial Collections Revisited

Petch, A. — Thu, 23 Oct 2008 06:29:36 PDT

The Whipple Museum of the History of Science: Instruments and Interpretations to celebrate the 60th Anniversary of R. S. Whipple's Gift to the University of Cambridge

Davis, P. — Thu, 23 Oct 2008 06:29:36 PDT

De geschiedenis van een begrip

Toorians, L. — Thu, 23 Oct 2008 06:29:36 PDT

Books Received

Thu, 23 Oct 2008 06:29:36 PDT