Prints and drawings have been keenly collected in Europe since at least the early sixteenth century. Relatively modest in price, they offered artists, amateurs and collectors of a systematic turn of mind the opportunity to put together holdings with a wide representation of different hands, schools and types of subject. Prints and drawings are traditionally treated separately, but their collecting is shown here to raise many interrelated issues. Employing a wide range of methodologies, the essays in this volume offer a number of innovative investigations into the collecting, perception, classication and display of works on paper.
|Publisher:||Taylor & Francis|
|Product dimensions:||6.25(w) x 9.25(h) x 25.00(d)|
Table of Contents
Contents: Introduction, Genevieve Warwick; The archaeology of the print, Antony Griffiths; The print collection of Ferdinand Columbus (1488-1539), David Landau; A Roman collector of the sixteenth century: Antonio Tronsarelli, Matteo Lafranconi; Giulio Mancini and the organisation of a print collection in early seventeenth-century Italy, Michael Bury; Nicholas Lanier (1558-1666) and the origins of drawing collecting in Stuart England, Jeremy Wood; Sir Peter Lely’s collection of prints and drawings, Diana Dethloff; Connoisseurship and the collection of drawings in Italy c.1700: the case of Padre Sebastiano Resta, Genevieve Warwick; 'A judiciously disposed collection': Jonathan Richardson Senior's cabinet of drawings, Carol Gibson-Wood; The drawings collection of Pierre Crozat, (1675-1740) Cordélia Hatton; The Italian Drawings Collection of Cavaliere Francesco Maria Niccolò Gabburri (1676-1742) Nicholas Turner; Bibliography; Index.