Stefano Bardini

This talk takes as its point of departure the first moments when photographs began to replace engravings as a means of reproducing art.  The site of this transition was the Florentine print shop of Luigi Bardi, who encouraged and supported the young Leopoldo Alinari (1832-1865) to set up an adjacent laboratory for photography in 1853.  Using as a case study the 100-year activity of the dealers Stefano & Ugo Bardini, with its photo archive of some 15,000 photographs, this talk examines the many ways the various types of photographs were used in the service of transacting art.  https://www.britishinstitute.it/en/events/a-mirror-endowed-with-memory-photography-artists-and-the-art-market-in-late-19c-florence.1076

Based on a ten-year examination of evidence gleaned from a hundred years of written and photographic material in the Italian state archive relating to the dealer Stefano Bardini (1836-1922), this talk explores the world of art forgery. We will examine Italian Renaissance "masterpieces" sold by Bardini that were actually crafted in the 19th century. This investigation sheds light on the complex interplay between authenticity, craftsmanship, and the art market during a pivotal period in art history.

Realizzato in occasione del centenario della morte di Stefano Bardini (1922-2022), il volume prende spunto dalle numerose iniziative organizzate per celebrare la figura del grande antiquario, approfondendo i poliedrici tratti della sua vita e della sua attività, valorizzando il rilievo che ebbe nella storia della città e nella definizione della sua immagine di capitale dell’arte.
I testi e le immagini a colori accompagnano il lettore in un viaggio alla scoperta della sua sterminata collezione – dipinti e pitture, sculture, arredi lignei e mobili, arazzi e tessuti, corami, disegni, strumenti di lavoro – permettendo anche di ricostruire un periodo particolarmente florido per la storia dell’antiquariato.

Testi di Dario Nardella, Matteo Spanò, Stefano Casciu, Bernabò Bocca, Giulia Coco, Marco Mozzo, Carlo Francini, Valentina Zucchi, Lynn Catterson, Virgina Napoleone, Valerie Romana Niemeyer, Giancarla Cilmi, Alberto Boralevi, Alessandra Nardi, Martina Di Veglia, Eleonora Zagaria, Anna Giatti, Cristina Merelli, Lorenzo Orsini, Simone Chiarugi, Patrizia Labianca, Jasmine Sartor, Leonardo Zaffi.

Women Art Dealers brings together fascinating case studies of galleries run by women between the 1940s and 1980s. It marks a departure from other work in the field of art markets, challenging male-dominated histories by analyzing the work of female dealers who anticipated the global model, worked to promote art across continents, and thus developed an international art market.

Part 1 focuses on the women gallerists behind the promotion of modern art after World War II who participated in important research about the neo-Avant-Garde. Part 2 examines the contributions by women art dealers toward the birth of new markets – through establishing the reputation of artistic genres, such as video art and photography, and working at the forefront of advancing contemporary art. Finally, Part 3 analyzes case studies from the southern European art scene, paying fresh attention to several under-researched markets in the region like Italy and Portugal.

Each chapter study provides a historiographic profile of the gallery under discussion and critical analysis is supported with a wide range of visual material including portraits of the women art dealers, photographs of the exhibitions they managed, and printed documentation like catalogues, invitations, and posters that were often used to support artists on display in experimental ways.

By the time the firm erected a purpose-built structure in New York in the second decade of the twentieth century, elite art dealers had recognized that the location and design of their premises could be carefully calibrated to achieve sales and distinction, two intertwined and interdependent goals. Such efforts were the culmination of a long trajectory, primarily over the course of the nineteenth century, whereby art merchants of the caliber and ambition of the Duveen Brothers, operating in metropolitan centers such as Paris, London, and New York, shed their artisanal origins as sellers of bric-a-brac and curiosities and positioned art as a luxury commodity worthy of significant investment. To do so meant adopting the trappings and locales of fashionable retail in combination with strategies for displaying works of art honed by art academies, artists' societies, and museums in order to sell an object and an experience. These dealers were also, in essence, trading their expertise, embodied not just in the catalogues and pedigrees that accompanied their wares, but also in the taste and discretion they exhibited in their choice of address and premises. [1] The Duveen Brothers' US venture was initiated by Henry J. Duveen (1854-1919), who arrived in the United States from Great Britain in the 1870s and began with what the New York Times described as "a small art shop in John Street, where he handled antique silverware, ivory carvings, rare porcelains, period furniture, and Oriental rugs." [2] As art historian Charlotte Vignon reveals, the premises, located in today's Financial District, were regarded as unpromising by his brother Joel Joseph Duveen (1843-1908), who later recounted, "But what a shock I got when I saw our business premises! They were in a bad neighbourhood, and the place was not much better than a storehouse." Moreover, he opined, "Our beautiful stock was badly placed and badly lit, and the windows were not good enough for an old clothes shop." To recompense took both time and money, and included relocating to Broadway and Ninteenth Street in the retail district known as "Ladies Mile," the fashionable shopping district at the time. Joel Duveen was finally pleased that "I had everything in a really good place with ample room to show things and proper lighting." [3] The stakes of geography and design of the shop were clearly high. In 1886, Henry Duveen moved the premises again to 262 Fifth Avenue, between Twenty-Eighth and Twenty-Ninth Streets, following the uptown move of upscale retail. [4] Then, in 1889, according to Vignon, he opened a second gallery at 2 West Twenty-Ninth Street in what was then a primarily residential district for the wealthy classes of New York. [5] In 1890, on the occasion of the reconciliation of the two brothers, who had worked separately in the preceding five years or so due to a disagreement, and the formal founding of the firm Duveen Brothers, the business moved to a new location at 302 Fifth Avenue in a brownstone

Drawing upon the one hundred years’ worth of written and photographic archival material in the Archivio Storico Eredità Bardini in Florence, this talk discusses Bardini’s strategies for branding, marketing and transacting hundreds of Italian Renaissance objects … that were actually made in the 19C.  From there it is now finally possible to identify some of the artists working for Bardini, and attach their names to objects that are Renaissance imposters in museums and private collections, or to the objects deemed "fake" and hence relegated to storage.

The lecture will present a summary of mostly unpublished archival research focussing on Stefano Bardini’s network in Rome between 1880 and 1905. An analytical interpretation of more than 3000 documents including letters, invoices, address books and more, which offers an interesting point of
view on the art market in Rome, its actors and the topography involved in the circulation of artworks and antiquities before a proper art protection Italian legislation got in place. Spotlights on different generations of art dealers, such as Alessandro Castellani (1823-1883), Attilio Simonetti (1843-1925) and Alfredo Barsanti (1877-1946), will demonstrate how the role of merchants, connoisseurs and amateurs were fascinatingly interchangeable within this context. Developing their personal interests, while experiencing the conflict between the public need to regulate the fast growing global art market and the desire to recognize a universal stylistic primacy for Italian culture, these characters contributed to place Rome on the radar of the most prominent international art collectors during the Gilded age and beyond. At the same time we can see how in 25 years of trading art in Rome dealers shifted from a highly personal and entrepreneurial business model, to one that reflected more and more the global art market, becoming modern businessmen with taste.

This essay of this volume addresses the probably all-too-common circumstances in which several copies or versions of a work exist that all purport to be authentic—raising the question of which, if any, is indeed the original, “authentic” version. Denise Budd and Lynn Catterson unpack the micro-saga of the sale of objects from Palazzo Torrigiani over the course of more than twenty years, from the 1870s through the 1890s, involving major dealers, agents, and collectors. The dealer Stefano Bardini featured prominently in these various and often protracted negotiations, not least because Palazzo Torrigiani was located less than twenty meters from his own gallery showrooms. Drawing upon copious amounts of archival material, a narrative emerges which incisively gets beneath the opacity of the transactions; likewise, it reveals the frequent participation of the Florentine copyist Luigi Bardi, for whom receipts and letters document his execution of copies for Bardini. The narrative is placed in confrontation with the various contemporary guidebook descriptions of the collection, some by writers evidently close with the Torrigiani family. What emerges early are the issues of attribution and authenticity played out via copies of masterworks in general, purported connoisseurship, and the disconcertingly potent authority of the published text from both contemporary and long foregone guidebooks. In a reverse direction tactic deployed by the dealers, objects were newly concocted according to printed descriptions, as well as marketed as sufficiently important so as to be destined for scholarly publication, thereby enhancing authenticity.

The lecture will present a summary of mostly unpublished archival research focussing on Stefano Bardini’s network in Rome between 1880 and 1905. An analytical interpretation of more than 3000 documents including letters, invoices, address books and more, which offers an interesting point of view on the art market in Rome, its actors and the topography involved in the circulation of artworks and antiquities before a proper art protection Italian legislation got in place.

Spotlights on different generations of art dealers, such as Alessandro Castellani (1823-1883), Attilio Simonetti (1843-1925) and Alfredo Barsanti (1877-1946), will demonstrate how the role of merchants, connoisseurs and amateurs were fascinatingly interchangeable within this context. Developing their personal interests, while experiencing the conflict between the public need to regulate the fast growing global art market and the desire to recognize a universal stylistic primacy for Italian culture, these characters contributed to place Rome on the radar of the most prominent international art collectors during the Gilded age and beyond.

At the same time we can see how in 25 years of trading art in Rome dealers shifted from a highly personal and entrepreneurial business model, to one that reflected more and more the global art market, becoming modern businessmen with taste.

A query for « Donatello » using Frits Lugt’s comprehensive "Répertoire des catalogues de ventes publiques intéressant l’art ou la curiosité," for the years 1860 until 1900 yields more than one hundred works at auction, in various media, categorized as by Donatello, or in variations, such as, school of, style of, after, etc.  With the exception of a very small handful of works that are today canonically associated with Donatello, the auction catalogue entries otherwise consist of a smattering of drawings, plaquettes, plaster casts, a few busts and reliefs in marble—most of which now would hardly be even remotely connected with the master.  Looking beyond the auction catalogues however, it is evident that the “curiosities” of the 1860s and 1870s gave way to touchstones in the still current codified oeuvre of Donatello, but mainly when transacted in the contact zones of the dealer.  Thus today’s “big hits” were promulgated at the end of the nineteenth century via private and informal—and significantly, not quasi-anonymous—transactions between the dealers and their institutional and private clients.  Using the case study of the Florentine dealer Stefano Bardini, this paper lays bare the dichotomy of accepted object type between public and private art markets.  The result calls attention to the instrumental role of the dealers in creating taste and demand, defining reception, as well as their impact on the ensuant formation of the institutional and scholarly canon.

Antiquario, uomo di potere e, soprattutto, imprenditore, Stefano Bardini (1836-1922) ha avuto un ruolo pionieristico nella diffusione del buon gusto italiano all'estero. In occasione del centenario dalla sua scomparsa questo approfondimento sull'impresa Bardini vuole dimostrare come il mercato dell'arte antica abbia fissato i presupposti per il successo dello stile italiano all'estero e per la più ampia diffusione del Made in Italy nel XX secolo.

Before becoming the famous antiquarian of Renaissance Art, Stefano Bardini (1836-1922) was a painter. He moved to Florence from Pieve di Santo Stefano (Arezzo) in 1853 to study at the Accademy of Fine Arts with Giuseppe Bezzuoli, Benedetto Servolini and Antonio Puccinelli. During the early years Bardini took part to several competitions with Florentine Renaissance subject paintings. He got several recognitions and exhibited his works at the Promotrice in Florence and Turin. Bardini also gained a prize at the Ricasoli Competition in 1859-1860.
Towards the end of the Sixties, Stefano interrupted his artistic career. He enlisted Garibaldi’s Army and when he returned to Florence he started restoring and selling Old Masters’Art. In this way he became the well-known «Prince of Antiquarians». This lecture presents researches whose first results are in course of publication in “MDCCC1800” (Ca’ Foscari University, Venice).

Steering Committee: Dr. Luca Giacomelli (Alma Mater Studiorum Università di Bologna), Dr. Claudio Gulli (Fondazione Palazzo Butera), Dr. Alice S. Legé (Independent Scholar and Assistant Curator at the Royal Palace of Caserta), Dr. Ginevra Odone (Independent Scholar), Valeria Paruzzo (Ph.D. candidate at Università degli Studi di Trento), Dr. Pier Ludovico Puddu (Researcher at Palacký University, Olomouc), Giuseppe Rizzo (Museum Assistant at The Uffizi Galleries and Ph.D candidate at the Rupert-Karls-Universität Heidelberg)

Albert E. Harnisch (1843 - after 1918), the sculptor and painter born and trained in Philadelphia, relocated in 1869 to Rome.  There he enjoyed success, including commissions from America for public monuments.  His legacy includes many high quality signed and dated bronze and marble figurative sculptures which were sent abroad.  Harnisch was deeply embedded in the American ex-pat community in Rome and part of the lively social circle surrounding the sculptor William Wetmore Story.  Immediately following the poor reception of one of his monuments in 1887, until his death in c.1918, that is, for the last 31 years of his life, only one signed work can be located.  At that point, Harnisch moved to Florence and worked for the Florentine dealer, Stefano Bardini (1836-1922) for the rest of his life as a manager of the business and as an important point man for luring clients visiting Florence from outside of the peninsula and from across the Atlantic.  At the same time, it turns out that Harnisch was also deftly producing “Italian Renaissance” works which Bardini then transacted in the emergent global art market and for export out of Italy.  This paper publishes for the first time a recently identified painting by Harnisch and it proposes a new category of production by nineteenth century sculptors, who confronted the fifteenth century master Florentine sculptors and brilliantly channeled them, producing new compositions, as distinct from copies.  From this intimate rapprochement, they were able to create countless very high quality, newly made “Italian Renaissance” sculptures for collectors and collections outside of Italy.

The professional network of the Florentine dealer Stefano Bardini (1834-1922) was every bit as intricate as it was vast.  Taking much impetus from the four Expositions Universelle in Paris (1867, 1878, 1889, 1900), Bardini effectively structured the business around these events, sending ample quantities of stock and staff to Paris.  In the months following the close of an Exposition, Bardini and company transferred their stock to London, augmented it, and readied it for auction.  It was most likely during the Exposition of 1900 that Bardini met Maurice de Bosdari (1857-after 1935), an Italian from Ancona who moved to London c.1895 following the crash of his banking venture in Constantinople.  Material from the state archive of Bardini reveals Bosdari’s machinations to buy objects from Bardini with the intent to sell them to J. Pierpont Morgan (1837-1913).  He was successful, but he was also shady.  Bosdari retained a check from Morgan from which he counterfeited Morgan’s signature on more checks.  When found out, Bosdari went on the lam—but only sort of—he actually stayed local in London under the assumed name of Bremont.  If Bosdari was sly, Bardini was more so, and he succeeded in secretly garnering Morgan as a client via two of his own “agents,” both with strong network ties to New York.  Drawing upon archival material, this paper examines the intricacies of the various agents and double-agents involved in the market competition for Morgan’s business and for the promise of providing the decoration for the soon to be built Morgan Library.

The lucrative career of the Florentine dealer Stefano Bardini (1836-1922), the development of the medium of photography as a technology, and the global expansion of the art market out of Italy were cotemporaneous.  From the 1860s until his death, Bardini relied heavily upon photographs to transact art, a business practice that would be continued by his son Ugo until 1965.  Hundreds of receipts from local photographers—Brogi, Montabone, & Alinari among them—as well as thousands of photographs and negatives testify to the critical role of photographs in the assessment, acquisition, marketing and sale of thousands of objects of fine and decorative art.  Moreover, Bardini’s predilection for installation and display would carry over to his classification and arrangement of the photographs.  Within my larger project concerning the state archive of the Bardini business, I have been captivated by the archaeology of its photo archive.  This talk proposes to illustrate the gradual evolution of the use of the material photographs as active tools of the trade—from single image to their classification and migration to inventory photo albums, to montage for planning exhibition installations and in the layout preparation for auction catalogues.  Far from static, many of these images would live another life, printed in auction catalogues and scholarly publications; in turn, Bardini would cut the images from print, annotate them with buyer name and price or journal citation, and reintroduce them into their respective album or fascicolo.  Owing to the enormous stock of art and decorative arts that passed from father to son, Ugo had no need to augment it.  Thus, for him, the photographs took on a different purpose.  Ugo reused them, adding many more, categorizing them by genre or by artist, thereby composing a veritable Visual Atlas, which effectively represents one hundred years of the art market, as well as the visual cultural at the turn of the century, illustrated. 
https://portalegiovani.comune.fi.it/urlnews/webzine/43290.html

By the time the firm erected a purpose-built structure in New York in the second decade of the twentieth century, elite art dealers had recognized that the location and design of their premises could be carefully calibrated to achieve sales and distinction, two intertwined and interdependent goals. Such efforts were the culmination of a long trajectory, primarily over the course of the nineteenth century, whereby art merchants of the caliber and ambition of the Duveen Brothers, operating in metropolitan centers such as Paris, London, and New York, shed their artisanal origins as sellers of bric-a-brac and curiosities and positioned art as a luxury commodity worthy of significant investment. To do so meant adopting the trappings and locales of fashionable retail in combination with strategies for displaying works of art honed by art academies, artists' societies, and museums in order to sell an object and an experience. These dealers were also, in essence, trading their expertise, embodied not just in the catalogues and pedigrees that accompanied their wares, but also in the taste and discretion they exhibited in their choice of address and premises. [1] The Duveen Brothers' US venture was initiated by Henry J. Duveen (1854-1919), who arrived in the United States from Great Britain in the 1870s and began with what the New York Times described as "a small art shop in John Street, where he handled antique silverware, ivory carvings, rare porcelains, period furniture, and Oriental rugs." [2] As art historian Charlotte Vignon reveals, the premises, located in today's Financial District, were regarded as unpromising by his brother Joel Joseph Duveen (1843-1908), who later recounted, "But what a shock I got when I saw our business premises! They were in a bad neighbourhood, and the place was not much better than a storehouse." Moreover, he opined, "Our beautiful stock was badly placed and badly lit, and the windows were not good enough for an old clothes shop." To recompense took both time and money, and included relocating to Broadway and Ninteenth Street in the retail district known as "Ladies Mile," the fashionable shopping district at the time. Joel Duveen was finally pleased that "I had everything in a really good place with ample room to show things and proper lighting." [3] The stakes of geography and design of the shop were clearly high. In 1886, Henry Duveen moved the premises again to 262 Fifth Avenue, between Twenty-Eighth and Twenty-Ninth Streets, following the uptown move of upscale retail. [4] Then, in 1889, according to Vignon, he opened a second gallery at 2 West Twenty-Ninth Street in what was then a primarily residential district for the wealthy classes of New York. [5] In 1890, on the occasion of the reconciliation of the two brothers, who had worked separately in the preceding five years or so due to a disagreement, and the formal founding of the firm Duveen Brothers, the business moved to a new location at 302 Fifth Avenue in a brownstone

Penelitian ini bertujuan untuk mengetahui Administrasi dan Pertanggungjawaban Keuangan Desa di Desa Manunggal Jaya sesuai dengan Peraturan Urusan No. 113 tahun 2014. Penelitian ini menggunakan pendekatan deskriptif komparatif. Subjek penelitian ini adalah Desa Manunggal Jaya Tenggarong Seberang Kabupaten Kutai Kartanegara. Data penelitian ini dikumpulkan dengan menggunakan dokumentasi observasi dan wawancara ke Kantor Desa Manunggal Jaya. wawancara dengan aparat desa tentang Pelaporan dan Akuntabilitas Keuangan Desa. Hasil penelitian ini menunjukkan bahwa administrasi yang dilakukan oleh pemerintah desa Manunggal Jaya telah sesuai dengan Peraturan Urusan No. 113 tahun 2014. Namun, pada format akuntabilitas ada perbedaan di mana LRAPBD dilaporkan tidak sesuai dengan Peraturan Urusan No. 113 tahun 2014. Ini juga ditunjukkan dalam Laporan Kekayaan Properti Desa di mana Pemerintah Desa tidak membuat Laporan. Pemerintah Desa Manunggal Jaya hanya membuat daftar aset

Wilhelm von Bode’s spirit of acquisition in turn-of-the-century Berlin would result in forming a significant and comprehensive collection of Donatelloesque plaquettes, here explored for their function and influence in the genesis of plaquettes as a genre of sculpture.

Fused pyridine derivatives R 0450 On the Reactivity of Isoxazoles with Mo(CO) 6 .-The reaction of various isoxazoles with Mo(CO)6 is studied. Isoxazolopyridines (I) and (V) yield (II) and (VIII), respectively, whereas (XIV) gives (XV). The X-ray structure of (X) is given.

The history of the Mediterranean area through prehistoric activities and later developed by the Etruscans, Greeks, Romans, Byzantine, Arabs, Normans, Chinese and a myriad of diverse cultures have generated not merely clashes, but, most importantly, they have shaped our humanity and established an aspirational projection as to who we ought to be as a people. In this research, I lean heavily on Paolo Giulierini's book, Stupor Mundi,1 as well as numerous sources dealing with the history of the Western world. According to the French historian, Fernand Braudel,2 the Mediterranean area is a source that "recreates for us scenes from the past," a witness of history from which we can study and better comprehend our Western identity.

Stefano Bardini, "il principe degli antiquari", fine conoscitore degli interessi dei maggiori collezionisti dell'epoca, costruì un vero impero sulla vendita di rilievi mariani in marmo, terracotta, stucco e cartapesta, in un momento in cui, a cavallo tra Otto e Novecento, il collezionismo di sculture raffiguranti Madonne col Bambino del Quattrocento fiorentino rappresentò un fenomeno di assoluta rilevanza nel mercato dell'arte europea.
Il presente volume vuole raccontare una parte della storia del collezionismo europeo attraverso un repertorio per autori che raccoglie circa 80 esemplari di rilievi raffiguranti Madonne con Bambino del secondo Quattrocento fiorentino, acquistati e venduti dal celebre antiquario.
Grazie alle carte inedite conservate nell'Archivio Storico Eredità Bardini, situato nelle Gallerie degli Uffizi, e nel Fondo Bardini, custodito presso la Biblioteca delle Oblate, è stato possibile ricostruire la storia delle transazioni effettuate dall'antiquario fiorentino. Di particolare rilevanza sono i rapporti commerciali con le più importanti nobili famiglie di Firenze, da cui il mercante acquistò la maggior parte delle opere che espose nel suo atelier, e con i suoi clienti, tra cui spiccano personaggi di rilievo come Wilhelm von Bode, il principe Johann II del Liechtenstein, Isabella Stewart Gardner.

The article presents the police in one of the smallest countries in the world - Liechtenstein. Despite the small size, the Principal National Police performs tasks that go beyond the stand-ard scope of police services. Fully among others counterintelligence functions related to the protection of important persons in the state, and also performs civil protection and prison tasks. The article presents an outline of the history of the police of the principality, its organi-zation and location in the structure of the state, as well as legal conditions determining its functioning, paying special attention to its specific features.

In November 1888, writing to the German museum official, Wilhelm Bode (1845-1929), the dealer Stefano Bardini (1836-1922) stated that he was certain that “eight marbles and 12 terracottas” in South Kensington (V&A) were fake, and that without doubt, upon further study, there is “much to be found rotten.”  He mused to Bode of other doubts, that he would not discuss until he had checked them out. Four days later, Bode responded that, for the most part, he agreed with Bardini.  However, Bode disagreed with Bardini that a marble Madonna attributed to Donatello and a gilded terracotta relief, also of a Madonna, were fakes.  Bode concluded by telling Bardini that he would be very happy if Bardini could induce South Kensington to sell them as fakes, as he would happily buy them.
  Drawing upon the one hundred years’ worth of archival material in the Archivio Storico Eredità Bardini (ASEB) and the Archivio Fotografico Eredità Bardini (AFEB), in Florence under the jurisdiction of the Polo Museale Toscano, this paper identifies Bardini’s strategies for branding, marketing and transacting hundreds of Italian Renaissance objects that were made in the nineteenth century.  The end result is the establishment of a rubric, or a formula per se, along which lines his fakes can be identified and located with predictability.  Also discussed are issues of contamination of the canon and scholarly literature along with the associated complicity that necessarily insures the continued opacity of the situation today.

11/12/2020 please consider that erroneous keyword Micheli is present, instead of correct "Danieli" - Inside PICTRIX research, some attention is devoted also to artists not related to Bologna; the present essay is the 14th in this current. Here artists lead to Parma or Ferrara, and mainly Romagna, and are noteworthy for quality, provenance or attribution. In some cases, references to anonymous artists (Maestro dei Magi Campana, Maestro dell'Idillio Wallace) substitute well-known painters (Mazzolino, Nicolò Pisano); however brand-new attributions are rare. An addition to Maestro di Castel Bolognese, a kindred artist if compared to Bagnacavallo senior, could lead to new ideas about Maestro delle Ore Barbazza

The  richly  illustrated  essays in Turcologica  Upsaliensia  tell  the stories of scholars, travellers, diplomats and collectors who made discoveries in the Turkic-speaking  world  while  affiliated with Sweden’s oldest university, at Uppsala.
The  study  of  Oriental  languages,  including Turkic,  has  a  long tradition  at  Uppsala. The  first  part  of  the  volume  tells  of  famous Uppsala  professors  who  were  experts  not  only  in Ottoman  and Chaghatay, but also  in  smaller Turkic  languages, and  of  their  high esteem  for Turkic  culture. It  also  tells  how  collectors    benefited from the Swedish court’s cordial relations with  the  Ottomans. The second part describes selected manuscripts, art objects and maps, calling readers’ attention to the cultural heritage preserved at the University Library, which is also accessible online.
Contributors include: Göran Bäärnhielm, Jan von Bonsdorff, Bernt Brendemoen, Ulla Birgegård, Éva Á. Csató, Per Cullhed, Kristof D’hulster, Josef Eskhult, Mohammad Fazlhashemi, Gunilla Gren- Eklund, Hans Helander, Lars Johanson, Birsel Karakoç, Sabira Ståhlberg, Ingvar Svanberg, Fikret Turan, and Ali Yıldız.

Albert E. Harnisch (1843 - 1918), the sculptor and painter born and trained in Philadelphia, relocated in 1869 to Rome.  There he enjoyed no small success, including commissions from America, among them the first bronze monument to the anti-abolitionist John Calhoun in Charleston, which he cast in Rome.  His legacy includes many high quality signed and dated bronze and marble figurative sculptures which were sent abroad to America.  Harnisch was deeply embedded in the American ex-pat community in Rome and part of the lively social circle surrounding the sculptor William Wetmore Story.  Immediately following the poor reception back home of his Calhoun Monument in 1887, until his death in 1918, that is, for the last 31 years of his life, only one signed work can be located.  Following the failure of the monument, Harnisch moved to Florence and worked for the Florentine dealer, Stefano Bardini (1836-1922) for the rest of his life as a manager of the business and as an important point man for luring clients visiting Florence from outside of the peninsula and from across the Atlantic.  At the same time, it turns out that Harnisch was also deftly producing “Italian Renaissance” works which Bardini then transacted in the emergent global art market and for export out of Italy.  This paper proposes a new category of production by nineteenth century sculptors, who confronted the fifteenth century master Florentine sculptors and brilliantly channeled them, producing new compositions, as distinct from copies.  From this intimate rapprochement, they were able to create countless very high quality, newly made “Italian Renaissance” sculptures for collectors and collections outside of Italy.

Nel crescente dibattito sul restauro delle pitture murali che vide protagonista Firenze a metà del XIX secolo, Stefano Bardini, il "principe" degli antiquari italiani, maturò le sue conoscenze in materia di "stacchi" e "strappi" in veste prima di artista accademico, poi di restauratore e infine, ovviamente, in qualità di mercante. Un percorso professionale che avviò quando oramai in città la prassi estrattista stava conoscendo una inedita fortuna. Con la chiamata in Santa Maria del Fiore del centese Giovanni Riz-zoli, poi con i primi stacchi operati in Santa Maria Novella da Gaetano Bianchi, e infine con l'arrivo del conte Giovanni Secco Suardo, nel 1864 incaricato di tenere il corso di aggior-namento per restauratori alle nuove tecniche di trasporto del colore da lui sviluppate. A quel particolare clima di fiducia verso la prassi estrattista deve perciò essere ricondotto l'interesse di Bardini verso il distacco degli affreschi, tecnica che cominciò a sperimentare con successo allo scoccare dell'ultimo quarto del secolo. E se del suo ruolo di antiquario e collezionista di sculture e dipinti rinascimentali molto si è detto negli scorsi due decenni, ancora poco scandagliata risulta la sua lunga attività di estrat-tista, ma anche quella, ancor più interessante, di mercante di affreschi staccati. Su quella porzione della vita professionale di Bardini prova a fare chiarezza questo volume, grazie al contributo di studiosi ed esperti del settore che hanno indagato un periodo fonda-mentale della sua biografia e delle sue connessioni con la sto-ria del restauro, del gusto, della tutela e del collezionismo, non solo italiano, ma anche europeo e statunitense.