Notes on Contributors
Jeremy Boudreau
is Head of History of Art at the British Institute of Florence. He obtained his MA from Syracuse University as a Florence Fellow with a thesis titled The San Giovanni Procession in the 1630 Priorista Fiorentino of Luca Chiari which examined the author’s drawings and watercolor illustrations of the procession of civic and religious authorities and devices known as the festa degli omaggi held annually on the morning of San Giovanni in Florence. Initially trained as a museum educator and illustrator, his interests lie at the intersection of text and drawing, and the evolution of artist notebooks and journals in early modern Italy. Jeremy has independently studied and lectured on Italian art in Florence for the last 10 years, and since 2014 he has been developing curriculum and overseeing a team of lecturers who contribute to the British Institute’s history of art courses and study programs.
Denise M. Budd
is an Associate Professor of Art History at Bergen Community College in New Jersey. She received her Ph.D. from Columbia University in 2002, with her dissertation focused on the documentary evidence relating to the early career of Leonardo da Vinci. From this research, she has published several articles, including “Leonardo da Vinci in Milan, Before Milan” in the SECAC Review (2014), “Leonardo da Vinci and Workshop Practice: The Role of the Dated Notation,” in Aurora (2009) and “Leonardo da Vinci and Problems of Paternity” in Source: Notes on the History of Art (2005). Building upon her interest in archival investigation, her current research seeks to reconstruct the career of the international tapestry dealer Charles Mather Ffoulke.
Lynn Catterson
originally trained in the sciences, received her Ph.D. in Art History at Columbia University in 2002. Her research stems from an interest in Italian Renaissance sculpture with a focus on the marketplace and how 15C sculptors satisfied consumer demand for antiquities. Lately, she is working on the art market in nineteenth century Florence from the point of view of production and social network via its preeminent dealer, Stefano Bardini. Drawing upon material in the state archive of Bardini, this project has received support from the Frick Center for the History of Collecting, the American Philosophical Society, the SMB-PK in Berlin, and CASVA in Washington, DC. The main goal of the Bardini project is to create a digital research platform to unite the material in Florence with corresponding archival material from individuals and institutions with whom Bardini transacted art; the structure of the digital project would mirror that of the network of the late nineteenth century art market. In the interim, a few articles and an edited volume, Dealing Art on Both Sides of the Atlantic, 1860–1940 (Brill, Studies in the History of Collecting & Art Markets), have been recently been published.
Giancarla Cilmi
is currently a Ph.D. candidate in art history in a joint program between the Ecole Pratique des Hautes Etudes and the Ecole du Louvre researching the constitution of Italian paintings collection of Jacquemart-André museum. She analyzes and classifies the archives of these collectors. She has been writing the catalog of Italian paintings of the Jacquemart-André museum which will be published in 2020. She has intensely focused her attention towards art history in the field of which she has presented several papers at symposiums/congresses, taking part in the organization of two exhibitions (Primitifs italiens: Le vrai, le faux, la fortune critique; Heures Italiennes) as well as writing several catalog entries. Since 2012, she has been teaching History of Italian painting at Ecole du Louvre. Her researches at Ecole du Louvre were funded in 2017–2018 by Carasso Fondation.
Paola Cordera
is Assistant Professor of Museology in the Contemporary Age at the Politecnico di Milano. Her research draws upon a multidisciplinary background developed over time through various research projects and publications in the field of museums and cultural heritage. Her research interests lie in Medieval and Renaissance art, architecture and decorative arts and their reception in nineteenth and twentieth century collections, and in the history of the taste and the art market. She earned her Ph.D. in 2014 from the Politecnico di Milano and Université Sorbonne-Paris 1 with a thesis on the art dealer and collector Frédéric Spitzer and his Museum, which was published in 2014 as the first monograph on this subject. In 2016 she was the Leon Levy Fellow at the Center for the History of Collecting at the Frick Art Reference Library, where she researched the reception and sales of Spitzer’s collection of decorative arts in the United States. In recent years her work has been supported by grants from the GRI, INHA and the Kress Foundation. Among her other publications are books on Limoges painted enamels and the Pénicaud workshop in the Renaissance, and essays on decorative arts in nineteenth-century in Portugal and in Italy.
Jeremy Howard
is Head of Academic Projects at P & D Colnaghi, London’s most venerable dealership in Old Master paintings, and Senior Lecturer in History of Art at the University of Buckingham for whom he runs an MA on the art market and history of collecting. A historian of collecting and the art market with a particular interest in the Gilded Age, his publications include Colnaghi: The History (2010), “Titian’s Rape of Europa: its Reception in England and Sale to America” (in Peter Humfrey, The Reception of Titian in Britain from Reynolds to Ruskin, 2013) “Art, Commerce and Scholarship – The Friendship between Otto Gutekunst of Colnaghi and Bernard Berenson” in Joseph Connors and Louis Waldman (eds.) Bernard Berenson-Formation and Heritage (2014), Colnaghi: The Anthology (2016), “Fra Angelico’s Assumption and Dormition of the Virgin – its nineteenth-century history and sale to Isabella Stewart Gardner” in Nathaniel Silver (ed.) Fra Angelico, Heaven on Earth, (Gardner Museum 2018) and, most recently “Selling Botticelli to America: Colnaghi, Bernard Berenson and the sale of the Madonna of the Eucharist to Isabella Stewart Gardner” in Colnaghi Studies Journal, no. 4 (Spring 2018).
Jacqueline Marie Musacchio
is Professor of Italian Renaissance and Baroque Art at Wellesley College. Her scholarship has focused on the intersection of female experience and material culture in Italy, especially in her books The Art and Ritual of Childbirth in Renaissance Italy (1999) and Art, Marriage, and Family Life in the Florentine Renaissance Palace (2008). More recently she has turned her attention to the experience of American women in late nineteenth-century Italy, and published essays on the copyist Emma Conant Church, the sculptor Anne Whitney, and the painters and art dealers Mary Elizabeth and Abigail Osgood Williams. This research, which will culminate in a book with the working title At Home Abroad, has earned fellowships from the American Philosophical Society, the Friends of the Princeton University Library, the Center for Advanced Study in the Visual Arts, and Winterthur Museum, Garden, and Library.
Virginia Napoleone
is a Ph.D. candidate at the University of Rome “Tor Vergata,” researching the International art market at the crossing of the nineteenth century, with a particular focus on its players in Rome. As a scholar she is interested in the history of collecting Italian Renaissance and Baroque paintings, sculpture and drawings. She has had several curatorial experiences in museums including The Frick Collection in New York and The National Gallery in London. She spent the last two years researching at the Archivio Storico Eredità Bardini in Florence where she tracked Stefano Bardini’s correspondence with his Roman colleagues. She focused her studies on one particular antiquarian, Attilio Simonetti (1843–1925), who, like Bardini, was trained as an artist and became one of the most prominent Italian dealers of the time. However, while Bardini is well known today, very little attention was given to his Roman fellow Simonetti.
Kerri A. Pfister
is an Associate Photo-archivist at The Frick Collection, Frick Art Reference Library. She received her M.A. from Columbia University with a thesis on the challenges of casting large-scale bronze sculptures in fifteenth century Florence via the case study of Donatello’s St. Louis of Toulouse. She also holds a M.S.L.I.S. from Long Island University specializing in Rare Books and Special Collections with a Certificate of Advanced Study in Archives and Records Management. Her current research, based on archival documents, focuses on the history of collecting of Medieval and Renaissance sculpture and their reception in nineteenth and twentieth century collections and art market. She a given several papers on the social networks among the dealers, scholars, and private collectors of sculpture. She is a contributor to the Art Market Dictionary (De Gruyter).
Vasily Rastorguev
studied art history at the Moscow State Lomonosov University, where he later obtained his Ph.D. and became an Associate Professor. Since 2015, he is working at the Moscow State Pushkin Museum of Fine Arts as a curator and research fellow, and is currently charged with the compilation of a scientific catalogue of the sculpture collection. A subset of his work, grown into a joint project with the Bode Museum, Berlin, focuses on sculptures of the Italian Renaissance transferred from Berlin to Moscow after WWII. Many of these, stemming from the collection of Kaiser-Friedrich-Museum, were acquired by Wilhelm Bode in Florence from Stefano Bardini, and then prominently featured in prewar art historical literature; they were long considered irrevocably lost in the 1945 Friedrichshain bunker catastrophe. For him, reemergence of the works in question calls for their scientific reevaluation in the light of today’s amplified knowledge of the nineteenth century art market. His research was supported by a Museum Fellowship from Biblioteca Hertziana in Rome in 2017.
Eliot W. Rowlands
is a New York-based, independent art historian who specializes in early Italian painting and the history of collecting Old Master paintings in twentieth-century America. He earned his Ph.D. in 1983 at Rutgers University, with a dissertation on Fra Filippo Lippi, and was an Associate Fellow at the Harvard University Center for Italian Renaissance Studies at Villa I Tatti, Florence, in 1985–86. A curator at the Nelson-Atkins Museum of Art from 1986 to 1993, he produced the acclaimed The Collections of the Nelson-Atkins Museum of Art: Italian Paintings, 1300–1800 in 1996. Other publications include Masaccio: Saint Andrew and the Pisa Altarpiece (2003), several studies on Filippo Lippi, and entries for scholarly catalogues of the collections of the Museo de Arte de Ponce, the El Paso Museum of Art and The Alana Collection (forthcoming). In addition, he worked for over twenty-five years as senior researcher at Wildenstein & Co., New York. At present, he is engaged in writing a book on the Anglo-American art agent, Harold Woodbury Parsons (1882–1967), derived largely from the latter’s extensive and very informative correspondence with art world figures such as Bernard Berenson, William M. Milliken, Paul J. Sachs, Germain Seligman and others. (In May–October 2016, he received a Leon Levy Senior Fellowship at the Center for the History of Collecting [The Frick Collection/Frick Art Reference Library] for archival research for that project.)
Paul Tucker
teaches the History of Art Criticism at the University of Florence, Italy. His research interests include the history of art criticism and collecting, especially in nineteenth-century Britain, and the linguistic analysis of art-critical text. Recent publications include editions of Ruskin’s Guide to the Principal Pictures in the Academy of Fine Arts at Venice (1877) (Guida ai principali dipinti nell’Accademia di Belle Arti di Venezia, Milano: Electa, 2014) and A Connoisseur and his Clients: The Correspondence of Charles Fairfax Murray with Frederic Burton, Wilhelm Bode and Julius Meyer (1867–1914), Volume of the Walpole Society 79 (2017). His current research focuses on the work of Adrian Stokes, the history of the concept and term Sacra conversazione and the role of argumentation in discourse on art.
Michaela Watrelot
is currently enrolled in a Ph.D. Program at Charles University in Prague, where she focuses her research on exploring the influence of American private art collecting practices on the Central European art market at the beginning of the twentieth century. Previously, she studied art history at the University of Vienna, where she graduated with her MA thesis on Prince Johann II. of Liechtenstein. Additionally, Michaela gained further understanding of the contemporary Art Market while working at Christie’s both in Vienna and in Dubai and during her internships at the Slovak National Museum and at the Cathedral & Diocesan Museum in Vienna.
Fulvia Zaninelli
is currently Research Associate at the Center for Advanced Studies in the Visual Art (CASVA) at the National Gallery of Art in Washington DC. She holds a Ph.D. in Art History from the University of Edinburgh, Scotland with the dissertation Alessandro Contini Bonacossi, Antiquario (1878–1955). The Art Market and Cultural Philanthropy in the Formation of American Museums across the Inter-War Years.
Her research interests have focused on the history of collecting, provenance research and the cultural economics during the first half of the twentieth century, in particular the relationship between the art market and art philanthropy in the United States. She has held positions at the National Gallery of Art in Washington DC working on the history and the provenance of Samuel H. Kress Art Collection and at the Smithsonian Institution. She has been the recipient of several fellowships in support of her research, such as at the Fondazione di Studi Avanzati di Storia dell’Arte Roberto Longhi in Florence Italy and at the Center for the History of Collecting at the Frick Collection in New York. She authored several essays and contributes regularly to museums and exhibitions catalogues. In 2007 she edited the book Vittoria Contini Bonacossi. Diario Americano. Ed. Gli Ori.