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American Art Association, Anderson Galleries (Firm)

Published: 1922

Total Pages: 1662


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Liechtenstein is one of the smallest European states, a principality situated between Austria and Switzerland in the Upper Rhine Valley. The nation is less than three hundred years old, but the ruling family, whose name it bears, traces its lineage back to the twelfth century. For successive generations, members of the Princely House of Liechtenstein have been devoted art collectors. With a high degree of appreciation of artistic achievement, they have pursued a centuries-long family tradition of acquiring not only great paintings and sculpture but also rare firearms, fine porcelain, and other works of art. The result of this tradition is a collection of masterpieces that in its depth and breadth reflects more than four hundred years of European history and ranks among the world's greatest private collections. This publication accompanies an exhibition at The Metropolitan Museum of Art that marked the first time the masterpieces from this private collection were put on public display. The rich and varied array of paintings, sculpture, and other works included in this exhibition not only represents the paradigm of a great European princely collection, but also has the added distinction of being the collection of the only surviving monarchy of the Holy Roman Empire. -- Metropolitan Museum of Art website.
In the late nineteenth and early twentieth centuries, Italian Renaissance art, objects, and even the idea of Italy itself figured heavily both in the dynamic international art market and in the eyes of the general public. The alternative objects that were actively dispersed and collected -- authentic works, pastiches, Renaissance-inspired counterfeits, and reproductions -- in the diverse media of paint, plaster, terracotta, and photography, had a tremendous impact on visual culture across social strata. These essays examine less studied aspects of this market through the lens of just a few of the countless successful sales of objects out of Italy.
Ainsworth (Senior Conservation Research Fellow at the Metropolitan Museum of Art) examines the work of the great Bruges painter Gerard David (ca. 1455-1523), focusing on the motivating forces behind the startling changes in his work caused by shifting devotional practices, changing art markets, the accommodation of foreign art clients, and the evolving secular nature of painting demanded by the newly wealthy middle class in the early years of the 16th century. Illustrations, some 343 in all, include abundant comparative material, such as drawings and workshop copies, as well as 69 superb color reproductions. Annotation copyrighted by Book News, Inc., Portland, OR
Rich color illustrations and a scholarly text characterize this catalogue of a landmark exhibition of Mughal carpets held at the Metropolitan Museum of Art, New York, November 1997-March 1998. Though exquisite, Indian carpets are little known even to carpet experts. This volume (and the exhibition) focus on the 16th to the 18th century, a peak period for stunning works. The text surveys the era in terms of history, the role of commerce, technical characteristics, and the carpets themselves, which exemplify the broad range of imperial and provincial production during the "classical" period of Indian carpet weaving. Carpets are organized by style and pattern and include a group from Kyoto. Three appendices analyze animal fibers and dyes. Oversize (9.50x12.25"). Annotation copyrighted by Book News, Inc., Portland, OR