359:
conference, The Art Market in Italy Around 1900: Actors, Archives, Photographs / Il mercato dell'arte in Italia intorno al 1900. Protagonisti, archivi, fotografie, (Florence, Kunsthistorisches
Institut in Florenz - Max-Planck-Institut and Fondazione Federico Zeri, Bologna, 14–15 November 2017), Mitteilungen des Kunsthistorischen Instituts in Florenz,” Summer 2020. Lynn Catterson, “From Florence to London to New York: J.P. Morgan’s Bronze Doors,” Nineteenth-Century Art Worldwide, 2017, vol. 16, no. 3, Autumn; “Addendum,” vol. 18, no. 1, 2019 (both freely available online). Lynn Catterson, “Stefano Bardini & the Taxonomic Branding of Marketplace Style. From the Gallery of a Dealer to the Institutional Canon,” in eds. Melania Savino, Eva-Maria Troelenberg. Images of the Art Museum, Connecting Gaze and Discourse in the History of Museology, (selected papers from the conference, Images of the Art Museum: Florence, 26–28 September 2013, Kunsthistorisches Institut in Florenz-Max-Planck-Institut) Berlin: de Gruyter GmbH, 2015, pp. 41–64. Lynn Catterson, “Stefano Bardini: Forming the Canon of Fifteenth-Century Italian Sculpture,” CENTER35, National Gallery of Art Center for Advanced Study in the Visual Arts, Record of Activities and Research Reports, June 2014 -May 2015, Washington, 2015, pp. 60–63. Lynn Catterson, “American collecting, Stefano Bardini & the Taste for TreQuattrocento Florence,” Discovering the Italian Trecento in the 19th Century, dedicated issue of Predella.it, 2017 n.41-42 (freely available online). Lynn Catterson, Editor and Introductory essay, Dealing Art on Both Sides of the Atlantic, 1860 to 1940, The Netherlands: Brill, 2017 (some chapters on Google Books).
265:
180:
52:
17:
354:
musei, Luca
Ciancabilla and Cristiano Giometti, eds, Edizioni ETS Pisa, 2019, pp. 79–92. Lynn Catterson, "Art Market, Social Network and Contamination: Bardini, Bode and the Madonna Pazzi Puzzle,” in Lynn Catterson, ed, Florence, Berlin and Beyond: Social Network and the late 19C Art Market, The Netherlands: Brill, 2020.
353:
The recent work of Lynn
Catterson has corrected much of the often repeated urban legend about Bardini. See Lynn Catterson, “Stefano Bardini, His Conservative Side and the Protection of Frescoes,” in Stefano Bardini ‘estrattista;’ affreschi staccati nell’Italia Unita fra antiquariato, collezionismo e
210:. The archives of the Museo Bardini make it clear that the free restorations and adaptations and imitations sold by Bardini were not misattributed; "confusion set in only half a century later when the heirs of the original owners came to sell the pieces," Ellen Callmann observes. Not all Bardini's
358:
Lynn
Catterson, “Duped or Duplicitous? Bode, Bardini and the many Madonnas of South Kensington,” Journal of the History of Collections, Spring 2020. Lynn Catterson, “From visual inventory to trophy clippings: Bardini & Co. and the use of photographs in the late 19C art market,” from the
176:. Bardini acted as White's mainstay in Florence for panelling, paintings, sculpture, and Renaissance furnishings, supplying White with two 16th-century wooden ceilings reinstalled in Whitney's palazzo along with other caseloads of works of art he shipped across the Atlantic to White.
310:
In winding down his activities, Bardini organized a sale in New York in 1918 that dispersed his sculpture and furniture into
American private collections, and which eventually came to American museums. Among the works was a polychromed terracotta of the
257:; Roman and Etruscan antiquities and 15th- and 16th-century architectural fittings, including paneled and painted ceilings, chimneypieces and door surrounds. His example inspired his most successful protégé, Elia Volpi, to purchase and freely restore
193:
In the decades after 1860 he was also responsible for the transformation of many painted cassone panels that had been previously removed from the furniture, which was considered valueless, by creating new carved and part gilded walnut
156:, Boston, where Berenson was the guiding light; among them are two North Italian Romanesque stylobate, column-supporting lions and a basin, purchased from Bardini in 1897. The much-damaged marble of a curly-haired youth from the
561:
No. 1123 (October 1996), pp. 644–659; the piece had been attributed to
Michelangelo by Bardini at the time of his Christie's sale, 1892, but had subsequently disappeared. James David Draper, "Ango after Michelangelo"
642:(Berlin, 1930); his purchases from Bardini form the nucleus of Berlin's collection of Renaissance bronze plaquettes (Volker Krahn, "Wilhelm von Bode und die italienische Skulptur. Forschen, Sammeln, Präsentieren"
492:
241:
and set about transforming it into his opulent residence and restoration studio, Palazzo
Bardini, now housing the Museo Bardini, with his collections of paintings, sculpture, most notably a marble
741:
Catalogue of the
Beautiful Treasures and Antiquities illustrating the Golden Age of Italian Art belonging to the famous expert and antiquarian Stefano Bardini of Florence, Italy
41:
and other
Renaissance and Cinquecento furnishings and architectural fragments that came on the market during the urban regeneration of Florence in the 1860s and 70s.
288:, dispersed in 1858, later passed, probably indirectly, through Bardini's hands. In 1892 Bardini was commissioned to oversee the dispersal of a major part of the
284:
Bardini's extensive connections among impecunious patricians and with dealers and restorers opened many avenues for acquiring works of art. Works of art from the
804:
249:, 15th- and 16th-century Italian furniture, ceramics, tapestry, arms; stringed and keyboard musical instruments, including one of only two surviving
307:, on top of a ridge with a panoramic view over the city. There he undertook neo-medieval restorations that were carried out between 1904 and 1906.
202:, the quantity that came onto the market were astonishing: the German art historian Paul Schubring was shown an outbuilding, probably at Bardini's
71:
circle of painters from Casa
Bartholdy, Rome, which had been purchased by Berlin, in 1886–87. His esthetic, barely distinguishable restoration of
292:
in Rome. In the spring of 1892 Bardini prepared a lavish catalogue for an auction sale of pieces from his own collection, held at
398:
Cathleen Hoeniger, "The Restoration of the Early Italian "Primitives" during the 20th Century: Valuing Art and Its Consequences"
729:
Catalogue des objets d'art, antiques, du Moyen Age et de la Renaissance, provenant de la collection de Stefano Bardini, Florence
172:
as the house was bought for the French Cultural Services, making headlines in 1996 when it was attributed as a youthful work of
48:
from 1854, Bardini received increasing commissions as a restorer and expanded into selling works of art from 1870 onwards.
374:
The art scene in Florence at this time is surveyed in three articles by John Fleming, "Art dealing and the Risorgimento",
809:
153:
45:
680:"Marco del Buono Giamberti and Apollonio di Giovanni di Tomaso: Cassone with the Conquest of Trebizond (14.39)"
519:
Walter Cahn, "Romanesque Sculpture in American Collections. IV. The Isabella Stewart Gardner Museum, Boston"
237:
In 1881 Bardini acquired the deconsecrated church and convent of San Gregorio facing piazza dei Mozzi in the
814:
83:, has been examined as an outstanding example of the seamless restorations that his generation preferred.
231:
117:
80:
141:
744:
226:, with Strozzi armorial bearings, one of the minority of cassone panels remaining integral to its
91:
64:
772:
Acc. nos. 23.224, 23.225; Dorothy Kent Hill, "Polykleitos: Diadoumenos, Doryphoros and Hermes",
254:
799:
794:
708:
8:
414:
Ellen Callmann, "William Blundell Spence and the Transformation of Renaissance Cassoni",
289:
264:
187:
165:
95:
336:
320:
285:
63:
frescoes from the Villa Lemmi, was commissioned to remove the frescoes commissioned by
679:
481:
258:
157:
129:
635:
634:(Milan, 1984); the introduction assesses Bardini's reputation; the museum director
347:
312:
198:
in the pristine condition that was required of furniture for grand houses. Of such
149:
667:
Helmut Nickel, "Two Falcon Devices of the Strozzi: An Attempt at Interpretation",
94:, Washington DC, has some twenty works that passed through his hands, notably the
405:.2 (Summer 1999:144–161), "A treatment by Stefano Bardini in the 1870s", p. 148f.
300:
246:
223:
203:
145:
113:
87:
68:
554:
Kathleen Weil-Garris Brandt, "A Marble in Manhattan: The Case for Michelangelo"
456:
Robert McVaugh, "A Revised Reconstruction of the Casa Bartholdy Fresco Cycle",
161:
121:
102:
72:
140:
collection, as well as the baroque portrait bust of Ferdinando de' Medici by
788:
507:
343:
293:
137:
630:
Catalogue of the Museo Bardini, Fiorenza Scalia and Cristina de Benedictis,
711:, "A marble relief attributable to Donatello and some associable stuccos",
535:
Kathleen Weil-Garris Brandt, "More on Michelangelo and the Manhattan Marble
173:
179:
328:
324:
250:
51:
32:
60:
472:
Hoeniger 1999 "A treatment by Stefano Bardini in the 1870s", p. 148f.
355:
316:
276:
569:
No. 1131 (June 1997:398-400) confirmed the Michelangelo attribution.
261:
in the heart of Florence, and fill it with a similar range of art.
152:
resulted in several of Bardini's purchases finding their way to the
619:
Cassoni, Truhen und Truhenbilder der italienischer Früherenaissance
342:
His bequest to the city of Florence resulted in the opening of the
238:
28:
16:
304:
270:
37:
580:
Stanford White: decorator in opulence and dealer in antiquities
482:
Collection, National Gallery of Art: Stefano Bardini provenance
332:
206:, that consisted of a single room in which he counted some 200
508:
Metropolitan Museum of Art database: search "Stefano Bardini"
120:
conserves eight paintings that Bardini once owned, including
59:
Working as a restorer Bardini, who successfully removed some
756:
John Pope-Hennessy, "A terracotta 'Madonna' by Donatello",
319:, "in the small class of autograph Donatello reliefs", as
447:- Prolegomenon to a Biography, Florence: Centro Di, 2015.
27:(1836–1922) was an Italian connoisseur and art dealer in
621:(Leipzig, 1923 supplement), noted in Callmann 1999:342.
430:
Anita Moskowitz, "Stefano Bardini--the Early Years",
597:
Gilded Mansions: Grand Architecture and High Society
638:mentions Bardini repeatedly in his autobiography,
400:Journal of the American Institute for Conservation
160:originally belonged to Bardini, later employed by
686:(New York: The Metropolitan Museum of Art, 2008).
786:
44:Trained as a painter and expert copyist at the
805:Businesspeople from the Grand Duchy of Tuscany
335:, both fine Roman copies: they are now in the
168:at 972 Fifth Avenue, New York City, remaining
445:Stefano Bardini, "Principe degli Antiquari"
323:observed. Lot 427 in the sale was of two
331:torso associated with a head possibly of
263:
178:
50:
15:
787:
303:at Pian de' Giullari, in the hills of
31:who specialized in Italian paintings,
55:Venetian ceiling in the Museo Bardini
421:No. 1155 (June 1999:338–348) p. 348
350:across from it is also his legacy.
13:
731:Christie's, London, 26–30 May 1902
674:(1974:229–232). For images of the
356:https://brill.com/view/title/56528
315:that remains firmly attributed to
214:were heavily restored: the famous
14:
826:
684:Heilbrunn Timeline of Art History
90:bear a Bardini provenience. The
774:American Journal of Archaeology
766:
763:No. 959 (February 1983: 83–66).
750:
734:
722:
702:
689:
661:
652:
624:
611:
602:
589:
572:
548:
529:
526:.2 (1969:47-62) illus pp 52–54.
513:
501:
154:Isabella Stewart Gardner Museum
46:Accademia di Belle Arti Firenze
486:
475:
466:
450:
437:
424:
408:
392:
368:
1:
747:, New York, 23–28 April 1918.
544:No. 1131 (June 1997:400–404).
286:Giampietro Campana collection
148:. Bardini's connections with
77:Saint Catherine of Alexandria
644:Jahrbuch der Berliner Museen
493:Metropolitan Museum of Art:
463:.3 (September 1984:442–452).
164:as a fountain figure in the
7:
669:Metropolitan Museum Journal
67:from several of the German
10:
831:
632:Il Museo Bardini a Firenze
232:Metropolitan Museum of Art
118:Metropolitan Museum of Art
81:National Gallery of Canada
299:In 1902 he purchased the
220:The Conquest of Trebizond
142:Giovanni Battista Foggini
86:Many well-known works of
779:.1 (January 1970:21–24).
745:American Art Association
362:
186:, glazed terracotta, by
144:and an eagle lectern by
134:Coronation of the Virgin
758:The Burlington Magazine
695:Touring Club Italiano,
564:The Burlington Magazine
556:The Burlington Magazine
539:The Burlington Magazine
416:The Burlington Magazine
376:The Burlington Magazine
92:National Gallery of Art
65:Jakob Salomon Bartholdy
810:Italian art collectors
719:.1 (March 1948:11–19).
432:Studi Trentini -- Arte
281:
230:, is conserved at the
190:
56:
21:
699:(Milan, 1964:376-79).
267:
255:Bartolomeo Cristofori
182:
54:
19:
495:Boy with a Greyhound
327:marble fragments, a
126:Boy with a Greyhound
815:Italian art dealers
608:Callmann 1999:341f.
434:, 2, 2013, 267-288.
290:Borghese Collection
280:panel, 15th century
188:Andrea Della Robbia
184:Madonna with Angels
166:Payne Whitney House
158:Borghese collection
110:Portrait of a Youth
96:Benedetto da Maiano
697:Firenze e dintorni
658:Callmann 1999:348.
337:Walters Art Museum
321:John Pope-Hennessy
282:
191:
57:
22:
443:Anita Moskowitz,
259:Palazzo Davanzati
130:Giovanni di Paolo
99:Madonna and Child
822:
780:
770:
764:
754:
748:
738:
732:
726:
720:
713:The Art Bulletin
706:
700:
693:
687:
665:
659:
656:
650:
636:Wilhelm von Bode
628:
622:
615:
609:
606:
600:
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570:
552:
546:
533:
527:
517:
511:
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499:
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484:
479:
473:
470:
464:
458:The Art Bulletin
454:
448:
441:
435:
428:
422:
412:
406:
396:
390:
385:(1979:492-508);
372:
348:Giardino Bardini
313:Virgin and Child
150:Bernard Berenson
830:
829:
825:
824:
823:
821:
820:
819:
785:
784:
783:
771:
767:
755:
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739:
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723:
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703:
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629:
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438:
429:
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413:
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397:
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373:
369:
365:
301:Torre del Gallo
247:Tino da Camaino
224:Palazzo Strozzi
204:Torre del Gallo
146:Giovanni Pisano
114:Filippino Lippi
88:Renaissance art
25:Stefano Bardini
12:
11:
5:
828:
818:
817:
812:
807:
802:
797:
782:
781:
765:
749:
733:
721:
709:W.L. Hildburgh
701:
688:
660:
651:
623:
610:
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595:Wayne Craven,
588:
578:Wayne Craven,
571:
547:
528:
512:
500:
485:
474:
465:
449:
436:
423:
407:
391:
389:(1979:568-80).
366:
364:
361:
162:Stanford White
103:Bernardo Daddi
73:Simone Martini
9:
6:
4:
3:
2:
827:
816:
813:
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395:
388:
384:
381:(1973:4-16);
380:
377:
371:
367:
360:
357:
351:
349:
346:in 1923; the
345:
344:Museo Bardini
340:
339:, Baltimore.
338:
334:
330:
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308:
306:
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297:
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218:painted with
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138:Robert Lehman
135:
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100:
97:
93:
89:
84:
82:
79:, now in the
78:
74:
70:
66:
62:
53:
49:
47:
42:
40:
39:
34:
30:
26:
20:Museo Bardini
18:
776:
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757:
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736:
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724:
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704:
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631:
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382:
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352:
341:
309:
298:
283:
275:
274:with gilded
269:
251:oval spinets
242:
236:
227:
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211:
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199:
195:
192:
183:
174:Michelangelo
169:
133:
125:
109:
105:
98:
85:
76:
58:
43:
36:
24:
23:
800:1922 deaths
795:1836 births
617:Schubring,
329:Diadoumenos
268:Florentine
35:sculpture,
33:Renaissance
789:Categories
640:Mein Leben
599:2009:281f.
325:Polyclitan
294:Christie's
106:Saint Paul
61:Botticelli
317:Donatello
277:pastiglia
136:from the
649:p. 107).
239:Oltrarno
122:Veronese
108:and the
69:Nazarene
29:Florence
676:cassone
305:Arcetri
271:cassone
243:Charity
228:cassone
216:cassone
212:cassoni
208:cassoni
200:cassoni
196:cassoni
170:in situ
38:cassoni
678:, see
584:passim
582:2003:
333:Hermes
128:, and
116:. The
101:, the
682:, in
521:Gesta
363:Notes
222:from
761:125
567:139
559:138
542:139
419:141
387:121
383:121
379:115
253:by
245:by
132:'s
124:'s
112:by
75:'s
791::
777:74
743:,
717:30
715:,
647:34
537:,
461:66
403:38
296:.
234:.
672:9
586:.
524:8
510:.
498:.
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