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dc.contributor.advisorWarwick, Genevieve
dc.contributor.advisorFowle, Frances
dc.contributor.authorZaninelli, Fulvia
dc.date.accessioned2018-08-28T10:11:05Z
dc.date.available2018-08-28T10:11:05Z
dc.date.issued2018-11-27
dc.identifier.urihttp://hdl.handle.net/1842/31510
dc.description.abstractThis thesis aims to document and discuss the role and legacy of the Italian antiquario Alessandro Contini Bonacossi (1878-1955) in the international secondary art market for Old Master paintings during the first half of the twentieth century. Grounded in the discovery of primary archival evidence and set against the major historical events that unfolded during his lifetime, this work presents its findings by following a research process adopted to answer the following research questions: who was Contini Bonacossi, what was his business network (where was he buying paintings, at what prices, and who were his clients), what was his modus operandi for selling and marketing his work, and what is his legacy. To answer these questions, I made extensive use of primary sources, the vast majority of which are unpublished or have never been used before in this context, framed by a contextualized analysis of their historical background. The archival investigation has brought to light, for the first time, documentary evidence of Contini Bonacossi’s transactions and business ties with other European dealers such as Duveen Brothers, Heinemann Galleries, Colin Agnew, Colnaghi, Böhler, Steinmeyer, and Kleinberger Galleries; with scholars such as Wilhelm von Bode, Roberto Longhi, and Bernard Berenson; as well as previously unknown connections Contini Bonacossi had with members of the Harvard museum community and the Boston cultural elite such as Paul Sachs (1878-1965), Edward W. Forbes (1873-1969) Denmann Ross (1853-1935); and offers new details regarding his relationship with the Kress Brothers, their gifts of artworks to the new National Gallery of Art in Washington DC, and the Kress Foundation’s Regional Program that endowed museums across the US. Ultimately, this work adds to our knowledge important sources for the study of the history of private and public collecting during its crucial years in the formation of American museums. More broadly, in documenting Contini Bonacossi’s case, this study strives to rethink the role of art dealers, to look at them not solely as market professionals engaged in the dynamics of supply, demand and profit, but first and foremost as bearers and sellers of culture, whose activities were fully embedded in the socio-political environment of their time and so to acknowledge and extend knowledge about their active role in the international dissemination and interpretation of cultural heritage.en
dc.language.isoenen
dc.publisherThe University of Edinburghen
dc.relation.hasversionZaninelli, Fulvia. “Aspetti del collezionismo e del mercato dell'arte del Seicento italiano all'inizio del Novecento”, in Novecento sedotto: il fascino del Seicento tra le due guerre. Edited by Anna Mazzanti, Lucia Mannini, Valentina Gensini. 81-89, Florence:Polistampa, 2010.en
dc.relation.hasversionZaninelli, Fulvia. La Collezione Contini Bonacossi attraverso i Diari di Donna Vittoria.MA Thesis, Florence: The University of Florence, 2004.en
dc.relation.hasversionZaninelli, Fulvia. Going For Baroque? MA Thesis, London: Manchester University, UK/ Sotheby’s Institute of Art London, 2008.en
dc.relation.hasversionZaninelli, Fulvia. “Alessandro Contini Boanocssi. Cenni Biografici”. In La Collezione Contini Bonacossi alle Gallerie degli Uffizi, Giunti:Florence (2018), 300- 318.en
dc.subjectAlessandro Contini Bonacossien
dc.subjectsecondary art marketen
dc.subjectbusiness networken
dc.subjectart dealersen
dc.subjectpublic collectingen
dc.subjectprivate collectingen
dc.titleAlessandro Contini Bonacossi, antiquario (1878-1955): the art market and cultural philanthropy in the formation of American museumsen
dc.typeThesis or Dissertationen
dc.type.qualificationlevelDoctoralen
dc.type.qualificationnamePhD Doctor of Philosophyen


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