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Dealing Art on Both Sides of the Atlantic, 1860–1940
 Studies in the History of
Collecting & Art Markets

Editor in Chief

Christian Huemer (Getty Research Institute, Los Angeles)

Editorial Board

Malcolm Baker (University of California, Riverside)

Ursula Frohne (Westfälische Wilhelms-Universität Münster)
Daniela Gallo (Université de Lorraine, Nancy)
Hans van Miegroet (Duke University, Durham)
Inge Reist (The Frick Collection, New York)
Adriana Turpin (Institut d’Etudes Supérieures des Arts, London)
Filip Vermeylen (Erasmus University, Rotterdam)

Volume 2

The titles published in this series are listed at brill.com/hcam

Dealing Art on Both Sides of the
Atlantic, 1860–1940

Edited by

Lynn Catterson

LEIDEN | BOSTON
Cover illustration: A popular art and antique auction. Reproduction of a wood engraving after Dalziel after
R. Doyle. Bird’s-eye views of modern society, no. VII. London (15 Waterloo Place): Smith, Elder & Co. Wellcome
Library no. 12150i.

Library of Congress Cataloging-in-Publication Data

Names: Catterson, Lynn, editor.

Title: Dealing art on both sides of the Atlantic, 1860–1940 / edited by Lynn
Catterson.
Description: Boston : Brill, 2017. | Series: Studies in the history of
collecting & art markets ; Volume 2 | Includes bibliographical references
and index.
Identifiers: LCCN 2017015580 (print) | LCCN 2017016194 (ebook) | ISBN
9789004342989 (E-book) | ISBN 9789004336971 (hardback : alk. paper)
Subjects: LCSH: Art—Economic aspects—Europe—History—19th century. |
Art—Economic aspects—United States—History—19th century. |
Art—Economic aspects—Europe—History—20th century. | Art—Economic
aspects—United States—History—20th century.
Classification: LCC N8600 (ebook) | LCC N8600 .D43 2017 (print) | DDC
706—dc23
LC record available at https://lccn.loc.gov/2017015580

Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface.

issn 2352-0485
isbn 978-90-04-33697-1 (hardback)
isbn 978-90-04-34298-9 (e-book)

Copyright 2017 by Koninklijke Brill NV, Leiden, The Netherlands.

Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi and Hotei
Publishing.
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This book is printed on acid-free paper and produced in a sustainable manner.

Contents

1 Introduction 1
Lynn Catterson

The Artist as Dealer

2 The Many Hats of Mary Cassatt: Artist, Advisor, Broker, Tastemaker 39

Laura D. Corey

3 The Misses Williams in Salem and Rome 59

Jacqueline Marie Musacchio

Dealers Shaping and Influencing Taste

4 “A Public-Spirited Merchant”
Samuel P. Avery, Art Dealer, Advisor, Philanthropist 93
Leanne Zalewski

5 Dealing with Cubism: Daniel-Henry Kahnweiler’s Perilous

Internationalism 115
Fae Brauer

Supply Created by Dealer

6 Charles Mather Ffoulke and the Market for Tapestries in Late

Nineteenth-Century America 161
Denise M. Budd

7 The Art Dealer and the Devil: Remarks on the Relationship of Elia Volpi
and Wilhelm von Bode 181
Patrizia Cappellini
vi contents

Demand Created by Dealers

8 An Imaginary Italy on the Shores of Florida: Paul Chalfin, Vizcaya and

the International Market for Italian Decorative Arts in 1910s 205
Flaminia Gennari-Santori

9 Selling French Modern Art on the American Market: César de Hauke

as Agent of Jacques Seligmann & Co., 1925–1940 227
Sébastien Chauffour

The Role of Photographs in the Selling of Art

10 Stefano Bardini and C.F. Walker, His London Agent 249

Annalea Tunesi

11 Surrogates and Intermediaries: The Informational Role of

Photographs in the Art Market 269
Alexandra Provo

The Bureaucratic Network

12 A Lesson in Loopholes: Stefano Bardini, and the Export of the

Botticelli Frescoes from Villa Lemmi 291
Joanna Smalcerz

List of Illustrations 311

List of Contributors 314
Index 320
 CHAPTER 1

Introduction
Lynn Catterson

In 1896, writing to the Boston collector Quincy Adams Shaw (1825–1908),

the Florentine dealer Stefano Bardini (1836–1922) remarked about a marble
bas-relief of a Virgin and Child with Angel and Saint John, dated and signed
“Bartolommeo Bellano,” that he was hoping to sell to Shaw. Bardini explained
that he could not sell it to a foreign museum

… because our Government has forbidden me to export it outside of Italy.

And this is impossible because museums exhibit the objects in public
and it wouldn’t be long before it would be known here. On the other
hand, if I sell it to an amateur, this is different. The amateur can keep it
in his home without exhibiting it to the public and if finally he has the
desire to publish it, it could be very well that the time for the statutory
limitation has passed. Please note that this bas-relief is historic and it was
taken from a street of Venice. It is the only work by Bellano that we know
that is signed Bartolomeus Belani 1401. It has been already published in

* I owe an immense debt to Stefano Casciu, Direttore del Polo Regionale dei Musei della
Toscana, Cristina Gnoni Mavarelli and Stefano Tasselli for their kindness and generosity with
regard to the material in the Archivio Storico Eredità Bardini in Florence. I am also grateful
to the Columbia University Libraries, the Frick Art Reference Library, the Morgan Library,
the New York Historical Society, and the Berlin Museum and Zentralarchiv for their incred-
ible assistance in so many areas. Likewise, this research would not have been possible with-
out support from the Frick Center for the History of Collecting, the American Philosophical
Society, CASVA, and the International Scholarship Programme at the Staatliche Museen
zu Berlin-Preußischer Kulturbesitz, and the Samuel H. Kress and Leon Levy Foundations.
Along the way of this project, I’ve found truly collaborative colleagues and many new friends,
among them the contributors to this volume. I must thank in particular Denise Budd, Paul
Tucker and Kerri Pfister for their help and thoughts throughout.

Figure 1.1 Plate depicting medals and plaquettes from Stefano Bardini’s auction (Christie’s,
London, May 27th, 1902), annotated with names of buyers; inserted post-sale into
photo album.
Reproduced with the kind permission of the Archivio Fotografico Bardini
(AFEB) della Soprintendente Polo Museale Toscano, Florence.

© koninklijke brill nv, leiden, ���7 | doi ��.��63/9789004342989_002

2 Catterson

Italy and it is precisely after this publication that the government has
prohibited me from selling it abroad.1

On the surface, this appears to be a case of the dealer attempting to circum-

vent Italy’s cultural patrimony protection laws.2 More likely though it was an
incisive tactic on Bardini’s part to enhance Shaw’s perception of the level of
quality and authenticity of the object in question.

1 Archivio Storico Eredità Bardini, Firenze, hereafter referred to as Florence, ASEB. Copialettere,
20 February 1896: “Florence le 20 février 1896 / Monsieur Quincy A. Shaw / Boston / Je viens
de recevoir votre amiable lettre du 6 courant et vous remercie pour l’intérêt bienveillant que
vous avez pour moi et ma famille. Les plis de ladite lettre j’ai levé votre cheque de Lit 667.25
pour soldi des frais faits pour votre compte. Le bas-relief marbre par Bellano est toujours
chez moi; mais je ne puis pas le vendre à un Musée étranger à cause que notre Gouvernement
m’a défendu de l’exporter hors d’Italie. Et cela m’est impossible parce que les Musées ex-
posant les objets en public il ne se passerait longtemps que la chose se saurai chez nous.
Par contre si je le vends à un amateur c’est différent. L’amateur peut le garder chez lui sans
l’exhiber au public – et si enfin il se décide à le publier il se peut très bien que le temps pour
la prescription soit passé.je vous prie de vouloir bien remarquer que ce bas-relief est histo-
rique et qu’il fut jadis levé d’une des rues de Venise. C’est l’unique œuvre de Belano que l’on
connaisse signée opus Bartolomeus Belani 1401. Il a été déjà publié en Italie et c’est justement
après cette publication que le gouvernement m’a apposé le veto de vente à l’étranger. Vous
vous souviendrez que le prix demande est de 30,000; le même prix fait à Bode et d’autres. Un
autre objet historique cité par Vasari – c’est le vitrail de fenêtre que vous avez vu dans ma
salle au tableau – et du quel je vous envoie la photographie. Encore un objet qu’on me défend
de vendre hors d’Italie. Je voudrais bien le vendre à un amateur si vous en auriez le placement
chez vous – c’est un objet qui serait bien in place dans votre collection in distinguée. Son prix
est aussi de 30,000.Mr. Bode va mieux et vient d’avoir un enfant. Sous l’attende de votre nou-
velle lettre, je vous prie de vouloir bien présenter mes respects a Madame Shaw et d’agréer
mes salutations bien sincères. / Très Dévoué / S. Bardini.” Very often, the American and the
Italian write to each other in French.
 For the relief, see http://www.mfa.org/collections/object/virgin-and-child-with-angel-
and-saint-john-58903. With respect to the collection in Boston, see Marietta Cambareri.
“Italian Renaissance sculpture at the Museum of Fine Arts, Boston: the early years.” in
C.R. Marshall, ed., Sculpture and the Museum. Farnham, Surrey: Ashgate, 2011, 95–114.
 In 1889, Wilhelm von Bode published the terracotta version he had just acquired for
Berlin, noting that the marble version now in Boston was at the time in a private collection,
for which see, W. Bode, “Amlichte Berichte …,”Jahrbuch der Preußischen Kunstsammlungen,
Band 10, Berlin, 1889, Zeitschriftenband, LII. Print.
 http://www.digizeitschriften.de/dms/resolveppn/?PID=PPN523141572_0010|LOG_0022.
 See also Volker Krahn, Bartolomeo Bellano: Studien zur Paduaner Plastik des Quattrocento.
Berlin, Techn. Univ., Diss., 1986, 209ff.
2 For an analysis of the various debates played out in the press and in the academic circles, see
Federica Papi.
Introduction 3

The importance of art dealers in the formation of collections cannot be un-

derestimated, yet this topic is infrequently addressed in the many studies on
collectors and the content of their collections. The essays in this volume, for the
most part, derive from a double session at College Art Association’s conference
held in New York City in February 2015, co-chaired by Charlotte Vignon, cura-
tor of Decorative Arts at the Frick Collection and myself. Our mutual interest
in the topic stems from Charlotte’s archival work on the Duveen Brothers and
my own archival work on the family and business of Stefano Bardini. The CAA
sessions sought to explore the methods and means of transaction of fine and
decorative art in the art market on both sides of the Atlantic from about 1860
to 1940 from the perspective of the supplier. With the hope of bringing the
marketplace dynamic into sharper focus, we asked for papers which also ex-
amined the many other functionaries who participate in the art market net-
work, among them, agents, scouts, intermediaries, restorers, fakers, decorators,
advisers and experts. All of the papers were rooted in case studies which gave
voice to the various aspects of supply−from branding to marketing, from in-
ventory to display, from restoration to pastiche to fabrication. Each is incred-
ibly rich in their marshalling of primary sources and archival materials; in sum,
they present an impressive array of new research.
Broadly speaking, the essays are testament to the fact that a very complex
social network underpins the art market, which in turn suggests that the often
used monographic approach for the study of collectors and their collections
would be of limited use when examining the supply side of things. So, in ad-
dition to introducing the essays in this volume, I am taking the opportunity
to make some observations regarding the social network of the art market.
Drawing upon my own archival research on Stefano Bardini that I began in
2010, I would like to preliminarily examine some aspects of the structure of his
network, and, in particular, illustrate the incredible complexity of it as seen
through specific archival material.3
To begin with, it must be noted that the roles and functions assumed by in-
dividuals were simultaneously multiple, over time, from one transaction to the

3 Just as important, though admittedly difficult to work with, are the numerous lacunae –
archival material not present, not extant, whether by accident or design. The networks with-
in which Bardini functioned were epic in their complexity and as such, it is naïve to approach
the phenomenon of Bardini the dealer as a single individual, or in the context of a biography.
Despite the fact that the archive and its contents have occupied my full attention since 2010,
I can say that, without a marshalling of digital technologies and the inauguration of a robust
collaborative research project with pan-institutional participation, it remains seriously pre-
mature to capitulate a definitive account of the man and his business. In the interim, some
very lively and curious case studies are imminently forthcoming.
4 Catterson

next, and at times, within one transaction. The morphology of the supply side
of the art market was dynamic and quick to adapt strategies and roles in the
face of the burgeoning market. Thus, many artists, including successful ones,
also worked as agents and outright dealers. Likewise, dealers proffered exper-
tise and in doing so, they effected taste and market trends. On the other hand,
the so-called impartial experts often found it more lucrative to establish a pri-
vate fiduciary relationship with a dealer in addition to those with collectors –
Berenson and Duveen were not the first nor were they the only example of
this kind of business partnership. Museum agents would function as experts,
and to use Wilhelm von Bode (1845–1929) as but one example, they would also
advise collectors, deal art on the side, and quite often establish a beneficial
financial relationship with dealers.
From 1860, Europe was the stage for ever increasing pan-continental insti-
tutional competition to build world class collections. By 1870, the Americans
would begin to enter the fray, bringing with them vast sums of money and,
for the most part, uneducated eyes as far as the art was concerned. Just prior
to the turn of the century, and moving forward into the next, ever improving
methods of transportation – Transatlantic as well as proliferating European
railways – combined with technological advancements in the telegraph and
photography had an immediate effect on the rate at which the art market grew.
Already by the mid-century, the increasing commodification of art and dec-
orative arts necessitated a discernable shift in the organization and categori-
zation of the objects themselves as they were readied for sale.4 Classification
gradually changed from the more general, the more random, to the more spe-
cific and consequently hierarchical. This can be observed in the public sales at
auction as well as in the type of display enacted in the salesrooms of individual
dealers like Bardini. With respect to the auction houses and galleries, the trend
may be gleaned from a survey of auction catalogs over the course of the centu-
ry wherein collections and dealers of bric-a-brac and curiosities evolve into col-
lections and dealers of objects of fine and decorative arts.5 Thus, from around
1860, that is, at the beginning of Bardini’s career, a more complex taxonomy
evolves which parses inventory on the basis of value and more finely articulat-
ed categories which were reflected in the settings and systems of display. The

4 For a study of the art market in London during the first half of the Nineteenth Century, see
Mark Westgarth.
5 The Lugt’s Répertoire Online, together with the Arts Sales Catalogues Online (ASCO), pub-
lished by Brill (http://lugt.idcpublishers.info/) and available onsite at the Frick Art Reference
Library is an indispensable research tool for art market studies, and I thank Suz Massen,
Chief of Public Services (FARL) for calling it to my attention.
Introduction 5

burgeoning use of photographs taken of rooms and assemblages allowed for

the inclusion of many objects in in a single photograph which was cost effec-
tive. As these illustrations took on an increased presence in auction catalogues
and art historical publications, the representation of this new taxonomy was
transported via printed matter to the market at large, its collectors, its institu-
tions and their displays. And for them, these illustrations provided a relatively
cheap alternative to shopping in Europe, most especially for the Americans.
In the case of Bardini, the period room, or so-called house museum, with its
evocations of specific past times, also had a strong and lasting marketing effect
because the rooms functioned mnemonically. Clients writing to Bardini inquir-
ing about the availability of an object would describe the object by situating it
physically within the showrooms as they had seen it, in some cases, many years
before. Bardini was not alone in deploying this kind of display, and it is fair to
say it must have been mainstream by the turn of the century. Writing to the
Roman dealer, Attilio Simonetti (1843–1925), in March 1906, the American ar-
chitect, decorator, and longtime client of Bardini, Stanford White (1853–1906),
commented that he had received from him the wrong painting. White went
on to describe the desired painting and within the body of the letter text, he
included a small sketched ground plan of a room in Simonetti’s gallery in the
Via Vittoria, and marked the location of where he had seen the painting with
an “X.”6 In another example of the enduring memories produced by effective
installation, the American sculptor and dealer George Grey Barnard (1863–
1938) wrote from Switzerland to Bardini’s son Ugo in 1928, remarking, “[…] I
realize it is imperative one sees a work of art before purchasing, yet I did see
your father’s collection of art objects, and remember them quite well.”7
Bardini’s systems of display had the effect of enhancing the aura of authen-
ticity, and this was keenly evident in Humphrey Ward’s 1893 description of
Bardini’s palace and its installation, which “… gives of course an air of splendor
and reality to Signor Bardini’s installation, and tends to impress the casual visi-
tor with the sense that he is there not to buy, but to admire.”8 Earlier in his ar-
ticle, after lamenting recent cultural patrimony protection laws, the rise in the

6 Columbia University, Avery Library, Stanford White Letterpress Book, vol. 34, 280, 2 March
1906.
7 Florence, ASEB, Corrispondenza, 1928: 15 August, 1928, Letter from Barnard in Beotenberg,
Switzerland, to Ugo Bardini in Florence. In another (undated) letter of the same year, Barnard
takes the opportunity to inform Ugo that he has “[…] created the Gothic museum in America,
now the new part of the Metropolitan museum”, which, known today as The Cloisters, is itself
an uber-manifestation of the period room as the period museum.
8 Humphrey Ward, 10–15, esp. 12.
6 Catterson

number of skilled forgers and the scarcity of good old objects in the hands of
dealers, Ward introduces Bardini as “one of these great dealers – the greatest of
all – whom the readers of the Art Journal may care to visit in the writer’s com-
pany. This is Signor Stefano Bardini, whose palace – the word is strictly appro-
priate – is truly one of the sights of Florence, though naturally enough it is not
much visited except by students and serious buyers of old works of art.”9 Ward’s
motivation for publishing an article on Bardini’s collection is thinly veiled, for
in reality, he probably would have received a small percentage of any sales (or
some other benefit in kind) that directly resulted from his recommendation. A
similar tactic was used by Wilhelm von Bode when he printed and distributed
a small postcard in the autumn of 1906. Bardini had recently acquired the Torre
del Gallo and Villa la Gallina in the southern hills of Florence as a property in
which to expand his gallery showrooms. The photograph on the front of the
postcard scenically captures the Torre del Gallo and Villa la Gallina. In print
on the verso, Bode lauded Bardini’s recuperation of the ancient property and
extolled what would become in effect a new Florentine monument wholly in-
spired by classic Florentine art.10
Dealers like Bardini pandered to clients and associates who would publish
their works, knowing full well that these illustrated printed expertises held a
strong sway on museums and collectors during the course of deciding wheth-
er or not to purchase an object. Bardini’s lifelong association with Wilhelm
von Bode resulted in a large, and generally considered to be authoritative,
body of scholarship regarding Italian Renaissance sculpture; it was, and con-

9 Humphrey Ward, 11.

10 Florence, ASEB, Small printed postcard; recto: photograph of Torre del Gallo; verso: print-
ed text as follows: “Cartolina Postale Italiana (Carte Postale d’Italie) Vossische Zeitung.
Berlino 25 Ottobre 1906. Musei sopra Musei a Firenze…… Per Firenze invece e per i suoi
visitatori si prepara nel corso del prossimo anno una ben più gradita sorpresa, quando
sarà terminata, la villa Torre del Gallo del conosciuto negoziante d’arte Stefano Bardini. Il
Palazzo Bardini in Piazza Mozzi di faccia al Palazzo Torrigiani era già rinomato come un
‘piccolo Bargello;’ la sua villa a Marignolle era conosciuta per il suo autentico addobbo
e per i suoi numerosi bei mobili antichi, ambedue sorpassa molto la nuova villa. Si, noi
non esitiamo a dichiararla la più bella villa moderna in stile antico costruita con vecchio
materiale che abbiamo mai veduta. Poco è rimasto dell’antica villa; la moderna è tre volte
più grande e addirittura nuova nella pianta e nella disposizione. I fiorentini hanno già
criticato su questo, giacche non amano il Bardini, ma ammutoliranno quando potranno
vedere la disposizione straordinariamente pittoresca, l’esemplare ispirazione all’Arte clas-
sica fiorentina, l’impiego del più splendido materiale che sia mai venuto in commercio,
antiche colonne, capitelli, porte, finestre, soffitti ecc. e tutto il mirabile arredo. E per di
più la magnifica veduta su Firenze ed i dintorni. La Torre del Gallo diventerà una delle
principali attrattive di Firenze. Bode.”
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