Abstract
Abstract During the late nineteenth and early twentieth centuries, wealthy art collectors in the United States amassed extraordinary collections of medieval and early Renaissance art, and, on occasion, unscrupulous dealers fulfilled the demand for such objects by passing off fakes as originals. The story of one such object is instructive in understanding the way that collectors pursued, purchased and displayed their finds. A sculptural bas-relief of the Virgin and Child at Hammond Castle in Gloucester, Massachusetts, was purchased as an authentic Italian Renaissance piece, but the revelation of its true provenance as a modern work by Alceo Dossena ultimately connected it to one of the most notorious cases of art forgery in the early twentieth century. This article discusses the case of Dossena and his artistic fabrications, but also reconsiders the role such objects could play in the creation of an authentic atmosphere – the goal of revivalist monuments like Hammond Castle.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.