Abstract
Abstract The mid-and later nineteenth century saw the creation and enrichment of some major international museum collections alongside the development of connoisseurship. In this process, Milan was an important hub for the supply of major works of art. This essay offers new insights into Milan’s art market of the period through the methodical examination of export documents; analysis of the unpublished manuscripts of two great exponents of international connoisseurship of this period, Giovanni Battista Cavalcaselle and Joseph Archer Crowe; and new sources from the archives of the National Gallery in London. A number of case-studies are presented in chronological order, focusing on examples of works of art imported from Milan by the National Gallery, the Musée du Louvre in Paris, the Royal Museums in Berlin and the Imperial Hermitage Museum in St Petersburg. The conclusions that emerge from this study pave the way for a comparative investigation of other Italian cities in the same period.
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