Swiss family of collectors of German origin. Johannes Amerbach (b ?Amorbach, c. 1450; d Basle, Dec 25, 1513) gained his MA at the Sorbonne, Paris, and trained as a printer in Nuremberg and Venice. In 1482 he settled in Basle, where in 1484 he founded his own print shop and publishing house. He was in close contact with Albrecht Dürer during the latter’s stay in Basle (1491–2). Apart from works of art for personal use, for example ornamental daggers, he probably owned graphic and print blocks for woodcut illustrations by Dürer. Johannes’s son, Bonifacius Amerbach (b Basle, 11 Oct 1495; d Basle, 24 April 1562), a lawyer, professor at the University of Basle and syndic of the Basle council, was the heir and executor of Erasmus and owned paintings by the Holbein family and important gold and silver pieces, for example the well-known ‘...
[Amenemhet III; Nymaatre]
Egyptian ruler. Both architecture and sculpture have survived from his reign in the 12th Dynasty (for chronological chart of Egyptian kings see Egypt, ancient, fig.). He built two pyramids, one at Dahshur and the other at Hawara in the Faiyum region, where is also a small temple, finished by Ammenemes III’s successor, Ammenemes IV; the reliefs in this temple have not been published in detail. Some reliefs of Ammenemes III were also found at Abydos (Philadelphia, U. PA, Mus.); they display little of the quality and interest of the reliefs of his predecessor, Sesostris III.
There are more than 50 statues and heads of Ammenemes III, easily identifiable because of his distinctive physiognomy. As with the statues of Sesostris III, they appear to correspond to various ages of the King; however, this progression is probably complicated by wider variations of style and dimensions. The characteristic traits of these heads are large eyes (always serious and impassive), exceptionally large ears and a nose that is far less prominent than that of Sesostris III and hooks back into the face after the bump of the nasal bone. His mouth has thick, curled lips, the corners of which turn up to end against fleshy protuberances. The cheek-bones are very high and wide and are cut by a wrinkle leaving the inside corner of the eye at an angle of 45°....
(b Florence, 1650; d Florence, 1729).
Italian abbot, writer and collector. The son of Girolamo Andreini and Maria Bussini, in 1670 he married Isabella Marsuppini, who bore him two daughters. Widowed at an early age, he devoted his time to his studies, becoming a connoisseur of antique objets d’art. He was frequently consulted by famous collectors and erudites, including Cardinal Leopoldo de’ Medici, who often approached him for valuations of coins and gemstones. From 1674 to 1687 he lived in Naples as the Consul to the Florentine Nation. Subsequently he moved to Venice and then to Rome, returning eventually to Florence. He was a friend to such important figures as Queen Christina of Sweden, Filippo Buonarroti, Antonio Francesco Gori and Antonimo Magliabechiano. He was also interested in matters of chivalry, which forms the subject-matter of many of his surviving writings. A dedicated collector, he gathered Etruscan and Roman archaeological finds, including ancient funerary inscriptions, bronzes, coins, gems and sculptures, enjoying to the full the contemporary fashion for the study of antiquity. Alongside such artefacts, he also acquired several paintings by ...
Donatella L. Sparti
(b Terni, after 1559; d Rome, ?Nov 29, 1652).
Italian writer, historian and collector. He produced about 38 novels and several comedies, although his literary works have been little studied. In Perugia he was a member of the Accademia degli Insensati, under the name Tenebroso. He is documented as having been in Rome in the late 16th century as secretary to Cardinal Ippolito Aldobrandini (later Pope Clement VIII) and chief Apostolic Notary. At his home on the Pincio hill he accumulated a substantial collection, containing scientific instruments, examples of flora and fauna, a picture gallery, a large collection of Kleinkunst, medals, and a vast assortment of drawings by contemporary artists especially Annibale Carracci. The collection was accompanied by a rich library. The organization and contents of the collection are described by Angeloni himself in a manuscript in Venice (Fletcher, 1974). From 1634 his nephew Giovanni Pietro Bellori lived in the house; Angeloni educated him in art, literature and antiquities, and introduced him into the circle of classicist artists with whom he had formed a relationship, more in the role of erudite mentor than that of patron....
David Blayney Brown
(b St Petersburg, 1735; d Blackheath [now London], Jan 22, 1823).
Merchant, philanthropist and collector. He was supposedly the natural son of the Empress Anna of Russia and an English merchant. In the course of his career in the City of London he established Lloyd’s on a new footing. He amassed a fortune that he expended on charity and, from about 1790, on collecting paintings, guided by Benjamin West and Thomas Lawrence. Angerstein’s first acquisitions were English pictures: family portraits commissioned from Joshua Reynolds from 1765, and William Hogarth’s Self-portrait with a Pug (1745; London, Tate), bought in 1789. After 1790 he took advantage of the dispersal of Continental collections after the French Revolution and the Napoleonic campaigns to secure Old Masters in prime examples, sometimes at record prices. His early purchase (1794) of Aelbert Cuyp’s Hilly River Landscape (c. 1655–66; London, N.G.) proved to be untypical of a taste that inclined to figure paintings by Raphael, ...
[Billarderie d’Angiviller, Comte de la; Flahaut, Charles-Claude]
(b Saint-Rémy-sur-l’Eau, Jan 24, 1730; d Altona, nr Hamburg, Dec 11, 1809).
French administrator. His brief but distinguished military career led to the Dauphin Louis, son of Louis XV, by whose side he had served at the Battle of Fontenoy (1745), entrusting him with the education of the royal princes, including the Duc de Berry, the future Louis XVI. Flahaut’s many years of faithful service were rewarded with his appointment as Directeur-Général des Bâtiments du Roi after Louis XVI’s accession in 1774. Although nothing in his background had prepared him for his new responsibilities—he was of pure military stock and unlike his predecessor, the Marquis de Marigny, had not been groomed in the arts—he proved an excellent civil servant: efficient, imaginative and, above all, devoted to the King. Of all 18th-century Directeurs des Bâtiments, he alone merits comparison with Jean-Baptiste Colbert, Louis XIV’s great minister.
D’Angiviller is best known for his attempts to revitalize history painting and sculpture (see...
(fl 1708; d Paris, 1747).
French courtier, soldier and collector. Despite a Jansenist education, he entered whole-heartedly into the life of the royal court and won the favour of Philippe II, Duc d’Orléans. He developed his love of art through his maternal uncle, Du Vivier, who bequeathed him his remarkable collection, rich in curiosities, East Asian porcelain and paintings, which Angran augmented, not hesitating to resell in order to acquire the finest pieces. At his death, his collection was dispersed in sales between December 1747 and March 1748. It comprised fine landscapes, including works by Paul Bril, Jan Breughel I, Claude Lorrain and François Boucher, and numerous Flemish and Dutch genre scenes by such masters as Adriaen van Ostade, Gerrit Dou and Gabriel Metsu, which reflect the contemporary predilection for the Northern painters. The collection included such outstanding works as Breughel’s Abraham Sacrificing Isaac (Geneva, Mus. A. & Hist.), Claude Lorrain’s Judgement of Paris (...
[Anhalt, Duke of]
(b Dessau, Aug 10, 1740; reg 1756–1817; d Dessau, Aug 9, 1817).
German ruler and garden designer. After leaving the Prussian Army in 1757, he devoted himself to governing Dessau, instituting provision for the poor, public health and education. He made four journeys to England (1763–85) with Friedrich Wilhelm Erdmannsdorff, with whom he also travelled through Italy (1765–6). He studied for six months with Johann Joachim Winckelmann, whose ‘mimetic theory of the Ancients’ he realized in his garden designs. With Erdmannsdorff and his planters, he created gardens at Luisium (1774) and Sieglitzer Berg (1777) and most notably at Wörlitz (1764–1810), based on such English models as The Leasowes (Worcs), Stowe (Bucks), Kew Gardens (London) and Stourhead (Wilts). He was acquainted with William Chambers, Henry Holland, Sir William Hamilton (i) and possibly also Henry Flitcroft and ‘Capability’ Brown. As well as introducing the English landscape garden and Palladian country house to the Continent, the Prince also transplanted the Gothic Revival. The ‘Country House’ and ‘Gothic House’ at ...
(b ?Constantinople, c.
Joan Isobel Friedman, Ernő Marosi, Patrick M. de Winter, A. Demarquay Rook, and Christian de Mérindol
French dynasty of rulers, patrons, and collectors. The first House of Anjou (see §I below) was founded by Charles of Anjou (1266–85) and was active mainly in Italy, notably as kings of Naples and Jerusalem. Members of the second House of Anjou (see §II below) lost Naples to the house of Aragon, House of family but continued to style themselves as kings of Naples, Sicily, and Jerusalem until the death of Charles, 5th Duke of Anjou, in 1481, when the titular kingdom passed to Louis XI, King of France.L’Europe des Anjou: aventure des princes Angevins du XIIIe au XVe siècle (exh. cat. by S. Palmieri and others, Fontevrault Abbay, 2001) [includes several lengthy sections on Angevin Naples]
Joan Isobel Friedman
In 1266 Charles of Anjou (1226–85), brother of Louis IX, King of France (see Capet family, §2), defeated Manfred, King of Naples and Sicily (...
Ingrid Sattel Bernardini
Italian family of patrons. Probably from Brussels originally, the d’Anna family were wealthy merchants who settled in Venice at the beginning of the 16th century. Martin [Martino] d’Anna (b ?1475; d Venice, 11 Nov 1556) acquired Venetian citizenship in 1545. He bought a palace on the Grand Canal from Lodovico Talenti on 7 December 1538 (Venice, Archv Stato, Notarile atti, Ba. 3258, fols 126–8). Talenti, not Martin, must have commissioned from Pordenone the famous frescoes (c. 1534; destr., known from prints) that decorated the building’s façade. Martin continued embellishing this residence, and in his will (1553, Venice, Archv Stato, Notarile testamenti, Ba. 1218/x42) he requested that his heirs neither destroy nor disperse the decorations and furniture.
The sons of Martin d’Anna, Daniele (d Venice, 26 Dec 1579) and Giovanni (d 1580), were also important patrons. They asked Leone Leoni to engrave several medals for them (e.g. portrait medals ...
Patrick M. de Winter
Source of a group of Roman and Greek works of art, in particular a group of Greek bronze sculptures and statuettes. In 1900 sponge-divers discovered the remains of an ancient shipwreck in the sea off the Greek island of Antikythera. In one of the first operations of this kind, they salvaged some its cargo. A new investigation of the wreck site took place in 1976 and succeeded in recovering many further objects, as well as (still unpublished) remains of the hull. All the finds are now in the National Archaeological Museum in Athens. The ship, which must have foundered in the second quarter of the 1st century
[Gondrin, Antoine-Louis de Pardaillan de]
(b Paris, Nov 5, 1665; d Paris, Nov 2, 1736).
French administrator and patron. He was the son of the Marquis de Montespan, whose wife, Françoise Athénais de Mortemart, became one of the mistresses of Louis XIV. During the prominence of her successor Mme de Maintenon, d’Antin pursued an undistinguished military career, and it was only after his mother’s death in 1707 that his gifts as a courtier were rewarded with the post of governor of the Orléanais and, in 1708, with that of Directeur-Général des Bâtiments du Roi (see Maison du Roi, §II). His predecessor, Jules Hardouin Mansart, had been termed Surintendant; d’Antin held this amplified title from 1716 to 1726, but thereafter returned to his initial designation. His dukedom was from 1710. He inherited the châteaux of Bellegarde (Loiret), Oiron (Deux-Sèvres) and Petit-Bourg near Fontainebleau, and considerably embellished them.
As Directeur-Général, d’Antin’s authority extended over all artists nominally attached to the royal household, over the Imprimerie Royale, the Mint, the Gobelins, the Observatoire and all the academies except the Académie des Sciences. During the last years of Louis XIV financial difficulties inhibited state patronage of the arts, but after his death in ...