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Gothic Art in the Gilded Age. Medieval and Renaissance Treasures in the Gavet-Vanderbilt-Ringling Collection

Gothic Art in the Gilded Age. Medieval and Renaissance Treasures in the Gavet-Vanderbilt-Ringling Collection

Abstract

BOOK REVIEWS Virginia Brilliant (ed.), Gothic Art in the Gilded Age. Medieval and Renaissance Treasures in the Gavet-Vanderbilt-Ringling Collection. Sarasota, The John and Mable Ringling Museum of Art, .  ---.  pp.,  col. illus.,  b. & w. illus. $. The Ringling Museum of Art in Sarasota, Florida, was created by the circus entrepreneur John Ringling (-). Its collections include paintings, sculpture, and ‘decorative arts’ from the European Middle Ages and Renaissance, crowned by Piero di Cosimo’s eccentric and wonderful Building of a Palace. The core of this group consists of items assembled by the Parisian collector-dealer Émile Gavet (-) and atmospherically displayed to visitors and clients in his gallery-residence near Nôtre-Dame. In  Gavet commissioned from the Louvre curator Émile Molinier a sumptuous catalogue of this collection/ stock. That same year, over  pieces – including  BOOK REVIEWS Renaissance paintings, Gothic metalwork, medieval and Renaissance sculpture, furniture, maiolica, watches, gems, and wax portraits – were acquired from him by Alva, the energetic wife of the heir to the New York Central Railroad fortune, William Vanderbilt. Alva Vanderbilt (-) installed the collection in a ‘Gothic Room’ in her majestic summer villa (one of the earliest
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