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• W2580252967 abstract "Jeremy Warren, with contributions by Seoyoung Kim and Alexandra Kosinova, The Wallace Collection Catalogue of Italian Sculpture 2 vols, London, The Trustees of the Wallace Collection, 2016, 432 pp. and 412 pp., 800 illustrations, £250. ISBN 978-0-900785-76-4Contemporaries make much of an epigrammatic phrase coined by the late Rosalind Krauss, 'sculpture in the expanded field', to describe the inclusive nature of contemporary circumstances, the practice, media, means and indeed purpose of sculpture today.1 In many ways, however, sculpture has always occurred in an expanded field. Here, in these two magnificent volumes, we know it also to be jewellery, hat pins or badges, sword hilts and pommels, candlesticks, inkstands, lockplates and tap heads, basins, buckets and mortars as well as portraits, votive figures, statues and reliefs - many displaying the endless fascination with the antique. The Italian sculpture in the Wallace Collection is possibly the least known of the contents of this nineteenth-century palace. For, as the author of this catalogue admits, it comes a long way down the list of treasures, after the great paintings, the comprehensive Sevres collection, and outstanding arms and armour. However, among the 159 works catalogued here, stretching from about 1400 to 1910 in all media including ceramic, there are important works by artists such as Algardi, Donatello, Giambologna and Torrigiani, of which more later.Jeremy Warren cut his scholarly teeth on the Medieval and Renaissance sculpture in the Ashmolean, where he adopted an innovatory approach to the all too often marginalized and disregarded genre of the plaquette.2 The Wallace too has a distinguished collection of plaquettes, a category which Warren considers a late nineteenth-century invention. In the present catalogue he follows a simple chronological format, without division into function or medium. This approach allows plaquettes a status often denied them, as when, for example, nos. 39-47 appear between and on a par with the Milanese Head of St John the Baptist (no. 38) and Giovanni Fonduli da Crema's Seated Woman (no. 48). This provides a visual context, a bigger picture for these small, supposedly insignificant objects. It is a status they deserve, being as they are gems of design and iconographic content, and elevates them beyond their hitherto often dull, typological display in museums. For other kinds of object, such as door knockers, the chronological context helps establish types, and this is useful when assessing similar objects in other collections. Take, for example, the group of door knockers (nos. 97, 98 and 135): the pair (no. 135), assigned to the nineteenth century by X-ray fluorescence (XRF) analysis, are of refined modelling and facture, and are patinated in an all-over-black finish. This has helped the author of this review to determine a date for a door knocker in the Dunimarle Collection (Duff House, Banffshire), with its boot-black, fire-grate patina. Given the wide range of chronology, medium, function and subject matter of the sculpture discussed the index is essential. The appendices, which are numerous, are vital to Warren's approach. While one has come to expect the inclusion of documentation in this straightforward way that does not impede the narrative of individual entries, the impressive collating of versions and variations of Wallace sculpture in other collections and sale references is painstaking and exceptionally useful: see for example the writing casket (no. 24), where Warren lists 92 examples of the type elsewhere. Indeed, one of Warren's strengths is his wide-ranging knowledge of collections and their contents throughout Europe and America.Contemporary scholarship requires serious consideration of medium and facture, collaboration with colleagues in conservation and the employment of scientific analysis. Here, the listing of the metallurgical constituents for every object, resulting from XRF spectroscopy, might be thought to convey recipes for forgers, save that, as Seoyoung Kim's essay makes clear, metallurgical analysis is far from an exact science, there being too many variables (pp. …" @default.
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