Alexandra Carpino is Professor of Art History at Northern Arizona University, USA. She is a past editor-in-chief of Etruscan Studies: Journal of the Etruscan Foundation and current chair of the AIA's Etruscan Interest Group.Tiziana D'Angelo lectures in Classical Art and Archaeology at the University of Cambridge and fellow of St Edmund's College. She has published widely, mainly on ancient wall painting, funerary art and material culture, and the history of collecting.Maya Muratov is Associate Professor in the Department of Art and Art History, Adelphi University. She is co-author (with Rachel Mairs) of Archaeologists, Tourists, Interpreters: Exploring Egypt and the Near East in the Late 19th-Early 20th Centuries (Bloomsbury, 2015).David Saunders is Associate Curator of Antiquities at the J. Paul Getty Museum. Since joining the museum in 2008, he has curated seven exhibitions. He is co-editor of The Restoration of Ancient Bronzes: Naples and Beyond (Getty, 2013) and Dangerous Perfection: Ancient Funerary Vases from Southern Italy (Getty, 2016)

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• Series Editor's PrefacePart One: Collecting and Presenting the Etruscans in North AmericaAlexandra A. Carpino, IntroductionHelen Nagy, The Formation of the Etruscan Collection at the Museum of Fine Arts, Boston: The Strategies of Edward Robinson and Rodolfo LancianiRichard De Puma, The Metropolitan Museum of Art's Etruscans: Collecting from the 1870s to the PresentLisa C. Pieraccini, Collecting Etruscans for California: The Story of Philanthropist Phoebe A. Hearst and Archaeologist Alfred EmersonClaire Lyons, Italian Antiquities to American Museums: Notes on Collecting at the Turn of the Twentieth CenturyLaetitia La Follette, The Impact of the 1970 UNESCO Convention on Unprovenanced Etruscan Artifacts in the United StatesPart Two: Satis sit una aliqua gemma: Collecting Classical Gems from Antiquity through the 19th CenturyTiziana D'Angelo and Maya Muratov, IntroductionRoberta Casagrande-Kim, Dactyliothecae Romanae: Collecting Gems in Ancient RomeLiliana Leopardi, Collecting Magical Gems in the Early Modern Period: From Infancy to AdulthoodClaudia Wagner, Collecting at Alnwick Castle: Engraved Gems in the Collection of the Duke of NorthumberlandTiziana D'Angelo and Maya Muratov, "Fraudulent Ingenuity": Charles W. King and 19th-Century Collections of Antique GemsPart Three: Researching Ownership Histories for Antiquities in Museum CollectionsDavid Saunders, IntroductionCaroline M. Rochleau, The Stratigraphy of ProvenanceJudith Barr, The Pitfalls and Possibilities of Provenance Research: Historic Collections and the Art Market in the 20th CenturySeth Pevnick, The Tampa Poseidon = The Shugborough NeptuneAnn Blair Brownlee, Collecting Greek and Etruscan Vases in 19th Century PhiladelphiaSarah Costello and John Hopkins, A Collaborative Path for Research into Ancient and Heritage ObjectsPaul Denis, Verifying a ProvenancePhoebe Segal, "Said to be from": Best Practices for Using Unscientific Findspot Information