CONF: Christie’s Education Symposium – Women Art Dealers (1940-1990) curated by Véronique Chagnon-Burke and Caterina Toschi, May 17-18, 2019

The symposium analyzes the central role played by women art dealers in the creation and development of the art market between the 1940s and the 1980s. It examines the work of those women who promoted art between different countries and continents, thus developing an international market that anticipated the current global model. The two-day conference is divided into three sessions: the promotion of Modern art by women gallerists after World War II, thus establishing its estate in Neo-Avantgarde research; the women art dealers’ contribution to the birth of new markets, creating a fortune of new artistic languages like architectural drawings and video art; finally, the gradual establishment of a women art dealers’ global network which supplanted the male-dominated market’s geography.

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PUB: “From Florence to London to New York: J.P. Morgan’s Bronze Doors,” Nineteenth-Century Art Worldwide, vol. 16, no. 3, Autum by Lynn Catterson

This article, based on recently discovered material in several archives, tells the story of the bronze doors of the Morgan Library.[1] It narrates the travel of the allegedly Renaissance bronze doors from their acquisition in Florence in 1901, to their brief sojourn in London before arriving in New York to adorn the principal façade of McKim, Mead & White’s building. This case study also addresses the attribution of the work to Thomas Waldo Story (1855–1915) and analyzes his position within the complex social microcosm of the art market in which the acquisition of J. Pierpont Morgan’s doors took place.

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ANN: Le marché de l’art sous l’Occupation (1940-1944) Expo Marché Art, du 20 mars au 3 novembre 2019

L’exposition

À compter de l’été 1941, sur l’ensemble du territoire français, lesadministrations françaises confisquent entreprises, biens immobiliers, financiers et œuvres d’art appartenant aux Juifs de France. Leurs comptes en banque sont bloqués tandis que les Juifs arrêtés voient leurs biens confisqués à l’entrée des camps d’internement français. Dépouillés de leurs biens, victimes d’une double législation, nazie et du gouvernement de Vichy, les Juifs de France se voient exclus de tous les pans de la vie politique, sociale et économique, en préambule à leur élimination physique. 

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TOC: Journal of the History of Collections, Vol. 31, Issue 1

Articles:

Cardinal Paluzzo Paluzzi degli Albertoni Altieri and his collection in the Palazzo Altieri: the evidence of the 1698 death inventory, Part II
Lisa Beaven; Karen J Lloyd

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CONF: Recht aktuell: Kunst & Recht 2019 / Art & Law 2019

2019 feiert Kunst & Recht | Art & Law das 10-jährige Jubiläum. Das Seminar geniesst in unmittelbarer Nachbarschaft zur Art Basel Gastrecht im Congress Center Basel. Dank der Unterstützung der Art Basel erhalten alle Tagungsteilnehmer auch in diesem Jahr eine Tageskarte zur Kunstmesse.

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JOB: Provenance Research Fellowship (AAMD/Kress) at the OKCMOA


Oklahoma City Museum of Art – A Dale Chihuly glass tower greets you. Source: http://www.okcmoa.com/

Oklahoma City Museum of Art, Oklahoma City, September 09, 2019
Application deadline: Mar 28, 2019

Provenance Research Fellowship at the OKCMOA funded by Samuel H. Kress Foundation (2019 – 2020)

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Student Blog: TIAMSA Conference 2018 – Section 5: Launching TIAMSA Legal by Kirsten Pilling

The classical pathway of most art history students leads from learning the basics about architecture and iconography, to the study of the Italian Renaissance, to the confrontation with the avant-garde movements and contemporary art. However, most students never reach the point at which they actually deal with questions of the art market, and in particular its legal challenges – a situation which is particularly surprising given the fact that many of them have ended up, or will end up, in workplaces like galleries, auction houses or other institutions dealing with the more commercial side of art. Therefore, logically, it is usually only a matter of time until one is confronted with a situation in which a certain level of instinct for legal matters is helpful or even actual knowledge is required.

The fact that the second TIAMSA Conference dedicated a whole section to the legal aspects of the art market, and also has a newly founded sub-committee “TIAMSA Legal”, consisting of practitioners as well as academics involved in the art law, responds exactly to that gap and need for transdisciplinary action and information. Altogether four speakers presented and discussed legal challenges and existing initiatives currently present in the art market:

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