The Art Market, Collectors and Agents: Then and Now
19-20 October 2016 at the INHA, Paris
The purpose of our October conference is to develop further the initial conference in July. Papers concentrate on the later period of collecting, from the eighteenth to twentieth centuries, in particular considering how the agent has gradually become the consultant/dealer in the modern art market. Thus the conference should allow for a fascinating juxtaposition of historic and contemporary practice. It should also offer a deeper understanding of the private and often hidden side of the market, one that is not represented through the study of auctions alone
Among the topics that are to be discussed are: Agents in Austria in the seventeenth century, James Thornhill and England in the early eighteenth century, agents in Venice in the eighteenth century; Passavant, Thoré Berger, Gimpel, Samuel Avery and James Hyde or the Catalan poet, Maria Manent as individual agents to private collectors and institutions. Broader topics will include the agents for the National Gallery, London, Asian agents in the nineteenth-century Chinese market, Surrealist artists as agents, agents in the contemporary market in the 1960s and 70s. Our speakers are coming from Europe and the United States, ensuring that we have a wide representation of the field internationally and chronologically.
There will be visits to major collections outside Paris on the Saturday and Sunday.
Le 26 mai 2016, Christian Huemer donnera une conférence (en anglais) intitulée Explorer les marchés de l’art du passé : outils et méthodes à l’ère du big data.
Cette manifestation est organisée dans le cadre du programme de recherche Sciences et Cultures du Visuel, et bénéficie du soutien du CNRS et de l’ Université de Lille.
La récente prolifération des données et l’émergence de nouvelles techniques de traitement informatique ne se sont pas contentées d’influer sur les processus de prise de décision dans la société contemporaine : leur impact grandissant affecte aussi notre compréhension du passé. L’analyse big data, définie comme le processus par lequel on traite de vastes quantités d’information afin de mettre au jour des schémas cachés et des corrélations insoupçonnées, peut aussi être appliquée à l’étude des marchés de l’art. Pourtant, au contraire de disciplines plus clairement quantitatives telles que l’étude économique de la culture (qui s’intéresse essentiellement à des données contemporaines), l’histoire de l’art commence à peine à exploiter ces nouvelles possibilités. Continue reading “L: Christian Huemer, Explorer les marchés de l’art du passé : outils et méthodes à l’ère du big data,26 May, Lille”
Galerie Helbing – Auktionen für die Welt, 27 April – 8 June 2016, Zentral Institut für Kunstgeschichte, Munich
This exhibition is devoted to the enterprise of the outstanding auctioneer Hugo Helbing (1863-1938) whose gallery, established in 1885, was the foremost auction house in the German-speaking countries between the late 19th century and 1938 when Helbing was murdered after the so-called „Kristallnacht“. Helbing held more than 800 auctions at his headquarters in Munich and his branches in Frankfurt M. and Berlin, and even abroad – some major ones also in collaboration with Paul Cassirer (Berlin). The exhibition shows archival material, photographs, letters and auction catalogues (some of them annotated) illustrating Helbing’s life and enterprise.
Hugo Helbing (1863-1938), Zentral Institut für Kunstgeschichte, Munich
The 7th Workshop on Provenance and Collection Research at the Zentralinstitut für Kunstgeschichte, Munich was held in conjunction with an event commemorating the outstanding auctioneer Hugo Helbing (1863-1938) whose gallery, established in 1885, was the foremost auction house in the German-speaking countries between the late 19th century and 1938 when Helbing was murdered after the so-called „Kristallnacht“.
Continue reading “Conf. Report: Hugo Helbing (1863-1938), 27-28 April 2016, Munich”
BOOK OUT NOW: Julie Verlaine, Daniel Templon : une histoire d’art contemporain, Flammarion 2016. 413pp, 200 ill., 35,00 €.
French version below
When Daniel Templon opened his gallery in 1966, the art trade of the late 19th and early 20th centuries – defined by dealers such as Kahnweiler, Durand-Ruel and Vollard – had changed profoundly. New York and American art had arrived to make a big splash in the history of art. Daniel Templon is a pioneer of a new generation that seized on this expanding horizon to reinvent the profession of the gallerist. Thus, the trajectory of his gallery offers a breathtaking reflection not only of the history of art in the second half of the 20th century but also of the socio-cultural and economic changes in the world of contemporary art.
This book by Julie Verlaine is the result of a sustained historical investigation, exploring the rich archives and the abundance of printed documentation. It offers a detailed reconstruction of the gallery’s activities and takes stock of developments that have marked its existence and the contemporary international artistic landscape. The story of these fifty years is enriched by the gallery owner’s personal account of his meetings with Catherine Millet at the age of twenty and his discoveries of great contemporary artists such as César, Ben Vautier, Carl Andre, Frank Stella, Andy Warhol or Helmut Newton. It thus gives the keys to the story but also reflects the atypical route that made Templon a privileged witness of the artistic, economic and political transformations of the last fifty years. The book is divided into three parts that correspond to the three ages of the gallery: its birth (1966-1972), growth (1970-1980) and maturity (since 1990).
Continue reading “BOOK OUT NOW: Julie Verlaine, Daniel Templon : une histoire d’art contemporain, Flammarion 2016”
Léa Saint-Raymond, How to get rich as an artist: The case of Félix Ziem – evidence from his account book from 1850 through to 1883, in Nineteenth Century Art Worldwide. a journal of nineteenth century visual culture
A very rich text with over 130 footnotes and images, available at Nineteenth Century Art Worldwide
Barbara Pezzini, Days with Velázquez: when Charles Lewis Hind bought the Rokeby Venus for Lockett Agnew, in The Burlington Magazine, CLVIII, May 2016,No. 1358, pp. 358-367.
Buy the PDF here