A Discount Code for this second book in the HCAM series is available to all TIAMSA members.
Please log in and find the Discount Code for Brill post in the Members’ Only Section.
Between 1846 and 1884, one of the most successful French art dealers of its time, Goupil & Co, developed a marketing strategy that employed an international network of alliances to expand its sales of art – prints, paintings, drawings and sculptures. Their focus during that time was mainly on contemporary European Salon artists. Newly established offices in New York, London, The Hague, Berlin and Brussels were linked to the headquarters in Paris. For example, William Schaus and later Michael Knoedler concentrated on the American market while Vincent Van Gogh, an uncle of the painter, facilitated business relations with the Netherlands. The firm was a profitable business. Its many branches and its participation in most major international events, such as the Universal Expositions were an ever-renewable source of clients and artists. As a result, many international museums owned – and sometimes still own – at least one piece of artwork with a Goupil & Co provenance. This dissertation analyses the stock books that were used to record sales in Paris and which reveal themselves to be an invaluable source of the Nineteenth Century art market, especially as it relates to the history of taste and collecting.
Agnès Penot is an independent art historian and a specialist in 19th century French art, the art market, and provenance.
Published in French
ISBN : 979-10-92054-56-9
Editors Charlotte Gould, Sophie Mesplède
October 2016: 234×156: 302pp
Hardback: 978-1-409-43669-0 | £95.00
Paperback: 978-1-138-25581-4 | £34.99
This book can now be purchased with a 20% discount for TIAMSA Members, at online checkout directly with Routledge Publishers.
A flyer has been created to advertise the paperback re-release, which you can find in the Member’s Only Area.
About the Grant
Twice a year, CAA awards grants through the Millard Meiss Publication Fund to support book-length scholarly manuscripts in the history of art, visual studies, and related subjects that have been accepted by a publisher on their merits, but cannot be published in the most desirable form without a subsidy. Thanks to the generous bequest of the late Prof. Millard Meiss, CAA began awarding these publishing grants in 1975.
Books eligible for a Meiss grant must currently be under contract with a publisher and be on a subject in the arts or art history. The deadlines for the receipt of applications are March 15 and September 15 of each year. Please review the Application Guidelines and the Application Process, Schedule, and Checklist for complete instructions.
The seven Millard Meiss Publication Fund grantees for fall 2016 are:
Read a list of all recipients of the Millard Meiss Publication Fund from 1975 to the present. The list is alphabetized by author’s last name and includes book titles and publishers.
Please contact Sarah Zabrodski, CAA editorial manager, at (country code) 212-392-4424.
Source: CAA Millard Meiss Publication Fund [accessed Feb 27, 2017]
This book is published by Brill publishers and is now available. It is the first book in BRILL’s new series Studies in the History of Collecting & Art Markets (HCAM). For more information about the series see brill.com/hcam
Brill is partnering with TIAMSA to offer a special 25% discount on all volumes from the new series Studies in the History of Collecting & Art Markets (HCAM) to all individual members (Editor in Chief: Christian Huemer).
The discount is valid through Dec 31 2017.
If you are a member, please log in for further information on discount ordering. Further information on discount ordering also in our next membership newsletter.
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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).