On the occasion of the second Hugo Helbing Lecture, delivered on 26 April 2017 by Professor Craig Clunas (University of Oxford), the Zentralinstitut für Kunstgeschichte in Munich has inaugurated an online exhibition on Hugo Helbing (1863-1938) at Google Arts & Culture. Curated by Dr. Meike Hopp (TIAMSA member) and Melida Steinke MA, the exhibition consists of 41 slides (video of curator’s introduction, photos, documents) and explanatory texts presenting Helbing’s wide ranging activities as auctioneer and the „aryanizing“ of his business. It is available in both English and German:
New Sales Data Trace the First Hundred Years
of the British Auction Market
The Getty Provenance Index has, for three decades, been a leading resource for scholarship on the history of collecting. Founded in the early 1980s by Burton Fredericksen, the first curator of paintings for the Getty Museum, the Provenance Index has evolved into a collection of online databases with 1.75 million records indexing the works of art described in source documents such as auction catalogs, archival inventories, and dealer stock books. This data can be used to trace the ownership of works of art and to examine patterns in collecting and art markets.
Read Eric Hormell’s full announcement about the exciting addition of 138,000 database records on ‘the Getty iris’.
After the Conference WORKING ON THINGS in November 2016 researcher Nicola Kritzinger here presents her paper The Journey of a man with a fish here in a YouTube Video.
‘An unassuming, seemingly rudimentary ceramic figure sits in storage for years, surrounded by innumerable objects also relegated to containers. Even in its apparent silence and obscurity, thepresence and displacement of this object reveals something of an expansive history; various social histories, including a number political eras from the imperial, to the colonial, and eventual democracy; and relates something of the construction of value systems for art, objects and museums across these periods. It hints at the work implicit in every museum object.’
Launch of the
Journal for Art Market Studies
Forum Kunst und Markt / Centre for Art Market Studies at Technische Universität Berlin is delighted to present its first issue of the Journal for Art Market Studies – JAMS.
It is a peer-reviewed open-access journal for current international research on the art market of all periods. The articles are published in English. The first issue is dedicated to The Pricing of Art: Makers – Markets – Museums, the second one will be devoted to Theories of the Art Market.
The Pricing of Art. Makers – Markets – Museums
Volume 1, Number 1, 2017
Issue Editor: Dr. Dorothee Wimmer
Editorial Team: Susanne Meyer-Abich, Nadia El-Obaidi
Who or what determines the prices of artworks, their development and volatility? The first edition of the Journal for Art Market Studies looks at how the players and institutions affect the pricing of art, its development and volatility.
Table of Contents
Bénédicte Savoy, Johannes Nathan, Dorothee Wimmer: Editorial
Dorothee Wimmer: Introduction
Bénédicte Savoy: „Invaluable Masterpieces“: The Price of Art at the Musée Napoléon
Jeroen Euwe, Kim Oosterlinck: Art Price Economics in the Netherlands during World War II
Launched in Fall 2012, the ARTL@S Bulletin is a peer-reviewed, transdisciplinary journal devoted to spatial and transnational questions in the history of the arts.
It is published by the École normale supérieure (45, rue d’Ulm, 75005 Paris, France) and the Centre national pour la recherche scientifique (16, rue Pierre et Marie Curie, 75005 Paris, France), with the support of the Laboratoire d’Excellence TransferS, Paris, ENS/College de France. The online version of the ARTL@S Bulletin is hosted by Purdue Scholarly Publishing Services.
This is a fantastic resource for art market related papers, available for download. Amongst them are:
From 1926 to 1947 the Valentine Gallery was a center for modern art on East 57th Street in New York. The gallery’s founder and director, F. Valentine Dudensing (1892-1967), presented the work of contemporary artists — both European and American — to an often skeptical audience. Originally called F. Valentine Dudensing Gallery, the name was shortened to Valentine Gallery in 1927 to avoid confusion with the gallery run by Dudensing’s father and brothers; Dudensing Galleries specialized in American art and at that time had recently relocated to 57th Street.
Julia May Boddewyn is the creator of this website:
“I created the website about the Valentine Gallery because I wanted to correct misinformation that has been published and to share some of the interesting information that I have discovered in the course of my research. I am trying to reconstruct an inventory of the works that were sold through the gallery because the gallery’s sales records lack critical details, such as title, date, and size. The website is a way for me to reach out to museums, collectors, and dealers who might have a work that includes the Valentine Gallery in its provenance. My hope is that with this information I can continue to fill in the missing pieces of this puzzle.”
Julia May Boddewyn is an Independent Researcher based in New York. She has been studying the Valentine Gallery of New York (1926-1947) and the role of the founder, F. Valentine Dudensing for a number of years now. She is interested in the role Dudensing played in selling works by the School of Paris to American collectors. Julia is also a TIAMSA member.