Research on the art market related to the avant-garde remains still largely unexplored today. The author of the present book aims to contribute to this field through a study of collecting, art market strategies, and networks that fostered and sustained Surrealism in the interwar and post-war periods in Britain. The volume focuses on the London Gallery, the only Surrealist gallery to be active in England since the end of the 1930s. It was managed by two Surrealist artists who were also collectors: the Belgian E.L.T. Mesens and the British Roland Penrose. The London Gallery opened in 1938, two years after the significant International Surrealist Exhibition held at the New Burlington Galleries in London, an exhibition followed by the foundation of the Surrealist British group.Continue reading “PUB: Caterina Caputo, Collezionismo e mercato. La London Gallery e la diffusione dell’arte surrealista, Florence: Pontecorboli, 2018.”
This article, based on recently discovered material in several archives, tells the story of the bronze doors of the Morgan Library.
Cardinal Paluzzo Paluzzi
Lisa Beaven; Karen J Lloyd
As part of the Wildenstein Plattner Institute’s mission to promote the accessibility of art historical information, the Wildenstein Plattner Institute is pleased to provide free, unlimited access to publications created under the sponsorship of the historic Wildenstein Institute. These newly-digitized materials, which have long served as invaluable printed resources for the art historical community, are now viewable on the screens of your computer, tablet or smart phone.
To consult the WPI’s holdings of dozens of digitized artists’ monographs and catalogue raisonnés, including the four-volume catalogue raisonné of Claude Monet by Daniel Wildenstein, please visit our website at wpi.art/publications.
We are very happy to let you know about this publication by Svetlana Kharchenkova & Olav Velthuis!
This article studies the role of judgment devices in the emergence of markets for singularities. In particular, it seeks to understand how specific judgment devices become dominant in resolving uncertainty within these markets. Building on Karpik’s seminal theory, we argue that institutional environments (e.g. government regulations, political-economic factors, the level of informality within business environments) as well as the level of expertise of consumers, co-determine which devices come to be used in new markets. Empirically, we focus on the emerging market for contemporary art in China. While auctions and auction prices are widely used in valuing contemporary art in China, this is highly illegitimate in international art markets. We argue that auctions act as a judgment device in China because of strong government backing, because other validating organizations, such as museums and art critics, are seen as untrustworthy, and because auctions send strong, easily interpretable signals to novice collectors.
More information can be found here!