Lecture: ‘Museum progressing rapidly’ (Berlin, May 28, 2018)

Dr. Meike Hopp and Sophie Kriegenhofer :
„Museum progressing rapidly”: Der Kunsthändler Julius Böhler (1883-1966), der amerikanische Kunstmarkt und das Ringling Museum of Art in Florida

Datum: 28/05/2018, 18:15 Uhr
Ort: Raum A 111, Architekturgebäude der TU, Straße des 17. Juni 150/152, 10623 Berlin

Fotodokumentation und Karteikarte zu Nr. 324-26: Peter Paul Rubens, Porträt eines Mönchs (Öl auf Holz, 47,6 x 38,7 cm) © Fotoarchiv Julius Böhler, Zentralinstitut für Kunstgeschichte (ZI) München. Das Bild wurde 1926 über Julius Böhler an John Ringling verkauft (heute: The Ringling, Sarasota/Florida, USA, Inv. No. SN224).

Abstract: In den 1910er Jahren begann der Zirkusmagnat John Ringling (1866–1936) mit dem Aufbau einer eigenen Kunstsammlung. Schon früh verfolgte er das Ziel, diese zu einem eigenen Museum auszubauen, um für seine Heimatstadt Sarasota in Florida ein Kultur- und Bildungszentrum zu begründen. Der Münchner Kunsthändler Julius Wilhelm Böhler (1883-1966) wurde zum wichtigsten Akteur, anfangs als ständiger Berater, später sogar als Kurator beim Aufbau des John and Mable Ringling Museum of Art (heute The Ringling). Zusammen mit seinem Vertrauten reiste Ringling nicht nur in die Schweiz und nach Italien, sondern erwarb allein zwischen 1925 und 1932 auf Böhlers Vermittlung hin mehr als 400 Gemälde und kunsthandwerkliche Objekte, auch auf Auktionen z.B. in London und in den USA.  Continue reading “Lecture: ‘Museum progressing rapidly’ (Berlin, May 28, 2018)”

ANN: translocations (Berlin, 17 May 18)

Hybrid Lab, Villa Bell
Marchstraße 8
10587 Berlin
17.05.2018

Deadline: May 16, 2018

translocations. Eine Zwischenbilanz nach acht Monaten

Der Forschungscluster “translocations. Historical Enquiries into the Displacement of Cultural Assets” nahm im September 2017 an der Technischen Universität Berlin seine Arbeit auf. Unter der Leitung von Prof. Dr. Bénédicte Savoy (TU Berlin und Collège de France, Paris) forscht ein interdisziplinäres Team für die Dauer von drei Jahren zu den globalhistorischen und diachronischen Implikationen von Kulturgutverlagerungen in Kriegs- und Friedenszeiten. In einem konzentrierten Symposium wollen die beteiligten Wissenschaftler*innen nach acht Monaten gemeinsamer Arbeit erstmals Bilanz ziehen, methodische wie inhaltliche Schwerpunkte von translocations präsentieren und zur Diskussion stellen. Continue reading “ANN: translocations (Berlin, 17 May 18)”

CONF: Art Markets and Museum Collecting (Loughborough, 15 Jun 18)

Loughborough University, June 15, 2018
Registration deadline: Jun 14, 2018

Art Markets and the Future of Museum Collecting

Loughborough University, Loughborough Design School (LDS 018)

 

Friday, 15 June, 2018

9.00-9.30 Registration and Coffee

9.30-9.45 Introduction:
Kathryn Brown (Loughborough University)

9.45-10.15 The Art Museum of the Future – A Dystopia?
Julia Voss (Leuphana University, Lüneburg)

10.15-10.45 Artistic Freedom in a Complex Society
Martin Myrone (Tate Britain)

10.45-11.00 Discussion

11.00-11.15 Break: Tea/Coffee

11.15-12.15 Panel 1

Museums, Collections, and Trustees: the Public/Private Divide
Nizan Shaked (College of the Arts, California State University)

Private Contributions to Museums’ Collecting Practices in Brazil: Interdependency, Convergence, and Conflicts
Ana Letícia Fialho (Office of Cultural Economy, Brazilian Ministry of Culture)

Museums’ Massive Deaccessions as a New Collecting Practice
Eva Szereda (Independent Scholar, Lausanne)

12.15-12.40 Discussion

12.40-13.30 Lunch

13.30-14.00 The Ethics of the Art Market: When Financial Products Shape Content
Sébastien Montabonel (Art Institutions of the 21st Century Foundation, London)

14.00-14.10 Discussion

14.10-14.50 Panel 2

Ars Electronica Gallery Spaces: The New Platform Connecting Media Art and the Art Market
Christl Baur (Ars Electronica, Linz)

Customize the Collection? How Contemporary Art Commissioning Impacts on Museum Collections and Gallery Business
Franziska Wilmsen (Loughborough University)

14.50-15.05 Discussion

15.05-15.20 Break Tea/Coffee

15.20-15.50 The Myth of the Art Market: Neoliberalism in the Social Order of Contemporary Art
Jonathan Harris (Birmingham City University)

15.50-16.00 Discussion

16.00-17.00 Panel 3

The Musée d’Art Contemporain Africain Al Maaden (MACAAL) in Marrakech: A Case Study in Collecting and Place-Making
Stephanie Dieckvoss (Kingston University, London)

From Private Collection to Art Canon: The Uli Sigg Collection
Nicola Foster (Southampton Solent University)

Creating a New Canon for a State Collection: Proposals for the First Moscow Museum of Contemporary Art
Marina Maximova (Loughborough University)

17.00-17.15 Discussion

17.15 Symposium ends

Registration: £15 (£10 students and unwaged), includes lunch and refreshments

https://store.lboro.ac.uk/product-catalogue/school-of-the-arts-english-and-drama/upcoming-events/art-markets-and-the-future-of-museum-collecting-15th-june-2018

Contact: k.j.brown@lboro.ac.uk

Reference: CONF: Art Markets and Museum Collecting (Loughborough, 15 Jun 18). In: ArtHist.net, May 12, 2018. <https://arthist.net/archive/18110>.

Bonn Talks on Art and Cultural Property Law (Bonn, July 4, 2018)

Prof.Dr. Matthias Weller and the University of Bonn cordially invite you to
BONN TALKS of ART and CULTURAL PROPERTY LAW

As of 1 April 2018, the University of Bonn, Germany, established a new chair for civil law, art and cultural property law. The Alfried Krupp von Bohlen und Halbach Stiftung supported the establishment of this chair and another chair for provenance research at the Bonn Institute for Art History. For those who read German additional information may be retrieved from the University’s Press Release attached to this email and from this link: https://www.uni-bonn.de/neues/122-2018.

The new Chair at the Law Faculty will start a series of lectures, talks and panel discussions on the Chair’s issues, the „Bonn Talks on Art and Cultural Property Law“.

It is with the greatest pleasure and honour that we announce our first speaker:

The President (retired) of the German Federal Constitutional Court
Prof. Dr. Hans-Jürgen Papier

Chair of the German Advisory Commission on the return of cultural property seized
as a result of Nazi persecution, especially Jewish property

“15 years Advisory Commission: Insights and Outlooks“
Language: German

Wednesday, 4 July 2018, 8 p.m.

Universitätsclub Bonn, Konviktstraße 9, D – 53113 Bonn

For further information and registration by email: sekretariat.weller@jura.uni-bonn.de

Prof. Dr. Matthias Weller
Alfried Krupp von Bohlen und Halbach-Professur für Bürgerliches Recht, Kunst-
und Kulturgutschutzrecht

Direktor des Instituts für Deutsches und Internationales Zivilprozessrecht und Konfliktmanagement

Adenauerallee 24-42
53113 Bonn
Tel. 0228/73-9251
Fax 0228/73-2222

Book out now: Thomas Steinruck, Business Artists. Strategische Vermarkter im Kunstbetrieb (arthistoricum.net)

Thomas Steinruck
Business Artists. Strategische Vermarkter im Kunstbetrieb:
Andy Warhol – Damien Hirst – Jeff Koons – Takashi Murakami

“Since not many decades a new type of artist has evolved, whose sole existence can be understood as another symptom of a total economisation of all areas of life: the business artist. He is an entrepreneur and manager, art director and designer. He organizes his production highly economic and delegates all work to his numerous assistants. He has become a global brand and strategically controls all marketing efforts. As an Art Star he stages his image and merges with global luxury brands.

In this tradition of Andy Warhol, Damien Hirst, Jeff Koons and Takashi Murakami are the three most successful business artists of our time are chosen, who represent this type of artist at best within the actual discourse.”

 —
Thomas Steinruck (*1977) is a Graduate of the University of Heidelberg with a degree in History of Art, Musicology and Public Law. After practical experiences in the Marketing Department of an internationally well-known museum and a Gallery for Contemporary Art, he has been working in the Fine Art Insurance sector since 2009. He works and lives in Zurich.
Citation:

Steinruck, Thomas: Business Artists. Strategische Vermarkter im Kunstbetrieb: Andy Warhol – Damien Hirst – Jeff Koons – Takashi Murakami, Heidelberg: arthistoricum.net, 2018. DOI:10.11588/arthistoricum.230.303

This work is licensed under a Creative Commons License 4.0
(CC BY-SA 4.0)
 .

ISBN

978-3-946653-54-7 (PDF)
978-3-946653-55-4 (Softcover)
Published 03/20/2018.

Agnew’s and Duveen: Seminar in Collecting and Display, London, 14 May 2018

The truth about Agnew’s and Duveen (1900-1930)
Barbara Pezzini

Monday, 14th May at 6pm

Institute of Historical Research, Senate House, Malet St London, WC1E 7HU
Pollard Seminar Room, N301, Third Floor

Major private and public collections worldwide – such as the London National Gallery, the New York Metropolitan Museum of Art and the Washington National Gallery of Art – contain a wealth of pictures from the stock of art dealers Agnew’s and Duveen. Often works were purchased from one firm to the other or even held in joint stock. Famous pictures of shared provenance include Philip IV by Diego Velázquez (Metropolitan Museum of Art, New York), Man with a Falcon by Titian (Omaha Museum of Art), and Portrait of James Christie by Thomas Gainsborough (Getty Museum, Los Angeles). Both Agnew’s and Duveen managed a conspicuous flow of works of art from London towards collectors in the United States, and both firms dealt in the same sectors of the art market: European old-masters and British eighteenth century portraits.
The relationship between the two firms, however, has so far remained largely unexplored. Were Agnew’s and Duveen ‘friends’ or ‘enemies’, allies or opponents? Using hitherto unexplored primary sources from the Agnew’s archive at the National Gallery and the Duveen archive at the Getty Research Center, the paper will examine this question and present the origins and development of their relationship from 1900 to 1930. Agnew’s and Duveen’s rapport changed dramatically in these thirty years. In the early 1900s, when the newcomer Duveen captured the trust of the more senior Agnew’s, there was a respectful competition which evolved into a collaboration in the course of the 1910s. But in the 1920s Duveen’s attempted, in covert and not so covert manners, to annihilate Agnew’s, and this paper will investigate Duveen’s offensive strategies and Agnew’s coping mechanisms. In addition, and crucially for a seminar dedicated to collecting and display, this paper will focus on the relationship that both dealers fostered with public and private collectors, as it was essential to the survival, and instrumental to the demise, of their firms.
Barbara Pezzini is a London-based art and cultural historian with a wide range of publications on the art market, including reconstructions of fin-de siècle exhibitions of British painting, the Futurist shows in London, the relationship between dealers and scholars in the early twentieth century and their interactions with the art press. She is particularly interested in the study of the intersection of the art market with art criticism and art practice and how these are reflected in art prices. Barbara is the recipient of an AHRC Collaborative Doctoral Award between the National Gallery and the University of Manchester to study the relationship between the National Gallery and Agnew’s (1850-1950) and Editor-in-Chief of the journal Visual Resources. She is also part of a joint National Gallery/King’s College London project on (re)presenting data from the stock books of the dealers Thos. Agnew & Sons.

Book out now: Philippe Costamagna, The Eye (New Vessel Press 2018)

20% discount at checkout for TIAMSA Members

It’s a rare and secret profession, comprising a few dozen people around the world equipped with a mysterious mixture of knowledge and innate sensibility. Summoned to Swiss bank vaults, Fifth Avenue apartments, and Tokyo storerooms, they are entrusted by collectors, dealers, and museums to decide if a coveted picture is real or fake and to determine if it was painted by Leonardo da Vinci or Raphael.  Continue reading “Book out now: Philippe Costamagna, The Eye (New Vessel Press 2018)”