The peer reviewed online journal Nineteenth-Century Art Worldwide just published the article:
Agnès Penot, The Perils and Perks of Trading Art Overseas: Goupil’s New York Branch
Christie’s Education invites TIAMSA members
The Promo Code can be found in the Members’ Only section of TIAMSA’s website after login.
The 2017 symposium has been convened and will be moderated by Christel Hollevoet-Force, PhD, Associate Research Curator in Modern and Contemporary Art at the Metropolitan Museum of Art. This two-day event will be organized and hosted by Veronique Chagnon-Burke, PhD, Academic Director at Christie’s Education New York. It will comprise 11 talks, including opportunities for Q&As and open discussions. Sessions will look at seminal dealers such as Durand-Ruel and Kahnweiler, artists like Cézanne and Picasso, and names still active in the art market, such as Gimpel and Lefevre.
Sandra van Ginhoven, Connecting Art Markets. Guilliam Forchondt’s Dealership in Antwerp (c.1632–78) and the Overseas Paintings Trade, Studies in the History of Collecting & Art Markets I, Christian Huemer ed., Boston (Brill) 2017. ix, 288 pp., 71 full color ill. ISBN 9789004319745; E-ISBN 9789004334830
Sandra van Ginhoven’s Connecting Art Markets. Guilliam Forchondt’s Dealership in Antwerp (c.1632–78) and the Overseas Paintings Trade is an ambitious and valiant book. The result of doctoral dissertation research conducted at Duke University under the auspices of Hans J. Van Miegroet and Neil De Marchi, the study is a beautifully argued analysis of the commercial activities and strategies of pivotal Antwerp art entrepreneur Guilliam Forchondt (1608–1678) between about 1643 and 1678. It explores and explains the entrepreneurship of this chef d’enterprise in an unassuming, highly effective and pioneering manner. Continue reading “Brosens, Koenraad, review of Sandra Van Ginhoven’s ‘Connecting Art Markets’”
Edited by Susanna Avery-Quash and Barbara Pezzini
Call for Book Chapters; Deadline: Feb 1, 2017
We are soliciting chapter abstracts for an edited collection with the provisional title of: A Worldwide Market for Old Masters between the Napoleonic Era and the Great Depression. The volume will be an edited collection of around 15 essays, each of 6-7,000 words plus footnotes with up to 5 illustrations. It is envisaged that the collection will be part of the Oxford University Press series on the History of Collecting, edited by Christina Anderson and Peter Stewart.
Continue reading “CFP: Old Masters Worldwide (apply by Feb 1, 2017)”
La Boverie, Parc de la Boverie, 4020 Liège
22 September 2016 to 29 January 2017
The idea for this exhibition came from reading the book 21 rue La Boétie (Grasset) by Anne Sinclair, in which the author tells the story of her grandfather, Paul Rosenberg (1881-1959), one of the great art dealers of the first half of the last century. The career of this exceptional man, a successful businessman and knowledgeable art lover, the friend and agent of Picasso, Matisse, Braque, Léger, Marie Laurencin, to name but some of the most well-known artists, serves as the guiding theme through a much wider history than his own, one in which he was both actor and victim. In other words, an exhibition on art and civilization, with the legendary gallery of Paul Rosenberg serving as the pivot to 20th century period paintings that combines the history of art, social and political history and the history of mentalities as these unfolded in France, Europe and the United States.
This monographic exhibition on Georges de La Tour’s „St. Joseph Carpenter“ also commemorates Percy Moore Turner (1877-1950), the British art dealer who advised Samuel Courtauld and donated this and several other important artworks to French museums.
until 2 October 2016
Lecture by Diana Kostyrko
‘Transatlantic Courtier and Capricious Patron, Rene Gimpel (1881-1945)’
Monday 18 July 2016 at 6pm
Venue: 30 Davies Street, London
For more information and to register: info@gimpelfils.com
Diana Kostyrko is the author of a book on Rene Gimpel, soon to be published by Brepols publishing.
Source: Society for the History of Collecting and Display
