Los Angeles, CA
The Getty, 1200 Getty Center Drive
January 18 – 19, 2018
Art Dealers, America and the International Art Market, 1880-1930
The Getty Research Institute presents a symposium on the role of international art dealers in creating the collections, museums, and intellectual culture of the American art world in the late 19th and early 20th centuries. Bringing together rich archival resources from the Getty Research Institute and peer institutions, and capitalizing on new methodologies made possible by the extraordinary quantity of information contained in the documentary record, this symposium illuminates the ways in which art dealers contributed to making America a prominent arena in the international art market, and their role in creating the major private collections that became the foundation of great American museums. Continue reading “CONF: Art Dealers, America and the Art Market (Los Angeles, 18-19 Jan 18)”→
Die Geschichte des Kunsthandels im “Dritten Reich” zu schreiben, steht nicht nur aufgrund einer schwierigen Quellenlage vor besonderen Herausforderungen. Zwischen Komplizenschaft und Sabotage verstrickt sich das Handeln der Akteure in eklatante Widersprüche. Vom Alltagsgeschäft der Kunsthändler bis zum Widerstand gegen restriktive Vorschriften reicht das Themenspektrum, vom Auktionshandel bis zum Schwarz- und Schattenmarkt, von zahllosen Verbrechen nicht nur an jüdischen Sammlern und Händlern bis zum Kunstraub in den von deutschen Truppen besetzten Ländern. Kunst- und Wirtschaftshistoriker untersuchen in diesem Buch den Kunstmarkt und seine Mechanismen im Nationalsozialismus, die Rolle der Raubkunst sowie insbesondere moderner und “entarteter” Werke auf dem Kunstmarkt im “Dritten Reich”.
La maison Goupil.
Galerie d’art internationale au XIXe siècle, by Agnès Penot
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 Penotis 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 € 39,00
The roles of art dealers in the creation of art economies and the circulatory exchange of goods have come to increasing attention of late. However, much work remains to be done to counter the long history of the hagiographic treatment of dealers, which owes a great deal to the fact that histories of dealers were largely authored by dealers eager to write themselves into the history of art.
For this session, we seek to bring a critical and historical perspective to the role of intermediary agents in the primary and secondary markets. We seek papers that will examine dealers who mediated between the artist as producer and the consumer, whether conceived as an individual patron or broadly configured audiences.
We also seek papers that identify strategies developed by these intermediary figures in response to changing social-historical as well as geographical conditions. Relatedly, what role did dealers play in the emergence of art history as a discipline and the construction of its narratives given the vested interest of these agents in knowledge formation and collection building?
Since histories of art dealers have long been dominated by narratives drawn from the Western market, we are particularly interested in papers that examine the role of this figure in non- western art economies as well as topics that help us test and question standard models derived from the early modern and modern Western context. We encourage analysis of historically grounded strategies and practices, as opposed to anecdotal heroic narratives.
Paper proposals are due August 14. Please email your proposal to both chairs.
As part of the 200th celebrations, Lord Anthony Crichton-Stuart and the Directors of Agnews invite you to a
Series of Lectures in the Great Room
at Spencer House 27 St. James’s Place London SW1A 1NR
Saturday, 1st July 2017
12.00pm Barbara Pezzini: “Agnews as dealers of Nineteenth Century British Art in Manchester and London 1830-1890”
Light lunch and refreshments
2.00pm Joseph Friedman: “Treasure Houses of London: The Golden Age”
3.15pm Professor Liz Prettejohn: “Modern Painters, Old Masters: The Art of Imitation from the Pre-Raphaelites to the First World War” A few spaces are still available and will be granted on a first come first served basis. Please specify which lecture(s) you would like to attend. RSVP asap to: email@example.com