You are cordially invited to the fourth Hugo Helbing Lecture: Exploring the Art Market on May 8th, 2019 in Munich, whose the speaker, Prof. Michael Kauffmann (Director Emeritus, Courtauld Institute of Art) will be introduced by Prof. Dr. Mirjam Zadoff (Director NS-Dokumentationszentrum Munich), PD Dr. Christian Fuhrmeister (Zentralinstitut für Kunstgeschichte, München) and TIAMSA Chair Dr. Johannes Nathan. The Lecture will be held at the NS-Dokumentationszentrum Munich, followed by Drinks at the nearby Zentralinstitut für Kunstgeschichte.
Abstract: This lecture will centre on about ten individuals who were friends and colleagues of the speaker’s father, Arthur Kauffmann. Formerly director of the Frankfurt branch of the auction house Hugo Helbing, Kauffmann emigrated with his family to London in 1938. England was also the chosen destination of Kauffmann’s colleagues such as Grete Ring, Alfred Scharf, Franz Drey, Herbert Bier and Robert Frank. In discussing the effects of emigration on their biographies, the talk will draw upon personal memory as well as knowledge of these individuals’ careers.
At the same time, the lecture will also reflect on the impact of refugee dealers on the art market in England. The London dealers were indeed very welcoming to the new arrivals at the time, a fact which greatly helped the latter – who considered themselves as refugees rather than exiles – to take root.
At the College Art Association conference in New York City, Feb 13-16, 2019, TIAMSA, recently granted CAA-affiliate status, was allotted a 1½ hour panel session. The organization’s committee selected the panel, “The Studio as Market” for 2019. The session was well-attended by 35-40 attendees. This blog contains the abstracts for the panel itself and for each of the four papers presented on Feb 13.
À compter de l’été 1941, sur l’ensemble du territoire français, lesadministrations françaises confisquent entreprises, biens immobiliers, financiers et œuvres d’art appartenant aux Juifs de France. Leurs comptes en banque sont bloqués tandis que les Juifs arrêtés voient leurs biens confisqués à l’entrée des camps d’internement français. Dépouillés de leurs biens, victimes d’une double législation, nazie et du gouvernement de Vichy, les Juifs de France se voient exclus de tous les pans de la vie politique, sociale et économique, en préambule à leur élimination physique.
The classical pathway of most art history students leads from learning the basics about architecture and iconography, to the study of the Italian Renaissance, to the confrontation with the avant-garde movements and contemporary art. However, most students never reach the point at which they actually deal with questions of the art market, and in particular its legal challenges – a situation which is particularly surprising given the fact that many of them have ended up, or will end up, in workplaces like galleries, auction houses or other institutions dealing with the more commercial side of art. Therefore, logically, it is usually only a matter of time until one is confronted with a situation in which a certain level of instinct for legal matters is helpful or even actual knowledge is required.
The fact that
the second TIAMSA Conference dedicated a whole section to the legal aspects of
the art market, and also has a newly founded sub-committee “TIAMSA Legal”,
consisting of practitioners as well as academics involved in the art law,
responds exactly to that gap and need for transdisciplinary action and
information. Altogether four speakers presented and discussed legal challenges
and existing initiatives currently present in the art market:
University of York, June 14, 2019 Deadline: Mar 29, 2019
When art makes the headlines, it is usually about money. In 2017, Leonardo da Vinci’s Salvator Mundi sold for over $450 million at Christie’s New York. Just how can a painting be worth more than a penthouse on Fifth Avenue?
Organised by Dr Klara Kemp- Welch – The Courtauld Institute of Art
a fifty-year period from 1894, Munch produced some 850 different
printed compositions with as many as 30,000 impressions. His prints were
exhibited on at least 268 occasions between 1895 and 1942 and a
catalogue raisonné had been published by the end of 1907. Who was his
audience and what capital, cultural as well as financial, did the work
seminar anticipates the British Museum’s print exhibition (in
association with the Munchmuseet in Oslo): Edvard Munch: Love and Angst
from 11 April – 21 July 2019.