Kunst- und Ausstellungshalle der Bundesrepublik Deutschland
30.11. – 01.12.2017
Bericht von Doris Kachel, Berlin, Nationalgalerie – Museum Berggruen (SMB-SPK)
Französische und deutsche ProvenienzforscherInnen, WissenschaftlerInnen und Interessierte trafen sich vom 30. November bis zum 1. Dezember 2017 in der Bonner Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, um sich gemeinsam dem Thema „Raub & Handel. Der französische Kunstmarkt unter deutscher Besatzung (1940–1944)“ zu widmen. Das Deutsche Zentrum Kulturgutverluste (DZK) kooperierte für diese Fachkonferenz mit dem Deutschen Forum für Kunstgeschichte Paris und dem Forum Kunst und Markt der Technischen Universität Berlin. Continue reading “REV-CONF: Raub & Handel. Der franzoesische Kunstmarkt unter deutscher Besatzung (1940-1944)”
The digital Repository of the French art market during the German occupation (1940-1944) is a joint Franco-German research project with the aim of creating a directory of persons who were involved in the international trade of artworks looted by the National Socialists in France, and tracing their networks. Comprehensive information will be collected, together with references to further archival records relating to individual actors. In this context, cooperation with other provenance researchers is crucial.
Dr. Elisabeth Furtwängler
+49 (0) 30 314 2501
The project is supported by TU Berlin, the DZK and the INHA.
Julie Verlaine (ed.), Le Comité professionnel des galeries d’art, soixante-dix ans d’histoire
(1947-2017), Paris, Hazan, 18 octobre 2017, 176 p (with contributions by Clara Bouveresse, Tatiana Debroux, Alexis Fournol, Alain Marciano, Jérémie Molho, Nathalie Moureau and Marion Vidal).
Founded in 1947 by a group of Parisian merchants (Louis Carré, Gildo Caputo), the Professional Committee of Art Galleries (CPGA) was originally intended to be a lobbying body vis-à-vis public authorities and elected officials, a space for collective thinking and sociability for Parisian merchants and a place for the emergence of proposals for tax, legal and economic reforms of the French art markets. Its history reflects that of the art markets and presents an effective key to analyze major issues such as the regulation of trade, the definition of original works of art, the defense of the French art market or even contractual relations with artists and collectors.
This book is the result of multidisciplinary research based on unpublished archive material and numerous interviews. It examines thehighlights of the activity of the CPGA during its 70 years of existence and places the CPGA in the broader context of the market’s growth of the world of contemporary art.
The book is now available from all good bookstores.
BUY THE BOOK HERE: http://www.editions-hazan.fr/livre/le-comite-professionnel-des-galeries-dart-70-ans-dhistoire-1947-2017-9782754109710
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 Penot is 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