The Frick is pleased to announce their forthcoming lecture “Provenance: Can You Bank On It?” presented at The Frick Collection by Dr. Lynn Rother, Senior Provenance Specialist at The Museum of Modern Art, New York. In the first part of her presentation, Dr. Rother will examine one of the biggest art deals of the Nazi era: the purchase of 4,401 works of art for the Berlin museums by the Prussian Finance Minister. The second section of her lecture will outline the challenges of Nazi-era provenance research.
Provenance, why does it matter? Provenance, Dispossession and Translocation Research
Call for Participation
Summer School, Zadar/Croatia, August 27-31, 2018
Zadar, August 27 – 31, 2018
Deadline: Mar 16, 2018
Transfer of Cultural Objects in the Alpe Adria Region (TransCultAA) is a three-year-research project financed by the European Union in the HERA (Humanities in the European Research Area) funding scheme (“Uses of the Past”). Its multinational team of scholars analyses historical and current conflicts of ownership, patrimony and cultural heritage. TransCultAA examines the very concrete and material results of a genuinely European history of transfers, translocations, displacements, confiscations, lootings, thefts of cultural objects, and restitution politics: Who transferred or translocated which objects, when and why? Which explanations (if any) were – and are – given? Continue reading “CFP: Summer School: Provenance, why does it matter? (Zadar, 27-31 Aug 18)”→
This session will explore the intersections between provenance research and connoisseurship with regard to the early modern period. In order to go beyond today’s dominant understanding of provenance research as a practice exclusively related to Nazi-looted art and questions of restitutions, the panel will deliberately focus on topics from the late fifteenth to the eighteenth centuries. By setting this alternative chronological limit, we will delve into the historical role of provenance research, its tools and significations, and its relation to connoisseurship and collecting practices. What influence did the biography of an artwork exert on the opinion of some of the greatest connoisseurs of the past? How did the documented (or suspected) provenance of a work of art impact its attribution and authentication process? Which strategies were employed in the mentioning of provenance information in sale catalogues or, sometimes, directly on the artworks themselves? Did the development of art historical knowledge change the practice of provenance research over time? And finally, how can we call attention to these questions in contemporary museum practice and reassess provenance research as a tool of connoisseurship? In addition to addressing the history as well as the strategies of provenance research, this session will be an opportunity to question its relationship to other domains as well as to bring it closer to core problems of art history and museology. We invite contributions that introduce new historical and methodological approaches. Proposals which go beyond the case study are especially encouraged.
Art Crime and Stolen Heritage: Towards an Archaeological Consensus
Organizers: James Symonds, Nour A. Munawar, Lindsay Morehouse, Christine Acosta Weirich, Marina Lostal, Jens Notroff
The looting of archaeological sites is by no means a recent phenomenon and has been taking place in war zones for centuries. The incidence of illicit trade has, however, been significantly influenced in recent years by the growth of international art markets that are willing to accept/sell unprovenanced items. Examples of the privatisation of public monuments have added to the loss of cultural heritage by placing items in private hands. Additionally, social media platforms/cost sharing applications have provided readily accessible markets for art objects and archaeological artefacts.
New Sales Data Trace the First Hundred Years of the British Auction Market
The Getty Provenance Index has, for three decades, been a leading resource for scholarship on the history of collecting. Founded in the early 1980s by Burton Fredericksen, the first curator of paintings for the Getty Museum, the Provenance Index has evolved into a collection of online databases with 1.75 million records indexing the works of art described in source documents such as auction catalogs, archival inventories, and dealer stock books. This data can be used to trace the ownership of works of art and to examine patterns in collecting and art markets.
Read Eric Hormell’s full announcement about the exciting addition of 138,000 database records on ‘the Getty iris’.