invites you to join them for a discussion of the
EU law COM (2017) 375 proposing a new legislation against illicit trade in cultural goods
Vincent Geerling, Chairman of the International Association of Dealers in Ancient Art (IADAA) and antiquities art dealer
Bucerius Law School
April 12, 2018
5 – 7.30 pm
Event open to all
How to get there .pdf
Colleagues might be interested to browse the original EU proposal
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)”
Stiftung Deutsches Historisches Museum, Berlin
Application dead-line: 25.08.2017
Stiftung Deutsches Historisches Museum has a job opening as Research Assistant for Provenance Research for two years in Berlin.
The rest of the post is in German. Continue reading “Job: 1 Research Assistant for ‘Provenance Research’ (DHM Berlin)”
Provenance Research as a Method of Connoisseurship?
Call for Papers, CAA 2018
Christian Huemer (Getty Research Institute, CHuemer@getty.edu),
Valérie Kobi (Universität Bielefeld, email@example.com),
Valentina Locatelli (Kunstmuseum Bern, firstname.lastname@example.org)
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.
For submission guidelines:
Paper proposals are due August 14. Please email your proposal to both chairs.
Deadline: Mar 15, 2017
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.
Continue reading “CFP: Art Crime and Stolen Heritage, Session at EAA (Maastricht, 30 Aug-3 Sep 17)”
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’.
Koenigsallee 37A | D – 14193 Berlin
Dealing with Nazi-looted Art from Private Estates – Opportunities for Provenance
Research and Restitution
Umgang mit NS-Raubkunst aus Privatbesitz – Möglichkeiten der Provenienzforschung
16 February 2017, 6pm, Villa Metzler, Frankfurt am Main
Dr. Christoph Andreas (Kunsthandlung J.P. Schneider, Frankfurt)
Advisory Board member of Kunstsammler e.V.
2. Legal framework for art restitution
Michael Eggert (Rechtsanwälte Kiermeier Haselier Grosse, Dresden)
Advisory Board member of Kunstsammler e.V.
3. The case of Cornelius Gurlitt – a private collector under suspicion
Dr. Sibylle Ehringhaus (Independent provenance research scholar, www.revidet.de, Berlin)
Limited spaces available.