PUB: ‘Petrus Mariette. Iconum mercator Parisiis’ – A Newly Discovered Portrait of Pierre I Mariette (c. 1603-1657)

Portrait Pierre I Mariette

The French periodical ‚Nouvelles de l’estampe‘ has just gone open access with a new issue including an article by Antoinette Friedenthal presenting the discovery of a portrait of Pierre I Mariette (c. 1603-1657), the founder of the Mariette dynasty of print and book dealers. Hidden unrecognized in the encompassing print collection which the Mariette assembled for Prince Eugene of Savoy from c. 1717 onwards (much of which survives in the Albertina in Vienna), the portrait was etched by Pierre I’s grandson Jean Mariette (1660-1742) and inscribed ‘Petrus Mariette. Iconum mercator Parisiis’ by the sitter’s great-grandson Pierre-Jean Mariette (1694-1774), the last art dealer of the family known as one of the foremost connoisseurs of prints and drawings of the 18th century. The article is available both in French and in English.

TIAMSA is always happy to disseminate news of recent publications by its members! Please let us know if you would like us to post information on an art market related article or book by writing to office@artmarketstudies.org

LINK: http://nouvellesdelestampe.fr/nouvelles-de-lestampe/publi-en-ligne/

ANN: Collecting Prints and Drawings: Thematic Virtual Issue

The Journal of the History of Collections has launched a Thematic Virtual Issue on the topic of Collecting Prints and Drawings. The collection compiles articles from past issues of the journal and is a useful resource for those with research interests in the history of works on paper and the people who collected them.

Links to articles and further information can be found here


BOOK OUT NOW: Julie Verlaine, Daniel Templon : une histoire d’art contemporain, Flammarion 2016

BOOK OUT NOW: Julie Verlaine, Daniel Templon : une histoire d’art contemporain, Flammarion 2016. 413pp, 200 ill., 35,00 €.

French version below

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When Daniel Templon opened his gallery in 1966, the art trade of the late 19th and early 20th centuries – defined by dealers such as Kahnweiler, Durand-Ruel and Vollard – had changed profoundly. New York and American art had arrived to make a big splash in the history of art. Daniel Templon is a pioneer of a new generation that seized on this expanding horizon to reinvent the profession of the gallerist. Thus, the trajectory of his gallery offers a breathtaking reflection not only of the history of art in the second half of the 20th century but also of the socio-cultural and economic changes in the world of contemporary art.

This book by Julie Verlaine is the result of a sustained historical investigation, exploring the rich archives and the abundance of printed documentation. It offers a detailed reconstruction of the gallery’s activities and takes stock of developments that have marked its existence and the contemporary international artistic landscape. The story of these fifty years is enriched by the gallery owner’s personal account of his meetings with Catherine Millet at the age of twenty and his discoveries of great contemporary artists such as César, Ben Vautier, Carl Andre, Frank Stella, Andy Warhol or Helmut Newton. It thus gives the keys to the story but also reflects the atypical route that made Templon a privileged witness of the artistic, economic and political transformations of the last fifty years. The book is divided into three parts that correspond to the three ages of the gallery: its birth (1966-1972), growth (1970-1980) and maturity (since 1990).

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