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Art Markets, Agents and Collectors: Collecting Strategies in Europe and the United States, 1550-1950 de Adriana Turpin

Art Markets, Agents and Collectors: Collecting Strategies in Europe and the United States, 1550-1950: Contextualizing Art Markets

Editat de Adriana Turpin, Susan Bracken
en Limba Engleză Paperback – 29 iun 2022
Art Markets, Agents and Collectors brings together a wide variety of case studies, based on letters and detailed archival research, which nuance the history of the art market and the role of the collector within it. Using diaries, account books and other archival sources, the chapters in this volume show how agents set up networks and acquired works of art, often developing the taste and knowledge of the collectors for whom they were working. They are therefore seen as important actors in the market, having a specific role that separates them from auctioneers, dealers, museum curators or amateurs, while at the same time acknowledging and analysing the dual positions that many held. Each chronological period is introduced by a contextual essay, written by a leading expert in the field, which sets out the art market in the period concerned and the ways in which agents functioned. This book is an invaluable tool for those needing an accessible yet broad introduction to the intricate workings of the art market.
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Specificații

ISBN-13: 9781501392276
ISBN-10: 1501392271
Pagini: 400
Ilustrații: 25 colour & 47 bw illus
Dimensiuni: 152 x 229 x 32 mm
Greutate: 0.45 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Visual Arts
Seria Contextualizing Art Markets

Locul publicării:New York, United States

Caracteristici

Wide-ranging discussions situate the topic within several different contexts, showing both the similarities and changes brought about in the art market, and thus providing a strong methodological base for study and further research

Notă biografică

Susan Bracken is Associate Lecturer, Department of History of Art, Birkbeck University of London, UK.Adriana Turpin is Academic Director and Head of Research, Institut d'Etudes Supérieures des Arts, Paris, France.

Cuprins

List of platesList of figuresSeries editor's introductionAcknowledgementsIntroduction: Baetens, Susan Bracken and Adriana TurpinPart I: Agents in the market, 1550-1720I Introduction: Agents in the art market, 1550-1720 Sandra van Ginhoven1 Hans Albrecht von Sprinzenstein: An Austrian art agent in the service of Archduke Ferdinand II of Tyrol Adriana Concin2 Marco Boschini and the artists of his time Linda Borean3 International art dealers, local agents and their clients in seventeenth-century Habsburg Inner Austria Tina Kosak4 James Thornhill as an agent-collector in early-eighteenth-century Paris Tamsin Lee-WoolfePart II Agents in the long eighteenth centuryII Introduction: Hidden figures - agents in the long eighteenth century Bénédicte Miyamoto5 Scottish agents in Rome in the eighteenth century: The case of Peter Grant Maria Celeste Cola6 'An oracle for collectors': Philipp von Stosch and collecting and dealing in art and antiquities in early-eighteenth-century Rome and Florence Ulf R. Hansson7 Shaping the taste of British diplomats in eighteenth-century Venice Laura-Maria Popoviciu8 Establishing honest trading relationships: Academic painters in the art market of eighteenth-century France Christine Godfroy-Gallardo9 The German art market in the eighteenth century Renata Schellenberg10 Playing the market: Lord Yarmouth, the Prince Regent and the role of the royal agent 1806-19 Rebecca LyonsPart III The agent in the modern European art market, 1820-1950III Introduction: The art market in Europe, 1820-1950 Anne Helmreich11 Edward Solly, Felice Cartoni and their purchases of paintings: A 'milord' and his 'commissioner' anticipating a transnational network of dealers c. 1820 Robert Skwirblies12 'To see once again the glorious picture by Moretto before it is forever lost for Rome': How an artist's position in the canon of taste was enhanced in the nineteenth century Corina Meyer13 'It is not my fault if in all the private collections, the Dutch paintings surpass all': Thoré-Bürger's promotion of Dutch art in the Parisian art market of the 1860s Frances Suzman Jowell 14 The Beurdeleys: A dynasty of curiosity dealers and their networks Camille Mestdagh15 Collaboration and resistance: The National Gallery, London, and the Italian art market at the end of the nineteenth century Elena J. Greer16 'I shall set at once about the work': Some agents in China Nick Pearce17 Promoting themselves: Agents and strategies in early Surrealism's art market Alice EnsabellaPart IV Agents in the market for American collectorsIV Introduction: Collecting alliances in the United States during the long nineteenth century Inge Reist 18 Can a leopard change its spots? René Gimpel, art dealer Diana J. Kostyrko19 Samuel P. Avery's early career: The emergence of a successful art agent, art dealer and art expert Madeleine Fidell-Beaufort 20 Dealing with allegories of the four parts of the world: James Hazen Hyde (1876-1959) and his network Louise Arizzoli21 Laying the foundation: Harold Woodbury Parsons and the making of an American museum MacKenzie Mallon22 Convergences: Art history, museums and scholar-agent Martin Birnbaum's transatlantic art for the public Julie CodellBibliographyAuthor biographiesIndex

Recenzii

All historians with a serious interest in how works of art were sourced, commended, valued and purchased in Europe and North America between the mid-16th and the mid-20th centuries will find much of interest and much that will surprise them among the profile portraits and succinct case histories in this volume. These include a connoisseur whose omissions from his doggerel survey of Venetian art still perplex us, the croney of a dissolute prince for whom the competition in the salerooms had something of the appeal of the gambling tables, a scholar and painter striving to become a museum director, a poet and his wife devising flagrant publicity stunts to promote a surrealist painter, and an Anglican Bishop helping to export grave goods excavated by railway construction in China. Introductory essays not only review what has been achieved but what remains to be investigated and what methodological equipment will be required in this relatively young and rapidly growing branch of academic research.
Building on incremental advances made in recent years, this volume represents a coming of age for the integrated study of the mechanisms of the art market. Privileging neither producers, consumers, agents nor production centres, it captures the essentials of their intricate and inseparable interdependence.
The broad coverage of this ambitious book reveals compelling cross currents and dialogues across time and contexts. As they define how agents, both individuals and institutions, operate both formally and informally in spurring the circulation and acquisition of art, the essays offer a wide view of the current scholarship and methods related to the art market.