The Art Market, Collectors and Agents: Then and Now
Thursday 20 and Friday 21 October 2016
Salle Vasari, INHA, 2 rue Vivienne, 75002 Paris
The focus of the conference is to explore the changing and complex nature of the role of agent in the art market during the Modern Period. Papers will explore shifts in the dynamics of the market, the changing taste of collectors and the importance of writers, critics, museum curators and dealers in influencing these changes. The papers demonstrate how examining the role of agents through their correspondence with clients, day books or private records, brings new insights into the workings of the art world through the detailed evidence of the negotiation of transactions.
9.30 Registration 10.00 Welcome
10.10 Dr. Olivier Bonfait, Professor of Art History, University of Bourgogne. (in French)
Le marché de l’art À Paris 1700-1800 : recherches passées et pistes d’enquêtes
10.45 Session one: The artist and writer as agents
10.45 Tamsin Foulkes, Ph.D. Candidate, University of Nottingham
James Thornhill as an agent-collector in early eighteenth-century Paris
11:15 Dr. Corina Meyer, Institute of Art History, University of Stuttgart
‘To see once again the glorious picture by Moretto before it is forever lost for Rome’: Johann David
Marià Manent ou le poète qui est devenu marchand: de Barcelone à New York
12.15 Alice Ensabella, Ph.D. Candidate, Université Grenoble Alpes, Grenoble
Promoting Themselves. Strategies and dynamics of early Surrealism’s art market.
14.00 Session two: The Agent and the Collector
14.00 Dr. Madeleine Fidell Beaufort, independent scholar, Paris
Samuel P. Avery and the emerging American art market of the late nineteenth century
14.30 Dr. Louise Arizzoli, University of Mississippi (in French)
Dealing with Allegories of the Four Parts of the World: James Hazen Hyde 1876-1959) and his
15.00 Mackenzie Mallon, The Nelson Atkins Museum.
Laying the Foundation: Harold Woodbury Parsons and the Making of an American Museum
16.00 Emanuele Sbardella, Ph.D. Candidate, Technische Universität Berlin
The Numismatic Market under National Socialism, illustrated by the case study of the coin collection of Alexander Hauser
16.30 Jamin An, Ph.D. Candidate, University of California, Los Angeles
New Art and ‘New Dealing’: Changing Conditions of Artistic Support, 1960s-70s
17.00 Closing remarks
10.00 Session three: Agents and Markets
10.00 Dr. Susanna Avery-Quash, Senior Research Curator (History of Collecting), National Gallery London
Art Agents and the National Gallery during the Nineteenth Century
10.30 Dr. Tina Kosak, France Stele Institute of Art History, ZRC SAZU Ljubljana
Conquering New Art Markets: International Art Dealers and Local ‘Agents’ in Inner Austria in the Second Half of the 17th Century
11.30 Dr. Laura Popoviciu, Curator, Research & Information (Historical), Government Art Collection
Shaping the Taste of British Diplomats in 18th-Century Venice
12.00 Dr. Christine Howald, Technische Universität Berlin
Chinese Art goes global: Asian Actors and the 19th Century European Art Market
14.00 Session four: The dealer as agent
14.00 Dr. Renata Schellenberg, Mount Allison University, Sackville, Canada
Commerce, Culture and Connoisseurship: The Emergence of the Art Dealer in 18th-Century Germany
14.30 Dr. Frances Suzman Jowell, independent scholar
‘Çe n’est pas ma faute si, dans toutes les collections, les hollandais priment tout’: Thoré-Bürger’s promotion of 17th century Dutch paintings in the Parisian art market of the 1860s
15.00 Pamella Guerdat, PhD. candidate, Institute for Art History & Museology Université de Neuchâtel (in French)
René Gimpel (1881-1945) et le modèle du musée américain : De la théorie au don
15.30 Camille Mesdagh, PhD. candidate, Sorbonne, Paris IV: (in French)
Alfred Beurdeley (1808-1882), a dealer in curiosities and his network / Le réseau commercial d’un marchand de curiosités : l’example d’Alfred Beurdeley (1808-1882)
16.45 Keynote speech: Dr. Julie Verlaine, Paris IV (in French)
Du marchand d’art au galeriste : l’itinéraire de Daniel Templon et 50 ans évolution du marché de l’art occidental
17.30 Closing remarks
The conference is organised by A. Turpin & Dr. Susan Bracken, Seminar on Collecting & Display London and Dr. Stéphane Castelluccio and Dr. Mickaël Szanto, Centre André Chastel, CNRS – Université Paris SorbonneWe would like to thank the INHA for hosting the event & IESA for its sponsorship
Collecting and Display Conference, Wednesday 13 July, 2016
The Art Market, Collectors and Agents: Then and Now
WARBURG INSTITUTE, UNIVERSITY OF LONDON
10.00 Registration and Coffee
10.30 Annemarie Jordan Gschwend: Statesman, Art Agent and Connoisseur: Hans Kevenhüller, Imperial Ambassador at the Court of Philip II of Spain
11.00 Taryn Marie Zarrillo: Marco Boschini and Paolo del Sera: Art Dealers, Advisors and Associates in Seicento Venice
11.30 Michael Wenzel: Sales strategies of Philipp Hainhofer’s art cabinets: the self-marketing of artworks in early seventeenth-century Germany
12.00 Sandra van Ginhoven: The Business Strategies of Guilliam Forchondt’s Art Dealership in Antwerp (1643-1678)
12.30 Ulf R. Hansson: “An Oracle for Collectors”: Philipp von Stosch and the Collecting and Dealing in Antiquities in Early Eighteenth-Century Rome and Florence
14.00 Maria Celeste Cola: Scottish agents in Rome in the eighteenth century: the case of Peter Grant
14.30 Christine Godfroy-Gallardo: “Establishing honest trading relationships : the Guillaume Martin case”
15.00 Robert Skwirblies: Edward Solly, Felice Cartoni and their purchases of paintings: a “milord” and his “commissioner” creating a transnational network of dealers c. 1820
15.30 Lukas Fuchsgruber: Otto Mündler, 9 rue Laval, Paris
16.00 Lynn Catterson: The Mysterious Maurice de Bosdari, a would-be agent of Stefano Bardini
17.30 Julie Codell: Agent-Scholar Martin Birnbaum (1878-1970): Modernizing the Agent
18.00 Nicola Foster: The case of Uli Sigg: Collector, Agent, Advisor and Promoter of Contemporary Chinese Art
18.30 Keynote – Sophie Raux: Mapping the agents of the art market in early modern Europe : an experimental research database
No Conferences or Workshops for this year.
The Collector and his Circle
A two-day workshop at the Institute of Historical Research and The Wallace Collection
Tuesday 1 and Wednesday 2 July 2014
Tuesday 1 July at the Institute of Historical Research
10.25. Welcome from Adriana Turpin, IESA/University of Warwick
The early 18th century
10.30 Charles Avery, Historian of Sculpture and Independent Fine Art Consultant, ‘The sculptor Soldani and the marketing of Baldinucci’s collection of paintings’
11.00 Christophe Guillouet, PhD candidate, Université Paris IV Sorbonne, ‘Genre painting in the circles of Parisian collectors’
11.30 Franny Brock, PhD candidate, The University of North Carolina at Chapel Hill, ‘‘‘Chez Monsieur Huquier’’: the role of Gabriel Huquier’s collection in interactions among artists, dealers, and collectors’
The role of the print market
12.00 Donato Esposito, independent scholar, Birmingham, ‘Charles Rogers (1711-1784) and his circle’
12.30 Lucy Peltz, Curator, 18th Century Collections, National Portrait Gallery, London, ‘‘‘Brother Chalcographimanians’’: extra-illustration, the Sutherland Clarendon and the print market c. 1790-1840’
13.00 – 14.10 LUNCH
The collector and his advisors in the early 19th century
14.15 Sarah Bakkali, PhD candidate, Université Paris X Nanterre, ‘John Trumbull’s “speculative” adventure: circles of collecting between Paris and London during the French Revolution’
14.45 Rufus Bird, Deputy Surveyor of The Queen’s Works of Art, Royal Collections Trust, ‘The Prince and the pâtissier: François Benois’ acquisitions in Paris for the Prince Regent’
15.15 Susanna Avery-Quash, Research Curator (History of Collecting), National Gallery, London, ‘John Julius Angerstein: an 18th-century London financier and his circle of art advisers’
15.45 Rebecca Lyons, Senior Lecturer, Christie’s Education, London, and PhD candidate, University of Cambridge: ‘Connoisseurship and commerce: the relationship between the Prince Regent and the 3rd Marquess of Hertford’
Late 19th-century collecting
16.45 Dora Thornton, Curator of the Waddesdon Bequest and Curator of Renaissance Europe, The British Museum, ‘Baron Ferdinand Rothschild and the Waddesdon Bequest in the British Museum: a new look’
17.15 Elena Greer, Collaborative Doctoral Award candidate, The National Gallery, London/The University of Nottingham, ‘Sir Frederic Burton and his Trustees: the politics of collecting for the nation in the late nineteenth century’
17.45 – 18.00 Closing remarks
Wednesday 2 July at the Wallace Collection:
09.55 Welcome from Christoph Vogtherr, Director, The Wallace Collection
10.00 Jeremy Warren, Collections and Academic Director, The Wallace Collection, ‘Patrons and collectors: new acquisitions for the history of collecting at the Wallace Collection’
Curators, antiquarians and archaeologists
10.30 Judy Rudoe, Curator, Department of Britain, Europe and Prehistory, The British Museum, ‘The role of a remarkable curator: letters from Justus Brinckmann to Charles Hercules Read’
11.00 Elizabeth Norton, Collaborative Doctoral Award Student, The University of Southampton and The British Museum, ‘Polished axes: viewing networks behind the construction of prehistory at the British Museum’
11.30 Francesca de Tomasi, PhD candidate, Università di Roma Tor Vergata, ‘The Archeologia Mondana and its protagonists in late nineteenth-century Rome’
12.00 Ulf R. Hansson, Research Fellow, Department of Classics, The University of Texas at Austin, ‘Adolf Furtwängler and the culture of professional and amateur collecting in Munich around the turn of the century 1900’
12.30 – 13.55. LUNCH
Artists and collectors
14.00 Annalea Tunesi, PhD candidate, University of Leeds, ‘Stefano Bardini and Riccardo Nobili’
14.30 Patricia de Montfort, Lecturer in History of Art, University of Glasgow, ‘Collecting women’s works: Louise Jopling, the Rothschilds and their circle’
15.00 Annie Pfiefer, PhD candidate, Department of Comparative Literature, Yale University, “‘The American Invasion”: Henry James and the collecting of Europe’
16.00 Keynote address: Frank Herrmann, independent scholar and author of The English as Collectors, ‘Lady Charlotte Schreiber: a truly remarkable woman’
16.30 Round table and concluding remark
Collecting & Display in collaboration with Schwabenakademie, Kloster Irsee present
Collecting Prints & Drawings
based on the idea of Angela M. Opel
13-15 June 2014
Organised by Andrea M. Gáldy Sylvia Heudecker Angela M. Opel
Cabinets of prints and drawings belong to the earliest art collections of Early Modern Europe. From the sixteenth century onwards some of them acquired such fame that the necessity for an ordered and scientific display meant that sometimes a dedicated keeper was employed to ensure that fellow enthusiasts as well as visiting diplomats, courtiers and also artists might have access to the print room. Often collected and displayed together with drawings, the prints formed a substantial part of princely collections which sometimes achieved astounding longevity as a specialised group of collectibles, for example in the case of the Florentine Gabinetto Disegni e Stampe at the Uffizi (GDSU).
Prints and drawings, both bought and commissioned, were collected by princes and by private amateurs. Like the rest of their collections, the prints and drawings were usually preserved and displayed as part of or near the owner’s library in close proximity to scientific instruments, cut gems or small sculptural works of art. Both prints and drawings not only documented an encyclopaedic approach to the knowledge available at the time but also depicted parts of the collections in the form of a paper museum. Prints and drawings also served as a guide to the collections. They spread its fame, and with it the renown of its owner, across Europe and into new worlds of collecting East and West.
The topics of our conference include but are not limited to the exploration of questions such as: when, how and why did cabinets of prints and drawings become a specialised part of princely and private collections? How important were collections of prints and drawings for the self-representation of a prince or connoisseur among specialists and social peers? Is the presentation of a picture hang in a gallery, for example by Charles Eisen for the Royal Galleries at Dresden, by Nicholas de Pigage for Dusseldorf (prints) or the von dem Knesebeck projects for Schwerin Castle (drawings),* to be treated as documentary evidence? In how far do we find art historical approaches of systematisation or aesthetic concepts realised within the collections? Are there notable differences in the approach to collecting, presentation and preservation of prints and drawings in diverse parts of the world? What was the afterlife of such collections? What is the interest of institutions in pursuing the activities of art collecting and sponsorship today (banks, industry, foundations, universities)?
Andrea M. Gáldy Sylvia Heudecker Angela M. Opel
*See Collecting and the Princely Apartment, edited by Susan Bracken, Andrea M. Gáldy and Adriana Turpin. Newcastle: CSP, 2011.
Preliminary Programme (may be subject to change):
Friday p.m.: speakers and delegates meet at the Graphische Sammlung München
After a visit to the collections, we shall travel to Kloster Irsee for registration, occupation of rooms
Public lecture [or a first session of papers] tbc
Saturday (Kloster Irsee, all day): registration, academic papers, lunch and conference dinner
Sunday (Kloster Irsee, a.m.): academic papers, tbc
Late a.m. transport to Burg Trausnitz, Landshut visit of the castle and the Kunstkammer
No Conferences or Workshops for this year.
WORKSHOP ON APPROACHES TO THE STUDY OF COLLECTING
Organised by the working group on Collecting & Display and the Wallace Collection at THE INSTITUTE OF HISTORICAL RESEARCH, SENATE HOUSE, MALET ST. LONDON W1
FRIDAY 6 JULY 2012 9.30-5.00
9.45-11.30: Collecting in the 17th & 18th centuries:
Alexander Marr: ‘The Flemish Pictures of Collections Genre’
Cristiano Guarneri: Towards an Architectural History of Collecting in Early Modern Times
Adriana Turpin: The display of the Tribuna
Joe Friedman: Newspapers as a documentary source for 18th-century studies (tbc)
11.30-11.50 Coffee break
12.00-13.15: Collecting paintings in the 19th century
Cassiope Sydoriak: Taxonomic Taste: Evaluating the Collecting Strategy of W.T.H. Fox-Strangways
Elodie Goessant: In search of George Watson-Taylor, important but little-known figure of the History of Regency Collecting.
Nicola Pickering: Creating le goût Rothschild: a network of Rothschild collectors
13.15-14.15 Lunch break
14.15-15.30 Collections and collectors
Martina Fusari: Carlo Marochetti as a Collector of Prints
Silvia Davoli: Cernuschi and Leitner, comparative linguistic issues during the 19th century and collecting middle eastern and far eastern art.
Victoria Kisselova: The motives of Russian art collecting in the post-Communist era
15.30-15.50 Tea break
15.50-17.00 Networks and dealers
Mark Westgarth: ‘A cruise through the brokers’: Wardour Street and the London Antique and Curiosity Markets in the mid 19th century.
Eunmin Lim: Cataloguing Renaissance Bronzes: the Significance of Murray Marks’s Connoisseurship in the Writing of Art’s History
Jeremy Howard: A Masterly Old Master Dealer: Otto Gutekunst of Colnaghi’s and the American Collectors of the Gilded Age”
17.00-17.30 Round table discussion
please consult the website collectinganddisplay.com for updates on speakers and titles
WORKSHOP – METHODOLOGIES FOR THE STUDY OF COLLECTING
8th and 9th July, 2011 – INSTITUTE OF HISTORICAL RESEARCH
In recent years, research has been undertaken by numerous academics in different departments and in a range of countries. Working groups have been set up to develop specific aspects of the art market, collecting and patronage, networks and court history. This workshop aims to bring together current research on some of these topics. Our aim is to concentrate on discussion and shared experiences in the six sessions proposed during these two days.
please consult the website collectinganddisplay.com for updates on speakers and titles
Friday, 8th July
Registration 13.00 Introduction 13.45
14.00-15.45 pm NETWORKS: Chair: Arthur Macgregor.
Koen Brosens – Organising, visualizing and analyzing network data in tapestry research/art history
Susanna Avery Quash – To buy or not to buy: Sir Charles Eastlake, the National Gallery and a private collection
Miriam Hall Kirch – Collecting antiquities in Germany, c. 1550: A case study
Frank Herrmann – Peel and Solly: Two Nineteenth-Century Collectors and their Sources of Supply
Mercedes Ceron – Francis Douce (1757-1834): an antiquarian collector of prints and his networks
Carly Collier – A Forgotten Collector of Early Italian Art: the Third Earl of Orford
16.00-17.30 DISPLAY : Chair: Christoph Vogtherr.
Susannah Brooke – Private Art Collections and London Town Houses 1780-1830
Lisa Hillier – Private collections in Bologna 1550-1620
Flaminia Gennari-Santori – Understanding “pastiches”: Vizcaya, Miami and the invention of an Italian style for an American audience, 1910 – 1920.
Monique Riccardi-Cubitt – Mario Praz 1896-1982: L’Uomo Universale
Christine Baltay – Uncommon Curiosity: Caravaggio’s Early Collectors
17.35-18.30 TASTE: Chair: Susanna Avery Quash.
Sylvain Cordier – The Fashionable, the Rare, the Curious: the Notion of Styles in The Collection of Furniture in early 19th Century France and Britain
Laura-Maria Popoviciu – Do art treatises influence the activity of collecting?
Leah R. Clark – Gifts, Pawns and Replications: Collection and Exchange in Quattrocento Courts
Rachel Parikh – Collecting Natural History in the Court of Jahangir
Reception at the IHR followed by dinner nearby
Saturday, 9th July
9.30-11.10 ART MARKETS: Chair: Koen de Jonckheere.
Nathalie Moureau – Embeddedness in the Contemporary Art Market: Art Values and Collectors
Filip Vermeylen – title tbc
Tom Hardwick – The Market for Egyptian antiquities at the turn of the 20th century – people, prices and provenances
Benedicte Miyamoto-Pavot – Quantifying Pictures by Genre and Schools on the London Auction Market, 1767-1789
Juliet Claxton – The allegory of a China shop: examining the commerce of porcelain in 17th century London.
Charlotte Vignon – The documents that tell all: how the Duveen Brothers succeeded in monopolizing the international art market between 1880 and 1940
11.15-12.45 SOCIOLOGY & NEW APPROACHES: Chair: Susan Bracken.
Eva Rovers – Into the light, out of the obscure: a new approach to collecting and its relevance to art history
Nick Tromans – Collecting Anonymously: the Lost History of the Suburban Connoisseur
Adrian Seville – Ephemera: A Collector’s View
Jessica Feather – Collecting John Sell Cotman in Norwich: the case of James Reeve
Irving Finkel – Collectors, Collections and Museums: Where Do We Go?
14.00-15.30 SOURCES: Chair : Adriana Turpin.
Sheila Ffolliott – Women, Letters, and Portraits in Early Modern Europe
Lynda McLeod – Provenance Research: unearthing history
François Marandet – Estimates, auction prices and “mises à prix”in Paris during the Ancien Régime
Silvia Davoli – The premises for a database project on the 18th and 19th-century French and British decorative arts collectors and dealers.