SocHistColl Americas Curatorial Walk-Through, Tuesday 12 June 2018, New York.

webimage-4EB10514-5D3D-4CBF-A33C1436A17F96EA.jpgInstallation view including Thomas Mulcaire, The Struggle Continue (A Luta Continua), 2003.

The Society for the History of Collecting – Americas
invites members to a curatorial walk-through
with Florence Derieux, Director of Exhibitions, Hauser & Wirth,
of “A Luta Continua”: The Sylvio Perlstein Collection

To take place at Hauser & Wirth, Chelsea,
548 West 22nd Street
Tuesday, June 12, 2018 at 11am
To RSVP, please email sochistcoll.americas@gmail.com
For press on this extensive collection: https://www.nytimes.com/2018/04/13/arts/design/sylvio-perlstein-hauser-and-wirth.html

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Symp: Masterpiece London Symposium, Saturday 30 June 2018

Masterpiece London is delighted to host a morning of lectures and discussion sessions co-organised by the Fair and Dr Thomas Marks, editor of Apollo, to bring together the pre-eminent museum curators of tomorrow with the emerging stars of the art and antiques trade, with the aim of encouraging constructive discussion, networking and the exchange of knowledge and practical advice.

Date: Saturday 30 June 2018.

To register or for any enquiries please contact: francesca.charltonjones@masterpiecefair.com

TIMETABLE

  • 9.30-10.00 Coffee and registration
  • 10.00-10.15 Introductions by Philip Hewat-Jaboor and Dr Thomas Marks
  • 10.15-11.00 Panel discussion

“A deal with the devil? : Exploring the relationship between museums and the trade”.  
On the historical interaction between dealers and curators, questions of ethics and good practice, and how museums and the trade might work together more productively.

Panel: Hugo Chapman, Martin Levy, Luke Syson, Anastasia Tennant

Panel Moderator: Dr Thomas Marks

Please see below for the biographies of our panellists.

  • 11.00-11.20 Coffee break

 

  • 11.20-12.00 Group discussions: ethics and best practice
  • 12.00-13.00 Presentation of papers
  • 13.00–13.15 Plenary session hosted by Philip Hewat-Jaboor and Dr Thomas Marks, followed by drinks on the Terrace.

The Mount Street Deli, in conjunction with Masterpiece, will  be  providing redeemable lunch vouchers for attendees of the Symposium. These will be distributed on the day.

 

BIOGRAPHIES

Philip Hewat-Jaboor

Philip Hewat-Jaboor advises private collectors, museums and designers on buying and selling a wide range of paintings, furniture and works of art. Starting his career at Sotheby’s Belgravia in 1972, he specialised in 19th century furniture and works of art, later concentrating on 18th century French and English furniture before developing their client advisory services department.

He opened his consultancy business in 1982 with the aim of providing totally independent advice to new collectors. As an independent museum consultant, he was the inspiration behind, and co-curator of, the William Beckford, An Eye for the Magnificent exhibition held at the Bard Graduate Center for Studies in the Decorative Arts in New York (2001) and the Dulwich Picture Gallery (2002). He curated the exhibition Thomas Hope: Regency Designer held at the Victoria and Albert Museum and the Bard Graduate Center in New York (2008).

Appointed as a Percentage for Art advisor in Jersey, he is now responsible for commissioning contemporary works for new buildings on the Island.

From the first edition of Masterpiece London in 2010, he has chaired the vetting of the fair and in 2012 was appointed Chairman of the Fair.

 

Dr Thomas Marks

Dr Thomas Marks has been the editor of Apollo since 2013. During his editorship, he has relaunched the Apollo website as a forum for daily art news, comment and reviews (www.apollo-magazine.com), and established the Apollo 40 Under 40, a publication celebrating talented young people in the art world. He writes regularly for the magazine about international artists and exhibitions and has profiled major museums around the world.

Thomas was educated at Pembroke College, Cambridge, and Magdalen College, Oxford, from where he holds a DPhil on Victorian poetry and architecture. In 2011, he was a founding editor of The Junket, an online quarterly magazine that continues to publish original essays, fiction and poetry. He has written on art and literature for a wide range of publications, including The Telegraph, the Times Literary SupplementLiterary Review, and the New Statesman, and has extensive teaching experience at the University of Oxford.

 

Hugo Chapman

Hugo Chapman joined the British Museum’s department of Prints and Drawings in 1995 after a decade in the Old Master Drawings Department of a London auction house. Previously he studied art history at London University. He was curator of Italian and French drawings before becoming the Simon Sainsbury Keeper of Prints and Drawings at the British Museum in August 2011.

He was the curator of the Michelangelo drawings exhibition shown in the British Museum in 2006 and the co-curator, along with Marzia Faietti, of the 2010 exhibition shown in the Round Reading Room devoted to 15th century Italian drawings selected from the holdings in the British Museum and the Uffizi, Florence; the exhibition was shown in Florence in the spring of 2011.

 

Martin Levy

Martin P. Levy, FSA is a London-based dealer in furniture and works of art. He has published extensively on nineteenth- century patronage, designers and manufacturers. He is chairman of the Decorative Arts Society, is a member of the Spoliation Advisory Panel, and is currently chairing an appeal to raise funds for Kelmscott Manor.

 

Luke Syson

Luke Syson is the Iris and B. Gerald Cantor Chairman of European Sculpture and Decorative Arts at the Metropolitan Museum of Art. After studying at the Courtauld Institute, he joined the British Museum as curator of medals in 1991, and he co-authored Objects of Virtue: Art in Renaissance Italy and co-curated the Enlightenment gallery.

In 2002, he joined the staff of the Victoria and Albert Museum to plan the new medieval and Renaissance galleries, and in 2003, he began at the National Gallery, London. As curator of Italian painting before 1500 and head of research, his exhibitions there included Renaissance Siena (2007) and Leonardo da Vinci (2011). He joined The Met in 2012, where he is currently directing the renovation of the Aitken Galleries for British Decorative Arts scheduled to open in 2019 and is co-curator of the Met Breuer exhibition Like Life: Sculpture, Color, and the Body (1300-now).

 

Anastasia Tennant

Anastasia Tennant is Senior Policy Adviser in the Collections and Cultural Property Team at the Arts Council where she provides advice and guidance across its statutory cultural property responsibilities.

Previously she worked as a private client and tax lawyer in private practice; as an in-house lawyer at the National Trust; and for nine years as a Director in Christie’s Heritage & Tax department before joining the MLA in 2009 whose functions were transferred to the Arts Council in 2011.

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CONF: Researching Art Market Practices Montpellier, 8-9 June 2018

University Paul Valéry Montpellier 3 Site Saint Charles, Rue du Professeur Henri Serre, 34080 Montpellier, June 8 – 09, 2018
Registration deadline: Jun 5, 2018

TOOLS FOR THE FUTURE: RESEARCHING ART MARKET PRACTICES FROM PAST TO PRESENT  Workshop 1 – The Art Collector

Conference Programme

Friday 8 June
13.45 Welcome Nathalie Moureau, University Paul Valéry Montpellier 3

Keynote:  Patrizia Cavazzini (Research Fellow, British School at Rome), The Roles of Patrons and the Market on Painters’ Careers in 17th century Rome

15.00 Session one: Learning from the Past
Chair: Elisabetta Lazzaro,

Stoyan Sgourev (ESSEC Business School, Paris), Art and Finance: Historical Links and Mutual Attraction

Marta Garcia Morcillo (University of Roehampton, London), The Collector as Economic Actor in the Ancient Roman Art Market

Michael Hutter (WZB: Berlin Social Science Center), Noble Enrichment: Art Collectors in mid-18th –Century Paris

16.30 Pause

16.50 Session two: Individual collectors and their taste

Sarah Bakkali (Université Paris X, Nanterre), De l’hôtel particulier parisien d’un agent de change au musée Fabre de Montpellier : la Collection d’Antoine Valedau (1777-1836)

Caterina Caputo (University of Florence), E.L.T. Mesens’ collection: between commercial stock and private collection

Gwendoline Corthier-Hardoin (École normale supérieure, Paris), Collectionner grâce aux échanges : collection altruiste ou rentable ? Le cas de la collection Bernar Venet

Silvia Simoncelli (Nuova Accademia di Belle Arti Milano), Artist’s collections in museums: bequests, auctions and ego-institutions

18.45 Break

19.30 Evening talk: Marta Gnyp, Art and the Rise to Power of Contemporary Collectors
in discussion with Nicolas Bourriaud and Nathalie Moureau
La Panacae, Centre d’art contemporain, 14, rue de l’Ècole de Pharmacie, 34000 Montpellier

20.30 Drinks Reception at La Panacae

Saturday 9 June

9.00 Keynote: Karen Cordero Reiman (independent art historian and curator, Professor Emerita Universidad Iberoamericana Mexico City), Tracking the Moving Critical Edge in the Contemporary Mexican Art Scene

10.00 Session three: The collector in new markets
Chair: Adriana Turpin, Institut d’Études Supérieures des Arts, Paris

Rémy Jarry (Chulalongkorn University, Bangkok & China Academy of Art, Hangzhou), The Long Museum: A Private Collection Made in China

Zahra Jahan-Bakhsh (Paris 3 Sorbonne Nouvelle University), Are there contemporary art collectors in Iran?

Lassla Esquivel (Projects Periferia/IESA), Colección Jumex and Mexico’s Art Scene: The Intersection of Public and Private

11.10 Pause

11.30 Session four: the politics of emerging markets

Stephanie Dieckvoss (Kingston University, London),  The Acquisitions of the Tate Committee for African Art

Marcela Rusinko (Masaryk University, Brno), Art collections in post war Czechoslovakia

Malvika Maheshwari (Ashoka University, Kundli, India), Everybody loves a good attack? Future Variables in the Art Market, and Lessons From Violent Offence-Taking in India Today

13.00 Lunch

Session five: the economics of the collector in the market
13.50 Chair: Elisabetta Lazaro, University of the Arts, Utrecht

Nei Varga de Rosa (Federal University of Rio Grande do Sul, Porto Alegre), Institutionalization of private collections of contemporary art: performance and reverberations in the art system in Brazil

Cyril Mercier (Laboratoire méditerranéen de Sociologie: LAMES/CNRS), ArtReview Power 100, un outil essentiel pour comprendre l’évolution du marché de l’art au cours des 15 dernières années

Ellen Loots & Lilia Sicca (Erasmus University Rotterdam), All but a Toss-up: The Curious Selection of Buyers in the Primary Market for Contemporary Art

15.15 Round table:
Chair: Nathalie Moureau
Patrizia Cavazzini, Michael Hutter, Stephanie Dieckvoss, Karen Cordero, Marta Gnyp

16.30 close of conference

COST: €36: coffee, tea, lunch included

TO REGISTER OR ASK FOR FURTHER INFORMATION PLEASE CONTACT
a.turpin@iesa.edu

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SEM: Seminar in Collecting and Display, London, 14 May 2018

Seminar on Collecting & Display
Institute of Historical Research, Senate House, Malet St London, WC1 E

Monday, 14th May at 6pm Pollard Seminar Room, N301, Third Floor

The truth about Agnew’s and Duveen (1900-1930)
Barbara Pezzini
Major private and public collections worldwide – such as the London National Gallery, the New York Metropolitan Museum of Art and the Washington National Gallery of Art – contain a wealth of pictures from the stock of art dealers Agnew’s and Duveen. Often works were purchased from one firm to the other or even held in joint stock. Famous pictures of shared provenance include Philip IV by Diego Velázquez (Metropolitan Museum of Art, New York), Man with a Falcon by Titian (Omaha Museum of Art), and Portrait of James Christie by Thomas Gainsborough (Getty Museum, Los Angeles). Both Agnew’s and Duveen managed a conspicuous flow of works of art from London towards collectors in the United States, and both firms dealt in the same sectors of the art market: European old-masters and British eighteenth century portraits.
The relationship between the two firms, however, has so far remained largely unexplored. Were Agnew’s and Duveen ‘friends’ or ‘enemies’, allies or opponents? Using hitherto unexplored primary sources from the Agnew’s archive at the National Gallery and the Duveen archive at the Getty Research Center, the paper will examine this question and present the origins and development of their relationship from 1900 to 1930. Agnew’s and Duveen’s rapport changed dramatically in these thirty years. In the early 1900s, when the newcomer Duveen captured the trust of the more senior Agnew’s, there was a respectful competition which evolved into a collaboration in the course of the 1910s. But in the 1920s Duveen’s attempted, in covert and not so covert manners, to annihilate Agnew’s, and this paper will investigate Duveen’s offensive strategies and Agnew’s coping mechanisms. In addition, and crucially for a seminar dedicated to collecting and display, this paper will focus on the relationship that both dealers fostered with public and private collectors, as it was essential to the survival, and instrumental to the demise, of their firms.
Barbara Pezzini is a London-based art and cultural historian with a wide range of publications on the art market, including reconstructions of fin-de siècle exhibitions of British painting, the Futurist shows in London, the relationship between dealers and scholars in the early twentieth century and their interactions with the art press. She is particularly interested in the study of the intersection of the art market with art criticism and art practice and how these are reflected in art prices. Barbara is the recipient of an AHRC Collaborative Doctoral Award between the National Gallery and the University of Manchester to study the relationship between the National Gallery and Agnew’s (1850-1950) and Editor-in-Chief of the journal Visual Resources. She is also part of a joint National Gallery/King’s College London project on (re)presenting data from the stock books of the dealers Thos. Agnew & Sons.

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Book Review: Leopoldo de ’Medici Principe del Collezionisti. Exhibition catalogue edited by Valentina Conticelli, Riccardo Gennaioli and Maria Sframeli, Florence, 7 November- 28 January, 45€

leopoldo-de-medici.jpgSet in the Museo degli Argenti, now also called the Medici Treasury to reflect the scope of its collections much more correctly, this exhibition brought together works of art from throughout the Florentine museums to show the taste and range of collecting interests of Leopold de’ Medici (1617-1675), younger son of Cosimo II and Maria Maddalena d’Austria. Although often mentioned in the literature on seventeenth-century collections, the extent of his collecting was never really analysed and this catalogue is a revelation of the many works exhibited in the Florentine museums originally collected by him. For this reason alone, the catalogue would be worth buying but as it also includes many essays that place his collecting in context as well as new research on the individual works of art, it is an important addition to our knowledge of seventeenth-century studies. Miriam Fileti Mazza’s essay on the development of Leopoldo’s collection shows the prince’s numerous advisors and agents. The Florentine Paolo Del Sera, who acted as an agent in Venice, Marco Boschini, Venetian agent and art critic, Ferdinando Cospi, who introduced the prince to young Bolognese artists as well as the collecting of scientific and natural specimens, Leonardo Agostino in Rome, who advised on the collecting of antiquities, Pietro Andrea Andreini, who introduced the prince to the collecting of antique gems, intaglie and inscriptions and in the Netherlands, Monsignor Airoldi in Flanders and Pieter Bleau in Amsterdam. The correspondence between these figures kept in the archives provides historians of the art market with detailed accounts of the complex networks and negotiations involved in the world of collecting. In the person of Baldinucci, the collection had its cataloguer and critic. A small handbook, Nota dei quadri lasciata a diversi personaggi all sua morte del cardinal Leopoldo, lists the gifts to the many visitors and correspondents. In further essays, these connections are developed through examining different aspects of his collection, paintings, drawings, antiquities and the commissions in pietra dura. The catalogue entries develop these themes, tracing the provenance and attribution of the many objects now known to have belonged to the prince as well as their location and display.

Leopoldo de ’Medici Principe del Collezionisti. Exhibition catalogue edited by Valentina Conticelli, Riccardo Gennaioli and Maria Sframeli, Florence, 7 November- 28 January, 45€

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Book Review: Sotheby’s Maestro: Peter Wilson and the Post-War Art World, ed. by Katherine McLean and Philip Hook, London, Sothebys 2017. £15.00

peter-wilson-maestro-1.jpg

For those who want a lively and engaging account of rise of Sotheby’s under Philip Wilson and first-hand stories of the art world during his time as chairman from 1958 to 1980, this book is a must. It shows the art world as it was then and how Peter Wilson created an international company selling the most important works of art in the world. The contributors allow us to see behind the scenes, presenting a charismatic and risk-taking figure, who pushed the auction house to its limits and sometimes beyond. Each story reflects the individual perspective of the author, and with some 53 essays by leading figures in the art world, there is much fascinating detail and unknown material, as well as accounts of the great and famous moments. All agree that PCW had an extra-ordinary ability to see an opportunity and, as with so many famous entrepreneurs, to seize it with boldness and often ruthlessness. Peregrine Pollen recounts how he was sent to New York and in 1964 engineered Sotheby’s purchase of the American auction house Parke-Bernet, thus providing the London auction house a huge advantage in entering the American market. Just as important was PCW’s recognition of the rising market for Impressionist paintings, starting with the Goldschmidt sale of 1958. Another change that took place under his chairmanship was the creation of the auction as a glamourous event and the auction house as a social centre. However, the stories also recount the other side of his chairmanship, his often-dictatorial rule of the country and the disastrous mistakes he made, both with the Sothebys cigarettes and in a very different way, the Sevso treasure.

Sotheby’s Maestro: Peter Wilson and the Post-War Art World, ed. by Katherine McLean and Philip Hook, London, Sothebys 2017. £15.00

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Seminar in Collecting and Display: Alice Ottazzi, English Print Collections in C18th Paris, Monday 16 April 2018, London

Seminar on Collecting & Display

Institute of Historical Research, Senate House, Malet St London, WC1 E

Alice Ottazzi,  “Les derniers venus sont aujourd’hui les premiers”: English print collections in 18th-century Paris

16 April 2018 at 6pm Pollard Seminar Room, N301, Third Floor

______________________________________________________

This paper aims to investigate the (re)discovery of English art in 18th-century Paris.  The English artistic tradition was not greatly admired in the previous centuries and it was just around the middle of the 18th century that an interest developed towards this art. In a comparative approach that will involve both literature and philosophy, the principal promoters of Anglomania will be discussed, highlighting the interaction between general culture and artistic outcomes. The examination of Parisian sales catalogues and some French public archives will allow the identification of the presence of English works of art offering further reasons for reflecting the origin of a specific taste in connection to the concept of an English school, which will represent the discriminating factor in the analysis of the dynamics of the reception of the English school in 18th-century France.

Reconstructing a panorama which has been since underestimated, she will examine the presence of English works of art, predominantly prints that dominated the Parisian scene during the 70s and 80s. Undertaking this investigation allows the outlining of English artists who were collected in France, bringing to light names nowadays almost unknown. Studying private (Marquis de Beringhen, Marquis de Paulmy, Duc de Richelieu, Princesse de Lamballe) and royal collections (Louis XVI and Marie Antoinette) it will be possible to understand the reasons behind this practice of collecting and its evolution during the 18th century. At the beginning of the century, English prints were collected because of their specific technique, mezzotint or, later, crayon manner, and in the second half of the 18th century for the name of the artist himself or the subject they represent. Finally, some post-mortem inventories hold information on the display of these prints, enabling to deepen and complete the analysis of the collection of English prints in Paris.

Alice Ottazzi is currently a Teaching Assistant in History of Art Criticism and Museum Studies, Università degli Studi di Torino, Department of Humanities.   Her PhD is in progress, jointly supervised by Paris 1 Panthéon Sorbonne. She is also responsible for the section “Drawing” of the handbook Il Cricco Di Teodoro Itinerario nell’arte (Zanichelli Editore S.p.a., Bologna).   She was a contributor to the catalogue of the exhibition L’Europe et les mythes Grècs : Dessins du Musée du Louvre XVIème – XIXème siècles, exhibition curated by C. Loisel, Fondation Teloglion, Thessalonica, 2012 as well as Témoignages d’une condicio sine qua non. La réception des procédés de fixage des pastels dans la littérature artistique du XVIII siècle, in B. Jouves & A. Delaporte (Eds.), Réception critique de la restauration. XVIIIe-XXe siècles, Éditions du GRHAM, 2017.

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Workshop: Simon Dickinson Gallery, London, 11 April 2018

S.A.W Workshop: Back to Front
Wednesday 11 April  |  6pm
58 Jermyn Street, London 

In collaboration with art critic and journalist Susan Moore, Dickinson will stage a Slow Art Workshop  (SAW) entitled Back to Front, where specialists reveal what clues can be identified on the reverse of a painting, as well as pointing out less obvious details found on, or beneath, its surface.

The Gallery’s experts will introduce the wealth of information that can be gleaned from the back of Old Master paintings as well as those from the Impressionist and Modern era.

To book, please email Maria atmaria@simondickinson.com


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SEM, The Politics of Public Collecting by Dr. Barbara Pezzini, The Wallace Collection, London, 26 March 2018

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SEM: Full-scale displays and the reform of architecture in Germany, 5 March 2018, London

Full-scale displays and the reform of architecture in Germany, Seminar by Wallis Miller, University of Kentucky
Date: 05 Mar 2018, 18:00 to 20:00
Series: Collecting & Display
Type: Seminar
Venue: IHR John S Cohen Room, N203, Second Floor, IHR, Senate House, Malet Street, London WC1E 7HU.

Description:

Wallis Miller is currently working on a book titled Architecture on Display: Exhibitions and the Emergence of Modernism in Germany, 1786-1932. The book uses German case studies to reveal the particular character of an architecture exhibition and demonstrate the ways in which exhibitions contributed to modernism in architecture. He will focus on a specific form of display, the full scale interior, and the ways in which a means of presentation originally developed to portray the past, in the form of the period room, became a catalyst for the early twentieth-century reforms that led to the emergence of Modern Architecture.

In contrast to its use in portraying history, the period room display was appropriated around the turn of the century by applied arts exhibitions in Germany to show the newest work in design. The period room emerged in the 1870s as an ethnographic display tool in Stockholm’s Nordic Museum and, by the 1920s, was firmly associated with exhibiting the past in a range of museums, including ones dedicated to art and applied art. But already around 1900 the period room was used as a model for the displays that realized the theoretical ambition of progressive designers of applied art to “engage art in life” and, in some cases, create a Gesamtkunstwerk [the total work of art]. In the largest exhibition of these rooms, the “Spatial Art” or “Raumkunst” section at “The Third German Applied Arts Exhibition 1906,” held in Dresden, the modernity on display in 150 realistic interiors did not reside in their style, which varied widely. Instead it could be seen in the ambition to create full-scale environments that, like the period rooms, engaged a broad public rather than a limited audience of patrons, and in their identification with “space”. These were two aspects of Modern Architecture that became central when it matured in the Weimar Period. Indeed the exhibition included several designers who soon would become significant modern architects (Henri van de Velde, Peter Behrens and Bruno Paul) and suggested that the applied arts exhibition was the vehicle for introducing the new ideas about the public and space to architecture. The claim that applied art was an agent of change in this crucial period for the development of architecture was advanced in theoretical writings at the time but is seldom recognized in the history of architecture or design, particularly the history that engages the establishment of the German Werkbund, one of the best-known institutional promoters of modern design and architecture from 1907-1933. He will call attention to the role of applied art in the history of Modern Architecture by arguing that the full-scale displays at exhibitions go beyond the claims of theoretical writings to initiate significant reforms in architecture.

Wallis Miller is the Charles P. Graves Associate Professor of Architecture, July 2001-present at the University of Kentucky, College of Design. He has also been at The Oslo Centre for Critical Architecture Studies, The Oslo School of Architecture and Design Visiting Scholar, research project “The Printed and the Built” (research, Ph.D. advising, organization), 2014-2018; in residence May-June 2016

 

 

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