This book considers how art market stakeholders, including art dealers, collectors and agents, have shaped museum collections and affected exhibition practices since the mid-nineteenth century. Based on new archival research and data analysis, it explores the role of dealers not only in selling directly to museums, but in influencing museum collecting priorities, as well as potential donors. It also examines the important but hitherto overlooked contribution of the female curator-agent.
The book is divided into three sections, which address the relationship between art dealers and museums, women as art agents and influencers, and the strategies of entrepreneurial collectors. Featuring contributions from a wide range of international specialists in the market for decorative arts and antiquities, as well as European modernism, The Art Market and the Museum explores the origins and development of the modern Western art market and the global art networks that operated not only in Paris, London and New York, but in cities such as Glasgow, Vienna, Melbourne and Kansas City. It is perfect reading for scholars and researchers on the history of the art market, museum studies and art history more broadly.
Recenzijos
A wide-ranging and thought-provoking study of the complex intersections between the art market and the museum, this volume highlights the significant role that the art market has played, and continues to play, in the development of the public art museum. * Mark Westgarth, Professor of the History of the Art Market, University of Leeds, UK * A supreme example of international, historical scholarship in art market studies at its best. An essential and fascinating read for anyone interested in the intricate and complex set of relationships between the commercial world of art, museums collecting practices, philanthropy and gender. * Marta Herrero, Head of Creative Industries Management and Reader in Creative Industries, University of York, UK * This important volume demonstrates the many roles of dealers in the life of public institutions. With an impressive mix of global and chronological perspectives, it uncovers a realm of collaborations and transactions in which the boundaries of museum and market appear as strikingly porous. * Tom Stammers, Reader in Cultural and Art History, the Courtauld Institute of Art, UK * An accomplished and scholarly volume, noted for its geographical range and focus on the role of women in building museum collections. It will be a valuable resource, particularly for art market and museum studies. * Simon Kelly, Curator and Head of Department of Modern and Contemporary Art, the Saint Louis Art Museum, USA *
Daugiau informacijos
Considers the historic and contemporary intersections of key players in the western art market, including art dealers, collectors and agents, with art museums.
List of Plates
List of Figures
Notes on Contributors
Acknowledgements
Series Editor Preface
Introduction, Frances Fowle and MaryKate Cleary
Part One: The Museum and The Art Dealer
1. Trusted Agents of the Government: British Dealers and the Museum,
1850-1900, Diana Davis (Independent Researcher, UK)
2. Siegfried Bing and the Fin-de-Sičcle Market for Japanese Art: Dealers,
Collectors & Museums, Tsuksasa Kodera (Osaka University, Japan)
3. Dubious Dealings and issues of connoisseurship: David Croal Thomson and
the National Galleries of Scotland, Frances Fowle (University of Edinburgh,
UK)
4. Etienne Bignous Matisse and Picasso Exhibitions of the 1930s: The Gallery
Show as Prototype for Museum Retrospectives, Christel H. Force (Independent
Researcher, USA & France)
5. The Middle Men of Art: Knoedlers and the building of the great American
collections, Anne Helmreich (Smithsonian Institution, USA), Sandra van
Ginhoven (Getty Research Institute, USA), DiAndra Reyes (Independent
Researcher, USA), Kyllie King (Independant Researcher, Italy)
Part Two: Women as Art Agents and Influencers
6. From Executrix to Curator: Rosalind Birnie Philip and the Whistler Estate,
Alicia Hughes (British Museum, UK)
Collection, 1903-1958
7. Our Woman in Cairo: Lucy Olcott Perkins as Agent for Cleveland Museum,
Imogen Tedbury (National Gallery, UK)
8. A Seed of Desire: Effie Seachrest and Women Collectors in Kansas City,
Mackenzie Mallon (The Nelson-Atkins Museum of Art, USA)
9. Impermanent Bliss: Deaccessioning by MoMA and its Consequences, Irene
Walsh (Independent Researcher, UK)
Part Three: The Entrepreneurial Collection and the Emergence of the Private
Museum
10. Trade, Art Market and Museum: Alfred Chauchards Legacy to the Louvre,
Morgane Weinling (Louvre Museum, France)
11. Marjorie Merriweather Posts Hillwood and the Vision from a Private
Collection to Public Museum, Rebecca Tilles (School of Jewellery Arts,
France)
12. Filling in the Gaps of his Collection? A Reassessment of Sir William
Burrells Late Collecting Practice, 1944-1957, Isobel MacDonald (University
College London, UK)
13. The Private Museum: Evolving Models of Collecting and the Interplay
between Collectors and the Art Market, Georgina Walker (The University of
Melbourne, Australia)
Index
Frances Fowle is Emeritus Professor of Nineteenth-Century Art, University of Edinburgh, UK. For over twenty years she was Senior Curator of French Art, National Galleries of Scotland, UK. She is a co-founder/ex-board member of TIAMSA.Her previous publications include Van Goghs Twin: The Scottish Art Dealer Alexander Reid (2010) and Globalising Impressionism: Reception, Translation and Transnationalism (2020).
MaryKate Cleary is Curator of Provenance at the Princeton University Art Museum, USA. She specialises in provenance research, the history of the art market, and legal and ethical issues of cultural heritage. She was previously Lecturer at Sothebys Institute of Art, London; Collections Specialist at The Museum of Modern Art, New York; and Manager of Historic Claims and Provenance Research at the Art Loss Register.
