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The Reception of Early Flemish Paintings in the Western Art Market (1946–2015)
Working with a data set accounting for 13,000 auction sales results, Anne-Sophie V. Radermecker explores what contemporary buyers value when purchasing paintings of unknown or uncertain authorship, and which variables influence price formation mechanisms in this market segment. The principle finding of this book is not only that historical names matter in the art market, but so do all other alternative identification strategies that art market players use to label anonymous paintings. Indirect names, provisional names, and spatiotemporal designations function as substitutes for real names that simulate identities, create
ex-post stories around the artworks offered for sale, and, consequently, reduce information asymmetry about an artist’s identity, with, at time, quite unexpected effects on price.
The Reception of Early Flemish Paintings in the Western Art Market (1946–2015)
Working with a data set accounting for 13,000 auction sales results, Anne-Sophie V. Radermecker explores what contemporary buyers value when purchasing paintings of unknown or uncertain authorship, and which variables influence price formation mechanisms in this market segment. The principle finding of this book is not only that historical names matter in the art market, but so do all other alternative identification strategies that art market players use to label anonymous paintings. Indirect names, provisional names, and spatiotemporal designations function as substitutes for real names that simulate identities, create
ex-post stories around the artworks offered for sale, and, consequently, reduce information asymmetry about an artist’s identity, with, at time, quite unexpected effects on price.
Variety and Ambiguity
Exploring the variety of forms taken by collections of sculpture, this volume presents new research by twelve internationally recognized scholars. The essays delve into the motivations of different collectors, the modes of display, and the aesthetics of viewing sculpture, bringing to light much new archival material. The book underscores the ambiguous nature of sculpture collections, variously understood as decorative components of interiors or gardens, as objects of desire in cabinets of curiosity, or as autonomous works of art in private and public collections. Emphasizing the collections and the ways in which these were viewed and described, this book addresses a significant but neglected aspect of art collecting and contributes to the literature on this branch of art and cultural history.
This book evolved from a symposium "Sculpture Collecting and Display, 1600-2000," organized by the Center for the History of Collecting, that was held at The Frick Collection on May 19 and 20, 2017. Both the book and the symposium were made possible through the generous support of the Robert H. Smith Family Foundation.
The book is published in association with The Frick Collection.
This book evolved from a symposium "Sculpture Collecting and Display, 1600-2000," organized by the Center for the History of Collecting, that was held at The Frick Collection on May 19 and 20, 2017. Both the book and the symposium were made possible through the generous support of the Robert H. Smith Family Foundation.
The book is published in association with The Frick Collection.
Variety and Ambiguity
Exploring the variety of forms taken by collections of sculpture, this volume presents new research by twelve internationally recognized scholars. The essays delve into the motivations of different collectors, the modes of display, and the aesthetics of viewing sculpture, bringing to light much new archival material. The book underscores the ambiguous nature of sculpture collections, variously understood as decorative components of interiors or gardens, as objects of desire in cabinets of curiosity, or as autonomous works of art in private and public collections. Emphasizing the collections and the ways in which these were viewed and described, this book addresses a significant but neglected aspect of art collecting and contributes to the literature on this branch of art and cultural history.
This book evolved from a symposium "Sculpture Collecting and Display, 1600-2000," organized by the Center for the History of Collecting, that was held at The Frick Collection on May 19 and 20, 2017. Both the book and the symposium were made possible through the generous support of the Robert H. Smith Family Foundation.
The book is published in association with The Frick Collection.
This book evolved from a symposium "Sculpture Collecting and Display, 1600-2000," organized by the Center for the History of Collecting, that was held at The Frick Collection on May 19 and 20, 2017. Both the book and the symposium were made possible through the generous support of the Robert H. Smith Family Foundation.
The book is published in association with The Frick Collection.
Volume Editor:
Lynn Catterson
Recent and increasing interest in art market studies—the dealers, mediators, advisors, taste makers, artists, etc.—indicate that the transaction of art and decorative art is anything but linear. Taking as its point of departure two of the most active agents of the late nineteenth century, Wilhelm von Bode and Stefano Bardini, the essays in this volume also look beyond, to other art market individuals and their vast and frequently interconnected, social and professional networks. Newly told history taken from rich business, epistolary and photographic archives, these essays examine the art market, within a broader and more complex context. In doing so, they offer new areas of inquiry for mapping of works of art as they were exchanged over time and place.
Volume Editor:
Lynn Catterson
Recent and increasing interest in art market studies—the dealers, mediators, advisors, taste makers, artists, etc.—indicate that the transaction of art and decorative art is anything but linear. Taking as its point of departure two of the most active agents of the late nineteenth century, Wilhelm von Bode and Stefano Bardini, the essays in this volume also look beyond, to other art market individuals and their vast and frequently interconnected, social and professional networks. Newly told history taken from rich business, epistolary and photographic archives, these essays examine the art market, within a broader and more complex context. In doing so, they offer new areas of inquiry for mapping of works of art as they were exchanged over time and place.
The Illicit Export of Artworks Out of Italy, 1861-1909
Smuggling the Renaissance: The Illicit Export of Artworks Out of Italy, 1861-1909 explores the phenomenon of art spoliation in Italy following Unification (1861), when the international demand for Italian Renaissance artworks was at an all-time high but effective art protection legislation had not yet been passed.
Making use of rich archival material Joanna Smalcerz narrates the complex and often dramatic struggle between the lawmakers of the new Italian State, and international curators (e.g., Wilhelm Bode), collectors (e.g., Isabella Stewart Gardner) and dealers (e.g., Stefano Bardini) who continuously orchestrated illicit schemes to export abroad Italian masterpieces. At the heart of the intertwinement of the art trade, art scholarship and art protection policies the author exposes the socio-psychological dynamics of unlawful collecting.
Making use of rich archival material Joanna Smalcerz narrates the complex and often dramatic struggle between the lawmakers of the new Italian State, and international curators (e.g., Wilhelm Bode), collectors (e.g., Isabella Stewart Gardner) and dealers (e.g., Stefano Bardini) who continuously orchestrated illicit schemes to export abroad Italian masterpieces. At the heart of the intertwinement of the art trade, art scholarship and art protection policies the author exposes the socio-psychological dynamics of unlawful collecting.
The Illicit Export of Artworks Out of Italy, 1861-1909
Smuggling the Renaissance: The Illicit Export of Artworks Out of Italy, 1861-1909 explores the phenomenon of art spoliation in Italy following Unification (1861), when the international demand for Italian Renaissance artworks was at an all-time high but effective art protection legislation had not yet been passed.
Making use of rich archival material Joanna Smalcerz narrates the complex and often dramatic struggle between the lawmakers of the new Italian State, and international curators (e.g., Wilhelm Bode), collectors (e.g., Isabella Stewart Gardner) and dealers (e.g., Stefano Bardini) who continuously orchestrated illicit schemes to export abroad Italian masterpieces. At the heart of the intertwinement of the art trade, art scholarship and art protection policies the author exposes the socio-psychological dynamics of unlawful collecting.
Making use of rich archival material Joanna Smalcerz narrates the complex and often dramatic struggle between the lawmakers of the new Italian State, and international curators (e.g., Wilhelm Bode), collectors (e.g., Isabella Stewart Gardner) and dealers (e.g., Stefano Bardini) who continuously orchestrated illicit schemes to export abroad Italian masterpieces. At the heart of the intertwinement of the art trade, art scholarship and art protection policies the author exposes the socio-psychological dynamics of unlawful collecting.
Connoisseurship and the Knowledge of Art
Connoisseurship – once foundational, then controversial, and currently critically reconsidered – is fundamentally about knowledge. Focusing on the distinctive history of the connoisseurship of Netherlandish art, this volume investigates early modern connoisseurship as revealed through pictorial practice, texts, and pictures featuring art lovers. An interplay between possessing and knowing about art emerges in the collecting of Chinese porcelain in the eighteenth century. With the professionalization of art criticism in the nineteenth century, Rembrandt’s art becomes a locus of scrutiny. In the twentieth century, the introduction of scientific data complicates the art historian’s expertise, whereas the case of Mondrian shows how modernist criticism and connoisseurship are intricately interwoven. Finally, persisting tensions between connoisseurship, authorship, and the market are brought to the fore.
Table of Contents
1. H. Perry Chapman, Thijs Weststeijn, Connoisseurship as knowledge. An introduction
2. E. Melanie Gifford, Pieter Bruegel’s afterlife. A visual metaphor in seventeenth-century landscape
3. Jan Blanc, Mettre des mots sur l’art. Peintres et connaisseurs dans la théorie de l’art française et néerlandaise du XVIIe siècle
4. Alexander Marr, Ingenuity and discernment in The cabinet of Cornelis van der Geest (1628)
5. Tiarna Doherty, Painting connoisseurship. Liefhebbers in the studio
6. Angela Ho, Exotic and exclusive. The Pronk porcelain as products for the connoisseur
7. Antoinette Friedenthal, John Smith’s Rembrandt research project. An art dealer establishes the first catalogue raisonné of the paintings (1836)
8. Catherine B. Scallen, Rembrandt print connoisseurship, Sir Francis Seymour Haden, and the etching revival of the nineteenth century
9. Suzanne Laemers, In de voetsporen van Max Friedländer. Een pleidooi voor het kennerschap aan de hand van het Werlaltaarstuk
10. Marek Wieczorek, Greenberg’s connoisseurship in Mondrian’s space
11. Anne-Sophie V.E. Radermecker, The market reception of ‘new connoisseurship’. The impact of recent advances in art scholarship on the selling and buying of early Flemish paintings
Table of Contents
1. H. Perry Chapman, Thijs Weststeijn, Connoisseurship as knowledge. An introduction
2. E. Melanie Gifford, Pieter Bruegel’s afterlife. A visual metaphor in seventeenth-century landscape
3. Jan Blanc, Mettre des mots sur l’art. Peintres et connaisseurs dans la théorie de l’art française et néerlandaise du XVIIe siècle
4. Alexander Marr, Ingenuity and discernment in The cabinet of Cornelis van der Geest (1628)
5. Tiarna Doherty, Painting connoisseurship. Liefhebbers in the studio
6. Angela Ho, Exotic and exclusive. The Pronk porcelain as products for the connoisseur
7. Antoinette Friedenthal, John Smith’s Rembrandt research project. An art dealer establishes the first catalogue raisonné of the paintings (1836)
8. Catherine B. Scallen, Rembrandt print connoisseurship, Sir Francis Seymour Haden, and the etching revival of the nineteenth century
9. Suzanne Laemers, In de voetsporen van Max Friedländer. Een pleidooi voor het kennerschap aan de hand van het Werlaltaarstuk
10. Marek Wieczorek, Greenberg’s connoisseurship in Mondrian’s space
11. Anne-Sophie V.E. Radermecker, The market reception of ‘new connoisseurship’. The impact of recent advances in art scholarship on the selling and buying of early Flemish paintings
Connoisseurship and the Knowledge of Art
Connoisseurship – once foundational, then controversial, and currently critically reconsidered – is fundamentally about knowledge. Focusing on the distinctive history of the connoisseurship of Netherlandish art, this volume investigates early modern connoisseurship as revealed through pictorial practice, texts, and pictures featuring art lovers. An interplay between possessing and knowing about art emerges in the collecting of Chinese porcelain in the eighteenth century. With the professionalization of art criticism in the nineteenth century, Rembrandt’s art becomes a locus of scrutiny. In the twentieth century, the introduction of scientific data complicates the art historian’s expertise, whereas the case of Mondrian shows how modernist criticism and connoisseurship are intricately interwoven. Finally, persisting tensions between connoisseurship, authorship, and the market are brought to the fore.
Table of Contents
1. H. Perry Chapman, Thijs Weststeijn, Connoisseurship as knowledge. An introduction
2. E. Melanie Gifford, Pieter Bruegel’s afterlife. A visual metaphor in seventeenth-century landscape
3. Jan Blanc, Mettre des mots sur l’art. Peintres et connaisseurs dans la théorie de l’art française et néerlandaise du XVIIe siècle
4. Alexander Marr, Ingenuity and discernment in The cabinet of Cornelis van der Geest (1628)
5. Tiarna Doherty, Painting connoisseurship. Liefhebbers in the studio
6. Angela Ho, Exotic and exclusive. The Pronk porcelain as products for the connoisseur
7. Antoinette Friedenthal, John Smith’s Rembrandt research project. An art dealer establishes the first catalogue raisonné of the paintings (1836)
8. Catherine B. Scallen, Rembrandt print connoisseurship, Sir Francis Seymour Haden, and the etching revival of the nineteenth century
9. Suzanne Laemers, In de voetsporen van Max Friedländer. Een pleidooi voor het kennerschap aan de hand van het Werlaltaarstuk
10. Marek Wieczorek, Greenberg’s connoisseurship in Mondrian’s space
11. Anne-Sophie V.E. Radermecker, The market reception of ‘new connoisseurship’. The impact of recent advances in art scholarship on the selling and buying of early Flemish paintings
Table of Contents
1. H. Perry Chapman, Thijs Weststeijn, Connoisseurship as knowledge. An introduction
2. E. Melanie Gifford, Pieter Bruegel’s afterlife. A visual metaphor in seventeenth-century landscape
3. Jan Blanc, Mettre des mots sur l’art. Peintres et connaisseurs dans la théorie de l’art française et néerlandaise du XVIIe siècle
4. Alexander Marr, Ingenuity and discernment in The cabinet of Cornelis van der Geest (1628)
5. Tiarna Doherty, Painting connoisseurship. Liefhebbers in the studio
6. Angela Ho, Exotic and exclusive. The Pronk porcelain as products for the connoisseur
7. Antoinette Friedenthal, John Smith’s Rembrandt research project. An art dealer establishes the first catalogue raisonné of the paintings (1836)
8. Catherine B. Scallen, Rembrandt print connoisseurship, Sir Francis Seymour Haden, and the etching revival of the nineteenth century
9. Suzanne Laemers, In de voetsporen van Max Friedländer. Een pleidooi voor het kennerschap aan de hand van het Werlaltaarstuk
10. Marek Wieczorek, Greenberg’s connoisseurship in Mondrian’s space
11. Anne-Sophie V.E. Radermecker, The market reception of ‘new connoisseurship’. The impact of recent advances in art scholarship on the selling and buying of early Flemish paintings