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Books
(Part 3)

 

 101
“Goering’s Man in Paris: The Story of a Nazi Art Plunderer and His World”
Jonathan Petropoulos
Yale University Press, 2021

Bruno Lohse (1911–2007) was one of the most notorious art plunderers in history. Appointed by Hermann Göring to Hitler’s art looting agency in Paris, he went on to help supervise the systematic theft and distribution of more than thirty thousand artworks, taken largely from French Jews, and to assist Göring in amassing an enormous private art collection. By the 1950s Lohse was officially denazified but was back in the art dealing world, offering masterpieces of dubious origin to American museums.” After his death, dozens of paintings by Renoir, Monet, and Pissarro, among others, were found in his Zurich bank vault and adorning the walls of his Munich home. Jonathan Petropoulos spent nearly a decade interviewing Lohse and continues to serve as an expert witness for Holocaust restitution cases. Here he tells the story of Lohse’s life, offering a critical examination of the postwar art world.

 


102
“Le marché de l’art sous l’occupation”
Emmanuelle Polack
Editions Tallandier, 2019

Under the Occupation, the art market in France was flourishing. Until 1944, all property belonging to Jewish families was systematically seized. The products of this looting are the thousands of paintings, sculptures, works of art and rare furniture. Destined for the Hitler museum in Linz or for the Goering collection, certain modern so-called “degenerate” works are being auctioned off at the Hôtel Drout. Gallerists, antique dealers, merchants, experts, individuals and all kinds of intermediaries working for the Germans come there to acquire at low prices canvases which they can only suspect have been stolen. (back cover, own translation from French)

 


103
“Tales from the Art Crypt: The Painters, the Museums, the Curators, the Collectors, the Auctions, the Art”
Richard Feigen
Knopf, 2000

From one of today’s most influential art collectors and dealers: a lively, revealing, sometimes blasphemous, always knowing look into the world of art. Richard Feigen’s fifty years in the art world have given him a unique perspective on its inhabitants and habits. He writes about the painters he has known and represented (among them James Rosenquist, Jasper Johns, Jean Dubuffet, and Joseph Cornell), and about others whose work he has collected. He writes about his galleries in Chicago and New York City, and about his fellow dealers, including Julien Levy and Leo Castelli. He talks about the “eye” that allows a dealer to recognize a fine painting. He discusses the great art-owning families, art historians, scholars, and conservators.

 

104
“ARCO. Una historia de arte y mercado”
Nacho Ruiz
Pombo Editora, 2021

ARCO is the acronym for Contemporary Art and responds to the fair that has been held annually in Madrid since 1982. As simple as a Wikipedia entry, as complex as the history of the art market and, also, of art in Spain. To really know what ARCO means, we would have to start far back, generating a theoretical basis that facilitates the understanding of the process by which a work of art passes into the hands of a collector, the essence of the work as an object both symbolic and of change, or the socioeconomic context in which everything has occurred from the perspective of the 40 years of the fair. (own translation from Spanish)

 


105
“Old Masters Worldwide. Markets, Movements and Museums, 1789–1939”
Susanna Avery-Quash & Barbara Pezzini (eds.)
Bloomsbury, 2020

This book explores the global movement of Old Master paintings and investigates some of the changes in the art market that took place as a result of this new interest. Arguably, the most important phenomenon was the diminishing of the traditional figure of the art agent and the rise of more visible, increasingly professional, dealerships; firms such as Colnaghi and Agnew’s in Britain, Goupil in France and Knoedler in the USA, came into existence. Old Masters Worldwide explores the ways in which the pioneering practices of such businesses contributed to shape a changing market.

 

106
“Art and Business: Transactions in Art and Cultural Property”
Kevin P. Ray
American Bar Association, 2017

This book discusses how art can affect the world of business. As art has gained greater acceptance as an investment, it is appearing in a variety of transactions that expand the traditional dealer-gallery-auction house sale form. Art transactions increasingly include many art-secured lending, securitization, and commercial transactions. The presence of art in these transactions is frequently novel to the parties involved, who may be unfamiliar with the unique issues and challenges of the art world.

 

 


107
“Women, Art and Money in England, 1880-1914: The Hustle and the Scramble”
Maria Quirk
Bloomsbury, 2019

Women, Art and Money in England establishes the importance of women artists’ commercial dealings to their professional identities and reputations in the late nineteenth and early twentieth centuries. Grounded in economic, social and art history, the book draws on and synthesises data from a broad range of documentary and archival sources to present a comprehensive history of women artists’ professional status and business relationships within the complex and changing art market of late-Victorian England.

 


108
“Art and the Empire City. New York 1825-1861”
Catherine Hoover Voorsanger and John K. Howat (eds.)
Metropolitan Museum of Art, 2000
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In 1825 the Erie Canal, connecting the Atlantic with the American heartland via the Great Lakes, was completed, and in 1861 the Civil War, disrupting American unity, began. This volume examines the exhilarating period between these two far-reaching events. The Erie Canal turned the port of New York into the gateway to the United States, ushering in a time of enormous growth and change for the city of New York. Still very much a work in progress, New York became both an international economic and cultural center: it was transformed into what contemporary observers variously termed the Empire City, the Great Emporium, and the Empress City of the West.

 

109
“Sublime Economy: On the Intersection of Art and Economics”
Jack Amariglio, Joseph W. Childers, Stephen E. Cullenberg (eds)
Routledge, 2009

Sublime Economy seeks to map this critical territory by exploring the ways diverse concepts of economy and economic value have been culturally constituted and disseminated through modern art and cultural practice. Comprising of 14 individual essays along with an editors’ introduction, Sublime Economy draws together work from some of the leading scholars in the several fields currently exploring the intersection of economic and aesthetic practices and discourses.

 

 

110
“The Art Collector’s Handbook: The Definitive Guide to Acquiring and Owning Art”
Mary Rozell
Lund Humphries, 2020

Mary Rozell draws on her long experience as an art collection professional and an art lawyer to illuminate some of the myriad issues that arise when owning an art collection. Covering acquisition, inventory management, the insurance, security, storage and conservation of collections, art financing and investing, and the sharing and deaccessioning of artworks, this meticulously researched but accessible book is an essential guide to the fascinating business of collecting.

 

 


111
“Antiquaires: The Finest Antique Dealers in Paris”
Jean-Louis Gaillemin
Assouline, 2000

Luxurious, richly illustrated and informative, this book is an essential item for both amateur and professional antiques collectors, and all those taken by the irresistible allure of the world of antiques and the Parisian market in particular.

 

 


112
“You can be a Wealthy / Cash-Strapped Art Collector in the Digital Age”
Pau Waelder
Printer Fault Press, 2020

The book is a practical guide to collecting contemporary art using the tools available online and on any smartphone or tablet, with a special focus on digital art and the particular advantages and challenges it presents to collectors. The guide is intended for anyone who would like to collect art, regardless of their knowledge of the art market—or their budget.

 

 

113
“Pierre Matisse & Joan Miró. Ouvrir le feu. Correspondance croisée, 1933-1983”
Elisa Sclaunick (ed.)
Editions l’Atelier Contemporain, 2019

Reflections of a relationship both professional and friendly between the two men, the letters exchanged give a particular vision of the art world. The declarations of friendship rub shoulders with the tensions between merchants, the artist’s reflections mingle with more intimate evocations. From the description of the works produced by Miro, to the setting up of the exhibitions, the exchanges retrace the different stages of an abundant artistic production that must be defended as well as possible. Because to allow Miro to emerge in the United States, Pierre Matisse says it well, it is necessary to “open fire’. (own translation from French)

 

114
“Alexander the Great: The Iolas Gallery 1955-1987”
Bob Colacello
Paul Kasmin Gallery, 2014

A fantastic character and passionate art lover, Iolas built deep personal relationships and facilitated intercontinental connections among artists, gallerists and collectors via his galleries in Athens, Geneva, Madrid, Milan, New York and Paris. Noted for the pivotal role he played in the building of the Menil Collection in Houston, Iolas operated according to his own taste and discerning eye. This fully illustrated publication includes archival photographs and installation views documenting the artworks, movements, personalities and friendships spanning critical periods in the art of the twentieth century.

 

115
“The Tastemakers: British Dealers and the Anglo-Gallic Interior, 1785–1865”
Diana Davis
Getty Research Institute, 2020

The Tastemakers analyzes dealer-made furnishings from the nineteenth-century patron’s perspective and in the context of the interiors for which they were created, contending that early dealers deliberately formulated a new aesthetic with its own objects, language, and value. Davis examines a wide variety of documents to piece together the shadowy world of these dealers, who emerge center stage as traders, makers, and tastemakers.

 

 

 

116
“Inventing the Modern Artist: Art and Culture in Gilded Age America”
Sarah Burns
Yale University Press, 1996

Tracing the evolution of art from a romantic calling to a calculated career, this wonderful book offers a detailed look at how late Victorian culture produced the thoroughly modern artist of the 20th century. With the rise of capitalism, many disciplines grew increasingly specialized and self-determined. However, the art world proves an especially fascinating case, as artists both catered to and anticipated appetites and values which are standard in culture today.

 

117
“A Year in the Art World. An insider’s View”
Matthew Israel
Thames & Hudson, 2020

Drawing on exclusive interviews and expertly researched content, Israel ventures into the inner workings of the art industry to ask: What is it that people in the art world actually do? What drives interest in working with art? How do artworks acquire value? And how has technology transformed today’s art world? Anchoring the narrative in the history, economics, and cultural dynamics of the field, this fascinating story reveals how “the art world” describes a realm that is both surprisingly vast and deeply interconnected.

 

118
“Smuggling the Renaissance: The Illicit Export of Artworks Out of Italy, 1861-1909”
Joanna Smalcerz
Brill, 2020

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.

 

 

 

119
“Le marché de la peinture en France
Raymonde Moulin
Editions de minuit, 1967

Official imagery sacralizes art, glorifies the artists and represents the relationship of the amateur in the art work as pure and disinterested love. And yet, because the work of art is also marketed, aesthetic appreciation is not always free from economic appreciation. Like the work of art, the artist is subject, in a variable part of himself, to the law of the market. This market is, like the stock exchange, a closed world which has its secrets, its backstage and its backstagers, its code and its techniques, its reviews and its arbitrations, its refuge values and its speculation values, its booms and its crashes, its specialized agents, brokers, marketers and auctioneers. We must penetrate as an thnologist into this universe of initiates to understand the capricious movements of artistic values and the constraints to which the creator is subject. (own translation from French)


120
“The Art Rules: Wisdom and Guidance from Art World Experts”
Paul Klein
Intellect Books, 2015

A well-known advocate and proponent of art in Chicago, Paul Klein is a longtime gallerist whose friendships with artists, dealers, collectors, and curators have afforded him a rare vantage point on the vagaries and victories of the art world. Since closing his gallery in 2004, he has parlayed his insider knowledge into a cottage industry that addresses the imbalance between visual artists’ gifts for creation and their frequent unfamiliarity with the work of managing successful careers. Advising artists as they navigate the commercial aspects of their work, Klein teaches courses and seminars that explore what museum curators are looking for in contemporary artists, how galleries select their artists, how to sell to corporate art consultants, how to price art, and many other subjects.

 


121
“High Art Down Home. An Economic Ethnography of a Local Art Market”
Stuart Plattner
University Chicago Press, 1998

Stuart Plattner eschews the spotlights and media-hype of glitzy New York galleries, and focuses instead upon the more localized, and much more typical, world of the St. Louis art scene. What emerges is the most comprehensive description ever published of a contemporary regional avant-garde center, where noble aesthetic ambitions compete with the exigencies of economic survival. Plattner’s skillful use of in-depth interviews enables the market’s key participants to speak for themselves, giving voice to the many frustrations and rewards, motivations and constraints that influence their interactions with their work, the market, and each other.

 

122
“Reframing Japonisme: Women and the Asian Art Market in Nineteenth-Century France (1853–1914)”
Elizabeth Emery
Bloomsbury, 2020

This volume brings to light the culturally important, yet largely forgotten activities of women such as Clémence d’Ennery (1823–1898), who began collecting Japanese and Chinese chimeras in the 1840s, built and decorated a house for them in the 1870s, and bequeathed the “Musée d’Ennery” to the state as a free public museum in 1893. A friend of the Goncourt brothers and a fifty-year patron of Parisian dealers of Asian art, d’Ennery’s struggles to gain recognition as a collector and curator serve as a lens through which to examine the collecting and display practices of other women of her day.

 

 

123
“From Roman Feria to Global Art Fair, From Olympia Festival to Neo-Liberal Biennial: On the ‘Biennialization’ of Art Fairs and the ‘Fairization’ of Biennials”
Paco Barragán
Artpulse Editions, 2020

From Roman Feria to Global Art Fair, From Olympia Festival to Neo-liberal Biennial: On the ‘Biennialization’ of Art Fairs and the ‘Fairization’ of Biennials constitutes an essential and much needed book with relevant historical, social, economic and art historical information about the genealogy of art fairs and biennials from ancient Greece and Rome to contemporaneity. Paco Barragán’s ambitious and profound research sheds new light on the origins and typologies of both art fairs and biennials and the contradictory phenomena of the ‘biennialization’ of art fairs and the ‘fairization’ of biennials in the twenty-first century.

 

 

 


124
“Duveen Brothers and the Market for Decorative Arts, 1880-1940”
Charlotte Vignon
Giles, 2019

Active in London, Paris, and New York, Duveen Brothers was the most prominent art and antique dealer from the late nineteenth to the mid-twentieth century. The firm’s success came from buying furniture, tapestries, porcelain, and other objects d’art and selling it at high prices to wealthy Americans, including Henry Clay Frick, John D. Rockefeller Jr., Arabella Huntington, and John Pierpont Morgan. Making extensive use of Duveen Brothers records at the Getty Research Institute, as well as letters and invoices in the archives of the firm’s clients, Vignon provides a rich study of this influential firm in the history of collecting.

 

125
“Pierre Matisse. Un marchand d’art à New York”
Musée Matisse
Bernard Chauveau, 2021

For about sixty years, the Pierre Matisse Gallery played a prominent role in the art world: it tirelessly championed French and European modern art in the United States during a key period which saw the formation of major private and institutional American collections. The 300 or so exhibitions organised at the gallery allowed a generation of European artists to gain visibility and take part in the New York art scene: Henri Matisse, Joan Miró, Balthasar Balthus, Alberto Giacometti and Jean Dubuffet to name only the main ones. The exhibition and its catalogue retrace this odyssey through just over fifty works by twenty two essential artists of the gallery.

 

 


126
“Give Me the Now: An Autobiography”
Rudolf Zwirner
David Zwirner Books, 2021

An art dealer of the ages, Rudolf Zwirner, father of the esteemed gallerist @davidzwirner, reached many milestones in his career. From co-founding Art Cologne, the first fair for contemporary art, in 1967, to showing works by Georg Baselitz, Gerhard Richter, and Andy Warhol, Zwirner transformed the contemporary art scene in Cologne. Born in 1933, he presented more than three hundred exhibitions from the early 1960s to 1991. In his autobiography, Zwirner reveals stories of artists, his gallery, and his most important collector, Peter Ludwig, whose collection forms the cornerstone of the Ludwig Museum in Cologne.

 

127
“Galería Multitud. Exposición documental. Antología de textos”
Museo Nacional Centro de Arte Reina Sofía, 1995

Active during the years 1974-1978, the Madrid gallery Multitud played a pivotal role in the recovery of the Spanish artistic avant-garde in the context of the country’s transition to democracy. Seen by members of the Mutitud outfit and its contemporaries as being more than a commercial project, the gallery soon became an exhibition centre and alternative space, thus “constituting a platform for demanding a new awareness of twentieth-century cultural traditions in Spain’s plastic arts,” as in words by art critic Eugenio Carmona. This is the catalogue of the documentary exhibition organized in 1995 by the Documentation Center of the Reina Sofia Museum as part of a series of exhibitions that the museum dedicated to Spanish historical art galleries.

 

128
“Latinx Art: Artists, Markets, and Politics”
Arlene Dávila
Duke University Press, 2020

In Latinx Art Arlene Dávila draws on numerous interviews with artists, dealers, and curators to explore the problem of visualizing Latinx art and artists. Providing an inside and critical look of the global contemporary art market, Dávila’s book is at once an introduction to contemporary Latinx art and a call to decolonize the art worlds and practices that erase and whitewash Latinx artists. Dávila shows the importance of race, class, and nationalism in shaping contemporary art markets while providing a path for scrutinizing art and culture institutions and for diversifying the art world.

 

 

 

Le monde des galeries - Art contemporain, structure du marché et internationalisation - CNRS Editions129
“Le monde des galeries. Art contemporain, structure de marché et internationalisation”
Alan Quemin
CNRS Éditions, 2021

In an era of so-called globalization, marked by the rise of major international fairs, what transformations have affected the contemporary art market and its players? From Paris to New York, via London, Berlin, Los Angeles but also Hong Kong, Venice and Basel, this sociological survey outlines the new geography of galleries and delivers an ethnography of the daily work of gallery owners and their collaborators.

 

 

 

130
“Networking Surrealism in the USA. Agents, Artists, and the Market”
Julia Drost, Fabrice Flahutez, Anne Helmreich, Martin Schieder (ed.)
Arthistoricum.net / Universität Heidelberg, 2019
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This volume brings the complex networks that fostered and sustained surrealism in North America into academic focus. Who—among collectors, critics, dealers, galleries, and other kinds of mediating agents—supported the artists in the surrealist orbit, in what ways, and why? What more can be learned about highprofile collectors such as the de Menils in Houston or Peggy Guggenheim in New York? Compared to their peers in Europe, did artists in the United States use similarly spectacular strategies of publicity and mediation?”

 

 

131
“Spaces of Experience: Art Gallery Interiors from 1800 to 2000”
Charlotte Klonk
Yale University Press, 2009

This fascinating study of art gallery interiors examines the changing ideals and practices of galleries in Europe and North America from the 18th to the late 20th century. It offers a detailed account of the different displays that have been created—the colors of the background walls, lighting, furnishings, the height and density of the art works on show—and it traces the different scientific, political and commercial influences that lay behind their development.

 

 

132
“Galería Sur. Exposición documental. Plataformas de la vanguardia en España, III”
Fundación Marcelino Botín/Museo Reina Sofía, 1996

On July 8, 1952 the library and art gallery Sur opens its doors in Santander. From then and for the following four decades the gallery owner Manuel Arce runs one of the most prestigious contemporary Spanish art galleries. Sur exceeds its peripheral geographical position and manages to be not only a pioneer in its exhibitions, but also respected for its consistency and ability to evolve and adapt to the new directions taken by the creative context.

 

133
“Presència de Joan Prats”
Alexandre Cirici

In March of this year the Barcelona Galeria Joan Prats turned 45. It was on March 1976 when Manuel and Joan de Muga opened the doors of the gallery, on Rambla Catalunya street, in the same premises as the Joan Prats hat shop. The inaugural exhibition ‘Presència de Joan Prats’ was an homage to one of the most important figures of contemporary avant-garde art of Barcelona, who gave his name to the gallery. Prats (1891-1970) was a patron who organized early exhibitions for artists including Dali, Picasso, Calder, Klee, Tàpies, and was a life-long friend to Joan Miró. Published for that occasion and written by prominent historian and art critic Alexandre Cirici, this book traces Prats’ life as a key promoter in the Barcelona arts scene.

 

134
“Wild and Brilliant. The Martha Jackson Gallery and Post-War Art”
Jillian Russo / Hollis Taggart
Hollis Taggart, 2021

From 1953 to 1969, New York’s Martha Jackson Gallery displayed the work of many young, emerging artists who would go on to become internationally renowned household names, including Grace Hartigan, Alfred Jensen, Willem de Kooning, Louise Nevelson, and Bob Thompson. (…) Jackson’s exhibition program challenged the national and stylistic boundaries that shaped the art world during the mid-twentieth century.

 

 

 

135
“The Contemporary Art Gallery: Display, Power and Privilege”
David Carrier, with Darren Jones
Cambridge Scholars Publishing, 2016

While much has been written about the art, this book uncovers the secretive culture of the galleries themselves. The gallery is the public site where art is first seen – anyone can come and look for free. This store, a commercial site, is where aesthetic judgments are made. Art’s value is determined in this marketplace by the consensus formed by public opinion, professional re-viewers and sales. The gallery, then, is the nexus of the enigmatic, billion dollar art world, and it is that space that is dissected here.

 

 

 

136
“Gallery 32 & Its Circle”
Loyola Marymount University / Laband Art Gallery, 2009

Though never exclusively a “black gallery,” Gallery 32 evolved into a particularly dynamic venue where many of Los Angeles’s young African American artists could experiment and take chances. Jackson welcomed a diverse group of artists working in a wide range of media, including watercolor, drawing, painting, engraving, assemblage, sculpture, and jewelry. The themes and styles of the art on display were equally varied. It often became a site for artistic innovation and community activism. While it closed after only two years, the history of Gallery 32 offers a glimpse into the vibrancy of the Los Angeles art scene of the period.

 

137
“Economics of Visual Art: Market Practice and Market Resistance”
Amy Whitaker
Cambridge University Press, 2021

How can arts managers, artists, and art market observers approach the study of economics? Accompanied by hand-drawn illustrations, wide-ranging case studies, and expansive discussion resources, this interdisciplinary microeconomics primer engages with complex – and, at turns, political – questions of value and resourcefulness with the artist or manager as the decision-maker and the gallery, museum or studio as ‘the firm’. Whitaker arms the reader with analytic and creative tools that can be used in service to economic sustainability for artists and organizations

 

 

 

138
“Art and the Power of Placement”
Victoria Newhouse
Monacellip Press, 2005

Where and how an artwork is presented can enhance it or detract from it, or even alter its meaning. Depending on the display, painting and sculpture can denote a religious, political, decorative, or educational significance, as well as aesthetic and commercial value. Just how powerful the effect of placement can be is demonstrated in this book by in-depth case studies and comparisons of art installations around the world and from antiquity to the present.

 

 

 

139
“The Art Fair Story: A Rollercoaster Ride”
Melanie Gerlis
Lund Humphries, 2021

In just half a century of growth, the art fair industry has transformed the art market. Now, for the first time, art market journalist Melanie Gerlis tells the story of art fairs’ rapid ascent and reflects on their uncertain future. From the first post-war European art fairs built on the imperial 19th-century model of the International Exhibitions, to the global art fairs of the 21st century and their new online manifestations, it’s a tale of many twists and turns. The book brings to life the people, places, and philosophies that enabled art fairs to take root, examines the pivotal market periods when they flourished, and maps where they might go in a much-changed world.

 

 

 

140
“For Art’s Sake: Inside the Homes of Art Dealers”
Tiqui Atencio Demirdjian
Rizzoli, 2020
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A first of its kind, this elegant volume grants readers exclusive access to these houses and gives life to enthralling contrasts, echoes, and unexpected dialogues by juxtaposing unparalleled art collections with interiors designed by the most renowned names, such as Peter Marino, François Marcq, Jacques Grange, and Toshiko Mori. The result is a gallery of striking beauty, most of which is revealed to the public eye for the very first time and captured by photographer Jean-Francois Jaussaud. Demirdjian’s texts guide the reader through these private spaces, while excerpts from exclusive interviews with some of the spaces’ owners, such as Dominique Lévy, Brett Gorvy, Almine Rech, Barbara Gladstone, Kamel Mennour, and Axel and May Vervoordt, enrich this volume.

 


141
“Pow! Right in the Eye! Thirty Years behind the Scenes of Modern French Painting”
Berthe Weill / Edited by Lynn Gumpert
University Chicago Press, 2022
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Memoir of a provocative Parisian art dealer at the heart of the 20th-century art world, available in English for the first time. Berthe Weill, a formidable Parisian dealer, was born into a Jewish family of very modest means. One of the first female gallerists in the business, she first opened the Galerie B. Weill in the heart of Paris’s art gallery district in 1901, holding innumerable exhibitions over nearly forty years. Written out of art history for decades, Weill has only recently regained the recognition she deserves.

 

 


142
“Great Masters and Unicorns: From the Life of an Art Dealer Dinasty”
Konrad O. Bernheimer
Hatje Cantz, 2015
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In this vivid and fascinating narrative, Konrad Bernheimer tells the history of his family, a German-Jewish dynasty of art dealers, and gives insights into the exciting and unusual life of an art dealer between Lucas Cranach and Peter Paul Rubens.

 

 

 


143
“Navigating the Art World: Professional Practice for the Early Career Artist”
Delphian Gallery, 2020
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The process of entering the art world and forging a career can be fraught with obstacles to overcome, and so we have written this guide to make the journey as stress-free as possible. Navigating The Art World consists of a mix of advice and tips from ourselves, as well as gallerists, curators, artists, collectors, and other industry experts to give some insight on various ways to enhance your art career. Contributors include Maureen Paley, Jake Chapman, Andy Dixon, Kristin Hjellegjerde, Claus Busch Risvig, and many others.

 

 

144
“Pioneers of the Global Art Market: Paris-Based Dealer Networks, 1850-1950”
Edited by Christel H. Force
Bloomsbury Visual Arts, 2020
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Pioneers of the Global Art Market assembles original scholarship based on a close inspection of and fresh perspective on extant dealer records. It caters to an amplified curiosity concerning the emergence and workings of our unprecedented contemporary-centric and global art market.

 

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