Books (Part 3)
Go back to Library.
“Goering’s Man in Paris: The Story of a Nazi Art Plunderer and His World”
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.
“Le marché de l’art sous l’occupation”
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)
“Tales from the Art Crypt: The Painters, the Museums, the Curators, the Collectors, the Auctions, the Art”
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.
“ARCO. Una historia de arte y mercado”
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)
“Old Masters Worldwide. Markets, Movements and Museums, 1789–1939”
Susanna Avery-Quash & Barbara Pezzini (eds.)
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.
“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.
“Women, Art and Money in England, 1880-1914: The Hustle and the Scramble”
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.
“Art and the Empire City. New York 1825-1861”
Catherine Hoover Voorsanger and John K. Howat (eds.)
Metropolitan Museum of Art, 2000
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.
“Sublime Economy: On the Intersection of Art and Economics”
Jack Amariglio, Joseph W. Childers, Stephen E. Cullenberg (eds)
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.
“The Art Collector’s Handbook: The Definitive Guide to Acquiring and Owning Art”
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.
“Antiquaires: The Finest Antique Dealers in Paris”
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.
“You can be a Wealthy / Cash-Strapped Art Collector in the Digital Age”
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.
“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)
“Alexander the Great: The Iolas Gallery 1955-1987”
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.
“The Tastemakers: British Dealers and the Anglo-Gallic Interior, 1785–1865”
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.
“Inventing the Modern Artist: Art and Culture in Gilded Age America”
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.
“A Year in the Art World. An insider’s View”
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.
“Smuggling the Renaissance: The Illicit Export of Artworks Out of Italy, 1861-1909”
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.
“Le marché de la peinture en France
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)
“The Art Rules: Wisdom and Guidance from Art World Experts”
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.
“High Art Down Home. An Economic Ethnography of a Local Art Market”
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.
“Reframing Japonisme: Women and the Asian Art Market in Nineteenth-Century France (1853–1914)”
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.
“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”
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.
“Duveen Brothers and the Market for Decorative Arts, 1880-1940”
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.
“Pierre Matisse. Un marchand d’art à New York”
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.
“Give Me the Now: An Autobiography”
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.
“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.
“Latinx Art: Artists, Markets, and Politics”
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 de marché et internationalisation”
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.
“Networking Surrealism in the USA. Agents, Artists, and the Market”
Julia Drost, Fabrice Flahutez, Anne Helmreich, Martin Schieder (ed.)
Arthistoricum.net / Universität Heidelberg, 2019
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?”
“Spaces of Experience: Art Gallery Interiors from 1800 to 2000”
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.
“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.
“Presència de Joan Prats”
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.
“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.
“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.
“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.
“Economics of Visual Art: Market Practice and Market Resistance”
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
“Art and the Power of Placement”
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.
“The Art Fair Story: A Rollercoaster Ride”
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.
“For Art’s Sake: Inside the Homes of Art Dealers”
Tiqui Atencio Demirdjian
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.
“Pow! Right in the Eye! Thirty Years behind the Scenes of Modern French Painting”
Berthe Weill / Edited by Lynn Gumpert
University Chicago Press, 2022
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.
“Great Masters and Unicorns: From the Life of an Art Dealer Dinasty”
Konrad O. Bernheimer
Hatje Cantz, 2015
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.
“Navigating the Art World: Professional Practice for the Early Career Artist”
Delphian Gallery, 2020
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.
“Pioneers of the Global Art Market: Paris-Based Dealer Networks, 1850-1950”
Edited by Christel H. Force
Bloomsbury Visual Arts, 2020
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.
“Les stars de l’art contemporain: notoriété et consécration artistiques dans les arts visuels”
CNRS Éditions, 2013
The world of contemporary art has not escaped the popularity of the charts either. Bruce Nauman, Gerhard Richter, Georg Baselitz, Jeff Koons or Damien Hirst prance in the Kunstkompass, a sort of hit parade of the most prominent artists. The star gallery owner Larry Gagosian or the mega-collector François Pinault have the honors of the Power 100, ranking of the most influential personalities in art. Although often quoted and decried, these numerous awards are poorly known. What criteria are they based on and how are they constructed? Who is in their columns and how are the rankings changing over time? How is an artist’s reputation developed? (own translation from French)
“The Devil in the Gallery: How Scandal, Shock, and Rivalry Shaped the Art World”
Rowman & Littlefield, 2021
The Devil in the Gallery is a guided tour of the history of art through it scandals, rivalries, and shocking acts, each of which resulted in a positive step forward for art in general and, in most cases, for the careers of the artists in question. In addition to telling dozens of stories, lavishly illustrated in full color, of such dramatic moments and arguing how they not only affected the history of art but affected it for the better, we will also examine the proactive role of the recipients of these intentionally dramatic actions: the art historians, the critics and even you, the general public.
“Kings and Connoisseurs. Collecting Art in Seventeenth-century Europe”
Yale University Press, 1995
Following the English Civil War, the execution of Charles I and the public auction of his collection and those of his associates, large numbers of works of art of the finest quality came on to the market and were sought after with enthusiasm by many of the richest and most important figures in Europe. This new and powerful interest in acquiring pictures transformed the way in which painting was viewed within the context of European culture, and is a story of greed, intrigue and passion.
“Forty Years: Elizabeth Leach Gallery”
Edited by Elizabeth Leach Gallery
Published by Lucia/Marquand
The comprehensive publication features essays by friends and collaborators, an interview with Elizabeth Leach, and four decades of exhibitions, artistic endeavors and community connections. Forty Years highlights the rigorous energy and tremendous dedication that grew a regional art space into an internationally recognized gallery that has presented over 800 exhibitions to date.
“Daniel-Henry Kahnweiler. Dealer and Publisher”
Museu Picasso Barcelona
The publication that accompanies this exhibition focuses on the relationship between Daniel-Henry Kahnweiler and Catalonia, through two artists he supported—the sculptor Manolo Hugué and the painter Josep de Togores—but specially through his close relationship with Barcelona’s @salagaspar, without which it would not have been possible for the Barcelona and the Catalonian to admire Picasso’s work in Spanish territory during the dictatorship.
“Galerie Chantal Crousel. Swear That You’ll Play”
Galerie Chantal Crousel & Is—Land Édition, 2020
Marking the 40th anniversary of Galerie Chantal Crousel, this extensive publication of over 700 pages looks back at the history of the gallery, considered as a major actor in the contemporary art scene, both in France and abroad. To accompagny its release, a selection of the archives is available Swear That You’ll Play dedicated webpage.
“Chercheurs d’Art: les marchands d’arts hier et aujourd’hui”
This book tells the life of seven characters, seven adventurers who invented the trade, then transformed it. Around 1860, Théodore Duret revealed Japan to the Impressionists, and brought them to life, the “rejected” ones. Shortly after, Paul Durand-Ruel opened the American market to them. Following him, Ambroise Vollard developed the genius of sales, D H Kahnweiler perceived the modern world with Picasso and the Cubists, while Peggy Guggenheim combined instinct and fortune to bring together Duchamp, Ernst or Pollock and set up her own museum. Little by little, the art dealer also became an advertiser, when Charles Saatchi invested in Warhol, Kiefer and Hirst, exhausting the genius of provocation, while Larry Gagosian built an empire by starring a Basquiat or a Koons. (own translation from French)
“Belonging and Betrayal: How Jews Made the Art World Modern”
Brandeis University Press, 2021
Since the late-1990s, the fate of Nazi stolen art has become a cause célèbre. In Belonging and Betrayal, Charles Dellheim turns this story on its head by revealing how certain Jewish outsiders came to acquire so many old and modern masterpieces in the first place – and what this reveals about Jews, art, and modernity. This book tells the epic story of the fortunes and misfortunes of a small number of eminent art dealers and collectors who, against the odds, played a pivotal role in the migration of works of art from Europe to the United States and in the triumph of modern art.
“Memoir of An Art Gallery”
Introduction by Ingrid Schaffner
MFA Publicacions, 2003 (reprint of 1977 original)
Julien Levy opened his New York gallery in 1931 and exhibited works by Dalí, Ernst, Cornell, Giacometti, Calder, Gorky, and other luminaries, giving many of them their first shows. This anecdotal memoir recounts Levy’s intimate dealings with some of the most innovative figures of his generation—from fishing with André Breton to visiting Arshile Gorky in the days before the painter’s suicide. By turns humorous and moving, it is also one of the most enjoyable works ever written about the pivotal time when Manhattan became the art capital of the world.
“Inventing Downtown: Artist-Run Galleries in New York City, 1952-1965”
Edited by Grey Art Gallery
This enlightening and thought-provoking look at New York City’s postwar art scene focuses on the galleries and the artists that helped transform American art. While the achievements of New York City’s most renowned postwar artists—de Kooning, Pollock, Rothko, Franz Kline— have been studied in depth, a large cadre of lesser-known but influential artists came of age between 1952 and 1965. (…) Focusing on innovative artist-run galleries, this book invites readers to reevaluate the period—uncovering its diversity, creativity, and nuances, and tracing the spaces’ influence during the decades that followed. Inventing Downtown charts the development of artist-run galleries in Lower Manhattan from the early 1950s to the mid-1960s, showing how the area’s multicultural spirit played a major role in shaping the artworks exhibited there.
“The Great Collectors”
Best known for his writings on the art history of world-famous painters, renowned art historian Pierre Cabanne also researched the history of collecting. In this book from 1963 he profiled twelve collectors and the motives that drove them, from Catherine the Great down to Peggy Guggenheim, exploring the formation of some of the greatest private art collections of all time. The listed collectors are: Catherine the Great, Lord Hertford and Sir Richard Wallace, Victor Choquet, Paul Durand-Ruel, Samuel Courtauld, M. Cognacq, Emil Georg Bührle, D. G. van Beuningen, Dr. Barnes, Dr. Girardin, Georges Wildenstein and Peggy Guggenheim.
“Fernando Vijande. Retrat: 1971-1987”
Edited by Fundació Suñol
This catalogue was published to accompany the 2017’s exhibition organised by the Barcelona-based Fundació Suñol. The exhibition the Fundació Suñol is now dedicating to the art dealer Fernando Vijande offers us a complex portrait of a unique and decisive individual in Spanish contemporary art, accentuating the unarguable creative potential of a projected future that was already being played out in the present tense.
“The Guardians of Art. Conversations with Major Collectors”
La Fábrica, 2023
Dani Levinas brings together, in this book, thirty-four interviews with the great figures of contemporary collecting, heterogeneous personalities who talk about their motivations for collecting and their ways of generously sharing their passion for art with the public. Levinas is, in turn, a great collector who, in this context, appears to us as a collector’s collector. In his words, what distinguishes these men and women is their way of seeing the world. (verso cover by Manuel Borja-Villel)
“Desigualdad de género en el sistema del arte en España”
Marta Pérez Ibáñez, Carolina Rodovalho and Semíramis González
Menades Editorial, 2021
Although there is a high number of professional women artists active in Spain and it is a group with high education, training and specialization, there is an evident imbalance in visibility and access to the mechanisms of distribution, legitimation and commercialization of the artwork with respect to male artists. The intention of this study, developed by Marta Pérez Ibáñez, Carolina Rodovalho and Semiramis González is to offer a critical vision of this problem, relying mainly on primary sources: the artists themselves, gallery owners and other professionals and agents of the system and the art market art in Spain.
“America and the Art of Flanders. Collecting Paintings by Rubens, Van Dyck, and Their Circles”
Edited by Esmée Quodbach
Penn State University Press, 2020
The United States possesses extraordinary holdings of seventeenth-century Flemish paintings. In this pioneering and richly illustrated volume, twelve scholars and museum curators reveal the origins of these collections by examining the American approach to and interest in the collecting of Flemish art over the course of the nineteenth and twentieth centuries. Chronicling in lively detail the roles played by individuals in forming private and public collections, the essays in this volume illuminate how and why collectors and museums in the United States embraced the Flemish masters with such enthusiasm.
“Uncharted Territory: Culture and Commerce in Hong Kong’s Art World”
Hong Kong has the once-in-a-generation opportunity to assert itself as the creative and cultural hub of Asia, and to rival the established centres of New York and London. In providing an angle unique to the city, Hong Kong could play a pivotal role in redefining the concept of a ‘global’ art world. But, is it ready to take on the challenge. Magnus Renfrew, art expert and one of the driving forces behind the city’s ascent in the art world, outlines the recent past and paints the future of Hong Kong’s creative scene, all while reflecting on his own experiences and the new buzz around Hong Kong’s endless possibilities.
“The Most Fortunate Man of his Day’ Sir Richard Wallace: Connoisseur, Collector, Philanthropist”
Wallace Collection, 2018
Born in 1818, Wallace was an exceptionally generous and empathetic philanthropist during a period renowned for its strong philanthropic ethos. He was already an acknowledged connoisseur when, in 1870, he unexpectedly inherited the celebrated art collection of Richard Seymour-Conway, 4th Marquess of Hertford, together with a great wealth. This remarkable windfall enabled him to indulge his twin passions: collecting, and enriching public education through art.
“Configuring the New Lima Art Scene: An Anthropological Analysis of Contemporary Art in Latin America”
This book examines the contemporary art world in Latin America from an anthropological perspective and recognises the recent reconfiguration of Lima’s art scene. @giuliana_borea traces the practices of artists, curators, collectors, art dealers and museums, identifying three key moments in this reconfiguration of contemporary art in Lima: artistic explorations and new curatorial narratives; museum reinforcement and the strengthening of Latin American art networks; and of the rise of the art market.
“Baroque Naples and the Industry of Painting. The World in the Workbench”
Christopher R. Marshall
Yale University Press, 2018
The book presents a new reading of 17th-century Italian Baroque art that explores the social, material, and economic history of painting, revealing how artists, agents, and the owners of artworks interacted to form a complex and mutually sustaining art world. Through such topics as artistic rivalry and anti-foreign labour agitation, art dealing and forgery, cultural diplomacy, and the rise of the independently arranged art exhibition, Christopher R. Marshall illuminates the rich interconnections between artistic practice and patronage, business considerations, and the spirit of entrepreneurialism in Baroque Italy.
“New York’s New Edge: Contemporary Art, the High Line, and Urban Megaprojects on the Far West Side”
David Halle and Elisabeth Tiso
University of Chicago Press, 2016
The authors offer a deep analysis of the transforming district in ‘New York’s New Edge’, and the result is a new understanding of how we perceive and interpret culture and the city in New York’s gallery district. From individual interviews with gallery owners to the behind-the-scenes politics of preservation initiatives and megaprojects, the book provides an in-depth account of the developments, obstacles, successes, and failures of the area and the factors that have contributed to them.
“Championing Irish Art: The Mary and Alan Hobart Collection”
Edited by Irish Museum of Modern Art, 2023
For almost half a century, Mary and Alan Hobart acted as influential taste-formers and deal-makers, advising public and private collectors and exhibiting and trading in Irish art. In line with current international interest in the role of dealers and galleries in how art is created, curated and collected, this publication accompanies an exhibition that explores Pyms Gallery’s crucial role in the development of an interest in, and market for, Irish art.