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Art Markets, Agents and Collectors brings together a wide variety of case studies, based on letters and detailed archival research, which nuance the history of the art market and the role of the collector within it. Using diaries, account books and other archival sources, the contributions to this volume show how agents set up networks and acquired works of art, often developing the taste and knowledge of the collectors for whom they were working. They are therefore seen as important actors in the market, having a specific role that separates them from auctioneers, dealers, museum curators or amateurs, while at the same time acknowledging and analyzing the dual positions that many held. Each chronological period is introduced by a contextual essay, written by a leading expert in the field, which sets out the art market in the period concerned and the ways in which agents functioned. This book is an invaluable tool for those needing a broader introduction to the intricate workings of the art market.
Spaces of Connoisseurship explores the ‘who’, ‘where’ and ‘how’ of judging Old Master paintings in the nineteenth-century British art trade, via a comparison of family art dealers Thomas Agnew & Sons (“Agnew’s) and London’s National Gallery.
Between 1890 and 1939, the groups of men involved in running Britain's four main public art galleries - the National Gallery, the Tate Gallery, the Wallace Collection, and the National Portrait Gallery - were embroiled in continuous power struggles. Stewards of the Nation's Art examines the internal tensions between the galleries' administrative directors, the aristocrats dominating the boards of trustees, and those in the Treasury who controlled the funds as well as board appointments. Andrea Geddes Poole uses meticulous primary research from all four of these institutions to discuss changing ideas about class, education, and work during this period. The conflicts between aristocratic trustees and administrative directors were not only about the running of the galleries, but also reflected the era's strain between aristocratic amateurs and nouveau riche professionals. Stewards of the Nation's Art is an absorbing study that explores the extent to which the aristocracy was able to hold on to cultural power in an increasingly professional and meritocratic age.
As a result of the Napoleonic wars, vast numbers of Old Master paintings were released on to the market from public and private collections across continental Europe. The knock-on effect was the growth of the market for Old Masters from the 1790s up to the early 1930s, when the Great Depression put an end to its expansion. 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.