Old Masters Worldwide: Markets, Movements and Museums, 17891939 (Contextualizing Art Markets)

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. Cover page Halftitle page Series page Title page Copyright page Contents List of Illustrations List of Abbreviations Series Editor’s Introduction Foreword Acknowledgements Introduction Susanna Avery-Quash and Barbara Pezzini Approaches Parameters of the Old Masters Key Stages in the Development of the Old Master Market, 1789–1939 Overview of the Book Notes Part One Developing European Networks, 1780–1894 1 The European Market for Italian Old Masters after Napoleon Conditions for a Thriving Art Market Places, Professions and Subjects Growing Knowledge and Public Collecting Differentiation and Commercialization of Collections The Rise of Professional Art Dealers Conclusion Notes 2 Old Masters from Rome to London: Alexander Day and Pietro Camuccini Dealing in Art in a Market in Flux Italian Masterpieces on the London Art Market Conclusion Notes 3 Selling Old Masters in Britain, France and the Netherlands: The Networking Strategies of John Smith John Smith’s International Contacts Fruitful Alliances: William Buchanan and Thomas Emmerson A Difficult Collaboration: Lambert Jan Nieuwenhuys Dealing in Amsterdam and Brussels: Albertus Brondgeest and Henri Joseph Héris Dealing in Paris: George Gunn Conclusion Notes 4 A Network of Agents: Buying Old Masters for the National Gallery, London Agents During the Early History of the National Gallery, 1824–55 Agents During the Directorship of Charles Eastlake, 1855–65 Agents During the Directorships of William Boxall and Frederic Burton, 1866–94 Conclusion Notes Part Two Gaining International Visibility and Expertise, 1850–1909 5 Old Masters versus Modern Art in Parisian Auctions What was Sold at Auction? Taste and Opportunity Modern versus Old The Protagonists Conclusion Notes 6 Agnew’s: From Modern Art to Old Masters Agnew’s: History and Stock The Market for ‘Early English’ Art The 1860s and 1870s: Auction Purchases and Modern British Art The 1880s and 1890s: Changes and Success in the Old Master Market Conclusion Notes 7 Taste or Opportunity?: Durand-Ruel and Spanish Old Masters An Early Interest in Goya, 1868–70 Later Acquisitions in Spain for American and European Collectors, 1890s–1910s Conclusion Notes 8 Authority and Expertise in the Old Master Market: Bode and Duveen The Powerful Synergy of Market and Scholarship Duveen and Bode: A Developing Friendship Bode on Duveen: ‘The Dictator of Art Dealers’ Conclusion Notes 9 Scholar, Dealer and Museum Man: Robert Langton Douglas in the International Old Master Market The Transition from Scholarship to Dealing Selling to Berlin Dealing from Dublin Conclusion Notes Part Three Casting a Wider Net, 1900–1939 10 A Missed Opportunity?: Goupil and the Old Masters Old Master Paintings and La Maison Goupil The Market for Old Masters in France The Market for Old Masters in England Goupil-Knoedler and the American Market for the Old Masters Old Masters in Prints Conclusion Notes 11 Knoedler and Old Masters in America The Challenges of the Old Master Market in America Uneasy Alliances? Purchasing in Joint Account Old Masters from Soviet Russia to the United States Conclusion Notes 12 Trust, Friendship and Politics in the Old Master Market: Duveen and the State Art Collection of the Kingdom of Yugoslavia A New Collection for a New State Duveen and Prince Paul: Friends with Benefi ts The Perfect Realm of Dedinje Conclusion Notes 13 Negotiating Old Masters for the Melbourne National Gallery An Ambitious Plan Why Old Masters? ‘Good enough for the Colonies’: Art in the Wrong Environment? Reconnecting the Colonies to ‘Home’ Conclusion Notes 14 The Distant Old Masters of South Africa Old Masters: Myths and Realities The Distant Old Masters Old Masters for South Africa Old Master Prints for South Africa Conclusion Notes Contributors Select Bibliography Index "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 for the first time 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 US, came into existence. Old Masters Worldwide explores the ways in which the pioneering practices of such businesses contributed to shape a changing market"-- Provided by publisher 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.0This book explores for the first time 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 US, came into existence. Old Masters Worldwide explores the ways in which the pioneering practices of such businesses contributed to shape a changing market