Jewish Dealers and the European Art Market, c. 1860–1940 Negotiating Cultural Modernity
Produktdetaljer
Om bidragsyterne
Silvia Davoli is Curator at Strawberry Hill House and Garden (The Horace Walpole Collection), UK and Research Associate at the University of Oxford, UK. Specialising in the history of collecting, connoisseurship and provenance, Silvia has published numerous articles internationally on Italian, French and English collecting.
Tom Stammers was Associate Professor of Modern European Cultural History at the University of Durham; in September 2024 he became Reader in Cultural and Art History at The Courtauld Institute of Art, UK. A specialist in collecting, Tom has published widely on French, British and European cultural history in the long 19th century.
The impact of Jewish contributions to modern European art is substantial. However, the potential to perpetuate longstanding anti-Semitic tropes has historically deterred scholarly investigation into the pivotal role of Jewish art dealers in the production, promotion, and distribution of art. This volume’s meticulously researched essays address numerous gaps within an emerging interdisciplinary field.
Christian Huemer, Director of the Belvedere Research Centre, Vienna, Austria
Before the tragedy of the Holocaust, many of the leading art and antiques dealers across Europe were Jewish, establishing dynamic cross-Channel, international and transatlantic networks. Aside from a few famous examples, however, we are only at the beginning of exploring the diversity of Jewish dealers' commercial and cultural worlds, and reflecting on the particular conditions that made possible their dramatic expansion within the profession.
Adopting a wider geography than any previous study, this book brings together a team of distinguished international contributors to consider Jewish art dealers as an interconnected cohort, tied together by common strategies and a shared vulnerability. After an extended historiographical introduction, the volume presents case studies and trends from 1860-1940, including: Jewish family businesses in Western Europe; the role of Jews as mediators of art from East Asia; the antisemitism and suspicion faced by Jewish dealers; Jews as theorists, exhibition makers and promoters of modern art ; and the geographical mobility and professional reinvention of Jewish dealers in times of economic and political crisis.
With a wide variety of illustrations, including paintings, decorative arts, historic photographs and archival material, the volume adopts a mix of methodological approaches to analyse a key chapter in Jewish cultural history and in the history of the international art market.
Includes Afterword by Charles Dellheim, author of Belonging and Betrayal: How Jews Made the Art World Modern (2021).
List of Illustrations
List of Contributors
Acknowledgements
Introduction: What Makes Jewish Dealers Jewish?, Tom Stammers (The Courtauld Institute of Art, UK) and Silvia Davoli (Strawberry Hill House and garden/Oxford University, UK)
1. Art Dealing in “the hands of Abraham’s posterity”: Jewish Art Dealers in Victorian London, Krystyna Matyjaszkiewicz (Independent Scholar, UK)
2. Moisè Michelangelo Guggenheim (1837–1914) in Venice: Dealer, Manufacturer, Decorator, Collector and Philanthropist, Nicholas Penny (Former director of the National Gallery, UK)
3. Mannheim, Father and Son, in Paris (1817–1910): From German Jewish Immigrant to Leaders of the Art Market, Camille Mestdagh (Université Lumière Lyon2, France) and Léa Saint-Raymond (Sorbonne Université, France)
4. 'The Only Man in Europe’: Charles Davis, an Anglo-Jewish Dealer, and the Commercial Cousinhood, Diana Davis (Buckingham University, UK)
5. The Samuel Family as Dealers in East Asian Art and Curios, 1878–1926, William Clarence Smith (London School of Economics, UK)
6. Florine Ebstein Langweil: Jewish Networks in the East Asian Art Trade, Elizabeth Emery (Montclair University, USA)
7. Antisemitism and the Jewish Art Dealer: The Case of Siegfried Bing and Julius Meier-Graefe, Gabriel Weisberg (Minnesota University, USA)
8. Exterminating Cubism: Bochisme, L’Art Juif and the Vilification of Daniel-Henry Kahnweiler, Fay Brauer (University of East London School of Art, UK)
9. Léonce Rosenberg’s Cubism: Jewish Mediterraneanism and the Question of Assimilation, Giovanni Casini (University of Turin, Italy)
10. Alfred Flechtheim and the Flechtheim Galleries, 1913–1933, Malcolm Gee (Northumbria University, UK)
11. A Parisian in London, and New York: Genesis of a Modern Art Dynasty, Gimpel Fils, Diana Kostyrko (Australia National University, Australia)
12. Conflicted Modernisms: Martin Birnbaum’s Transnational Exhibitions, 1910–26, Julie Codell (Arizona University, USA)
13. Rags to Riches: Becoming Leo Nardus, Esmee Quodbach (Independent scholar, USA)
14. The Mysterious Birtchansky Brothers: Moscow-Paris-The French Riviera, Shlomit Steinberg (Israel Museum, Israel)
Afterword, Why the Jews?, Charles Dellheim (Boston University, USA)
Index
This series presents original research that reconceives the scope and function of art markets throughout history by examining them in the context of broader institutional practices, knowledge networks, social structures, collecting activities, and creative strategies. In many cases, art market activities have been studied in isolation from broader themes within art history, a trend that has tended to stifle exchange across disciplinary boundaries. Contextualizing Art Markets seeks to foster increased dialogue between art historians, artists, curators, economists, gallerists, and other market professionals by contextualizing art markets around the world within wider art historical discourses and institutional practices.
The series has been developed in the belief that the reciprocal relation between art and finance is undergoing a period of change: artists are adopting innovative strategies for the commercial promotion of their work, auction houses are expanding their educational programmes, art fairs are attracting unprecedented audience numbers, museums are becoming global brands, private galleries are showing increasingly ‘curated’ exhibitions, and collectors are establishing new exhibition spaces. As the divide between public and private practices narrows, questions about the social and ethical impact of market activities on the production, collection, and reception of art have become newly pertinent. By combining trends within the broader discipline of art history with investigations of marketplace dynamics, Contextualizing Art Markets explores the imbrication of art and economics as a driving force behind the aesthetic and social development of the art world. We welcome proposals that debate these issues across a range of historical periods and geographies.
‘Contextualizing Art Markets, directed and edited by Kathryn Brown, is a major new series at Bloomsbury Academic examining the confluences of markets, monetization, institutional practices, gender politics, colonialist practices, and the parallel pursuit of aesthetic values.’
– Dix-Neuf (Taylor & Francis), 2023
Editorial Board:
Véronique Chagnon-Burke, Women Art Dealers Digital Archives (co-founder), USA
Christel H. Force, independent scholar, previously curator, the Metropolitan Museum of Art, NY, USA
Charlotte Galloway, Australian National University, Australia
Mel Jordan, Royal College of Art, UK
Alain Quemin, Université Paris-8, France
Mark Westgarth, University of Leeds, UK
Produktdetaljer
Om bidragsyterne
Silvia Davoli is Curator at Strawberry Hill House and Garden (The Horace Walpole Collection), UK and Research Associate at the University of Oxford, UK. Specialising in the history of collecting, connoisseurship and provenance, Silvia has published numerous articles internationally on Italian, French and English collecting.
Tom Stammers was Associate Professor of Modern European Cultural History at the University of Durham; in September 2024 he became Reader in Cultural and Art History at The Courtauld Institute of Art, UK. A specialist in collecting, Tom has published widely on French, British and European cultural history in the long 19th century.