Conference | The Art Market, Collectors, and Agents
From the Seminar on Collecting and Display:
The Art Market, Collectors, and Agents: Then and Now
The Warburg Institute, London, 13 July 2016
Registration due by 11 July 2016
Organized by the Collecting and Display Seminar Group, which is based at the Institute of Historical Research in London. For booking, please email agent.candd2016@gmail.com. A further 2-day conference will take place in Paris in October 2016.
10.00 Registration and coffee
10.15 Introduction
10.30 Session I
• Annemarie Jordan Gschwend — Statesman, Art Agent and Connoisseur: Hans Kevenhüller, Imperial Ambassador at the Court of Philip II of Spain
• Taryn Marie Zarrillo — Marco Boschini and Paolo del Sera: Art Dealers, Advisors and Associates in Seicento Venice
• Michael Wenzel — Sales Strategies of Philipp Hainhofer’s Art Cabinets: The Self-Marketing of Artworks in Early Seventeenth-Century Germany
• Sandra van Ginhoven — The Business Strategies of Guilliam Forchondt’s Art Dealership in Antwerp, 1643–78
• Ulf R. Hansson — ‘An Oracle for Collectors’: Philipp von Stosch and the Collecting and Dealing in Antiquities in Early Eighteenth-Century Rome and Florence
13.00 Lunch
14.00 Session 2
• Maria Celeste Cola — Scottish Agents in Rome in the Eighteenth Century: The Case of Peter Grant
• Christine Godfroy-Gallardo — Establishing Honest Trading Relationships: The Guillaume Martin Case
• Robert Skwirblies — Edward Solly, Felice Cartoni and Their Purchases of Paintings: A ‘Milord’ and His ‘Commissioner’ Creating a Transnational Network of Dealers, ca. 1820
• Lukas Fuchsgruber — Otto Mündler, 9 rue Laval, Paris
• Lynn Catterson — The Mysterious Maurice de Bosdari, a Would-Be Agent of Stefano Borden
16.30 Tea
17.30 Session 3
• Julie Codell — Agent-Scholar Martin Birnbaum (1878–1970): Modernizing the Agent
• Nicola Foster — The Case of Uli Sigg: Collector, Agent, Advisor and Promoter of Contemporary Chinese Art
18.30 Keynote Lecture
• Sophie Raux — Mapping the Agents of the Art Market in Early Modern Europe: An Experimental Research Database
19.15 Reception
New Book | Court, Country, City: British Art and Architecture, 1660–1735
Distributed by Yale UP:
Mark Hallett, Nigel Llewellyn, and Martin Myrone, eds., Court, Country, City: British Art and Architecture, 1660–1735 (New Haven: Yale Center for British Art, 2016), 544 pages, ISBN: 978-0300214802, £55 / $85.
The late 17th and early 18th centuries saw profound changes in Britain and in its visual arts. This volume provides fresh perspectives on the art of the late Stuart and early Georgian periods, focusing on the concepts, spaces, and audiences of court, country, and city as reflected in an array of objects, materials, and places.
The essays discuss the revolutionary political and economic circumstances of the period, which not only forged a new nation-state but also provided a structural setting for artistic production and reception. Contributions from nineteen authors and the three editors cover such diverse topics as tapestry in the age of Charles II and painting in the court of Queen Anne; male friendship portraits; mezzotint and the exchange between painting and print; the interpretation of genres such as still life and marine painting; the concept of remembered places; courtly fashion and furnishing; the codification of rules for painting; and the development of aesthetic theory.
Mark Hallett is director of studies at the Paul Mellon Centre for Studies in British Art. Nigel Llewellyn is former head of research, and Martin Myrone is lead curator, pre-1800 British art, at Tate Britain.
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C O N T E N T S
Acknowledgments
Introduction
• Mark Hallett, Through Vertue’s Eyes: Looking Again at British Art and Architecture, 1660–1735
Spaces, Stages, Arenas
• Richard Stephens, The Palace of Westminster and the London Market for Pictures
• Christine Stevenson, Making Empire Visible at the Second Royal Exchange, London
• Anya Matthews, Honour, Ornament, and Frugality: The Reconstruction of London’s Livery Halls after the Great Fire
• Sebastian Edwards, Fashioning and Furnishing for Performance: The Rise and Fall of the State Bedchamber in the English Royal Palace
• Anthony Geraghty, Castle Howard and the Interpretation of English Baroque Architecture
Kings, Queens, Commanders
• Richard Johns, Antonio Verrio and the Triumph of Painting at the Restoration Court
• Matthew Hargraves, The Public Image of John Churchill, First Duke of Marlborough, 1702–1708
• Lydia Hamlett, Rupture through Realism: Sarah Churchill and Louis Laguerre’s Murals at Marlborough House
• Tabitha Barber, ‘All the World is ambitious of seeing the Picture of so Great a Queen’: Kneller’s State Portraits of Queen Anne and the Pictorial Currency of Friendship
• Claudine van Hensbergen, Public Sculpture of Queen Anne: The Minehead Commission (1715)
• David Solkin, The English Revolution and the Revolution of History Painting: The Bowles Brothers’ Life of
Charles I
Networks, Shared Practices, Communities
• Diana Dethloff, Lely, Drawing, and the Training of Artists
• Helen Pierce, ‘This Ingenious young Gent and excellent artist’: William Lodge (1649–1689) and the York Virtuosi
• Tim Batchelor, ‘Deceives in an acceptable, amusing, and praiseworthy fashion’: Still Life, Illusion, and Deception
• Jacqueline Riding, ‘As Session of Painters’: Legacy, Succession, and the Prospects for British Portraiture after Kneller
Prospects, Print, Empire
• John Bonehill, The View from the Gentleman’s Seat
• Emily Mann, Thirty Different Drafts of Guinea: A Printed Prospectus of Trade and Territory in West Africa
• Peter Moore, Dialogues in Paint and Print: Mezzotint Portraiture and Intermedial Exchange
Theory, Artwords, Periodization
• Caroline Good, A Royal Subject: William Sanderson’s Guide to Painting on the Eve of the Restoration
• Martin Myrone, Engraving’s Third Dimension
• Nigel Llewellyn, A Taxonomy for the Invisible: Categories for English Funeral Monuments
Notes on Contributors
Credits
Index
Enfilade 
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