Enfilade

Distributed by The University of Chicago Press:

Charles Dellheim, Belonging and Betrayal: How Jews Made the Art World Modern (Waltham, MA: Brandeis University Press, 2021), 672 pages, ISBN: 978-1684580569, $40.

The story of dealers of Old Masters, champions of modern art, and victims of Nazi plunder.

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. Beautifully written and compellingly told, this story takes place on both sides of the Atlantic from the late nineteenth century to the present. It is set against the backdrop of critical transformations, among them the gradual opening of European high culture, the ambiguities of Jewish acculturation, the massive sell-off of aristocratic family art collections, the emergence of different schools of modern art, the cultural impact of World War I, and the Nazi war against the Jews.

Charles Dellheim is professor of history at Boston University. He is the author of The Face of the Past: The Preservation of the Medieval Inheritance in Victorian England and The Disenchanted Isle: Mrs. Thatcher’s Capitalist Revolution.

C O N T E N T S

Acknowledgments

Prologue: Reframing the Picture

Part I. The Old Masters’ New Masters
1  Horse Dealer to Art Dealer
2  Treasure Island
3  Assimilating Art
4  Acquiring Eyes
5  Metropolitan Man

Part II. Was Modernism Jewish?
6  Madman and Sons
7  Was Modernism Jewish?
8  First Impressionists
9  Berlin Calling
10  Between Bohemian and Bourgeois
11  The Right Banker

Part III. In The Middle
12  The Wheel of War
13  Brothers-in-Arms
14  Custody Battles
15  In the Market of Love
16  Brothers-in-Law
17  Gentlemen and Players

Part IV. To Have and Have Not
18  Artful Jews
19  Artless Jews
20  Next Year in Paris?
21  After the Fall
22  The Dispossessed
23  The Exiles and the Kingdom

Epilogue: A Crack in Everything

From Bloomsbury:

Adriana Turpin and Susan Bracken, eds., Art Markets, Agents, and Collectors: Collecting Strategies in Europe and the United States, 1550–1950 (London: Bloomsbury Visual Arts, 2021), 400 pages, ISBN: 978-1501348877, $160.

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.

Adriana Turpin is Academic Director and Head of Research, Institut d’Etudes Supérieures des Arts, Paris.

Susan Bracken is Associate Lecturer, Department of History of Art, Birkbeck University of London.

C O N T E N T S

List of Plates
List of Figures
Series Editor’s Introduction
Acknowledgements

Introduction — Jan Dirk Baetens, Susan Bracken, and Adriana Turpin

Part I: Agents in the Market, 1550–1720
I Introduction: Agents in the Art Market, 1550–1720 — Sandra van Ginhoven
1  Hans Albrecht von Sprinzenstein: An Austrian Art Agent in the Service of Archduke Ferdinand II of Tyrol — Adriana Concin
2  Marco Boschini and the Artists of His Time — Linda Borean
3  International Art Dealers, Local Agents, and Their Clients in Seventeenth-Century Habsburg Inner Austria — Tina Košak
4  James Thornhill as an Agent-Collector in Early-Eighteenth-Century Paris — Tamsin Lee-Woolfe

Part II: Agents in the Long Eighteenth Century
II Introduction: Hidden Figures – Agents in the Long Eighteenth Century — Bénédicte Miyamoto
5  Scottish Agents in Rome in the Eighteenth Century: The Case of Peter Grant — Maria Celeste Cola
6  ‘An Oracle for Collectors’: Philipp von Stosch and Collecting and Dealing in Art and Antiquities in Early-Eighteenth-Century Rome and Florence — Ulf R. Hansson
7  Shaping the Taste of British Diplomats in Eighteenth-Century Venice — Laura-Maria Popoviciu
8  Establishing Honest Trading Relationships: Academic Painters in the Art Market of Eighteenth-Century France — Christine Godfroy-Gallardo
9  The German Art Market in the Eighteenth Century — Renata Schellenberg
10  Playing the Market: Lord Yarmouth, the Prince Regent, and the Role of the Royal Agent, 1806–19 — Rebecca Lyons

Part III: The Agent in the Modern European Art Market, 1820–1950
III Introduction: The Art Market in Europe, 1820–1950 — Anne Helmreich
11  Edward Solly, Felice Cartoni, and Their Purchases of Paintings: A ‘Milord’ and His ‘Commissioner’ Anticipating a Transnational Network of Dealers, c. 1820 — Robert Skwirblies
12  ‘To see once again the glorious picture by Moretto before it is forever lost for Rome’: How an Artist’s Position in the Canon of Taste Was Enhanced in the Nineteenth Century — Corina Meyer
13  ‘It is not my fault if in all the private collections, the Dutch paintings surpass all’: Thoré-Bürger’s Promotion of Dutch Art in the Parisian Art Market of the 1860s — Frances Suzman Jowell
14  The Beurdeleys: A Dynasty of Curiosity Dealers and Their Networks — Camille Mestdagh
15  Collaboration and Resistance: The National Gallery, London, and the Italian Art Market at the End of the Nineteenth Century — Elena J. Greer
16  ‘I shall set at once about the work’: Some Agents in China — Nick Pearce
17  Promoting Themselves: Agents and Strategies in early Surrealism’s Art Market — Alice Ensabella

Part IV: Agents in the Market for American Collectors
IV Introduction: Collecting Alliances in the United States during the Long Nineteenth century — Inge Reist
18  Can a Leopard Change Its Spots? René Gimpel, Art Dealer — Diana J. Kostyrko
19  Samuel P. Avery’s Early Career: The Emergence of a Successful Art Agent, Art Dealer, and Art Expert — Madeleine Fidell-Beaufort
20  Dealing with Allegories of the Four Parts of the World: James Hazen Hyde (1876–1959) and His Network — Louise Arizzoli
21  Laying the Foundation: Harold Woodbury Parsons and the Making of an American Museum — MacKenzie Mallon
22  Convergences: Art History, Museums, and Scholar-Agent Martin Birnbaum’s Transatlantic Art for the Public — Julie Codell

Bibliography
Contributors
Index

From Bloomsbury:

Iris Moon and Richard Taws, eds., Time, Media, and Visuality in Post-Revolutionary France (London: Bloomsbury Visual Arts, 2021), 280 pages, ISBN: 978-1501348396 (hardback), £85 / $115. Digital formats also available.

The radical break with the past heralded by the French Revolution in 1789 has become one of the mythic narratives of our time. Yet in the drawn-out afterlife of the Revolution, and through subsequent periods of Empire, Restoration, and Republic, the question of what such a temporal transformation might involve found complex, often unresolved expression in visual and material culture.

This diverse collection of essays draws attention to the eclectic objects and forms of visuality that emerged in France from the beginning of the French Revolution through to the end of the July Monarchy in 1848. It offers a new account of the story of French art’s modernity by exploring the work of genre painters and miniaturists, sign-painters and animal artists, landscapists, architects, and printmakers, as they worked out what it meant to be ‘post-revolutionary’.

Iris Moon is Assistant Curator in the Department of European Sculpture and Decorative Arts at the Metropolitan Museum of Art, New York. She was awarded her PhD in 2013 from the Massachusetts Institute of Technology, and was previously Pre-Doctoral Fellow at the Getty Research Institute, Mellon Postdoctoral Fellow and Assistant Director for Mellon Initiatives at the Sterling and Francine Clark Art Institute, Jane and Morgan Whitney Fellow in the Department of European Sculpture and Decorative Arts at the Metropolitan Museum of Art, and Visiting Assistant Professor at the Pratt Institute, New York. She is author of The Architecture of Percier and Fontaine and the Struggle for Sovereignty in Revolutionary France (2016).

Richard Taws is Reader in the History of Art at University College London. He has been the recipient of fellowships from the Getty Foundation, Institute for Advanced Study, Princeton, and the Bard Graduate Center, New York, and he was awarded a Philip Leverhulme Prize in 2012. He is author of The Politics of the Provisional: Art and Ephemera in Revolutionary France (2013), and co-editor, with Genevieve Warwick, of Art and Technology in Early Modern Europe (2016). With a collective of scholars in various disciplines, he recently co-authored Interacting with Print: Elements of Reading in the Era of Print Saturation, 1700–1900 (2018).

C O N T E N T S

List of Plates
List of Figures
Notes on Contributors
Acknowledgments

Iris Moon and Richard Taws, Introduction
1  Jann Matlock — Miniature Style, 1789–1815
2  Iris Moon — Rupture, Interrupted: Rococo Recursions and Political Futures in Percier and Fontaine’s Napoleon Fan
3  Stephen Bann — A Draughtsman’s Contract: Court and Country in the work of Louis Lafitte
4  Katie Hornstein — Jean-Baptiste Huet’s Lions and the Look of the Captive in Post-Revolutionary France
5  Steven Adams — First as Farce, then as Tragedy: Art, Vaudeville, and Modern Painting after the French Revolution
6  Kathryn Desplanque — Monsieur Crouton, The Shop Sign Painter: The Unexceptional Artist in Early Nineteenth-Century Satirical Print
7  Daniel Harkett — Medium as Museum: Marie-Victoire Jaquotot’s Porcelain Painting and Post-Revolutionary Fantasies of Preservation
8  Susan L. Siegfried — The Cultural Politics of Fashion and the French Revolution of 1830
9  Richard Taws — A Storm is Coming: Georges Michel in the Wind

Index

From Princeton UP:

Tonio Andrade, The Last Embassy: The Dutch Mission of 1795 and the Forgotten History of Western Encounters with China (Princeton: Princeton University Press, 2021), 424 pages, ISBN: ‎ 978-0691177113, $35 / £28.

From the acclaimed author of The Gunpowder Age, a book that casts new light on the history of China and the West at the turn of the nineteenth century.

George Macartney’s disastrous 1793 mission to China plays a central role in the prevailing narrative of modern Sino-European relations. Summarily dismissed by the Qing court, Macartney failed in nearly all of his objectives, perhaps setting the stage for the Opium Wars of the nineteenth century and the mistrust that still marks the relationship today. But not all European encounters with China were disastrous. The Last Embassy tells the story of the Dutch mission of 1795, bringing to light a dramatic but little-known episode that transforms our understanding of the history of China and the West.

Drawing on a wealth of archival material, Tonio Andrade paints a panoramic and multifaceted portrait of an age marked by intrigues and war. China was on the brink of rebellion. In Europe, French armies were invading Holland. Enduring a harrowing voyage, the Dutch mission was to be the last European diplomatic delegation ever received in the traditional Chinese court. Andrade shows how, in contrast to the British emissaries, the Dutch were men with deep knowledge of Asia who respected regional diplomatic norms and were committed to understanding China on its own terms. Beautifully illustrated with sketches and paintings by Chinese and European artists, The Last Embassy suggests that the Qing court, often mischaracterized as arrogant and narrow-minded, was in fact open, flexible, curious, and cosmopolitan.

Tonio Andrade is professor of Chinese and global history at Emory University. His books include The Gunpowder Age: China, Military Innovation, and the Rise of the West in World History (Princeton), Lost Colony: The Untold Story of China’s First Great Victory over the West (Princeton), and How Taiwan Became Chinese: Dutch, Spanish, and Han Colonization in the Seventeenth Century. He lives in Decatur, Georgia.