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Studies in the History of Collecting & Art Markets

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Studies in the History of Collecting & Art Markets Art Crossing Borders Studies in the History of Collecting & Art Markets Editor in Chief Christian Huemer (Belvedere Research Center, Vienna) Editorial Board Malcolm Baker (University of California, Riverside) Ursula Frohne (Westfälische Wilhelms-Universität Münster) Daniela Gallo (Université de Lorraine, Nancy) Hans van Miegroet (Duke University, Durham) Inge Reist (The Frick Collection, New York) Adriana Turpin (Institut d’Études Supérieures des Arts, London) Filip Vermeylen (Erasmus University, Rotterdam) VOLUME 6 The titles published in this series are listed at brill.com/hcam Art Crossing Borders The Internationalisation of the Art Market in the Age of Nation States, 1750–1914 Edited by Jan Dirk Baetens Dries Lyna LEIDEN | BOSTON This is an open access title distributed under the terms of the prevailing CC-BY-NC License at the time of publication, which permits any non-commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Cover illustration: Giuseppe de Nittis, The National Gallery, 1877. Oil on canvas, 70 × 105 cm. Paris, Petit Palais, Musée des Beaux-Arts de la Ville de Paris. © Julien Vidal – Petit Palais – Roger-Viollet The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/2019001443 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface. ISSN 2352-0485 ISBN 978-90-04-29198-0 (hardback) ISBN 978-90-04-29199-7 (e-book) Copyright 2019 by the Editors and Authors. Published by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi, Brill Sense, Hotei Publishing, mentis Verlag, Verlag Ferdinand Schöningh and Wilhelm Fink Verlag. Koninklijke Brill NV reserves the right to protect the publication against unauthorized use and to authorize dissemination by means of offprints, legitimate photocopies, microform editions, reprints, translations, and secondary information sources, such as abstracting and indexing services including databases. Requests for commercial re-use, use of parts of the publication, and/or translations must be addressed to Koninklijke Brill NV. This book is printed on acid-free paper and produced in a sustainable manner. Contents Acknowledgements vii List of Figures ix Contributors xiii Introduction: Towards an International History of the Nineteenth-Century Art Trade 1 Jan Dirk Baetens and Dries Lyna 1 The Education of the Art Market: National Schools and International Trade in the “Long” Nineteenth Century 15 Jan Dirk Baetens and Dries Lyna 2 ‘Directions to Know a Good Picture’: Marketing National School Categories to the British Public in the “Long” Eighteenth Century 64 Bénédicte Miyamoto 3 Creating Cultural and Commercial Value in Late Nineteenth-Century New York Art Catalogues 99 Leanne Zalewski 4 (Inter)national Art: The London Old Masters Market and Modern British Painting (1900–14) 127 Barbara Pezzini 5 The Artistic Trade and Networks of the Italian Community in London Around 1800 164 Camilla Murgia 6 Berlin – Paris: Transnational Aspects of French Art Auctions in the Middle of the Nineteenth Century 193 Lukas Fuchsgruber 7 Appropriation as a Form of Nationalism? Collecting French Furniture in the Nineteenth Century 220 Adriana Turpin vi Contents 8 The Modern Italian Sculptor as International Entrepreneur: The Case of Medardo Rosso (1858–1928) 256 Sharon Hecker 9 Art Reproduction and the Nation: National Perspectives in an International Art Market 300 Robert Verhoogt Epilogue: Reframing the “International Art Market” 327 Pamela Fletcher and Anne Helmreich Index 343 Acknowledgements More than five years ago, we were appointed as lecturers at Radboud University Nijmegen in the Netherlands—two Belgian ‘migrants’ in an internationalis- ing European knowledge market. Despite our different academic affiliations, to the Art History/Literary and Cultural Studies and History Departments, re- spectively, it was our shared interest in the art market of the eighteenth and nineteenth centuries that brought us together and made us pool our efforts. Perhaps that should not come as a surprise, given that crossdisciplinarity has been a key element of the field of art market studies since its very concep- tion. Exploratory talks, many of which took place during our long commute between Antwerp—our shared Belgian home city—and Nijmegen, eventually led to the organisation of a day-long session at the international conference ‘Europe and Its Worlds: Cultural Mobility in, to and from Europe’ at our new home institution in October 2013, which we baptised ‘Art Crossing Borders: The Birth of an Integrated Art Market in the Age of Nation States (Europe, ca. 1780–1914).’ Afterwards, and again during long drives to and from our universi- ty, that same session slowly but surely (but surely slowly) grew into the volume that the reader presently holds. Our session at the 2013 conference—and therefore this volume—would not have been possible without the Institute for Historical, Literary and Cultural Studies (HLCS) at Radboud University Nijmegen, which organised the confer- ence. We would like to thank both its former and current research directors, André Lardinois and Olivier Hekster, for their support, as well as Maarten Depourcq, who coordinated the event. We also owe a debt of gratitude to the Departments of Art History, History and Literary and Cultural Studies at our university, whose generous contributions—together with the Institute’s— made the publication of this volume possible. In addition, the History Department awarded us an extra student assistant, Rowin Jansen, who helped us with some of the preparatory editing work. The acquisitions editor of Brill Publishers, Liesbeth Hugenholz, guided us skillfully through the entire process, and we are grateful to Editor-in-Chief Christian Huemer, who invited us to join his series History of Collecting and Art Markets. Several other people helped us along the way, including experts Annemieke Hoogenboom (Utrecht University) and Filip Vermeylen (Erasmus University Rotterdam), respondents in our session at the 2013 conference, whose useful comments and remarks nourished our first drafts. Brill’s anony- mous referee also provided us with many useful suggestions, which have also viii Acknowledgements contributed, we feel, to the quality of this volume and its chapters. We are also grateful to Cara Jordan for her thorough editing work. Last, but certainly not least, we would like to thank all of our authors for their hard work and their almost angelic patience: it is thanks to their efforts and inspiring ideas that this volume saw the light. Jan Dirk Baetens and Dries Lyna Figures 1.1 Lawrence Alma-Tadema, The Picture Gallery, 1874. Oil on canvas, 218 × 166 cm. Towneley Hall Art Gallery & Museum. © Courtesy of Burnley Borough Council, Towneley Hall Art Gallery & Museum 19 1.2 Anon., Recollections of the Royal Academy No. II, in Fun Magazine 26 (23 May 1874): 212. © Courtesy of George A. Smathers Libraries, University of Florida 22 1.3 Anon., after J.N. Hyde, New York City—An Afternoon Lounge at Goupil’s Art Gallery, Fifth Avenue, in Frank Leslie’s Illustrated Newspaper (13 July 1872): 280 49 2.1 Richard Maitland, Catalogus librorum instructissimae bibliothecae nobilis cujusdam Scoto-Britanni in quavis lingua & facultate insignium (London: s.n. [1688]), 145. Washington (DC), Folger Shakespeare Library, L608 Bd.w. S4151 copy 1. © Bénédicte Miyamoto 72 2.2 A Catalogue of a Most Capital and Valuable Collection of Pictures, by the Most Esteemed Masters of the Italian, French, Flemish and Dutch Schools, the Property of a Man of Fashion […] Sold by Auction, by Mr. Christie (London: s.n., 1796), Lugt 5447, title page. London, Christie’s Archives. © Christie’s 84 2.3 Prince de Conty, Catalogue d’une riche collection de tableaux des maîtres les plus célèbres des trois écoles, Dessins aussi des plus grands maîtres […] 8 avril 1777 au Palais du Temple (Paris: s. n., 1777), title page and table of contents. Washington (DC), National Gallery of Art Library, David K.E. Bruce Fund 85 2.4 William Anne Holles Capell, 4th Earl of Essex, A Catalogue of the Genuine and Capital Collection of Italian, French, Flemish and Dutch Pictures, of the Earl of Essex […] Sold by Mess. Christie and Ansell (London: s.n., 1777), Lugt 2634, Auctioneer’s copy, Folio 1. London, Christie’s Archives. © Christie’s 87 2.5 Robert Ansell, A Catalogue of a Superb and Valuable Collection of Italian, French, Flemish and Dutch Pictures, Collected Abroad […] Sold by Auction, by Mr. Christie (London: s. n., 1771), Lugt 1892, 5. London, Christie’s Archives. © Christie’s 89 3.1 Theodore Wust, Samuel P. Avery Transporting his Treasures Across the Sea, c. 1875–80. Graphite, ink and gouache on grey paper, 40.9 × 26.7 cm. New York, The Metropolitan Museum of Art. Gift of Emma Avery Welcher and Amy Ogden Welcher and Alice Welcher Erickson, 1967. © The Metropolitan Museum of Art 105 x Figures 3.2 Anon., View of Alexander T. Stewart’s Private Picture-Gallery, in George Sheldon, Artistic Houses, vol. 1 (New York: D. Appleton & Company, 1883–84), 7 111 3.3 Anon., The Metropolitan Museum of Art, Paintings Gallery, Room 17: The Catharine Lorillard Wolfe Gallery; View looking southwest, c. 1907. New York, The Metropolitan Museum of Art. © The Metropolitan Museum of Art—Art Resource, New York 119 3.4 Anon., View of William H. Vanderbilt’s Private Art Gallery, c. 1883, in E. Strahan, Mr. Vanderbilt’s House and Collection (Boston, 1883–84), s.p., labelled by Leanne Zalewski. © Leanne Zalewski 120 4.1 Advertisements of London commercial galleries, The Burlington Magazine (March 1903) 136 4.2 William Strang, Suppertime, 1905. Oil on canvas, 109 × 115 cm. Stoke-on- Trent, The Potteries Museum & Art Gallery. © The Potteries Museum and Art Gallery 138 4.3 Andrea Mantegna, Holy Family with Saint Mary Magdalen, 1495–1500.
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