(b Roubaix, March 5, 1949).
French businessman, patron, and collector. Born into an industrial family from northern France, Bernard Arnault studied at the Ecole Polytechnique in Paris. After completing his studies, Arnault took over the family’s construction business, Ferret-Savinel, which he converted into a real estate company by the name of Ferinel in the 1980s. He then took over the Boussac Group, which was facing financial difficulties but controlled the department store Le Bon Marché and the fashion label Dior, among other assets. The ‘Arnault System’, which evolved from these moves, relied on a series of acquisitions that culminated on 13 January 1989 in his being appointed chairman of France’s foremost luxury goods conglomerate, Louis Vuitton Moët Hennessy (LVMH). With a net worth of an estimated 37.2 billion euros in 2015, Bernard Arnault became the second wealthiest individual in France. The entrepreneurial structure of the French luxury industry is oligopolistic, with three international conglomerates dividing the market among themselves: LVMH, PPR (Pinault-Printemps-Redoute, controlling Gucci), and Richemont. This structure was created through the absorption of a number of independent small-scale businesses (so-called PMEs) associated with specific products and well-known brands. Since the late 20th century, the luxury houses have maintained privileged relationships with the art market. Window displays of luxury brands are frequently designed by artists, while the auction houses play more and more with the codes of the luxury industry, making the demarcations between these two worlds increasingly tenuous; art is central to the marketing strategy of the LVMH group....
French, 19th century, male.
Born 1798, in Paris.
Painter, picture dealer. Panoramas.
Charles Arrowsmith studied with Daguerre and painted dioramas alongside him. He exhibited in Paris in 1827, in Douai in 1829, and at the Royal Academy in London in 1830. He was responsible for promoting English watercolourists and introducing them and also Constable to a broader public in France....
Thomas P. McNulty
International modern and contemporary art fair. The brainchild of three Swiss art dealers (Ernst Beyeler, Trudi Bruckner, and Balz Hilt), the first annual Art Basel fair was held in 1970, at which 90 galleries and 30 publishers from 10 countries exhibited. Participation has grown significantly, with its 2014 iteration showcasing 527 galleries in its three locations (Basle, Miami Beach, and Hong Kong).
In terms of longevity, Art Basel is exceeded only by Art Cologne, the current name for the international fair that was first held in September 1967 as Kölner Kunstmarkt. Art Basel was, from the start, international in scope; Art Cologne, by contrast, allowed only German galleries to participate. In its earliest days, Art Basel projected a democratic, almost populist image; in addition to its inclusion of large, unique masterworks by established contemporary artists, it also offered a wide range of prints and other multiples, which were within the reach of new collectors with relatively modest budgets....
revised by Natasha Degen
The arena in which a buyer seeks to acquire, either directly or through an agent, a particular work of art for reasons of aesthetics, connoisseurship, investment, or speculation. The historical beginnings of the art market lie in patronage. With the growth of Collecting for aesthetic and worldly motives rather than religious ones came a corresponding growth in dealing, with the dealer acting as middleman as the number of artists and collectors increased and spread geographically. The dealer, often an artist, discovered and promoted other artists and persuaded collectors to buy at a price determined by him. His role was strengthened by the 16th-century distinction between artist and artisan and the concept of a Masterpiece. This precept, allied to a growing antiquarian interest, reinforced the position of the dealer as arbiter of taste, and his status was further enhanced as great collections were amassed and disposed of in the 16th and 17th centuries. During this period collecting became popular with the middle classes and the art market expanded accordingly; the sale of art by ...
Set of financial methods, instruments, and business models that are used in the Art market. Important developments since the 1960s include the spreading availability and use of art price information and price indexes (see Art index), the emergence of loans collateralized by artworks, repeated efforts to create art investment structures, and a strong growth in art market advisory services provided by wealth managers and new entrepreneurs (see also Investment).
The first major development has been the spread of art price information and art price indexes over the last half-century. After a few difficult decades, art price levels and public interest in the art market were going up again in the 1950s and 1960s. A number of books on the history of the art market and on art investment that were published around that time—Le Vie Etrange des Objets (1959) by Maurice Rheims, Art as an Investment...
French auction company, headquartered in one of the most prestigious hôtels particuliers at the intersection of the Champs Elysées and the Avenue Montaigne in Paris. Artcurial was created in 2001 and specializes in fine art sales, design, and fashion; it also has built a reputation for sales of multiples, including comics and photographs, as well as watches, jewellery, and collectable cars. The rise of France’s foremost domestically owned auction house should be perceived in the context of events unfolding in 1992, when Sotheby’s filed a complaint with the European Commission against France’s state monopoly of auctioneers clustered in the Hôtel Drouot, alleging impediments to free competition. In 1995 France was given formal notice by the Commission to reform the status of auctioneers. Five years later, on 10 July 2000, this led to the passage of law number 2000-642. The law’s main provision was the abolition of the state’s auction monopoly and the removal of the auctioneers’ status as ministerial officials. The law’s passage reshuffled the French art market. Until then, the distinction between auction houses and galleries was rigid and narrowly defined: art dealers were able to organize private sales only, while auctioneers could not engage in public sales of new goods and bulk merchandise....
(b New York, March 31, 1848; d Hever Castle, Kent, Oct 18, 1919).
British collector of American birth. He was a member of a wealthy family whose fortune came from fur trading; he became interested in art and antiquity during his appointment as American Minister in Rome (1882–5), rapidly acquiring a fine collection of ancient and Renaissance sculpture. He transferred the collection to England when his term as minister ended, dividing it between his country houses at Cliveden, Bucks, and Hever Castle, Kent. His eclectic, Neo-classical displays were in keeping with the nostalgic grandeur of Edwardian England. At Cliveden, eight Roman sarcophagi in the forecourt were matched on the rear terraces by Renaissance fountains and balustrades exported from the Villa Borghese in Rome. Hever Castle, the childhood home of Anne Boleyn, was restored and enlarged by Astor far beyond its medieval extent, and a Renaissance atmosphere was achieved by means of the placement of numerous Roman sculptures, including further fine sarcophagi (sold in ...
Molly K. Dorkin
Prior to the 20th century, the attribution of works of art was not governed by rigid regulations, and art dealers and auctioneers assigned attributions based purely on aesthetic grounds. Works were attributed to the artist whose manner they most closely resembled, but they were not further distinguished on the basis of quality; as a result, many paintings purchased as Renaissance masterpieces in the 18th or 19th century have since been downgraded to studio works or even much later pastiches.
Historically, the patrons who commissioned Old Masters placed a premium on subject-matter rather than originality, and popular narratives were requested by multiple patrons, creating conditions in which the demand for copies could flourish (see Copy). Popular compositions were often reproduced many times: by the master himself, an apprentice in his workshop, or even a later follower or imitator. A master trained his apprentices to approximate his manner as closely as possible, and sold the finished work under his own name. In some cases a master would paint the most important part of a work (such as the faces of the central figures) before delegating the rest to apprentices. Through the 19th century, pupils at prestigious institutions were taught by making copies of works by acknowledged masters. Many pieces, particularly drawings (which for much of their history were working tools, rather than art objects), were unsigned. Damaged or incomplete works of art were subjected to extensive restoration or reworking by later artists, a process that can cloud the question of attribution....
French, 20th century, male.
Born in Gentilly.
Painter. Landscapes, urban landscapes, flowers.
Georges Aubry exhibited at the Salon d'Automne between 1920 and 1938. He was also an art dealer.
Detroit: Hut in the Sunshine (1923)
Paris, 27 March 1944...
German, 17th century, male.
Active in Frankfurtc.1670.
Related to Abraham and Pierre Aubry. He engraved large numbers of plates for booksellers and for his own business (he was a dealer in engravings).
French, 17th century, male.
Born 1610, in Strasbourg; died 1686, in Strasbourg.
Engraver. Portraits and landscapes.
Pierre Aubry established himself as a print dealer in Strasbourg, France, and engraved (using a burin) a large number of portraits of well-known people. He engraved a Portrait of Johannes Otto Tabor Aged 50...
Italian, 19th century, male.
Active in Livorno (Tuscany).
Died after 1873.
Sculptor, art dealer.
Torello Bacci produced the monument to his father at the Santa Croce convent in Florence and the statue of Pier Capponi in a portico at the Uffizi Gallery.
Dutch, 17th century, male.
Active in Amsterdamc.1652.
Born 1613, in Haarlem.
On 26 July 1640, Ban married Willemyntje Boelen in Amsterdam and became an art dealer. There are two identical seated portraits by him of a young man; one is dated 1650 and is in Amsterdam and the other is dated 1652 and is in a private collection in Haarlem. The Duke of Leicester in Carton, Ireland, also had a portrait of a man by Ban dated 1649....
British, 18th – 19th century, male.
Born 1804, in London.
Painter, watercolourist, draughtsman. Architectural views, landscapes.
Joseph Barrow was an antique dealer working in London where he exhibited numerous landscapes and architectural views at the Royal Academy from 1789 to 1802 and in 1790 and 1791...
Italian, 18th century, male.
Born c. 1675, in Rome; died c. 1730.
Engraver (burin), art dealer. Religious subjects, architectural views.
Worked initially under the tutelage of his father, Pietro Santo Bartoli. It is probable that this is the same artist as F. Bartoli who produced coloured drawings based on religious works in St Peter's in Rome on behalf of the English art collector John Talman. The volume containing these engraved illustrations has been in the British Museum in London since ...
French, 18th century, male.
Born 23 October 1723, in Paris; died 12 June 1797.
Engraver (burin/etching), print dealer.
Basan had Jean Dauillé and Étienne Fessard as masters. He engraved a large number of prints and specialised in publishing engravings. He employed a succession of artists in his house and, with their assistance, published a considerable number of pieces (more than 550 between 1761 and 1799), which are in general purely commercial productions. In 1770, he published the statesman Choiseul's art collection, and then Poullain's in 1781. He also published magnificently illustrated books, including Ovid's ...
French, 18th century, male.
Active in Paris during the second half of the 18th century.
Engraver, art dealer.
French, 18th century, male.
Active in Paris.
Died before 17 August 1775.
Engraver, print dealer.
Antoine Basset is known to have executed a Return from Egypt after Rubens.
(b Berlin, Jan 6, 1914; d Paris, Feb 23, 2007).
German American art dealer and collector, active in France. Berggruen came from a middle-class Jewish family. He immigrated to the USA in 1937, and was granted American citizenship in 1941. He served in the army between 1942 and 1945. After a period working as a journalist in Munich and in the museum section of UNESCO, he set up as an art dealer in Paris in 1948, based from 1950 onwards in a modest gallery on the Rue de l’Université. The Berggruen Gallery specialized in modern graphic art, including Pablo Picasso, and was the principal source in Paris of the work of Paul Klee. Berggruen retired in 1980 and focused on his personal collection of classic modern art. In 1996 Berggruen was invited to put his collection on public display in Berlin in what was originally barracks for the Gardes du Corps, designed by Friedrich August Stüler, where it was known as the Berggruen Collection. In ...