Art Market and the Museum

Frances Fowle is Emeritus Professor of Nineteenth-Century Art, University of Edinburgh, UK. For over twenty years she was Senior Curator of French Art, National Galleries of Scotland, UK. She is a co-founder/ex-board member of TIAMSA.Her previous publications include Van Gogh’s Twin: The Scottish Art Dealer Alexander Reid (2010) and Globalising Impressionism: Reception, Translation and Transnationalism (2020).MaryKate Cleary is Curator of Provenance at the Princeton University Art Museum, USA. She specialises in provenance research, the history of the art market, and legal and ethical issues of cultural heritage. She was previously Lecturer at Sotheby’s Institute of Art, London; Collections Specialist at The Museum of Modern Art, New York; and Manager of Historic Claims and Provenance Research at the Art Loss Register.

• List of PlatesList of Figures Notes on Contributors Acknowledgements Series Editor Preface Introduction, Frances Fowle and MaryKate ClearyPart One: The Museum and The Art Dealer 1. Trusted Agents of the Government: British Dealers and the Museum, 1850-1900, Diana Davis (Independent Researcher, UK) 2. Siegfried Bing and the Fin-de-Siècle Market for Japanese Art: Dealers, Collectors & Museums, Tsuksasa Kodera (Osaka University, Japan) 3. Dubious Dealings and issues of connoisseurship: David Croal Thomson and the National Galleries of Scotland, Frances Fowle (University of Edinburgh, UK) 4. Etienne Bignou’s Matisse and Picasso Exhibitions of the 1930s: The Gallery Show as Prototype for Museum Retrospectives, Christel H. Force (Independent Researcher, USA & France) 5. The Middle Men of Art: Knoedler’s and the building of the great American collections, Anne Helmreich (Smithsonian Institution, USA), Sandra van Ginhoven (Getty Research Institute, USA), DiAndra Reyes (Independent Researcher, USA), Kyllie King (Independant Researcher, Italy) Part Two: Women as Art Agents and Influencers 6. From Executrix to Curator: Rosalind Birnie Philip and the Whistler Estate, Alicia Hughes (British Museum, UK) Collection, 1903-1958 7. Our Woman in Cairo: Lucy Olcott Perkins as Agent for Cleveland Museum, Imogen Tedbury (National Gallery, UK) 8. A Seed of Desire: Effie Seachrest and Women Collectors in Kansas City, Mackenzie Mallon (The Nelson-Atkins Museum of Art, USA) 9. Impermanent Bliss: Deaccessioning by MoMA and its Consequences, Irene Walsh (Independent Researcher, UK) Part Three: The Entrepreneurial Collection and the Emergence of the Private Museum 10. Trade, Art Market and Museum: Alfred Chauchard’s Legacy to the Louvre, Morgane Weinling (Louvre Museum, France) 11. Marjorie Merriweather Post’s Hillwood and the Vision from a Private Collection to Public Museum, Rebecca Tilles (School of Jewellery Arts, France) 12. Filling in the Gaps of his Collection? A Reassessment of Sir William Burrell’s Late Collecting Practice, 1944-1957, Isobel MacDonald (University College London, UK) 13. The Private Museum: Evolving Models of Collecting and the Interplay between Collectors and the Art Market, Georgina Walker (The University of Melbourne, Australia) Index

A wide-ranging and thought-provoking study of the complex intersections between the art market and the museum, this volume highlights the significant role that the art market has played, and continues to play, in the development of the public art museum.