Was die Karteikarte von Böhler (nicht) verrät zur Zusammenarbeit von Kunsthändlern und Museumsdirektoren am Beispiel einer komplexen "Tauschtransaktion" = What Böhler's index card (doesn't) reveal : on the cooperation between art dealers and museum directors, using the example of a complex "exchange transaction"
What Böhler's index card (doesn't) reveal. On the cooperation between art dealers and museum directors, using the example of a complex "exchange transaction" Founded in 1880, the renowned Munich art gallery Julius Böhler maintained branches in Berlin, Lucerne, and New York. Parti...
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| Veröffentlicht in: | Kunst und Profit / Elisabeth Furtwängler, Mattes Lammert (Hrsg.) |
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| 1. Verfasser: | |
| Format: | UnknownFormat |
| Sprache: | ger |
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2022
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Tag hinzufügen | Zusammenfassung: | What Böhler's index card (doesn't) reveal. On the cooperation between art dealers and museum directors, using the example of a complex "exchange transaction" Founded in 1880, the renowned Munich art gallery Julius Böhler maintained branches in Berlin, Lucerne, and New York. Particularly in the 1920s, Böhler established a well-connected network in Europe (including France) and the United States. In this respect, it is surprising that - contrary to all expectations - hardly any of Böhler's activities on the French art market during the occupation can be evidenced by the index card system of the gallery, kept at the Zentralinstitut für Kunstgeschichte. It seems that the dealer acted secretively and "undercover" with the help of business partners and intermediaries. The acquisition of three paintings in Paris in December 1943 is an example of such transactions, carried out as an exchange. The transaction took place covertly and in close exchange with Kurt Martin, director of the museums in Karlsruhe and Strasbourg. While the brief notes on the index cards by the art gallery partly require an explanation, related correspondence in the Bayerisches Wirtschaftsarchiv provides background and context for these transactions. Consequently, in addition to references to the Museum in Karlsruhe and Böhler’s business partner Karl Haberstock noted on the index card, several other players emerge such as Hans Wendland, his agent Achille Boitel, Ali (Allan) Loebl of the Garin art gallery, Hugo Engel, Carl Buemming and Hildebrand Gurlitt. Pieces of correspondence testify to how long the negotiations dragged on and that it was by no means a quick, uncomplicated deal. Based on this case study, the article draws attention on the one hand to asymmetrical power relations, market mechanisms, acquisition strategies, and profit margins. On the other hand, the article elaborates and reflects on what this gain in knowledge means for the status of archival documentation as such: Which roles do context and parallel traditions play? What opportunities and challenges (such as dealing with information gaps) do we face? What options do we have to seize the first and overcome the latter? |
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| Beschreibung: | Illustrationen |
| ISBN: | 978-3-11-073760-8 |