provenance

Posted in Getty Research Institute, Scholarship

Second Half of Knoedler Gallery Stock Books Database Now Online

Relationship graph using Knoedler data displaying the nationality of artists whose work was purchased by Henry Clay Frick
Relationship graph displaying the nationality of the artists whose work was purchased by Henry Clay Frick.

16,000 new art-sales records are now online. More»

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Posted in Art, Behind the Scenes, Getty Research Institute, Scholarship

“Who is this man named J. P. Getty?” M. Knoedler & Co. and Getty the Collector

Portrait of James Christie (1730 - 1803)
Portrait of James Christie, 1778, Thomas Gainsborough. Oil on canvas, 50 1/4 x 40 1/4 in. The J. Paul Getty Museum, Gift of J. Paul Getty, 70.PA.16

J. Paul Getty, the mysterious art hunter. More»

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Posted in Getty Research Institute, Paintings, Scholarship

Database of Knoedler Gallery Stock Books Now Online

Scan of a Knoedler stock book
Scan of a Knoedler stock book noting inventory of paintings by Moreau, Gérôme, and others. The Getty Research Institute, 2012.M.54

New online: searchable records from the 19th-century stock books of famed art dealers Knoedler Gallery. More»

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Posted in Art, Behind the Scenes, Getty Research Institute, Paintings, Scholarship

Life Before eBay: British Art Auctions at the End of the 18th Century

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A major new project traces the rise of the British art market in the late 1700s. More»

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Posted in Behind the Scenes, Getty Research Institute, Scholarship

Publishing German Sales, A Look under the Hood of the Getty Provenance Index

gsc_featured

Incorporating Nazi-era sales catalogs into the Getty Provenance Index took a small team about two years. Here’s how they did the work. More»

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Posted in Art, Education, Scholarship

Six Questions for Art Detective Victoria Reed

victoria_reed_featured

What does a provenance researcher do? And how does she do it? More»

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Posted in Getty Research Institute, Publications, Scholarship

New Online Resource to Reveal Stories about Nazi-Looted Art, Wartime Art Market

Paintings in storage at the Munich Central Collecting Point / Johannes Felbermeyer
Paintings in storage at the Munich Central Collecting Point, ca. 1945–49, Johannes Felbermeyer. This was one of several sites used by the Allies to identify, photograph, and restitute Nazi-seized artworks after the war. Photo Study Collection. The Getty Research Institute, 89.P.4

Featuring over 2,000 newly digitized catalogs, a new database will revolutionize Nazi-era art research. More»

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Posted in Art, Getty Research Institute, Scholarship

Nazis Collecting Art: Art Dealer Gustav Cramer’s Wartime Records

Postcard showing the interior of Galerie G. Cramer in The Hague, circa 1967

A rare resource for the study of the art market in Europe during World War II is now available for research at the Getty Research Institute: the correspondence of Gustav Cramer and his son Hans Max Cramer, owners of the G. Cramer… More»

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Posted in Behind the Scenes, Getty Research Institute, Scholarship

Creating an Online Collaboration Tool for Scholars

Digital Mellini screenshot

Last month, I gave a presentation with my colleague Tina Shah at the annual Museum Computer Network (MCN) conference in Atlanta about an online collaboration tool for scholars that several of us in the Web group at the Getty have… More»

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Posted in Art, J. Paul Getty Museum, Paintings, Sculpture and Decorative Arts

Objects and Memories: Edmund de Waal on Tracing a Family Collection

Albert Cahen d’Anvers, Pierre Auguste Renoir, 1881. The J. Paul Getty Museum. The portrait was sold by the Cahen d’Anvers family to a Swiss gallery in 1971.

When you visit a museum, it’s easy to forget that objects have a story, a journey from where they began to where they are now. Take Pierre-Auguste Renoir’s portrait of the composer Albert Cahen d’Anvers. It’s one of the most… More»

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      A Chat with Photographer Tomoko Sawada

      A conversation about Japanese matchmaking traditions, self-portraiture, clothes, and identity.

      When did you start photographing yourself?
      I began making self-portraits when I was 19. It was an assignment for a photography class. I can’t even explain in Japanese why I liked them so much. It was instinctual. It’s as if I knew that this was going to be my style, that this is what I wanted to do. And I’m still doing it because I love the self-portrait, but I don’t know why. 

      What themes are you exploring in your work?
      I’m interested in the relationship between inside and outside. If you wear a sexy dress or if you wear kids clothes or casual clothes, people treat you differently. Even though you are you no matter what you wear. It’s that relationship that makes me think. 

      My new work is from when I was living in New York. When I was in New York, people didn’t think I was Japanese. Sometimes they thought I was Korean or Chines or Mongolian. Even Singaporean. It was funny, when I would go to the Japanese market, they would speak to me in English. When I went to the Korean market, they would speak to me in English again. I don’t seem to look Japanese outside of Japan. I was surprised because I think I look totally Japanese. It’s funny that people’s points of view are totally different.

      Could you talk a little about OMIAI, the series that represents a traditional Japanese matchmaking technique.
      OMIAI is a tradition that is somehow still working today. Usually, there is a matchmaker and photographs are exchanged before meeting. If both sides are interested, they can meet for lunch or dinner accompanied by their parents and steps for marriage proceed from there. In the old days, some people chose their marriage partner just through photographs, without even meeting each other. 

      When OMIAI was exhibited in Japan I saw people making various comments in from of the work. People would say things like, “she looks like a good cook; surely she would prepare delicious meals every day,” or “ this girl could be a perfect bride for my son,” or “I can tell she would not be a good housewife,” or “she’s such a graceful girl; she must be the daughter of a decent family.” Comments like that. 

      What was the process of making that work?
      I gained 10 pounds before I started taking the pictures, and in six months I lost forty pounds, because I wanted to look different in each photo. I wanted to change the way my legs looked. 

      Every weekend I went to the hair salon and put on a kimono. Then I went to the photo studio on the street in Japan. I would take a picture and then change my clothes to western dress. Then I would go to the studio again the next weekend. 

      Did you tell the photographer how you wanted it done?
      I told him I was an artist and wanted to make photographs with him. I told him to think that each weekend new girls would show up to make the OMIAI. I didn’t want him to think of me as the same girl who came every weekend. He understood the concept. 

      We had fun. While he was taking pictures, his wife would tell me how to lose weight. She gave me many tips.


      Tomoko Sawada’s work is on view at the Getty until February 21, 2016 in “The Younger Generation: Contemporary Japanese Photography”

      02/11/16

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