Jump to content

Arthur Tooth & Sons

Add links
From Wikipedia, the free encyclopedia

This is an old revision of this page, as edited by 209.122.204.65 (talk) at 21:24, 24 July 2015. The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

This sandbox is in the article namespace. Either move this page into your userspace, or remove the {{User sandbox}} template.

Arthur Tooth & Sons was an art gallery founded in London in 1842 by Charles Tooth (1788-1868).[1] Tooth established the gallery for his son, Arthur Tooth (1828 - 1900).[2] The gallery remained in the Tooth family until its closure in the 1970s after the death of Dudley Tooth (Charles' great-grandson). Arthur Tooth & Sons, while a relatively small business, established a major presence in the commercial art market from the 1870s onwards and became a key dealer for industrial magnate Henry Clay Frick. Arthur Tooth & Sons supplyed Frick with works by Lawrence Alma-Tadema, Jean-François Raffaëlli, J. M. W. Turner, Frits Thaulow, Pascal Dagnan-Bouveret, and Rembrandt.[3][4]

REPRODUCTIONS UNDER ARTHUR - SEE 'ART IN REPRODUCTION; - Tooth published reproductive prints - "the cash cow" of the victorian art market (C19th} - made his fortune selling etchings to wealthy victorian patrons (OAC.CDLIB) -

Initially, the gallery focused on paintings by eighteenth and nineteenth century British artists [5], but expanded in the 1880s to include contemporary paintings and the occasional old masters piece.[6] Rather than selling 'big hit' artworks, Arthur Tooth & Sons concentrated on a steady stream of popular contemporary artists and commodity-like artworks, operating as a kind of agent or patron for these artists.[7] Stock was carefully chosen based on the notion that the 'aura' of more established art would rub off on and validate newer products.[8] Arthur Tooth & Sons operated within a network of approximately thirty art dealers in the London area who were responsible for the establishment of a number of Victorian painters within the commercial art market. [9] [10]

The nineteenth century saw an increasing number of middlemen between producers and consumers in the commercial art market. [11]Arthur Tooth & Sons' business model can be seen as typical of these new firms. [12] Common strategies to ensure reputability, soon emerged among these businesses such as internationally located branches and names after individual dealers. [13] [14] In the early twentieth century, Arthur Tooth & Sons held branches in London, New York and Paris. [15] [16]

Dudley Tooth (1896 - 1972) took up leadership of Arthur Tooth & Sons in the mid 1920s and rebranded the gallery, expanding within the pool of contemporary artists and further promoting artists by giving them solo shows every two and a half years. [17]

The gallery closed in the mid 1970s.

References

  1. ^ "Finding Aid for the Henry Clay Frick Papers". frick.org.
  2. ^ "Arthur Tooth: A London Art Dealer in the Spotlight, 1870–71". 19thc-artworldwide.org. Spring 2010.
  3. ^ Bayer and Page, 2011, p.113.
  4. ^ "Finding Aid for the Henry Clay Frick Papers". frick.org.
  5. ^ "Inventory of the Arthur Tooth & Sons stock inventories and accounts, 1871-1959 Case - Online Archive of California". www.oac.cdlib.org.
  6. ^ Stephenson, 2011, p.113
  7. ^ Bayer and Page, 2011, p.113.
  8. ^ Bayer and Page, 2011, p.114.
  9. ^ Bayer and Page, 2011, p.115.
  10. ^ Bayer and Page, 2011, p.117.
  11. ^ Bayer and Page, 2011, p.116.
  12. ^ "Arthur Tooth: A London Art Dealer in the Spotlight, 1870–71". 19thc-artworldwide.org. Spring 2010.
  13. ^ Helmreich, 2011, p. 68
  14. ^ "Arthur Tooth: A London Art Dealer in the Spotlight, 1870–71". 19thc-artworldwide.org. Spring 2010.
  15. ^ Helmreich, 2011, p. 68
  16. ^ "Arthur Tooth: A London Art Dealer in the Spotlight, 1870–71". 19thc-artworldwide.org. Spring 2010.
  17. ^ MacGilp, 2011, p.199

Bibliography

  • Bayer, Thomas and Page, John, The Development of the Art Market in England: Money as Muse, 1730-1900, London, UK, Pickering & Chatto, 2011
  • Helmreich, Anne, 'The Goupil Gallery at the intersection between London, Continent, and Empire', in The rise of the modern art market in London, 1850-1939, Ed.s Pamela Fletcher, Anne Helmreich, Manchester, UK, Manchester University Press, 2011
  • MacGilp, Alexandra, 'Matthew Smith, the Tate Gallery, and the London art market', in The rise of the modern art market in London, 1850-1939, Ed.s Pamela Fletcher, Anne Helmreich, Manchester, UK, Manchester University Press, 2011
  • Stephenson, Andrew, 'Strategies of display and modes of consumption in London art galleries in the inter-war years', in The rise of the modern art market in London, 1850-1939, Ed.s Pamela Fletcher, Anne Helmreich, Manchester, UK, Manchester University Press, 2011
  • Verhoogt, Robert, Art in Reproduction: Nineteenth-Century Prints after Lawrence Alma-Tadema, Jozef Israëls and Ary Scheffer (M. Hendriks, Trans.), Amsterdam, Amsterdam University Press, 2007
  • Finding Aid for the Henry Clay Frick Papers, Series I: Art Files, 1881-1925, undated, [1]

Further Reading

  • Glew, Adrian (ed.), Stanley Spencer: Letters and Writing, London, UK, Tate Publishing, 2001
  • Weisberg, Gabriel, 'Collecting in the Gilded Age: Art Patronage in Pittsburgh, 1890-1910, Pittsburgh, PA, Frick Art and Historical Centre, 1997
Retrieved from "https://en.wikipedia.org/enwiki/w/index.php?title=Arthur_Tooth_%26_Sons&oldid=672933292"