Covering key aspects of provenance research for the international art market, this accessible publication, co-published with the International Foundation for Art Research (IFAR), explores a range of themes including challenges and best practice to considerations specific to Nazi looted art and the trade in illicit antiquities.
Provenance research is a crucial component of any art-market transaction. Without a provenance it is often difficult to establish a work’s authenticity, its true value or who has legal title. Whether buying, selling or simply maintaining an artwork in either a private or a public collection, the days when a blind eye could be turned to the history (or the lack of a known history) of a work have long gone. Proper, thorough and effective provenance research is the minimum required and demanded in today’s art world – a world that is increasingly recognizing the need for greater and more effective self-regulation in the face of fakes, forgeries and challenges to ownership or authenticity that are now commonplace.
__Provenance Research Today__ is essential reading for a broad audience, from those studying to become part of the art world or professionals starting a career in provenance research, to collectors or would-be collectors, dealers, galleries, auction houses, police and art lawyers.

nexusstc/Provenance Research Today: Principles, Practice, Problems/c9793016f3a10440871da19dd5947d53.pdf

lgli/Provenance Research Today_nodrm.pdf

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zlib/no-category/Arthur Tompkins (editor)/Provenance Research Today: Principles, Practice, Problems_21271177.pdf

The provenance research handbook

Arthur Tompkins, Masurovsky Tompkins

Lund Humphries in association with IFAR

United Kingdom and Ireland, United Kingdom

London, 2020

producers:
Adobe PDF Library 15.0

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This is the first accessible reference handbook to cover key aspects of provenance research for the international art market. It guides the reader from a basic introduction to research methods to questions of ethics and the challenges of specific case histories and contexts. Provenance research is a crucial component of any art-market transaction. Without a provenance it is often difficult to establish a work’s authenticity, its true value or who has legal title. Whether buying, selling or simply maintaining an artwork in either a private or a public collection, the days when a blind eye could be turned to the history (or the lack of a known history) of a work have long gone. Proper, thorough and effective provenance research is the minimum required and demanded in today’s art world – a world that is increasingly recognising the need for greater and more effective self-regulation in the face of fakes, forgeries and challenges to ownership or authenticity that are now commonplace. The Provenance Research Handbook is the essential reference tool for anyone involved in the art world, including provenance researchers, owners or would-be owners, sellers of artworks, galleries, auction houses, collectors, dealers, museums, galleries, police and art lawyers.
Front Cover 1
Title Page 2
Copyright 3
Half Title 4
Acknowledgements 5
Contents 6
Foreword—Sharon Flescher 8
Introduction—Arthur Tompkins 10
Part I: The History, Purpose and Challenges of Provenance Research 16
1. The History and Purposes of Provenance Research—Arthur Tompkins 17
2. The Role of Provenance in Resolving Art-world Disputes—Leila Amineddoleh 26
3. The Challenges of Provenance Research—Sharon Flescher 40
Part II: Best Practice in Provenance Research 54
4. Best-Practice Guidelines, Research Methods and Tools—Marie Stolberg and Andrea Lehmann 55
5. Scientific Examination and Provenance Research: Using Science to Resolve Questions of Provenance, Identity and False Attribution—Jennifer L. Mass 69
6. Data and Databases in Provenance Research—Jason Sousa and Ariane Moser 86
7. Provenance Research in a Digital Age—Louisa Wood Ruby 98
Part III: Provenance Research, Museums and the Art Market 106
8. Provenance Research in Museums: The Long Run—Lynn Rother and Iris Schmeisser 107
9. The Place of Provenance in the Catalogue Raisonné—Susan J. Cooke 118
10. The Ethics of Provenance Research and the Art Market—Gareth Fletcher 125
Part IV: Nazi-era Provenance Research 136
11. The Current State of Nazi-era Provenance Research, and Access to Nazi-Era Research Resources and Archives—Marc Masurovsky 137
12. The Journey Home: Nazi-Era Provenance Research and Restitution—James Ratcliffe and Amelie Ebbinghaus 151
Part V: Provenance Research and the Illicit Antiquities Trade 162
13. Researching the Structure of the Illicit Antiquities Trade—Simon Mackenzie and Donna Yates 163
14. From Soil to Showroom: Tracing Illicit Antiquities Across the World—Lynda Albertson 173
15. The Return of the Plundered: Case Studies in the Provenance of Illicit Antiquities—Tess Davis 186
Select Resources 195
About the Contributors 211
Index 216

This is the first accessible reference handbook to cover key aspects of provenance research for the international art market. It guides the reader from a basic introduction to research methods to questions of ethics and the challenges of specific case histories and contexts. 0Provenance research is a crucial component of any art-market transaction. Without a provenance it is often difficult to establish a work's authenticity, its true value, or who has legal title. Whether buying, selling, or simply maintaining an artwork in either a private or a public collection, the days when a blind eye could be turned to the history (or the lack of a known history) of a work have long gone. Proper, thorough, and effective provenance research is the minimum required and demanded in today's art world--a world that is increasingly recognizing the need for greater and more effective self-regulation in the face of fakes, forgeries, and challenges to ownership or authenticity that are now commonplace. 0'The Provenance Research Handbook' is the essential reference tool for anyone involved in the art world, including provenance researchers, owners, or would-be owners, sellers of artworks, galleries, auction houses, collectors, dealers, museums, galleries, police, and art lawyers

2022-04-05