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'''Arthur Tooth & Sons''' was an art gallery founded in London in 1842 by Charles Tooth (1788-1868).<ref> {{cite web|url= http://www.frick.org/sites/default/files/FindingAids/HenryClayFrickArtFiles.html|title= Finding Aid for the Henry Clay Frick Papers|work=frick.org}}</ref> Tooth established the gallery for his son, Arthur Tooth (1828 - 1900).<ref>{{cite web|url=http://19thc-artworldwide.org/spring10/arthur-tooth|title=Arthur Tooth: A London Art Dealer in the Spotlight, 1870–71|date=Spring 2010|work=19thc-artworldwide.org}} </ref> 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]]. Through the Tooth gallery, Frick acquired works by [[Lawrence Alma-Tadema]], [[Jean-François Raffaëlli]], [[J. M. W. Turner]], [[Frits Thaulow]], [[Pascal Dagnan-Bouveret]], and [[Rembrandt]].<ref> Bayer and Page, 2011, p.113.</ref><ref> {{cite web|url= http://www.frick.org/sites/default/files/FindingAids/HenryClayFrickArtFiles.html|title= Finding Aid for the Henry Clay Frick Papers|work=frick.org}}</ref>
'''Arthur Tooth & Sons''' was an art gallery founded in London in 1842 by Charles Tooth (1788-1868).<ref> {{cite web|url= http://www.frick.org/sites/default/files/FindingAids/HenryClayFrickArtFiles.html|title= Finding Aid for the Henry Clay Frick Papers|work=frick.org}}</ref> Tooth established the gallery for his son, Arthur Tooth (1828 - 1900).<ref>{{cite web|url=http://19thc-artworldwide.org/spring10/arthur-tooth|title=Arthur Tooth: A London Art Dealer in the Spotlight, 1870–71|date=Spring 2010|work=19thc-artworldwide.org}} </ref> 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]]. Through the Tooth gallery, Frick acquired works by [[Lawrence Alma-Tadema]], [[Jean-François Raffaëlli]], [[J. M. W. Turner]], [[Frits Thaulow]], [[Pascal Dagnan-Bouveret]], and [[Rembrandt]].<ref> {{cite web|url= http://www.frick.org/sites/default/files/FindingAids/HenryClayFrickArtFiles.html|title= Finding Aid for the Henry Clay Frick Papers|work=frick.org}}</ref>


Initially, the gallery focused on paintings by eighteenth and nineteenth century British artists, <ref>{{cite web|url=http://www.oac.cdlib.org/findaid/ark:/13030/kt458034kf/|title=Inventory of the Arthur Tooth & Sons stock inventories and accounts, 1871-1959 Case - Online Archive of California|work=www.oac.cdlib.org}} </ref> but expanded in the 1880s to include contemporary paintings and the occasional works by [[Old Masters]].<ref> Stephenson, 2011, p.113</ref> Rather than selling more well known artworks, Arthur Tooth & Sons concentrated on a steady stream of popular contemporary artists and commodity-like artworks, operating as a kind of patron or agent for these artists, commissioning works, which were also reproduced in photogravures.<ref> Bayer and Page, 2011, p.113.</ref> <ref> Verhoogt, 2007, p.496 </ref> The gallery's stock was selected on the notion that the 'aura' of more established art would rub off on and validate newer products.<ref> Bayer and Page, 2011, p.114.</ref> 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 painting| Victorian painters]] within the commercial art market. <ref> Bayer and Page, 2011, p.115.</ref> <ref> Bayer and Page, 2011, p.117.</ref>
Initially, the gallery focused on paintings by eighteenth and nineteenth century British artists, <ref>{{cite web|url=http://www.oac.cdlib.org/findaid/ark:/13030/kt458034kf/|title=Inventory of the Arthur Tooth & Sons stock inventories and accounts, 1871-1959 Case - Online Archive of California|work=www.oac.cdlib.org}} </ref> but expanded in the 1880s to include contemporary paintings and the occasional works by [[Old Masters]].<ref> Stephenson, 2011, p.113</ref> Rather than selling more well known artworks, Arthur Tooth & Sons concentrated on a steady stream of popular contemporary artists and commodity-like artworks, operating as a kind of patron or agent for these artists, commissioning works, which were also reproduced in photogravures.<ref> Bayer and Page, 2011, p.113.</ref> <ref> Verhoogt, 2007, p.496 </ref> The gallery's stock was selected on the notion that the 'aura' of more established art would rub off on and validate newer products.<ref> Bayer and Page, 2011, p.114.</ref> 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 painting| Victorian painters]] within the commercial art market.<ref> Bayer and Page, 2011, p.117.</ref>


Arthur Tooth was particularly successful in the sale of [[photogravure|photogravures]] of [[Pre-Raphaelite Brotherhood| Pre-Raphaelite]] and other works and dominated the market in this field. <ref> Verhoogt, 2007, p. 122 </ref> Reproductive prints have been called the '[[cash cow]]' of the Victorian Art Market, and proved lucrative to Arthur Tooth.<ref>{{cite web|url=http://19thc-artworldwide.org/spring10/arthur-tooth|title=Arthur Tooth: A London Art Dealer in the Spotlight, 1870–71|date=Spring 2010|work=19thc-artworldwide.org}} </ref><ref>{{cite web|url=http://www.oac.cdlib.org/findaid/ark:/13030/kt458034kf/|title=Inventory of the Arthur Tooth & Sons stock inventories and accounts, 1871-1959 Case - Online Archive of California|work=www.oac.cdlib.org}} </ref>
Arthur Tooth was particularly successful in the sale of [[photogravure|photogravures]] of [[Pre-Raphaelite Brotherhood| Pre-Raphaelite]] and other works and dominated the market in this field. <ref> SOURCE? </ref> Reproductive prints have been called the '[[cash cow]]' of the Victorian Art Market, and proved lucrative to Arthur Tooth.<ref>{{cite web|url=http://19thc-artworldwide.org/spring10/arthur-tooth|title=Arthur Tooth: A London Art Dealer in the Spotlight, 1870–71|date=Spring 2010|work=19thc-artworldwide.org}} </ref><ref>{{cite web|url=http://www.oac.cdlib.org/findaid/ark:/13030/kt458034kf/|title=Inventory of the Arthur Tooth & Sons stock inventories and accounts, 1871-1959 Case - Online Archive of California|work=www.oac.cdlib.org}} </ref>


The nineteenth century saw an increased number of middlemen operating between artists and consumers in the art market.<ref> Bayer and Page, 2011, p.116.</ref> Arthur Tooth & Sons' business model can be seen as typical of these new firms.<ref>{{cite web|url=http://19thc-artworldwide.org/spring10/arthur-tooth|title=Arthur Tooth: A London Art Dealer in the Spotlight, 1870–71|date=Spring 2010|work=19thc-artworldwide.org}} </ref> In the early twentieth century, Arthur Tooth & Sons held branches in London, New York and Paris. <ref> Helmreich, 2011, p. 68 </ref> <ref>{{cite web|url=http://19thc-artworldwide.org/spring10/arthur-tooth|title=Arthur Tooth: A London Art Dealer in the Spotlight, 1870–71| date=Spring 2010|work=19thc-artworldwide.org}} </ref> The firm followed emerging strategies to ensure reputability, such as establishing international branches and naming galleries after individual dealers.<ref> Helmreich, 2011, p. 68 </ref> <ref>{{cite web|url=http://19thc-artworldwide.org/spring10/arthur-tooth|title=Arthur Tooth: A London Art Dealer in the Spotlight, 1870–71|date=Spring 2010|work=19thc-artworldwide.org}} </ref>
The nineteenth century saw an increased number of middlemen operating between artists and consumers in the art market.<ref> Bayer and Page, 2011, p.116.</ref> Arthur Tooth & Sons' business model can be seen as typical of these new firms.<ref>{{cite web|url=http://19thc-artworldwide.org/spring10/arthur-tooth|title=Arthur Tooth: A London Art Dealer in the Spotlight, 1870–71|date=Spring 2010|work=19thc-artworldwide.org}} </ref> In the early twentieth century, Arthur Tooth & Sons held branches in London, New York and Paris. <ref>{{cite web|url=http://19thc-artworldwide.org/spring10/arthur-tooth|title=Arthur Tooth: A London Art Dealer in the Spotlight, 1870–71| date=Spring 2010|work=19thc-artworldwide.org}} </ref> The firm followed emerging strategies to ensure reputability, such as establishing international branches and naming galleries after individual dealers. (CORRECT SOURCE?)


In the mid 1920s, Dudley Tooth (1896 - 1972) took up leadership of Arthur Tooth & Sons and rebranded the gallery, expanding within the pool of contemporary artists and further promoting artists by regularly hosting a solo show of each artist’s work every two and a half years. <ref> MacGilp, 2011, p.199 </ref>
In the mid 1920s, Dudley Tooth (1896 - 1972) took up leadership of Arthur Tooth & Sons and rebranded the gallery, expanding within the pool of contemporary artists and further promoting artists by regularly hosting a solo show of each artist’s work every two and a half years. <ref> MacGilp, 2011, p.199 </ref>
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* Bayer, Thomas and Page, John, ''The Development of the Art Market in England: Money as Muse, 1730-1900'', London, UK, Pickering & Chatto, 2011
* Bayer, Thomas and Page, John, ''The Development of the Art Market in England: Money as Muse, 1730-1900'', London, UK, Pickering & Chatto, 2011
* Bayer, Thomas and Page, John, ''Arthur Tooth: A London Art Dealer in the Spotlight, 1870–71'', in 'Nineteenth-Century Art Online: A Journal of Nineteenth Century Visual Culture', 2015, [http://19thc-artworldwide.org/spring10/arthur-tooth]
* Bayer, Thomas and Page, John, ''Arthur Tooth: A London Art Dealer in the Spotlight, 1870–71'', in 'Nineteenth-Century Art Online: A Journal of Nineteenth Century Visual Culture', 2015, [http://19thc-artworldwide.org/spring10/arthur-tooth]
* 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
* 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
* 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

Revision as of 15:25, 30 July 2015

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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. Through the Tooth gallery, Frick acquired works by Lawrence Alma-Tadema, Jean-François Raffaëlli, J. M. W. Turner, Frits Thaulow, Pascal Dagnan-Bouveret, and Rembrandt.[3]

Initially, the gallery focused on paintings by eighteenth and nineteenth century British artists, [4] but expanded in the 1880s to include contemporary paintings and the occasional works by Old Masters.[5] Rather than selling more well known artworks, Arthur Tooth & Sons concentrated on a steady stream of popular contemporary artists and commodity-like artworks, operating as a kind of patron or agent for these artists, commissioning works, which were also reproduced in photogravures.[6] [7] The gallery's stock was selected 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]

Arthur Tooth was particularly successful in the sale of photogravures of Pre-Raphaelite and other works and dominated the market in this field. [10] Reproductive prints have been called the 'cash cow' of the Victorian Art Market, and proved lucrative to Arthur Tooth.[11][12]

The nineteenth century saw an increased number of middlemen operating between artists and consumers in the art market.[13] Arthur Tooth & Sons' business model can be seen as typical of these new firms.[14] In the early twentieth century, Arthur Tooth & Sons held branches in London, New York and Paris. [15] The firm followed emerging strategies to ensure reputability, such as establishing international branches and naming galleries after individual dealers. (CORRECT SOURCE?)

In the mid 1920s, Dudley Tooth (1896 - 1972) took up leadership of Arthur Tooth & Sons and rebranded the gallery, expanding within the pool of contemporary artists and further promoting artists by regularly hosting a solo show of each artist’s work every two and a half years. [16]

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. ^ "Finding Aid for the Henry Clay Frick Papers". frick.org.
  4. ^ "Inventory of the Arthur Tooth & Sons stock inventories and accounts, 1871-1959 Case - Online Archive of California". www.oac.cdlib.org.
  5. ^ Stephenson, 2011, p.113
  6. ^ Bayer and Page, 2011, p.113.
  7. ^ Verhoogt, 2007, p.496
  8. ^ Bayer and Page, 2011, p.114.
  9. ^ Bayer and Page, 2011, p.117.
  10. ^ SOURCE?
  11. ^ "Arthur Tooth: A London Art Dealer in the Spotlight, 1870–71". 19thc-artworldwide.org. Spring 2010.
  12. ^ "Inventory of the Arthur Tooth & Sons stock inventories and accounts, 1871-1959 Case - Online Archive of California". www.oac.cdlib.org.
  13. ^ Bayer and Page, 2011, p.116.
  14. ^ "Arthur Tooth: A London Art Dealer in the Spotlight, 1870–71". 19thc-artworldwide.org. Spring 2010.
  15. ^ "Arthur Tooth: A London Art Dealer in the Spotlight, 1870–71". 19thc-artworldwide.org. Spring 2010.
  16. ^ 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
  • Bayer, Thomas and Page, John, Arthur Tooth: A London Art Dealer in the Spotlight, 1870–71, in 'Nineteenth-Century Art Online: A Journal of Nineteenth Century Visual Culture', 2015, [1]
  • 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, [2]
  • Inventory of the Arthur Tooth & Sons Stock Inventories and Accounts, 1871-1959, Online Archive of California, [3]

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
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