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Arthur Tooth & Sons

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Arthur Tooth & Sons was an art gallery founded in 1842 in London by Charles Tooth (1788-1868) in 1842. [1] [2] (GENEALOGY REFERENCE FOR DATES) Charles established the gallery so as to set up his son, Arthur (1828 - 1900), in business.[3] The gallery was subsequently lead by Charles' son Arthur (1828-1900), his grandson Arthur Tooth (1849-1923), and great-grandson Dudley Tooth (1897-1976) until its closure in the 1970s. (GENEALOGY SOURCE - closure in 1970s source?) Arthur Tooth & Sons, while a relatively small business, became a major presence in the commercial art market from the 1870s onwards and a key dealer for industrial magnate Henry Clay Frick. [4] Arthur Tooth & Sons supplied Frick with works by Lawrence Alma-Tadema, Jean-François Raffaëlli, J. M. W. Turner, Frits Thaulow, Pascal Dagnan-Bouveret, and Rembrandt.

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 (OAC.CDLIB), but expanded in the 1880s to include contemporary paintings and the occasional old masters piece [5]. Rather than selling 'big hit' artworks, Arthur Tooth & Sons concentrated on a steady stream of popular contemporary artists producing commodity-like artworks and operated as a kind of agent or patron for these artists [6](SUCH AS?). The stock was carefully chosen based on the notion that the 'aura' of more established art would rub off on and validate newer products [7]. As such, Arthur Tooth & Sons was partially responsible (ALONGSIDE OTHER LONDON GALLERIES) for the entry of a number of "victorian painters into the art market and their establishment within the contemporary art market" [8]. - "he operated as part of a group of approx. 30 dealers apparently organised in a loose network that extended beyond London and functioned in the market as both arbitrageurs as well as market makers" [9]

The nineteenth century saw an increasing number of middlemen between producers and consumers in the commercial art market. [10]Arthur Tooth & Sons' business model can be seen as typical of these new BUSINESSES/MIDDLEMEN (C19TH). Common strategies to ensure reputability, soon emerged among these businesses such as internationally located branches and names after individual dealers. [11] (C19TH). In the early twentieth century, Arthur Tooth & Sons held branches in London, New York and Paris. [12] (C19TH)

DUDLEY'S LEADERSHIP/ARTHUR' DEATH - CHANGES UNDER NEW LEADERSHIP AFTER ARTHUR'S RETIREMENT/ DEATH Dudley Tooth (1896 - 1972) (NPG WEBSITE), son of Arthur Tooth, 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. [13]

References

  1. ^ "Finding Aid for the Henry Clay Frick Papers". frick.org. unknown. {{cite web}}: Check date values in: |date= (help); Text "frick.org" ignored (help)
  2. ^ "Arthur Tooth: A London Art Dealer in the Spotlight, 1870–71". 19thc-artworldwide.org. Spring 2010. {{cite web}}: Text "Nineteenth Century Art Online" ignored (help)
  3. ^ "Arthur Tooth: A London Art Dealer in the Spotlight, 1870–71". 19thc-artworldwide.org. Spring 2010. {{cite web}}: Text "Nineteenth Century Art Online" ignored (help)
  4. ^ Bayer and Page, 2011, p.113.
  5. ^ Stephenson, 2011, p.113
  6. ^ Bayer and Page, 2011, p.113.
  7. ^ Bayer and Page, 2011, p.114.
  8. ^ Bayer and Page, 2011, p.115.
  9. ^ Bayer and Page, 2011, p.117.
  10. ^ Bayer and Page, 2011, p.116.
  11. ^ Helmreich, 2011, p. 68
  12. ^ Helmreich, 2011, p. 68
  13. ^ MacGilp, 2011, p.199

Bibliography

  • [1], Finding Aid for the Henry Clay Frick Papers, Series I: Art Files, 1881-1925, undated
  • 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, Amsterdam, Amsterdam University Press, 2007 (TRANS = MICHELLE HENDRIKS)

Further Reading

  • 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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