Script: Joe Gill? | Pencils: Charles Nicholas (signed) | Inks: Sal Trapani (signed) | Letters: typeset | Job #: 7141
The bottom right image on the cover is taken from a panel in this story.
Script: Joe Gill? | Inks: Vince Colletta | Letters: typeset | Job #: 7077 The bottom left image on the cover is taken from a panel in this story. Script: Joe Gill? | Pencils: Charles Nicholas | Inks: Vince Alascia | Letters: typeset | Job #: 7087 The top left image on the cover is taken from a panel in this story. Script: Joe Gill? | Pencils: Art Capello? | Inks: Vince Colletta | Letters: typeset | Job #: 7023 Pencils: Charles Nicholas Art Cappello? | Inks: Vince Alascia Vince Colletta | Letters: typeset In 1866, along with his colleague Brame, he made a huge investment in Rousseau's production, scooping up much of his studio contents - unfinished works, preparatory sketches and youthful studies - for a grand total of around 140,000 francs." Two years later at the auction following the artist's death, Durand-Ruel and Brame acted as valuing experts but also entered into the sale to purchase more work for themselves.January 1960 | Price: 0.10 USD | Pages: 1 | Frequency: BimonthlyĬover art is taken from interior story panels. A quick glance at his contemporary activities, especially vis-a-vis Rousseau, is revealing. For it was the dealer Paul Durand-Ruel who constituted the lynchpin of the whole network of publicity and sales campaigns. In fact, though unnamed, the operations of the latter were ever-present throughout all this enthusiastic hype and precious connoisseurship. 10 No.1 March 1987 ISSN 0141Â♶790 DEALING IN TEMPERAMENTS This little narrative serves to introduce many of the elements which will feature in the following article: the rapid rise in price of particular forms of modern art - and especially nature painting by the likes of Rousseau the role of journalism and historical expertise in securing the cultural and investment value of art works and, crucially, the strategic alliances between speculative collectors, critics and dealers. In 1866, along with his colleague Brame, he made a huge investment in Rousseau's production, scooping up much of his studio contents - unfinished works, preparatory sketches and youthful studies - for a grand total of around 140,000 francs." Two years later at the auction following the artist's death, Durand-Ruel and Brame acted as valuing experts but also entered into the sale to purchase more work for themselves.
DEALING IN TEMPERAMENTS: ECONOMIC TRANSFORMATION OF THE ARTISTIC FIELD IN FRANCE DURING THE SECOND HALF OF THE NINETEENTH CENTURY DEALING IN TEMPERAMENTS: ECONOMIC TRANSFORMATION OF THE ARTISTIC FIELD IN FRANCE DURING THE.Īrt History Vol.
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