Here are 17 books that Provenance fans have personally recommended if you like
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I’m a Distinguished Professor of art history at CUNY and biographer of artists. I grew up in Atlanta, attended college in Boston, and have worked in New York since my twenties. With a new Ph.D. in art history from Rutgers, I began as curator of the Hopper Collection at the Whitney Museum, assigned to produce a definitive catalogue of all Edward Hopper’s authentic art. His papers were missing except for his record books that recorded every time a work left for sale, loan, or gift. I traced each work as it left Hopper’s possession and discovered a massive number of undocumented artworks stolen from the estate, which the Whitney still wants to cover up.
This very well-researched and gripping book taught me the meaning of the term “laundering” in the art market and revealed the duplicity of the late art dealer, Larry Fleischman, who both collected and sold stolen antiquities and marketed undocumented works taken from Edward Hopper’s estate.
He didn’t care about provenance or history of ownership and is quoted in this book as saying: “Everything comes from somewhere.”
Although I knew and dealt with Fleishman, I trusted him and was tricked by him.
A “thrilling, well-researched” account of years of scandal at the prestigious Getty Museum (Ulrich Boser, author of The Gardner Heist).
In recent years, several of America’s leading art museums have voluntarily given up their finest pieces of classical art to the governments of Italy and Greece. Why would they be moved to such unheard-of generosity? The answer lies at the Getty, one of the world’s richest and most troubled museums, and scandalous revelations that it had been buying looted antiquities for decades. Drawing on a trove of confidential museum records and candid interviews, these two journalists give us a fly-on-the-wall…
I’m a Distinguished Professor of art history at CUNY and biographer of artists. I grew up in Atlanta, attended college in Boston, and have worked in New York since my twenties. With a new Ph.D. in art history from Rutgers, I began as curator of the Hopper Collection at the Whitney Museum, assigned to produce a definitive catalogue of all Edward Hopper’s authentic art. His papers were missing except for his record books that recorded every time a work left for sale, loan, or gift. I traced each work as it left Hopper’s possession and discovered a massive number of undocumented artworks stolen from the estate, which the Whitney still wants to cover up.
Esterow, then employed by Larry Fleischman, assessed hundreds of Edward Hoppers that an unknown minister offered to sell.
The book’s dust jacket advertises “a lively history of certain fabulous art thefts—and the strange breed of thieves who perpetrated them.” Esterow’s book inspired one reviewer to comment that few of his criminals “are very ingenious.”
Sanborn, who must have seemed to Esterow like a character that belonged in his narrative, told me that Esterow offered him a consignment deal for what he was shown, which later turned out to be just a small part of Sanborn’s loot.
Had he known Sanborn’s story, Esterow might have added his scheme of befriending the aging sister of a famous artist, whose early works were jammed into the attic of the family home.
I’m a Distinguished Professor of art history at CUNY and biographer of artists. I grew up in Atlanta, attended college in Boston, and have worked in New York since my twenties. With a new Ph.D. in art history from Rutgers, I began as curator of the Hopper Collection at the Whitney Museum, assigned to produce a definitive catalogue of all Edward Hopper’s authentic art. His papers were missing except for his record books that recorded every time a work left for sale, loan, or gift. I traced each work as it left Hopper’s possession and discovered a massive number of undocumented artworks stolen from the estate, which the Whitney still wants to cover up.
I really like the discussion of the Metropolitan Museum’s celebrated acquisition of the ancient Greek Eurphronios Krater, which turned out to have been stolen from a tomb and had to be returned to Italy.
We read that even taking less valuable items “damages archaeological heritage, thereby compromising or weakening historical scholarship.”
I appreciate how this also applies to the unrelated minister who got into the Edward Hopper estate and who hid Hopper’s papers—5,000 documents—for 50 years, damaging their context, perhaps destroying some.
I wrote my biography and definitive catalogue of Hopper’s art without access to most of these papers. Now that I have seen most of them, I am relieved that my work retains its value. Fortunately, I found another source that provided many of Jo Hopper’s diaries.
In the world of law enforcement art and antiquity crime has in the past usually assumed a place of low interest and priority. That situation has now slowly begun to change on both the local and international level as criminals, encouraged in part by the record sums now being paid for art treasures, are now seeking to exploit the art market more systematically by means of theft, fraud and looting. In this collection academics and practitioners from Australasia, Europe and North America combine to examine the challenges presented to the criminal justice system by these developments. Best practice methods of…
I’m a Distinguished Professor of art history at CUNY and biographer of artists. I grew up in Atlanta, attended college in Boston, and have worked in New York since my twenties. With a new Ph.D. in art history from Rutgers, I began as curator of the Hopper Collection at the Whitney Museum, assigned to produce a definitive catalogue of all Edward Hopper’s authentic art. His papers were missing except for his record books that recorded every time a work left for sale, loan, or gift. I traced each work as it left Hopper’s possession and discovered a massive number of undocumented artworks stolen from the estate, which the Whitney still wants to cover up.
I like this book’s discussion of curators as one of two “sources of truth.”
It mentions “curatorial knowledge” and “provenance research,” but also mentions “donors and people associated with the collection.”
With such subjects, there exists a huge area for administrative abuse: for example, those who engage curators/scholars to do provenance research and then dismiss it if not what the museum expected or intended.
Yet this book states, and I agree: “Cataloguing takes deep expertise and time.” So this book brings up some of the pitfalls curators can experience.
Curators make many decisions when they build collections or design exhibitions, plotting a passage of discovery that also tells an essential story. Collecting captures the past in a way useful to the present and the future. Exhibits play to our senses and orchestrate our impressions, balancing presentation and preservation, information and emotion. Curators consider visitors' interactions with objects and with one another, how our bodies move through displays, how our eyes grasp objects, how we learn and how we feel. Inside the Lost Museum documents the work museums do and suggests ways these institutions can enrich the educational and aesthetic…
I’m obsessed with travel, and have spent years ambling the planet. I’m also an Associate Professor of Philosophy at Durham University—I spend lots of time reading books, and occasionally writing them. Travel and philosophy can help us make sense of our magnificent, peculiar world.
How can travel help us find the good life?The Art of Travel asks this question of artists such as Edward Hopper and Vincent van Gogh, with profound and amusing results. Why can anticipating travel be more pleasant than actually going away? What is the lure of the Bahamas, of the ‘exotic’, of open deserts? Throughout, De Botton invites us to pay better attention to the world around us. I especially enjoy his musings on the profundities of travel—on waiting at Heathrow airport, circling ring-roads, and dried ketchup of motorway service stations.
From the author of the Number One bestseller, THE CONSOLATIONS OF PHILOSOPHY, this is an inspirational and witty guide to how to make our travels go better. Calling upon such guides as Hopper, Flaubert and Ruskin, de Botton accompanies us on an eye-opening and entertaining tour of the philosophical questions behind our desire to travel - and the capricious nature of our thoughts and emotions when we do.
For whatever reason, I have always been interested in sad men. Successful men can be boring. It is failure, and how men manage it when success is the primary marker of masculinity, that I find interesting as a subject for fiction. Even when I was in my 20s, I liked reading novels about men suffering mid-life crisis. And now that I am squarely in middle age, novels that were about the future are now novels about the present.
I have returned to many of these stories over and over again through the years—for Cheever’s prose, for his sense of what makes men tick. On one level, I can’t quite relate to white suburban husbands in upstate New York in the 1950s and 60s. And yet, somehow, they seem profoundly familiar.
John Cheever's Collected Stories explores the delicate psychological frameworks of 20th century suburbia.
WITH AN INTRODUCTION BY HANIF KUREISHI
This outstanding collection by Pulitzer Prize-winning novelist John Cheever shows the power and range of one of the finest short story writers of the last century. Stories of love and of squalor, they include masterpieces such as 'The Swimmer' and 'Goodbye, My Brother' and date from the time of his honourable discharge from the Army at the end of the Second World War.
I'm a New Yorker with a background in the performing arts. Though a lifelong reader and bookstore loiterer, my early writing career was focused on the stage as well as the pursuit of a career in screenwriting. This led to many years writing and producing theatre as well as working in film and TV both as a writer and in production. The books I've chosen, I feel influenced the American language in the last century, an influence reflected in the tone of the novels and films from that period described by scholars as “Between the Wars.” It's a period that fascinates me for it exists now only in books and movies and is therein preserved.
John O’Hara’s name should be spoken in the same breath as Fitzgerald, Steinbeck, and Hemingway. Maybe it isn’t, because he never had that one homerun book that stood out in the canon, like a Gatsbyor a Grapes of Wrath. Though I think Butterfield 8 and Appointment in Samarastand up to either of the above, I have chosen this collection of short stories. He wrote more short stories for the New Yorker than anyone ever did and is credited with inventing that particular style that the periodical became known for. Each of these stories – all short and fast as an uppercut – shows the flawed humanity striving in the city from the 30s to the 60s – from ad men to secretaries, to bums and soda jerks. With his trademark crackling dialogue, this collection of gritty Americana will leave you feeling like you are standing in an…
'Superb... These thirty-two stories inhabit the Technicolor vernaculars of taxi drivers, barbers, paper pushers and society matrons... O'Hara was American fiction's greatest eavesdropper, recording the everyday speech and tone of all strata of mid-century society' Wall Street Journal
John O'Hara remains the great chronicler of American society, and nowhere are his powers more evident than in his portraits of New York's so-called Golden Age. Unsparingly observed, brilliantly cutting and always on the tragic edge of epiphany, the stories collected here are among O'Hara's finest work, and show why he still stands as the most-published short story writer in the history…
I got hooked on authors like Ilona Andrews, Patricia Briggs, and Nalini Singh. Where females are tough, men are alphas, and love is a complicated process that takes time and effort. When I tried to branch out, and find new authors, I was constantly disappointed by the puddles of goo. You know, those female characters who talk tough and kick ass, until the man comes into the picture and her ovaries start running the show. Suddenly staying hidden isn’t as important as spilling your deepest secrets to a stranger. Tired of not finding the books for me, I decided to try writing them.
I love Tate. She is true to her friends and she stands up for what she believes in. But most importantly, she doesn’t change who she is to please the male protagonist.
With intriguing and humorous side characters, in a world that is vastly different from our own, this book kept me hooked from beginning to end.
I spent my childhood in New York and my early adulthood in Chicago, which inspired my fascination with the histories of cities and how we can analyze their built environments to understand the culture, politics, and economy of these vital but complicated places. I wrote my first book about New York’s SoHo neighborhood to better understand how some former disinvested industrial areas became wealthy and gentrified and how artists became known as critical actors in the contemporary city. Since then, I’ve focused the bulk of my teaching and research on urban history. This list includes my favorite fiction and non-fiction titles about New York’s dynamic art scene. Enjoy!
My favorite image from my research on New York’s SoHo neighborhood is a photograph of a girl riding her bicycle through her parents’ loft apartment—a former factory transformed into an airy, art-filled home that was spacious enough to serve as an indoor playground.
This book captures what it was like to grow up in one of New York’s most famous artist communities. While few (if any) SoHo children helped to break up an international art forgery ring (like the one depicted in this YA novel), it evocatively captures the sense of adventure that children might have felt living in an industrial area during a time of neighborhood transition.
"A dazzling debut novel about resilience, courage, home and family."--Rebecca Stead, Newbery Award-winning author of When You Reach Me
SoHo, 1981. Twelve-year-old Olympia is an artist--and in her neighborhood, that's normal. Her dad and his business partner Apollo bring antique paintings back to life, while her mother makes intricate sculptures in a corner of their loft, leaving Ollie to roam the streets of New York with her best friends Richard and Alex, drawing everything that catches her eye. Then everything falls apart. Ollie's dad disappears in the middle of the night, leaving her only a cryptic note and instructions to…
Back in 2006, a New York Times Magazine feature article about me announced that I had essentially founded the field of the study of art crime, while still a postgraduate student. I’m often mentioned as the world’s leading authority on the history of art crime and I’ve been a professor teaching the subject for more than a decade (I’m not actually that old). I also founded ARCA, the Association for Research into Crimes against Art, the world’s first think tank and research group on art crime. We launched the first academic journal on the subject, The Journal of Art Crime, as well as the first academic study program, the ARCA Postgraduate Program in Art Crime and Cultural Heritage Protection, which runs every summer in Italy. I’m also the author of more than a dozen books, many best-sellers, and one a Pulitzer finalist. I write on art crime for TED Ed videos, I host TV programs on the subject, and I recently curated a virtual exhibit of lost art called Missing Masterpieces.
This book is part philosophy, part on art and forgery. Most approaches, my own included, to art forgery are art historical and criminological. This one is readable and thoughtful and fun but focuses on the big ideas behind the scenes.
The obsession with art forgery appears to be a relatively recent phenomenon. In Art Forgery, the author's aim is not to suggest new methods of detection, but rather to look at the genealogy of faking and to interrogate the anxious, sometimes neurotic, reactions triggered in the modern world of art by these clever frauds. Thierry Lenain considers the idea of authenticity in the Middle Ages, when the issue of false relics and miracles often arose: if a relic gave rise to a cult, it would be considered as genuine even if it had evidently been 'forged'. Similarly, the seventeenth and…
