Benutzerspezifische Werkzeuge

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This lecture will centre on about ten individuals who were friends and colleagues of the speaker’s father, Arthur Kauffmann. Formerly director of the Frankfurt branch of the auction house Hugo Helbing, Kauffmann emigrated with his family to London in 1938. England was also the chosen destination of Kauffmann’s colleagues such as Grete Ring, Alfred Scharf, Franz Drey, Herbert Bier and Robert Frank. In discussing the effects of emigration on their biographies, the talk will draw upon personal memory as well as knowledge of these individuals’ careers. At the same time, the lecture will also reflect on the impact of refugee dealers on the art market in England. The London dealers were indeed very welcoming to the new arrivals at the time, a fact which greatly helped the latter – who considered themselves as refugees rather than exiles – to take root.

Prof. Dr. C. Michael Kauffmann, born in Frankfurt in 1931, emigrated with his family to England in 1938. He began his career as a Junior Research Fellow at the Warburg Institute where he obtained his PhD in 1957. He was Assistant Keeper at the Manchester City Art Gallery (1958–60), then Assistant Keeper and later Keeper of the Victoria and Albert Museum’s Department of Prints & Drawings and Paintings (1960–1985). From 1985 until 1995 he was Professor of History of Art and Director of the Courtauld Institue of Art (University of London). Michael Kauffmann is the author of many museum catalogues and publications on medieval manuscript illumination. Among his books are the Catalogue of Foreign Paintings, Victoria & Albert Museum, (1973), Romanesque Manuscripts 1066–1190 (1975), and Biblical Imagery in Medieval England, 700–1550, (2003). Michael Kauffmann was made a Fellow of the British Academy in 1987.
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This lecture is part of the Hugo Helbing Lecture. The Hugo Helbing Lecture – Exploring the Art Market commemorates the achievements of Hugo Helbing every year. It was first held in 2016 on the occasion of the donation of annotated auction catalogues from his firm to the Zentralinstitut für Kunstgeschichte, Munich.