80 Works

Bert De Munck and Dries Lyna, eds., Concepts of Value in European Material Culture, 1500–1900

Barbara Pezzini
Bert De Munck and Dries Lyna, eds., Concepts of Value in European Material Culture, 1500–1900 (Farnham and Burlington: Ashgate, 2015), 304 pages, ISBN: 9781472451965.


Bénédicte Savoy, Johannes Nathan & Dorothee Wimmer
Editorial of Journal for Art market Studies Vol. 1, No. 2

Modern Art Galleries in Paris and Berlin c.1890-1933: types, policies and modes of display

Malcolm Gee
This article discusses the character of commercial galleries engaged in the promotion of contemporary art in Paris and Berlin during a crucial period, which began with the consolidation of exhibition networks diffusing ‘independent’ art’ at the end of the nineteenth century, and ended with the economic crisis of the 1930s and the Nazi takeover of power in Germany. It examines the types of spaces occupied by these galleries, and their location; the modes of presentation...

\"Invaluable Masterpieces\": The Price of Art at the Musée Napoléon

Bénédicte Savoy
In 1810, the French state embarked on a project to systematically register all artworks that had been confiscated since the revolution inside and outside France and declared national property. The extent of the collections of this highly heterogeneous group of objects now accumulated in the French museums since 1793 and the almost entire absence of any prior catalogues certainly presented a challenge. The result leads us to the intersection between art and economic history, where...

Art Price Economics in the Netherlands during World War II

Jeroen Euwe & Kim Oosterlinck
This paper analyses the boom on the Dutch art market during World War II. It relies on an original database covering all pictures - over 11,000 - sold at Mak van Waay, one of the two premier Dutch auction houses during the occupation. Hedonic regressions show that in real terms, the price of paintings increased more than fivefold between 1940 and 1945. While there was significant demand for Old Masters by the German occupying forces,...

Finance, Taxes and Provenance: A German Museum Acquisition of Chinese Antiquities in 1935

Ilse Von Zur Mühlen
Research for this article was initially prompted by a restitution claim for several early Chinese objects, which had been acquired by the Bavarian State Ethnological Museum, now Museum Fünf Kontinente in Munich, at two sales in the Berlin auction house of the Jewish art dealer Paul Graupe in 1935. The title of the auction catalogue explained the circumstances of the forthcoming sale. The stock of the firm Dr. Otto Burchard & Co, Berlin was to...

Guest Editorial

Gilbert Lupfer
Guest Editorial for JAMS 3 (2018)


Susanne Meyer-Abich
Editorial vol. 3, no. 1

Beyond Murillo: New Data-Driven Research on the Painting Market in Early Modern Seville

Felipe Álvarez De Toledo López-Herrera
While data-driven research has outlined the development of early modern art markets in Europe, the Iberian peninsula remains a lacuna in our knowledge. Seville fulfilled all the necessary prerequisites to support a sophisticated art trade. In the 16thand early 17thcenturies, it was a large metropolis of over 100,000 inhabitants, with a growing merchant class and access to foreign markets due to its role as port to the Indies. Yet its market for paintings remains understudied....

Marketing favours: Formal and informal criteria for pricing Albrecht Dürer‘s works between 1500 and 1650

Anja Grebe
From an economical point of view, Albrecht Dürer was one of the most successful artists of his time. However, there was never a single market or price system for Dürer’s works, be it during his lifetime or posthumously. While the artist was alive, pricing his works was not governed by a standard set of more or less ‘objective’ or quantifiable criteria. Instead, each price was a matter of negotiation. The main differences were between the...

The Hôtel Drouot as the stock exchange for art. Financialization of art auctions in the nineteenth century

Lukas Fuchsgruber
Throughout historic developments, the publicly ascertained and published price of an artwork repeatedly served as a reference point for art theoretical discussion. Particular importance was attached to the auction sale price, since this financial evaluation of art was of such a public nature. While there is a long history of these ideas about the pricing of art, there are notable times of transition, one of which can be identified in France in the middle of...

On the price of priceless goods. Sociological Observations on and around Art Basel

Franz Schultheis
Today’s public discourse on art revolves around the price of these priceless goods and numbers function as ciphers for the collective representations of art and its status in late capitalist society. Highly contrary assessments as to how the prices for these goods can be found, depending on the perspective taken. While it may seem that optimal transparency exists with regard to the market and the setting of prices, thanks to commercial databases readily available to...

Conference Report: The Art Fair

Helene Bosecker & Susanne Meyer-Abich
Conference Report of the TIAMSA conference "The Art Fair", London, July 2017

An Art World Insider: Austen Henry Layard and the Nineteenth-Century European Art Trade

Cecilia Riva
In the lively context of the European art market of mid-nineteenth century, Austen Henry Layard (1817-1894) played an active role both as a private collector and advisor, and equally as a trustee and unofficial travelling agent for London museums. Thanks to his extensive travels throughout Europe and the Middle East, he became acquainted with the most eminent figures of the art world and was able to purchase a great assortment of art objects, ranging from...

Reflections on Provenance Research: Values – Politics – Art Markets

Johannes Gramlich
Since the turn of the last century provenance research has developed and become professionalized in Europe and the United States as a field that enquires into the ownership history of art and cultural assets during the National Socialist period. While for considerable time the field received little acknowledgement by university faculties such as art history and historical science, provenance research is currently about to become – at least for the moment – institutionalized as an...


Susanne Meyer-Abich
Editorial Vol. 1, No. 3

Genesis of an Auction Sale Category: Sotheby's Inaugural Auction of 'Contemporary Chinese Art'

Anita Archer
On 31 October 2004, Sotheby’s conducted an auction in Hong Kong under a new category entitled ‘Contemporary Chinese Art’. This was not the first time that either of the multinational auction houses had included contemporary Chinese art in their auction offerings; however, in the decade leading up to this auction, contemporary Chinese art was primarily included in the broader sale category titled Modern and Contemporary Chinese Paintings. By late 2004, Henry Howard-Sneyd, Sotheby’s Managing Director,...

The trade in Far Eastern Art in Berlin during the Weimar Republic (1918-1933)

Patrizia Jirka-Schmitz
The trade in Far Eastern objects of art and consequently the establishment of an art market in Europe originated with the Dutch Verenigde Oostindische Compagnie (V.O.C.) in the seventeenth century. In Berlin during the period from 1850 to 1870, East Asian art was often sold in conjunction with other goods from the Far East that were referred to as “colonial”, such as tea. At the turn of the twentieth century, the initially more popular Japanese...

Exhibiting and Auctioning Yuanmingyuan (\"Summer Palace\") Loot in 1860s and 1870s London: The Elgin and Negroni Collections

Louise Tythacott
This article examines the exhibitions and sales of Yuanmingyuan (or ‘Summer Palace’) loot taken from China in October 1860 by two soldiers in the Anglo-French armies – James Bruce, 8th Earl of Elgin (1811-1863) and Captain Jean-Louis de Negroni (b.1820). Both men displayed their collections before auctioning them – the former in the prestigious South Kensington Museum (now the V&A) in 1862; the latter in a well known exhibitionary site, the Crystal Palace in Sydenham...

Contrived Resemblance: Delaroche and Napoleon

Lisa Hackmann
Several contemporaries highlighted the physical resemblance between Delaroche and Napoleon, of which Delaroche appears to have been acutely conscious. The way the painter’s identification with the French emperor has been understood in academic research bears the clear hallmark of biographically psychologising interpretations. This article proposes an alternative way of interpreting this staged similarity between Delaroche and Napoleon. This interpretation derives firstly from an observation of the drastic change in the artist’s professional circumstances that took...

Reconstructing the Soviet Canon: Strategies for Collecting under Perestroika

Marina Maximova
In 1987 the Moscow art scene became preoccupied with the idea of establishing a museum of contemporary art. As Leonid Talochkin, an active member of Moscow alternative artistic life, collector and archivist mentioned in his letter to one of his émigré artist-friends “everyone seemed to have gone mad with all this museum business” and “various proposals were put forward almost daily”. The article investigates these debates by analysing four museum strategies developed by various art...

Itinerary of a Cameroon Cross River Collection in Art Market Networks. An Analysis of Transaction Correspondence between Hamburg-Berlin-Leipzig

Richard Tsogang Fossi
This contribution aims at following the fortunes of a collection from the Cross River area of Cameroon, which entered market networks in 1908/9. The primary sources are not the objects per se, but a wide range of correspondences that the negotiations about their purchase gave rise to, once in Europe. It is therefore not intended as breakthrough provenance study of the objects as such; rather it hypothesizes in the light of the epistolary exchanges between...

Las colores de un Imperio. Hispanic production and international trade of pigments and pictorial materials in the sixteenth century

Miquel Àngel Herrero-Cortell
This paper aims to offer a a wide view over trade in painters' materials in the Spanish peninsula in the sixteenth century, from their production to their import and export. Factors such as their presence in sources or their availability are also considered in establishing their multiple relationships in the contextual framework of growing globalization. Although they constituted uncategorized products in a very heterogeneous market, they have been grouped in pigments and colorants. Generally, their...

Artist-run Galleries - Differentiating Three Models in Current Contemporary Art Markets

Anne Luther
In the past five years the contemporary art market in a Western European and US context has progressed in its economic growth, professionalizing certain art world roles and encouraging the rise of young international galleries and private museums in the US. This article focuses on a particular local establishment of artist-run galleries in New York at the intersection of art production and commercial/instituional recognition. Artists founded art-run galleries that show strategies to exhibit and sell...

Tracking dispersal: auction sales from the Yuanmingyuan loot in Paris in the 1860s

Christine Howald & Léa Saint-Raymond
During the Second Opium War (1856-1860), British and French troops fought to expand their privileges in China. The war ended in Beijing in October 1860 with the looting and burning of the Yuanmingyuan, one of the official seats of government of the Chinese Emperor to the northwest of the Chinese capital. Thousands of these objects – figures up to over a million have been suggested – were brought to Europe and are today in Western...

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