90 Works

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...

Introduction

Dorothee Wimmer
Introduction to Journal for Art Market Studies No. 1: The Pricing of Art: Makers, Markets, Museums

Circulation and the Art Market

Béatrice Joyeux-Prunel
Circulation is an exciting prism through which to conduct research into the art market. It invites us to think in terms of flows and exchanges rather than in terms of stock, prices, and quantities sold or bought. It leads towards an examination of the channels and networks that make up the art market, rather than simply to questions of production and sales. It encourages us to base our reasoning on circuits and mobility, rather than...

Introduction

Lukas Fuchsgruber & Thomas Skowronek
Introduction Vol. 1, No. 2.

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...

Monuments on the Move: The Transfer of French medieval heritage overseas in the early twentieth century

Celine Brugeat
From New York to California and even some paradisiacal islands, medieval architectural fragments or entire monuments were re-assembled and rebuilt by wealthy American collectors. If Alva Vanderbilt, Isabella S. Garner or John P. Morgan were the first to introduce medieval art to United States collections, it was not until 1914 and the opening of the spectacular George Grey Barnard cloisters that the public could visit a place especially dedicated to French medieval architecture. The reconstruction...

Mobilisation of moveable assets: Objects designated for the art trade from the National Socialist plundering of the “M-Aktion”

Gitta Ho
Under the code name "M-Aktion" (M as an abbreviation of the German word for furniture: Möbel), the German occupiers in World War II plundered the households of Jewish citizens who had fled, been interned or deported in France, Belgium and the Netherlands. In France alone, tens of thousands of apartments and houses were emptied out in the course of the M-Aktion between 1942 and 1944. Furniture and furnishings were taken to Germany where they were...

Introduction

Bénédicte Savoy
Introduction to the issue "Translocations and the Art Market"

Editorial

Susanne Meyer-Abich
Editorial for the issue "Translocations and the Art Market"

How to furnish a Palace. Porcelain acquisitions in the Netherlands for Augustus the Strong, 1716-1718

Ruth Sonja Simonis
This article discusses the acquisition of East Asian porcelain for the furnishing of the Japanese Palace, Augustus the Strong’s pleasure palace in Dresden. It focuses on two important documents that give information on how and where porcelain was purchased in 18th century Saxony: firstly, the historic royal inventories, assembled between 1721-1727, which not only record the interior equipment of the palace, but which also refer to a number of porcelain dealers from Dresden and Leipzig...

Private Collection as Collective Operation: Art Dealers’ Impacts on the Formation of the Van Horne Japanese Ceramic Collection

Akiko Takesue
This article examines the ways how the formation of the Japanese ceramic collection of Sir William Van Horne (1843-1915) in Montreal was informed by art dealers and the global market of Japanese ceramics in the late 19th to early 20th century. Van Horne’s dealers, based in Japan and the US, played a significant role in the way Van Horne collected and perceived Japanese ceramics, because Van Horne never went to Japan and acquired objects only...

Tourism and Collecting in Kyoto: The Miyako Hotel as an Agent in the Creation of the Hon. Henry Marsham Collection of Japanese Art, Maidstone Museum, Kent

Ai Fukunaga
The Hon. Henry Marsham (1845-1908) was a British businessman who collected Japanese works of art in Kyoto during the 1900s. His Kyoto ware collection at Maidstone Museum, Kent, is superior in both quantity and quality to other collections in Japan and overseas. The over 700 ceramic works in this collection range from daily dishes and tea vessels to utensils exclusively made for noble families. Marsham assembled the objects in a transnational process which was instigated...

Well-Advised by Friends: Philipp F. Reemtsma’s East-Asian Collection

Silke Reuther
The subject of this article are the East Asian objects in the collection of Philipp Fürchtegott Reemtsma (1893–1959), a leading tobacco and cigarette manufacturer based in Hamburg. In 1968, to mark the tenth anniversary of Philipp F. Reemtsma’s death, his widow, Gertrud Reemtsma, produced a catalogue of her late husband’s collection of Chinese objects, which she presented to friends, advisers, and art dealers. Her correspondence shows how well-connected Reemtsma had been as a collector without...

Introduction

Christine Howald & Alexander Hofmann
Introduction to the Journal issue on Asian Art

The Artist is Absent: the Artist as Creativity Entrepreneur and Changes in Representation and Practices of \"Art\"

Franz Schultheis
Currently, a small team based at the university of St Gallen is undertaking ethnographic field research centred around the subject "Artist entrepreneurs and art fabricators: practices and representations of fine art in the context of manufacturing". Based on qualitative research such as participatory observation in art manufactures, comprehending interviews with all participants, but also documentation of entire production processes, the study aims to explore this specific configuration of art production and its effects on changes...

An Oeuvre shaped by the Buyers’ Tastes? The Impact of Compromises on the Reception of Robert Mapplethorpe’s Work

Jonathan Maho
Available for scholars at the Getty Research Institute since 2013, the “Robert Mapplethorpe Archive” belongs to the institution’s most noteworthy additions of the last decade. The gift made two years earlier by the R. Mapplethorpe Foundation was significant on at least two counts: for the amount and diversity of the material granted, and for the presence of many unique, rarely seen artworks. The archive notably includes many polaroids but also collages, hand painted photographs, as...

Editorial

Susanne Meyer-Abich
Editorial, Journal for Art Market Studies, vol. 2, no. 4

The Circulation of Zurbarán and Murillo’s paintings in the New World

Akemi Luisa Herráez Vossbrink
Francisco de Zurbarán (1598-1664) and Bartolomé Esteban Murillo (1617-1682) spent most of their career in Seville where their paths mostly overlapped in the mid-seventeenth century. Both competed for the growing number of commissions from local religious orders, parish churches and private patrons. Zurbarán’s sharp figures against dark backgrounds were preferred during the first half of the seventeenth century whereas Murillo’s lighter soft compositions became increasingly popular in the second half. Whereas Zurbarán and Murillo competed...

Interview with Luisa Elena Alcalá

Pilar Diez Del Corral
Luisa Elena Alcalá in conversation with Pilar Diez del Corral Corredoira

A Law of \"Unintended\" Consequences? United States Federal Taxation and the Market for Modern Art in the United States

Deirdre Robson
This article aims to explore a to-date little considered nexus between U.S. Federal taxation and the American art market. Lacking so far in an increasing body of studies of the relationship between tax policy and the arts is a discussion of impacts which Federal taxation might have had upon the American art market for modern art rather than arts sector more generally. The scope of this article is two-fold: first, to posit a nexus between...

Enamels “Ancient” and “Rare”: The “Summer Palace” Market in Imperial England

Kate Hill
The plunder of the Yuanmingyuan in 1860 brought new kinds of Chinese decorative arts to Britain. British collectors and dealers grappled with these novelties and established the market in Chinese imperial art over the next several years, quickly bringing a known system of values to material of which they had little knowledge. Emerging connoisseurs of this material focussed their attention first on Qing enameled wares, which had clear economic, social and artistic values, which could...

Seizures and Liquidation Sales in the United States during World War II: Tracking the Fate of Japanese Art Dealership, Yamanaka & Company, Inc.

Najiba Choudhury
The confiscation of private properties by the United States of America during WWII is rarely explored. The US government seized the assets of individuals and companies it considered enemies of the State; which included German, Japanese, and Italian nationals. This article highlights the US seizure and liquidation sale of the collection of Yamanaka & Co., Inc. to underscore the need to better study the actions of the US government during WWII and its implications for...

The Princessehof collection of Chinese ceramics from the former Dutch East Indies

Eline Van Den Berg
The Princessehof Museum in Leeuwarden, theNetherlands, was founded in 1917 by the notary Nanne Ottema. He had a particular interestin Chinese ceramics and acquired an extensive collection on which he also published severalbooks. Even though Ottema never travelled to Asia, a major part of his collection was gathered there by other individuals. In particular the collections assembled during the early twentiethcentury in Indonesia (the former Dutch EastIndies) by Anne Tjibbes van der Meulen (1862-1934) and...

Book Review: Yaëlle Biro, Fabriquer le regard: Marchands, réseaux, et objets africains à l'aube du XXe siècle

Felicity Bodenstein
Book Review

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