60 Works

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"

Collected. Bought. Looted? Provenance Research at the Weltkulturenmuseum Frankfurt

Vanessa Von Gliszczynski & Julia Friedel
The question of how objects arrived in a museum has by now become an integral part of academic discussion. For several years, ethnological museums have also placed greater emphasis on the history of their collections and investigated the paths of their items. German museums face a two-fold challenge in this endeavour, since both the acquisitions during colonial times and those during the Nazi period need to be critically questioned. Sometimes these areas overlap, for example...

Research and restitution: the National Gallery of Australia’s repatriation of a sculpture from the Buddhist site of Chandavaram

Robert Arlt & Lucie Folan
In 2016, the National Gallery of Australia (NGA) returned a 3rd-century stone panel to India. Titled Worshippers of the Buddha, the panel was bought in 2005 for US$595,000 from New York art dealer Subhash Kapoor. Arrested in 2011 and extradited to India, Kapoor has been linked to a pattern of illegal trade. Many items from his inventory match objects missing from Indian sites, resulting in numerous acts of restitution by international museums and collectors. At...

Book review: Fredrik Hagen and Kim Ryholt: The Antiquities Trade in Egypt 1880-1930. The H.O. Lange Papers

Sebastian Willert
Rewview of the publication Fredrik Hagen and Kim Ryholt: The Antiquities Trade in Egypt 1880-1930. The H.O. Lange Papers (Copenhagen: The Royal Danish Academy of Sciences and Letters), ISBN 978-87-7304-400-1.

A Reflection: Translocations and Changes in Perspective

Gidena Mesfin Kebede
“The Story of an Ethiopian Icon” is the subtitle of an article on an article published on a website promoting the return of objects taken from Maqdala in today’s Ethiopia. Under the heading “The Treasure” it gives a summary of the history of a specific painting which is indeed fascinating. This article will follow the different stages in the reception and interpretation of this object, and explore the genealogy of the story, its sources, their...

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...

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...

Rodin’s Sculpture in Japan and the Economics of Translocation

David Martin Challis
Japanese art collectors acquired a large number of Rodin’s sculptures in the 1920s. While recent exhibitions have detailed the increasingly favourable critical reception of Rodin’s oeuvre in Japan during the early twentieth century, the underlying economic context behind the translocation of Rodin’s sculptures from Paris to Japan has remained largely unstudied. This paper argues that the collapse in the value of the French franc, among other economic disruptions occurring in France during the 1920s, played...

“A Past That Won’t Pass”: Stalin’s Museum Sales in a Transformed Global Context

Waltraud M. Bayer
In the wake of the October Revolution, the Bolsheviks embarked on a massive nationaliza­tion drive in the sphere of culture. Major art collections once belonging to the court, the nobility, the bourgeoisie, and the church were confiscated and added to the state museum funds. Newly drafted and implemented expropriation and nationalization laws allowed formerly private art property to be then sold abroad. The Soviet art sales of the interwar period were disputed: Russian émigrés sued...

Conference Report: The Art Fair

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

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...

Interview with Sebastian Baden

Andrea Meyer & Susanne Meyer-Abich
Interview with Sebastian Baden on institutionalized criticism of “Art Fair Art” and the “aesthetic schism” in art history

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...

Art Trade Palaces – Galleries of art dealers as architectural task and their reception in Munich around 1900

Meike Hopp
The structural development of commercial galleries and, more generally, of commercially used spaces for the presentation of art works as a historical architectural challenge in the first place should become an integral part of our perception. When the magazine Die Kunst spoke of “Art Dealer Palaces” in 1913, a prime example was Munich. This article will aim at reconstructing a multi-layered image through historical sources, in particular contemporary articles and reviews from architecture magazines or...

The American Dressing Academy: a venue for early American caricature prints

Allison Stagg
In America at the turn of the nineteenth century, separately published engraved caricature prints were made with surprisingly little regularity. With so few caricature prints made at the beginning of the nineteenth century, a natural assumption might be that this imagery was unimportant, that these prints were less commonly seen, or that there was a limited audience; however, a number of primary documents have suggested otherwise. Because of the numerous announcements located in newspapers it...

Introduction

Andrea Meyer & Susanne Meyer-Abich
Introduction to Journal for Art Market Studies Vol. 2, No. 1, "Exhibiting Art for Sale"

Editorial

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

Editorial

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

Introduction

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

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.

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...

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...

Anamorphosis of Unexpected Results. On the Epistemological Culture of Art Market Visualizations

Thomas Skowronek
(wird nachgereicht)

Registration Year

  • 2017
    16
  • 2018
    44

Resource Types

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