75 Works

“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...


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


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


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


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)

Michael Hutter, The Rise of the Joyful Economy: Artistic Invention and Economic Growth from Brunelleschi to Murakami (London/New York: Routledge, 2015).

Léa Saint-Raymond
Book review of Michael Hutter, The Rise of the Joyful Economy: Artistic Invention and Economic Growth from Brunelleschi to Murakami (London/New York: Routledge, 2015).

The Vicissitudes of Taste: The Market for Pop

Titia Hulst
The emergence of American Pop art as a major avant-garde movement had a significant impact on the market for contemporary art and, with it, the perception of America's newly achieved cultural superiority. A detailed examination of sales records of avant-garde galleries in New York reveals Pop's appeal to collectors (especially businessmen), despite significant critical disdain, and links the formal qualities and subjects of Pop art to widely-held assumptions about modes of viewing and social class.

Luc Boltanski and Arnaud Esquerre, Enrichissement. Une critique de la marchandise (Paris: Gallimard, 2017)

Léa Saint-Raymond
Book review of Luc Boltanski and Arnaud Esquerre, Enrichissement. Une critique de la marchandise (Paris: Gallimard, 2017).

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...

"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,...

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...


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


Bénédicte Savoy, Johannes Nathan & Dorothee Wimmer
This is the editorial.

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