44 Works

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...


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


Sarah Salomon
Introduction to vol. 2, no. 4 "Artists on the Market"

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...

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...

"Wonderful Revelations": Scottish Art at the Venice Biennale and the Strategies of Innovation and Reputation, 1897-1899

Marie Tavinor
This article examines the introduction of two waves of Scottish artists at the newly-founded Venice Biennale in 1897 and 1899 and considers how the Venetian venture negotiated the need to innovate with the imperative to build up its own reputation. Using hitherto unpublished archival material, it touches upon a number of issues regarding marketing practices, art market flows and the consumption of art at the international level.

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...

The "Art" and the "Market" Elements of the Art Market: John Linnell, William Agnew and Artist-Dealer Relationships in Nineteenth-Century Britain

Barbara Pezzini
In this essay I propose some general observations and guidelines to explore afresh the nexus between the art market and artistic production. To do so, I investigate these issues within the historical frame of nineteenth century Britain, a time when contemporary national painting enjoyed great success: it commanded high figures, critical acclaim and collectors’ attention. In such a buoyant commercial setting, artists assumed multiple, often co-existing, strategies for the marketing of their oeuvre. Insightful scholarly...

Under Control: Sol LeWitt and the Market for Conceptual Art

Martin Hartung
In April 1972, one year before his accidental death, Robert Smithson cautioned: “The artist isn’t in control of his value.” He did not seem to speak for Sol LeWitt, who emphasized the transformation of the traditional production conditions of an artwork by promoting the idea in favor of its execution in his Paragraphs on Conceptual Art (1967). Moreover, the artist challenged the sale conditions of artworks through offering certificates and instructions in an art market...

Provenance Research into the Collection of Chinese Art at the Museum Rietberg: Switzerland and the transnational history of the art market and art collections

Esther Tisa Francini & Alexandra Von Przychowski
In the example of research at the Museum Rietberg, the history of the art market for Chinese art from the provenance perspective presents itself as a history of collections. The article will demonstrate that an investigation into early art collectors can provide answers to the question when, how and in which context art works from China were appreciated, exhibited and sold. In the substantial history of art transfers, the era of National Socialism is one...

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)


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

On the Relevance and Potential of Auction Catalogues as Sources for Art Market Research on Asian Art

Britta Bommert
The article is published close to completion of the research and digitalisation project “German Sales”, funded by the German Research Association (DFG), which will make an entire corpus of more than 5,800 auction catalogues from German-speaking areas between 1901 and 1929 available online. This simplified access will offer new perspectives on the trade in Asian art at auction and present opportunities for further art market research. In the context of the present article, an initial...

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...

Buying and selling East Asian art during the first decade after the October Revolution in 1917: museum purchases in Moscow

Anna Pushakova
This article attempts to show how East Asian art was sold and bought in Russia in the first decade after the revolution 1917 by taking the example of the State Museum of Oriental Art (SMOA) in Moscow. The emergence of the SMOA itself was a consequence of political change. East Asian art objects were of interest since the authorities wanted to demonstrate interest by the new state in its Eastern neighbours.The focus of this paper...

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...

Emporio Janetti Padre e Figli and the Japanese Art Market in Florence in the Second Half of the Nineteenth Century

Massimiliano Papini
In the 1870s collecting Japanese art products started to be popular among a wider range of collectors, not only among circles of intellectuals, artists, and designers. This cultural phenomenon also reached Italy, and when a group of Japanese diplomats (Iwakura Mission) arrived in Florence in May 1873, it reported a very positive impression of a shop that sold Japanese goods. This article aims to clarify the context and background for this enthusiastic comment, using the...

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...

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...

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...

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,...

East Asian Art in the Gurlitt Collection: Tracing the Relationship of Objects and Actors

Nathalie Neumann
For the so-called Gurlitt Collection, which was seized in the spring of 2012 at the home of Cornelius, son of the art dealer Hildebrand Gurlitt , research has been concluded after five years of intense work, an extensive exhibition catalog and four comprehensive publications on the collection and biography of Gurlitt. The research project , which expires at the end of 2018 and has the mission to determine the prior ownership of the works of...


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

A Review: Stories of wheels within wheels - looted art at documenta 14

Eleonora Vratskidou
The recent documenta 14 (2017) addressed the question of art theft and war spoliations, taking as its point of departure the case of Cornelius Gurlitt (1932-2014). One can fully embrace the curatorial engagement in revising exclusive Western canons of art history. However, this revision was accomplished by means of objects of colonial appropriation. In such instances, the critical reflexive turn of Western art his­tory upon its canonical self stumbles against the violence of looting and...

Registration Year

  • 2018

Resource Types

  • Text