44 Works

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...

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. 1, No. 3

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...

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...

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,...

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...

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...

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...


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

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...


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

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...

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...


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

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...


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

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...

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  • 2018

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  • Text