CONF: Provenance research on the Soviet Occupation Zone and GDR (Berlin, 27 Nov 17)

Provenance research on the Soviet Occupation Zone and GDR. Possibilities and practices in museums – 
Provenienzforschung zur SBZ und DDR. Möglichkeiten und Praxis in den Museen

Berlin, 27. November 2017
Deutsches Historisches Museum
Am Zeughaus 1–3 (Eingang Wasserseite)
10117 Berlin
Registration deadline: Nov 20, 2017

Register here <>

The symposium “provenance research on the Soviet Occupation Zone and GDR” draws attention to a hitherto little-studied complex of provenance research, gaining more and more attention recently. The research on the withdrawal of Cultural Property in the Soviet Occupation Zone (SBZ) and the GDR have the German Historical Museum since taking over the collections of the Museum of German History (MfDG) already led to numerous investigations and restitution, but still no systematic research of collections.

This year, in recognition of the public and scientific discussions, the German Center for Cultural Property Losses has developed guidelines for basic research on provenance research with regard to the SBZ and the GDR. In this context, the symposium discusses  the possibilities as well as the current status of provenance research. Continue reading “CONF: Provenance research on the Soviet Occupation Zone and GDR (Berlin, 27 Nov 17)”

CONF: Il mercato dell’arte in Italia intorno al 1900 (Florence/Bologna, 14-15 Nov 17)


Florence, Bologna, November 14 – 15, 2017

Study days promoted by Kunsthistorisches Institut in Florenz – Max-Planck-Institut and Federico Zeri Foundation.

The two study days, which will take place in Florence and Bologna respectively, aim to analyze the dynamics of the art market in Italy at the beginning of the twentieth century, intersecting the methods of the history of art, economic history and sociology.

In this fruitful research context, two particular aspects will be studied: the relationship between photographic practices and antique practices, the subject of the first day hosted by the Fototeca del Kunsthistorisches Institut, and the antiquarian world in the Savoy Rome, which will be studied on the second day at the Federico Zeri Foundation.

(days held in Italian)
Continue reading “CONF: Il mercato dell’arte in Italia intorno al 1900 (Florence/Bologna, 14-15 Nov 17)”

TOC: Journal of the History of Collections, Vol. 29, No. 3

Journal of the History of Collections

Volume 29, Issue 3


The Galleria of Giacomo Oddi in Perugia: its inventory and dispersal
Clara Menganna; Luca Pesante

‘Only meer Love to Learning’: a rediscovered travel diary of naturalist and collector James Petiver (c.1665–1718)
Anna Marie Roos

South American mummy trafficking: Captain Duniam’s nineteenth-century worldwide enterprises
Christopher Carter; Flora Vilches; Calogero M Santoro

The natural history collection at the Lisbon Military College: tracing the history of a teaching collection
Inês Gomes

The amateur and the public sphere: private collectors in Brussels, Antwerp and Ghent through the eyes of European travellers in the long nineteenth century
Ulrike Müller

Blaschka invertebrate models in Irish institutions
Hazel Doyle; Eric Callaghan; Emmanuel G Reynaud

Collections and decorations: an original approach to the dissemination of prehistoric collections in Germany in the nineteenth century
Clemens Lichter

A gift from Mauritius: William Curtis, George Clark and the Dodo
Julian P Hume; Christine Taylor

Reception of Chinese bronze antiquities in early twentieth-century Japan
Ya-hwei Hsu

The Emporium Museum (1910–1916), Empúries–L’Escala, Spain: between private collection of antiquities and public archaeological museum
Gabriel Alcalde; Josep Burch


Eye for Detail. Images of Plants and Animals in Art and Science, 1500–1630
Anna Marie Roos

Silk, Porcelain and Lacquer: China and Japan and their trade with Western Europe and the New World, 1500–1644
Susan Bracken

Anton Raphael Mengs y la Antigüedad
Peter Mason

The Wallace Collection. Catalogue of Italian Sculpture
Robert Wenley

The Flemish Merchant of Venice. Daniel Nijs and the Sale of the Gonzaga Art Collection
Timothy Wilks

The Celebrated Museum of the Roman College of the Society of Jesus. A facsimile of the 1678 Amsterdam edition of Giorgio de Sepi’s description of Athanasius Kircher’s Museum, Musæum celeberrimum collegii romani societatis Jesu
Jeremy Warren

Richard Rawlinson and his Seal Matrices. Collecting in the early eighteenth century
Kate Heard

Mariette and the Science of the Connoisseur in Eighteenth-Century Europe
Mia Jackson

Reference: TOC: Journal of the History of Collections, Vol. 29, No. 3. In:, Oct 25, 2017. <>.

Visit ‘The Birth of the Art Market’ exhibition in Hamburg with TIAMSA

The Birth of the Art Market.
Rembrandt, Ruisdael, van Goyen and the artists of the Golden Age

Die Geburt des Kunstmarktes.
Rembrandt, Ruisdael, van Goyen und die Künstler des Goldenen Zeitalters

Wednesday, 22. November 2017 

TIAMSA Berlin is offering a one day program to see Hamburg’s Bucerius Kunstforum and the Hamburger Kunsthalle!

Ausstellungsansicht: “Die Geburt des Kunstmarktes”, © Bucerius Kunst Forum, 2017, Foto: Uli Perrey


10.00 am  The Birth of the Art Market. Rembrandt, Ruisdael, van Goyen and the artists of the Golden Age, exklusiv tour with curator and director Prof. Dr. Franz Wilhelm Kaiser. – The Bucerius Kunst Forum presents the first large-scale exhibition devoted to the birth of the art market in the Golden Age of the Netherlands. Tracing the careers of artists such as Rembrandt, Ruisdael, van Goyen and many others, the exhibition explores how the transformation of Dutch society during the seventeenth century brought forth a new art market, with artworks tailored to its demands.

12.00 pm lunch and coffee

2.00 pm Hamburger Kunsthalle, conversation with Dr. Andreas Stolzenburg, director of the prints and drawings room, and Dr. David Klemm, curator of Italian Drawings, about the history of collecting and current developments of collecting in the print room. We will particularly consider Georg Ernst Harzen, the 19th century art dealer whose donation provided one of the foundations of the Kunsthalle’s collection. We will also visit the exhibition of Claude Lorrain’s drawings currently on show there.

This is an exclusive event for members, potential members and their guests.
To book your place please write to Veronika Korbei: by Nov. 15.

Job: Lecturer/Senior Lecturer in Art Business – London WC1

Sotheby’s Institute of Art London

£38,000 – £55,000 depending on experience

Founded in 1969, Sotheby’s Institute of Art – London is among the world’s leading postgraduate level institutions offering Master’s Degree programmes and Semester, Summer and Short Courses in art scholarship, connoisseurship and art business. As well as Institutes in London and New York, Sotheby’s Institute of Art has partnerships in both Los Angeles and Beijing. The University of Manchester validates our academic courses, ensuring that we are firmly placed within the UK higher education landscape. Continue reading “Job: Lecturer/Senior Lecturer in Art Business – London WC1”

Book Out Now: Titia Hulst, A History of the Western Art Market

TIAMSA Members get a 30% Discount at Check Out!

Find the discount code in the Members’ Only Area.
TIAMSA Members log in here.

A History of the Western Art Market
A Sourcebook of Writings on Artists, Dealers, and Markets
Titia Hulst (Editor)

Available worldwide

Paperback, 432 pages

ISBN: 9780520290631
September 2017
$34.95, £27.95
also available in Hardback

This is the first sourcebook to trace the emergence and evolution of art markets in the Western economy, framing them within the larger narrative of the ascendancy of capitalist markets. Selected writings from across academic disciplines present compelling evidence of art’s inherent commercial dimension and show how artists, dealers, and collectors have interacted over time, from the city-states of Quattrocento Italy to the high-stakes markets of postmillennial New York and Beijing. This approach casts a startling new light on the traditional concerns of art history and aesthetics, revealing much that is provocative, profound, and occasionally even comic. This volume’s unique historical perspective makes it appropriate for use in college courses and postgraduate and professional programs, as well as for professionals working in art-related environments such as museums, galleries, and auction houses.

The reader includes the texts of 110 authors and is available now.