New Book out now: Markt und Macht. Der Kunsthandel im »Dritten Reich«

Markt und Macht. Der Kunsthandel im »Dritten Reich«

Ed. Fleckner, Uwe; Gaehtgens, Thomas W. and Huemer, Christian
Series: Schriften der Forschungsstelle “Entartete Kunst” 12
xvi, 434 pages
Language: German, English

Buy the book here – Markt und Macht

Die Geschichte des Kunsthandels im “Dritten Reich” zu schreiben, steht nicht nur aufgrund einer schwierigen Quellenlage vor besonderen Herausforderungen. Zwischen Komplizenschaft und Sabotage verstrickt sich das Handeln der Akteure in eklatante Widersprüche. Vom Alltagsgeschäft der Kunsthändler bis zum Widerstand gegen restriktive Vorschriften reicht das Themenspektrum, vom Auktionshandel bis zum Schwarz- und Schattenmarkt, von zahllosen Verbrechen nicht nur an jüdischen Sammlern und Händlern bis zum Kunstraub in den von deutschen Truppen besetzten Ländern. Kunst- und Wirtschaftshistoriker untersuchen in diesem Buch den Kunstmarkt und seine Mechanismen im Nationalsozialismus, die Rolle der Raubkunst sowie insbesondere moderner und “entarteter” Werke auf dem Kunstmarkt im “Dritten Reich”.

Book out soon: Anke Matelowski, Die Berliner Secession 1899-1937. 

Die Berliner Secession 1899-1937. Chronik, Kontext, Schicksal


Anke Matelowski. Die Berliner Secession 1899-1937. Chronik, Kontext, Schicksal
24 x 17 cm, ca. 650 Seiten, 400 Abbildungen.
Fadenheftung, Lesebändchen, Halbleinen
Euro 68.00 / CHF 75.00 ISBN 978-3-03850-033-9

out in October 2017


As much as the myth adheres to the Berlin Secession of being the birthplace of “Classical Modernism” in Germany, it is, likewise, a relatively little researched subject. As a matter of fact, neither its date of foundation nor its dissolution has been established so far. The best known protagonists of the Berlin Secession were Max Liebermann, Walter Leistikow, Lovis Corinth and Max Slevogt and their merit was to bring Impressionism to Germany in the years heavy with imperial, representational subjects and, thus, to begin a new era for art in Germany. With the dissolution of the Secession in the Spring of 1913, however, the role seemed exhausted after a splendid dozen years.

About the time of the Berlin Secession after 1913 little is known. In her study, Anke Matelowski now closes this gap. From largely unknown sources, she has been able to establish the founding history of the Secession as well as the years of the First World War, the Weimar Republic until the time of National Socialism. Great detail is paid to the various aspects of this history: the exhibitions, membership structure, buildings and premises available to the association, its relationship with local authorities and towards official art policies, cooperations with other artists’ associations, strategies for coping with political and economic crises, etc.

Matelowski supplements her account with extensive lists, which provide reliable data about members, board members and exhibitions for the first time. Similarly, she provides information about the groupings that split from, competed or co-operated with the Secession. The work sets a new standard for the most important modernist art association in modern Germany.


Book presentation and panel discussion (Berlin, 20 Sept, 17)

Panel discussion of the forthcoming research on the foundation of the Gemäldegalerie with Bénédicte Savoy, Neville Rowley, and Robert Skwirblies on the occasion of the new publication:

Robert Skwirblies. Altitalienische Malerei als preußisches Kulturgut Gemäldesammlungen, Kunsthandel und Museumspolitik 1797–1830. Ars et Scientia, 13. Berlin/Boston: De Gruyter, 2017.

Location: Central Hall of the Gemäldegalerie, Kulturforum, Berlin
Date: 20 September 2017, 6.30pm

On the podium:



  • Sarah Salomon, Research Assistant at Gemäldegalerie and Skulpturensammlung



Logos_Altitalienische Malerei_2_mit Rahmen


Book Out Now: Lynn Catterson ed., Dealing Art on Both Sides of the Atlantic, Brill

A Discount Code for this second book in the HCAM series is available to all TIAMSA members.
Please log in and find the Discount Code for Brill post in the Members’ Only Section.

Flyer Dealing Art (.pdf)


Review: Trading Values in Early Modern Antwerp

Christine Göttler, Bart Ramakers, and Joanna Woodall, eds.
Trading Values in Early Modern Antwerp 
Netherlands Yearbook for History of Art, 64. Leiden: Brill, 2014. 400 pp.;
180 color ills. Cloth

Nadia Baadj
Jan van Kessel I (1626–1679): Crafting a Natural History of Art in Early Modern Antwerp
(Studies in Baroque Art) (Dutch Edition).
Turnhout: Brepols, 2015. 208 pp.;
52 color ills.; 50 b/w ills. Cloth

Review by Marisa Anne Bass
CrossRef DOI: 10.3202/

The history of art in early modern Europe would be unthinkable without Antwerp. And yet until quite recently, Antwerp was a place that nobody talked much about. Scholarship on the southern Netherlandish city (now part of Belgium) long remained the province of local historians, the indefatigable Floris Prims notable among them. And while first Pieter Paul Rubens and then Pieter Bruegel the Elder met with increasing art-historical interest following Belgium’s assertion of independence in 1830, a dogged nationalistic approach to their oeuvres meant that the city in which they lived and worked did not generate much attention in its own right. It was the artist as Flemish genius, and not the city as stimulus, that mattered.

New Book: Agnès Penot, La Maison Goupil, Mare & Martin publishers

La maison Goupil.
Galerie d’art internationale au XIXe siècle, by Agnès Penot

Between 1846 and 1884, one of the most successful French art dealers of its time, Goupil & Co, developed a marketing strategy that employed an international network of alliances to expand its sales of art – prints, paintings, drawings and sculptures. Their focus during that time was mainly on contemporary European Salon artists. Newly established offices in New York, London, The Hague, Berlin and Brussels were linked to the headquarters in Paris. For example, William Schaus and later Michael Knoedler concentrated on the American market while Vincent Van Gogh, an uncle of the painter, facilitated business relations with the Netherlands. The firm was a profitable business. Its many branches and its participation in most major international events, such as the Universal Expositions were an ever-renewable source of clients and artists. As a result, many international museums owned – and sometimes still own – at least one piece of artwork with a Goupil & Co provenance. This dissertation analyses the stock books that were used to record sales in Paris and which reveal themselves to be an invaluable source of the Nineteenth Century art market, especially as it relates to the history of taste and collecting.

Agnès Penot is an independent art historian and a specialist in 19th century French art, the art market, and provenance.

Published in French
ISBN : 979-10-92054-56-9
€ 39,00

La Maison Goupil – Buy the book here


20% Discount: Marketing Art in the British Isles, 1700 to the Present. A Cultural History

20% DISCOUNT for TIAMSA Members

Marketing Art in the British Isles, 1700 to the Present.
A Cultural History

Editors Charlotte Gould, Sophie Mesplède

October 2016: 234×156: 302pp
Hardback: 978-1-409-43669-0 | £95.00
Paperback: 978-1-138-25581-4 | £34.99

This book can now be purchased with a 20% discount for TIAMSA Members, at online checkout directly with Routledge Publishers.

A flyer has been created to advertise the paperback re-release, which you can find in the Member’s Only Area.