TIAMSA London Art Market

The London Art Market – a new TIAMSA Sub-Committee

Harry Dougall, Courtauld Institute of Art Alumnus; Elizabeth Pergam, Lecturer, Sotheby’s Institute of Art, New York; Barbara Pezzini, Editor-in-Chief, Visual Resources.

Statement: London has been a principal centre of the art market since at least the seventeenth century and its record-breaking sales still make headlines in the present day. It is a rich and versatile market. Antiques, furniture, sculpture, old master paintings, modern art and works on paper: the secondary market sustains principal sales in all these categories and many more. In addition, a fertile art scene fuels a healthy and lively primary market. Undoubtedly the London art market, both in its current state and historic development, presents an apt theme for investigation by TIAMSA members. We have thus started a thematic sub-committee on the theme of the London art market, to explore the nature of this complex phenomenon in its entirety. This sub-committee is not confined to a specific period, it incorporates both fine and decorative arts, exploring relationships between historical and contemporary London art markets, as well as institutions and businesses. While the focus is on London it welcomes opportunities to situate London’s markets in relation to other regions in the UK or internationally. Through organised visits (including galleries, museums, libraries, archives etc.), informal meetings and study days/seminars it aims to provide an opportunity for members to network/exchange information and encourage research on the London art market. Please contact us if you would like to join the group and news on our first event will be coming soon!

Conf.-Report: Looting of Jewish Property in Yugoslavia 1940-1945

A German conference report by Christian Schölzel on ‘Looting of Jewish Property in Yugoslavia 1940-1945’  – ‘Raub jüdischen Eigentums in Jugoslawien 1940-1945’ can be found here:


Christian Schölzel, Culture and more, Berlin; Sanela Schmid, Humboldt-Universität zu Berlin, 14.07.2017, Berlin.

CFP: Etudes de communication 51

Advertisements from the Past: Uses and Reactualisations of Advertising Artifacts

Edited by Simona De Iulio (GERiiCO, University of Lille, Humanities and Social Sciences) and Carlo Vinti (SAAD, Architecture and Design School, University of Camerino)

The upcoming thematic issue of Etudes de communication will focus on the phenomenon of advertising from the past that survives into the present. In particular, this issue will address the following question: what happens to advertising artifacts once they have fulfilled their marketing function?

Posters, press advertisements, advertising gadgets, packaging, TV commercials as well as various on-line advertising devices are all created in order to respond to an immediate need: launching a product, repositioning a brand, increasing the visibility of services, etc. The goal of such advertising objects is to stimulate a response within a limited time frame. These devices are ephemeral artifacts, or at least, they are considered as such by the professionals who design and produce them, by the media which diffuse them and by the advertisers whose brands and products they promote. Advertising artifacts are not addressed to future generations, they are not conceived with the intent to be organized into a space of permanence, nor are they destined to last once they have achieved their commercial and marketing objectives. However, as of the second half of the 19th century, a considerable number of advertising artifacts survived their short-term commercial mission. Such artifacts, through the processes of documentarization, reuse and recontextualization, have been enriched, transformed and made available to new interpretations. Continue reading “CFP: Etudes de communication 51”

CONF: Travelling Images (Zurich, 12-14 Oct 17)

Travelling Images: Circulating Photographs, Objects, Knowledge

Universität Zürich, October 12 – 14, 2017
Registration deadline: Oct 1, 2017

Leisure travel can be traced back to the “Grand Tour” starting from the 17th century, however more widespread tourism flourished shortly after the Industrial Revolution at the end of the 18th and the beginning of the 19th century. Steamships did not only transport people and goods across the sea; images both as objects and as visual ideas were sent back and forth. From images showing architectural and historical sites to the exoticised and staged photographs of certain “types” of peoples, this array of visuals helped shape an overall image of foreign cultures and territories that would otherwise have not been comprehensible to the so-called “armchair traveller”. Visual representations of foreign regions acted as souvenirs and were also vital when identifying one’s home or nationality. Photo- graphs of colonised territories had a profound effect on how occupied places were perceived and understood; they served as a connecting tie between the foreign and the familiar.

The workshop serves as an open platform for doctoral and post- doctoral candidates to exchange thoughts on how to approach the topic of travelling images. We want to initiate ties between and across universities and disciplines to help encourage our understanding of complex transnational travel routes of images. The goal is to thoroughly investigate the changing interpre- tations and meanings of images, both through a media specific and art historical lens, and in a wider cultural, historical and social realm.

Thursday, October 12, 2017
University of Zurich, Rämistrasse 59 Room RAA-G-15

6:15 p.m. “Photography’s History in Meiji Japan: New Approaches and Challenges”
Public Evening Lecture by Dr. Luke Gartlan, University of St Andrews

Friday, October 13, 2017
University of Zurich, Rämistrasse 59 Room RAA-E-08

9:30 a.m. Welcome Address by Prof. Dr. Bettina Gockel, University of Zurich Introduction by Sophie Junge and Stella Jungmann, University of Zurich

10:00 a.m. “Photography and China’s Early Emancipation Movement”
Xenia Piëch, University of Zurich

10:45 a.m. “From Traveling Images to Traveling Bodies: Korean War Orphans in Hollywood and the Rhetoric of Interracial Adoption”
Jung Joon Lee, Rhodes Island School of Design

11:30 a.m. Coffee Break

12:00 p.m. “Developing Photographs and Networks: Images of the Japanese Embassy in the United States, 1860”
Stella Jungmann, University of Zurich

12:45 p.m. Lunch Break

2:15 p.m. “Picturing the Sacred: Yasu Kohei and his Photographic Reproductions of Religious Images in Guatemala”
Ping-Heng Chen, University of Heidelberg

3:00 p.m. “From Snapshot to Cultural Propaganda: The Formation of Persian Architectural Photographs, 1925–1935”
Yuka Kadoi, University of Edinburgh

3:45 p.m. Coffee Break

4:15 p.m. “Old Surabaya – New Surabaya: Photography and the Making of the Colonial City”
Sophie Junge, University of Zurich

5:15 p.m. Apéro for all Participants

Saturday, October 14, 2017
University of Zurich, Rämistrasse 59 Room RAA-E-08

9:30 a.m. “Ethnography to Art: ‘Japanische Ringer, Nach der Natur’”
Christina Thurman-Wild, University of Zurich

10:15 a.m. “Circulation, Appropriation, Redefinition – The History of Songea Mbano’s Portrait”
Eliane Kurmann, University of Zurich

11:00 a.m. Coffee Break

11:30 a.m. Panel Discussion with all Participants

The evening lecture is free and open to the public.

In order to participate in the workshop, please register via e-mail until October 1, 2017 by contacting Stella Jungmann, Center for Studies in the Theory and History of Photography at the Institute of Art History: stella.jungmann@khist.uzh.ch

Concept and organisation: Sophie Junge, Stella Jungmann, Xenia Piëch, Eliane Kurmann, University of Zurich.

Reference:  CONF: Travelling Images (Zürich, 12-14 Oct 17). In: ArtHist.net, Sep 24, 2017. <https://arthist.net/archive/16203>.

Artl@as Bulletin 5: GeoMap project ONLINE: Mapping Paris art dealers 1815-1955


Building upon a preliminary socioeconomic analysis of the art dealers in Paris between 1815 and 1955 (ARTL@S Bulletin 2, n°2), this paper presents the findings of a spatial study of the Parisian art market in this period. Using serial geographical data drawn from a single, consistent source – the Bottin du commerce – we mapped the spatial evolution of art dealers over 140 years, using a geocoding system with composite locators. The article explores the different spatial dynamics of this market, and seeks to shed light on the links between the evolution of the Parisian economy as a whole and the individual trajectories of its art dealers.

Artl@as Bulletin 5, no. 1, GeoMAP – Géographie du
marché de l’art parisien


GeoMAP stands for Geographie du marché de l’art parisien and it maps all the “marchands de tableaux” (art dealers) that were mentioned in the Bottin du commerce, in Paris, from 1815 through 1955. The articles giving further details can be found here, for the statistic and quantitative approach, and here, for the mapping of the Parisian art dealers. GeoMAP project is an open access database. Researchers can look up and visualize art dealers in Paris by using the timeline or navigate the map : the GeoMAP project is thus both a repository of the Parisian dealers, and a tool of visualization.

GeoMAP was developed by Julien Cavero, who is cartographer at the Ecole Normale Supérieure (Labex TranferS) and the data were collected by Félicie de Maupeou and Léa Saint-Raymond.
The website will be available in English soon.

Now open: The Wildenstein Plattner Institute

Beginning this Thursday, September 7, 2017, the Wildenstein Plattner Institute, Inc., will begin accepting online requests for archival research, including requests for inclusion to the forthcoming digital catalogue raisonnés for the following artists:

Jean Béraud
Paul Gauguin
Camille Pissarro
Odilon Redon
Pierre-Auguste Renoir
Édouard Manet
Albert Marquet
Claude Monet
Berthe Morisot
Kees Van Dongen
Maurice de Vlaminck
Édouard Vuillard

To submit a request, please visit the website at www.wpi.art and go to the “Submissions” tab, where you will find information on the requirements and processing fees.

Please note that you must register for an account before submitting a request to the WPI. WPI will only process requests transmitted through the website.


About The Wildenstein Plattner Institute

The Wildenstein Plattner Institute, Inc. (WPI) is a 501c3 private foundation dedicated to the study of art history and to foster the cataloguing, digitization, and access to archival materials that support critical research in the field. Through the development of significant research projects, catalogue raisonnés, and public programs, the WPI advances scholarship and broadens access to crucial primary sources.

The WPI was co-founded in 2016 by Guy Wildenstein, president of Wildenstein & Company, and Hasso Plattner, a leading entrepreneur in digital technology and international benefactor of arts and education. The foundation is based in New York, with an office in Paris. For more information, please contact info@wpi-art.org