PUB: The Medieval Iberian Treasury in the Context of Cultural Interchange, special issue, Medieval Encounters

We are pleased to inform you of the publication of Therese Martin, ed., The Medieval Iberian Treasury in the Context of Cultural Interchange, special issue, Medieval Encounters vol. 25, nos. 1-2 (2019), https://brill.com/view/journals/me/25/1-2/me.25.issue-1-2.xml

The articles in this double issue, selected from papers presented at a conference held at Princeton in 2017, center around the treasury of San Isidoro de León to address wider questions about the meanings of cross-cultural luxury objects and textiles in royal-ecclesiastical collections.

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PUB: ‘Art Crossing Borders – The Internationalisation of the Art Market in the Age of Nation States, 1750-1914’ ed. Jan Dirk Baetens and Dries Lyna

Art Crossing Borders offers a thought-provoking analysis of the internationalisation of the art market during the long nineteenth century. Twelve experts, dealing with a wide variety of geographical, temporal, and commercial contexts, explore how the gradual integration of art markets structurally depended on the simultaneous rise of nationalist modes of thinking, in unexpected and ambiguous ways. By presenting a radically international research perspective Art Crossing Borders offers a crucial contribution to the field of art market studies.

This publication is open access and can be freely downloaded directly from the Brill website here.

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PUB: Caterina Caputo, Collezionismo e mercato. La London Gallery e la diffusione dell’arte surrealista, Florence: Pontecorboli, 2018.

Research on the art market related to the avant-garde remains still largely unexplored today. The author of the present book aims to contribute to this field through a study of collecting, art market strategies, and networks that fostered and sustained Surrealism in the interwar and post-war periods in Britain. The volume focuses on the London Gallery, the only Surrealist gallery to be active in England since the end of the 1930s. It was managed by two Surrealist artists who were also collectors: the Belgian E.L.T. Mesens and the British Roland Penrose. The London Gallery opened in 1938, two years after the significant International Surrealist Exhibition held at the New Burlington Galleries in London, an exhibition followed by the foundation of the Surrealist British group.

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PUB: “From Florence to London to New York: J.P. Morgan’s Bronze Doors,” Nineteenth-Century Art Worldwide, vol. 16, no. 3, Autum by Lynn Catterson

This article, based on recently discovered material in several archives, tells the story of the bronze doors of the Morgan Library.[1] It narrates the travel of the allegedly Renaissance bronze doors from their acquisition in Florence in 1901, to their brief sojourn in London before arriving in New York to adorn the principal façade of McKim, Mead & White’s building. This case study also addresses the attribution of the work to Thomas Waldo Story (1855–1915) and analyzes his position within the complex social microcosm of the art market in which the acquisition of J. Pierpont Morgan’s doors took place.

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PUB: “The effect of experts’ opinion on prices of art works: The case of Peter Brueghel the Younger” by Victor Ginsburgh (ECARES Université libre de Bruxelles) ; Anne-Sophie Radermecker (Université libre de Bruxelles) ; Denni Tommasi (Monash University)

Journal: Journal of Economic Behavior & Organization, Volume 159, March 2019, Pages 36-50

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PUB: ‘How to become a judgment device: valuation practices and the role of auctions in the emerging Chinese art market’, Socio-Economic Review, 16 (3), 2018, pp. 459-477 by Svetlana Kharchenkova & Olav Velthuis

We are very happy to let you know about this publication by Svetlana Kharchenkova & Olav Velthuis!

This article studies the role of judgment devices in the emergence of markets for singularities. In particular, it seeks to understand how specific judgment devices become dominant in resolving uncertainty within these markets. Building on Karpik’s seminal theory, we argue that institutional environments (e.g. government regulations, political-economic factors, the level of informality within business environments) as well as the level of expertise of consumers, co-determine which devices come to be used in new markets. Empirically, we focus on the emerging market for contemporary art in China. While auctions and auction prices are widely used in valuing contemporary art in China, this is highly illegitimate in international art markets. We argue that auctions act as a judgment device in China because of strong government backing, because other validating organizations, such as museums and art critics, are seen as untrustworthy, and because auctions send strong, easily interpretable signals to novice collectors.

More information can be found here!