scholarly journals Book monument imprint: Identifying via foreign information resources

2021 ◽  
pp. 131-148
Author(s):  
E. A. Grisha
Keyword(s):  
Western Europe ◽  
Art Market ◽  
Information Resources ◽  
Sebastiano Serlio ◽  
Auction Sale ◽  
Foreign Science ◽  
Private Collections

The author reviews foreign science publication, websites, digital databases, catalogs and methods to be used to specify imprints of book monuments and their history as exemplified by 16-th century collection of Russian Academy of Arts Library. The collection comprises over 60 books published in Western Europe; with the special attention to the collection in architecture, in particular books published by Sebastiano Serlio (1475 – c. 1554). To attribute the publications, the catalogs of foreign museums and libraries, bibliographic, fulltext, factographic and objectographic databases in the art market, e. g. ArtPrice, MutualArt, Invaluable, were used to reveal various guides in 16-th century architecture, catalogs of private collections, and auction sale catalogs. The author discusses the methods to use the identified sources to attribute book monuments, as exemplified by Sebastiano Serlio’s books in architecture, and to investigate into this area further.

scholarly journals Purchasers of artworks on the art market and their motivations

2021 ◽  
Author(s):  
Dmytro Akimov
Keyword(s):  
Methodological Approach ◽  
Fine Arts ◽  
Art Market ◽  
Fine Art ◽  
Marketing Technology ◽  
Individual Product ◽  
Works Of Art ◽  
Art Research ◽  
Art Marketing ◽  
Private Collections

The purpose of the article. Research and analysis of marketing technology algorithms and study of motivations of purchasers of products of fine arts. The methodology is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the motivations of purchasers of works of fine art and further research of marketing processes in the promotion of works of fine art in the art market. The scientific novelty consists in the expansion of ideas about the motivations of purchasers of works of fine art. The article explores the marketing processes in the art market. Algorithms of marketing technologies in the analysis of motivations of purchasers of works of fine arts are analyzed. That is, the article proves that in art marketing it is relevant and necessary to regularly study the algorithms of the behavior of purchasers of works of art, as well as in general - situations in which the collector decides on the purchase of works of art. Research in the field of art market marketing gives grounds to state that artistic creativity is a field of large and small business, which should deeply study and analyze the motivations of purchasers, involving specialists in psychology, sociology, economics. It should be noted that in the marketing of fine arts the technologies of studying and analyzing the motivations of the purchasers of works of art are purposefully and productively used. Conclusions. The article analyzes the models of acquisition of works of fine art. It is also proved that the behavior of the purchaser of works of art is determined by three mandatory components: Individual - Product - Situation, on which the model of consumption and consumer behavior is based. Thus, we have studied the individuals involved in the acquisition of works of art that are products on the market, presented in kind in museums or private collections. The success of art marketing depends not only on the personality of the artist who created the product presented on the market, not only on the solvency of the final purchaser of this product but also on the personality, creative and business qualities of dealers, distributors, and other intermediaries in the art market. At a certain stage, they also become purchasers of this product on the way from the artist to the final buyer - a museum or a private collector, etc. We also explored market algorithms for acquiring works of art in a collection.

The Structure of Works of Art and Historic Artifacts

1988 ◽  
Vol 123 ◽  
Author(s):  
By Pieter Meyers
Keyword(s):  
Art Market ◽  
Works Of Art ◽  
Private Collections ◽  
Archaeological Objects

Past civilizations almost always have left us with some of their products. These remains may include the remnants of entire cities with palaces, temples, houses, cemeteries, including written records of the activities of their people as well as artifacts produced and used by these people. Such artifacts are most useful if they are found in the context of their previous use. Unfortunately, that is often not the case. Many archaeological objects appear on the art market or exist in museums or private collections without a reliable provenance.

scholarly journals To the Question of the Artistic Value of Author’s Copies by Naive Artists: Nina Varfolomeeva

2021 ◽  
pp. 288-303
Author(s):  
T.A. Sinelnikova ◽  
Keyword(s):  
Art Market ◽  
Direct Consequence ◽  
Folk Art ◽  
Common Phenomenon ◽  
Public And Private ◽  
Artistic Value ◽  
The World ◽  
Private Collections

Nina Varfolomeeva is one of the most famous Russian amateur artists, her name was included in the World Encyclopedia of Naive Art, her works are in public and private collections. Her work is limited to 20 repetitive subjects, and her example allows us to talk about a fairly common phenomenon in artistic primitive. The concept of “originality of a work” is of value for author’s creativity, however, in naive art, author’s self-repetition is not uncommon — there may be three or four copies of one work, which does not affect their value in the art market. Naive art has such a feature due to its borderline state between “high” and folk art, in which there are no concepts of “original” and “copy”. The artist’s painting style differs in the early and late periods, which also speaks of another feature of some naive artists — the transition from an amateur painting style to a popular print. It should be assumed that this is a direct consequence of the success of the artist’s works in the art market and the increase in the number of works created. The article proves that the simplification of the artistic language of Varfolomeeva’s later works is a transition to decorativeness, characteristic of folk art.

I. A. Bunin’s Notes and Extracts in View of an Academic Omnibus Edition

2018 ◽  
pp. 65-73
Author(s):  
Zoya S. Zakruzhnaya ◽  
◽  
Oleg A. Korostelev ◽  
Maxim A. Frolov ◽  
◽  
...  
Keyword(s):  
World Literature ◽  
Western Europe ◽  
Nobel Laureate ◽  
Research Problem ◽  
Artistic Conception ◽  
Russian State ◽  
The Usa ◽  
The University ◽  
Academy Of Sciences ◽  
Private Collections

On the eve of his 150th anniversary, the archival heritage of I. A. Bunin is studied with great care; new materials are being introduced into scientific use; a source base for academic omnibus edition of the first Russian Nobel laureate in literature is being prepared; methods and principles for the publication of works of different genres (poetry, journalism, prose, and archival materials) are being developed. The article focuses on specific materials from I. A. Bunin’s archive, so far little-studied, — odd notes, extracts, and marginalia in books and newspaper cuttings. Bunin left many such records on the books given to him, on the magazines read, on the newspaper clippings sent to him, etc. And many of them are of significant interest for researchers. The corpus of these materials happens to be segmented, as the rest of I. A. Bunin’s archive is; parts are deposited in the Leeds Russian Archives in the University of Leeds (Leeds, Great Britain), in the Department of Manuscripts of the A. M. Gorky Institute of World Literature of the Russian Academy of Sciences (IMLI RAN), in the Russian State Archive of Literature and Art (RGALI), in the fonds of the I. S. Turgenev Oryol State United Literary Museum, as well as in several archives in Western Europe and in the USA, in university, federal, and private collections. All Bunin's handwritten notes fall into the following three types of materials: (1) marginalia in books; (2) marginalia in newspaper and magazine clippings; and (3) odd notes not included in notebooks. Of greatest interest are Bunin's marginalia on cutting from newspapers and magazines. Bunin closely followed all responses to his work, collected clippings and stored them in a trunk, a ‘clippings trunk,’ as he called it. It is more important, however, to divide of the array of notes by their content: (1) quotations; (2) refinements and arguments; (3) assessments and opinions. Marginalia containing refinements and arguments, as well as those containing assessments and opinions, are extremely important. Some remarks clarify Bunin's artistic opinions, others offer corrections, clarifications, comments on his own or others work, or on epoch itself, yet other reveal particularities of the artistic conception. Bunin's assessments and comments clarify his literary and public position, providing wide context necessary for understanding the writer’s individuality. The article sets up a research problem — how to introduce this corpus of materials into scientific use and on what principles to prepare them for publication.

The Very Quintessence of Persecution

2020 ◽  
Vol 2020 (138) ◽  
pp. 60-81
Author(s):  
Rosa Hamilton
Keyword(s):  
Structural Analysis ◽  
Western Europe ◽  
Black Power ◽  
White Supremacy ◽  
Social Revolution ◽  
Archival Research ◽  
Gender Nonconforming ◽  
And Gender ◽  
Transnational Study ◽  
Private Collections

Abstract This article argues that a uniquely queer anti-fascism emerged in the early 1970s led by transgender and gender-nonconforming people and cisgender lesbians against postwar fascism in western Europe. In Britain, Germany, France, Italy, and Spain, queer anti-fascists drew on influences from Black Power, Women’s Liberation, and Marxism to connect fascism to everyday oppression under capitalism, white supremacy, and heteropatriarchy. Using oral histories, private collections, and against-the-grain archival research, this article is the first transnational study of queer anti-fascism and the first to view it as a discrete phenomenon. Queer anti-fascists showed what a radical and inclusive anti-fascism should look like, while their structural analysis of everyday fascism demonstrated why anti-fascism must mean social revolution. For them, queerness was necessarily antifascist: queer people’s common experience of oppression enabled them to understand and overthrow fascism and the existing order. Although they never disappeared, their marginalization by cisgender-heterosexual antifascists should warn antifascists today.

scholarly journals Saint Joseph and Baby Jesus by Valentin Metzinger and Other Paintings from the Strahl Collection in the Museum of Arts and Crafts in Zagreb

2019 ◽  
pp. 141-152
Author(s):  
Renata Komič Marn
Keyword(s):  
Art Market ◽  
Arts And Crafts ◽  
Public And Private ◽  
Art Objects ◽  
Antique Dealer ◽  
Kingdom Of Yugoslavia ◽  
Private Collections

Karl Ritter von Strahl (1850−1929) was the last owner of the renowned collection of paintings and art objects kept in his castle of Stara Loka (Altenlack) near Škofja Loka in Carniola. In 1929, Strahl sold 32 paintings to Stanko Senečić, an antique dealer from Nova Ves in Zagreb. In the Museum of Arts and Crafts in Zagreb, there are five paintings of hitherto unknown provenance, which undoubtedly originate from the Strahl Collection. The paper discusses the circumstances of Senečić’ s purchase and the earlier provenance of the five paintings. Furthermore, different paths by which the paintings came to the museum in Zagreb are analyzed. As previous research of the interwar art market in the Kingdom of Serbs, Croats, and Slovenes (later Kingdom of Yugoslavia) has shown that Croatian private buyers and professional antique dealers visited regularly the sales of castle and manor furnishings in interwar Slovenia, we can assume that there are more art heritage items originating from Slovenia in present-day Croatian public and private collections, awaiting an analysis of their provenance.

Queer Visual Activism in South Africa

2019 ◽  
Author(s):  
Tessa Lewin
Keyword(s):  
South Africa ◽  
South African ◽  
Western Europe ◽  
Art Market ◽  
The United States ◽  
Fine Art ◽  
The Body ◽  
South African Context ◽  
Black South African ◽  
African Context

While the form of visual activism currently being developed in the United States and Western Europe is more commonly linked to street protests or activist campaigning and is often explicitly anti-capitalist, in South Africa visual activism has a different epistemological history and contemporary form. In the South African context, much visual activism is closely linked to the fine art market and its associated institutions. This is exemplified by the queer black South African photographer Zanele Muholi. Going beyond the body of work available on Muholi, however, this chapter uses the works of other South African artists, namely FAKA and Robert Hamblin, a fine art photographer, to explore visual activism and the way in which it complicates/broadens conventional conceptions of activism.

Paestan Pottery: a Revision and a Supplement

1952 ◽  
Vol 20 ◽  
pp. 1-53
Author(s):  
A. D. Trendall
Keyword(s):  
Western Europe ◽  
Considerable Importance ◽  
Original Publication ◽  
Related Material ◽  
The Subject ◽  
Preliminary Study ◽  
Come Into The Market ◽  
New Evidence ◽  
Private Collections

Since the end of 1935, when my Paestan Pottery was written, well over a hundred vases belonging to this fabric have come to light. Many of them have been found as a result of excavations carried out in recent years in and around Paestum itself, notably at Arenosola, Oliveto Citra, Altavilla and Pontecagnano, and are therefore of considerable importance as confirming the location of the manufacturing centre in Paestum. Other previously unknown vases have come into the market from private collections and several ‘lost’ vases have reappeared. Further, an opportunity to revisit during 1951 most of the ‘major collections in the museums of Western Europe and America has enabled me to add several vases to the list as well as to correct a number of errors. There have also been some important new publications on the subject. In 1935 Marzullo published a preliminary study of the painted tombs discovered at Paestum three years earlier (Tombe dipinte scoperte nel territorio pestano), and a fuller and better illustrated account of the pottery finds, together with a publication of related material from other nearby sites, appeared in two articles by Giovanni Patroni, entitled ‘Vasi Pestani’, in the Rassegna Storica Salernitana ii (1939), pp. 221–258 with figs. 1–37, and in (1940), 3–36 with figs. 38–72, to which, for the sake of convenience, I shall in future refer as VP. A bell-krater acquired by the Ashmolean Museum in 1942 was published by Beazley in AJA xlviii (1944), pp. 357–366, in an article entitled ‘A Paestan Vase’, in which he made some important observations on the workshop of Asteas and Python. The time, therefore, seems ripe for the issue of a supplement to my original publication in order to incorporate the new vases, of which many of the most significant are here illustrated, and to make such revisions to the text and lists of attributions as seem called for in the light of the new evidence now to hand.

scholarly journals Board Games in Lithuania in the First Half of the Twentieth Century

Lituanistica ◽  
2019 ◽  
Vol 65 (1) ◽  
Author(s):  
Povilas Blaževičius
Keyword(s):  
Twentieth Century ◽  
Western Europe ◽  
Contextual Data ◽  
Board Games ◽  
The Press ◽  
Available Information ◽  
Private Collections

This article is dedicated to board games as museums exhibits that so far have not received due attention. Research on board games manufactured in Lithuania or adopted for its market at the beginning of the twentieth century is based on the objects kept at nine museum and private collections in Lithuania. Information from contemporaneous literature, commercials, periodicals, and bookstore catalogues was used as the source of contextual data. The analysed information suggests that during the period discussed the main distributors of board games were bookstores, but these games could also be purchased at toy shops or general stores. The distribution of board games started only after the lifting of the ban on the Lithuanian press, in the second half of the first decade. However, the amount of locally manufactured games significantly increased only in the 1920s. During the 1920s and the 1930s, the amount of advertising in the press noticeably grew thus showing an active competition among the manufacturers. In some cases, the competition even resulted in legal disputes and lawsuits related to board games. Compared to the diversity of the supply in Western Europe, the variety of locally manufactured board games during the discussed period is relatively poor. Available information suggests that in the first half of the twentieth century only eight different board games, sometimes in different versions, were manufactured by different Lithuanian companies.

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