Anadolu’da Ahî Teşkilatının Kalite Standart ve Yönetim Anlayışına İlişkin Uygulamaların Günümüze Yansımaları

In the dictionary, Ahilik is the equivalent of the word “akı”, which means “kardas” in Arabic, and in Turkish, which means open-handed, hospitable and brave. The institution of Akhism is a socio-economic institution based on the concepts of art, trade and cooperation developed in the Anatolian geography. In the thirteenth century, Akhism became a social institution aiming to create a national community by spreading to the countryside. Akhism emerged as a national institution peculiar to the Ottoman state, and besides protecting the consumers, it played an important role in the holding and rooting of the Turks in the Anatolian geography. The structure of Akhism peculiar to the Ottoman state continued until the seventeenth century. To the extent that the Ottoman state's dominance area, which was outside the spread of Islam, expanded, it became a necessity to work among people belonging to different religions. During the collapse of the Ottoman state, the Akhism gradually degenerated by taking whatever fell on its behalf. As a result, the guild was corrupted, and the appointment was made according to the favor system, not according to the custom order. In this process, the state of the state is literally collapsing. Finally, in 1912, the guild organization was completely abolished from the square. In this way, the Akhism, which lived for seven hundred years and played a decisive role in the social, cultural and economic life of the Anatolian people, rose to the dusty shelves of history. Keywords: Ahî Evran, Akhism, Moral.

The disputed letters of Paul and the ethics of the art trade

Opinions about the authenticity/inauthenticity of the disputed canonical letters of Paul are framed within some of the basic ethical codes associated with the upper echelons of the London art trade, where careful consideration is given to the descriptions of objects of uncertain origin and status when they are put on sale. Acting responsibly when conclusions are inconclusive; having regard for the importance of maintaining an honest reputation; and valuing the opinions of experts are as important for Bible teachers as they are for the trade.

Das Original in der Fotografie im Lichte des Urheberrechts

While photography is an essential part of the art market today, specific difficulties arise in identifying the original. After a brief outline of art history, Philine Pohlhausen examines how the concept has developed in copyright law against the background of the wide artistic range of this medium. Guidelines for legal theory and the art trade are formulated, which are particularly applicable to the resale royalties. They offer solutions for handling multiple or posthumous prints and for restoration by reprinting. The author furthermore analyses how the photography market can be better protected against forgery and proposes a definition of the original applicable to photography in copyright law.

Il mercato artistico nel carteggio fra Michelangelo Gualandi e Charles Lock Eastlake (1855-1865): un’introduzione

Born in Bologna in the late XIX century, Michelangelo Gualandi was trained as a tradesman. Studying art as a self-taught, he was able to establish himself as an art amateur and as a learned man, without however really ever abandoning his involvement in art trade. From 1855 he was agent of Charles Lock Eastlake, the first director of the National Gallery, and collaborated with him in the acquisition of paintings until the death of the Englishman, in 1865. Based on the recently rediscovered correspondence between Eastlake, other English connoisseurs and Gualandi, this article presents brand new information we can gain from the correspondence on both successful and failed purchases. Particular attention is paid to the aspects related to the modalities through which the sales took place.

Freeports and the Hidden Value of Art

At first glance, the global art trade—currently valued around $60 billion—is a miniscule piece of global economic production. But due to the unregulated nature of the art market, it serves a key function within the larger network of the accumulation and distribution of capital worldwide. This deregulated market intersects with the offshore domain in freeports, an archipelago of tax-free storage facilities that stretch from Singapore to Geneva to Delaware. The burgeoning of freeports globally suggests that speculation has become a more prominent pattern of art investment, but it also demonstrates that tax avoidance is a goal of such speculators and the result is that more art works are being taken out of circulation and deposited in vaults beyond the view of regulatory authorities. Despite its size, the art trade can demonstrate broader trends in international finance and, by examining offshore art storage that occurs in freeports, it will be possible to locate some of the hidden mechanisms that allow the global art market to flourish on the margins of the economy as well as to perceive a shift in which the economic value of art works predominates over their cultural value.