{"id":40,"date":"2014-07-30T14:23:26","date_gmt":"2014-07-30T12:23:26","guid":{"rendered":"https:\/\/www.fokum.org\/newsite_forg\/?page_id=40"},"modified":"2018-05-04T10:04:28","modified_gmt":"2018-05-04T08:04:28","slug":"publikationen","status":"publish","type":"page","link":"https:\/\/fokum.org\/en\/publikationen\/","title":{"rendered":"Publications of the Centre’s contributors"},"content":{"rendered":"

<\/a>PUBLICATIONS OF THE FORUM’S CONTRIBUTORS\u00a0\u00a0<\/strong><\/p>\n

This bibliography\u00a0provides publications of the Forum’s contributors and\u00a0is devoted to the research of the art market of all periods.<\/span><\/p>\n\n\n\n
A – F<\/a><\/td>\nG – L<\/a><\/td>\nM – R<\/a><\/td>\nS – Z<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

A<\/span><\/a><\/h1>\n<\/td>\n

 <\/td>\n<\/tr>\n
\n

B<\/span><\/h1>\n<\/td>\n

\n

Baden, Sebastian<\/h4>\n

Journal Article \/ Part of a Book<\/h6>\n
 <\/td>\ntop<\/a><\/td>\n<\/tr>\n
\n

C<\/span><\/h1>\n<\/td>\n

 <\/td>\n<\/tr>\n
\n

D<\/span><\/h1>\n<\/td>\n

 <\/td>\n<\/tr>\n
\n

E<\/span><\/h1>\n<\/td>\n

 <\/td>\n<\/tr>\n
\n

F<\/span><\/h1>\n<\/td>\n

\n

Fuchsgruber, Lukas<\/h4>\n

Edited Volume<\/h6>\n
 <\/td>\ntop<\/a><\/td>\n<\/tr>\n
\n

G<\/span><\/h1>\n<\/td>\n

\n

Gee, Malcom<\/h4>\n

Book<\/h6>\n
    \n
  • Dealers, Critics, and Collectors of Modern Painting. Aspects of the Parisian Art Market 1910\u20121930<\/em>. New York\/London: Garland Press, 1981.<\/li>\n<\/ul>\n
    Journal Article \/ Part of a Book<\/h6>\n
      \n
    • \u201cContemporary art in boom and crisis. France and Germany 1918-1933.\u201d In The Challenge of the Object \/ Die Herausforderung des Objekts<\/em>: Proceedings of the 33rd Congress of the International Committee of the History of Art<\/em>, T. 2, 712\u2012713. Nuremberg: German National Museum, 2014.<\/li>\n
    • \u201cDefining the modern art collector in the Weimar years.\u201d In \u00d6ffentliches und privates Kunstsammeln in Deutschland 1871-1933<\/em>, eds. Sven Kuhrau, and Ulrike Wolff-Thomsen, 115\u2012130. Kiel: Verlag Ludwig, 2011.<\/li>\n
    • \u201cDie Sammlung Rupf in ihrer Zeit.\u201d In Rupf Collection<\/em>, ed. Susanne Friedli, 149\u2012156. Bern: Berteli, 2005.<\/li>\n
    • \u201cLe r\u00e9seau \u00e9conomique.\u201d In L\u00b4Ecole de Paris: la part de l\u2019autre<\/em>, 127-137. Paris: Paris Mus\u00e9es, 2000.<\/li>\n
    • \u201cThe Berlin Art World, 1918-1933.\u201d In The City in central Europe : culture and society from 1800 to the present<\/em>, eds. Malcolm Gee, Tim Kirk, and Jill Steward, 63\u201283. Aldershot: Ashgate, 1999.<\/li>\n
    • \u201cRaoul La Roche und das Sammeln moderner Kunst in Paris (1918-1930).\u201d In Ein Haus f\u00fcr den Kubismus : die Sammlung Raoul La Roche: Picasso, Braque, L\u00e9ger, Gris \u2013 Le Corbusier und Ozenfant<\/em>, eds. Katharina Schmidt and Hartwig Fischer, 279\u2012288. Ostfildern-Ruit: Hatje, 1998.<\/li>\n
    • \u00a0\u201cArt Patrons of the 1920s.\u201d In The 1920\u2019s: Age of The Metropolis<\/em>, ed. Jean Clair, 404\u2012415. Montreal: The Montreal Museum of Fine Arts, 1991.<\/li>\n<\/ul>\n

      \u00a0__________________________________<\/span><\/h4>\n

      Golenia, Patrick<\/h4>\n

      Book<\/h6>\n
        \n
      • \n

        Paul Graupe (1881-1953). Ein Berliner Kunsth\u00e4ndler zwischen Republik, Nationalsozialismus und Exil<\/em> [edited in collaboration with Kristina Kratz-Kessemeier, and Isabelle Le Masne de Chermont]. K\u00f6ln \/ Weimar \/ Wien: B\u00f6hlau, 2015.<\/p>\n<\/li>\n<\/ul>\n

        __________________________________<\/span><\/h4>\n

        Gramlich, Johannes<\/h4>\n

        Book<\/h6>\n
          \n
        • Die Thyssens als Kunstsammler. Investition und symbolisches Kapital (1900-1970)<\/em>. Paderborn: Sch\u00f6ningh, 2015.<\/li>\n<\/ul>\n

          __________________________________<\/span><\/h4>\n

          Graw, Isabelle<\/h4>\n

          Book<\/h6>\n
            \n
          • Art and Subjecthood. The Return of the Human Figure in Semiocapitalism<\/em> [edited in collaboration with Daniel Birnbaum]. Berlin: Sternberg Press 2014.<\/li>\n
          • High Price. Art between the Market and Celebrity Culture<\/em>. Berlin: Sternberg\u00a0Press 2010.<\/li>\n
          • Der gro\u00dfe Preis. Kunst zwischen Markt und Celebrity Culture<\/em>. K\u00f6ln: Dumont\u00a0Verlag 2008.<\/li>\n<\/ul>\n
            Journal Article \/ Part of a Book<\/h6>\n
              \n
            • \u201cGute Kunst, schlechter Markt? \u00dcber falsche Gegenpole und \u00f6konomische Bodens\u00e4tze: Warum die verbreitete Klage dar\u00fcber, dass Werke Waren sind, scheinheilig und sachfremd ist.\u201d In Frankfurter Allgemeine Zeitung<\/em>, 30.04.2015, S. 14.<\/li>\n<\/ul>\n

              \u00a0__________________________________<\/span><\/h4>\n

              Guichard, Charlotte<\/h4>\n

              Journal Article \/ Part of a Book<\/h6>\n
                \n
              • \u201cSmall Worlds. The Economy of Auctions in the Late Eighteenth-Century Parisian Art Market.\u201d In Moving Pictures. Intra-European Trade Images 1500-1800<\/em>,\u00a0eds. N. De Marchi, and S. Raux, 236\u2012256, 298\u2012308. Turnhout: Brepols, 2014.\u00a0<\/li>\n
              • \u201cFrom Social Event to Urban Spectacle: Auctions in Late Eighteenth-Century Paris.\u201d In\u00a0Fashioning Old and New. Changing Consumer Patterns in Western Europe (1650-1900)<\/em>,\u00a0ed. B. Blond\u00e9, N. Coquery, J. Stobart, 203\u2012216. Turnhout, Brepols, 2009.<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n

\n

H<\/span><\/h1>\n<\/td>\n

\n

H\u00e4u\u00dfler, Harriet<\/h4>\n

Journal Article \/ Part of a book<\/h6>\n
    \n
  • \u201cWertsteigerungen und Wertminderungen in der Lichtkunst.\u201d In art value \u2013 Positionen zum Wert der Kunst<\/em> 16 (2015): 66\u201269.<\/li>\n
  • \u201cDer Kunstmarkt \u2013 noch nie so geordnet wie heute.\u201d In art value \u2013 Positionen zum Wert der Kunst<\/em> 13 (2014): 42\u201244.<\/li>\n<\/ul>\n

    __________________________________<\/span><\/h4>\n

    Hoffmann, Meike<\/h4>\n

    Book<\/h6>\n
      \n
    • Ein H\u00e4ndler <\/em>\u2018entarteter<\/em>\u2019 Kunst. Bernhard A. B\u00f6hmer und sein Nachlass<\/em>, edited by Meike Hoffmann, Schriftenreihe der Forschungsstelle \u2018Entartete Kunst\u2019: Berlin, 2010.<\/li>\n<\/ul>\n
      Journal Article \/ Part of a book<\/h6>\n
        \n
      • \u201cBernhard A. B\u00f6hmer. Ein unbekannter Bildhauer brilliert im NS-Kunsthandel.\u201d In Kunst sammeln, Kunst handeln<\/em>, eds. Eva Blimlinger, and Monika Mayer, 197\u2012207. Wien \/ K\u00f6ln \/ Weimar, 2012.<\/li>\n
      • \u201cVerfemt und verkauft – Werke aus der nationalsozialistischen Beschlagnahmeaktion \u2018Entartete Kunst\u2019 in der Sammlung Willy Hahn.\u201d In Kokoschka als Zeichner. Die Sammlung Willy Hahn<\/em>, 23\u201230. Dresden \/ Salzburg, 2011.<\/li>\n
      • \u201cVerfemt – verkauft – verbrannt – verschollen. Zum Schicksal der modernen Kunst im \u2018Dritten Reich\u2019.\u201d In MuseumsJournal. Berichte aus den Museen, Schl\u00f6ssern und Sammlungen in Berlin und Potsdam<\/em> 2 (2011): 30f.<\/li>\n
      • \u201cBernhard A. B\u00f6hmer – Januskopf im NS-Kunsthandel.\u201d In Gute Gesch\u00e4fte. Kunsthandel in Berlin 1933-1945<\/em>, 23\u201228. Aktives Museum im Centrum Judaicum: Berlin, 2011.<\/li>\n
      • \u201cDie versto\u00dfenen Bilder – Handel mit \u2018Entarteter Kunst\u2019.\u201d In Gute Gesch\u00e4fte. Kunsthandel in Berlin 1933-1945<\/em>, 139\u2012144. Aktives Museum im Centrum Judaicum: Berlin, 2011.<\/li>\n
      • \u201cGepl\u00fcndert, geborgen, sichergestellt, verkauft. Der Nachlass von Bernhard A. B\u00f6hmer.\u201d In Ein H\u00e4ndler <\/em>\u2018entarteter<\/em>\u2019 Kunst<\/em>, ed. Meike Hoffmann, 97\u2012132. Schriftenreihe der Forschungsstelle \u2018Entartete Kunst\u2019: Berlin, 2010.<\/li>\n
      • \u201cIm Schatten des Meisters. B\u00f6hmers Nachg\u00fcsse von Werken Wilhelm Lehmbrucks.\u201d In Ein H\u00e4ndler <\/em>\u2018entarteter<\/em>\u2019 Kunst<\/em>, ed. Meike Hoffmann, 211\u2012226. Schriftenreihe der Forschungsstelle \u2018Entartete Kunst\u2019: Berlin, 2010.<\/li>\n
      • \u201cWerke \u2018entarteter Kunst\u2019 im Nachlass von Bernhard B\u00f6hmer, Einf\u00fchrung in die Werklisten.\u201d In Ein H\u00e4ndler <\/em>\u2018entarteter<\/em>\u2019 Kunst<\/em>, ed. Meike Hoffmann, 241\u2012247. Schriftenreihe der Forschungsstelle \u2018Entartete Kunst\u2019: Berlin, 2010.<\/li>\n<\/ul>\n

        __________________________________<\/span><\/h4>\n

        Hopp, Meike<\/h4>\n

        Book<\/h6>\n

\n

I<\/span><\/h1>\n<\/td>\n

 <\/td>\n<\/tr>\n
\n

J<\/span><\/h1>\n<\/td>\n

 <\/td>\n<\/tr>\n
 <\/td>\ntop<\/a><\/td>\n<\/tr>\n
\n

K<\/span><\/h1>\n<\/td>\n

 <\/td>\n<\/tr>\n
 <\/td>\ntop<\/a><\/td>\n<\/tr>\n
\n

L<\/span><\/h1>\n<\/td>\n

 <\/td>\n<\/tr>\n
 <\/td>\ntop<\/a><\/td>\n<\/tr>\n
\n

M<\/span><\/a><\/h1>\n<\/td>\n

\n

Meyer, Corina<\/h4>\n

Journal Article \/ Part of a Book<\/h6>\n
    \n
  • “\u2018An identifying characteristic that makes the [collection] worth a trip\u2019 \u2013 The Orl\u00e9ans collection as a \u2018stamp album\u2019 in London?” In\u00a0Getty Research Journal 8<\/em>\u00a0(2016): 55\u201272.<\/li>\n
  • “‘[…] denn gute Gem\u00e4lde hatte ich versprochen, gute habe ich geliefert, aber, aber […]’. Ein folgenreicher Streit um die Erwerbung eines Filippino Lippi im St\u00e4delschen Kunstinstitut um 1820.”\u00a0RIHA Journal<\/em>\u00a057 (2012). Accessed February 1, 2016. http:\/\/www.riha-journal.org\/articles\/2012\/2012-oct-dec\/meyer-lippi-streit<\/a>.<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
 <\/td>\ntop<\/a><\/td>\n<\/tr>\n
\n

N<\/span><\/h1>\n<\/td>\n

\n

Nathan, Johannes<\/h4>\n

Book<\/h6>\n
    \n
  • Ferdinand Hodler – Aufstieg und Absturz. Die Gem\u00e4lde f\u00fcr die Weltausstellung 1894<\/em>. edited by Johannes Nathan. Alpinen Museum Bern: Bern, 1999.<\/li>\n<\/ul>\n
    Journal Article \/ Part of a book<\/h6>\n
      \n
    • \u201cFritz Nathan \u2013 M\u00fcnchen und St. Gallen.\u201d In Alfred Flechtheim \u2013 Raubkunst und Restitution<\/em>, eds. Andrea Bambi, and Axel Drecoll, 169\u2012177. De Gruyter: Berlin \/ Boston, 2015.<\/li>\n
    • \u201cGlanz, Verfemung und Exil. Als die Werke Liebermanns in die Schweiz wanderten.\u201c In Max Liebermann und die Schweiz. Meisterwerke aus Schweizer Sammlungen<\/em>, \u00a0Museum Oskar Reinhart Winterthur, 60\u201273. Hirmer: Munich, 2014.<\/li>\n
    • \u201cCultural Clearings. The Object Transformed by the Art Market. Introduction.\u201c In The Challenge of the Object. Proceedings of the 33rd Congress of the International Committee of the History of Art,<\/em> eds. Ulrich G. Gro\u00dfmann, and Petra Krutisch, Vol. 2, 706. Germanisches Nationalmuseum: N\u00fcrnberg, 2013.<\/li>\n
    • \u201cBiografie und Wahrnehmung. Zur Entstehung von Peter Nathans Friedrich Wasmann.\u201c In Friedrich Wasmann, 1805\u20121886<\/em>, 88\u201299. Landesmuseum: Meran, 2006.<\/li>\n
    • \u201c\u2018Die sch\u00f6nste Aufgabe meines Lebens.\u2019 Die Beziehung zwischen Oskar Reinhart und Fritz Nathan im Spiegel der Korrespondenz.\u201c In Die Kunst des Handelns. Meisterwerke des 14. bis 20. Jahrhunderts bei Fritz und Peter Nathan<\/em>, Kunsthalle T\u00fcbingen, 103\u2012117. Hatje Cantz: Ostfildern-Ruit, 2005.<\/li>\n
    • \u201c\u2018\u2026f\u00fcr Picasso mindestens 240 Meter\u2026\u2019 Zur Z\u00fcrcher Picasso-Ausstellung von 1932.\u201c In Picasso und die Schweiz<\/em>, Austellungskatalog, Kunstmuseum Bern, 64\u201273. St\u00e4mpfli: Bern, 2001.<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
\n

O<\/span><\/h1>\n<\/td>\n

 <\/td>\n<\/tr>\n
\n

P<\/span><\/h1>\n<\/td>\n

\n

Pezzini, Barbara<\/h4>\n

Journal Article \/ Part of a Book<\/h6>\n
    \n
  • \u201c\u2018Blown into glittering by the popular breath\u2019: the relationship between George Romney\u2019s critical reputation and the art market,\u201d [written in collaboration with Alycen Mitchell]. In The Burlington Magazine<\/em> 157 (2015): 465\u2012473.<\/li>\n
  • \u201cMarketing Miss Charlotte: Colnaghi and George Romney at the turn of the 20th Century<\/em>,\u201d [written in collaboration with Alycen Mitchell]. In Transactions of the Romney Society<\/em> 14 (2014): 4\u201211.<\/li>\n
  • \u201cThe Burlington Magazine, The Burlington Gazette and The Connoisseur. The Art Periodical and the Market for Old-Master Paintings in Edwardian London.\u201d In Visual Resources<\/em> 29 (2013): 154\u2012183.<\/li>\n
  • \u201cThe 1912 Futurist exhibition at the Sackville Gallery, London: an avant-garde show within the Old-Masters trade.\u201d In The Burlington Magazine<\/em> 155 (2013): 471\u2012479.<\/li>\n
  • \u201cNew documents regarding the 1902 \u2018Fans and other paintings on silk by Charles Conder\u2019 exhibition at the Carfax Gallery.\u201d In The British Art Journal<\/em> 13 (2012): 19\u201229.<\/li>\n
  • \u201cMore Adey, The Carfax Gallery and The Burlington Magazine.\u201d In The Burlington Magazine<\/em> 153 (2011): 806\u2012814.<\/li>\n<\/ul>\n

    __________________________________<\/span><\/h4>\n

    Polack, Emmanuelle<\/h4>\n

    Book<\/h6>\n
      \n
    • Les Carnets de Rose Valland. Le Pillage des collections priv\u00e9es d’oeuvres d’art en France durant la Seconde Guerre mondiale<\/em> [written in collaboration with Philippe Dagen]. Lyon: Fage, 2011.<\/li>\n<\/ul>\n
      Journal Article \/ Part of a Book<\/h6>\n
        \n
      • \u201cTrace of Matisse\u2019s Odalisque au tambourin during the Second World War\u201d. In\u00a0Bergung von Kulturgut im Nationalsozialismus: Mythen \u2013 Hintergr\u00fcnde \u2013 Auswirkungen (Schriftenreihe der Kommission f\u00fcr Provenienzforschung, 6),\u00a0<\/em>eds. Sabine Loitfellner, and Pia Sch\u00f6lnberger, 421\u2012432. Wien: B\u00f6hlau, 2016.<\/li>\n
      • \u201cRavalage at the H\u00f4tel Drouot, or the Art of Obtaining a Clean Provenance for Works Stolen in France during the Second World War.\u201d In\u00a0Looters, Smugglers and Collectors: Provenance Research and the Market<\/em>, ed. Tone Hansen and Ana Maria Bresciani, 35\u201244. Oslo: Henie Onstad Kunstsenter, 2015.<\/li>\n
      • \n

        \u201cHeurs et malheurs du Front de l\u2019art. De 1961 \u00e0 nos jours.\u201d In Le front de l\u2019art. D\u00e9fense des collections fran\u00e7aises, 1939-1945, ed. Rose Valland, 23\u201230. Paris: R\u00e9union des mus\u00e9es nationaux, 2014.<\/p>\n<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n

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Q<\/span><\/h1>\n<\/td>\n

 <\/td>\n<\/tr>\n
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R<\/span><\/h1>\n<\/td>\n

 <\/td>\n<\/tr>\n
 <\/td>\ntop<\/a><\/td>\n<\/tr>\n
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S<\/span><\/a><\/h1>\n<\/td>\n

\n

Sa\u00df, Ulrike<\/h4>\n

Journal Article \/ Part of a Book<\/h6>\n
    \n
  • \u201cWilhelm Grosshennig – 70 Jahre Leben als Galerist.\u201d In Nolde – Die Sammlung Werner<\/em>, \u00a0Kirchner, Heckel, eds. Marietta Mautner Markhof, and Klaus Albrecht Schr\u00f6der, 18\u201223. Wien: Albertina, 2012.<\/li>\n<\/ul>\n

    __________________________________<\/span><\/h4>\n

    Savoy, B\u00e9n\u00e9dicte<\/h4>\n

    Journal Article \/ Part of a book<\/h6>\n
      \n
    • \n

      \u201cUnsch\u00e4tzbare Meisterwerke. Der Preis der Kunst im Mus\u00e9e Napol\u00e9on.\u201d In Die kaiserliche Gem\u00e4ldegalerie in Wien und die Anf\u00e4nge des \u00f6ffentlichen Kunstmuseums<\/em>, Bd.1, ed. Eudrun Swoboda, 407\u2012418. K\u00f6ln \/ Weimar \/ Wien: B\u00f6hlau, 2013.<\/p>\n<\/li>\n<\/ul>\n

      __________________________________<\/span><\/h4>\n

      Shabanov, Andrey (\u0428\u0430\u0431\u0430\u043d\u043e\u0432, \u0410\u043d\u0434\u0440\u0435\u0439)<\/h4>\n

      Book<\/h6>\n
        \n
      • \u041f\u0435\u0440\u0435\u0434\u0432\u0438\u0436\u043d\u0438\u043a\u0438: \u043c\u0435\u0436\u0434\u0443 \u043a\u043e\u043c\u043c\u0435\u0440\u0447\u0435\u0441\u043a\u0438\u043c \u0442\u043e\u0432\u0430\u0440\u0438\u0449\u0435\u0441\u0442\u0432\u043e\u043c \u0438 \u0445\u0443\u0434\u043e\u0436\u0435\u0441\u0442\u0432\u0435\u043d\u043d\u044b\u043c \u0434\u0432\u0438\u0436\u0435\u043d\u0438\u0435\u043c \/ The Peredvizhniki: between a commercial partnership and an art movement. Saint Petersburg: EUSP PRESS, 2015.<\/li>\n<\/ul>\n
        Journal Article \/ Part of a Book<\/h6>\n
          \n
        • \u00a0\u201c1870-1871. Peredvizhniki: What’s in a name?\u201d In Immediations. The Courtauld Institute of Art Journal of Postgraduate Research<\/em>, vol.2, 3 (2010): 50\u201371.<\/li>\n<\/ul>\n
          Thesis<\/h6>\n
            \n
          • \u201cRe-presenting the Peredvizhniki: a partnership of artists in late nineteenth-century Russia.\u201d PhD diss, University of London, 2013.<\/li>\n<\/ul>\n

            __________________________________<\/span><\/h4>\n

            Single, Erwin<\/h4>\n

            Book<\/h6>\n
              \n
            • Art Unlimited? Dynamics and Paradoxes of a Globalizing Art World <\/em>[written in collaboration with Franz Schultheis, Raphaela K\u00f6feler and Thomas Mazzurana].<\/em>\u00a0Bielefeld: Transcript, 2016.<\/li>\n
            • When Art meets Money.\u00a0<\/em>Encounters at the Art Basel <\/em>[written in collaboration with Franz Schultheis, Stephan Egger, and Thomas Mazzurana]. K\u00f6ln: Verlag der Buchhandlung Walther K\u00f6nig, 2015.<\/li>\n
            • Kunst und Kapital. Begegnungen auf der Art Basel, <\/em>[written in collaboration with Franz Schultheis, Stephan Egger, and Thomas Mazzurana]. K\u00f6ln: Verlag der Buchhandlung Walther K\u00f6nig, 2015.<\/li>\n<\/ul>\n

              __________________________________<\/span><\/p>\n

              Skowronek, Thomas<\/h4>\n

              Journal Article \/ Part of a book<\/h6>\n
                \n
              • \u201cCrossing the border \u2013 The Foksal Gallery from Warsaw in Lausanne\/Paris (1970) and Edinburgh (1972, 1979).\u201d In Art beyond borders in communist Europe (1945-1989), <\/em>eds. J\u00e9r\u00f4me Bazin, Pascal Dubourg Glatigny, B\u00e9atrice von Hirschhausen, and Piotr Piotrowski, 381\u2012392. Central European University Press: Budapest, 2016.<\/li>\n
              • \u201cDefizit\u00e4rer Osten. Economic Othering auf Kunstm\u00e4rkten.\u201d In Rethinking Exchange. Itineraries through Economy, Sociology and Philosophy<\/em>, eds. Federica Buongiorno, and Antonio Lucci. Azimuth. Philosophical Coordinates in a Modern and Contemporary Age<\/em>, 5 (2015): 157\u2012174.<\/li>\n
              • \u201cInstitutionelle Introjektionen. Die Poetiken der Galerien Foksal.\u201d In Poesie Intermedial<\/em>, ed. Jeanette Fabian, 181\u2012217. Peter Lang: Berlin, 2012.<\/li>\n
              • \u201cDer falsche Sammler \u2013 oder wie Kunstm\u00e4rkte ihre Ordnungen entwerfen. Das Beispiel Moskau.\u201d In Moving (Con)Texts. Produktion und Verbreitung von Ideen in der globalen Wissens\u00f6konomie<\/em>, eds. Johannes Angerm\u00fcller, Jan Johannes, and Jens Standke, 292\u2012307. Logos Verlag: Berlin, 2011.<\/li>\n
              • \u201cUnreliable Gallerist. Zur (fr\u00fchen) Poetik der Galerie Marat Guelman.\u201d In Spielformen der Macht. Interdisziplin\u00e4re Perspektiven auf Macht im Rahmen junger slawistischer Forschung<\/em>, eds. Georg Gierzinger, Sylvia H\u00f6lzl, and Christine Roner, 339\u2012376. Innsbruck University Press: Innsbruck, 2011.<\/li>\n
              • Klerikale Pharmakologien der Galerie Zderzak. In Osteurop\u00e4ische Lekt\u00fcren II. Texte zum 8. Treffen des Jungen Forums Slavistische Literaturwissenschaft<\/em>, eds. Miranda Jaki\u0161a, and Thomas Skowronek, 197\u2012217. Peter Lang: Frankfurt am Main, 2009.<\/li>\n
              • \u201cThe Impact of Economy \u2013 How Valuation Methods Are Shaped in the Polish Art World.\u201d In Art criticism and the market<\/em>, ed. Dorota Monkiewicz, 130\u2012146. Sekcja Polska AICA: Warszawa, 2008.<\/li>\n
              • \u201c\u20acrfolgsgeschichten. Kunstmarkt und kulturelle Werte in Russland nach 1989.\u201d In Modernisierung in Ost- und Ostmitteleuropa?<\/em>, ed. Forschungsstelle Osteuropa Bremen, 95\u201298. Forschungsstelle Osteuropa: Bremen, 2008.<\/li>\n<\/ul>\n

                __________________________________<\/span><\/p>\n

                Skwirblies, Robert<\/h4>\n

                Journal Article \/ Part of a Book<\/h6>\n
                  \n
                • \u201c\u2018Ein Nationalgut, auf das jeder Einwohner stolz sein d\u00fcrfte.\u2019 Die Sammlung Solly als Grundlage der Berliner Gem\u00e4ldegalerie\u201d. In Jahrbuch der Berliner Museen<\/em>\u00a051 (2009), 69\u201299. Berlin: Gebr. Mann, 2010.<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n

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\n

Wimmer, Dorothee<\/h4>\n

Book<\/h6>\n
    \n
  • Museen Im Nationalsozialismus. Akteure \u2013 Orte \u2013 Politik<\/em> [edited in collaboration with Tanja Baensch, and Kristina Kratz-Kessemeier]. K\u00f6ln: B\u00f6hlau, 2016.<\/li>\n
  • Kunstsammlerinnen. Peggy Guggenheim Bis Ingvild Goetz<\/em> [edited in collaboration with Christina Feilchenfeldt, and Stephanie Tasch]. Berlin: Reimer, 2009.<\/li>\n<\/ul>\n
    Journal Article \/ Part of a Book<\/h6>\n
      \n
    • \u201cWer hat die Kunstmacht im Staate? Reflexionen zur Gegenwart.\u201d Kritische Berichte<\/em>, 43-4 (2015): 62\u201371.<\/li>\n
    • \u201cBremen \u2013 Berlin \u2013 Weimar. Cooperation between German Art Collectors and Museum Directors C. 1900.\u201d In Journal of the History of Collections 21<\/em> 2 (2009): 203\u2013212.<\/li>\n
    • \u201cArt in Progress: the women collector Ingvild Goetz in Munich.\u201d Women\u2019s History Review<\/em>, 18-4 (2009): 687\u2013703.<\/li>\n
    • \u201c\u2018Kunst verzamelen tussen sponsoring en mecenaat\u2019. Charles Saatchi versus Ingvild Goetz.\u201d In Markteconomie en Kunst<\/em>, eds. I. Dusar, and H. Meersman, 127\u2013140. Leuven: Acco, 2008.<\/li>\n<\/ul>\n
      Review<\/h6>\n
\n

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 <\/p>\n","protected":false},"excerpt":{"rendered":"

PUBLICATIONS OF THE FORUM’S CONTRIBUTORS\u00a0\u00a0 This bibliography\u00a0provides publications of the Forum’s contributors and\u00a0is devoted to the research of the art market of all periods. A – F G – L M – R S – Z A   B Baden, Sebastian Journal Article \/ Part of a Book \u201eGeld oder Leben! Zur revolution\u00e4ren \u00d6konomie des […]<\/p>\n","protected":false},"author":6,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-40","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/pages\/40","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/comments?post=40"}],"version-history":[{"count":95,"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/pages\/40\/revisions"}],"predecessor-version":[{"id":4171,"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/pages\/40\/revisions\/4171"}],"wp:attachment":[{"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/media?parent=40"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}