\nForum Kunst und Markt \/ Centre for Art Market Studies
\nwww.fokum-jams.org<\/a><\/p>\n
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<\/a><\/p>\n TWELFTH ISSUE<\/b><\/p>\n Collage of images used in the issue’s articles, Design: Amichai Green Grafik.<\/p><\/div>\n Guest Editor: Helene Tello<\/strong><\/p>\n This issue deals with museums selling on the art market. European museums were historically much less opposed to selling than we are currently led to believe. As the museum – an institution from the nineteenth century – needs to face the challenges of the twenty-first, a discussion on this sensitive topic becomes conceivable.<\/p>\n \n Susanne Meyer-Abich Helene Tello Manuela Fischer Beatrix Hoffmann-Ihde I\u00f1igo Salto Santamar\u00eda Birgit Jooss J\u00f6rn Grabowski Alice Minter Dorothea Sch\u00f6ne, Thomas K\u00f6hler, Christopher Bedford Journal for Art Market Studies (JAMS) The Journal for Art Market Studies (JAMS) is a peer-reviewed open-access journal for current international\u00a0research on the art market of all periods. The articles are published in English. Published by Forum Kunst und Markt \/ Centre for Art Market Studies www.fokum-jams.org TWELFTH ISSUE Museums Trading on the Art Market\u00a0 […]<\/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-9836","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/pages\/9836","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=9836"}],"version-history":[{"count":12,"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/pages\/9836\/revisions"}],"predecessor-version":[{"id":10031,"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/pages\/9836\/revisions\/10031"}],"wp:attachment":[{"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/media?parent=9836"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Museums Trading on the Art Market\u00a0<\/strong><\/a>
\nVolume 6, Number 1, 2022<\/h1>\n![\"\"](\"https:\/\/fokum.org\/wp-content\/uploads\/2022\/09\/cover_issue_15_en_US.jpg\")
Table of Contents<\/h2>\n
\nEditorial<\/strong>
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\nIntroduction<\/strong>
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\nMultiple suppliers in permeable spaces<\/strong>.\u00a0Ethnographic collecting at the end of the nineteenth century<\/strong>
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\nFrom museum objects to trading goods: the ethnographic doublet<\/strong>
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\nThe Nuremberg Ivory at Dumbarton Oaks<\/strong>
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\nPolitical Motive, Directorial Access, and an Opportunity for the Art Trade:\u00a0How Two Paintings from the Munich Pinakothek Made their Way to the US<\/strong>
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\nIn the Absence of Foreign Currency: The Acquisition of “Samson Blinded” by Lovis Corinth.\u00a0From the Central Archive of the Staatliche Museen Berlin<\/strong>
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\nThe Gilbert Collection.\u00a0The Quest for the Best<\/strong>
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\nTo Sell or Not to Sell? A Transatlantic Debate<\/strong>
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