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Journal articles on the topic 'Sothebys'

Author: Grafiati

Published: 29 June 2021

Last updated: 17 February 2022

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1

Ruiz Romero, Zara. "Lawfulness and Ethics around Cultural Property Auctions: The Case of the Barbier-Mueller Pre-Columbian Collection." International Journal of Cultural Property 27, no. 3 (August 2020): 397–416. http://dx.doi.org/10.1017/s0940739120000211.

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AbstractIn March 2013, the Barbier-Mueller collection of pre-Columbian art was auctioned at Sotheby’s Paris. This event ended with the sale of half of the works offered and generated a confrontation between six of the countries of origin of the artifacts, which were absolutely opposed to the sale, and the Sothebys’ Parisian branch. This article, taking the case described above as a reference, intends to analyze the ethical considerations and lawfulness implied in the buying and selling of cultural property at auction. With this purpose in mind, the arguments held by both parties in this disagreement are analyzed. At the same time, the efficacy of national laws, international conventions, and regulations is considered, mainly with reference to the use of principles and ethical codes that seem to be applied when the law has no jurisdiction.

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2

Białynicka-Birula, Joanna. "Sales tendencies in modern and contemporary art in the world market." Wiadomości Statystyczne. The Polish Statistician 65, no. 4 (May 8, 2020): 19–31. http://dx.doi.org/10.5604/01.3001.0014.1228.

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The aim of the paper is to identify and examine changes in the modern and contemporary art market in the world in 2009–2015. The source data for the performed analyses are statistical data compiled annually by Artprice and ArtTactic. In order to identify the changes in sales values in the world market for modern and contemporary art, single-base and chain dynamics indicators were used in the first place. Next, in the framework of a dynamic analysis, the trend function analysis method was adopted, which enabled mathematical models of the trend function in linear and exponential forms, describing the changes in the global market of modern and contemporary art, to be constructed. The paper also shows changes in the sales of the world’s largest auction houses, namely Sotheby's and Christie's, in the years 2000–2015. The sales of modern and contemporary artworks were compared with the sales of other types of artworks. In addition, the author focused on those contemporary artists whose works were sold for the highest prices at auctions in the most recent auction seasons. It was empirically proven that the world market for modern and contemporary art is developing dynamically. The collected data enabled the author to formulate the conclusion that the value of sales of modern art at the Sotheby’s and Christie’s auction houses grew both dynamically and significantly.

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3

Lubina, Katja. "Sotheby's Restitution Symposium: Sotheby's Amsterdam, The Netherlands (January 30, 2008)." International Journal of Cultural Property 15, no. 4 (November 2008): 429–31. http://dx.doi.org/10.1017/s0940739108080247.

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This symposium on provenance research and the restitution of Nazi-looted art was organized by the auction house Sotheby's and sponsored by the Muggenthaler International Genealogical Research Institute. After prior meetings hosted by Sotheby's on the same topic in London and Vienna, some 90 provenance researchers, art historians, government representatives, lawyers, and academics met in Amsterdam to discuss the Dutch restitution regime in particular and, in general, the progress made since the passing of the Washington Principles on Nazi-looted art in December 1998.

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4

Tremain, Cara Grace. "Fifty Years of Collecting: The Sale of Ancient Maya Antiquities at Sotheby’s." International Journal of Cultural Property 24, no. 2 (May 2017): 187–219. http://dx.doi.org/10.1017/s0940739117000054.

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Abstract:Pre-Columbian antiquities, particularly those from the Maya region, are highly sought after on the international art market. Large auction houses such as Sotheby’s have dedicated pre-Columbian departments and annual auctions, for which sales catalogues are created. These catalogues offer insight into market trends and allow the volume of antiquities being bought and sold to be monitored. The following study records the public sale of Maya antiquities at Sotheby’s over a period slightly exceeding 50 years from 1963 to 2016. More than 3,500 artifacts were offered for sale during this period, of which more than 80 percent did not have associated provenance information. The data suggests that the volume of Maya antiquities offered for sale at Sotheby’s public auctions have been steadily decreasing since the 1980s, but their relative value has increased. Quantitative studies of auction sales such as this one can be useful in monitoring the market for illegal antiquities and forgeries.

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5

TRUMAN, CHARLES, and BRAND INGLIS. "SOTHEBY'S CONCISE ENCYCLOPEDIA OF SILVER." Art Book 1, no. 3 (June 1994): 28b. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00161.x.

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6

Dickson, David. "Darwin material sells briskly at Sotheby's." Nature 360, no. 6405 (December 1992): 616. http://dx.doi.org/10.1038/360616b0.

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7

SOMERVILLE, STEPHEN. "SOTHEBY'S; ART AT AUCTION 1992?93." Art Book 1, no. 1 (January 1994): 16. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00080.x.

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8

Frosch, Paula. "SOTHEBY'S INTERNATIONAL PRICE GUIDE. John L. Marion." Art Documentation: Journal of the Art Libraries Society of North America 5, no. 3 (October 1986): 139. http://dx.doi.org/10.1086/adx.5.3.27947637.

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9

Gill, David. "Sotheby's, sleaze and subterfuge: inside the antiquities trade." Antiquity 71, no. 272 (June 1997): 468–71. http://dx.doi.org/10.1017/s0003598x00085112.

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10

López Hernández, Isabel. "Bruce Chatwin: Utz, su novela sobre el mundo del arte." Revista humanidades 10, no. 2 (May 14, 2020): e41806. http://dx.doi.org/10.15517/h.v10i2.41806.

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El escritor británico Bruce Chatwin (1940-1989) convierte a un coleccionista compulsivo en eje central de su novela Utz. A través de su protagonista, reflexiona acerca del mundo del arte, rememorando su pasado cuando trabajaba en la casa de subastas Sotheby´s. Su experiencia allí le proporcionó unos conocimientos y una mirada que determinarían su vida, aprendió a estudiar una obra de arte, a describirla en pocas palabras y valorar su precio en el mercado. Todo ello se percibe en su estilo narrativo, donde persigue la precisión de las descripciones típicas de los catalogadores. Desarrolló un estilo propio. Además, adquirió una red de contactos trascendental alrededor del mundo. Fijó su interés en personalidades peculiares que desembocaron en la creación de Utz, personificación de ese entramado de marchantes y coleccionistas que le facilitó su puesto de director en el departamento de impresionistas y arte moderno. Al mismo tiempo, su época en Sotheby´s despertó en él la eterna disyuntiva entre la posesión, la búsqueda de la inmortalidad y la creación artística. El presente artículo examina cómo el autor aborda todos estos temas en la novela.

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11

Quarrie, Paul. "The scientific library of the earls of Macclesfield." Notes and Records of the Royal Society 60, no. 1 (January 22, 2006): 5–24. http://dx.doi.org/10.1098/rsnr.2005.0124.

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Summary The dispersal at auction of the renowned scientific library of the earls of Macclesfield from Shirburn Castle has been held at Sotheby's, London, in the period March 2004 to November 2005 in six sales following upon the sale to the Cambridge University Library of the Macclesfield scientific papers. This paper discusses aspects of the history of the library, its genesis and composition, the personal history of those who created it, and certain individual volumes.

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12

Simpson, Roger. "Building Arthurian Castles in Spain: William Sotheby's Constance de Castile." Arthuriana 11, no. 4 (2001): 77–87. http://dx.doi.org/10.1353/art.2001.0009.

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13

Kwapil, E. "Sotheby's Symposium zum Thema "Restitution" am 31. Januar 2008 in Amsterdam." KUR - Kunst und Recht 10, no. 1 (2008): 28. http://dx.doi.org/10.15542/kur/2008/1/8.

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14

Holton, David, and Peter Mackridge. "Robin Fletcher." Byzantine and Modern Greek Studies 40, no. 2 (September 22, 2016): 315–19. http://dx.doi.org/10.1017/byz.2016.11.

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Robin Anthony Fletcher, who died on 15 January 2016, was born in Godalming on 30 May 1922. He was educated at Marlborough College, as was R. M. Dawkins, who served as Bywater and Sotheby Professor of Byzantine and Modern Greek at Oxford from 1920 to 1939. As Dawkins had done in the First World War, Robin served in the Royal Naval Volunteer Reserve in the Second World War, during which time he commanded a Greek caique in the Eastern Mediterranean. At the end of the war Robin was awarded the Distinguished Service Cross.

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15

Poussaint, LaVerne L. "From Babylonia to Bombay to Burma: Sojourning through Asian Hebraica by Way of New York." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 10, no. 2 (September 1, 2009): 122–43. http://dx.doi.org/10.5860/rbm.10.2.323.

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This winter past, I journeyed to Sotheby’s to bear witness to a wonder: the hallowed holdings of the Valmadonna Trust Library (VTL) collection on exhibit in New York. I ventured forth to explore this rarefied repository of tenth- through early twentieth-century1 CE texts, declared by the cognoscenti to be “the finest private library of Hebrew books and manuscripts in the world.”2 As I joined the caravan of inquiring minds and devout adherents alike in a lengthy line that extended around the corner from the auction house’s York Avenue entrance, the hour-long wait allowed me time to cross-match the gallery floor

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16

LOW-MORRISON, A. D. "SOLD AT SOTHEBY'S: Sir John Findlay's cabinet and the Scottish antiquarian tradition." Journal of the History of Collections 7, no. 2 (January 1, 1995): 197–209. http://dx.doi.org/10.1093/jhc/7.2.197.

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17

MINIATI, MARA. "MAYA HAMBLY, Drawing Instruments 1580-1980. London, Sotheby's Publications 1988, 206 pp." Nuncius 4, no. 1 (1989): 270. http://dx.doi.org/10.1163/182539189x00356.

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18

Cinefra, Jennifer, Urbi Garay, Claudia Mibelli, and Eduardo Pérez. "The determinants of art prices: an analysis of Joan Miró." Academia Revista Latinoamericana de Administración 32, no. 3 (August 5, 2019): 373–91. http://dx.doi.org/10.1108/arla-06-2018-0121.

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Purpose Relatively little is known about the determinants of the prices of paintings. The purpose of this paper is to analyse the price determinants of the art of Joan Miró, one of the great masters of Modern Art. Design/methodology/approach The authors analysed 255 artworks by Miró sold at Sotheby’s and Christie’s between 2003 and 2017, and performed a hedonic price regression to measure the impact of a series of variables on the prices of this artist’s works. Findings Miró’s works command higher prices, ceteris paribus, when they were painted on canvas, were sold at Sotheby’s and in New York City or London, were traded during the evening session and depending on the period in which they had been painted, the size of their surface area, the number of words used to describe the respective lot and whether they had appeared in an art book. The prices of Miró’s paintings increased substantially between 2003 and 2008 and then declined, coinciding with the global financial crisis of 2009. Research limitations/implications The results were obtained from prices established in art auctions, which represent only one portion of the market. Originality/value This is the first exhaustive study carried out on the determinants of the prices of Joan Miró’s works. The artist represents an ideal case due to the large number of his works that have been sold at auctions. As yet, only studies of Pablo Picasso and Andy Warhol have been conducted. Joan Miró has well-defined artistic periods, which also allows us to determine the impact on the price of the works of the period in which it was created. This paper also offers a methodological contribution to parties involved in the art sector (artists, galleries, collectors, investors, museums, etc.).

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19

Brodie, Neil. "Through a Glass, Darkly: Long-Term Antiquities Auction Data in Context." International Journal of Cultural Property 26, no. 3 (August 2019): 265–83. http://dx.doi.org/10.1017/s094073911900016x.

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Abstract:The antiquities catalogues of major auction houses comprise an accessible long-term source of information about the auction market in antiquities and the market in antiquities more generally. The information contained in these catalogues has been used to investigate the nature and scale of the market and to assess the impact of legal and normative measures of market control. But, by way of two case studies, referencing Iraqi and Cambodian material sold at the New York branch of Sotheby’s, this article argues that, while auction catalogues do provide an invaluable source of information for investigating the antiquities market, it can be misleading. Changing material or monetary statistics might reflect commercial factors unrelated to market control. For more reliable research, long-term auction data should be contextualized with information available from other sources.

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20

Price, Curtis. "Newly Discovered Autograph Keyboard Music of Purcell and Draghi." Journal of the Royal Musical Association 120, no. 1 (1995): 77–111. http://dx.doi.org/10.1080/02690403.1995.11828225.

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A manuscript of late seventeenth-century English harpsichord music was sold to an anonymous private collector at Sotheby's in London on 26 May 1994 for £276,500, a record price paid for any British music manuscript. The 85-page oblong quarto, in its original covers, includes 21 pieces in the hand of Henry Purcell (1659–95), five of which were previously unknown, and a further 17 works by Giovanni Battista Draghi (c.1640–1708), also probably autograph, four of which were previously unknown. The manuscript is important because of the rarity of Purcell autographs: this is the first to be sold at public auction since the great collection of fantazias and sonatas (now British Library, Add. MS 30,930) was offered in 1826, and the only major source to surface this century.

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21

Olenyi von Husen, B., and E. Donnerhack. "Sotheby's Symposium zum Thema Restitution am 11. Mai 2007 im Mumok Auditorium in Wien." KUR - Kunst und Recht 9, no. 3-4 (2007): 90. http://dx.doi.org/10.15542/kur/2007/3-4/13.

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22

Hughes, Leo, and A. H. Scouten. "Dryden with Variations: Three Prompt Books." Theatre Research International 11, no. 2 (1986): 91–105. http://dx.doi.org/10.1017/s030788330001213x.

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Among the eleven promptbooks from the Morrab Library in Penzance sold at Sotheby's in 1964, by no means least interesting are three based on plays by John Dryden. After considerable study we are persuaded that all three were from Drury Lane Theatre. They came into the possession of H. C. Halliwell-Phillipps and were eventually presented to the City of Penzance as a token of his affection. We choose a musical term to suggest the great differences in origin and fortunes of the trio, for they represent a varied pattern: one comes from an early collaboration; one is a solo performance from late in the displaced laureate's career; one is a pastiche taken from a pair of heroic plays shortly after Dryden's death. At some risk of anticlimax we present them in the order of their appearance as promptbooks.

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23

Brooks, Randall. "Early Scientific Instruments. Europe 1400-1800. Anthony Turner, London, Philip Wilson/Sotheby's Publications and New York, Harper and Row/Sotheby's, 1987. Pp 320, ill., $C 147.95/£57. ISBN 0 85667 319 6 (UK)." Scientia Canadensis: Canadian Journal of the History of Science, Technology and Medicine 11, no. 2 (1987): 124. http://dx.doi.org/10.7202/800257ar.

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24

Shor, Russell. "A History of European Royal Jewel Sales, Including Sotheby's 2018 Auction of Marie Antoinette's Jewels." Gems & Gemology 56, no. 3 (November 1, 2020): 356–79. http://dx.doi.org/10.5741/gems.56.3.356.

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25

Chapman, Wayne K. "Yeats’s White Vellum Notebook, 1930–1933." International Yeats Studies 2, no. 2 (May 1, 2018): 40–59. http://dx.doi.org/10.34068/iys.02.02.03.

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This essay examines the present state of affairs concerning “one of the great literary manuscripts of our time, the great vellum notebook” that Sotheby’s advertised and sold for the first time in 1985. That sale and a subsequent one in 1990 are related to the contents of the notebook as ascertained from finding aids used by the editors of the Cornell Yeats series, including Chapman, as well as from the examination of extant microfilms of the notebook, the location of the original having been lost. Particularly useful for new and on-going textual-genetic studies in Yeats collections at the National Library of Ireland and elsewhere, part III (“Yeats’s White Vellum Notebook [‘MBY 545’]: An Inventory”) lists all poems, plays, essays, introductions, prefaces, notes, diary entries, and materials for A Vision as they occur by page and folio position within the manuscript notebook, as well as within the Cornell series if, to date, corresponding reproductions and/or transcriptions have appeared there.

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26

Stevenson, J. "Shorter note. Lionel Sotheby's Great War: Diaries and Letters from the Western Front. Donald C Richter." English Historical Review 114, no. 457 (June 1999): 772–73. http://dx.doi.org/10.1093/enghis/114.457.772.

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27

Ashenfelter, Orley, and Kathryn Graddy. "Anatomy of the Rise and Fall of a Price-Fixing Conspiracy: Auctions at Sotheby's and Christie's." Journal of Competition Law & Economics 1, no. 1 (January 1, 2005): 3–20. http://dx.doi.org/10.1093/joclec/nhi003.

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Stevenson, J. "Shorter note. Lionel Sotheby's Great War: Diaries and Letters from the Western Front. Donald C Richter." English Historical Review 114, no. 457 (June 1, 1999): 772–73. http://dx.doi.org/10.1093/ehr/114.457.772.

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29

Parfitt, Keith. "A Late Iron Age Burial from Chilham Castle, near Canterbury, Kent." Proceedings of the Prehistoric Society 64 (January 1998): 343–51. http://dx.doi.org/10.1017/s0079497x00002279.

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During the spring of 1993 Mr Darren Nichols was searching land near Canterbury with his new metal detector when he made a most interesting discovery. At a shallow depth he unearthed a burial, containing a decorated bronze mirror, a bronze brooch, and the remains of a pot holding cremated bone. The mirror was subsequently identified as being of Iron Age date, bearing a characteristic engraved Celtic design on its reverse. Realising the importance of the find, Mr Nichols reported the discovery to local archaeologists who were able to visit the site and re-excavate the find-spot. These investigations produced a second brooch and further sherds from the very fragmented cinerary urn.In July 1994 the metalwork from the burial was passed to Dr Ian Stead of the British Museum for detailed study and recording. A year later the finder sold the mirror and brooches at a Sotheby's auction (Sale LN5398, Lot 3) to a private collector, who has very kindly agreed to details of the objects being published here.

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Spencer, Alice E. "Augustine and Monica in the Abbotsford Legenda Aurea." SELIM. Journal of the Spanish Society for Medieval English Language and Literature. 24, no. 1 (September 12, 2019): 135. http://dx.doi.org/10.17811/selim.24.2019.135-148.

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The following piece will represent the first in-depth evaluation of the lives of Saint Augustine and his mother Monica in the as-yet unpublished Abbotsford manuscript, Bokenhamâ€™s long-lost translation of the Legenda Aurea, a text which survives in a single manuscript, purchased by Sir Walter Scott at Sothebyâ€™s in 1809, which had remained unattributed and unstudied until it was brought to the attention of Simon Horobin by the Faculty of Advocates in 2004 (Horobin 2008: 135). As a celebration of the remarkable piety of a wife and mother (as opposed to a virgin martyr), it is a highly unusual hagiographic text and would have presented a particularly accessible model of spirituality to the network of powerful lay female patrons by whom we know Bokenham to have been employed. I will argue that Bokenhamâ€™s vita espouses an incarnational Augustinian poetics which is at odds with the more ascetic, eremitical vision of the original Legenda Aurea.Keywords: Osbern Bokenham; Abbotsford Legenda Aurea; Augustine; Monica; hagiography

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31

Kuehn, Daniel. "Keynes, Newton and the Royal Society: the events of 1942 and 1943." Notes and Records: the Royal Society Journal of the History of Science 67, no. 1 (December 19, 2012): 25–36. http://dx.doi.org/10.1098/rsnr.2012.0053.

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Most discussions of John Maynard Keynes's activities in connection with Newton are restricted to the sale in 1936 at Sotheby's of Newton's Portsmouth Papers and to Keynes's 1946 essay ‘Newton, the Man’. This paper provides a history of Keynes's Newton-related work in the interim, highlighting especially the events of 1942 and 1943, which were particularly relevant to the Royal Society's role in the domestic and international promotion of Newton's legacy. During this period, Keynes lectured twice on Newton, leaving notes that would later be read by his brother Geoffrey in the famous commemoration of the Newton tercentenary in 1946. In 1943 Keynes assisted the Royal Society in its recognition of the Soviet celebrations and in the acquisition and preservation of more of the Newton library. In each instance Keynes took the opportunity to promote his interpretation of Newton as ‘the last of the magicians’: a scientist who had one foot in the pre-modern world and whose approach to understanding the world was as much intuitive as it was methodical.

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32

Sreberny-Mohammadi, Leili. "The Emergence of an Auction Category: Iranian Art at Christie’s Dubai, 2006–2016." Arts 10, no. 2 (May 27, 2021): 35. http://dx.doi.org/10.3390/arts10020035.

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The expansion of the British auction houses Christie’s, Sotheby’s and Bonhams to markets in the Middle East has played a crucial role in building an international market for art from the region. They have also been essential in providing an international platform for the sale of art from Iran, a country whose economy is otherwise isolated from global markets. In this paper, I address the growth of the market for Iranian art specifically via Christie’s auctions in Dubai. Through close analysis of auction catalogs, ethnographic data drawn from live auctions and interviews with key staff members, I document the emergence of Iranian art into the international arena and the solidification of both Iranian and Middle Eastern art as a distinct category of sales. In particular, I explore the notion of “seeing with the other eye”, a way that auction specialists nudge local collectors into the arena of “international” taste. Through analysis of the particular tropes used to narrate artist biographies in auction catalogs, I demonstrate how artists are painted as interpreters and translators of “local” and “global” aesthetic registers.

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Davis, Tess. "Supply and demand: exposing the illicit trade in Cambodian antiquities through a study of Sotheby’s auction house." Crime, Law and Social Change 56, no. 2 (July 12, 2011): 155–74. http://dx.doi.org/10.1007/s10611-011-9321-6.

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Crosby, Brian. "Private Concerts on Land and Water: The Musical Activities of the Sharp Family, c.1750–c. 1790." Royal Musical Association Research Chronicle 34 (2001): 1–118. http://dx.doi.org/10.1080/14723808.2001.10540993.

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Hitherto there have only been glimpses into the musical activities of William, James and Granville Sharp in London during the second half of the eighteenth century. These have been afforded by Prince Hoare's Memoirs of Granville Sharp, William Shield's anecdotal review of Granville's A Short Introduction to Vocal Music, the brothers' own catalogue of their music and the Leigh and Sotheby Sale Catalogue of 1814 which marked that music's dispersal, and, more recently, by the publication of the memoirs of R.J.S. Stevens who sang as a treble at the Sharps' concerts in 1772. From these sources it transpired that the three Sharps were capable amateur musicians who hosted private concerts of sacred music in their homes, and that at different times many of the leading professional musicians of the period either played or sang on one of Sharps' vessels on the Thames. These shadowy images gained bodily form in 1978 when the National Portrait Gallery acquired on indefinite loan ‘The Sharp Family’ by Johann Zoffany, a portrait which revealed that the three brothers were but part of a larger musical family.

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35

Megaw, J. V. S., M. Ruth Megaw, and Robert Trett. "A Late Iron Age Cast Bronze Head Probably from Chepstow." Antiquaries Journal 72 (March 1992): 54–75. http://dx.doi.org/10.1017/s0003581500071171.

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In November 1987 a bronze highly stylized animal head was shown to me in my capacity as Curator of Newport Museum (figs. 1–3). The head which appeared to be of late Iron Age date is described below. The owner agreed to lend the piece to the Museum for conservation. The investigations included two separate metal analyses, carried out independently by Dr J. P. Northover at the University of Oxford and by R. Jones at the University of Wales, Cardiff. A black bituminous substance from horn cores on the head was analysed by C. Heron also at Cardiff; these analyses are reported below (Appendices 1–3). Additional advice was given by Dr H. N. Savory F.S.A., formerly Keeper of Archaeology at the National Museum of Wales, and by Dr I. M. Stead F.S.A. at the British Museum. Replicas were made for Newport Museum and the British Museum before the head was returned to the owner in August 1988. In July 1989, the head was purchased at auction by the Newport Museum and Art Gallery for £5,800 (Sotheby's: Antiquities,Monday 10 July and Tuesday 11 July 1989, Lot 403).

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36

JACKSON, CHRISTINE. "Works by Archibald Thorburn from The Thorburn Museum. Sotheby's, London: 1993. Pp 127; illustrated. Price: none stated. ISBN: none." Archives of Natural History 21, no. 1 (February 1994): 131. http://dx.doi.org/10.3366/anh.1994.21.1.131a.

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37

Van Driessche, Jacqueline. "L'ensemble exceptionnel de catalogues de ventes de monnaies de la Maison Sotheby's (1833-1869) acquis par Lucien de Hirsch." In Monte Artium 8 (January 2015): 157–85. http://dx.doi.org/10.1484/j.ima.5.108764.

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38

Molho, Jeremie. "Becoming Asia’s Art Market Hub: Comparing Singapore and Hong Kong." Arts 10, no. 2 (April 27, 2021): 28. http://dx.doi.org/10.3390/arts10020028.

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The recent emergence of new regions in the global art market has been structured by hub cities that concentrate key actors, such as global auction houses, influential art fairs, and galleries. Both Singapore and Hong Kong have developed explicit strategies aimed at positioning themselves as Asia’s art market hub. This followed the steep rise of the Chinese art market, but also the general perception of Asia as the world’s most dynamic art market. While Hong Kong’s emergence derives from its status as gateway to the Chinese market, and has been driven by key global players, such as the auction houses Christies’ and Sotheby’s, the Art Basel fair, and mega-galleries, Singapore’s strategy has been driven by the state. At the end of the 2000s, the city identified the art market as a new growth sector, and proactively invested, by creating a cluster concentrating international galleries and supporting art fairs, art weeks, and new world-class cultural institutions. Based on comparative fieldwork, and interviews with actors of the Singapore and Hong Kong art markets, this article shows that the two cities’ distinct strategies have generated contrasted models of “cultural hubs”, and that they play complementary roles in the structuration of the region’s art market.

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Archer, Anita. "Materialising Markets: The Agency of Auctions in Emergent Art Genres in the Global South." Arts 9, no. 4 (October 18, 2020): 106. http://dx.doi.org/10.3390/arts9040106.

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For the last two decades, the international auction houses Sotheby’s and Christie’s have been at the forefront of global art market expansion. Their world-wide footprints have enabled auction house specialists to engage with emerging artists and aspiring collectors, most notably in the developing economies of the Global South. By establishing their sales infrastructure in new locales ahead of the traditional mechanisms of primary market commercial galleries, the international auction houses have played a foundational role in the notional construction of new genres of art. However, branding alone is not sufficient to establish these new markets; the auction houses require a network of willing supporters to facilitate and drive marketplace supply and demand, be that trans-locational art market intermediaries, local governments, and/or regional auction businesses. This paper examines emerging art auction markets in three Global South case studies. It elucidates the strategic mechanisms and networks of international and regional art auction houses in the development of specific genres of contemporary art: Hong Kong and ‘Chinese contemporary art’, Singapore and ‘Southeast Asian art’, and Australia and ‘Aboriginal art’. Through examination and comparison of these three markets, this paper draws on research conducted over the past decade to reveal an integral role played by art auctions in the expansion of broader contemporary art world infrastructure in the Global South.

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Geller, M. J. "More magic spells and formulae Plates I-IV." Bulletin of the School of Oriental and African Studies 60, no. 2 (June 1997): 327–35. http://dx.doi.org/10.1017/s0041977x00036429.

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A new text edition usually stimulates further publications and evaluations of similar texts. This situation particularly applies to J. Naveh and S. Shaked, Magic spells and formulae (Jerusalem: Magnes Press, 1993), since much new material has come to light in recent years. The present article consists of additional texts which have special relevance to the above mentioned volume (see my review of Naveh-Shaked in this issue). Two magic bowls which appeared at Sotheby's (London) in 1985 were copied by me and sent to Naveh and Shaked for study and publication. One bowl in Jewish Aramaic script (Text A) was also copied by the present writer, but the bowl was not easily legible, and Naveh and Shaked chose not to include it within the corpus of bowls, because neither the photographs nor the hand copy were sufficiently reliable. Since the present owner and location of the bowl is unknown, I have included my hand copy of the bowl here, with an attempt to read as much as is reasonably legible, in the hope that eventually the bowl will reappear and corrections to these readings can be made, through collation of the original. A second bowl, in Syriac script, was edited by Naveh and Shaked (Bowl 17), but since they chose not to publish the hand copy of the bowl, it is given below (as Text B).

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Fehérvári, Géza. "James W. Allan: Metalwork of the Islamic world: the Aron collection. 168 pp. London: Philip Wilson for Sotheby Publications, 1986." Bulletin of the School of Oriental and African Studies 53, no. 2 (June 1990): 340–42. http://dx.doi.org/10.1017/s0041977x00026227.

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Harbison, Craig. "Colin Eisler. Early Netherlandish Painting: The Thyssen-Bornemisza Collection. London: Sotheby's Publications, 1989. 280 pp. 191 illus. (61 in color). $110." Renaissance Quarterly 43, no. 2 (1990): 415–17. http://dx.doi.org/10.2307/2862386.

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Lawrence, Christopher. "Gerard L'E Turner, Nineteenth-century scientific instruments, London, Sotheby Publications; Berkeley, University of California Press, 1983, 4to, pp. 320, illus., £37.50." Medical History 29, no. 2 (April 1985): 218–19. http://dx.doi.org/10.1017/s0025727300044045.

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Anđelković, Branislav, and Jonathan P. Elias. "Inscriptions on the Interior of the 30th Dynasty Coffin of Nefer-renepet from Akhmim." Issues in Ethnology and Anthropology 10, no. 3 (February 28, 2016): 701. http://dx.doi.org/10.21301/eap.v10i3.7.

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The anthropoid wooden coffin with plinth (L. 183.5 cm), datable to the mid–4th century B.C. (30th Dynasty), names Nefer-renepet, a dancer of Min from Akhmim. This object represents one of the artistically and technically superior coffins produced by Late Period Egyptian coffin workshops. It was formerly part of the Amherst collection, and was purchased by Ernest Brummer at a Sotheby, Wilkinson & Hodge auction in London in 1921, then donated the same year to the National Museum in Belgrade. The interior of the lid is distinguished by a remarkable ‘gliding Nut motif with upward streaming hair’ (an extremely important iconographic element) while the interior of the trough is dominated by a line drawing of Imentet wearing a diagonallyveined maat-feather on her head. The interior decoration includes inscriptions written on the side facets. Written hastily in whitish-yellow line on a rough ground of thick black pigment (in contrast to the fine outer decoration of the coffin) these barely legible Stundenwachen texts, are nonetheless significant, and are to be identified as abbreviated texts derived from the Book of Day and Book of Night. They are a manifestation of Late Period magical symbolism stemming from New Kingdom funerary compositions. Their presence on the coffin, however hurried, was intended to ease Nefer-renepet’s passage through the netherworld. Since 1992 the coffin of Nefer-renepet is kept in the Archaeological Collection of the Faculty of Philosophy, University of Belgrade.

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Vieira, Eleno Rodrigues, Nilso José Pierozan, and Viviane Lovison. "Determination of N-nitrosamines and N-nitrosables substances in rubber teats and sothers by GC-TEA." Brazilian Archives of Biology and Technology 49, spe (January 2006): 73–78. http://dx.doi.org/10.1590/s1516-89132006000200012.

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Silva, Roberta Patrícia de Sousa, Antonio Lucineudo de Oliveira Freire, Ivonete Alves Bakke, Cheila Deisy Ferreira, Sérvio Túlio Pereira Justino, and Amanda de Lira Freitas. "Shading and its reflections on growth and gas exchanges of Microdesmia rigida (Benth.) Sothers & Prance." Research, Society and Development 9, no. 7 (June 16, 2020): e878974508. http://dx.doi.org/10.33448/rsd-v9i7.4508.

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The objective of this research was to evaluate the effect of shading on growth and gas exchange of seedlings of Microdesmia rigida, keeping them under the levels of 0% (full sun), 50% and 70% shading, arranged in a completely randomized design (DIC), with four replications. Plant height, stem diameter, height/diameter ratio, absolute growth rate, leaf area, plant dry matter weight, dry root/shoot weight ratio, Dickson Quality Index (DQI), transpiration, stomatal conductance, photosynthesis rate, internal CO2 concentration, chlorophyll contents a, b and total were analysed. There was a reduction in the rate of transpiration and increase in stomatal conductance, photosynthesis rate and internal CO2 concentration with increased shading. Shading decreased the concentration of chlorophyll a while promoting an increase in chlorophyll b and total chlorophyll, with no significant difference between the levels of 50% and 70% of shading. The shaded environments provided greater growth in height, diameter, leaf area, in addition to providing greater accumulation of dry mass and IQD. It is recommended to produce seedlings of M. rigida seedlings, during the nursery phase, under 50% shading, as this condition provides the achievement of better seedling quality indexes.

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Swaddling, Judith. "Sybille Haynes, Etruscan Bronzes. London and New York: Sotheby's Publications, 1985. Pp. 359, 132 pls (16 col.), 3 maps. ISBN 0-85667-195-9." Journal of Roman Studies 77 (November 1987): 224–25. http://dx.doi.org/10.2307/300607.

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Garay, Urbi. "The Latin American art market: literature and perspectives." Academia Revista Latinoamericana de Administración 31, no. 1 (March 5, 2018): 239–76. http://dx.doi.org/10.1108/arla-04-2017-0117.

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Objective The purpose of this paper is to present the progress and trends of the literature on art as an investment and to outline potential research lines to be developed. Design/methodology/approach This work gathers, analyses and critically discusses the attributes of investments in art in general, and in Latin American art in particular. Findings Most studies report that art (art in general, and Latin American in particular) has offered relatively low but positive real returns, which have tended to be below those offered by stocks and similar to those realized by bonds. Art has a low correlation with other investments. Research limitations and implications The literature on the attributes of Latin American art as an investment is limited and new research would help to close the knowledge gap with respect to this segment of the art market as it continues to grow. Practical implications Similarly to the research carried out into other segments of the art market, studies on Latin American art suggest that the works of art are worth more, ceteris paribus: the more renowned the artist, the larger the work, whether they were executed in oil, and if they were auctioned at Sotheby’s or Christie’s. The paper also details a series of practical implications for those who participate in the art market. Originality/value To the best of the authors’ knowledge, this is the first exhaustive review of the literature on the attributes of Latin American art as an investment. The findings of this study are useful for academics, art collectors, auction houses, gallerists and others who take part in the arts market.

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FehÉrvÁri, GÉza. "Marilyn Jenkins (ed.): Islamic art in the Kuwait National Museum: the al-Sabah collection. 157 pp. London: Philip Wilson Publishers for Sotheby Publication, [1983]. £19.95." Bulletin of the School of Oriental and African Studies 48, no. 1 (February 1985): 139–40. http://dx.doi.org/10.1017/s0041977x0002718x.

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Ridgway, F. R. Serra. "Etruscan Bronzes - Sybille Haynes: Etruscan Bronzes. Pp. 359; 3 maps; 16 colour plates; 306 monochrome illustrations. London: Philip Wilson Publishers Ltd for Sotheby's Publications, 1985. £87.50." Classical Review 37, no. 2 (October 1987): 273–75. http://dx.doi.org/10.1017/s0009840x0011073x.

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