Centre for the Study of the Art and Antiques Market

Historic & Contemporary Issues in the Art Market

The first in a new ‘informal’ occasional research seminar series focused on Contemporary & Historic Issues in the Art Market, organised by the Centre for the Study of the Art & Antiques Market (CSAAM)

The seminar takes place on MONDAY 13th November, 3.00pm-4.00pm in Parkinson Building, B.09.

‘Contemporary & Historic Issues’ alternately considers the issues and questions raised by events and issues discussed in the context of the current, and historic, art market. The focus of ‘The Sale of the Century’ seminar is the forthcoming auction sale of Leonardo da Vinci’s painting Salvator Mundi, which is to be sold at Christie’s auction of Post War & Contemporary Art in New York on November 15th. Open Discussion format – just come along and ‘discuss’ the issues.

All Welcome



Image – ArtNews.com

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Pricing the Priceless?

Pricing the Priceless? Interdisciplinary Perspectives on the Cultural Economy of the Global Contemporary Art Market

The increasing dominance of contemporary art in the structures of production and consumption in the art market in recent years has been of considerable note. This research seminar aims to direct critical attention to the significance of this shift through a concentration on how value is created, conceptualised, mediated, valorised and policed within the contemporary Global art market.

The seminar brings together scholars from a range of interdisciplinary perspectives and expertise to consider, develop and embed methodological and pedagogical strategies in order to engage with the emerging subject of the art market within academia. The structure of the seminar is envisaged as an open discussion between participants, leading to an open forum discussion with attendees.

Our panel includes participants from social anthropology, art law and business, a fine art practitioner, as well as art historians and specialists in art market histories:

Dr Marta Herrero (University of Sheffield), a specialist in the social anthropology of the art market
Dr Emma Waring (University of York), Art Law specialist
Eva Frapiccini (University of Leeds) PhD candidate and artist
Professor David Jackson (University of Leeds) Professor of Russian and Scandinavian Art
Dr Mark Westgarth (University of Leeds), a specialist on the histories of the art market

The venue for this research seminar is Room G.23, 28 University Road, University of Leeds. See here for a campus map.

It is free to attend and all are welcome.

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Perspectives on the Art Market Talks

Our next public talk in the ‘Perspectives on the Art Market’ series takes place on MONDAY 6th November 2017, 4.30pm-5.30pm in BAINES WING, room 2.06 at the University of Leeds.  Caroline McCaffrey, one of the Centre for the Art & Antiques Market PhD students, will present ‘work in progress’ arisng from her research on the collecting of Sevres porcelain in the 19th century.

‘Sevres-mania’? Collecting Sevres porcelain on the nineteenth-century art market’








Our Chinamaniacs Abroad, before a ‘Vase en porcelaine de Sèvres’, 1877. © Punch.


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Exhibition by PhD students Simon Spier & Lindsay MacNaughton

John and Joséphine Bowes: Collecting the Far East

1st September – 31st October

Lindsay and Simon at their display at Tennants.

CSAAM PhD student Simon Spier, together with fellow PhD student Lindsay MacNaughton from Durham University, have developed a new exhibition display at Tennants Auctioneers  ‘Garden Room’ at Leyburn, North Yorkshire.  Opening on 2nd September, the exhibition is the result of Simon and Lyndsay’s research on the collections at The Bowes Museum, Barnard Castle. Both are AHRC Collaborative Doctoral Partnership PhD students, working on projects as part of the collaborations with The Bowes Museum.  The exhibition is the third loan display of highlights from the extraordinary collections at The Bowes Museum.

Simon and Lyndsay’s display explores nineteenth-century Europe’s fascination with the Far East through the collections at The Bowes Museum.  The Bowes Museum’s founders, John (1811-1885) and Joséphine Bowes (1825-1874), collected a significant amount of fine and decorative art that represents non-Western cultures. This exhibition provides the opportunity to highlight some pieces not normally on prominent display, and to investigate them in greater detail. Exquisite examples of furniture, ceramics, textiles, painting and curiosities, mainly from China and Japan, have been selected to illustrate some of the ways in which wealthy Europeans collectors were able to engage with foreign cultures.

The exhibition also investigates the wider influences of the East on Europe. In particular, it describes the influx of exotic objects into the auction houses and the grand International Exhibitions of the middle decades of the nineteenth century.

For more details on the exhibition, and on the public talk that Simon and Lyndsay are doing on 5th October, do follow this link:



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Congratulations to Dr Shir Kochavi!

Congratulations to Shir Kochavi for passing her PhD viva with minor corrections last week.  Shir is the first of the CSAAM PhDs to graduate – her PhD is a fascinating study of the redistribution of Jewish Cultural Property and the art market in post WWII Europe and America – Well Done Shir!  Here’s Shir with her supervisors, Mark and Eva, celebrating with champagne.

Dr Kochavi with Dr Westgarth.

Dr Kochavi and Dr Frojmovic

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More ‘Where is it Now?’ objects

Following the successful finding of the early 18th century delftware plate in the ‘Where is it Now?’ theme in the Phillips of Hitchin archive, we have posted another 6 photographs of objects from the archive in the ‘Where is it Now?’ pages; do click on the relevant tab in the tool bar on the CSAAM website above to see them all.

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PhD student based in the CSAAM invited to The Winterthur

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Registration Now Live for Conference: ‘Private Collecting and Public Display: Art Markets and Museums’




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‘Where is it Now?’

As part of the various projects we are planning for the rich potential that the various Antique Dealer archives we have developed a project called ‘Where is it Now?’. You can follow the project by clicking on the ‘Where is it Now?’ tab, above, on the Centre for the Study of the Art and Antiques Market.  We are identifying photographs of objects in some of the archive photograph albums in the Phillips of Hitchin archive in the hope that we can make connections with them again in their current locations, whether that be in public museums, private and other collections, if indeed they still exist.

ms1999-4-1-52-plaque ‘Where is it Now?’ Photograph courtesy of the Brotherton Library Special Collections, University of Leeds, 2016.

The first of what we hope will be scores of objects in the ‘Where is it Now?’ project is this Lambeth (London) delftware plate, dated 1717. It was with Phillips of Hitchin from around 1900 or so (we don’t yet have an accurate date for the photograph), but if you know where it is now we would be very interested to know.

Do keep your eye on the ‘Where is it Now? pages on the Centre website.


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PhD Studentship – Museum Culture and the Art Market (University of Loughborough)

Museum Culture and the Art Market: Private Collecting and Public Responsibility it in the Contemporary Artworld

The objective of this PhD studentship is to investigate connections between public museum practices, private collecting, and art market activity in the contemporary artworld. Questions concerning the social functions of collecting have become acute in light of the significant rise in the number of high net worth collectors in the global art market over the past decade. This project proposes an examination of the extension of collector influence beyond the traditional boundaries of the art market, including, but not limited to, the establishment of institutions that compete with public museums. By enquiring into the social goods and powers derived from private collecting, this project seeks to provide a better understanding of the public responsibilities of individuals who are shaping the exhibition practices and trajectories of the contemporary artworld.


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