A landmark digital reference work exclusive to Bloomsbury Digital Resources providing a comprehensive guide to art galleries, auction houses, art fairs, and agents from multiple national and historical contexts.
It will be the first scholarly guide of its kind online and has been designed to serve the expanding research areas of art market studies, art historiography and provenance research.
Over 4,000 peer-reviewed articles will combine factual data with biographical information and historical narratives. Entries will also outline principal activities by listing exhibitions, clients, regular partners, and major artists whose works were sold. Selected bibliographies will facilitate further research, as will information on archival material and its whereabouts.
Led by Editor-in-Chief Johannes Nathan and supported by a distinguished internal team of editors and advisors, Bloomsbury Art Markets will provide an essential resource for scholars and researchers, as well as art world professionals.
The consensus is growing that the market has played a major role in art history. Expanding research areas such as art market studies, the history of collecting, art historiography, and provenance research highlight the need for a specific reference tool on the market, in which information and historical narratives work together to illustrate how the market operated, who was in it, and when.
Bloomsbury Art Markets (BAM), formerly known as the Art Market Dictionary(AMD), is the first encompassing reference work on the art market, covering Europe, Russia, and North America since 1900. It will provide information on auction houses, art fairs, commercial galleries, art dealers, and more.
This will form an essential resource for scholars, art world professionals, journalists, and collectors.
What information does it provide?
In each entry, Bloomsbury Art Markets will supply basic factual information followed by a brief historical or biographical narrative illustrating a company’s or person’s role in the art market. The assembled facts, names, and places will be searchable in the online database. They summarize central data: years, addresses, staff, specializations, etc. They also indicate principal activities through lists of major exhibitions and, where possible, regular partners or clients.
Entries also aim to list artists whose work was on offer. Selected bibliographies will facilitate further research, as will information on archival material and its whereabouts. By assembling this pool of data, Bloomsbury Art Markets will enable scholars to locate specific information and its sources as well as allowing for an examination of the relationships, economics, and significant trends that have shaped the art world.
Bloomsbury Art Markets feels privileged to have the advice and support of a highly distinguished international advisory board, some of them outstanding art market scholars, some representing specialized institutions that support our project with their network and infrastructure.
Arbeitskreis Provenienzforschung e.V., Berlin
Oskar Bätschmann, Bern
Christian Bracht, Deutsches Dokumentationszentrum für Kunstgeschichte, Philips-Universität Marburg
Neil Brodie, Scottish Centre for Crime and Justice Research, University of Glasgow
Wolfgang Ernst, University of Oxford
Roger Fayet, Schweizerisches Institut für Kunstwissenschaft, Zürich
Walter Feilchenfeldt, Zurich
Uwe Fleckner, Forschungsstelle Entartete Kunst, Universität Hamburg
Antoinette Friedenthal, Potsdam
Ursula Frohne, Westfälische Wilhelms-Universität Münster
Christian Fuhrmeister, Zentralinstitut für Kunstgeschichte, München
Thomas W. Gaehtgens, Berlin
Malcolm Gee, Newcastle upon Tyne
Uwe Hartmann, German Lost Art Foundation, Magdeburg
Kate Haw, Archives of American Art, Washington, DC.
Günter Herzog, Cologne
Anita Hopmans, RKD, Netherlands Institute for Art History, The Hague
Thomas Kirchner, Berlin
Elisabetta Lazzaro, Hoogeschool voor de Kunsten, Utrecht
Antoinette Le Normand-Romain, Paris
Hubert Locher, Deutsches Dokumentationszentrum für Kunstgeschichte, Philipps-Universität Marburg
Soledad Lorenzo, Madrid
Neil B. De Marchi, Rome
David Nash, Mitchell-Innes & Nash, New York
Inge Reist, New York
Martin Roth, London (†)
Bénédicte Savoy, Technische Universität Berlin & Collège de France, Paris
Dmitrij Y. Severyukhin, Herzen State Pedagogical University, St. Petersburg
Guillermo Solana, Thyssen-Bornemisza Museum, Madrid
Hans van Miegroet, Duke University, Durham
Olav Velthuis, Universiteit van Amsterdam
Frank Zöllner, Universität Leipzig
Johannes Nathan studied art history at NYU (BA) and the Courtauld Institute of Art (MA, PhD). He taught at the University of Berne until 2001 when he became director of his family’s Galerie Nathan in Zurich, now Nathan Fine Art in Zurich and Potsdam. He has taught—particularly Renaissance art history and the history of the art market—at the universities of Berlin (TU), Cologne, Leipzig, Lisbon, New York (NYU) and Zurich. In 2012, he co-founded the Center for Art Market Studies at TU Berlin. He is a founding member and the Chair of the International Art Market Studies Association.
Jonathan Maho (2020–present)
Sarah Goodrum (2018–20)
Emily Evans (2014–18)
Christy Wahl (2022–present)
Chiara Zampetti Egidi
Auction House and Art Fairs
Co-chair TIMSA, Co-founder Women Art Dealers Digital Archives
Austria and Switzerland
Director Belvedere Research Center
Belgium and the Netherlands
Assistant Professor Erasmus University Rotterdam
Founder No Man's Art Gallery
Matthew Ryan Smith
Curator Glenhyrst Art Gallery of Brant in Brantford
Eastern Europe, Hungary, and Russia
Independent scholar, Budapest
Research Associate Ruhr-Universität Bochum
Managing Editor Bloomsbury Art Markets
Professor Université Paris 1 – Panthéon-Sorbonne
Ingrid Leonie Severin
Senior Researcher Leuphana Universität Lüneburg
Steve (Stratis) Pantazis
Independent scholar, Athens
Head of Education Nuova Accademia di Belle Arti
Chiara Zampetti Egidi
Independent scholar, Berlin
Spain and Portugal
Marta Pérez Ibáñez
Professor Universidad Francisco de Vitoria
United Kingdom and Ireland
Course Leader Central Saint Martins
United States of America
Provenance Data Specialist Getty Research Institute
Maja Ćirić (Eastern European section)
Martin Hartung (US section)
Agnès Penot (US section)
Léa Saint-Raymond (French section)