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A festschrift in honour of Jonathan Tubb, former Levant curator and Keeper of the Department of the Middle East at the British Museum. 44 contributions reflect Jonathan’s career and professional interests with a focus on the Jordan Valley and southern Levant, but also north Syria, Mesopotamia, and the protection of endangered cultural heritage.
Sloping toward the deep Hudson River, forming a natural mooring for ships and a natural amphitheater for viewing river activity and the Palisades, Hastings-on-Hudson inherited its shape, industry, and sense of place from its geography. Natural resources provided for native inhabitants and later tenant farmers, and Hastings marble built urban buildings while town water powered mills. Still it was the people who gave Hastings its character. From tenant farmers and rebels to country gentlemen, from mill owners to mill workers, from shopkeepers at the heart of the village to commuters who lived on the hills, all worked together to make Hastings the place they dreamed it could be.
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This book is for art market researchers at all levels. A brief overview of the global art market and its major stakeholders precedes an analysis of the various sales venues (auction, commercial gallery, etc.). Library research skills are reviewed, and advanced methods are explored in a chapter devoted to basic market research. Because the monetary value of artwork cannot be established without reference to the aesthetic qualities and art historical significance of our subject works, two substantial chapters detail the processes involved in researching and documenting the fine and decorative arts, respectively, and provide annotated bibliographies. Methods for assigning values for art objects are explored, and sources of price data, both in print and online, are identified and described in detail. In recent years, art historical scholarship increasingly has addressed issues related to the history of art and its markets: a chapter on resources for the historian of the art market offers a wide range of sources. Finally, provenance and art law are discussed, with particular reference to their relevance to dealers, collectors, artists and other art market stakeholders.
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