Art Market Research

A Guide to Methods and Sources

Second Edition

Tom McNulty

McFarland & Company, Inc., Publishers

Jefferson, North Carolina
LIBRARY OF CONGRESS CATALOGUING DATA ARE AVAILABLE

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e-ISBN: 978-1-4766-1397-0

© 2014 Tom McNulty. All rights reserved

No part of this book may be reproduced or transmitted in any form or by

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or by any information storage and retrieval system, without permission in
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A Sotheby’s preview exhibition of important Impressionist works (courtesy

Sotheby’s, New York)

McFarland & Company, Inc., Publishers

Box 611, Jefferson, North Carolina 28640
www.mcfarlandpub.com
 Table of Contents

Preface

One. The Big Picture: Researching the Global Art World

Two. Buying, Selling, and Valuing Art

Three. Researching Fine and Decorative Arts: Methods Old and New

Four. Researching Works of Art: Basic Methods and Sources

Five. Decorative Arts Research: Basic Methods and Sources

Six. Market Research: Works of Art

Seven. Market Research: Decorative Arts

Eight. Sources for the Study of Art Market History

Nine. Provenance and Art Law Research

Appendix A: Art Market Journals, Magazines and "Current

Awareness" Sources

Appendix B: Apps for the Art Market Researcher by Erin Elliott

Appendix C: Elements Required for a Correctly Prepared Appraisal by

the Appraisers Association of America

Notes
List of Names and Terms
 Preface

It occurred to me as I began this revised and enlarged edition of my 2006

Art Market Research: A Guide to Methods and Sources that I never properly
introduced the original. As a librarian, appraiser and teacher, I have been
engaged in art market research since the late 1980s. In the process of
conducting a research project ten or so years ago, I found myself thumbing
through one of three thick folders full of printouts and photocopies of print
reference works’ title pages and tables of contents. These folders included
my favorite sources for research in fine arts, decorative arts, and other
“collectible” material. Each of the three categories had become so unwieldy,
that I decided to put them in books; by “books” I mean three-ring binders
intended to impose some order on these large, and growing stacks of paper.
Realizing that an index would make the material truly usable, I decided to
write Art Market Research. This edition revises and supersedes the first.

While the desire to impose order on hundreds of bibliographic citations was

my primary motivation for the first edition, I wanted it to be more than just
another book-length bibliography. My many years of experience as an art
librarian at New York University convinced me that researchers at all levels
—from undergraduate students to tenured faculty members and professional
appraisers—could use some direction in the use of reference material, both
print and online. This edition includes much of the basic instructional
material that appeared in the first edition, but this content is supplemented
by an overview of new sources and tools that can greatly empower the
contemporary researcher of art and its markets.

During the eight years since the first edition, great advances have been
made by the so-called emerging markets for art. The expanding economies
of the BRIC (Brazil, Russia, India and China) countries have ushered in a
new era in which Western powers’ hold on the global art market is far less
than certain. In fact, China—the world’s second largest economy—now
boasts first place in the market for fine art. With this in mind, Chapter One
begins with an overview of the global art world and a brief discussion of its
major players and institutions. From artists to dealers to collectors, each
section is supplemented by a highly selective list of books that are widely
held in libraries. These statistics on library inclusion are derived from the
online international catalog WorldCat, which aggregates the inventories of
more than 10,000 libraries large and small. WorldCat—a very powerful
reference tool—is discussed in much greater detail in Chapter Three as it
relates to research in the fine and decorative arts.

A generalized discussion of the art world proceeds to a review of the

individual market venues for art, and the processes involved in determining
the value of individual works. Chapter Two introduces the factors that
impact value, including general popularity of the artist and/or style or
period, rarity, various physical properties (e.g., dimensions, materials),
provenance and more. The appraisal profession and its three professional
associations are described here in some detail.

Chapter Three introduces the basic tenets of research practice, including the
proper use of library catalogs, identification of research materials (primarily
online databases), and more. New research empowering tools, like “search
alerts,” are explored in detail, and the basic resources needed for both fine
and decorative arts research are presented.

Chapters Four and Five explore the more specialized methods and sources
available to the researcher of fine and decorative arts, respectively. For the
fine art researcher, specialized formats like catalogues raisonnés, exhibition
catalogs and artists’ monographs are defined, and tips are offered for their
effective use. An overview of the most important general sources (i.e., those
that cover a range of media) precedes a lengthy section comprised of
media-specific (e.g., painting, prints) tools for the research of an array of
artworks. Chapter Five offers the same types of content, proceeding from
general resources like dictionaries and encyclopedias to reference materials
that focus on specific object types (e.g., furniture, pottery, glass, etc.).

Chapters Six and Seven then proceed to a review of methods and sources
that can assist one in determining the monetary value of fine and decorative
artworks, respectively. Everything from auction catalogs to published, print-
based pricing guides are considered, as are the myriad free and
subscription-based Internet sources used by art market research
professionals. Note that some of the titles included—especially in the
decorative arts chapter—might seem rather dated. Reference works that
were included in the first edition were chosen because they are particularly
good, include a vast amount of pictorial content, and are well-organized. I
continue to use numerous sources that were published twenty or more years
ago, if only for object identification, and so made the decision to retain the
majority of these works in the new edition. Sources for very current price
data are, however, noted as such and given particularly lengthy discussion.

Whereas any discussion of art and money was until quite recently
considered distasteful in many contexts, scholars of art history, economics
and related fields have shown great interest in the art market over the past
decade, and this interest has engendered a number of interesting research
tools for the historian of the art market. Recognizing this fact, Chapter
Eight offers a range of resources that can be used to identify the monetary
value of fine and decorative arts produced in the years preceding 1960.
Journals, books and reference tools that record prices realized by works of
art at auction are included here, along with a selection of monographs on art
market topics published by important academic presses.

Chapter Nine offers an overview of the basic tools available to the art law
and provenance researcher. Provenance—or the record of ownership—is
sometimes a powerful value driver in itself, and so methods of discovering
the chain of ownership can be central to art valuation research. Included in
this chapter are some tips for locating ownership information, along with a
basic bibliography of reference resources for general art law research.

Three appendices round out the list of resources available to the

contemporary researcher of fine and decorative arts. Appendix A, “Art
Market Journals, Magazines and ‘Current Awareness’ Sources,” is a highly
selective list of newspapers, journals, magazines and freely available
Internet-based newsletters that can keep the art market researcher au
courant. Appendix B, “Selected Apps for Art Market Research,” lists smart
phone and computer tablet apps that will be of interest to art market
researchers. Appendix B was contributed by Erin Elliott, head librarian at
the Sotheby’s Institute of Art, New York. Appendix C identifies the
elements required for a correctly prepared appraisal, reproduced with
permission of the Appraisers Association of America.
 Chapter One

The Big Picture: Researching the Global Art World

In recent years, the expansion of the global markets for fine and decorative
arts has gained a tremendous amount of popular and scholarly attention. In
the time since publication of the first edition of this book, numerous
changes have occurred that underscore the increasingly global nature of the
twenty-first century art market. Consider the role of China’s art market
which, as of 2010, managed to surpass that of the United States and the
United Kingdom, two countries which had dominated the market since the
1950s. The world’s second largest economy now boasts the first place spot
in the economy for art.1 China’s rapid rise is further underscored by the fact
that of the ten best-selling artists of 2011, six are Chinese who are virtually
unknown outside Asia2; these include, in descending annual auction
revenue order: Zhang Daqian (1899–1983), Qi Baishi (1864–1957), Xu
Beihong (1895–1953), Wu Guanzhong (1919–2010), Fu Baoshi (1904–
1965), and Li Keran (1907–1989).

Some of the world’s major art galleries increasingly maintain an

international presence; New York–based Gagosian Gallery, as just one
example of this growing phenomenon, has branches in Rome, Paris, Hong
Kong and other cities around the world. Auction houses like Christie’s and
Sotheby’s have had an international presence for some time, but
globalization seems to have ramped up considerably in this segment of the
art world in the recent decade as well. One must look no further than
Phillips de Pury’s BRIC-themed sales for evidence of this transformation.
In decades past, we have had many auctions featuring works from multiple
countries, but these were usually geographically contiguous or otherwise
related nations (e.g., Latin America, Europe, Asia). The only unifying
element of the works offered in the Phillips de Pury BRIC sales is the fact
that they were produced by artists in the emerging economies of Brazil,
Russia, India and China.

News media—including television, newspapers, magazines and Internet

sites—offer regular coverage of the markets, their readers and viewers
marveling at the skyrocketing prices of art. Academic interest in collecting
behavior, as well as the markets for fine and decorative arts is slowly but
steadily on the rise as well; art historians tend to focus on the history of
collecting, while scholars in fields as diverse as anthropology, sociology
and perhaps most obviously, economics, use the tools and methods of their
disciplines to shed light on the multi-billion dollar international market for
art. Even in undergraduate schools, it is not uncommon for students to
pursue double majors in art history and economics, in preparation for a
professional career in the multi-billion3 dollar art market. The burgeoning
field of art business has engendered specialized graduate-level programs,
whose graduates seek opportunity in the rapidly expanding markets for art.

Since the publication of the first edition of this book (2006), an enormous
number of books, journal articles, websites (free and subscription), and
other sources of fine art investment information have appeared. Before
proceeding to review the most important of these resources, the following
section presents a concise overview of the so-called art world, intended for
the novice researcher of just one part of that world—the market.

While the focus of this book is on the markets for art, it should be noted
from the outset that the larger art world, of which the market is just one
component, is a complex system comprised of distinct, but highly inter-
dependent participant groups—here described as “stakeholders” and
“gatekeepers.” The former include artists, dealers, auctioneers and others
whose interests have a significant monetary component. Gatekeepers, by
contrast, include scholars, critics, and others whose writing, teaching and
other activities serve to critically evaluate artists and interpret or
contextualize their works. Certain “ancillary” professions—like appraisal—
strive to maintain an objective stance in as much as this is possible with a
product as subjective as the work of art. In the following section, the role
and recent historical evolution of each of these art world participants is
briefly described, with particular reference to its impact on the market for
art in the twenty-first century.

Stakeholders

ARTISTS

Central to any study of the art world, including the markets for art, is the
artist, without whose work we would have no object of study. Artists
occupy a unique position in the workforce; they are among that small group
of workers who “make work primarily because their identity and self-
respect are defined by their work. While they want to make money, their
involvement with their work derives from identity rather than money. They
may be said to be addicted to their work in that their reward is primarily
characterized by what some economists refer to as “psychic income.”4

Psychic income, however, will not be acceptable as payment for rent, food
or other necessities of life; many artists, therefore, must supplement their
“psychic income” with real money derived from a job which might run the
gamut from waiting tables to teaching art in high schools or colleges. Most
artists probably view success as the ability to live off the proceeds derived
from the sale of art, but most never attain that goal.

In his frequently cited 1989 published lecture on fame in the world of art,5
Alan Bowness, then Director of the Tate, identifies four successive,
measurable phases of success in the art world: peer recognition, critical
recognition, patronage by dealers and collectors and, finally, public acclaim.
Today, it is probably safe to assume that most visual artists attain the first
degree of success—peer recognition—in college or, even more likely, in a
Master of Fine Arts (MFA) program. The MFA program has a history that is
short relative to comparable degrees in other disciplines, but over the past
several decades the number of programs, and consequently, the number of
graduates have seen tremendous growth. The National Center for Education
Statistics combines the visual and performing arts, making it all but
impossible to discern the full picture on visual artists’ advanced education;
but, the most recent Digest of Education Statistics (2010) reports that in
1970-71, 6,675 Masters degrees were conferred in the visual and
performing arts; by 2008-09, the most recently reported annual total jumps
to 14,918.

Critical reception of an artist’s work—the second of the Bowness “steps

toward success”—might occur simultaneously with step three: patronage by
dealers and collectors. Most emerging artists’ first critical reviews appear as
a result of an exhibition, whether group or solo, and exhibitions lead to
patronage.

There are numerous phases in the growth of an artist’s critical reception. A

short notice in a local paper might precede a profile in a national art
magazine, which in turn might generate enough interest in the artist to
attract the attention of a scholar/critic who is working on a lengthy, peer-
reviewed journal article. The appearance of the first actual book about an
artist and her/his work represents a significant advancement, as would,
presumably, the first doctoral dissertation or other specialized form of
scholarly attention.

Public acclaim, the epitome of artistic acceptance, occurs as a result of

exposure in a wide variety of venues and media. Our most successful artists
have vast bibliographies of writing about their lives and work; they’re
represented in major public and private collections; they garner high prices
at auction and in gallery sales; they might even get a lengthy profile on
magazine-format television programs.

The titles listed below offer more information on the economic and social
lives of working artists. Included are a selection of the most relevant books,
journal articles, and working papers on the topic of artists in today’s society.

Abbing, Hans. Why Are Artists Poor? The Exceptional Economy of the
Arts. Amsterdam: Amsterdam University Press, 2002. 367p.

Economist and artist Hans Abbing examines the unique economy

of the arts, with particular reference to the economic and social
role of the artist. Focusing on the peculiarities of the arts
economy in Western Europe and the United States, and
 employing an interdisciplinary approach, Abbing exposes some
of the anomalies inherent in the art economy in the Western
world.

Bowness, Alan. The Conditions of Success: How the Modern Artist

Rises to Fame. New York: Thames and Hudson, 1990. 64p.

This frequently cited, short monograph on modern artists’ careers

posits the four steps toward success as noted earlier: peer
recognition, critical reception, patronage, and public acceptance
or acclaim.

Cherbok, Joni Maya, Ruth Ann Stewart, and Margaret Jane

Wyszomirski, eds. Understanding the Arts and Creative Sector in the
United States. New Brunswick, NJ: Rutgers University Press, 2008.
214p.

This collection of essays explores various aspects of the

contribution of the arts to economic development. A number of
essays, notably Joni Maya Cherbo’s “About Artists,” and Ruth
Ann Stewart’s “The Arts and Artist in Urban Revitalization” are
particularly germane to the study of the contemporary artist’s role
in society.

Galenson, David W. “The Careers of Modern Artists: Evidence from

Auctions of Contemporary Art.” Journal of Cultural Economics vol.
24, no. 2 (May 2000): pp.87–112.

Economist Galenson analyzes auction prices of forty-two

American artists. Data reveal that the most valuable works
produced by artists born prior to 1920 were executed later in their
careers than the equivalent work of artists born more recently.
Note that numerous works of David Galenson and other National
Bureau of Economic Research economists can be found free-of-
charge on the NBER website: www.nber.org.

Greffe, Xavier. Arts and Artists from an Economic Perspective.

London: Unesco; Economica, 2002. 312p.
 Scholarly/professional level coverage of the economics of the
arts, including music, film and other performing arts in addition
to the visual arts. Includes content on both for profit and non-
profit organizations, with a focus on the sociology of the artist
and the institutional framework within which he or she must
operate.

Hellmanzik, Christiane. “Artistic Styles: Revisiting the Analysis of

Modern Artists’ Careers.” Journal of Cultural Economics vol. 33, no.3
(Aug. 2009): pp. 201–32.

Presents a cohort-analysis of career patterns of artists born

between 1850 and 1945. Data is analyzed in terms of date-of-birth
as well as style affiliation (Fauvism, Pop, etc.).

Throsby, David. “Economic Analysis of Artists’ Behaviour: Some

Current Issues.” Revue d’Economie Politique vol. 120, no.1 (Jan.
2010): pp. 47–56.

Describes the unique attributes of creative artists vis à vis other

participants in the overall labor market, while presenting an
excellent synthesis of previous research-based writing on the
economic life of the contemporary artist.

To find additional books, articles, dissertations and other publication

formats on the topic of artists, consult the following databases, which are
widely available in academic and larger public libraries; all of these are
described in greater detail in Chapter Three.

EconLit. Nashville, TN: American Economic Association

EconLit … provides bibliographic coverage of a wide range of

economics-related literature. An expanded version of the Journal
of Economic Literature (JEL) indexes of journals, books, and
dissertations, EconLit covers both economic theory and
application. Updated monthly, with approximately 30,000 new
records added per year [EconLit description, Proquest website].
 Sociological Abstracts. Proquest.

One of the most important subject indexes to the literature of

sociology. The database provides abstracts of journal articles and
citations to book reviews drawn from thousands of serials
publications, and also provides abstracts of books, book chapters,
dissertations, and conference papers. Records published by
Sociological Abstracts in print during the database’s first 11
years, 1952–1962, have been added to the database extending the
depth of the backfile of this authoritative resource [Sociological
Abstracts description, Proquest website].

Marketing Sources Intended for Artists

As the art economy has expanded, so has the number of resources geared
toward helping new or emerging artists to succeed—or at least survive—in
this challenging profession. The following titles represent a highly selective
list of the best artists’ guides to marketing and career development. To find
additional works of this type in libraries that utilize the Library of Congress
system of subject classification, conduct a search using subject headings
like: “Art—Vocational Guidance,” or “Art—Marketing.”

Bhandari, Heather Darcy, and Jonathan Melber. Art/Work: Everything

You Need to Know (and Do) as You Pursue Your Art Career. New
York: Free Press, 2009. 291p.

Offers practical advice for those seeking to begin their career, as

well as for those who are in the process of emerging. Everything
from crafting a web presence, to designing business cards and
identifying exhibition opportunities is explored in this very
readable primer on career development.

Carey, Brainard. Making It in the Art World: New Approaches to

Galleries, Shows, and Raising Money. New York: Allworth Press,
2011. 256p.

Excellent overview of tools and techniques for career

development, including self-promotion, traditional media, social
 media and more.

Crawford, Tad. The Artist-Gallery Partnership: A Practical Guide to

Consigning Art. New York: Allworth Press, 2008. 203p.

Now in its third edition, this standard reference work explains the
legal ramifications of consigning art with galleries. Included are
issues of warranty, insurance, pricing, commissions and other
issues related to the consignment relationship. Individual state
laws on consignment are identified and described. Appendix
offers reproducible forms and agreement documents.

Grant, Daniel. The Business of Being an Artist. New York: Allworth,

2010. 392p.

Contents: Exhibiting and Selling Art; Operating as a Professional;

Expanding the Area of Sales and Income; Developing
Relationships with Art Dealers; A Web Site; When Does
Investing in One’s Career Become a Ripoff?; Artists and the Law;
From School to the Working World; Materials that Artists Use;
Getting Ready to Handle the Pressures; Contests and
Commissions; Search for Grants and Gifts.

Lang, Cay. Taking the Leap: Building a Career as a Visual Artist: the
Insider’s Guide to Exhibiting and Selling Your Art. San Francisco:
Chronicle Books, 2006. 251p.

The author offers sound practical advice intended primarily for

the artist early in the “emerging” phase.

Peot, Margaret. The Successful Artist’s Career Guide: Finding Your

Way in the Business of Art. Cincinnati: North Light Books, 2012. 224p.

Widely held in public and research libraries, this handy guide

includes concrete advice from artists who have found success in
their career pursuits. This title is particularly good for those
seeking advice on practical issues such as finding and financing
health insurance, dealing with tax issues, and the like.
 Stanfield, Alyson B. I’d Rather Be in the Studio! The Artist’s No-
Excuse Guide to Self-Promotion. Golden, CO: Pentas Press, 2011.
279p.

This artists’ “self-help” manual is very conversational in tone, but

packed with important information for emerging and mid-career
artists.

Wojak, Angie, and Stacy Miller. Starting Your Career as an Artist: A

Guide for Painters, Sculptors, Photographers and Other Visual Artists.
New York: Allworth Press, 2011. 283p.

This title incorporates a number of very informative interviews

with art world professionals and educators. It also identifies some
often overlooked issues including studio practice, alternative
exhibition venues, advanced art education, and more.

DEALERS AND AUCTIONEERS

Central to any market-based industry is its sales force which, in the art
world, is comprised of dealers, auctioneers and, to a lesser extent, art
advisers and consultants. A search of the database Reference USA reveals a
total of 21,178 businesses classified under the primary heading “Art
Galleries & Dealers.”6 Of these, 5,332 galleries report annual sales of over
$500,000, while a far smaller number approach annual revenues in the tens
of millions of dollars. It is impossible to quantify commercial gallery sales
with any degree of confidence, but one market observer estimates that
commercial galleries account for 18 percent of the global art industry.7

Just as galleries range in tone from intimate and friendly to urbane and what
some would describe as “off-putting” if not pretentious, so do the dealers
who own and/or staff them. The small gallery located in a tourist area,
featuring works by local artists with price tags in the range of one to a few
hundred dollars will welcome any visitor. By contrast works hanging in
major galleries in New York City will certainly not have price tags; in fact,
in many instances requests for prices are denied the casual visitor, in
violation of a New York City “Truth in Pricing”8 ordinance. Some galleries
will have a price list available, but the interested gallery-goer will have to
be aware of that fact, and ask one of the gallery staff members to provide it.

For those who are new to the art world, this lack of transparency might
seem baffling. After all, commercial galleries are, on one level, “art stores,”
and we are used to learning prices for things when we go into stores—even
if we cannot afford to actually purchase the merchandise we’re inquiring
about. So what accounts for this seemingly aggressive withholding of
prices?

The truth is, gallery prices are often not set in stone and, unlike prices paid
for artworks at auction, the actual prices paid for works of art in many
galleries remain confidential information known only to buyer and seller.
Some collectors who acquire works from the gallery on anything nearing a
regular basis will often be offered a discount. In other cases, dealers might
discount a work for a collector he or she perceives as “prestigious,”
knowing that this placement might have a ripple effect on the subject artist’s
prices, which will surely affect the gallery itself. We’ll go into greater detail
with this subject in the next chapter.

While it is easy for some to dismiss art dealers as simply merchants of

paintings, sculptures and other artworks, it is important to note that many
art dealers are extremely knowledgeable, and serve an important function in
the artworld. “In recent years, historians of the art market have been taking
a fresh look at the crucial role art dealers have played as intermediaries
between producers and consumers of art. Thanks to the ever-closer
collaboration between art historians and economic historians, attention has
been drawn to art dealers acting as promoters of new styles of painting, as
developers of public taste and as disseminators of visual culture around the
world in the early-modern period.”9 In our discussion of experts in the next
chapter, the important role of the art dealer will be explored in much greater
detail.

Just as the mention of the expression “art dealer” will evoke in many
readers the stereotypical image of a pretentious New Yorker dripping with
attitude, so the term “auctioneer” probably elicits one of two possibilities: a
connoisseur at Christie’s, Sotheby’s or other international venue, or the
opposite: the rural auction caller, whose wares are more likely to be cattle
than paintings, drawings or other works of art. Like the retail gallery world,
the auction scene is enormous, and the many thousands of auction houses
around the globe can all be placed somewhere along a continuum defined
by size, in terms of revenue generated. Data related to sales occurring at
auction are, unlike their retail counterparts, recorded and made available to
the public, making it the most reliable data we have on the art market.

The titles listed below offer more information on the history and sociology
of art dealing and auctioneering. To find additional works of this type, in
libraries that employ the Library of Congress Subject Classification System,
conduct a search using expressions like: “Art Dealers,” “Art Dealers—
United States,” or “Auctioneers—United Sates.”

Bellini, Andrea. Everything You Always Wanted to Know About

Gallerists But Were Afraid to Ask. Zürich: JRP Ringier, 2009. 333p.

Structured interviews with fifty-one gallery owners from Europe,

the United States, Asia and Australia shed light on the current
role of the dealer in the market for contemporary artworks.

De Coppet, Laura, and Alan Jones. The Art Dealers: The Powers
Behind the Scene Tell How the Art World Really Works. New York:
Cooper Square Press, 2002. 438p.

Beginning with Betty Parsons, this volume offers brief (9–10

page) but informative biographical sketches on some of the most
important dealers of the twentieth century.

Feigen, Richard. Tales from the Art Crypt: The Painters, the Museums,
the Curators, the Collectors, the Auctions, the Art. New York: Knopf,
2000. 296p.

Veteran dealer recounts the evolution of various art world

institutions through a series of compelling stories and personal
observations on the markets, museums, artists and collectors of
the twentieth century.
Goldstein, Malcolm. Landscape with Figures: A History of Art
Dealing in the United States. New York: Oxford University Press,
2000. 370p.

Scholarly but highly readable account of the evolution of the art

market in the United States, from the early 19th century through
the end of the 20th. Important dealers and collectors are included,
and well-documented with primary and secondary source
materials.

Herbert, John. Inside Christie’s. New York: St. Martin’s Press, 407p.

John Herbert, public relations director for Christie’s from the late
1950s through the mid–1980s, offers a fascinating account of the
development of the auction house on the international scene
during his tenure.

Herrmann, Frank. Sotheby’s: Portrait of an Auction House. New York:

W.W. Norton, 1981. 468p.

Scholarly, but very readable history of storied auction house from

its earliest days through the 20th century. Well-indexed, the many
sales detailed include a good deal of market data, making it a
valuable source for the historian of the art market in England and
the United States.

Herstatt, Claudia. Women Gallerists of the 20th and 21st Centuries.

Ostfildern: Hatje Cantz, 2008. 207p.

Individual biographical essays trace the work of major women

gallerists of the twentieth and twenty-first centuries.

Polsky, Richard. The Art Prophets: The Artists, Dealers, and

Tastemakers Who Shook the Art World. New York: Other Press, 2011.
262p.

Presents a highly readable series of ten chapters focusing on

individuals (primarily dealers) who transformed the post–1950s
 art market in the United States. Profiles include: Ivan Karp; Stan
Lee; Chet Helms & Bill Graham, John Ollman; Joshua Baer;
Virginia Dwan; Tod Volpe; Jeffrey Fraenkel; Louis Meisel; Tony
Shafrazi.

Strauss, Michel. Pictures, Passion and Eye: A Life at Sotheby’s.

London: Halban, 2011. 290p.

This highly entertaining memoir presents a social history of the

twentieth century art market through the eyes of Michel Strauss,
Sotheby’s (London) specialist in modern and Impressionist art.

Taylor, John Russell, and Brian Brooke. The Art Dealers. New York:
Scribner, 1969. 316p.

Presents a highly readable account of the evolution of the art trade

in the twentieth century.

Towner, Wesley. The Elegant Auctioneers. New York: Hill & Wang,
1970. 632p.

Surveys the development of the fine and decorative arts auction

industry in the United States, with particular reference to
American Art Association, Anderson Galleries, Sotheby and
Company, and other major players.

COLLECTORS

Collectors represent the last link in the chain of institutional players that
comprise the art market; that is, artists produce art, dealers and auctioneers
sell art, and collectors buy art. Throughout the ages, collections have been
amassed through a wide variety of channels, ranging from theft and looting
during and after wars, to traditional patronage of individual artists, to the
current ubiquitous market-based system. While collectors sometimes
acquire works directly from artists, the typical exchange involves some sort
of sales intermediary, as noted earlier.
Collectors can be divided into two groups: individual and institutional. The
power of certain individual collectors in the art world has evolved
considerably over the past few decades, as evidenced by the proliferation of
individual collectors’ museums that now dot the globe. The monetary value
of works by artists (both living and deceased) can change overnight
following their de-accession from the collections of powerful collectors.
Further evidence of collectors’ enhanced power in the art world can be
found in the proliferation of media coverage of their lives and their
collections.10

Resources for the Study of Collecting

The titles listed below offer more information on art collecting, with
particular reference to the nineteenth century through the present day. To
find additional books of this type, in libraries that utilize the Library of
Congress Classification System, conduct a subject search using headings
like “Art—Collectors and Collecting”; “Art—Collectors and Collecting—
History”; or “Art—Collectors and Collecting—United States.”

Alsop, Joseph. The Rare Art Traditions: The History of Art Collecting
and Its Linked Phenomena Wherever These Have Appeared. New
York: Harper & Row, 1982. 691p. (Series: Bollingen Series, 35; A.W.
Mellon Lectures in the Fine Arts, 27.)

This extremely well-researched work provides an in-depth survey

of art collecting from its beginning through the 17th century.
Most such surveys focus on collecting in the West, but Asian and
Middle Eastern areas are included here. This work’s extensive
bibliography serves as an excellent tool for further historical
research on the history of collecting. Prices for many works are
included throughout, making it also a good source for the
researcher of market history.

Bellini, Andrea. Collecting Contemporary Art. Zürich: JRP/Ringier,

2008. 127p.

This fascinating series of structured interviews offers a good

overview of contemporary collecting patterns. International in
 scope.

Collecting 101: Your Definitive Guide to Collecting. Artprice.com in

conjunction with Art Stage Singapore, 2013.
http://imgpublic.artprice.com/pdf/art_stage_2013_en.pdf.

This handy little primer (offered free-of-charge via artprice.com)

outlines the basic factors that novice collectors should consider
before embarking upon a purchase. Contents: Buying on the
Primary Market; Buying on the Secondary Market; Market
Players; Learning About the Artist; Learning About the Artwork;
Making Sense of Prices; About a Gallery or Dealer; Making Your
Own Decision; Negotiating a Lower Price; Art as an Investment;
How to Care for You Artwork.

Constable, W.G. Art Collecting in the United States of America: An

Outline of a History. London: Nelson, [1964]. 210p.

Surveys the history of art collecting in the United States, with the
goal of relating “political, economic, social and cultural
influences and personal predilections” (pref.) to the development
of various private collections.

Gere, Charlotte, and Marina Vaizey. Great Women Collectors. New

York: Abrams, 1999. 208p.

Fascinating, well-researched and illustrated exploration of major

collections of fine and decorative art assembled by women over
the last three centuries. Representative collectors include:
Catherine the Great; Madame de Pompadour; Madame du Barry;
Empress Marie Feodorovna; Empress Josephine; Duchess of
Portland; Lady Dorothy Nevill; Lady Charlotte Schreiber; Alice
de Rothschild; Queen Mary; Princess Marie Louise; Queen
Alexandra; Marjorie Merriweather Post; Isabella Steward
Gardner; Louisine Elder Havemeyer; Mary Cassatt; Gertrude
Stein; Helena Rubenstein; Coco Chanel; Mrs. Abby Aldrich
Rockefeller; Gertrude Vanderbilt Whitney; Dominique de Menil;
Peggy Guggenheim.
Holst, Niels von. Creators, Collectors and Connoisseurs: The
Anatomy of Artistic Taste from Antiquity to the Present Day
[translation of Künstler, Sammler, Publikum]. New York: Putnam,
[1967]. 399p.

Encyclopedic survey of the history of collecting, museums, and

the concept of connoisseurship and taste from antiquity through
the early 20th century.

Lipman, Jean, and the editors of Art in America, comp. The Collector
in America. New York: Viking, 1971. 270p.

Well-illustrated survey of major American collectors, including:

Nelson A. Rockefeller; Wright S. Ludington; Edgar William and
Bernice Chrysler Garbisch; John Hay Whitney; Joseph H.
Hirshhorn; William Copley; Mary and Leigh Block; A. James
Speyer; Paul and Ruth Tishman; Philip Johnson; Roy Neuberger;
Mrs. Albert D. Lasker; James Thrall Soby; Lydia Winston
Malbin; Larry Aldrich; Alfonso Ossorio; Paul Bernat; Mr. & Mrs.
Jack W. Glenn; Dr. and Mrs. Irving Levitt; Henry P. McIlhenny.

Norton, Thomas E. 100 Years of Collecting in America: The Story of

Sotheby Parke Bernet. New York: Abrams, 1984. 240p.

Traces the emergence of Sotheby Parke Bernet as one of the most

important auction houses in the world. Each year, commencing
with 1884, is briefly described and illustrated with notable works
of fine and decorative art acquired from the American Art
Association, Parke Bernet or Sotheby Parke Bernet. Review ends
in 1983.

Rheims, Maurice. The Strange Life of Objects: 35 Centuries of Art

Collecting & Collectors [translation of La Vie Étrange des Objets].
New York: Athenaeum, 1961. 274p.

Very readable overview of the evolution of art collecting over the

centuries. Presents the author’s musings on collectors’
psychology, the development of collections throughout history,
 the impact of “fashion” on art and vice-versa, and the myriad
forces that have affected the value of art—positively and
negatively—over the years.

Rhys, Owain. Contemporary Collecting: Theory and Practice.

Edinburgh: MuseumsEtc., 2011. 163p.

Partial contents: History of Contemporary Collecting;

Contemporary Collecting in Europe; Contemporary Collecting in
North America; Survey of Curators of Contemporary Life;
Collecting the 21st Century; Contemporary Collecting Strategy
for History, 2009–2014

Saarinen, Aline B. The Proud Possessors: The Lives, Times, and Tastes
of Some Adventurous American Art Collectors. New York: Random
House, [1958]. 423p.

Profiles the lives of major collectors from the 19th through mid–
20th centuries.

Satchell, Stephen. Collectible Investments for the High Net Worth

Investor. Amsterdam: Elsevier/Academic Press, 2009. 266p.

This series of essays explores the use of high-end collectibles to

diversify the investment portfolio. In addition to fine art,
individual chapters explore the investment potential of everything
from stamps, coins and books to wine and classic cars.

Watson, Peter. From Manet to Manhattan: The Rise of the Modern Art
Market. New York: Random House, 1992. 558p.

Very lively, readable survey of the development of the art market

in Europe and the United States; includes a very extensive
bibliography. Of particular interest to the art market history
researcher: Outroping, sales by candle and Mr. Colnaghi’s Levee:
the early years of the art market; appendixes: world record prices
paid for works of art (with their present-day equivalents); real
 value of paintings in history: an index to convert prices in the past
to present-day values.

Global Art Investment Sources: Monographs

The following titles represent a broad selection of print and online

monographs (i.e., books) that offer analysis of the international markets for
fine and decorative arts. The inclusion of market data is noted, as are any
special features of interest to the serious global art market investor.

To find additional, or new titles on this subject, use the following Library of
Congress Subject Headings: Art as an investment; Art—Economic Aspects.

Amariglio, Jack, Joseph W. Childers, and Stephen E. Cullenberg, eds.

Sublime Economy: On the Intersection of Art and Economics. London:
Routledge, 2009. (Series: Routledge Frontiers of Political Economy,
no. 111.) 316p.

For the serious investor, this collection of scholarly essays

explores economic and cultural theories of use and valuation of
cultural objects. Partial contents: Tracing the Economic: Modern
Art’s Construction of Economic Value; Use, Value, Aesthetics:
Gambling with Difference/Speculating with Value; How
Aesthetics and Economics Met in Voc Ed; Art, Fleeing from
Capitalism: A slightly Disputatious Interview/Conversation;
Imaginary Currencies: Contemporary Art on the Market: Critique
Confirmation, or Play.

Art Market Matters. Helvoirt: European Fine Art Foundation, 2004.

72p.

Contents: A Licit International Trade in Cultural Objects; Art

Trade and the Museum: Marriage or Love Affair? Dealer’s
Creative Power: An Historical View; Scholars and Dealers; Artist
and Droit de Suite; Practical Due Diligence for the International
Art Market.
Benhamou-Huet, Judith. The Worth of Art: Pricing the Priceless. New
York: Assouline, 2001. 147p.

Examines the phenomenon of price formation in the

contemporary art market; intelligently written, in a popular tone,
suitable for the novice collector in need of basic information on
the market, its processes and players.

Boll, Dirk. Art for Sale: A Candid View of the Art Market. Ostfildern,
Germany: Hatje Cantz, 2011. 199p.

This short monograph is an excellent overview of the market for

art. It provides brief but very informative surveys of the major
markets and institutional players in the burgeoning global art
scene. Individual collecting categories (e.g., works on paper) and
the factors that affect artwork valuation are intelligently surveyed
as well.

Butler, John. Art as Investment. London: Economist Intelligence Unit,

1979. 85p. (Series: Special Report, no. 74.)

Compares the “returns on investment in art, within the period

1960–79 with the earnings from ordinary industrial shares over
the same time [report summary].” Surveys include: Old Master
paintings; English 18th and 19th century paintings; Impressionist
paintings; Modern paintings; American paintings; Modern prints;
Manuscripts; Books; Porcelain and ceramics; Chinese ceramics;
Glass; Antique and Victorian silver; Chinese jades; Furniture.

_____. Art as Investment. 1984 ed. London: Economist Intelligence

Unit, 1984. 106p. (Series: Special Report, no. 167.)

Compares “the returns on investment in art, within the period

1959–1983, with earning from ordinary industrial shares over the
same years [ report summary].” Surveys include: Old Master
paintings; English 18th and 19th century paintings; European
19th century paintings; Impressionist paintings; Modern
 paintings; American painting; Portrait miniatures; Manuscripts;
Books; Furniture; Ceramics; Chinese ceramics; English silver.

Findlay, Michael. The Value of Art: Money, Power, Beauty. Munich:

Prestel, 2012. 207p.

Well-researched and written handbook, full of critical insight and

solid, practical advice from veteran art dealer and market expert
Michael Findlay.

Ginsburg, Victor A., and David Throsby. Handbook of the Economics

of Art and Culture. Amsterdam: Elsevier North–Holland, 2006. 1321p.
[+42p. index].

Partial contents: Art and Culture in the History of Economic

Thought; History of Art Markets; Defining Cultural and Artistic
Goods; Value and the Valuation of Art in Economic and Aesthetic
Theory; Economic Analysis of Art Law; Copies of Artworks: the
Case of Paintings and Prints; Copyright, Art and Internet:
Blessing the Curse?; Censorship versus Freedom of Expression in
the Arts; Arts in the “New Economy”; Culture and Economic
Performance; Culture and Economic Development; Empirical
Studies of Demand for the Performing Arts; Creativity and the
Behavior of Artists; Artistic Labor Markets; Artists’ Careers and
their Labor Markets; Art Auctions; The Computation of Prices
Indices; Cultural Heritage: Economic Analysis and Public Policy;
Economics of Museums.

Goodwin, James, ed. The International Art Markets: The Essential

Guide for Collectors and Investors. London: Kogan Page, 2008. 360p.

Forty-three country-specific chapters follow a concise overview

of art market basics. Depending upon the country under review,
specific aspects of the national market for the visual arts might
include topics like “specialty markets,” “art shows and fairs,”
“legislative aspects,” etc.
Hunter, Lisa. The Intrepid Collector: The Beginner’s Guide to Finding,
Buying and Appreciating Art on a Budget. New York: Three Rivers
Press, 2006. 353p.

Intended for the novice collector, this handy tome offers practical
advice on acquiring art through a variety of sources; individual
collecting categories (e.g., contemporary art, oriental rugs, etc.)
are defined, and criteria for selection are offered. Popular and
readable in tone, but packed with excellent information.

McAndrew, Clare. The Art Economy: An Investor’s Guide to the Art

Market. Dublin: Liffey Press, 2007. 278p.

Well-written and thoroughly researched, this is an excellent

primer for the beginner. Partial contents: International Art
Market; Economics of the Art Market; Art as an Investment:
Returns; Tax and the Art Market; Resale Royalties; Future of Art
Investment.

_____. The International Art Market in 2011: Observations on the Art

Trade Over 25 Years. Helvoirt [The Netherlands]: The European Fine
Art Foundation, 2012. 191p.

This concise overview of the market offers a wealth of statistical

data on the market for fine arts. Individual sectors are analyzed,
as are trends in the so-called emerging markets. The author’s
analysis of macro-level trends (e.g., the relationship between the
market for art and general economic indicators) is well-argued
and documented.

_____, ed. Fine Art and High Finance: Expert Advice on the
Economics of Ownership. New York: Bloomberg, 2010. 317p.

Collection of essays by experts in their respective fields present

in-depth analysis on topics of interest to fine art
collector/investors. Partial contents: Art Appraisals, Prices and
Valuations; Art Price Indices; Art Risk; Art Banking; Art Funds;
Government and the Art Trade; Insurance and the Art Market; Art
 and Taxation in the United States; Art and Taxation in the United
Kingdom and Beyond; Art Conservation and Restoration; Illegal
Art Trade.

McCarthy, Kevin F. A Portrait of the Visual Arts: Meeting the

Challenges of a New Era. Santa Monica: RAND Corp., 2005. [PDF
available free-of-charge at www.rand.org].

Surveys the visual art world’s “infrastructure” and profiles all of

the key individual and institutional players in the growing art
market. Recommended for the beginning collector/investor.

Mossetto, Gianfranco, and Marilena Vecco, eds. Economics of Art

Auctions. Milan: FrancoAngeli, 2002. 243p.

Collection of original papers delivered at the 2002 international

workshop held by ICARE, the International Center for Art
Economics (Venice). Professional/scholarly essays, while now
somewhat dated, offer some good background to the current
international art market. Individual chapters arranged in four
Sections: Profitability of Art Investments; Strategic Operations of
Art Auctions; Internet and Art Auctions; Case Studies.

Renneboog, Luc, and Christophe Spaenjers. “Buying Beauty: On

Prices and Returns in the Art Market.” Version: April 2012. Available:
Social Science Research Network: http://papers.ssrn.com

The authors present a hedonic regression analysis of an enormous

data set comprised of over one million sales transactions. Note
that the Social Science Research Network (SSRN) provides
access to working papers, journal articles and preprints on a
number of art market topics.

Robertson, Iain. A New Art from Emerging Markets. Surrey, UK: Lund
Humphries, 2011. 208p.

Noted art market expert describes the three primary types of

emerging markets for contemporary art: the recently establishing,
 the maturing, and the mature. Issues as diverse as the impact of
government intervention in markets to risk assessment and
political/economic value drivers.

_____, ed. Understanding International Art Markets and Management.

London: Routledge, 2005. 280p.

Partial contents: Economics of Taste; International Art Market;

Success and Failure of International Arts Management: the
Profitable Evolution of a Hybrid Discipline; Stakeholder
Relationships in the Market for Contemporary Art; Managing
Uncertainty: the Visual Art Market for Contemporary Art in the
United States; Emerging Art Markets for Contemporary Art in
East Asia; World Taste in Chinese Art; Nature of Supply and
Demand in the Old Master Picture Market; Art Crime; Current
and Future Value of Art.

_____, and Derrick Chong, eds. The Art Business. London: Routledge,
2008. 233p.

Partial contents: Price Before Value; Selling Used Cars, Carpets,

and Art: Aesthetic and Financial Value in Contemporary Art;
Investing in Art: Art as an Asset Class; “Chindia” as Art Market
Opportunity; Authorship and Authentication; Ethics and the Art
Market.

Skatershchikov, Sergeĭ. Skate’s Art Investment Handbook: The

Comprehensive Guide to Investing in the Global Art and Art Services
Market. New York: McGraw-Hill, 2010. 289p.

This well researched handbook provides a wealth of information

on the global market for art. The author offers practical
information on all aspects of art acquisitions, from the basics of
valuation to the often-overlooked costs associated with fine art
ownership. The following appendices include an impressive
amount of sales data: Skate’s Masterpieces Peer Group [Top 1000
Works of Art by Market Value]; Skate’s Top 500 Artists by
Market Value; Skate’s Index of Repeat Sales; Paintings: Size
 Group Definitions. See also Skate’s Art Investment Review, the
author’s online resource, described in the following section.

Stallabrass, Julian. Art Incorporated: The Story of Contemporary Art.

Oxford: Oxford University Press, 2004. 229p.

Readable, intelligent (but not overly academic) analysis of the

evolution of the current status of the international art markets;
highly recommended for the novice collector/investor.

Thompson, Donald N. The $12 Million Stuffed Shark: The Curious

Economics of Contemporary Art. New York: Palgrave Macmillan,
2010. 268p.

Critical, but highly readable account of the personalities, practices

and phenomena that characterize the contemporary art market.
Contents: Branding and Insecurity; Branded Dealers; Art of the
Dealer; Art and Artists; Damien Hirst and the Shark; Warhol,
Koons and Emin; Charles Saatchi: Branded Collector; Christie’s
and Sotheby’s; Choosing an Auction Hammer; Auction
Psychology; Secret World of Auctions; Francis Bacon’s Perfect
Portrait; Auction Houses vs. Dealers; Art Fairs: The Dealer’s
Final Frontier; Art and Money; Pricing Contemporary Art; Fakes;
Art Critics; Museums; End Game; Contemporary Art as an
Investment.

Throsby, C.D. Economics and Culture. Cambridge: Cambridge

University Press, 2001. 208p.

Surveys the relationship between economic and cultural theories.

Of particular interest to the collector/investor: Chapter Two:
Theories of Value; Theory of Value in Economics; Cultural Value;
Can Economic Value Encompass Cultural Value?

Velthuis, Olav. Talking Prices: Symbolic Meanings of Prices on the

Market for Contemporary Art. Princeton, NJ: Princeton University
Press, 2005. 264p.
Presents a thorough examination of dealers’ practices regarding
the prices they place on works in their galleries. Included is an in-
depth analysis of the overall structure of the art market, its
stakeholders, and their influence relative to pricing.
 Chapter Two

Buying, Selling, and Valuing Art

The previous chapter took as its subject the increasingly global nature of the
art market. Here, we’ll consider the market for individual works, the factors
that influence value, and the various ways in which these works of art are
traded. Whether they are motivated by passion, by profit potential, or by
some combination of the two, collectors must have a good understanding of
the factors that work in tandem to create monetary value in works of art. In
order to better understand these value drivers and the numerous different
types of value that can be assigned to art, it behooves us to consider the idea
of value itself. The Oxford English Dictionary defines “value” as “the
material or monetary worth of a thing; the amount at which it may be
estimated in terms of some medium of exchange or other standard of a
similar nature.” We all comprehend the idea of value in relation to certain
materials or commodities. Gold, for example, is universally accepted as
precious, so much so that the expression “gold standard” has come to be
used synonymously with anything—from objects to actions—that are
considered exceptionally fine or valuable. Applying the concept of value to
the unique work of art is a great challenge, because the relative weight of
each value driver will vary, depending upon a number of factors to be
described below and in the next chapter.

From artists to dealers to collectors themselves, many of the art world’s

stakeholders assign monetary values to artworks, but it is important to note
that in so-doing they are not providing “appraisals” of those works. The
young artist who decides that she will accept nothing less than $2,000 for a
particular work is certainly providing a valuation of that work, as is the
dealer who is in search of a buyer of a Picasso print for which he’ll take
anywhere from $20,000 to $25,000. Appraisals, by contrast, are formal
documents that not only assign a value to a work, but also provide data
(usually in the form of comparable sales), methodology, market analysis and
other documentation in support of the assigned value. In this section, we’ll
take a close look at the most important of the types of value assignable to
artworks, along with the numerous factors that work in tandem to create
value. Then, we’ll examine the various fine and decorative art market venues
—including galleries, auction houses and other markets—and note the
characteristics of each.

Valuing Art

Before proceeding with this section, I must reiterate the disclaimer I

included in the first edition of this book; that is, while ever-increasing
numbers of user-friendly sources of valuation data become available on a
regular basis, sometimes the services of a professional appraiser are
absolutely warranted. The content that follows is geared toward the
beginning or intermediate-level researcher who is seeking to establish a
“ballpark” value for a work—or simply to locate the value for an item in the
market. I refer, therefore, to the process of “valuation” rather than that of
“appraisal,” the latter being the purview of the professional, and the former,
as noted earlier, related to value assignment (or discovery) that might be
conducted by a wide array of professionals (including artists) and/or
laypersons. With this in mind, an overview of the appraisal profession,
including sources and criteria for the selection of qualified appraisers,
precedes a concise overview of the factors that work to create value in a
wide range of fine and decorative artworks.

FINDING AND WORKING WITH PROFESSIONAL APPRAISERS

As the overall market for fine and decorative art has grown, so has the need
for the services of professional appraisers. The professionalization of the
appraisal industry is a relatively recent phenomenon, perhaps because the art
world is itself one of the least-regulated industries in the world. Most people
are surprised to learn that there are few hard-and-fast rules or requirements
governing the work of appraisers. “Professions” are generally thought of as
having a few elements in common, which separate them from “jobs.” These
include prescribed educational requirements, professional association(s),
codes of ethics, and in many cases, legislation (whether federal, state or
local) or other formal regulations governing certification or licensure.
Appraisal could be considered an evolving profession, as it exhibits some,
but not yet all of these elements.

Technically speaking, there is no minimal level of educational attainment

required in order to work in the appraisal business. The appraiser lacking at
least a BA or other baccalaureate diploma is of course the exception, but
there are individuals whose extensive experience in the art business—
perhaps comprised of decades buying and selling art—has in fact prepared
them for the task of assigning value to art. But today’s market environment
is so large and complex, and the potential for litigation so real, that the
appraiser’s qualifications and experience should be seriously scrutinized
before he or she is hired.

As noted above, one of the hallmarks of true professions is the evolution of

professional associations intended to oversee and in varying degrees,
regulate the activities of its membership. The appraisal profession has three
such associations:

American Association of Appraisers (AAA)

National Headquarters Address:
386 Park Avenue South, Suite 2000
New York, N.Y. 10016
Website: http://www.appraisersassoc.org/

The Appraisers Association of America, established in 1949, is the

premier national association of personal property appraisers who
focus on fine and decorative arts. With a membership of over 700
independent appraisers in 100 different areas of specialization, the
AAA’s roster of well-established professionals has the widest
range of experience and expertise in their respective fields. The
Appraisers Association of America is very involved in basic and
continuing education of its membership, and partners with a
variety of colleges and universities in the provision of specialized
appraisal courses.
The AAA requires that its member appraisers adhere to the highest ethical
standards in serving the public interest as follows:

• provide independent valuation outside of third party influences

• retain no outside interest in the subject property other than an

accurate and professional value

• contract for appraisal work only within the areas of their professional
expertise

• reach objective value conclusions by considering all factors in

appraisal standards

• use the highest standards of connoisseurship in examining and

documenting property

• professional remuneration is independent of the value of the subject

property

To learn more about the AAA, or to find an AAA specialist appraiser,

consult the Association’s website.

American Society of Appraisers (ASA)

National Headquarters Address:
11107 Sunset Hills Rd., Suite 310
Reston, Va. 20190
Website: http://www.appraisers.org

The American Society of Appraisers (the “Society”) is a multi-

discipline non-profit international organization of professional
appraisers. The mission of the Society is to foster the public trust
of our members and the appraisal profession through compliance
with the highest levels of ethical and professional standards. The
American Society of Appraisers:

• helps the public and professionals find an ASA accredited appraiser

 • is the only professional valuation organization that accredits members
in every appraisal discipline

• works to grow the appraisal profession

• fosters professional excellence in its membership through education,

accreditation, publication and other services with an emphasis on
professional ethics to protect the public

International Society of Appraisers (ISA)

National Headquarters Address:
303 West Madison St. Suite 2650
Chicago, IL 60606
Website: http://www.isa-appraisers.org

The International Society of Appraisers, founded in 1979, provides

the same services as the other main national professional
associations. In addition to its work in appraiser referral and
education, ISA sponsors a subsidiary not-for-profit organization
formed to promote the advancement of education related to
personal property appraising: The Foundation for Appraisal
Education.

Appraisers’ Accreditation

Each of the professional appraisers’ associations offers various levels of

membership, each of which is characterized by specific experience levels,
general and specialized training and testing requirements, and the like. The
only standardized, national certification program governing appraisers’
professional work product is USPAP (Uniform Standards of Professional
Appraisal Practice). Note that USPAP does not offer a set of prescribed
methodologies for appraisers; rather, it sets forth standards in areas including
ethics, professional practice, and the like.

Appraisers and Ethics

Consider the following scenario: You’ve hired an appraiser to provide a fair

market valuation of two paintings. The final report seems quite professional,
and you’re actually surprised with the high values assigned to the two works.
The same appraiser contacts you, a few weeks later, and offers to buy the
paintings. What is wrong with this picture? Surprisingly, there are cases in
which appraisers’ clients have agreed to sell works to the appraisers who
assigned their values! That’s very comparable to a buyer in a major upscale
department store assigning the values to the items they purchase. This offer
should never even be made by an ethical appraiser, and certainly no client
should ever agree to it. In fact, the very offer casts doubt on the validity of
the appraisal itself, and should be reported to the appraiser’s professional
association.

What an Appraisal Should Provide

A well prepared appraisal is much more than a description of an object and

its value. It should also provide information on the methodology employed
in assigning the appraised value, comparable works that were sold and used
as benchmarks, and a number of additional elements. While there is no rigid
format that must be applied to each appraisal, professionals are expected to
adhere to the standards set forth in the Uniform Standards of Professional
Appraisal Practice (USPAP). Knowledge of USPAP should be considered a
must when searching for a professional appraiser. See Appendix C for the
document “Elements Required for a Correctly Prepared Appraisal,”
reprinted with permission of the Appraisers Association of America.

Value

Sometimes, the value of objects, commodities, services or just about

anything else that can be bought or sold can be quite easy to find. Buyers of
used automobiles, for example, have at their disposal the Official Kelley
Blue Book,1 a standard tool for valuing cars based upon manufacturer,
model, year, etc., among other factors. Of course, two otherwise identical
used cars might have widely different values based upon factors including
previous use as measured in miles, major or minor damage, etc. But the
sheer number of car sales and market venues makes their pricing relatively
transparent, and consequently, easy to predict. The same holds true for many
other high price purchases. Four-bedroom houses in the same neighborhood,
with roughly the same square footage and lot size will usually be priced
within a narrow range, and this range is a natural function of supply and
demand.

To a certain extent, the same phenomena apply to art valuation, but the very
subjective nature of art makes the process far more complex. Those who
assign value to artworks look for data associated with sales of artworks that
are comparable in one or more ways to the work in question, just as an
appraiser of houses might search for sales of houses that are comparable in
terms of square footage, neighborhood, etc. Here’s where the dictionary
definition’s “standard of equivalence” comes in. Some artworks are not only
equivalent to each other, but are for all intents and purposes actually
identical. A contemporary edition of signed and numbered prints, for
example, will usually meet this criterion; each work in the edition is
identical to the others (condition issues notwithstanding) in a physical
sense.2

In the following pages, we’ll consider all of the primary factors that drive
value in art, but before doing so, it is important to note that any particular
thing can have numerous values at any given time. For most collectors and
market researchers, the two most important of these are “fair market value”
and “replacement value.” The remaining classes of value—including
wholesale, liquidation and others—are very well-defined in The Appraisal of
Personal Property: Principles, Theories, and Practice Methods for the
Professional Appraiser and other standard professional texts.

FAIR MARKET VALUE

Fair market is one of several types of value that can be assigned to an object;
it is not a mathematical formula, but is rather more of a construct that
utilizes a certain scenario to describe the conditions that result in a value
deemed “fair.” As defined by the Internal Revenue Service (IRS), fair
market value is “the price at which property would change hands between a
willing buyer and a willing seller, neither being under any compulsion to buy
or sell and both having reasonable knowledge of relevant facts.3 The most
important keyword here is “willing,” as applied to both buyer and seller.
Imagine the plight of an art or antique dealer who is going through
bankruptcy proceedings; her need to quickly sell her inventory will certainly
have a very negative effect on the value of each work. Consequently, this is
not a fair market value, as the sale is forced.

VALUE DRIVERS

The process of assigning a monetary value to an artwork requires a thorough

analysis of the work, coupled with knowledge of the relationships among the
numerous factors that contribute to any artwork’s value. Because artworks
are, with few exceptions (notably, editioned prints and multiples), unique,
there are no hard and fast formulae that can be used to arrive at their
monetary values. Even the expert who is highly knowledgeable about the
complete oeuvre of a particular artist will have to research the specific
attributes of any particular piece in order to confidently state that work’s
monetary value at any point in time. Just what are these “attributes” and how
do they work in tandem to influence the monetary value of an artwork?

With very few exceptions, all works of visual art have a few common
elements; they are, in a way, more comparable to people than they are to
things, in that they are more than just objects. Besides being physical,
artworks have a kind of social life as well as what some might easily argue is
an intellectual or psychological presence. The numerous factors that impact
artworks’ monetary values, therefore, can be neatly and meaningfully
organized around the major headings of aesthetic considerations, physicality,
and social life. But even before we get to this point, there is one overarching
question that must be answered: Is this work “authentic?” The answer to this
question is not as straightforward as it seems it should be. We’ll consider the
process of authentication before proceeding to our investigation of the
various parts of an artwork that serve to affect its monetary value.

AUTHENTICATION AND EXPERT OPINION

As long as there has been a market for works of art, there has been incentive
for individuals to dupe the public with fakes and forgeries. Over the years,
art historians and other experts have uncovered a great many outright
forgeries and have identified countless additional “misattributions.” As the
market for works of art has grown, and is characterized by skyrocketing
prices for major works, the role of the expert is increasingly important. In
this section, we’ll discuss experts: how to find them, how to approach them,
and how to assess the validity of their opinions.

Unfortunately, there is no directory or database of experts on various artists,

schools, or styles. One rather out-of-date but still useful and extremely
informative article on the subject of experts, with a good list of recognized
authorities on various artists, styles and periods, is Grace Glueck’s “The
Great Experts,” Art News vol. 91 (September 1992): pp. 90–101.

Often, the compiler of a catalogue raisonné is considered the expert on any

given artist’s oeuvre. (Catalogues raisonnés—chronologically arranged
inventories of all known works by particular artists—are discussed in much
greater detail in Chapter Four.) Catalogue raisonné authors are often
academics or museum curators, but sometimes art dealers are considered the
ultimate experts on an artist’s oeuvre. Surprisingly little is written on the
often crucial role that dealers play in art scholarship. But “precisely because
members of the art trade have a strong practical motivation to find out about
the art they are buying and selling, they are the ones who often provide the
bedrock of scholarship that enables collectors, academic and the public to
understand an artist or a style.”4

Because their services are often required in the legal arena, art experts can
often be found through a highly focused search of the primary and secondary
legal literature. For example, consider the artist Marc Chagall. A search for
the artist in the legal news component of Lexis Nexis reveals a number of
possibilities—including the mention, in a few sources, of the Comité Chagall
which is, in fact, the most highly respected authentication body for the
popular 20th century artist.

Yet another way to identify potential expert assistance on a particular artist is

to use a general Internet search, like Google. Try using terms like
“authentication,” “committee,” “expert,” or “raisonné” along with the artist’s
name. A recent attempt to identify a potential source for authentication of a
Picabia drawing took just seconds; “Picabia” and “committee” led right to
the official site of “Archives Picabia: the Official Site of the Picabia
Committee.” There, explicit guidelines for requesting authentication were
posted. Additional tips on finding and using catalogues raisonnés will be
found in Chapter Four.
Ethics and Expert Opinion

While the network of recognized experts in the art world is an unofficial one,
most valid practitioners presumably belong to one or more professional or
scholarly associations, part of whose raison d’être includes the construction
of standards and guidelines for professional practice. Most reputable
associations have a clearly defined “Code of Ethics” that outlines procedures
to be followed in a variety of settings. In the field of art and artifacts, issues
surrounding the art historian’s responsibility to discourage the illegal traffic
in works of art, for example, is clearly defined in the association’s Code of
Ethics for Art Historians and Guidelines for the Professional Practice of Art
History.5 Similarly, potential conflicts of interest in the establishment of fees
for services are identified. Of particular importance is the following
provision vis-à-vis the establishment of a fee for the art historian’s
authentication of a work of art:

IV. Conflict of Interest

It is extremely important that an art historian be aware of the potential

for conflicts of interest when scholarship and market interests become
entangled. In cases where an art historian is asked to render
professional judgments on works, it is imperative that reasonable
disclosure of an art historian’s relationship to a seller, art dealer, auction
house, etc., be made. Reasonable disclosure shall be determined in the
context of a particular professional judgment, as that degree of
disclosure necessary to avoid both actual conflict of interest or
impropriety based on self interest or the appearance of bias based on
self (financial) interest.

A. To avoid conflict of interest situations, CAA recommends that art

historians set fees for attribution and connoisseurship at a fixed fee
reasonable for the services provided rather than at a percentage of the
sale price of the work of art. This latter practice was, and is, widespread
and has led to the damaging of the reputations of art historians who
depended upon large fees for a livelihood. Art historians, when
consulted on such matters as scholarly attribution, can avoid the
appearance of self-interest by establishing in advance, fees which bear
no relation to the monetary value of any work of art in question and
 which do not otherwise relate to the financial complications of any
research investigation, opinion or statement by the art historian. It is
unethical for an art historian to engage in attributions and/or the
publishing or exhibiting of works of art if the art historian or his or her
university or other employer has a vested financial interest in selling,
brokering, or seeking tax deductions regarding such works, without full
disclosure on the part of the art historian of his/her personal financial
involvement (other than normal salary and curatorial remunerations) in
the said dealings [College Art Association’s Code of Ethics for Art
Historians and Guidelines for the Professional Practice of Art History].

Further Reading about Expert Advice

Spencer, Ronald D., ed. The Expert Versus the Object: Judging Fakes and
False Attributions in the Visual Arts. New York: Oxford University Press,
2004. 241p.

Contents: Authenticating the attribution of art: connoisseurship and the

law in the judging of forgeries, copies, and false attributions;
Rembrandt and a brief history of connoisseurship; On forgeries; Issues
of authenticity in the auction house; Catalogue Raisonné; Role of the
catalogue raisonné in the art market; “The authentic will win out”;
Attributing Old Master drawings; Signature identification: from pen
stroke to brush stroke; International Foundation for Art Research;
Museums and authenticity issues; Examining the techniques and
materials of paintings; Preservation and authenticity in contemporary
art; The art expert, the law, and real life; Risk of legal liability for
attributions of visual art; Authentication in court: factors considered
and standards proposed; Legal decision in New York gives experts
protection for their opinions on authenticity; Establishing authenticity
in French law.

Art and Value: Aesthetic Considerations

STYLE
Perhaps the most overarching value consideration has to do with the concept
of popularity—that is, popularity of the style, period, century of production
or other descriptor that characterizes the subject work. Today, contemporary
art is more popular, generally speaking, than works produced in the
eighteenth century. At the beginning of the last century, the opposite was
true. “Taste” is a reflection of society’s beliefs, values, social aspirations and
more. Tastes change, and they always have; so too does the monetary value
associated with an object from century-to-century, decade-to-decade, or even
year-to-year.

TASTE AND POPULARITY: ARTISTS

Just as styles, schools, and periods of art come in and out of popularity, so do
the individual artists whose work is classified along these lines. Within the
contemporary art world, a number of relatively young artists have attained
levels of financial success unheard of in past decades, but most still struggle
to make ends meet, or support their art making with income derived from
another source. Basically, the many thousands of working contemporary
artists can be classified along a continuum ranging from wildly successful
(and wealthy) to the opposite extreme—the starving artist. This value
continuum is not limited to contemporary art; the artists whose works
represent any particular style or period can be characterized by some metric
of importance or popularity within their group, which will in turn almost
always represent one of the most important pieces of the monetary valuation
puzzle vis à vis that artist’s works.

Artists can be divided into any number of “levels” ranging from very well-
known to mid-level to lesser-known/obscure. For example, consider the
mid–19th century American movement known as the Hudson River School,
whose Romantic landscapes are quite readily identifiable by even the novice
collector of American painting. Thomas Cole and Asher B. Durand are
among the most well-known of this group, while Robert Scott Duncanson
and Jervis McEntee would be considered second or even third tier. What are
the indicators, or “markers” of individual artists’ stature within a group?
Concrete indicators include:

• Publication. Has the artist been the subject of any major books? If
yes, how many? Is the artist included in standard surveys? For example,
 one of the most widely used textbooks for undergraduate courses in
American art is Francis Pohl’s Framing America: A Social History of
American Art.6 Inclusion in this title is definitely a marker of stature in
the field. Another viable method of exploring artists’ relative critical
importance is to research the number of journal articles that discuss
their work, using a standard research tool. A search of the databases Art
Retrospective and Art Full Text7 reveals the following about our
Hudson River School artists; note the partial correlation8 between
citation count and highest prices at auction:

• Exhibition history. Has the artist, or the subject work, been included
in any exhibitions? If yes, how many? Were any of these in what would
be considered major museums? Noteworthy collections?

Experienced dealers, collectors, and other art market stakeholders are aware
of the importance of exhibition and publication as they relate to individual
works. Consequently, major works of art are exhaustively documented when
offered for sale at auction. Considerable research is undertaken in order to
document the exhibition and publication records of individual works, as it is
well-known that such exposure is an important value driver.

All artists’ bodies of work must be analyzed and segmented in order to

establish the relative popularity of different periods, imagery, styles and
other factors. Major prolific artists with long careers in particular often have
works that sell for anywhere from the low thousands to many millions of
dollars, depending upon the unique circumstances surrounding each work,
and its place in the artist’s oeuvre.

RARITY
In most markets, supply and demand are basic drivers of price levels. This
can be illustrated by examples ranging from markets for everything from
agricultural commodities to durable manufactured goods. During the years
immediately following the 2008 economic downturn, for example, the glut
of available housing units that resulted from massive foreclosure had the
effect of devaluing housing stock in general. The massive supply created a
“buyer’s market,” even though that effect was tempered by the lack of
available credit to potential buyers with anything short of a stellar credit
rating. The same phenomenon occurs in the market for artworks. Some
artists are or were so prolific, that the supply of potentially available works
is enormous. Generally speaking, as time goes by, the supply of top-notch
works by major artists can be expected to diminish, as increasing numbers
make their way into museum collections through donation or acquisition;
those works that remain in private hands can be expected to increase in value
as their numbers dwindle.

How does rarity affect value? Consider the value of an editioned sculpture,
featuring iconic subject matter, created by a major artist in the first half of
the twentieth century. Its iconic subject will of course drive its value. But
imagine that the edition is comprised of six numbered examples, with one
artist’s proof. With a total of seven extant works, the sculpture is quite rare,
but the rarity factor is compounded if, through research, we find that six of
the seven are in the collections of major museums which are highly unlikely
to de-accession them; the appearance of this very rare example on the market
would surely be noted by knowledgeable collectors who, upon discovering
that this is the only available work, might engage in a bidding war that could
potentially drive the price many times over its high estimate at auction.

Art and Value: The Physicality of Art

Physical condition is one of the most important elements to be considered in

the assignment of monetary value to a work of fine or decorative art; it does
not, however, operate independently of the other value drivers. Consider, for
example, the age of an artwork as it relates to condition. Collectors are
usually more accepting of physical imperfection in a work that is centuries
old than they are in works that were created within the past few years.
Similarly, a work’s rarity, discussed a little bit later, can have a major impact
on the relative influence of condition on value. Serious damage to a print
produced ten years ago in an edition of three-hundred might be devastating
to its value, largely because (in theory at least), there might be as many as
299 extant examples of this work, and many, perhaps most of these, might be
in pristine condition. By contrast, a very rare panel painting by an artist
active in the sixteenth century would suffer far less value loss for condition
issues by virtue of the fact that it has few, if any, potential replacements in
better physical condition.

The location of a condition problem on an artwork can have a tremendous

impact on the devaluation effect of that imperfection. For example, a visible
tear will impact the value of a portrait far more intensely if it is located on or
near the face than if the same tear were to be found in the background.
Physical imperfection on a minimalist canvas, similarly, will be far more
devastating to the work’s value than the equivalent damage on a more
complex, “busier” composition. Imagine, for example, a minimalist work
comprised of two or three planes of pure color. Even the slightest
imperfection on this pristine surface can result in a tremendous loss in value.

In very rare circumstances, major condition problems can work to actually

increase the value of an artwork. An example of this phenomenon occurred
on January 11, 2011, at the much-publicized sale of Andy Warhol’s
silkscreen print of Mao, from the collection of Dennis Hopper. Published in
an edition of 250, (with some 50 artist’s proofs), this Mao is one work from
a series of ten. With pre-sale estimates set at $20,000–$30,000, bidding on
this Mao reached $302,500, despite the fact that it had a major condition
issue: two bullet holes—one located over the sitter’s right shoulder, the other
on his left eyelid. Hopper, it seems, shot the print in a drunken stupor
sometime in the 1970s. Later, “Warhol drew circles around the holes,
labeling the one over Mao’s right shoulder “warning shot” and the one at his
upper left eyelid “bullet hole.”9 Because they are part of the artwork’s story,
and because of the work’s celebrity provenance, this condition “problem”
became a positive value driver. In a way, this issue is equally related to the
next cluster of valuation drivers, as the print’s unfortunate condition issue is
a result of its rather wild “social life.”
The Social Life of Art

The second, and often the most important piece of the valuation puzzle
relates to that aspect of an artwork’s existence that can best be described as
its social life. Here, we consider the work’s chain of ownership, or
provenance. Provenance affects value in various ways. On one level, a
secure and well-documented provenance provides the owner with the basic
peace of mind that comes with knowing that he actually owns the work—
that is, he has proper legal title. Provenance issues, particularly as they relate
to title, are covered in much greater detail in Chapter Nine.

On another level, provenance becomes part of the work’s “story,” and

depending upon that narrative, the work’s value might be very greatly
enhanced. A dramatic example of this “provenance factor” can be found in
the December 16, 2011, sale of a 4½ × 6½ inch (Untitled) sketch of a
woman’s lips by Andy Warhol, signed and dedicated “To Elizabeth a big kiss
Andy Warhol.” The sale’s catalog lists the work’s provenance as “The
Collection of Elizabeth Taylor; Gift of the Artist.” Because the work was a
gift from Andy Warhol, one of the most popular artists of the twentieth
century, signed and inscribed to Elizabeth Taylor, and sold during the
recently deceased film star’s estate sale, bidding reached $242,500—many
times over its high estimate ($8,000). What accounts for this seemingly
irrational collecting behavior?

In a research study published in August 2011, authors Newman,

Diesendruck and Bloom attempt to discern the rationale behind collectors’
acquisition of objects that were once owned by celebrities, both admired
(e.g., film stars, politicians) and despised (e.g., serial killers, dictators). They
posit three possible explanations. First, that the objects are valued simply for
their associations. Second, that they’re valuable because they could
conceivably increase in value over time (market forces). Third, the concept
of “contagion” is applied. “Contagion is commonly thought of as a form of
magical thinking, in which people believe that a person’s immaterial
qualities or essence can be transferred to an object through physical
contact.”10 Their research reveals that contagion, in contrast to the other
motivations, account for the often astronomical values attained by items
previously owned by celebrities.

Collectors of items whose value derives largely from celebrity provenance

are advised to secure any and all documentation that supports the item’s
provenance, particularly if those items have no particular intrinsic (material)
or aesthetic value aside from the cachet of prior celebrity ownership. In these
cases, the value is assignable (and more importantly, transferable) only with
documentation. For example, a pen that was used by a president to sign a
major piece of legislation has minimal value without such documentation.
The same can hold true for works of art, but to a lesser extent. Works that
boast inclusion in celebrated collections often do attain higher prices when
offered for sale at auction; however, the provenance factor will be much less
pronounced here, particularly if the work is a good example by a desirable
artist.

Sales Venues

As noted in the preceding chapter, estimates on the overall size of the global
market for works of fine and decorative arts vary widely, depending upon
the source, but figures generally run in the tens of billions of dollars.
Measuring this market is difficult because it is highly amorphous, largely
unregulated, and notoriously opaque. In this section, the basic market venues
are explored.

RETAIL GALLERIES AND SHOPS

Art galleries of all types and sizes can be found throughout the United States
and indeed, around the globe. Not surprisingly, most “high end” galleries are
located in major urban centers, with New York continuing to lead in the
United States, both in number of galleries and in overall sales volume.

A typical high end urban contemporary art gallery will represent anywhere
from fifteen or so to a few dozen artists. Often referred to as the gallery’s
“stable,” these artists will have regular or semi-regular solo exhibitions of
their work that generally last anywhere from four to six weeks. Retail
galleries are often referred to as art’s “primary” market because they offer
works that have not been sold before. Many such galleries do, however,
maintain a secondary market for their own, and related artists’ works. A
collector who wishes to sell a work by an artist might approach that artist’s
dealer and ask him or her to offer the work on consignment. In these cases,
the dealer exacts a percentage commission on the final sale price.

Collectors who are interested in seeing, and perhaps acquiring works by a

particular artist have at their disposal a number of very up-to-date directories
to assist in this process. Works of decorative art, including furniture, glass,
ceramics and other categories discussed later, are offered for sale in
specialized shops which are the equivalent of the commercial gallery for the
fine art purveyor or buyer. Like art galleries, these shops typically specialize
in a particular period, style or medium.

The following represent the most important directories of specialized fine art
galleries and decorative arts shops:

ArtNet Directories

Various components of ArtNet are described where applicable throughout

this book. Because it is probably best-known as an auction sales data
provider, its most extensive description appears in Chapter Six (Market
Research for Works of Art). ArtNet is an excellent resource for locating
galleries around the globe, and also for locating galleries that represent
individual artists or who have one or more pieces by a sought-after person in
their inventory.

Three directories, all free-of-charge, are offered via artnet:

Artists A–Z
http://www.artnet.com/artists/

This searchable/browsable directory allows the researcher to locate

individual artists and their works, and easily locate the gallery that
has a particular work in its inventory.
 Design Galleries and Decorative Art and Antiques Galleries
http://www.artnet.com/galleries/decorative-art/

This component allows the researcher to locate specialized

galleries featuring decorative art works, as well as those that
specialize in contemporary (20th and 21st century) design.

Fine Art Galleries

http://www.artnet.com/galleries/

Works of art, and individual galleries can be quickly and easily

located with this easy-to-use directory. Some (but far too few)
prices are offered. In most cases interested collectors must contact
the gallery for the asking price.

AUCTION HOUSES

When most people think of the art market, the names “Christie’s” and
“Sotheby’s” likely come to mind. That’s not surprising, as these are the
largest international auction houses, and as such, both attain a great deal of
attention in the media. Relatively new “up-and-coming” higher end auction
houses, including Phillips de Pury (New York and London) and Bonhams
(numerous locations around the globe) have utilized creative branding and
marketing techniques that have greatly increased their sales revenue over the
past few years. In addition to these large venues, there are literally thousands
of auction houses that cater to specific audiences. Many of the research tools
that record the auction pre-sale estimates, and actual prices attained by sales
of items at these many thousands of auction houses are recorded in the print
and online research resources that will be described in great detail in
Chapters Six through Eight. Here, we’ll consider the basic functions of the
auction house, along with some new and creative practices undertaken in
recent years by some of the larger houses.

The largest international auction houses have greatly extended their

functions over the years. Many broker “private” sales that circumvent the
traditional auction process that is most closely associated with this sales
venue. Most recently, some non-traditional ventures have had the effect of
increasing media attention on the market. One such effort occurred in
September of 2008, when Sotheby’s London offered 223 new works by
British artist Damien Hirst. The auction—typically referred as the
“secondary market”—became for two nights the primary market for this vast
number of works fresh from the studio. Beyond that, the sale struck down
the previous record for an auction dedicated to a single artist; that 1993
Sotheby’s New York sale featuring 88 works by Pablo Picasso, attained a
total of approximately $20 million. Hirst’s 2008 sale, by contast, made more
than £111 million.11

Just how does an auction house work? The largest ones—like Christie’s,
Sotheby’s, Phillips and a few others—hold thousands of sales annually. The
vast majority of these sales can be classified as one of four overarching
categories:

• Fine Art Sales—Auctions featuring works of art produced in a

specific time period (e.g., Contemporary Art), within a defined
geographic area (e.g., Latin American), or limited to a specific medium
(e.g., Photographs).

• Decorative Art Sales—Auctions featuring works of design (furniture,

glass, etc.)

• Collectible Objects—Auctions featuring memorabilia, etc.

• Estate Sales—Auctions featuring the contents of individual estates;

these usually include a combination of fine art, furniture and other
utilitarian object categories.

Auction houses are always on the lookout for material, and many will offer
valuation advice based upon photographic images. A formal letter addressed
to the department specialist, accompanied by a photograph and all
information known about the object, will usually be answered within a few
months’ time. Many auction houses are only interested in items that they
expect will fetch an amount that equals or exceeds some minimum, and in
their response to an inquiry, might recommend an auction house that handles
material below that minimum, if they are rejecting the item.
Works of art that are offered for sale at auction have a secret “reserve” price
—that is, the minimum price at which the work can be sold. This is not to be
confused with the lower of two “estimates” that are almost always attached
to an individual item. In some cases—usually at the very high end of the
market—the catalog entry will state that the estimates are “available upon
request.” Otherwise, expect them to be included in the catalog and in the
online lot description.

Novice auction participants are urged to read the fine print in their
consignment agreements and in the auction catalogs, because some related
premiums can have a meaningful effect on the actual price received by the
consignor (seller). Consider another definition—the “hammer price.” This is
simply the dollar amount of the winning bid, that does not take into account
any additional premiums. Typically, the seller’s commission is deducted
from the hammer price, which reduces her or his “take” on the deal. By
contrast, the “buyer’s premium” represents that amount of money above the
hammer price that becomes part of the total purchase price paid by the
bidder.

ART FAIRS

In the United States, the fine art fair traces its early roots to the 1913 Armory
Show in New York City. Here, visitors were exposed to cutting edge art by
avant-garde artists of the day, including Alexander Archipenko, Marcel
Duchamp, and Wassily Kandinsky, among many other American and
Western European modernist masters.

Today, fine art fairs represent a rapidly growing segment of the international
art market infrastructure. In fact, “the explosion in the number of art fairs is
the most significant change in the market since the turn of the century,”
notes art market observer Georgina Adam.12 “The numbers tell the story: in
1970, there were just three main events (Cologne, Basel and the Brussels-
based Art Actual). But the number has mushroomed in the past decade: from
68 in 2005 to 189 in 2011.”13

The following represent some of the best directories of art fairs.

 ArtCollecting.com: Art Collecting Resource and Online Art Gallery
Guides
http://www.art-collecting.com

This site offers a well-maintained calendar of art fairs, arranged by

month. International in scope, each entry offers, when available, a
link to the fair’s main website.

ArtVista
http://www.artvista.de/

This well-maintained site offers a variety of informational tools for

the serious art collector. The Directory of Art Fairs offers a wide
range of statistics on international fairs, including dates, exhibitor
numbers, previous years’ attendance and the like.

Biennial Foundation
http://www.biennialfoundation.org/

This not-for-profit foundation seeks to “facilitate links between

organizations and individuals operating within the global biennial
community by providing resources and an open platform for
exchange, collaboration and research” [Foundation website]. Its
handy “biennial map” offers easy access to the websites of all
major and less well-known biennial exhibitions of contemporary
art.

BUYING ART ONLINE

Now several decades old, the Internet has had an incredible impact on the
way we work, conduct research, communicate, and shop. Numerous early e-
commerce ventures ended in failure, while others remain vibrant national
and global businesses, offering online sales of every conceivable product,
including fine art. Most established “brick and mortar” retail establishments
maintain their physical presence in cities and shopping centers around the
globe, but have augmented their businesses with an online presence. While
Internet-borne establishments have come and gone, those that survived the
early years and have gained a reputation for excellence in both product and
service, continue to grow year-by-year.

Fine art, decorative arts and collectible objects have unique qualities that
complicate their place in the world of Internet shopping. Most serious
collectors continue to be reluctant to acquire an original work online, unless
they are quite sure of exactly what they are buying. Collectors interested in
painting will most likely insist on seeing the surface of the work in question,
and even images with the very best resolution cannot convey the “feel” of a
work on canvas. By contrast, the collector of a print might be more likely to
take a chance on an editioned work, because chances are they have seen the
work before; if they have not, particularly in the case of prints by major
artists, it is not terribly difficult to find an example in a brick and mortar
gallery or museum. Of course, lower end decorative works that might be
found in a typical shopping mall will similarly attract a larger audience,
because their relatively modest values do not merit extensive research.

One of the great fears associated with the acquisition of art online involves
the question of authenticity. It is interesting to note how many works with
asking prices in the tens-of-thousands of dollars (and higher) can be found
on Internet sites. Conduct a search of eBay for works of art by almost any
major artist, then sort the results by price (highest first) and you’ll often
retrieve something at or near the top of the list that is questionable at best.
Some will even offer a “Certificate of Authenticity” which is typically
worthless unless it is issued by a respected scholar, artist’s foundation or
authentication committee.

In the world of collectible objects, including things like porcelain, ceramics,

silver, memorabilia, and even rare books, Internet sales have definitely had
an effect on values. Before the advent of e-commerce, collectors of this class
of material had to search print catalogs, shops and galleries in hope of
locating a specific piece. Today, a collector of books can pinpoint the
location of dealers offering first-edition copies of particular books, with
book jackets, within a matter of seconds. For this group, the advent of
aggregator sites—those that offer a single interface to hundreds or even
thousands of individual vendors—has streamlined the search process. The
ability to find the four or five vendors with copies of the sought-after item
has certainly had an effect on prices.
The following represent some of the most established Internet-based venues:

ArtNet
http://www.artnet.com

Under the tab “buy and sell,” online auction offerings are shown;
individual galleries’ inventories can be searched as well. Of
particular interest to the market researcher, artnet lists “lots sold,”
along with their final prices realized.

Ebay
http://www.ebay.com

Because it has such a long and well-established role in the online

auction world, eBay is also an excellent research tool. In the
category of porcelain alone, researchers have at their disposal
many tens of thousands of items, most of which have cataloging
details as well as photographic documentation.

1stdibs
http://www.1stdibs.com

Since 2010, this online vendor site has offered an excellent

selection of artworks from top galleries. Some prices are listed
online, making 1stdibs an excellent resource for retail market
researchers.

Paddle8
http://www.paddle8.com/

This innovative, fully virtual auction house, focused on fine art,

presents two types of auctions: Benefit auctions in collaboration
with non-profits, and its own biweekly themed auctions.

SaffronArt
http://www.saffronart.com

This well established site has a focus on art of India (primarily

modern and contemporary), but also offers jewelry and a selection
 of antiquities.

VIP Art
http://www.vipart.com

This easy-to-navigate site offers paintings, drawings, prints, and

photographs for sale; many excellent galleries’ inventories are
included here. Prices for many works are posted, making this an
excellent source for locating retail market values.

FLEA MARKETS, STUDENT SHOWS AND OTHER “ALTERNATIVE” COLLECTING

VENUES

Perhaps because of the popularity of television programs like Antiques

Roadshow, and the abundance of stories of major discoveries of valuable
works of art found in attics and basements, popular interest in collecting is
on the rise. Most of us can only dream of seven-figure acquisitions, but that
does not have to inhibit our passions for collecting.

For those interested in developing an art collection on a shoestring budget,

consider starting out with younger artists. College and university art
departments typically hold exhibitions of student work, and sometimes the
featured works are available for sale. If schools do not wish to get involved
with sales, they will often informally pass an offer along to the student artist.
Over the years, I have acquired some of my favorite paintings and drawings
directly from students graduating from MFA programs; whether or not these
works appreciate in value is secondary to my interest in the art, but in a few
cases, market values have indeed risen considerably over time. So, when the
end of the academic year rolls around (typically May), investigate your local
art schools’ calendar of student, faculty and other exhibitions.
 Chapter Three

Researching Fine and Decorative Arts: Methods Old and New

The rapid proliferation of digital information resources has been a great

boon to the contemporary researcher. Just a few decades ago, our libraries
provided only printed books, magazines, newspapers, and maybe some
additional media like phonograph records, tapes, microfilm and microfiche;
the physical presence of these media—even the once-revolutionary
microforms (film and fiche) that could hold an astonishing number of pages
on a tiny piece of plastic film—had the effect of limiting our collections
because our spaces were (and still are) finite. Even with the burgeoning
world of “virtual” collections, many of our libraries are filled to capacity,
and increasingly, larger libraries must relocate certain portions of their
collections to “offsite storage” in order to free up space for continued
collection building.

In this section, we’ll explore traditional methods of bibliographic research,

including the proper use of library catalogs, subject-specific indexes and the
like. While this chapter is primarily about these kinds of research processes,
it will also introduce the reader to a wide array of the more general tools that
can be employed across the visual arts disciplines, including fine art (all
media), decorative arts and design.

The past several years have seen some major shifts in the way libraries make
their collections available to their users. The most useful and ubiquitous of
these new resources and tools will be surveyed in the following pages. Note
that while the bulk of this chapter deals with sources that provide
information on specific works of fine or decorative art, knowledgeable
collectors, dealers and other art market researchers often require data and
analysis of “big picture” art market issues. With this in mind, we include a
discussion of methods and sources of market research, and explore the often-
overlooked economics, business and current affairs databases that can be
extremely valuable to the art market researcher.

Research as a Fishing Expedition: Hook or Net?

Almost all research activities can be placed along a continuum that reflects
the specificity, or the breadth of the topic at hand. As well, most research
begins with a question or series of questions, whose answer(s) might be very
simple or extremely complex, or somewhere in between. “What are the birth
and death dates of Pop artist Andy Warhol?” would be an example of the
former; an example of the latter might be “How does the art market respond
to periods of economic recession?”

Sometimes we expect a single answer to what seems to be a question of fact,

and in the “research as fishing expedition” analogy, this would represent a
good time to use a hook, rather than a net. Consider again Andy Warhol’s
dates of birth and death; we expect to find an answer that is both “correct”
and not open to debate or discussion. Other questions that seem to fall into
the same category are not, in fact, so straightforward. Just try searching for
an answer to the seemingly straightforward question “What was the size of
the global art market in the year 2011?” You’ll find plenty of answers, and
little agreement, in a wide range of highly respected sources. That’s because
the “global art market” has lots of variables, and includes the highly opaque
world of private transactions between individuals and institutions, among
others.

Broad, multi-faceted research questions are best approached initially by net

fishing, followed by some targeted hooking. Typically, in these scenarios, we
need to provide a broad contextual base to our investigation, and the only
way to do so is by surveying a wide range of sources and media.

Whatever our research question, the most efficient way to begin is with a
well thought-out strategy and to this end, we’ll move on to an overview of
the research strategizing process. We’ll begin first with strategies for narrow,
more targeted topics, such as individual artists and artworks. Following will
be an overview of the processes that can lead to more successful broad-based
research issues.

PREPARING A RESEARCH STRATEGY: BASIC TOPICS

In order to research even simple topics, it is advisable to create a plan of

attack. Our main focus here is on those kinds of questions to which we
expect to find a simple answer—questions like birth/death dates, exhibition
dates, etc.

What?

If you’re researching a specific work, start with the work itself. Find out as
much as possible about the work by thoroughly examining it (in person if
possible), or its surrogate (reproduction). Recommended procedures for
proper examination are offered below.

Where?

Where should you expect to find the best information about your work of
art? For many projects, the Internet will be of limited value unless, of course,
the work is very contemporary and was produced by a young, or just
emerging artist; in cases like this, often the Internet is the only source of
information.

At the other extreme, if your work is produced by an artist who is well-

known and consequently, highly sought-after, you’ll most likely need to use
the print and digital collections offered by a research library.

How?

Some exciting, relatively new online resources allow us to maximize our

efficiency in research. The best of these are described in this chapter.

EXAMINATION AND DOCUMENTATION OF THE WORK

Physical Examination of the Work

Whatever course the research project will take, in the vast majority of cases
it will begin with the work itself. If the work of art subject to research is
available for inspection, it should be carefully examined on all sides. In the
case of a two-dimensional artwork, back, front, and edges of the unframed
(if possible) piece should be closely inspected for clues to the work’s
identity, including creator and date (in the form of a mark or signature) and
possibly its place of origin. Once unframed, the piece might also provide
indications of its appearances in exhibitions or prior ownership in individual
or institutional collections. (The process of researching the ownership, or
provenance, of a work is explored in much greater detail in Chapter Nine.)

Because a good deal of research on works of art can only be conducted in

libraries, it is important to carefully document the work to be studied, and
create one or, preferably, a number of reproductions for use in the library.
Document anything found in the examination process, including:

• Dimensions (in inches and centimeters. Many indispensable sources

record metric values)

• Artist (if signed)

• Date

• Marks on support (e.g., stretcher manufacturer)

• Indications of exhibition

• Indications of ownership, or provenance

Finally, the work should be photographed. If the work is eventually to be

offered for sale, this will be required in the vast majority of cases, and so,
depending upon the price range of the work, professional photographs might
be a worthwhile investment.

In addition to at least one good image of the complete work, several detail
shots (e.g., the signature, if present) should be taken. Photograph the back of
the work as well (including its support, i.e., canvas stretchers) if it bears any
labels, manufacturers’ marks or other information. A number of sources
noted in the next two chapters can be used to identify marks, which in turn
might give clues to date and/or place of execution and other details pertinent
to the piece.

Examination of Photographic Reproductions

Sometimes, the researcher does not have access to the actual artwork, but
rather has only a bare-bones description and a photographic reproduction.
Assemble whatever information is available and be sure to examine the
photograph closely and bring it to the library for comparison to other images
found during the research process.

A clear traditional photograph (as opposed to a reproduction in a book or a

magazine) can be examined very closely, using closed circuit television
enlargement systems, or CCTV. These devices, used by people with
disabilities to enlarge printed texts, are widely available. Medium-sized and
large public libraries, and a great many academic libraries provide access to
CCTV systems for their patrons with visual impairments. The basic CCTV
allows the user to place an image (photograph, book, or even a small three-
dimensional object) on a platform, and a closed-circuit video camera
enlarges the item on a monitor. Often, a signature or other mark indiscernible
to the naked eye will be visible if enlarged on a CCTV (see illustration).
Note, however, that many (particularly older) published images do not
project as clearly as traditional, emulsion-based or more contemporary
digital photographs do. Of course, not everyone will have access to a CCTV,
in which case a traditional magnifying glass will have to suffice.

LIBRARY RESEARCH

Now that we’ve examined and documented the subject work, it’s off to the
library! In this section, we’ll review the basics of library research. The true
novice researcher, as well as those who have not used a research library in
some time, will benefit from reviewing the basics of library research. From
proper subject searching of books to the selection and use of periodical
indexes and databases, this chapter offers practical tips on using the
numerous resources available in the contemporary library.
Closed Circuit Video Enlargement system magnifies photographs,
printed materials and small three-dimensional objects many times their
original size. Note the size and clarity of the signature (courtesy Ron
Milland).

Identifying Libraries by Location and Type

Several directories can be used to locate the public, college or research,

museum and other libraries that are within your area. The best sources are:

American Library Directory. New York: R.R. Bowker. Annual; 1923– .

The definitive directory of U.S. libraries. Arranged geographically

by state, subdivided by city or town. Entries include full contact
information, general and special collection details.
 Lib-web-cats: An International Directory of Libraries.
http://www.librarytechnology.org

This freely-available guide to libraries allows the researcher to

quickly locate the online catalogs and websites of thousands of
libraries, primarily in the U.S. For libraries other than those
designated “public,” (e.g., University, professional, etc.) be sure to
consult their websites for access rights and restrictions. More
information about access to various types of libraries can be found
in the next section.

OCLC WorldCat
http://www.worldcat.org

Described in much greater detail below. This free-of-charge tool

includes holdings of tens of thousands of libraries around the
world. Use it to search for an item, and from there, to locate the
closest library that owns what you’ve found.

Libraries and Access Issues

As noted above, few research projects involving art objects can be

completed successfully with free-of-charge Internet resources. Many
projects require the use of books, journals, magazines and other traditional
media that were published long before the advent of Internet-based
information delivery. For example, the researcher attempting to identify
prior ownership (provenance) of a particular artwork will need to consult all
of the catalogues raisonnés, exhibition catalogues, monographs and other
books (many dating from the 18th or 19th century) that feature the subject
piece. The vast majority of these sources are not digitized, nor are they likely
to be digitized in the foreseeable future.

While art and art history are somewhat “behind the curve” as compared with
other disciplines vis-à-vis electronic information, an increasing number of
traditional tools—including indexes, journals and electronic books—are on
the web. Most of these, however, require subscriptions with their issuing
agencies or institutions. Individual user subscriptions are often available, but
they can be prohibitively expensive; luckily, many libraries provide access to
one or more of the best fee-based resources for art and design research. The
three types of libraries that provide the best collections of materials for
researching works of art—the public library, the museum-affiliated library,
and the academic, or university library—are described below, along with a
discussion of some of the access issues involved in each.

The Public Library: Depending upon the size of the municipality it serves,
and also upon the complexity of the research endeavor, the public library
might suffice for researching many artworks. Larger cities in particular often
provide access to a rich array of the kinds of historical materials necessary to
research a painting, drawing, or work of decorative art. Most public libraries
—even those serving small communities—provide access to interlibrary loan
systems, through which (sometimes for a fee) their patrons can borrow
books or receive digital or photocopies of journal articles from other
libraries. Because it offers (at the very least) free-of-charge access to the
materials in its own collection, the public library is the likely first candidate
for the beginning researcher.

The Museum Library: Many museums maintain libraries to support the

research needs of their curatorial staff members; some of these libraries are
available for use by members of the public, either free of charge or as part of
a museum membership package. Smaller museum library collections are
usually highly focused, but often treat their narrowly defined subject(s) in
considerable depth. Large museum libraries, usually concentrated in or near
larger cities, often maintain very extensive collections of materials to serve
the curators whose interests include various media, periods, styles and
geographic foci.

Depending largely upon the source of their operating budgets, some

museums offer public access to their often quite strong collections.
Sometimes an appointment is required, certain days are set aside for public
access, or other access restrictions are in place. In other cases, access to the
library is a privilege extended to those who become “members” of the
museum. For the researcher lacking access to a large public library, or an
affiliation with a university library, participation in a museum membership
program might provide relatively inexpensive access to a good art history
collection.
The Academic (College, University) Library: There was a time—not so long
ago—that just about anyone could enter and use (but not borrow, usually)
the collections held in most academic libraries. Depending upon the location
of the library (large urban libraries are most restrictive), free access is still
sometimes possible. Some libraries require a simple sign-in, or perhaps the
presentation of some form of ID. Others are restricted to faculty, students
and staff of the library’s parent institution.

Like museum libraries, some otherwise restricted, but very strong academic
libraries are available to members of the public for a fee. Sometimes referred
to as “Friends of the Library” programs, memberships are often available in
various categories, allowing the participant on-site access for a modest fee or
access with full borrowing privileges (usually much more expensive than on-
site access) along with other benefits like invitations to readings, author
receptions and exhibition openings. For the infrequent user, some
universities even make provisions for short-term (daily, weekly) use of their
collections and some facilities.

The benefits of the large academic library are numerous. Throughout this
book, we’ll be discussing some rather expensive, often impossible to find
out-of-print materials. Large universities with good art history programs
represent the best sources for these types of materials. Some research
projects will also require some prohibitively expensive electronic tools that
are usually only available in business libraries. The art market tools that can
be found in the academic library—including the business and legal databases
discussed later in this chapter—will not be found in even the strongest of
museum library collections. The serious art market researcher lacking access
to a very large public library should investigate the collections and access
policies of the nearest large academic library.

Using the Library

This section is intended as a primer on the use of libraries, including print

and other traditional media collections; that is not to suggest that short shrift
will be paid to the Internet. In fact, libraries and the Internet are related, and
the successful researcher develops a keen awareness of this fact, and
approaches both with a critical eye. With that in mind, we’ll begin with an
introduction to the basics of library use, followed by an in-depth look at
some of the latest “discovery tools” that hold great promise for streamlining
the research process.

Guides to Library Research: Many libraries produce guides to assist their

users in specific topical areas. These often include lists of the best reference
sources in a specific subject, tips on how to use resources, and additional
practical tips related to the subject at hand. Many libraries produce their
guides through an online commercial provider called “LibGuides.”1 The
LibGuides Community makes all of these guides available to the general
public at: http://libguides.com. One might ask, “Of what use is a guide to the
literature on a subject that is produced by a library that is far away?” Most of
the items listed in LibGuides are published—either in print or online—and
hence, likely to be found in numerous libraries across the United States. To
find the closest copy of a book or other library material, simply search the
item in WorldCat (described later in this chapter).

FINDING BOOKS: CLASSIFICATION SYSTEMS

Almost all libraries, whether large or small, wisely arrange their books,
journals and other materials, wherever possible, by subject. This system is
particularly useful in “open stack” libraries (those in which users can
retrieve their own materials), because it allows the researcher to browse
shelves effectively; once they’ve located one title of interest, chances are
there will be others nearby. This works to a point, but the complexity of the
print world makes it necessary, often, for the serious researcher to dig a little
further.

Why can’t research be made simpler? Why can’t all of the books that deal,
for example, with 18th century English furniture sit together, in a single
place? In the first place, all of the titles that deal exclusively with such a
narrow topic do, or at least should, receive the same classification number,
whether Dewey or Library of Congress (more about these later). But what
about titles that survey English furniture of all periods? Or histories of
European furniture, with significant sections on English furniture? The
physical reality of the book dictates that it can occupy only one physical
space. That’s where the subject catalog comes in; while the book can be in
only one physical location, any number of subjects can be assigned to a
single work. In a nutshell, this is why a good understanding of library
arrangement is essential—and ultimately, time-saving—for any researcher.

Libraries’ assignment of subject headings to books and other materials is

sometimes not as straightforward as one might like. Does it ever seem that
some relatively modern titles have been given some archaic subject terms?
Why would that be? Consider the origin of subject categorization. In the pre-
computer era, individual books were found by author, by title, or by any
number of subject cards that were interfiled in the good old-fashioned card
catalog. As time passes, though, some subject terms change. For example, in
the earliest days of film no one considered cataloging a film book with the
term “film” or “cinema.” Rather, the commonly used expression back then
was “moving pictures.” Over time, we began to use the expression “motion
pictures,” “film,” “cinema,” or even the colloquial “movies.” In order to
keep all of the film books together, the decision was made to stick with the
old term, and place a single card in the file, directing researchers who look
for “film” to see, rather, “moving pictures.” This kept similar materials
together, and negated the need to re-type all of those cards found under the
antiquated subject heading(s).

Learning how a subject has been treated historically can be of great use to
the serious researcher. For example, those in search of works on the subject
of “authentication” of artworks might be surprised to learn that many older
titles are found under the term “expertising.” Interested readers can pursue
this topic by searching the Library of Congress’s website; a direct link to the
Library’s “Subject Headings” can be found here:
http://id.loc.gov/authorities/subjects.html.

The Library of Congress Classification System—Many large libraries

utilize an alpha-numeric system of materials classification developed by the
Library of Congress (LC). In broadest terms, LC divides the entire universe
of knowledge into the following categories seen in the chart on page 48:

Dewey Decimal System Classification—The Dewey Decimal System is

even more well-known than the Library of Congress scheme. Most of us had
some experience with this one in our school libraries, and many libraries of
all sizes—but especially smaller, public libraries—continue to utilize Dewey
today. Unlike the Library of Congress system, Dewey’s scheme is purely
numerical. (See page 49.)

Because we’re focusing here, and throughout this book, on the fine and
decorative arts, it is safe to assume that the great majority of books and
journals of interest will be found among those assigned the classification
“N” in libraries that use the Library of Congress System, and in the 700s for
their Dewey-based counterparts.

While it is true that most books devoted to painting, prints, furniture design
and other media will indeed be found here, it is important to note that
materials germane to the study of certain media and object classes will be
found elsewhere in the library’s collection. For example, photography was
treated from the outset by the Library of Congress as a branch of technology,
rather than art. Most titles, therefore, will receive the Classification “TR.”
Similarly, the “crafts” have historically been separated from the fine arts,
and hence a great many titles devoted to the decorative arts are also assigned
classifications in the T’s. Works of art produced in so-called primitive
communities (e.g., tribal African arts) have only within recent decades been
classified with other works dealing with art. Certain older materials of
interest will be found in anthropology.
WorldCat: The International Library Catalog

Over the last few decades, the automation of many tasks and services—from
cataloging to book check-out to the latest trend in email and chat reference
service—has transformed the way libraries function. Even before the world
was connected via the Internet, many of our nation’s larger libraries were
closely connected via private networks that are now freely available to the
public. WorldCat, arguably the largest and hence, most important of these
networks, offers a wide range of tools that can greatly enhance the research
experience.2

WorldCat is the web-based catalog of the collective holdings of member

libraries of The Online Computer Library Center (OCLC). OCLC was
founded in 1967 as the Ohio College Library Center; in its earliest days,
OCLC was, as its name implies, a consortium of libraries in the state of Ohio
—libraries that utilized the then-fledgling technology of computer
networking to develop a system for sharing resources, cataloging data and
other library functions. By 1981, OCLC changed its name to reflect its
ubiquitous presence in libraries far afield from its native Ohio; today,
“OCLC serves more than 72,000 libraries of all types in the U.S. and 170
countries and territories around the world.” WorldCat affords the researcher
access to the collective holdings of more than 9,000 member institutions.
Currently (February 26, 2013) WorldCat offers access to close to 2 billion
individual items (books, computer files, films, etc.) in more than 470
languages. For the serious researcher, WorldCat is often the first, and most
important step in the research process.

Several new features have been added to the free-of-charge version of

WorldCat since the publication of the first edition of this book. After setting
up a user account, researchers can create bibliographic lists with options to
share with other users, or to keep private; similarly, WorldCat records can be
“tagged” with subjects that are meaningful to the researcher. Additionally,
successful search strategies can be “saved,” and used again to update the
original search. These features, coupled with the ability to interface with
bibliographic management software, make WorldCat one of the most
valuable of the Internet’s free-of-charge information handling sites.

Research Discovery Tools and “Relevance Ranking”

The proliferation of e-resources in libraries has been a source of great

confusion to many library users. In response, libraries have introduced a
number of tools intended to streamline the research process. Two of these—
federated searching and a new generation of single point-of-entry online
“discovery tools” are described here.

Federated searching affords the library user the ability to search multiple
databases in a single keyword search. It is important to note that a good deal
of functionality is lost when we conduct a keyword search, as opposed to a
more finely-tuned search of specific database fields (much more about this
process below). Similarly, searching three, four or even more very large
databases will likely result in an unwieldy list of items, depending upon the
specificity of search terms. In addition, searching across these very large
databases proves to be very slow—a major complaint that did not go
unanswered by developers.

In response to the shortcomings of federated searching tools, developers

have more recently introduced a new generation of “discovery tools” that are
inspired by the powerful and popular Google Scholar, which retrieves
scholarly content made available in academic and research libraries. “These
tools make it possible to create a centralized index of an institution’s
information resources, and are designed so that a single point of access leads
to a wide range of library content through a Google-style search box.”3 This
pre-harvested indexing of articles across databases enables the rapid return
of search results. Again, as with federated searching, described above, these
tools forfeit a good deal of functionality in exchange for the ease of use that
comes with a simple search box.

Most of the emerging discovery tools present search results in order of

relevance—rather than by author, title or other traditional bibliographic
sequence; most also offer additional “sort” possibilities (including
chronological and reverse-chronological). To further complicate matters, the
process of defining the relevance of one item over another is the carefully
guarded intellectual property of the tool’s developer or vendor, as most
discovery tools are produced commercially, rather than internally by
libraries. Generally speaking, though, items whose titles most closely match
the subject terms appear at the very top (i.e., an exact title match would
become item one).

Search Alert: Your Personal Research Assistant

Some research endeavors are short-term, while others require a longer period
of time to complete. Indeed, for some professionals, research is a life-long
process. Many of the e-resources described below, and throughout this book,
offer a feature that enhances everyone’s ability to keep au courant in the
literature on their topics of choice. Usually referred to as a “search alert,”
this feature might be more or less obvious to the user, depending upon the
interface design. Novice researchers are urged to query the database’s online
“help” features, and search for the word “alert” in order to find out if the tool
they’re using offers the “alert” feature.

Having a search alert is the equivalent of retaining a research assistant—a

competent researcher who would rightly expect payment for her or his
service. Search alerts are simple but powerful. The researcher conducts a
search, and then reviews and keeps results of interest. At this point, an alert
can be set up. Basically, we’re instructing the system we’re using to conduct
the same search at a selected time interval of daily, weekly, or monthly.
Thereafter, the user receives an email message that brings to his attention
any new materials added to the database that meet the original search
criteria.
Note that some providers require that the user register for this level of
access, but this process is generally free-of-charge to users affiliated with
subscribing institutions.

INDEXES AND DATABASES

In this section, the reader is presented with a description of several databases

that can be used to research artists, designers, and individual works of fine or
decorative art. Before going into specific products, we’ll begin with a very
brief overview of database searching techniques and terminology intended
for the novice searcher.

Basic Terminology & Techniques

Database Types: By now, it is probably safe to assume that most active

researchers are familiar with information technology. As a university
librarian who teaches research methods, I do find that skill levels vary
widely, and that even the most seemingly proficient researcher can have
basic misconceptions about online research. This brief section is intended to
clarify some of these misconceptions.

Perhaps one of the biggest areas of confusion involves the distinction

between product and provider. For example, one of the databases described
below is titled ArtBibliographies Modern. It is made available in libraries via
Proquest, a major vendor of online information sources. Some researchers
work under the mistaken assumption that they are searching a resource
called Proquest; that’s OK, until they visit another library and find that their
searches of Proquest seem to be producing results that are radically different
from their previous experiences. A good analogy can be found in the world
of cable television. A cable provider like Verizon offers a basic package, and
many optional titles that require additional payment. Verizon is the cable TV
equivalent of EBSCO, Proquest or other big information vendors. Some
Verizon subscribers have HBO and other premium channels, while others do
not. The same is true for vendors of information; their offerings will differ
from institution-to-institution, depending upon issues like subject need,
budget, etc.
Another misconception in the world of digital research involves the various
types of databases, and how they relate to one another. First, some are highly
specialized (like the fine art titles profiled below), while others are multi-
disciplinary, and general in nature; the latter include titles like Factiva,
LexisNexis, and Periodicals Archives Online, among others. Think of these
as giant cabinets filled with files containing individual articles, arranged by
topic, or subject matter. By contrast, collections of electronic journals, like
JSTOR, can best be described as digital facsimiles of entire bookcases filled
with bound, hard copy journals and magazines. We expect them to provide
the complete contents, cover-to-cover, of each title included.

Finally, some databases include the full text research “end-product” (i.e., the
book, journal or other item referred to, in its entirety), while others just
provide indexing to their subject’s literature; the former are generally
referred to as “full text” databases, the latter, “citation” or “index” databases.

Constructing the Database Search Statement

Most databases allow the user to search in two or more ways. Usually, the
default method is the basic “keyword” search. Anyone who has used an
Internet search engine, like Google, is familiar with this process. Presented
with a simple box, the user enters words and retrieves citations, or actual
full-text articles, that contain those terms. Very often, beginners in particular
wonder what went wrong, as they sift through the tens, hundreds or even
thousands of items that aren’t at all relevant to what they’re hoping to find.
Why does this happen?

When we perform a keyword search, we retrieve a list of everything and

anything that contains the sought-after term anywhere in the record. A
database record, like the following taken from ArtBibliographies Modern
(described later in this chapter), includes individual pieces of information
referred to as “fields.”

Title, personal author, journal name, abstract, etc., are all fields which, taken
together, comprise the complete database record. As databases grow in size,
the concept of restricting search terms to certain fields becomes increasingly
important.
Database records that include abstracts, or descriptions of their contents, are
very valuable because they provide the researcher with enough information
to decide whether to take the extra steps required to locate the actual article
described in the record. A well-constructed abstract should include the terms
that an experienced searcher has entered in a search statement. How does
one instruct the database to retrieve only those articles or other bibliographic
entities that include desired terms only in specific fields? Usually, the
advanced search (or equivalent) option is the key.

Most web-based index databases make searching within specific fields

relatively straightforward. Often called advanced search, guided search, or
something similar, the “field-specific” search option allows the user to limit
search terms to those fields most relevant. Searching for bibliographic items
that contain a term in the title or abstract will obviously reduce the number
of “hits,” and consequently eliminate a great many items that are not at all
relevant to the research problem at hand.
ArtBibliographies Modern record. Note that each information element,
or “field” (author, title, abstract, etc.), is searchable in this database of
art information that primarily covers 1800 to the present. (Abstract and
indexing data is reproduced with permission of ProQuest LLC. Further
reproduction is prohibited without permission. www.proquest.com.)
Another feature of almost all databases is the option of constructing a
Boolean search; you might even have done this already without knowing it
because web-based database forms often have the Boolean search option
built into the form, as is the case with ArtBibliographies Modern and most
other web-based systems.

“And,” “Or,” “Not”: Constructing a Boolean Search Statement

A Boolean search statement instructs the database to retrieve records that

• contain a combination of terms—the “and” connector

• include one or more of a series of related or even synonymous terms

—the “or” connector

• exclude records that contain certain terms—the “not” connector (use

this one sparingly—more on this below).

Consider this research question: “How can I find articles (in newspapers
and/or magazines and journals) on the current market for 19th century
French painting?”

Before even beginning to search online, parse the question into main
concepts. We’re really searching for articles that include “Market and 19th
century and French and painting.”

So, presumably, if we set up our search to retrieve any item that contains all
of these terms in the abstract, some of them should relate directly to our
research problem. But what might we miss if we limit our search to these
specific terms? We might miss articles with titles like “Nineteenth Century
French painting: What’s Hot and What’s Not in the Gallery Scene.”

Here’s where the “or” connector comes in. We’ve already decided on our
main concepts. Now, expand those concepts by adding synonymous terms
like the following:
The synonymous terms (market, auction, gallery, sales, prices, for example)
are linked by “or” to create a logical statement of the following type:

Market or auction or gallery or sales or prices

and
19th or nineteenth
and
French or France
and
Painting

So, you might be thinking, what about that “not” connector? Experienced
researchers use “not” sparingly with content words. Why? Imagine that we
really don’t want anything that deals with the market for 19th century
English painting. If we added to our search statement Not England or
English, we would miss some relevant, and potentially important items, such
as: “Auction News: The Market for 19th Century French and English
Painting on the Rise.”

Judging only by its title, this article appears to be germane to our research
project, but is excluded because of the presence of the word English that we
excluded with our use of the Boolean “not.”

Do we ever use “not,” then? Of course, but usually in order to exclude

certain kinds of materials rather than content terms. For example, some
databases include records describing a great many types of articles,
including book reviews. We might use the “not” connector to exclude a type
of document, such as book reviews, that will not be useful for our particular
needs.

Full Text Database Search Tips

The ability to construct a database search strategy that is adequately focused

is increasingly essential, as the databases we use become increasingly large
in terms of sheer volume of materials indexed. We have just seen that “field”
searching, rather than simple keyword searching, can greatly reduce the
number of irrelevant hits retrieved in a database. In the very large, full-text
databases that include many thousands of full-text sources (described later in
this chapter), the likelihood of almost any term appearing in an article that
has nothing to do with the subject being researched can be very high. The
ability to hone the research statement is critical in these mega-databases.

Novice full-text database users are advised to consider each step in the
following checklist to ensure that their search statement retrieves the most
relevant materials.

• Select “Advanced Search” option, if available. This option usually

provides an easy-to-use form with which even the least experienced
searcher can construct a complex search query.

• Use the full power of “Boolean searching.” Boolean searches are

those in which terms are connected, using “and,” “or,” “not.”

• Use “word truncation” where appropriate. Truncating a search term

instructs the database to retrieve anything that begins with a root term.
While it varies from source to source, the truncation symbol is usually
an asterisk or question mark. (Check the database’s online “help”
function for the relevant truncation symbol). Examples of truncated
search terms include:

Old Master? = Old Master, Old Masters

Impressionis? = Impressionism, Impressionist, Impressionistic, etc.

• Investigate the database’s options for limiting by type of material.

Selecting “feature article,” for example, can eliminate thousands of
 irrelevant hits—things like book reviews, exhibitions, even
advertisements.

• Perform an initial search to find out if the database employs a

standard vocabulary of subject terms (sometimes called descriptors).
For example, the researcher investigating the life and work of sculptor
David Smith in the database ProQuest Research Library faces the
dilemma of sifting through the thousands of David Smiths retrieved in a
simple search—and most of them are not the sculptor! Changing the
search statement to “sculptor David Smith” yields a manageable
number of items, and the first item tells us that works discussing the
sculptor can be found by searching “Smith David sculptor.”

• Again using the “help” feature, find out if the database you’re using
allows searching for specific “proximity” between terms. Proximity
searches allow us to look for two or more terms with a specified
maximum number of words between them. So, using the Lexis Nexis
protocol, a statement like:

market W/3 paintings

Will retrieve all items in which the words “market” and “paintings”
appear with no more than three words between, including:

• market for Old Master paintings

• market for British and American paintings (words like “and”

do not count toward our maximum of three)

but not:

° market for previously underappreciated British and

American paintings because more than three words appear
between our search terms.

Fine and Decorative Arts Databases

Earlier in this chapter, the reader was cautioned not to expect a great deal of
art information in electronic formats, relative to the published literature of
other disciplines. While it is true that the periodicals—journals, magazines
and newsletters—required by the art researcher are very often only available
in paper, the researcher is actually very well-served by excellent electronic
indexes to this important body of literature.

The periodical literature of art and art history has been the subject of serious
indexing since the earliest decades of the 20th century. Compared with those
of many other disciplines, art history’s journals were among the earliest to be
systematically indexed, and the most important of these indexing sources are
now available, by subscription, on the Internet. In this section, the primary
indexes to the literature of art and design are described.

Researchers who lack ready access to a large library with a strong art
collection might have access to much more art information than they realize,
given the number of very extensive “all-purpose” databases that are often
made available in many libraries large and small. Many of the periodicals
subject to indexing by the major art databases are included among those
appearing in some of these general database providers—notably, ProQuest,
Dow Jones, EBSCO, and LexisNexis. Later in this chapter, databases offered
by these providers—along with a few that are freely available on the web—
are described in detail.

Art Index Retrospective (1929–1984) and Art Abstracts/Art Full Text

(1984–present).

One of the earliest indexes to the literature of art, architecture,

design and related disciplines—the Art Index—is no longer
published in print; rather, it appears online in two parts—Art Index
Retrospective and Art Full Text; the former covers the years 1929
through 1984, while the latter commences in 1984 and continues
to the current year.

Both components index English-language periodicals,

yearbooks and museum bulletins, as well as selected non–English
language journals. One of this source’s unique features is its
indexing of reproductions. Even reproductions appearing in
advertisements (e.g., gallery exhibition announcements) can be
found in the Art Index. The reproduction indexing feature is a great
 boon to the art researcher in need of information on exhibitions. In
some instances—particularly when the subject of research is a
relatively unknown artist—citation to a reproduction can provide
great leads for further investigation. For example, an
advertisement for an artist’s exhibitions in the 1930s might
identify his or her primary dealer; with this information, the
researcher might track down the gallery’s archival records, which
in turn might provide references to provenance, bibliography and
other pertinent information about a subject work.

The period 1984 to the present is covered by Art Full Text.

Contrary to its title, Art Full Text provides only a selection of full
text journal titles. For most projects, Art Index Retrospective and
Art Full Text represent excellent starting points for periodical
literature on artists and works of art.

Note that Art Index Retrospective and Art Full Text are most
useful for researching artists who have had at least a modicum of
critical attention. Information on obscure or emerging artists will
more likely be found in the larger news databases described in the
next section.

Art Source. EBSCO.

Art Source is a relatively new fine and decorative arts information

aggregator that includes the contents of a number of EBSCO and
(formerly) H.W. Wilson Co. products. Includes access to over 600
full text journals, a number of electronic books, museum bulletins
and more. Art Index Retrospective, described in the previous entry,
is incorporated, along with updated content that makes Art Source
an effective “one-stop-shopping” source for information on art and
design.

ARTBibliographies Modern. Proquest.

ARTbibliographies Modern (ABM) is an online database that

provides extensive coverage of modern and contemporary art,
design, and related fields. ABM is uniquely strong in its indexing
 of numerous publication formats, including journals, books,
essays, exhibition catalogs, doctoral dissertations and exhibition
reviews. Entries include complete bibliographic records, along
with extensive abstracts. Coverage begins in 1974, but some
entries date as early as the late 1960s. The indexing is relatively
current, with updates added monthly.

ARTbibliographies Modern is an excellent starting point for

researching the fine or decorative arts. Its online thesaurus and
browsable indexes are useful for researchers at all levels, from
novice to expert. ABM’s lengthy, high quality abstracts (a sample
record appears earlier in this chapter) provide enough information
to assist the user in deciding whether or not to pursue tracking
down the indexed article, catalog or other publication. While there
is some duplication of coverage with Art Index Retrospective / Art
Full Text described above, a significant amount of unique material
is included in ABM; the researcher of fine or decorative arts from
the 19th century to the present is advised, therefore, to use both of
these excellent resources if they are available.

Arts & Humanities Citation Index. New York: Thomson Reuters.

Arts & Humanities Citation Index (AHCI), a component of the

larger Web of Science, is a powerful research tool that provides
access to journal references (1975–present) in thousands of arts
and humanities titles. AHCI’s indexing provides access not only to
journal articles, but to the works cited by the authors of indexed
articles—making it a uniquely powerful tool for historical
research.

Arts & Humanities Citation Index offers three search methods:

• General Search allows the user to search by topic, author, or

group author. The General Search by Topic retrieves items that
include the search terms in articles’ titles, keywords or abstracts.

• Cited Author Search allows the searcher to retrieve references

that cite the sought-after author.
 • Advanced Search offers the ability to perform complex “field”
searches using the full range of Boolean search capability.
Searchable fields include Topic, Title, Author, Group Author,
Source, and more.

Bibliography of the History of Art (BHA) and its predecessor,

Répertoire Internationale de la Litterature de l’Art (RILA). Santa
Monica, CA: J. Paul Getty Trust, Getty Art History Information
Program, 1991–present.

The Bibliography of the History of Art (BHA) provides indexing

and abstracts of articles in more than 4,300 journals and
magazines, as well as art books, conference proceedings, doctoral
dissertations, and exhibition catalogs. Its subject coverage includes
art of Europe and the Americas (4th century to modern); painting,
sculpture, drawings, and prints; decorative and applied arts;
architecture and industrial design; and popular and folk art. BHA
includes records from the two databases that preceded it:
Répertoire d’Art et d’Archéologie (1973 through 1989) and the
Repertoire Internationale de la Literature de l’Art (1975 through
1989). BHA’s focus is on American and European art and
architecture, dating from late antiquity to the present. The Getty
Research Institute offers this database free-of-charge. Current
access is continued by the subscription-based resource
International Bibliography of Art (IBA), described below.

Searches in BHA may be limited by language, country of

publication, date, and article type. Subjects, authors, and other
fields are hyperlinked, affording the user the ability to select items
related by simply clicking on the desired link.

FRANCIS. Vandoeuvre, France: Institut de l’Information Scientifique et

Technique (INIST), 1984–present.

FRANCIS is a very large, multidisciplinary database comprising

over 1.8 million records as of 2013. Updated monthly, FRANCIS
indexes not only journal articles but also conference papers, books,
reports and doctoral dissertations. Subjects covered are art,
 archaeology, architecture, and general humanities and social
sciences, with some management materials. The vast array of
European language sources indexed by FRANCIS make it a most
valuable resource for the advanced researcher of fine or decorative
arts objects.

Humanities International Complete. EBSCO.

This new title supersedes the Humanities Index, a standard

indexing service provided by the H.W. Wilson Company since the
mid–1970s. EBSCO acquired Wilson and has maintained, but
supplemented the core Wilson products. Humanities International
Complete includes indexing and some full text to the contents of
journals, books and other published sources.

International Bibliography of Art (IBA). Bethesda, MD: Cambridge

Scientific Abstracts. 2009–present.

IBA is considered the successor to the Bibliography of the History

of Art (see above), which is made available free of charge to the
public. By contrast, IBA is available by subscription only. Like its
predecessor product, IBA covers a great deal of scholarly content
in Western European languages not covered extensively by the
other fine arts databases described in this section. Its inclusion of
monographs, essay collections, conference proceedings and
exhibition catalogs make IBA an important resource for the serious
research of fine and decorative arts subjects.

Subject strengths include:

• European art since late antiquity

• American art since the colonial period
• Global art since 1945
• Fine art in all media
• Decorative arts and antiques
• Museum studies and conservation
• Archaeology and material culture
 • Folk art
• Architectural history

JSTOR. New York: JSTOR.

JSTOR, a large and growing collection of electronic journals in the

humanities, social sciences and sciences, is available in many
libraries across the nation. Many larger academic and research
libraries provide access to the complete collection, while some
others opt for a particular component. JSTOR’s business model is
an interesting one that appears to be working for libraries as well
as for the journals’ publishers. With the advent of Internet-based
information delivery, journal publishers feared the loss of revenue
that might result from the ubiquitous presence of their titles online.
These fears are allayed by JSTOR’s policy of providing access
only to backfiles—that is, articles that are not current. When
JSTOR negotiates with a publisher, in most cases a “moving wall”
of coverage is established. If the agreed upon moving wall is four
years, JSTOR provides access to the title, but it is four years
behind current. This ensures that subscribers will continue to
maintain subscriptions, thereby protecting the interests of journal
publishers.

Over the seven-year period since the first edition of this book
was published, a significant amount of art historical content has
been added to JSTOR. The list of titles in the subset “art and art
history” includes hundreds of titles. Included among these are
general titles (e.g., Bulletin of the College Art Association) along
with a great many highly specialized journals.

With JSTOR, researchers can perform complex searches of all of

the art titles simultaneously, or limit their searches to one or more
specific titles. Searching for an artist’s name, subject matter, style,
period, or any combination of these will retrieve scholarly articles
of interest to researchers of fine and decorative art works from
some of the most important titles in the field. The important thing
to keep in mind, though, is that JSTOR rarely includes the most
current issues of any of the journals it offers.
 Periodicals Contents Index (PCI) and Periodicals Archive Online
(PAO). Alexandria, VA: Chadwyck-Healey, 1996–present.

Most of the earliest, print-based subject indexes to periodical

literature cover only those titles published in the 20th century to
the present. For some disciplines, the advent of subject indexing is
even more recent. Periodicals Contents Index (PCI) and its sister
database Periodicals Archive Online (PAO) fill a great void in
subject access to journals by providing access to the contents of
thousands of periodicals in the humanities and social sciences.
International in scope, PAO contains articles many non–English
language titles.

Business, Economics and General Databases

The art market is, of course, covered in the various databases that index
journals, magazines and books related to the fine and decorative arts.
Increasingly, however, important information of interest to collectors and
other art market participants is found in the popular press and in the trade
and professional literature of business and economics.

The following databases will be found in libraries that serve the business
community. Some public libraries offer one or more of these sources, but the
greatest concentration will likely be found in academic libraries with
advanced programs in business administration.

ABI/Inform (ABI)

Available through the aggregate database ProQuest, ABI/Inform

provides access to a great deal of full-text information related to
topics in business, management, investment/finance, etc. Intended
for the business professional, ABI/Inform’s coverage includes the
obvious—magazine and newspaper articles—as well as working
papers, dissertations, business cases and conference proceedings.
ABI includes all of the content found in the subsystems ABI/Inform
Global, ABI/Inform Dateline, ABI/Inform Research, and
ABI/Inform Trade and Industry. The inclusion of a “deep backfile”
makes ABI Complete a valuable resource for the historian of the
 art market and related subjects, as it includes many citations to
works published as early as 1900.

Business Periodicals Index Retrospective (EBSCO, formerly H.W.

Wilson Co.)

This important index covers the professional business literature

published from 1913 through 1982. Coverage includes over 1,500
titles. A range of EBSCO online subscription products, including
Business Source Complete (described below) replace the now
defunct Business Periodicals Index.

Business Source Complete (EBSCO). Coverage: 1886–present.

Business Source Complete is a key resource for research in all

areas of business and economics. Its inclusion of indexing and
abstracting for more than 1,300 journals dating from 1886 to the
present make it indispensable not only for the business
practitioner, but also for the historian.

EconLit. Nashville: American Economic Association. (Print version:

Journal of Economic Literature.)

Econlit is the preeminent database of scholarly economics

information. It provides citations, some with abstracts, to academic
economics literature found in over 300 international journals, as
well as books, doctoral dissertations, conference proceedings and
some 40,000 working papers in economics. It is here that the
advanced researcher will find lengthy articles detailing the market
for various types of art, including some major historical studies.
Focus is on scholarly material rather than newsstand business
press. Updated monthly, some 30,000 items are added each year.

Factiva. New York: Dow Jones.

Factiva is an online archive of digital news sources (including

Dow Jones and Reuters newswires). Among the many thousands
of full text publications indexed, Factiva provides easy access to
many smaller, regional titles not found in other electronic
 information sources, as well as a vast array of non–English
language titles. With its extensive coverage of major international
newspapers, specialized newsletters and other economic planning
sources, Factiva represents a good source for up-to-the-minute
information on the economics of buying and selling art. The
relatively recent addition of content-vetted blogs and web news
titles rounds out Factiva’s very comprehensive art/business
content.

International Bibliography of the Social Sciences. London: The London

School of Economics and Political Science.

A product of the British Library of Political and Economic Science

of the London School of Economics, International Bibliography of
the Social Sciences (IBSS) is a unique online reference tool that
provides in-depth coverage of the social sciences, including
economics and finance. The database provides access to
approximately two million bibliographic references dating from
1951. Its historical depth, coupled with its broad scope of
coverage, make IBSS a very important tool for the study of
economic issues. In addition to its indexing of over 2,700 journals,
current updates include records for some 7,000 book titles
annually. IBSS is unique among databases in its inclusion of
chapters within books, in addition to more traditional citations.

General Periodical Literature Databases

Some readers undoubtedly lack access to a library that offers access to any
of the fine arts databases described in the previous section. The advent of
Internet-based information delivery, however, has given rise to quite a few
general, “all-purpose” databases that index many of the most important
journals included in the more specialized fine and decorative arts sources,
along with a great many magazines, newspapers and newsletters not
included in the more academically-oriented tools. These general interest
sources, which include Readers’ Guide to Periodical Literature, the
information aggregators EBSCO, ProQuest, LexisNexis and others, can be
especially useful for finding information on obscure artists.
EBSCO MasterFILE. Ipswich, MA: EBSCO Publishing.

EBSCO MasterFILE includes the full text of more than 750

periodicals covering a wide range of issues. In addition to its full-
text offerings, MasterFILE provides indexing and abstracting for
an additional 2,250 titles. Some of the full-text titles date from the
mid–1980s, but the majority commence in the mid–1990s.

LexisNexis Academic Universe.

LexisNexis is one of the nation’s oldest providers of digital

information resources. Today, many academic and public libraries
offer the user-friendly LexisNexis Academic Universe, which
provides access to approximately 5,000 publications in the areas of
news, financial, and legal information. Particularly useful for the
collector is the full-text collection of academic law reviews, which
provide a tremendous amount of information on issues related to
provenance, fraud, art theft and a host of other legal topics. Daily
updates to LexisNexis’ news services make it an invaluable
resource for the serious collector, dealer, or other art market
stakeholder.

ProQuest Databases.

Many ProQuest users mistakenly confuse the name of the

vendor (ProQuest) with a specific product. ProQuest actually
makes a number of databases available to institutions on a
subscription basis; one library’s ProQuest offerings, therefore,
often will differ from those of another. The following represent a
few of the more important general databases made available via
ProQuest. (ABI/Inform, described in the preceding section, is
another database made available via ProQuest.)

• ProQuest Research Library. ProQuest Research Library is

widely available in college, university, larger public and some
other types of libraries. Truly multidisciplinary, ProQuest
Research Library offers a wide array of scholarly journals, trade
publications, magazines and newspapers intended to serve the
basic research needs of scholars in 150 core subject areas.

• ProQuest Historical Newspapers and Other Periodicals.

Today, the digitization of large collections of historical material
represents one of the most exciting trends in research and
scholarship. In recent years, ProQuest has introduced a number of
retrospective sources that have made historical research infinitely
easier than ever before. Until the advent of digitized newspapers,
researchers were faced with the arduous task of scanning annual
printed indexes or citation databases to identify the dates, pages,
and columns of potentially useful articles; once the citations to
articles were located, the researcher then had to find, load, and
read the corresponding microfilm reels. This highly labor-intensive
process has at last been supplanted by the full-text, searchable
version of many of our nation’s leading newspapers and
magazines.

For the art researcher, there is one unfortunate reality in this

realm of digitization. Many of the images of artworks are not
included, but are rather blocked for obvious copyright restrictions.
In some instances, the researcher might gain enough information
from a description of the work to be able to track down an image
in another source, whether in print or online. In others (e.g., those
artists whose works lack unique titles), verification of the item
under discussion might require consulting the microfilm or, if
recent enough, the print issue of the newspaper. This single caveat
notwithstanding, digitized newspapers and magazines represent a
great boon for the modern research of fine or decorative arts.

Full-text searching for an artist’s name in the following

newspapers is often of particular value for researching an artist
who is not very well known. Consider, for example, an artist who
had a modicum of success in the 1940s. A search of the artist’s
name will retrieve not only articles and exhibition reviews, but
will also pinpoint advertisements for exhibitions. Identifying the
subject artist’s gallery representation at a specific point in time can
be a good lead to further information; for example, the researcher
 might pursue the galleries’ archival records to identify information
relating to sales, provenance, additional exhibitions or other
aspects of the subject artist’s work and life.

Currently, Proquest’s offerings of historical newspapers include

over one hundred titles, including national dailies, regional titles,
and a great many specialized titles (e.g., The American Hebrew,
New York: 1879–1902).

Readers’ Guide to Periodical Literature. EBSCO Publishing [formerly,

New York: H.W. Wilson], 1900–present.

The Readers’ Guide to Periodical Literature is undoubtedly one of

the world’s best-known indexes to journals and magazines.
Available in print since the turn of the last century, the Readers’
Guide is an essential source for the researcher seeking information
in general news magazines, along with a selection of more
specialized titles, including some relating to art and design. Many
school and public libraries provide access to the Readers’ Guide.
Online, the Readers’ Guide is comprised of two complementary
products: Readers’ Guide Full Text (1983–present), and Readers’
Guide Retrospective (1890–1982).

INTERNET SEARCHING BASICS

While the reader has been cautioned about relying upon free-of-charge
Internet resources for many fine and decorative arts research projects, there
are some extremely valuable resources to be found there. A good number of
these are described throughout this book, intermingled with printed sources.

In some instances, a newfound knowledge of database searching might

provide real surprises as a researcher surfs the net. Beyond the obvious—
directories, gallery and auction announcements, artists’ biographies and the
like—often some very obscure but valuable information is simply there for
the taking. Where to look and how to evaluate what one finds remain the real
challenges, as the number of websites indexed grows exponentially.
The gateway to the vast array of Internet resources is the search engine.
Recall from our discussion of database searching techniques that large
databases are most effective when search terms are limited to specific fields.
The Internet is certainly the largest database at our disposal, and so some
fine-tuning of our searches can make the experience much more fruitful.
How can we hone our Internet search strategies? Let’s consider how Google
—the most popular of the search engines—allows us to tailor our search
statement, thereby limiting the number of irrelevant results.

Like many of the databases we’ve discussed, the default search option in
Google is the basic keyword search—that single box into which the user
enters keywords he or she hopes will retrieve links to relevant web pages.
Unless the terms are unique, these kinds of searches often deliver far too
many results. Why does this happen? For the simple reason that Google is
now searching not millions, but billions of web pages, hundreds of millions
of images, and more. The likelihood of any single term appearing in a page
completely irrelevant to our search is very high.

Google Features

We saw earlier that limiting our search terms to specific fields (notably, the
title and abstract of a database record) in most commercial databases helps to
limit the number of irrelevant items retrieved. A basic Google search can be
similarly tailored by selecting the “Advance Search” option. An exploration
of this and some other very powerful features of Google follow.

Google Advanced Search (http://www.google.com/advanced_search):

Google’s advanced search feature allows the searcher to construct a complex
statement, including full Boolean functionality (see discussion of Boolean
searching earlier in this chapter). The search term form provides the
following options:

Find results >> with all of the words (the Boolean “and” connector)

with the exact phrase

with at least one of the words (the Boolean “or” connector)

 without the words (the Boolean “not” connector)

Consider the following research question: “How can I find websites with
information on the authentication of paintings by Martin Johnson Heade?”
We might construct the search query as follows:

With all of the words: Martin Johnson Heade

With at least one of the words: authentication attribution

Field Searching: Recall from our discussion of database searching

techniques that limiting the occurrence of search terms to specific fields can
limit the number of irrelevant results. In Google Advance Search, this
functionality is offered, in a limited way. Searchers may limit the occurrence
of terms to the following:

Anywhere in the page

In the title of the page
In the text of the page
In the URL of the page
In links to the page

One would expect that limiting the occurrence of search terms to “In the title
of the page” would be the most effective way of eliminating irrelevant
search results. But the “title” of a web page is not a “title” in the most
commonly understood sense of the word. Rather, the title is simply a tag that
may or may not include all of the most descriptive search terms. The page’s
“header” represents what most people would refer to as the title. Web page
developers are increasingly savvy in their use and placement of terminology,
but some very good information can be overlooked when terms are limited
to the title field.

Additional options available on the advanced search form include limiting

by language, file format (e.g., Microsoft Powerpoint), and date.

Google Images: If the researcher is armed with the proper search terms—an
artist’s name, a chair’s style or period—Google makes it easy to pinpoint
images of works of art. Frequently, even emerging artists with few credits to
their name have images of their works on the Internet. To find images,
simply select the “Images” option above the basic keyword search box.

Google Groups: Email based discussion groups (Usenet) have been around
since the late 1970s, and so represent a rich and diverse source of
information for the advanced researcher. Google Groups contains the world’s
largest archive of Usenet postings—dating all the way back to 1981.
Searching this vast archive of email-based information allows the researcher
to locate a great deal of information, but the novice researcher should be
careful; the groups are, for the most part, completely open, and so the quality
of information found will run the gamut from very sound to downright
ridiculous. Judgment is certainly the most important tool required of the
researcher using this portion of the Google menu.

Conclusion

Researching individual works of art is a bit like detective work, but if

approached systematically, the process can be very rewarding. Always begin
with as much information as possible about the actual object, or type of
artwork, to be researched and be creative in your approach. Investigating
“big picture” issues related to the art market, by contrast, requires some
familiarity with business, economics, and related disciplines’ literature, and
often a “wide-winged” approach is preferable. Popular press, trade-specific
publications, and freely available websites are important additions to the
more formal research retrievable by the numerous sources discussed earlier.

In the following chapters, subject and medium-specific sources will be

identified and described. First we’ll look at those sources that are useful for
researching the actual work; then we’ll move on to those that provide market
data for selected objects.
 Chapter Four

Researching Works of Art: Basic Methods and Sources

The process of researching a work of art usually begins with a careful

analysis of the subject work with the goal of answering some key questions,
including:

• Who is the artist?

• What is the work’s medium?

• When was it made, and where?

• Has the work appeared in any exhibitions, and if it has, when and
where?

• Is the work illustrated or discussed in any books, magazines, journals

or other publications about the artist, the period or the style?

The answer to each of these questions will serve as a starting point for
further research, and will also affect the value of the work under
consideration.

To assist in the identification and further study of artworks, the modern

researcher has access to an ever-increasing wealth of information sources, in
both print and electronic formats. In this chapter, basic research tools—
including artists’ catalogues raisonnés, monographs, exhibition catalogs, and
more—will be defined, and the reader will be guided in their use.

It is beyond the scope of this chapter to even attempt to identify all of the
sources available for researching an artist or an artwork; such an endeavor
would comprise a work of many volumes. While many of the primary
research tools are identified throughout, this chapter places some emphasis
on the process of identifying sources that are germane to the study of the
artwork at hand. Note that our focus here is on art research methods and
sources. The tools and processes involved in researching market information
on fine and decorative art objects are covered in great detail in Chapters Six
and Seven.

The Process

Before we proceed to review the more traditional fine arts research

materials, we’ll begin with a look at a valuable (and often overlooked)
source of research assistance: librarian-produced guides to specialized
subject literature.

LIBGUIDES (HTTP://LIBGUIDES.COM)

In addition to answering questions and facilitating research projects,

librarians often produce guides to their collections. These range from the
very general to the highly specialized. Until recently, library-produced
guides to research have been referred to as “pathfinders.” Most libraries have
discontinued their print (paper) guides, replacing them with electronic
versions. Many libraries create and maintain their guides using “LibGuides,”
a commercial online publication authoring system of the SpringShare
Company.

You might wonder how a guide to resources produced by one library might
be useful to researchers in others. Most of these guides include lists of
books, journals, online databases, websites and more, with call numbers,
locations and other details keyed to the library for which they’ve been
produced. Depending upon the size, subject strengths and other details,
chances are that your library might have some, most, or even all of the items
identified in any of the LibGuides. Even the call numbers might be the same;
if your library uses the Library of Congress (LC) system, and you select a
guide that was produced by another LC library, in most instances the call
number of any work will be the same in both libraries. As of late January,
2013, LibGuides boasts a total of 316,431 guides authored by 53,340
librarians at 3,834 libraries worldwide.

GENERAL FINE ART BIBLIOGRAPHIES

Technically speaking, a bibliography is simply a list of published or

unpublished works, including books, journals, individual articles within
journals, and other documents. But a simple list is often of little use to the
researcher; rather, it is the description, or annotation, that adds value to any
bibliography. Works of this type are described in this section.

The researcher of art and art history has access to a great many annotated
bibliographies that range in scope from the general to the very highly
focused. The most important of the general bibliographies are identified
here. To find additional bibliographies of this type in libraries that utilize the
Library of Congress cataloging system, conduct a search using the subject
heading “Art—Bibliography.”

A.C.I.: Art Catalogue Index: Catalogues Raisonnés & Critical

Catalogues of Artists 1780–2008. Compiled and realized by Noelle
Corbox and Cécile de Pebeyre under the direction of Marc Blondeau
and Thierry Meaudre. Geneva: Blondeau Fine Art Services, 2009 [Vol.
1].

This handy bibliography identifies scholarly writing on Western

artists dating from 1780 to the present. A volume devoted to Old
Masters is in the works as this book goes to press.

Arntzen, Etta, and Robert Rainwater. Guide to the Literature of Art

History. Chicago: American Library Association, 1980. 616p. (Update:
Marmor, Max, and Alex Ross. Guide to the Literature of Art History 2.
Chicago: American Library Association, 2005. 899p.)

Arntzen and Rainwater’s Guide… is a comprehensive

bibliography of sources for the study of art, design, architecture
and related fields. Reference works, fully annotated, are followed
by classified sections treating the various “Particular arts”
(architecture, sculpture, etc.), subdivided where appropriate by
 continent or country. Marmor and Ross’ 2005 update uses the
general classification scheme employed by Arntzen and Rainwater.
Additional chapters include “Patronage and Collecting” and
“Cultural Heritage.”

Bell, Doris L. Contemporary Art Trends, 1960–1980: A Guide to

Sources. Metuchen, NJ: Scarecrow, 1981. 171p.

Classified topical bibliographic essays on contemporary trends,

including arte povera, earthworks, environments and happenings,
mail art, video and others precede country surveys.

Blazek, Ron, and Elizabeth Aversa. The Humanities: A Selective Guide

to Information Sources. 5th ed. Englewood, CO: Libraries Unlimited,
2000. 603p.

Most libraries with significant humanities collections use Blazek

and Aversa as a standard reference source. The visual arts sources,
like those of the other humanities disciplines, are selected for their
high quality, and include very extensive, detailed annotations.

Chamberlain, Mary. Guide to Art Reference Books. Chicago: American

Library Association, 1959. 418p.

Predecessor to Arntzen and Rainwater’s Guide to the Literature of

Art History (above). Good source for historical research and
especially strong in non–English language material.

Ehresmann, Donald L. Fine Arts: A Bibliographic Guide to Basic

Reference Works, Histories and Handbooks. 3d ed. Littleton, CO:
Libraries Unlimited, 1990. 373p.

Annotated guide to over 2,000 fine arts reference works.

Author/title and subject indexes.

Freitag, Wolfgang M., ed. Art Books: A Basic Bibliography of

Monographs on Artists. 2d ed. New York: Garland, 1997. 542p. (Series:
Garland Reference Library of the Humanities, 1264.)
 A–Z list of books devoted to individual artists. Useful for its
indication <CR> of which work is considered the definitive
catalogue, or catalogue raisonné, of the subject artist.

Jones, Lois Swan. Art Information: Research Methods and Resources.

3d ed. Dubuque, IA: Kendall/Hunt, 1990. 373p.

Very well organized, comprehensive research guide for art,

architecture, and design.

Offers the user a good deal of guidance in the research process, in

addition to well-annotated sources.

Nishio, Eizo. 20/21C Art Books: A Bibliography of Artists and Art

Movements in the 20th and 21st Centuries. Tokyo: Art & Books, 2010.
663p.

Professional level bibliography of monographs, catalogues

raisonnés, books and exhibition catalogs. Indispensible to the
serious researcher of 20th/21st century art and artists.

BIBLIOGRAPHY—GEOGRAPHICAL FOCUS

The following titles represent the major published bibliographies of fine and
decorative arts limited to specific geographic areas. Medium-specific (i.e.,
painting, sculpture) bibliographies will be found later in this chapter, along
with other medium-specific reference sources.

Africa

Biebuyck, Daniel P. The Arts of Central Africa: An Annotated

Bibliography. Boston: G.K. Hall, 1987. 300p. (Series: Reference
Publication in Art History.)

Classified bibliography with brief annotations. Partial contents:

General ethnographies; General studies of African art; General
studies on Zairian art; Northwestern Zaire; Northeastern Zaire;
West Central Zaire; East Central Zaire; Southwestern Zaire;
 Lunda-Cokwe Complex; Southeastern Zaire; South Central Zaire.
Author, ethnic group and subject indexes.

Burt, Eugene C. An Annotated Bibliography of the Visual Arts of East

Africa. Bloomington: Indiana University Press, 1980. 371p. (Series:
Traditional Arts of Africa.)

Brief but informative annotations to over 2000 published works on

East African art and aesthetics. Partial contents: East Africa:
General; Kenya; Tanzania; Maskonde Group; Uganda. Culture,
author and subject indexes.

Latin America

Bailey, Joyce Waddell, gen. ed. Handbook of Latin American Art =

Manual de Arte Latinoamericano. Santa Barbara, CA: ABC-Clio, 1984.

Classified, briefly annotated entries to books, articles, anthologies,

and exhibition catalogs published over the past century. Volume I:
General references and art of the nineteenth & twentieth centuries;
Volume II: Art of the colonial period.

Berlo, Janet Catherine. The Art of Pre–Hispanic Mesoamerica: An

Annotated Bibliography. Boston: G.K. Hall, 1985. 272p.

Following a brief but informative historiographic essay, this well-

annotated bibliography includes references to more than 1500
sources, including monographs, exhibition catalogs, periodical
literature, conference and symposia reports and more.

Findlay, James A. Modern Latin American Art: A Bibliography.

Westport, CT: Greenwood, 1983. 301p. (Series: Art Reference
Collection.)

Bibliographic survey of thousands of 19th and 20th century books,

exhibition catalogs, and other published works on modern Latin
American art. Arranged by broad geographic area—Latin
America, Caribbean, Central America—and further subdivided by
 country. Subarranged by subject, e.g., Argentina—General—
Dictionaries, etc. See also: Latin American Modern and
Contemporary Art: Online Bibliography (below).

Latin American Modern and Contemporary Art: Online Bibliography.

New York: Museum of Modern Art. Edited and maintained by Taína B.
Caragol, bibliographer, Latin American specialist, the Museum of
Modern Art, New York. http://arcade.nyarc.org

This specialized bibliography has been integrated with the

Library’s online catalog, Dadabase; from the drop-down menu,
select MoMA: Latin American Collection.

North America

Davis, Lenwood G. Black Artists in the United States: An Annotated

Bibliography of Books, Articles, and Dissertations on Black Artists,
1779–1979. Westport, CT: Greenwood, 1980. 138p.

Extensive bibliography of writings on the lives and work of black

artists, most citations provide substantial annotations. Particularly
useful for its inclusion of early periodical articles appearing in
journals that are not indexed elsewhere. Includes a list of works by
black artists at the National Archives.

Frye, Daniel J. African American Visual Artists: An Annotated

Bibliography of Education Resource Materials. Lanham, MD:
Scarecrow, 2001. 378p. (Series: Global Art Resource Guides, 1.)

More than just a bibliography, this reference work provides a good

directory of sources, including museums and galleries, book
publishers and stores, collections, historical and research centers,
journals and more. Partial contents: African American art: a
contextual survey; Annotated bibliography: General; Surveys;
Children’s books; Artists; Artist groups and movements.

Karpel, Bernard, ed. Arts in America: A Bibliography. Washington, DC:

Published for the Archives of American Art by the Smithsonian
Institution, 1979. 4 vols.

Extensive bibliography of the arts in America, includes references

to approximately 25,000 works. Focus on architecture, the visual
and decorative arts, art of Native Americans, and the performing
arts. Reference works, books, exhibition and trade catalogs,
journals and journal article citations included.

Schimmelman, Janice Gayle. American Imprints on Art Through 1865:

Books and Pamphlets on Drawing, Painting, Sculpture, Aesthetics, Art
Criticism, and Instruction: An Annotated Bibliography. Boston: G.K.
Hall, 1990. 419p.

This well-annotated bibliography of 637 titles is supplemented by

a list arranged by publication date.

_____. Books on Art in Early America: Books on Art, Aesthetics, and

Instruction Available in American Libraries and Bookstores through
1815. New Castle, DE: Oak Knoll Press, 2007. 280p.

For the serious historian of American art, this bibliography of titles

is supplemented by five useful Appendices, including: Books by
Date of First Catalogue Reference; Books in Order of Number of
Catalogue References; Libraries and Booksellers in Alphabetical
Order with Their Earliest Catalogue Reference; Libraries and
Booksellers in Order of the Size of Their Collections; Books on
Art Read by Eighteenth Century Artists.

Sokol, David M. American Architecture and Art: A Guide to

Information Sources. Detroit: Gale, [1976]. 341p. (Series: American
Studies Information Guide Series, vol. 2.)

Provides brief annotations to a wide array of information sources

relating to American fine and decorative arts. Partial contents:
General reference sources; General histories, aesthetics, and taste;
American painting; Period surveys of American painting;
Individual painters; American sculpture; Individual sculptors;
American decorative arts. Author, title and subject indexes.
Oceania

Hanson, Louise, and F. Allan Hanson. The Art of Oceania: A

Bibliography. Boston: G.K. Hall, 1984. 539p. (Series: Reference
Publication in Art History.)

International, multilingual bibliography of monographs, catalogs,

theses, dissertations, and periodical literature. “Annotations are
provided in cases where titles give incomplete or unclear
information about works and their contents [preface].” Partial
contents: Cross-region; Polynesia; Micronesia; Melanesia;
Australia. Sales catalog section arranged by auction house,
subdivided by date. Identifies lot numbers for Oceanic art lots.
Personal name, title and subject indexes.

SOURCES FOR THE IDENTIFICATION OF ARTISTS

The process of identifying the artist responsible for a particular work of art
can run the gamut from very straightforward to virtually impossible. A work
with a clear signature and date represents the former (unless, of course, it is a
fake), while the unsigned genre painting, for example, might be taken to
represent the latter. Depending upon the type of work under consideration,
there are many levels of attribution in between, and very often only an expert
on the artist, style or school will be able to provide a definitive opinion on
authorship. For a discussion of the role of experts in the art market, see
Chapter Three.

Works with Signatures, Monograms or Other Markings

A number of reference works are available to assist the researcher who is

trying to verify the appearance of an artist’s signature or monogram.
Monographs frequently (and biographies sometimes) will include signature
or monogram facsimiles and might even go into some detail as to the
appearance of different types of marks used by the artist at various points in
her or his career. Later in this chapter, we’ll review at length the value of the
catalogue raisonné in the process of researching an artist’s oeuvre; for the
purposes of identifying artists and researching signatures and marks, it
should be noted here that these invaluable resources often provide a wealth
of information.

The illustration from John Castagno’s Latin American Artists’ Signatures

and Monograms: Colonial Era to 1996 (Lanham, MD: Scarecrow, 1997)
illustrates the value of signature identification tools. An expanded
bibliography of specialized signature reference sources follows.

Note in the illustration that, in addition to the signature samples for

Latin American artist Roberto Montenegro, Castagno’s directory provides
some valuable leads for further investigation of this relatively obscure artist,
including exhibitions, one publication, and three dealers. Users of reference
tools like this, however, are cautioned that forgers, capable of making
convincing copies, can be equally adept at copying their subject artists’
signatures!
Entry for Latin American artist Roberto Montenegro, from John
Castagno’s Latin American Artists’ Signatures and Monograms: Colonial
Era to 1996 (Lanham, MD: Scarecrow, 1997).
For a brief but very informative discussion of signature identification in the
art world by a noted graphologist, see Patricia Siegel, “Signature
Identification: From Pen Stroke to Brush Stroke,” in The Expert versus the
Object: Judging Fakes and False Attributions in the Visual Arts (New York:
Oxford University Press, 2004, pp. 89–94).

Signature and Monogram Sources

In addition to the various print signature reference sources, several Internet

sites—some free, and some fee-based—provide access to signature
facsimiles.

ArtistsSignatures (http://www.artistssignatures.com)

Subscription-based, searchable archive of signatures compiled by

John Castagno, whose numerous reference books are described
below.

Findartinfo (http://Findartinfo.com)

This site offers a variety of services, including access to

photographic reproductions of artists’ signatures. Various
membership plans (daily, monthly, annual) available.

SIGNATURES AND MONOGRAMS IN REFERENCE WORKS

In addition to those works that are composed entirely of signature and

monogram facsimiles, some general biographical dictionaries supplement
their entries with signature samples against which the researcher can check
the signature on a given work. Included among this group of reference works
are the following two sources.

Bazin, Germain, et al., eds. Kindlers Malerei Lexikon: 1000

Malersignaturen, 1200 Garbige Reproductionen, 3000 Schwarzweisse
Reproductionen in Sechs Bänden. Zurich: Kindler Verlag, 1964–71.

Critical and biographical dictionary of European artists. Many

entries include signature or monogram example, list of public
 collections, bibliography. Very heavily illustrated with many good
color reproductions.

Benezit, E. (Emmanuel). Dictionary of Artists. Paris: Gründ, 2006. 14

vols. [first English language edition].

_____. Dictionnaire Critique et Documentaire des Peintres, Sculpteurs,

Dessinateurs et Graveurs de Tous les Temps et de Tous les Pays, par un
Groupe d’Écrivains Spécialistes Français et Étrangers. Nouvelle ed.,
entièrement ref. sous la direction de Jacques Busse. Paris: Grund, 1999.
14 vols.

Note that Benezit Dictionary of Artists is made available online (by

individual or institutional subscription) through Oxford Online.

Provides examples of artists’ signatures and monograms for

most entries. This standard biography reference source, usually
called simply “Benezit,” is described in greater detail later in this
chapter.

Occasionally, sources that are devoted to a single artist’s work will provide
information on the subject artist’s signature, monogram or other marks.
Catalogues raisonnés in particular (described at length below), because they
usually define their methodologies very clearly, often include signature
facsimiles of their subject artist. Because a signature frequently changes over
time, many catalogues raisonnés include a number of examples representing
different periods of their subject artists’ lives and careers.

BIBLIOGRAPHY OF SIGNATURE AND MONOGRAM SOURCES

Caplan, H. H. The Classified Directory of Artists’ Signatures, Symbols

& Monograms. H. H. Caplan; in association with Gale Research
Company. Detroit: Gale Research, 1976. 738p.

Provides birth and death dates, place of birth, types of work,

media, and signature/monogram examples. International in scope,
16th century to the present.
_____. The Classified Directory of Artists’ Signatures, Symbols &
Monograms: American Artists with New U.K. Additions. Enlarged and
rev. ed. London: P. Grahame, 1987. 564p.

Enlarged, updated version of previous entry.

Castagno, John. African, Asian and Middle Eastern Artists: Signatures

and Monograms: A Directory from 1800. Lanham, MD: Scarecrow,
2009. 133p.

In separate sections (African; Asian; Middle Eastern), examples of

major artists’ signatures provided. Additional content includes
Alternative Surname Signatures; Symbols; Illegible Signatures and
Foreign Characters.

_____. American Artists: Signatures and Monograms, 1800–1989.

Metuchen, NJ: Scarecrow, 1990. 826p.

Provides signature examples for 5,100 artists, dating from 1800 to

1990. The volume serves also as an index to entries in major
biographical dictionaries, encyclopedias, specialized reference
works and periodicals. Volume 2, in press, is slated for publication
at the end of 2005. It will include additional artists, as well as new
material (e.g., additional signatures) for many artists included in
the 1990 volume.

_____. Artists as Illustrators: An International Directory with

Signatures and Monograms, 1800–Present. Metuchen, NJ: Scarecrow,
1989, 625p.

Provides basic information and serves as an index to biographical

reference sources; 14,000 entries include country or countries
active, birth/death dates. Only a portion of the entries includes
signature example.

_____. Artists’ Monograms and Indiscernible Signatures: An

International Directory, 1800–1991. Metuchen, NJ: Scarecrow, 1991.
538p.
 Signature examples for 3,700 artists (5,200 signatures). Section on
illegible signatures most useful. Volume 2, slated for publication in
late 2005, will include additional artists and new information on
artists in the 1991 edition.

_____. Australian, British, and Irish Artists: Signatures and

Monograms: A Directory from 1800. Lanham, MD: Scarecrow, 2009.
501p.

Signature samples for over 2,600 artists active since 1800.

_____. European Artists: Signatures and Monograms, 1800–1990,

Including Selected Artists from Other Parts of the World. Metuchen,
NJ: Scarecrow, 1990. 895p.

Includes signatures, biographical data, bibliographic and auction

sales references for more than 4,800 artists. Includes some
Australian, Japanese and South African artists. Volume 2, in press,
is slated for publication at the end of 2005. It will include
additional artists, and much updated information on artists
included in the 1990 edition.

_____. Jewish Artists: Signatures and Monograms: An International

Directory. Lanham, MD: Scarecrow, 2010. 615p.

Offers biographical information and signature examples for more

than 650 Jewish artists. Includes special sections on Monograms;
Symbols; Illegible Signatures, Hebrew Signatures, and Cyrillic
Signatures.

_____. Latin American Artists’ Signatures and Monograms: Colonial

Era to 1996. Lanham, MD: Scarecrow, 1997. 673p.

Standard index to 1,100 artists includes 1,650 signatures. Provides

references to auction sales catalogues, solo and group exhibitions,
reviews, and other literature.

_____. Old Masters: Signatures and Monograms, 1400–Born 1800.

Lanham, MD: Scarecrow, 1996.
 Includes 2,700 signature examples of 1,700 artists. Nationality,
birth and death dates, along with references to auction catalogs
that include images of the works cited.

Darmon, J. E. Répertoire des Estampes Japonaises; les Artistes et Leurs

Signatures, les Procédés, les Oeuvres et Leurs Prix dans les Ventes,
Biographies et Bibliographies. Paris: Editions Albert Morance, [1922].
152p.

Biographical sketches include bibliographical references,

signatures, and some 1920 sales prices.

Falk, Peter H. Dictionary of Signatures & Monograms of American

Artists: From the Colonial Period to the Mid 20th Century. Madison,
CT: Sound View Press; Land O’Lakes, Fla.: Distributed by Dealer’s
Choice Books, 1988. 556p.

Basic information on subject artist (name, dates, etc.),

discipline/media. Entries record changes, inconsistencies (some
have three or more examples). Shapes & symbols, index of
“Undecipherable Monograms.”

Jackson, Radway. The Concise Dictionary of Artists’ Signatures:

Including Monograms and Symbols. Introduction by Andrew Festing.
New York: Alpine Fine Arts Collection, 1981, 1980. 224p.

Radway’s Concise Dictionary… is a very handy guide to

thousands of signatures, including a good proportion of lesser-
known artists. The dictionary’s “Visual Index” allows the user to
pinpoint some of the more indiscernible of marks.

Lampe, Louis. Signatures et Monogrammes des Peintres de Toutes les

Écoles; Guide Monogrammiste Indispensable aux Amateurs de
Peintures Anciennes. Brussels: A. Castaigne, 1895–98. 3 v. in 1.

Names, dates, and signature examples of thousands of artists, all

periods, schools.
Leblond, V. (Victor). L’Art et les Artistes en Île-de-France au XVIe
Siècle (Beauvais & Beauvaisis) d’Après les Minutes Notariales; avec 7
Phototypies et 80 Marques, Signatures et Monogrammes. Paris: E.
Champion, 1921. 352p.

Primary documents relating to the fine and decorative arts.

Includes signature and monogram examples of subject artists.

Pfisterer, Paul. Signaturenlexikon = Dictionary of Signatures. Berlin:

W. de Gruyter, 1999. 993p.

Perhaps the largest of the general signature directories, Pfisterer’s

includes examples of more than 16,000 artists’ signatures and
marks. Focus is on American and European artists of the 19th and
20th centuries.

Piron, Paul-L. Signatures d’Artistes Belges des XIXe et XXe Siècles =

Handtekeningen van

Belgische Kunstenaars uit de XIXe en XXe Eeuwen. Brussels: Arts

Antiques Auctions, [1989–1991] 2v.

Volume one includes over 4,000 artists’ signature samples; volume

two comprises thousands of additional signatures not included in
the first volume.

Schwarz, Karl M. Netsuke Subjects: A Study on the Netsuke Themes

with Reference to Their Interpretation and Symbolism; Containing
Photographs and Details on More Than 400 Netsuke and 200
Signatures, 1000 Keywords. Vienna: Bohlau, 1992. 151p.

Guide for the serious netsuke collector and connoisseur. Partial

contents: Carvers and signatures; Quality and genuineness;
Identification of netsuke subjects; Collectors and collections;
Prices and trends. Subject guide: Gods, saints, devils;
Mythological beings and legends; Daily life; Animals and plants.
List of carvers represented by signatures.
 Self, James, and Nobuko Hirose. Japanese Art Signatures: A Handbook
and Practical Guide. Floating World Editions [s.l.]: Distributed by
Weatherhill, 2003. 400p.

Includes thousands of names, facsimile signatures of Japanese

artists and artisans.

Signatures and Seals on Painting and Calligraphy: The Signatures and

Seals of Artists, Connoisseurs, and Collectors on Painting and
Calligraphy Since Tsin Dynasty. Compiled by the Joint Board of
Directors of the National Palace Museum and the National Central
Museum, Taichung, Taiwan, the Republic of China. Kowloon, Hong
Kong: Cafa, 1964. 556p.

Vol. 1: Tsin to Yüan Dynasty (265–1368 A.D.); Vol. 2. Ming

Dynasty (1368–1643 A.D.); Vol. 3. Ch‘ing Dynasty (1644–1911
A.D.); Vol. 4. Brief Biographies.

Signatures et Monogrammes d’Artistes des XIXe et XXe Siècles.—Paris:

Editions Van Wilder, 1998. 484p.

Over 8,500 signatures, 1,600 monograms. Entries include name,

birth/death dates, signature sample.

Stewart, Basil. The Dating of Japanese Prints, List of Ukyoye Artists,

Reproductions of Artists’ Signatures, Publishers’ Seals, and Actors’
Crests: From Subjects Portrayed in Japanese Colour-Prints;
Appendices I, III and IV. Geneva: Reda, [1973]. 376p.

Reference work detailing artists’ signatures, publishers’ seals and

actors’ crests. Artist entries include name, dates (if known),
qualifier, e.g., “follower of …,” signature and seal examples.

THE ARTIST’S CATALOGUE RAISONNÉ

The catalogue raisonné, or “reasoned catalogue,” is essentially a list of

works believed to be created by its subject artist. The individual entries in
artists’ catalogues raisonnés are arranged in chronological order, and
depending upon the artist’s output, the catalogue may comprise anywhere
from one to numerous volumes.1 Some artists’ catalogues raisonnés appear
in the form of doctoral dissertations, and occasionally they are simply
appendices (often lacking reproductions) to monographs on the subject
artist’s work.

The artist’s catalogue raisonné might include works in all media (drawings,
paintings, sculpture, etc.) by the subject artist, or it might be medium-
specific. Individual entries in an artist’s catalogue raisonné can be expected
to include some or all of the following pieces of information about each
work:

• Title
• Date
• Reproduction
• Dimensions
• Medium
• Information on signature or marks
• Exhibition history
• Provenance
• Bibliographical references
• Other pertinent information (e.g., for prints, number of artist’s proofs,
edition size, publisher, etc.)

Some early catalogues raisonnés are simple lists of works (see illustration on
next page). Others are far more complex, and might include special sections,
like inventories of works that are believed to be fakes or forgeries.

Inclusion of a work of art in a catalogue raisonné should never be taken as

the final word on its authenticity. Catalogues published decades ago, in
particular, should be used with caution. Works by artists long-deceased
continue to be discovered; if their existence was unknown at the time of the
catalogue’s publication, such works will of course not be included in the
subject artist’s catalogue raisonné.

Occasionally, catalogues raisonnés are updated with supplementary volumes

that incorporate changes like corrections, newly discovered information
about works included in the original catalogue, and entries for works that
have been discovered subsequent to publication of the catalogue raisonné.
Occasionally, scholars propose additional entries, or challenge works
attributed to an artist, in the form of articles or news items in magazines and
journals. A thorough review of the major art periodical literature databases
(see below) will retrieve such items in the journal literature.

Online Catalogues Raisonnés

To date, surprisingly few catalogues raisonnés have been published online,

but some noteworthy exceptions highlight the great potential of online
access in this all-important area of fine art information. Digital publishing
provides significant advantages over traditional paper publishing,
particularly for reference works which are subject to periodic or regular
revision. As new scholarship arises to support or refute the attribution of a
work, the online catalogue raisonné can be updated accordingly. In the past,
these kinds of changes could only be made with the very labor intensive
distribution of errata sheets.

Even more importantly, online catalogues raisonnés are not bound to the
linear structure of books. For example, while the work of a painter can
be organized around media or processes (paintings, drawings, etc.), the
relationship between various works is lost in a printed book. Online
catalogue raisonné editors can “link” individual works to their preparatory
studies, source material, and other items within the catalog, creating a more
holistic view of the artist’s oeuvre.
Catalogue Raisonné entry for Roy Lichtenstein sculpture Expressionist
Head (1980). Note the inclusion of related, preparatory works (artworks
by Roy Lichtenstein © Estate of Roy Lichtenstein).

The Roy Lichtenstein Foundation is widely recognized for its innovative use
of the web as a platform for its online catalogue raisonné, dubbed the “Image
Duplicator” after one of the artist’s comic book-inspired paintings of the
1960s. This endeavor serves to illustrate the power of the online
environment to not only document individual works, but also to relate those
works to each other, where appropriate. See, for example, the entry for the
artist’s 1980 sculpture Expressionist Head. In addition to the record for the
fully documented final sculpture, we also retrieve the related preparatory
drawing, more finished working collage, and other details. The Image
Duplicator is available to researchers of Lichtenstein’s work, free-of-charge:
http://www.imageduplicator.com

Keeping apace of developments in digital information production and

delivery is challenging not only for the researcher, but also for the
commercial publishers who must grapple with the economics of this rapidly
evolving new medium. As this book goes to press, one interesting venture
worth noting—Artifex—has announced a “soft launch” of its online
catalogue raisonné platform. The firm’s first two catalogues include Chuck
Close: Paintings, 1967–present and Jim Dine: Sculpture, 1983–present, with
more titles in the planning stages.

The Artifex interface is highly intuitive, and offers the researcher at least one
image of each artwork; for some pieces, additional images are included; this
is particularly important for the researcher of three-dimensional works like
those inventoried in Jim Dine: Sculpture, 1983–present. Artifex catalogues
can be viewed in the chronological order that characterizes virtually all of
the print-based catalogues of the past, but the online environment offers
unlimited potential for additional “faceting” of artists’ oeuvres by subject
matter, media, and more.

Finding Catalogues Raisonnés

To find artists’ catalogues raisonnés in libraries that utilize the Library of

Congress classification system, conduct a subject search of the library’s
catalog using subject headings like “Whistler, James McNeill, 1834–1903—
Catalogs” or “Degas, Edgar, 1834–1917—Catalogues Raisonnés.”

This very useful tool for identifying artists’ catalogues raisonnés can be
found in the reference section of many art libraries:

A.C.I.: Art Catalogue Index: Catalogues Raisonnés & Critical

Catalogues of Artists 1780–2008. Compiled and realized by Noelle
Corbox and Cécile de Pebeyre under the direction of Marc Blondeau
and Thierry Meaudre. Geneva: Blondeau Fine Art Services, 2009 [Vol.
1].
 Provides complete publication information on catalogues raisonnés
on hundreds of artists. This source is particularly useful for artists
who have been the subject of numerous catalogues over the years.
A second volume, covering Old Masters, is scheduled for
publication at a later date.

Some catalogues raisonnés are not identified as such in their titles (see, for
example, the Fantin-Latour illustration just shown) and some libraries’
catalogs might not include the descriptive sub-heading “catalogues
raisonnés.” A very useful tool for identifying these elusive catalogs is
Wolfgang Freitag’s Art Books: A Basic Bibliography of Monographs on
Artists (New York: Garland, 1985), where they are indicated by the notation
<CR>.
Page from Catalogue de l’Oeuvre Complet de Fantin-Latour: 1849–1904,
the catalogue raisonné of works by French painter Henri Fantin-Latour.
This catalogue, published in 1911, is a good starting point for developing
a list of exhibitions in which Fantin-Latour’s works were shown.

Print researchers have access to a very useful source for identifying print
catalogues raisonnés, published by the Print Council of America:

Riggs, Timothy A., comp., The Print Council Index to Oeuvre-

Catalogues of Prints by European and American Artists. Under the
sponsorship of the Print Council of America. Millwood, NY: Krause,
1983. 834p.

Arranged by name of artist or publisher, provides publication

information on oeuvre-catalogues, defined as “any listing of the
artist’s total output in prints, or some clearly defined section of that
output.” The more comprehensive online version is available (free
of charge) at http://www.printcouncil.org.

Note that the Print Council Index does more than simply list catalogues and
monographs. See, for example, the following entry; note particularly the
indication of “doubtful and rejected prints.”

Gersaint, Edmé François. Catalogue Raisonné de Toutes les Pièces qui

Forment l’Oeuvre de Rembrandt, Composé par Feu m. Gersaint, et Mis
au Jour avec les Augmentations Nécessaires, par les Sieurs Helle et
Glomy…. (Paris: Chez Hochereau l’Ainé, 1751). Entries: 342 prints by,
27 doubtful and rejected prints, 50 prints after. Pre-metric. Inscriptions.
States. Described.

Catalogues Raisonnés in Progress

Researching a work in an existing catalogue raisonné is a relatively

straightforward process. Decrying the fact that “art is now an international
commodity,” author and antiquarian book dealer Peter Kraus goes on to note
that “accurate and unimpeachable catalogues raisonnés are the bedrock on
which the confidence of the marketplace is based.”2 For just this reason
dealers, collectors and other art market stakeholders have an interest in
making sure that the works they own, or plan to sell, are accepted for
inclusion in catalogues raisonnés that are “in the works” but not yet
published. Unfortunately, there is no single source for this information—no
one-stop, online inventory of catalogues in progress. So how can one
determine if a catalogue raisonné is in the planning or production stage?

Catalogue raisonné authors and compilers seek information on individual

works by contacting artists’ dealers, associates and family members (in the
case of contemporary or recently deceased artists); they may even seek out
works through advertisements in art magazines and journals.

The promise of inclusion in a forthcoming catalogue raisonné can have a

profound effect on the salability of an artwork; collectors and dealers,
therefore, should make every attempt to identify catalogues in progress by

• searching the International Foundation for Art Research (IFAR)

catalogues raisonné database; online; this free-of-charge tool lists
completed catalogues, but also provides name and contact information
of individual scholars with catalogue projects in progress. This
searchable inventory is listed under Educational Resources>Catalogues
Raisonnés, at http://www.ifar.org

• contacting dealers who handle, or who have handled, the subject

artist

• contacting auction house department experts

• identifying foundations set up in the artist’s name

• searching art magazines and periodicals

• searching the Internet, using keywords including “artist’s name” and

“catalogue raisonné”

• contacting experts on the artist, whether university-affiliated,

museum-affiliated, or independent. Experts can be very forthcoming
with information, and occasionally, the interested researcher might even
 stumble upon the person who is actually compiling the artist’s catalogue
raisonné.

GENERAL FINE ART REFERENCE SOURCES

Dictionaries and encyclopedias are staples of the art history reference

collection. The works described in this section include entries on artists,
their works, methods and materials. This group of resources is by no means
exhaustive, but rather represents a selection of the major works in each of
three categories: dictionaries, encyclopedias, and manuals for collectors and
connoisseurs of various media.

Dictionaries

Every field of study has its own terminology, and the art world is no
exception. Art and art history, in fact, have engendered an enormous
specialized vocabulary replete with specialized terms for various styles,
periods, materials and media, and technical processes. Before going into
specific print and electronic dictionaries of art terminology, the following
few tools, which in a way represent indexes to groups of specialized
dictionaries, are worthy of note.

Getty Foundation Research Institute. Art and Architecture Thesaurus

Online. http://
www.getty.edu/research/conducting_research/vocabularies/aat/

The Getty Foundation’s Art and Architecture Thesaurus Online is

a structured vocabulary of art terms, intended for use by catalogers
and indexers of art information. Because it is most useful for
researchers of objects, a full description can be found in the next
chapter.

Urdang, Laurence. Fine and Applied Arts Terms Index. Detroit, MI:
Gale Research, 1983. 773p.

Faced with an enormous number of specialized indexes,

researchers often find that identifying the one or two with good
definitions of a specialized term can be most time consuming.
 Available in many libraries’ fine art reference collections, Fine
and Applied Arts Terms Index can make the process of locating
definitions much less daunting, because it serves as an index to
many of the best sources. Includes references to more than 45,000
fine and decorative arts terms.

Often illustrated, the following sources provide short definitions of styles,

media, technical and related terminology. To locate additional sources of this
type in libraries that utilize the Library of Congress Classification System,
use the following subject headings:

Art—Dictionaries
Painting—Dictionaries

Hume, Helen D. The Art Lover’s Almanac: Serious Trivia for the
Novice and the Connoisseur. San Francisco: Jossey-Bass, 2003. 818p.

Definitions, odd or interesting facts, tips for collectors, interesting

statistics on the art world.

Langmuir, Erika, and Norbert Lynton. The Yale Dictionary of Art and
Artists. New Haven: Yale University Press, 2000. 753p.

Some definitions of art-related terms, but primarily a source for

biographical sketches of major artists, all periods.

Lucie-Smith, Edward. Thames & Hudson Dictionary of Art Terms. 2d

ed. New York: Thames & Hudson, 2003.

Well-illustrated, brief definitions. Particularly good for clear

descriptions of media, technical terminology.

Mayer, Ralph. The HarperCollins Dictionary of Art Terms and

Techniques. Revised and edited by Steven Sheehan. 2d ed. New York:
HarperPerennial, 1992. 474p.

Ralph Mayer’s Dictionary of Art Terms and Techniques is a classic

reference source used by artists, conservators, and historians.
 Numerous editions since 1940 attest to Mayer’s status as one of
the very best dictionaries of artists’ techniques and materials.

Murray, Peter, and Linda Murray. The Penguin Dictionary of Art and
Artists. 7th ed. Harmondsworth, NY: Penguin, 1997. 579p.

Very useful, concise dictionary of major movements, schools, and

styles, but primarily artist biography. Biographical entries include
references to subject artists’ works in major museums.

The Oxford Companion to Western Art. Edited by Hugh Brigstocke.

Oxford: Oxford University Press, 2001.

Brief biographies, short essays on styles and movements, some

technical material. Made available online via Oxford Art Online,
described below.

Pierce, James Smith. From Abacus to Zeus: A Handbook of Art History.

7th ed. Upper Saddle River, NJ: Pearson/Prentice Hall, 2004. 230p.

This widely used dictionary provides very clear definitions of art

terms. Definitions are keyed to the illustrations contained in H.W.
Janson’s classic textbook History of Art (6th edition), Marilyn
Stokstad’s Art History (2d edition), and Gardner’s Art through the
Ages (11th edition).

Encyclopedias and Textbooks

The following entries represent a selection of the major general

encyclopedias and surveys of art and art history. To find additional works of
this type in libraries that utilize the Library of Congress Classification
System, perform a subject search using the subheading “Encyclopedias,”
e.g.:

Art—Encyclopedias
Art—History

Cambridge Introduction to the History of Art. Cambridge: Cambridge

University Press, 1981–1983. 8 vols.
 Contents: Art of Greece and Rome; Middle Ages; Renaissance;
Seventeenth century, Eighteenth century; Nineteenth century;
Twentieth century; Looking at pictures.

Dictionary of Art. Edited by Jane Turner. New York: Grove’s

Dictionaries, 1996. 34 vols. Also available on the web.

Available in many libraries, the print edition of the Dictionary of

Art is a good starting point for basic art research. It includes over
45,000 articles on the visual arts, including painting, sculpture,
graphic arts, architecture, decorative arts and photography, from
prehistory to the present day. Compiled over a period of 15 years,
the Dictionary of Art represents the work of more than 6,800
scholars around the world, each writing on his or her own special
field of study.

The online version of the Dictionary is available via Oxford Art

Online, described below. While it lacks some of the illustrations
found in the print edition, it is updated and hence includes new
articles, updated bibliographies, and other material not found in
the original print edition.

Encyclopedia of World Art. New York: McGraw-Hill, 1958. 15 vols.

Supplementary Volumes: Volume XVI: World Art in Our Time, 1983.
Volume XVII: New Discoveries and Perspectives in the World of Art,
1987.

While somewhat dated, still a staple in every fine arts reference

collection. Very good biographies, surveys of periods and styles,
overviews of various media (e.g., printmaking). Essays are signed,
quite well illustrated, and usually include very good bibliographies
for further research.

Gombrich, E.H. The Story of Art. 16th ed. London: Phaidon Press,
1995. 688p.

Latest edition of this standard art history textbook traces the

development of painting and sculpture from ancient times through
 the 20th century.

Honour, Hugh. The Visual Arts: A History. 6th ed. New York: Abrams,
2002. 960p.

Standard art history textbook covers development on a global

scale, ancient through contemporary.

Kleiner, Fred S., and Christin J. Mamiya. Gardner’s Art Through the
Ages. Belmont, CA: Thomson/Wadsworth, 2005. 2 vols. + CD ROM.

Now in its 12th edition, Gardner’s remains one of the most heavily
used standard textbooks for introductory art history courses in
colleges and universities.

Oxford Art Online. Oxford University Press.

Provides streamlined access to a range of basic art reference

sources, including the Grove Dictionary of Art (described above),
the Benezit Dictionary of Artists, the Encyclopedia of Aesthetics,
The Oxford Companion to Western Art, and The Concise Oxford
Dictionary of Art Terms.

Silver, Larry. Art in History. New York: Abbeville, 1993. 496p.

This survey textbook, covering Egyptian through the 20th century,

is one of the more accessible and most appropriate for the novice
art researcher.

Stokstad, Marilyn, and Michael W. Cothren, eds. Art History. Upper

Saddle River, NJ: Pearson/Prentice Hall, 2011. 1198p.

This massive survey text is one of the most popular among art
history faculty in colleges and universities. From prehistory
through post–World War II, this wide-winged global survey
presents a very scholarly, but accessible overview of the visual
arts, including those of Africa and Asia.

Encyclopedias and Surveys—Modern

The following represent a selection of major surveys of 19th, 20th and 21st
century art. Similar works may be found by searching Library of Congress
subject headings like “Art, Modern—19th Century”; “Art, Modern—20th
Century”; “Minimal Art”; or “Postmodernism—United States.”

The Age of Modernism: Art in the 20th Century. Berlin: Zeitgeist-

Gesellschart e.V.; Ostfildern-Ruit, Germany: G. Hatje, 1997. 672p.

Exhibition catalog surveys the art of the 20th century in a series of

thematic chapters; very well illustrated, with essays by leading
critics. Lengthy biographies of artists include references to major
exhibitions, good bibliographies.

Archer, Michael. Art Since 1960. 2d ed. New York: Thames & Hudson,
2002. 256p. (Series: World of Art.)

Traces the development of contemporary art, from Pop through

media and performance.

Arnason, H. Harvard, and Elizabeth Mansfield. History of Modern Art:

Painting, Sculpture, Architecture, Photography. Upper Saddle River,
NJ: Pearson Prentice Hall, 2010. 830p.

The most widely used textbook for college courses in modern art,
this volume surveys developments in painting, sculpture, and other
media, and present thematic trends.

Battcock, Gregory. Minimal Art: A Critical Anthology. Berkeley:

University of California Press, 1995. 454p.

Battcock’s collection of critical essays is considered a basic text in

contemporary art. The articles, all by major scholars in the field,
are reprinted from a variety of sources, including books and
journals. Lots of illustrations make this a useful source for
identification of comparable works.

Bihalji-Merin, Otto, and Nebojša-Bato Tomaševi´c, eds. World

Encyclopedia of Naïve Art: A Hundred Years of Naïve Art. London: F.
Muller, 1984. 735p.
 Encyclopedic overview of naïve art and artists, with an emphasis
on Western countries. Individual artists profiled, along with survey
articles on individual countries.

Dempsey, Amy. Styles, Schools and Movements: The Essential

Encyclopaedic Guide to Modern Art. London: Thames & Hudson,
2010. 312p.

This new edition offers a clear and lively guide to movements in

modern art. A visual map of the period in the form of an 8-page
fold-out is followed by articles on 100 of the most significant
movements of the modern period.

Hunter, Sam. Modern Art: Painting, Sculpture, Architecture. 3d rev. ed.

New York: Abrams, 2000. 448p.

Traces the origin of modern art and architecture styles and trends,
from 19th century precedents through the turn of the 21st century.

Kostelanetz, Richard. A Dictionary of the Avant-Gardes. New York:

Schirmer Books, 2000. 708p.

Biographical sketches and articles on the 20th-century avant-garde

in film, visual art, music and popular culture.

Lucie-Smith, Edward. Art Today. London: Phaidon Press, 1995. 511p.

Encyclopedic survey of movements in post–1960s art, including

modest sections on non–Western art and artists.

_____. Movements in Art Since 1945. London: Thames & Hudson,

2001. 304p. (Series: World of Art.)

Concise, readable and well-illustrated survey of post–World War II

movements. Partial contents: Abstract expressionism; European
scene; Post-painterly abstraction; Pop, environments and
happenings; Abstract sculpture, minimal art, conceptual art; Arte
povera, post-minimalism and their heritage; Neo-Expressionist
tendencies in the 1980s; America in the 1980s; Questioning the
 Western modernist canon from the “margins”; Issue-based art:
African-American, Afro-Caribbean, feminist and gay art.

Rosenblum, Robert, and H.W. Janson. 19th Century Art. Painting,

Robert Rosenblum; Sculpture, H.W. Janson. Upper Saddle River, NJ:
Pearson/Prentice Hall, 2005. 544p.

Heavily revised edition of standard text on 19th century art

surveys painting and sculpture from last quarter of the 18th
century through 1900, with an emphasis on Western European art.

Sandler, Irving. Art of the Postmodern Era: From the Late 1960s to the
Early 1990s. New York: IconEditions, 1996. 636p.

Encyclopedic survey treats in depth the art of the last three

decades. Extensive bibliography, including selective works on
individual artists.

Stangos, Niko, ed. Concepts of Modern Art. 3d enl. and updated ed.
New York: Thames and Hudson, 1994. 424p. (Series: World of Art.)

Collection of essays by prominent art historians on styles and

movements in 20th century art, from Fauvism to Conceptual art
and Postmodernism.

Vaughan, William. Arts of the 19th Century. New York: Abrams, 1989–
1999. Vol. 1: 1780 to 1850; Vol. 2: 1850 to 1905.

Very beautifully illustrated survey of 19th century art, originally

published in French.

Wheeler, Daniel. Art Since Mid-Century: 1945 to the Present. New

York: Vendome, 1991. 344p.

Illustrated, scholarly survey of post–World War II art. Major trends

in contemporary art (Pop, New Realism, Minimalism, etc.), and
their representative artists are treated in considerable depth.

Encyclopedias and Surveys—Geographical Focus

 African Countries

Beumers, Erna, and Hans-Joachim Koloss, eds. Kings of Africa: Art

and Authority in Central Africa, Collection Museum für Völkerkunde
Berlin. Utrecht, Netherlands: Foundation Kings of Africa, [1992]. 327p.

Published in conjunction with an exhibition exploring imagery of

power in Central African art (primarily sculpture), this catalog’s
high quality reproductions provide an excellent resource for the
identification of various periods and styles.

Gillon, Werner. A Short History of African Art. Harmondsworth,

England: Penguin, 1986. 405p.

Partial contents: Ancient Nubians; Nok culture; Kingdoms of the

Western Sudan; Art of the Sherbro, Bulom and Kissi; Kanem-
Borno and the “Sao” culture; “Kororofa”—the Jukun and related
peoples; Art of the Akan; Igbo-Ukwu, the Niger Delta and the
Cross River; Yoruba and their neighbors; Benin—the art of the
Edo City State; Art of the Southern Savanna; Eastern Africa; Arts
of Southern Africa.

Klopper, Sandra. The Art of Southern Africa: The Terence Pethica

Collection. Milan: 5 Continents, 2007. 214p.

This monograph represents an important contribution to the study

of Southern African art. Traditional decorative and utilitarian items
drawn from the Pethica collection form the basis for this analysis
of works from South Africa, Namibia, Botswana, Mozambique,
Angola and Zambia.

Koloss, Hans-Joachim, ed. Africa: Art and Culture. Munich: Prestel,

2002. 240p.

Excellent source for the identification of masks, figural sculpture

and utilitarian objects. Essays on regional works authored by
world-renowned experts. Partial contents: Ife; Benin; Afro-
Portuguese ivories from ancient Owo; West Africa; Cameroon
Grasslands; Congo; East Africa.
Lawal, Babtunde. Yoruba. Milan: 5 Continents, 2012. 150p. (Series:
Visions of Africa.)

In-depth survey of the art and culture of the Yoruba, approximately

25 million people in kingdoms throughout Nigeria and contingent
regions.

Leiris, Michel, and Jacqueline Delange. African Art. New York: Golden
Press, 1968. 453p. (Translation of Afrique Noire: La Création
Plastique.)

This classic study of traditional (pre–Colonial) African arts, now

somewhat dated, presents a good overview of two and three
dimensional arts, textiles, environmental arts, and more.

Njami, Simon. Africa Remix: Contemporary Art of a Continent.

London: Hayward Gallery, 2005. 224p.

This well-illustrated catalog presents the work of cutting-edge

artists representing the entire continent of Africa.

Phillips, Tom, ed. Africa: The Art of the Continent. Munich: Prestel,
1995. 613p.

This massive survey text includes hundreds of excellent images of

fine, decorative and utilitarian objects. Organized by area: Ancient
Egypt and Nubia; Eastern Africa; Southern Africa; Central Africa;
West Africa and the Guinea Coast; Sahel and Savanna; Northern
Africa.

Preston, George Nelson. African Art Masterpieces. Hugh Lauter Levin

Associates, Inc.; Dist. by Macmillan, New York: 1991. 120p.

Analysis of 48 major works from public and private collections,

including sculpture, decorative arts, textiles.

Schädler, Karl-Ferdinand. Encyclopedia of African Art and Culture.

Munich: Panterra, 2009. 683p.
 This very well-illustrated encyclopedia is one of the best
illustrated and most comprehensive English language surveys of
the arts of Africa south of the Sahara. Most articles offer one or
more bibliographic references.

Siegmann, William C. African Art: A Century at the Brooklyn Museum.

New York: Brooklyn Museum in Assn. with DelMonico Books &
Prestel. 296p.

An excellent source for identification of African art objects

(masks, sculpture, ivories) broadly arranged by region (Western
Sudan, etc.).

Spring, Christopher. Angaza Afrika: African Art Now. London:

Laurence King, 2008. 336p.

Encyclopedic survey of artists working on the African continent

today. A–Z listing of artists includes good quality color images of
selected works.

Stepan, Peter. Picasso’s Collection of African and Oceanic Art: Masters

of Metamorphosis.

Munich: Prestel, 2006. 149p.

It is well-known that Picasso’s interest in African art had a

profound effect on its popularity in Western Europe in the 20th
century. This study of the artist’s personal collection of African
and Oceanic works adds to our understanding of its place within
the context of the artist’s oeuvre.

Visonà, Monica Blackmun, et al. History of Art in Africa. New York:

Abrams, [2000]. 544p.

Standard textbook intended for advanced courses in African art

history surveys and contextualizes the works of all of the major art
forms of Africa, from ancient through the African diaspora,
including some contemporary artists’ works.
Willett, Frank. African Art. London: Thames & Hudson, 2002. 272p.
(Series: World of Art.)

New edition of a standard primer, African Art provides an

excellent introduction to the history, and historiography, of African
art. Latest edition includes an overview of current research in
textiles and costume, pottery, metalwork and other areas of art and
craftsmanship.

Asian Countries

Chiu, Melissa. Contemporary Asian Art. London: Thames & Hudson,

2010. 256p.

Survey of art made in Asia or by Asian artists since the 1990s.

Styles included range from calligraphy to ceramics to Internet and
installation art.

Clarke, David J. Chinese Art and Its Encounter with the World. Hong
Kong: Hong Kong University Press, 2011.

Surveys the global impact of Chinese art from the eighteenth

century to the present day.

Clunas, Craig. Art in China. New York: Oxford University Press, 2009.
276p. (Series: Oxford History of Art.)

Surveys the visual arts in China, from Neolithic times through the
21st century. Includes all media, from large scale monumental
sculpture to paintings, fans, lacquer, porcelain and other decorative
arts categories.

Gao, Minglu. Total Modernity and the Avant-Garde in Twentieth-

Century Chinese Art. Cambridge, MA: MIT Press; London, in assoc.
with China Art foundation, 2011. 390p.

Contents: Avant-Garde and Revolution in Twentieth-Century

Chinese Art; Academicism and the Amateur Avant-Garde in the
Post-Cultural Revolution Period (1979–1984); Map of the ’85
 Avant-Garde Movement; “China/Avant-Garde” Exhibition of
1989; Metaphysical Modernity: Rationalist Painting and Current
of Life Painting; Chan Meets Dada: Merging Destruction and
Tradition in the Avant-Garde Mentality; Metaphor over Meaning:
Language Art and Gray Humor; Kitsch and Complicity: The Case
of Political Pop and Cynical Realism; Apartment Art;
Maximalism.

Hutt, Julia. Understanding Far Eastern Art: A Complete Guide to the

Arts of China, Japan and Korea: Ceramics, Sculpture, Painting, Prints,
Lacquer, Textiles and Metalwork. New York: Dutton, 1987. 208p.

Intended for the beginning researcher or student of Asian art

forms, very accessible but informative. Partial contents: Painting;
Prints and printed books; Ceramics; Metalwork; Sculpture and
carvings; Lacquer.

Lee, Sherman. A History of Far Eastern Art. 5th ed. New York:
Abrams, 1994. 576p.

Widely available in libraries, Lee’s encyclopedic survey is a

standard text for upper-level college art history courses on the
subject. Treats in depth the visual arts of India, Indonesia, China,
Korea and Japan from pre-history through the modern era.

Munroe, Alexandra. Japanese Art After 1945: Scream Against the Sky.
New York: Abrams, in association with the Japan Foundation and
InterCultura: 1994. 416p.

Published on the occasion of an exhibition organized by the

Yokohama Museum of Art and shown there Feb. 4–Mar. 31, 1994,
and at the Guggenheim Museum, New York, Sept. 12, 1994–Jan.
15, 1995. Surveys post–World War II Japanese art through a series
of well-illustrated essays. Artists’ statements, numerous primary
documents and an extensive bibliography make this an essential
reference source for the researcher of 20th century Japanese art.
Roberts, Laurance P. A Dictionary of Japanese Artists: Paintings,
Sculpture, Ceramics, Prints, Lacquer. New York: Weatherhill, 1990.
299p.

Basic biographical data and index to scholarly literature and public

collections.

Sullivan, Michael. Art and Artists of Twentieth-Century China.

Berkeley: University of California Press, 1996. 354p.

Scholarly survey by expert in the field of Chinese art history.

Partial contents: 1900–1937—Impact of the West; 1937–1949—
war and civil war; 1949–1976—art in the era of Mae Zedon; Other
currents; After Mao—art enters a new era.

_____. Modern Chinese Artists: A Biographical Dictionary. Berkeley:

University of California Press, 2006. 249p.

Brief biographical sketches of Chinese artists active primarily in

the 20th and 21st centuries. Entries include birth and death dates,
educational background, media, exhibition histories and the like.

Tregear, Mary. Chinese Art. Rev. ed. New York: Thames and Hudson,
1997. 216p. (Series: World of Art.)

Like other titles in the World of Art series, Tregear’s Chinese Art is
highly informative, but quite accessible for the novice. Partial
contents: Annotated chronology of Chinese historical periods,
dynasties and reigns; Neolithic crafts; Hieratic art and the bronze
age; Status and decoration; Nationalism and expression; Imprint of
Buddhism; Internationalism and showmanship; Court and Chan
Buddhist arts; Tradition and invention; Eclecticism and
innovation; Individualism and eccentricity; Enquiry and
dislocation.

Unrivalled Splendor: The Kimiko and John Powers Collection of

Japanese Art. Houston: Museum of Fine Arts, 2012. 246p.
 This book reviews 86 of the most important works in the Powers
collection, the leading collection of Japanese art in the United
States.

Vine, Richard. New China, New Art. Munich: Prestel, 2011. 255p.

Partial contents: Why China, Why Now?; Painting; Sculpture &

installation; Performance; Photography; Video.

Watson, William. The Arts of China 900–1620. New Haven: Yale

University Press, 2000 286p. (Series: Yale University Pelican History of
Art.)

Partial contents: Landscape painting under Northern Song 960–

1126; Decorative style under Song; Decorative style under Song
and Jin: the later phase; Painting under Southern Song 1127–1279;
Sculpture; Landscape, plants and trees painted under Yuan 1279–
1368; Painting under Ming 1368–1643; Decorative themes under
Yuan and Ming.

Australia

Acker, Tim, and John Carty, eds. Ngaanyatjarra: Art of the Lands.
Crawly, WA: UWA Publishing, 2012. 281p.

Survey of Aboriginal art in Western Australia.

Allen, Christopher. Art in Australia: From Colonization to

Postmodernism. New York: Thames & Hudson, 1997. 224p. (Series:
World of Art.)

Well-illustrated survey of Australian art and artists.

Anderson, Jaynie, ed. The Cambridge Companion to Australian Art.

Cambridge: Cambridge University Press, 2011. 377p.

This collection of twenty-one essays by respected scholars of

Australian art treats all periods and media, from aboriginal and
colonial art through contemporary. Media included run the gamut
 from traditional painting and sculpture to photography and new
media.

Heathcote, C.R. A Quiet Revolution: The Rise of Australian Art, 1946–

1968. Melbourne: The Text Pub., 1995. 267p.

From post–World War II to the present, traces the development of

contemporary art in Australia. Chapter titled “An Artist’s Lot: the
Art Market Develops, 1956–64” details the cultivation of an
audience for works of art by contemporary Australian artists and
the development of Australia’s gallery scene.

McCulloch, Susan. The New McCulloch’s Encyclopedia of Australian

Art. Melbourne: AUS Art Editions, Miegunyah Press, 2006. 1198p.

The New McCulloch is the ultimate reference source for the

serious scholar or collector of Australian art. Thousands of entries
cover Aboriginal to contemporary artists and institutions.

McDonald, Ewen, and Barbara Flynn, eds. Emerge and Review: A Look
into the UBS Australian Art Collection. Sydney: UBS 2007. 163p.

The UBS collection includes works by all of the most established

artists of Australia and New Zealand, as well as a thorough review
of works in all media by emerging artists. This well-illustrated
catalog serves as an encyclopedia of contemporary art of the
continent.

Robb, Gwenda. Concise Dictionary of Australian Artists. Carlton,

Victoria: Melbourne University Press, 1993. 288p.

Brief biographical entries on Australian artists of all periods;

entries include indications of the subject artist’s inclusion in public
collections.

Smith, Bernard. Place, Taste and Tradition: A Study of Australian Art

Since 1788. 2d ed., rev. New York: Oxford University Press, 1979.
304p.
 Surveys major movements in Australian art, from Colonial period
through mid–20th century. Partial contents: Early Australian
primitives; Impressionism; Modern movement; Surrealism and
neo-surrealist developments; Contemporary art.

Canada

Belton, Robert James. Sights of Resistance: Approaches to Canadian

Visual Culture. Calgary: University of Calgary Press, 2001. 398p. + CD
ROM.

Presents representative examples of Canadian visual art forms

(17th century to the present), including paintings, sculpture,
photography.

Burnett, David G. Masterpieces of Canadian Art from the National

Gallery of Canada. Edmonton, Alberta: Hurtig, 1990. 230p.

Chronologically arranged survey of Canadian artists’ works from

the mid–18th through late 20th century.

Markonish, Denise, ed. Oh Canada: Contemporary Art from North

North America. Cambridge, MA: MIT Press, 2012. 399p.

Catalogue to an exhibition, surveys the contemporary art scene

across Canada.

Whitelaw, Anne, et al., eds. The Visual Arts in Canada: The Twentieth
Century. Don Mills, Ontario: University of Oxford Press, 2010. 480p.

Individually-authored chapters survey the development of

Canadian visual arts institutions and movements/styles. All media
included, from painting and sculpture to new media, including
installation.

France

Bishop, Michael. Contemporary French Art I: Eleven Studies.

Amsterdam: Rodopi, 2008. 189p. (Series: Faux Titre, no. 317.)
 Surveys the past fifty years of artistic innovation in France through
a series of essays devoted to the analysis of individual
representative artists’ works. Artists include Ben Vautier; Niki de
Saint Phalle; François Morellet; Louise Bourgeois; Alexandre
Hollan; Claude Viallat; Sophie Calle; Bernard Pagès; Jean-Pierre
Pincemin; Annette Messager; Gérarde Titus-Carmel.

Blunt, Anthony. Art and Architecture in France, 1500–1700. New

Haven: Yale University Press, 1999. 319p. (Series: Yale University
Pelican History of Art.)

Well-researched, scholarly survey of French art and architecture by

a leading scholar in the field. Well illustrated, intended for the
serious researcher or student of French art and culture.

Chastel, André. French Art. Paris: Flammarion, 1994– . Vol. 1:

Prehistory to the Middle Ages; Vol. 2: The Renaissance, 1430–1620;
Vol. 3: The Ancient Régime, 1620–1775.

This English translation of the author’s Art Français is a richly

illustrated survey of the major works of French art and
architecture.

Levey, Michael. Painting and Sculpture in France, 1700–1789. New

Haven: Yale University Press, 1993. 318p. (Series: Yale University
Pelican History of Art.)

Surveys French painting and sculpture through analysis of works

by major and some lesser known artists of the 18th century.

Millet, Catherine. Contemporary Art in France [trans. from French by

Charles Penwarden]. Paris: Flammarion, 2006. 383p.

Surveys key movements from the sixties until early 2000s. Well-
illustrated and researched, but accessible survey text.

Germany
Adam, Peter. The Arts of the Third Reich. London: Thames and
Hudson, 1992. 332p.

Partial contents: The Nordic myth: National Socialist ideology;

The “Great German Art Exhibitions”; Exhibition of “Degenerate
Art”; Sculpture. Extensively illustrated, b/w and color plates.

Behr, Shulamith. Expressionism. Cambridge: Cambridge University

Press, 1999. 80p. (Series: Movements in Modern Art.)

This brief survey of German Expressionism is intended as an

introduction to the movement for the layman. Emphasis on the
plastic arts, but decorative arts and architecture covered minimally.
Partial contents: Expressionism: its origins, meaning and
historiography; Nature, culture and modernity: Dresden;
Utopianism and abstraction: Munich; Modernity and its conflicts:
Berlin; War, revolution and counter revolution.

Crockett, Dennis. German Post-Expressionism: The Art of the Great

Disorder, 1918–1924. University Park: Pennsylvania State University
Press, 1999. 215p.

Partial contents: State of art in Germany, 1918–1924; Post-

Expressionism in Germany … the artists … the critics. Appendix:
Artists included in Hartlaub’s Neue Sachlichkeit exhibitions of
1925–26.

Droste, Magdalena. Bauhaus, 1919–1933. Cologne: B. Taschen, 1990.

256p.

Concise, readable account of the origin and development of the

Bauhaus. Partial contents: On the origins of the Bauhaus; Art and
technology—a new unity [explores the various decorative arts
workshops]; Dessau Bauhaus—Institute of Design. Includes brief
biographical sketches of key figures.

Elger, Dietmar. Expressionism: A Revolution in German Art. Cologne:

B. Taschen, 1998. 255p.
 Brief surveys precede overviews of key figures in the movement.
Partial contents: Brücke Group of artists; Northern German
Expressionism; Blaue Reiter; Rhenish Expressionism; Subject of
the city; Expressionism in Vienna.

Gillen, Eckhart, ed. German Art from Beckmann to Richter: Images of a

Divided Country. Cologne: DuMont Buchverlag. 546p.

Scholarly survey of 20th century German art (painting, sculpture,

photography, video and performance works) from the early work
of Max Beckmann through the 1990s.

Homberg, Cornelia, et al. German Art Now. New York: Merrell, 2003.
160p.

Surveys the art of Germany following World War II. Primary focus
on painters dating from the 1940s onward (Beuys, Baselitz, Penck,
etc.), and photographers Bernd and Hilla Becher and their
followers (Gursky, Hoffer, Ruff and Struth).

Joachimides, Christos M., Norman Rosenthal, and Wieland Schmied,

eds. German Art in the 20th Century: Painting and Sculpture, 1905–
1985. London: Royal Academy of Arts; Munich: Prestel, 1985. 518p.

This beautifully illustrated exhibition catalog offers an overview of

major movements in German art of the 20th century. Essays by top
scholars in the field are supplemented by lengthy biographies of
artists featured in the exhibition.

Michalski, Sergiusz. New Objectivity: Painting, Graphic Art and

Photography in Weimar Germany 1919–1933. Cologne: B. Taschen,
2003. 220p.

Explores the return to representation in the plastic arts of post–

Expressionist Germany. Detailed biographical sketches of major
and lesser-known artists of the period include many references to
exhibitions and commissions.
Mülluer, Ulrike. Bauhaus Women: Art, Handicraft, Design. Paris:
Flammarion; London: Thames & Hudson. 2009. 152p.

This monograph, which was published in conjunction with an

exhibition (2009-2010) on the Bauhaus (MoMA), surveys the
work of twenty artists working and teaching in the fine and
decorative arts.

Wiehager, Renate. Minimalism in Germany: The Sixties [Minimalismus

in Deutschland: Die 1960er Jahre]. Ostfildern: Hatje Cantz, 2012.
519p.

Surveys the avant-garde movements of 1960s Germany through

seminal works in the Daimler Collection. This encyclopedic
volume offers excellent color reproductions and scholarly analysis
of works by key figures in post–World War II German art,
including predecessors to the subject period (e.g., Josef Albers).

Great Britain

Benezit Dictionary of British Graphic Artists and Illustrators. Oxford:

Oxford University Press, 2012. 2 vols.

Based upon the relevant entries from the 2006 English edition of
Benezit, with additional articles and updated biographies.

Bindman, David, ed. History of British Art. New Haven: Yale Ctr. For
British Art; London: Tate, 2008. 3 vols.

Definitive encyclopedia of the arts in Great Britain from the year

600 through the present day. All movements and media, including
painting, sculpture, architecture, and the practical arts thoroughly
explored and beautifully illustrated.

Buckman, David. Dictionary of Artists in Britain Since 1945. Bristol:

Art Dictionaries, 1998. 1344p.

Brief biographical entries on “painters, sculptors, draughtsmen,

teachers, video film, installation and performance artists born in
 the United Kingdom” [intro].

Graham-Dixon, Andrew. A History of British Art. Berkeley: University

of California Press, 1999. 256p.

First published in conjunction with a BBC Television series, very

basic and readable history of British art suitable for the non-
specialist.

Gray, Sara. Dictionary of British Women Artists. Cambridge:

Lutterworth Press, 2009. 295p.

Brief essays include biographical details, comments on education,

specialized training, exhibition and association memberships for
hundreds of British women artists active from the eighteenth
century through the twentieth.

Johnson, Jane, and A. Greutzner. The Dictionary of British Artists,

1880–1940. Suffolk: Antique Collectors’ Club, 1976. 576p. (Series:
Dictionary of British Art, vol. 5.)

Approximately 41,000 artists, including painters, decorative

artists, costume designers. Very brief biographical entries include
some exhibition histories and professional affiliations; major
subject matter and media noted in some instances.

Spalding, Frances. 20th Century Painters and Sculptors. Suffolk:

Antique Collectors’ Club, 1990. 482p. (Series: Dictionary of British
Art, vol. 6.)

Approximately 7,000 artists included. Some b/w illustrations, a

few good quality color plates. Entries include name, birth/death
dates, etc., birthplace, education, some information on exhibitions.

The Thames and Hudson Encyclopedia of British Art. London: Thames

and Hudson, 1985. 320p.

Brief entries on artists, schools and styles, techniques, patronage

and other aspects of British art from Anglo-Saxon period through
 contemporary.

Windsor, Alan, ed. Handbook of Modern British Painting and

Printmaking, 1900–1990. 2d ed. Aldershot: Ashgate, 1998. 321p.

Dictionary consisting primarily of short biographical essays

surveys 20th century major and lesser-known British artists.

Ireland

Arnold, Bruce. Irish Art: A Concise History. Rev. ed. New York:
Thames and Hudson, 1989. 180p. (Series: World of Art.)

Traces the evolution of Irish art from pre–Christian era to the

present day. Identifies and discusses influences (Celtic, Anglo-
Saxon, etc.) and identifies key figures of the nineteenth and
twentieth centuries.

Bhreathnach-Lynch, Sighle. Ireland’s Art, Ireland’s History:

Representing Ireland, 1845 to Present. Omaha, NE: Creighton
University Press, 2007. 290p.

Traces the development of Irish identity through art. Issues in

visual culture, the sociology of Irish art, and the evolution of an art
infrastructure in addition to straightforward art historical content.

O’Byrne, Robert. Dictionary of Living Irish Artists. Dublin: Plurabelle

Books, 2010. 400p.

Lengthy biographical sketches are supplemented with professional

history, educational background, selected exhibitions, collections
and commissions, awards, bibliography, and gallery
representation.

Snoddy, Theo. Dictionary of Irish Artists: 20th Century. 2d ed. Dublin:

Merlin, 2002. 768p.

Lengthy biographical essays on Irish artists, designers, illustrators,

and others active in the visual arts. Entries include highly selective
 bibliography, references to public collections, and notes on
signatures and monograms.

Italy

History of Italian Art. Cambridge: Polity Press; Cambridge, MA:

Blackwell, 1994. 2 vols.

Comprehensive survey of the arts in Italy. Partial contents: Vol. 1:

The Italian artist and his roles; Italian art and the art of antiquity;
Dispersal and conservation of art-historical property; Public
reception of art. Volume 2: Periodization of the history of Italian
art; Iconography of Italian art 1100–1400; History of art and the
forms of religious life; Renaissance and pseudo-Renaissance;
Toward the modern manner.

Pinto, Sandra. History of Italian Art in the 20th Century [trans. Luciano
Chianese]. Milano: Skira; New York: Dist. Rizzoli, 2002. 170p.

Wittkower, Rudolf. Art and Architecture in Italy, 1600–1750. 6th ed.

New Haven: Yale University Press, 1999. 3 vols. (Series: Yale
University Pelican History of Art.)

Provides a general overview of Italian art and architecture of the

Baroque period. Used in a great many upper-level and graduate
courses on the subject, Wittkower is most appropriate for the more
advanced art history researcher.

Latin America and the Caribbean

Americas Art Directory = Directorio de Arte de las Américas. Miami:

American Art Corp.; Buenos Aires: Latin American Art, 2006-2007.
9th ed.

Provides lists including museums, galleries, auction houses,

cultural centers, foundations, framing shops, and other art-related
institutions or services for Argentina, Brazil, Canada, Chile,
Colombia, Costa Rica, Dominican Republic, Ecuador, El Salvador,
 Guatemala, Honduras, Mexico, Nicaragua, Paraguay, Peru, Puerto
Rico, United States, Uruguay, and Venezuela.

Barnitz, Jacqueline. Twentieth-Century Art of Latin America. Austin:

University of Texas Press, 2001. 400p.

Commencing with a very brief overview of 19th century trends,

this textbook traces the evolution of modernism in the early part of
the 20th century through contemporary 1980s movements,
including neofiguration, pop, political art and more.

Basilio, Miriam, et al., eds. Latin American and Caribbean Art: MoMA
at El Museo. New York: El Museo del Barrio and the Museum of
Modern Art, 2004. 184p.

Works by major and lesser-known artists of Latin America and the

Caribbean, drawn from the collection of MoMA (N.Y.), and a
fascinating account of the history of MoMA’s extensive collection
of Latin American artists’ works.

Congdon, Kristin G., and Kara Kelley Hallmark. Artists from Latin
American Cultures: A Biographical Dictionary. Westport, CT:
Greenwood, 2002. 314p.

Lengthy biographical essays on more than 75 important Latin

American artists. Major works are interpreted, and each entry has a
“Places to See” section with public collections and the titles of
works to be found there. Good highly selective bibliographies for
further research.

Cruz Díaz, Ursulina. Diccionario Biográfico de las Artes Plásticas.

Havana: Editorial Pueblo y Educación, 1999. 412p.

Brief biographical sketches of Cuban and Latin American artists.

Most entries include signature example; no reproductions.

Donahue-Wallace, Kelly. Art and Architecture of Viceregal Latin

America, 1521–1821. Albuquerque: University of New Mexico Press,
2008. 276p.
 Partial contents: Painting in Sixteenth-Century New Spain and
Peru; Religious Architecture and Altarscreens circa 1600–1785;
Religious Art 1600–1785; Secular Painting circa 1600–1800; Art
and Architecture at the End of the Colonial Era.

Gerón, Cándido. Enciclopedia de las Artes Plásticas Dominicas: 1844–

2000. [Dominican Republic?]: Editora Corripio, 2000. 737p.

Hundreds of color reproductions of individual works precede

biographical sketches of major and minor artists who currently
work or who have been active in the Dominican Republic.

Lucie-Smith, Edward. Latin American Art of the 20th Century. New

York: Thames & Hudson, 2004. 224p.

Comprehensive survey places major works of Latin American art

within its historical and cultural context. From the muralists of the
early 20th century to the last new media works, all media are
covered.

Shipp, Steve. Latin American and Caribbean Artists of the Modern

Era: A Biographical Dictionary of More Than 12,700 Persons.
Jefferson, NC: McFarland, 2003. 864p.

Entries include basic biography, bibliographical references,

exhibitions, and private and public collections. Appendices include
Artists listed by country; Chronology of exhibitions; Museums
(directory); Galleries (directory); Bibliography.

Sullivan, Edward J., ed. Latin American Art in the Twentieth Century.
London: Phaidon, 2000. 352p. (Originally published: 1996.)

Edward Sullivan, preeminent historian of Latin American art,

coordinated and edited this volume of country studies by experts in
the field. Contents: Mexico; Central America; Cuba; Dominican
Republic; Puerto Rico; Venezuela; Colombia; Ecuador; Peru;
Brazil; Bolivia; Paraguay; Uruguay; Argentina; Chile; Chicano
Art.
Tovar de Teresa, Guillermo. Repertory of Artists in Mexico: Plastic and
Decorative Arts. [Mexico]: Grupo Financiero Bancomer, 1995–1997. 3
vols. (Translation of Repertorio de Artistas en México.)

Approximately 600 artists (including architects) are profiled. Each

essay well-illustrated with color plates, bibliography. Colonial
through 20th century artists included.

Turner, Jane, ed. Encyclopedia of Latin American & Caribbean Art.

London: Macmillan; New York: Grove’s Dictionaries, 2002. 782p.
(Series: Grove Library of World Art; Grove Encyclopedias of the Arts of
the Americas.)

One of several “spin off” publications of the 34-volume Grove

Dictionary of Art, includes many updated and substantially revised
versions of the original Dictionary of Art’s essays, along with
additional biographical entries on contemporary artists and
updated bibliographies throughout.

Poland

Cavanaugh, Jan. Out Looking In: Early Modern Polish Art, 1890–1918.
Berkeley: University of California Press, 2000. 307p.

Surveys the development of contemporary art at the turn of the

20th century, focusing on historical and cultural precedents to the
development of a national community of artists. Evolution of the
Polish art world infrastructure includes a survey of the academies.
Styles include Impressionism, Symbolism and Expressionism.

Crowley, David, et al., eds. The Power of Fantasy: Modern and

Contemporary Art from Poland. Munich: Prestel, 2011. 177p.

Includes three essays on contemporary Polish art: The Polish Art

of Mnemonics; Micromegas, or Playing with Architecture in
Contemporary Polish Art; and Sacrifice, Madness, Ruins and
Other Polish Dreams. These overview-essays are followed by
twenty-seven Polish artists’ biographies that include selected
exhibitions as well as photographed examples of their work.
Sokol, Stanley S. The Artists of Poland: A Biographical Dictionary
from the 14th Century to the Present. Jefferson, NC: McFarland, 2000.
263p.

Brief biographical entries include references to other published

works.

van Alphen, Ernst, et al. Polish! Contemporary Art from Poland.

Ostfildern: Hatj Cantz, 2011. 319p.

Presents 37 Polish artists of younger generations, with many full-

color illustrations. The artists, their works and accompanying
essays illustrate the distinctive qualities of contemporary Polish
art.

Portugal

Levenson, Jay A., ed. The Age of the Baroque in Portugal. Washington,
DC: National Gallery of Art; New Haven: Yale University Press, 1993.
303p.

Produced in conjunction with an exhibition by the National

Gallery of Art, historical context from the early 18th century.
Partial contents: Portugal and the World in the Age of Dom Joao
V; Joao V and Italian Sculpture; Wondrous vehicles: the coaches
of the embassy of the Marques de Fontes; Eighteenth-Century
Portugal: faith and reason, tradition and innovation during a
golden age; Portuguese Baroque Architecture; Portuguese Jewelry
of the Eighteenth Century; The silver table service of Dom José I
of Portugal; Court Festivities at Queluz.

Tannock, Michael. Portuguese 20th Century Artists: A Biographical

Dictionary. Chichester, England: Phillimore, 1978. 188p.

Basic biographical details on over 2,000 artists active between

1900 and 1974. Entries include names and dates, media, exhibition
history and awards.

Russia and the Soviet Union

Milner, John. A Dictionary of Russian and Soviet Artists, 1420–1970.
Woodbridge, Suffolk: Antique Collectors’ Club, 1993. 483p.

Presents biographical entries ranging in length from a few

sentences to several pages, depending upon the stature of the
subject artist. Artists known for work in other fields (e.g., film,
theatre design, etc.) included. Most entries include selected
bibliography for further research, as well as an indication of public
collections.

Rice, Tamara Talbot. A Concise History of Russian Art. New York:

Praeger, 1963. 228p.

Contents: Russia prior to the Mongol Invasion; The Novgorodian

Period; Indigenous elements in architecture and the minor arts;
The Muscovite period; Peterburgian architecture; Sculpture and
the minor arts; Petersburgian painting; Some significant dates;
Selected bibliography; List of illustrations.

South Africa

Herreman, Frank, ed. Liberated Voices: Contemporary Art from South

Africa. New York: Museum for African Art; Munich: Prestel, 1999.
190p.

This illustrated exhibition catalogue contains chapters that provide

a brief overview of South African art and elucidate the context
within which contemporary South African artists work, while
others focus on individual artists, occasionally by way of artist
interviews.

Ogilvie, Grania. The Dictionary of South African Painters and

Sculptors, Including Namibia. Johannesburg, South Africa: Everard
Read, 1988. 799p.

Detailed biographical information on “over 1,800 artists who were

born, lived in, or are presently living in South Africa or Namibia
[Introduction].” Entries include education, profile (memberships in
art societies, teaching positions, other positions in art-related
 fields, etc.), exhibitions, awards, representation, public
commissions, publications by and about the subject artist.

Visual Century: South African Art in Context. Johannesburg: Wits

University Press; Oslo: Visual Century Project, 2011. 4 vols.

Seeks to set a context for South African art apart from the Western
tradition by tracing its development chronologically, alongside
beautiful illustrations. These volumes also attempt to create
significant categories to more deeply observes artistic changes
since 1907, including landscapes, sculpture, and black artists,
among others.

Spain

Bonet, Juan Manuel. Diccionario de las Vanguardias en España, 1907–

1936. Madrid: Alianza Editorial, 1995. 654p.

Dictionary of movements in literature, the visual and interrelated

arts. Includes a great many biographical entries, many cross
references.

Spanish Artists from the Fourth to the Twentieth Century: A Critical

Dictionary: Frick Art Reference Library. New York: G.K. Hall, 1993–
96. 4 vols.

The Frick Art Reference Library’s authority file of Spanish artists

includes nearly 90,000 names. This published version of the
authority file serves as a master index to additional sources of
information on the subject artist. Many of the basic biographical
sources listed in this chapter, and a great many additional, more
specialized sources are included among the references.

United States

Baskind, Samantha. Encyclopedia of Jewish American Artists.

Westport, CT: Greenwood, 2007.
 Surveys the work of 19th and 20th century Jewish American
artists, including Eva Hesse, Roy Lichtenstein, Larry Rivers, along
with a good selection of accomplished but lesser-known artists.

Dawdy, Doris Ostrander. Artists of the American West: A Biographical

Dictionary. Chicago: Sage Books, [1974]-1985. 3 vols.

Biographical dictionary of artists born before 1900 and active in

the Western United States. Entries include birth and death dates,
locations of activity, and references to additional biographical
sources.

Everett, Deborah, and Elayne Zorn. Encyclopedia of Native American

Artists. Westport, CT: Greenwood, 2008. 267p.

Lengthy profiles on over one hundred native American artists.

Each entry includes bibliographic references, and brief listing of
institutions (galleries and museums) in which readers can find the
subject artist’s work.

Falk, Peter Hastings, ed. Who Was Who in American Art, 1564–1975:
400 Years of Artists in America. 3 vols. Madison, CT: Sound View
Press, 1999. 3,724p.

Biographical dictionary. Each entry includes some or all of the

following elements: name, birth and death dates; profession;
education (colleges, art schools); exhibitions; works in public
collections; additional comments; some signature and monogram
samples.

Fineberg, Jonathan David. Art Since 1940: Strategies of Being. Boston:

Prentice Hall, 2000. 560p.

Standard college-level textbook traces the evolution of

contemporary art in the United States and European countries. All
of the major movements of the last half of the 20th century are
surveyed, and placed within their political and social contexts.
Grauer, Paula L. Dictionary of Texas Artists, 1800–1945. College
Station: Texas A&M University, 1999. 240p.

Short biographical sketches on major and lesser-known artists of

Texas. Includes a number of indexes to artists who have exhibited
in regional exhibitions, e.g., Annual Houston Artists Exhibition
Index, state fairs and the like.

Groce, George C. (George Cuthbert), and David H. Wallace. The New-

York Historical Society’s Dictionary of Artists in America, 1564–1860.
New Haven: Yale University Press; London: Oxford University Press,
1957. 759p.

Standard reference source for early American artists’ biography.

Entries include all or some of the following elements: name; dates
and places of birth and death; media and subject matter;
chronology of residences and exhibitions; pupils, locations and
reproductions of representative works.

Heller, Jules, and Nancy G. Heller, eds. North American Women Artists
of the Twentieth Century: A Biographical Dictionary. New York:
Garland, 1995. 612p.

Biographical essays on major and lesser-known women artists.

Entries include very selective bibliographies of primary and
secondary source materials.

Jegede, Dele. Encyclopedia of African American Artists. Westport, CT:

Greenwood, 2009. 293p.

Lengthy essays for sixty-six African American artists active from

the nineteenth century to the present day. Entries include
bibliographical references as well as listings of institutions
(galleries and museums) holding examples of the subject artists’
works.

Kort, Carol, and Liz Sonneborn. A to Z of American Women in the

Visual Arts. New York: Facts on File, 2002. 258p.
 Substantial essays on painters, sculptors, photographers and other
art professionals. Entries include selective bibliography.

Kovinick, Phil. An Encyclopedia of Women Artists of the American

West. Austin: University of Texas Press, 1998. 405p.

Biographical encyclopedia of painters, graphic artists and sculptors

who had gained some acclaim as “depictors of Western subjects by
1980 [Preface].” Entries range from one-half to several pages,
offering references to exhibitions, books, catalogs and some
archival sources.

Neff, Emily Ballew. The Modern West: American Landscapes, 1890–

1950. New Haven: Yale University Press; Houston: Museum of Fine
Arts, 2006. 315p.

Traces the influence of pre–World War II twentieth century

masters on the evolution of a distinctly American approach to the
landscape in the pictorial arts.

Otfinoski, Steven. African Americans in the Visual Arts. New York:

Facts on File, 2003. 262p.

Signed essays on artists, illustrators and writers include highly

selective bibliography for further research.

Oweis, Fayeq. Encyclopedia of Arab American Artists. Westport, CT:

Greenwood, 2008. 306p.

Each of approximately 85 subject artists profiled in a several page

biographical sketch. Biographies are well researched and include a
good deal of insight gleaned from personal interviews. Each entry
also includes a list of websites and galleries/museums in which
interested readers can find examples of the subject artists’ work.

Reno, Dawn E. Contemporary Native American Artists. Brooklyn, NY:

Alliance Publishing, 1995. 230p.
 Brief entries include location, media and related arts professions,
education, awards, gallery representation and inclusion in public
collections.

Rosenak, Chuck. Museum of American Folk Art Encyclopedia of

Twentieth-Century American Folk Art and Artists. New York: Abbeville
Press, 1990. 416p.

Biographical entries on artists includes some or all of the

following elements: General background; Artistic background;
Subject and sources, Materials and techniques; Artistic
recognition.

_____, and Jan Rosenak. Contemporary American Folk Art: A

Collector’s Guide. New York: Abbeville, 1996. 320p.

Offers some practical tips for the beginning collector, followed by

regional overviews of folk artists and museum and gallery guides.
Brief biographical entries on individual artists include information
on where to see, and where to buy works by the subject artist.

Sellen, Betty-Carol, with Cynthia J. Johanson. Self Taught, Outsider,

and Folk Art: A Guide to American Artists, Locations and Resources.
Jefferson, NC: McFarland, 2000. 326p.

Overview of sources for the study of outsider art. Contents:

Galleries; Fairs and festivals; Auctions; Art centers; Museums,
libraries, archives; Exhibitions; Organizations; Publications;
Educational opportunities; Artists. Updates and supplements the
author’s 20th Century American Folk, Self-Taught, and Outsider
Art (New York: Neal-Schuman, 1993.)

Sharylen, Maria. Artists of the Pacific Northwest: A Biographical

Dictionary, 1600–1970. Jefferson, NC: McFarland, 1993. 252p.

Brief entries on artists who have “actively worked within the

geographical boundaries of Oregon, Washington, Idaho, British
Columbia and Alaska prior to 1970 [Introduction].” Some
exhibitions, public collections, association memberships indicated.
 Wertkin, Gerard C., ed. Encyclopedia of American Folk Art. Lee
Kogan, associate editor; in association with the American Folk Art
Museum. New York: Routledge, 2004. 612p.

Well-indexed encyclopedic overview of artists, object types and

media employed by American folk artists. Entries by experts in the
field include good bibliographies for further reading.

COLLECTORS’ MANUALS AND CONSERVATION HANDBOOKS

Some of the standard manuals, intended for the serious collector and
connoisseur, go into considerable detail about their subject media; similarly,
most provide good quality images that are indispensable for conveying
information about visual arts media and methods. The following entries
represent some of the better guides for serious collectors of art. General
guides of interest to collectors of all media, periods and styles are identified
first. More specialized handbooks, arranged by media, follow.

Bachmann, Konstanze, ed. Conservation Concerns: A Guide for

Collectors and Curators. New York: Cooper-Hewitt National Museum
of Design; Washington, DC: Smithsonian Institution Press, 1992. 149p.

Collection of essays by leaders in the field of collection

management, assessment and conservation. In addition to basics of
good storage practices and emergency planning, essays include
material on the conservation of various media including works on
paper, photographs, textiles, paintings, furniture and artifacts.

David, Carl. Collecting and Care of Fine Art. New York: Crown, 1981.
148p.

This short primer includes some good basic information (for the
beginning collector). Topics include provenance, signatures,
restoration, fakes and experts, insurance, appraisals, tax issues and
more.

Frank, Jeanne. Discovering Art: A User’s Guide to the World of

Collecting. New York: Thunder’s Mouth Press, 1997. 200p.
 Basic primer on collecting art for the novice collector. Discusses
the basics of auction, commercial gallery and other sales venues.
Offers practical advice on provenance, authentication and fakes,
care and framing.

Samuels, Peggy. Everyone’s Guide to Buying Art. Englewood Cliffs,

NJ: Prentice-Hall, 1984. 268p.

Offers practical information on art acquisition, including

everything from selecting to tax implications of art collection.
Partial contents: How to buy winners in art; Whether to specialize;
Categories of condition; Theory of appraisal; Auctions; Reporting
dealers’ sales.

Snyder, Jill. Caring for Your Art: A Guide for Artists, Collectors and
Art Institutions. New York: Allworth, 2001. 254p.

Excellent easy-to-read primer gives practical advice to collectors,

including general conservation, art handling, transport,
documentation, storage and more.

von Saldern, Axel, ed. Fine Art Collector’s Guide to Securing,

Preserving and Conserving Works of Art, Including Tax Planning. [New
York?]: Nordstern Insurance Company of America, 1996. 106p.

Practical guidance for the fine art collector. Partial contents:

Securing private art collections; Care of paintings; Framing &
hanging; Works on paper & photographs; Books; Wooden
sculptures; Furniture; Metals; Ceramics & glass; Ivories; Carpets
& textiles; Packing & shipping; Legal aspects of owning art.

SPECIALIZED REFERENCE SOURCES (MEDIUM-SPECIFIC)

This section includes references to published works that can assist in the
identification of works of art. Most are very widely held in libraries,3 and all
deal with a single medium (e.g., painting, sculpture).

Painting: Bibliography
Clement, Russell T. Les Fauves: A Sourcebook. Westport, CT:
Greenwood, 1994. 683p.

Extensive bibliography on Fauvism precedes individuals artists’

entries: Raoul Dufy; Georges Roualt; Maurice de Vlaminck;
André Derain; Kees van Dongen; Albert Marquet; Emile-Othon
Friesz; Charles Camoin; Henri Manguin; Jean Puy; Louis Valtat.
Artist entries include biographical sketch, chronology, and
bibliography including archival materials, books, articles,
audiovisual materials, individual and group exhibitions.

_____, and Annick Houze. Neo-Impressionist Painters: A Sourcebook

on Georges Seurat, Camille Pissarro, Paul Signac, Theo Van
Rysselberghe, Henri Edmond Cross, Charles Angrand, Maximilien
Luce, and Albert Dubois-Pillet. Westport, CT: Greenwood, 1999. 396p.

Each subject artist entry provides a short biographical sketch,

chronology and bibliography including references to: Archival
materials; Books; Articles; Individual exhibitions; Group
exhibitions.

Cutul, Ann-Marie. Twentieth-Century European Painting: A Guide to

Information Sources. Detroit: Gale Research, 1980. 520p.

Classified, annotated bibliography and research guide for the

serious scholar and collector. Includes major reference works,
exhibition catalogs, writings by and about subject artists.

Fredeman, William E. Pre-Raphaelitism: A Bibliocritical Study.

Cambridge: Harvard University Press, 1965. 327p.

Scholarly, annotated bibliography of works on major and minor

Pre-Raphaelite artists. Includes overview of public collections,
individual artists’ exhibitions, artists’ illustrations in books and
periodicals, sales information and sources for researching
provenance.

Keaveney, Sydney Starr. American Painting: A Guide to Information

Sources. Detroit: Gale Research, 1974. 260p.
 Annotated bibliography of sources for the study of American
painting. Partial contents: General reference sources; General
histories and surveys; Early painting in America; Nineteenth
century American painting; Modern painting: the twentieth
century; Individual artists; Early writings on American art.

Lucus, Samuel Thomas. Bibliography of Water Colour Painting and

Painters. London: White Lion, 1976. 132p.

Classified, annotated bibliography of writings on watercolor

painting, pre–1700 through the 20th century. Section on “Societies
and groups” provides references to published histories of British
and American watercolor painting societies.

Sullivan, Mark White. The Hudson River School: An Annotated

Bibliography. Metuchen, NJ: Scarecrow, 1991. 225p.

Annotated bibliography includes references to books, exhibition

catalogs, journal articles. General works precede section on
individual artists including: Albert Bierstadt; Frederic E. Church;
Thomas Cole; Jasper Cropsey; Thomas Doughty; Asher B.
Durand; Sanford R. Gifford; Martin J. Heade; George Inness; John
F. Kensett; Fitz Hugh Lane; Homer D. Martin; Thomas Moran;
Worthington Whittredge; Alexander H. Wyant. Author-Subject
indexes.

Weisberg, Yvonne M.L., and Gabriel P. Weisberg. The Realist Debate:

A Bibliography of French Realist Painting, 1830–1885. New York:
Garland, 1984. 213p. (Series: Garland Reference Library of the
Humanities, vol. 473.)

Annotated bibliography of books, catalogues, articles, dissertations

and reviews, arranged by material type. Author and subject
indexes.

Wind, Barry. Genre in the Age of the Baroque: A Resource Guide. New
York: Garland, 1991. 178p.
 Highly selective, annotated bibliography of writings on the
Baroque. Formats include books, exhibition catalogs, and journal
articles. Geographic coverage includes Italy, Spain, France and the
Low Countries. Author and subject indexes.

Painting: Collectors’ Manuals

Carr, Dawson W. Looking at Paintings: A Guide to Technical Terms.

Malibu, CA: J. Paul Getty Museum in association with British Museum
Press, 1992. 84p.

Described as a “guide for the museum visitor who wishes to know

more about the materials and techniques of paintings,” this short
primer is an excellent, nicely illustrated guide for the beginning
researcher.

Keck, Caroline K. A Handbook on the Care of Paintings: For

Historical Agencies and Small Museums. Nashville, TN: American
Association for State and Local History, 1965.132p.

Basic primer on collection maintenance techniques for the curator

and collector. Contents: Anatomy of paintings: pastel, watercolor,
gouache; Anatomy of paintings: Oil on fabric and solid supports;
Laboratory examination and treatment; Conservation priorities and
procedures.

_____. How to Take Care of Your Paintings: The Art Owner’s Guide to
Preservation and Restoration. New York: Scribner’s, 1978. 96p.

Contents: Structural composition of a canvas painting; Small

troubles and what to do about them; Cleaning a painting on your
own; Varnishing and other finishing touches; Familiar misfortunes
and how to prevent some of them; Serious trouble and important
first aid; How a painting can change without any apparent cause;
What happens when a painting is restored.

Painting: Selected Country Studies

The following sources include survey texts, exhibition and museum catalogs.
They have been selected for their usefulness in identifying styles, periods,
and individual artists’ painted works.

Asian Countries

Akiyama, Terukaz. Japanese Painting. Geneva: Skira; New York:

Rizzoli, 1977. 216p. (Series: Treasures of Asia.)

Survey text on Japanese painting from pre–Buddhist era through

the 19th century.

Barnart, Richard M. Along the Border of Heaven: Sung and Yüan

Paintings from the C.C. Wang Family Collection. New York:
Metropolitan Museum of Art, 1983.

Richly illustrated catalog of a major collection of paintings dating

from the 10th century.

_____. Painters of the Great Ming: The Imperial Court and the Zhe
School. Dallas, TX: Dallas Museum of Art, 1993. 360p.

Scholarly catalog surveys the development of Ming painting.

Partial contents: Foundation of Ming painting; Visions of
grandeur: The life and art of Dai Jin; Great masters of the Ming
Court and the Zhe School.

Cahill, James. Chinese Painting. New York: Rizzoli; Geneva: Skira,

1977. 211p. (Series: Treasures of Asia.)

Chronological survey of Chinese painting by a noted scholar and

curator. Covers Chinese painting from the 2nd through 18th
centuries.

Cho, Cha-yong. Traditional Korean Painting: A Lost Art Rediscovered.

[Translated by John Bester.] Tokyo: Kodansha International, 1990.
176p.
 Superb color plates precede scholarly essays on primarily 19th and
20th century Korean painted works.

Fong, Wen. Beyond Representation: Chinese Painting and Calligraphy,

8th–14th Century. New York: Metropolitan Museum of Art; New
Haven: Yale University Press, 1992. 549p. (Series: Princeton
Monographs in Art and Archaeology, 48.)

Partial contents: Of the human world: Narrative representation; Of

nature and art: Monumental landscape; Art of the scholar-officials;
Sung Imperial art; Introspection and lyricism: Southern Sung
painting; Some Buddhist and Taoist themes; Yüan Renaissance;
Revival and synthesis: Yüan literati painting.

Hearn, Maxwell K. How to Read Chinese Paintings. New York:

Metropolitan Museum; New Haven: Yale University Press, 2008. 173p.

This study, which was published in conjunction with a related

exhibition at the Metropolitan Museum, seeks to decode the
various elements (style, symbolism, etc.) of selected masterpieces
from the Museum’s collection.

Mowry, Robert D. ed. A Tradition Redefined: Modern and

Contemporary Chinese Ink Paintings from the Chu-tsing Li Collection,
1950–2000. Cambridge: Harvard University Art Museums, 2007. 244p.

Recent years have seen a resurgence in both scholarly interest as

well as market performance of contemporary ink paintings. Partial
contents: Chinese Painting in China and Beyond; On the
international Stage; On the Mainland and Out of Bounds;
Signatures and Seals; Artists’ Biographies.

Schaarscmidt-Richter, Irmtraud, ed. Japanese Modern Art: Painting

from 1910 to 1970.

Zürich: Edition Stemmle, 2000. 207p.

Published in conjunction with an exhibition at the Japan

Foundation (New York). Traces the evolution of painting in Japan
 during the first three-quarters of the 20th century. Partial contents:
Growth of modern Japanese painting; Burgeoning of abstraction in
Japanese art after 1910; Japanese Surrealism in the late 1930s: The
“space of formless matter” and the “space of macroscopic
creatures;” Japanese art in the 1950s and 1960s.

Sirén, Osvald. Chinese Painting: Leading Masters and Principles. New

York: Ronald Press, 1956– . 7 vols.

Classic study of Chinese painting from its earliest history through

the Late Ming period. Includes two volumes of plates.

Australia and New Zealand

Docking, Gil. Two Hundred Years of New Zealand Painting.

Wellington: A.H. & A.W. Reed, [1971]. 212p.

Encyclopedic survey of two centuries of New Zealand painting,

commencing with the earliest commissioned artists included
among the first settlers. Well illustrated with good quality tipped-
in color plates.

Dunn, Michael. Contemporary Painting in New Zealand. Australia,

NSW: Craftsman House, 1996. 235p.

Profiles the work of 48 painters, with a focus on works created

during the first half of the 1990s.

_____. New Zealand Painting: A Concise History. Auckland, NZ:

Auckland University Press, 2003. 218p.

Brief introductory chapters on colonial and Victorian landscape

precede more in-depth analyses of primarily 20th century
movements and styles.

Johnson, Vivien. Aboriginal Artists of the Western Frontier: A

Biographical Dictionary. Roseville East, NSW: Craftsman House,
1994. 137p.
 Brief overview precedes individual biographical sketches of
Aboriginal artists. Appendices include “Guide to artists by
community” and “Artists’ dreamings—Yuendumu.”

Klepac, Lou, ed. Australian Painters of the Twentieth Century. Sydney:

Beagle Press, 2000. 252p.

Presents the work of a representative selection of 19 painters, with

an emphasis on artists active during the century’s middle years.
Good quality color reproductions.

McCulloch, Susan. Contemporary Aboriginal Art: A Guide to the

Rebirth of an Ancient Culture. Honolulu: University of Hawaii, 1999.
240p.

Geographically arranged survey of contemporary Aboriginal art,

very well illustrated. Partial contents: Introduction to
contemporary Aboriginal art; Central and Western Desert; the
Kimberley; Arnhem Land; Urban and new forms of art; Buyer’s
guide.

Smith, Bernard. Australian Painting, 1788–2000. 4th ed. South

Melbourne, Victoria: Oxford University Press, 2001. 630p.

Encyclopedic history of Australian art, from 1788 through 2000,

with an emphasis on the 20th century.

Terry, Martin. Maritime Paintings of Early Australia, 1788–1900.

Carlton South, Victoria: Melbourne University Press, 1998. 111p.

Australia has produced a great many painters of maritime subjects,

and this is one of the most comprehensive surveys of this often
overlooked genre. Organized thematically (shipwrecks,
emigration, etc.), very well illustrated, with a good bibliography of
further research.

Canada
Dejardin, Ian. Painting Canada: Tom Thomson and the Group of Seven.
Amy Concannon, ed. London: Philip Wilson; New York: Palgrave
Macmillan, 2011. 216p.

Scholarly essays trace the development of Canada’s popular

landscape painters, the “Group of Seven” (sometimes referred to
as the Algonquin Group).

Duval, Paul. Canadian Impressionism. Toronto: McClelland & Stewart,

1990. 166p.

Primarily a compilation of bio-critical essays on major and lesser-

known Canadian Impressionists.

Harper, J. Russell. Painting in Canada: A History. 2d ed. Toronto:

University of Toronto Press, 1977. 463p.

Historical survey of three centuries of Canadian painting. Partial

contents: French colony, 1665–1759; English colonial period
1759–1867; New Dominion 1867–1910; Nationalism and
internationalism after 1910.

_____. A People’s Art: Primitive, Naïve, Provincial, and Folk Painting

in Canada. Toronto: University of Toronto Press, 1974. 176p.

Lowrey, Carol, curator. Visions of Light and Air: Canadian

Impressionism, 1885–1920. New York: Americas Society Art Gallery,
1995. 152p.

Presents a fascinating account of the introduction and reception of

the Impressionist tradition in Canada. Each of the major Canadian
Impressionists is represented by at least one good quality color
reproduction, a well-chosen bibliography and a brief biographical
sketch.

O’Brian, John, and Peter White, eds. Beyond Wilderness: The Group of
Seven, Canadian Identity and Contemporary Art. Montreal: McGill-
Queen’s University Press, 2007. 390p.
 This is the definitive scholarly reference work on Canadian art of
the last two centuries. Well-illustrated essays by a large team of
scholar/contributors.

Reid, Dennis R. A Concise History of Canadian Painting. Toronto:

Oxford University Press, 1973. 319p.

Standard historical survey of painting in Canada from the 17th

century through the 1960s. Substantive, illustrated chapters on
Canada’s most important painters.

France

Cogeval, Guy, et al. Van Gogh, Gauguin, Cezanne, and Beyond: Post-
Impressionist Masterpieces from the Musée d’Orsay. San Francisco:
Fine Arts Museums; Munich: Prestel; New York: DelMonico Books.
2010. 255p.

Published in conjunction with an exhibition on Post-

Impressionism, this well-illustrated monograph surveys the
movement’s development through analysis of more than one
hundred paintings from the collection of the Musée d’Orsay.

Conisbee, Philip. Painting in Eighteenth-Century France. Ithaca, NY:

Cornell University Press, 1981. 223p.

Contents: The artist’s world; Religious painting; History painting;

Portraiture; Minor genres; Landscape.

_____, ed. French Genre Painting in the Eighteenth Century.

Washington, DC: National Gallery; New Haven: Yale University Press,
dist. 2007. 319p.

French genre subjects—including still life, domestic interiors,

portraits and more, are contextualized by fifteen scholarly essays
on subjects from political science to gender studies.

Eitner, Lorenz. French Paintings of the Nineteenth Century; Part I:

Before Impressionism. Washington, DC: National Gallery of Art, 2000.
 Like other volumes of the National Gallery’s Systematic Catalog,
provides very detailed analysis of works, including extensive notes
on condition, attribution, and provenance. Included are a number
of anonymous 19th century genre and portrait painters.

Lemoine, Serge, ed. Paintings in the Musée d’Orsay [translation of

Peinture au Musée d’Orsay]. New York: Abrams, 2004. 767p.

This exquisitely produced inventory groups this collection of

French paintings chronologically, with each period explored in-
depth by one of a series of experts in the field.

Leymarie, Jean. French Painting: The Nineteenth Century. [Geneva]:

Skira, [1962]. 229p.

Surveys the evolution of French painting from David and Ingres

through the Impressionists. Beautifully illustrated with tipped-in
plates. Contents: Classical nostalgia; Romantic exaltation; Rise of
landscape painting; Battle of realism; Impressionist revolution.

Moffett, Charles S. The New Painting, Impressionism, 1874–1886: An

Exhibition Organized by the Fine Arts Museums of San Francisco with
the National Gallery of Art, Washington. San Francisco: The Museums,
[1986]. 507p.

Exhibition catalog with excellent reproductions, reprints of

primary material and supporting documents, organized around the
original eight exhibitions of Impressionist painting.

Rathbone, Eliza E., and George T.M. Shackelford. Impressionist Still

Life. [Washington, DC]: Phillips Collection in Association with Harry
N. Abrams, 2001. 240p.

Each work included in this major exhibition catalog is

accompanied by a substantial essay. Includes works by all of the
major and a few of the less well-known French Impressionist
painters.
Tinterow, Gary, and Henri Loyrette. Origins of Impressionism. New
York: Metropolitan Museum of Art, 1994. 486p.

Exhibition catalog published on the occasion of an exhibition at

the Metropolitan Museum. Introductory essays survey various
themes represented in the salons commencing in 1859. Catalog
entries, fully documented, are arranged by artists’ names.

Wine, Humphrey. The Seventeenth Century French Paintings. London:

National Gallery; Dist. by Yale University Press, 2001. 438p.

This extensive catalog of the National Gallery’s collection includes

a chapter on the collection’s assembly, with extensive technical
and attribution notes on each work.

Germany and Austria

Austrian Painting 1945–1995: The Essl Collection. Munich: Prestel,

1996. 296p.

This major collection of Austrian paintings includes major as well

as lesser-known Austrian artists of the postwar period. All works
illustrated in color; includes artist biographies and chronologies.

Bischoff, Ulrich, Elisabeth Hipp, Jeanne Anne Nugent, et al. From

Caspar David Friedrich to Gerhard Richter: German Paintings from
Dresden. Los Angeles: J. Paul Getty Museum, 2006. 119p.

Richly illustrated with works taken primarily from the Galerie

Neue Meister. Artists include Caspar David Friedrich, Julius
Schnorr von Carolsfeld, Carl Blechen, Christian Friedrich Gille,
Carl Gustav Carus, Johan Christian Dahl, Ludwig Richter,
Wilhelm Leibl, Arnold Böcklin, Lovis Corinth, Max Liebermann,
Otto Dix, Karl Schmidt-Rottluff, Werner Tübke, and Gerhard
Richter.

Finke, Ulrich. German Painting from Romanticism to Expressionism.

London: Thames and Hudson, 1974. 256p.
 Chronological overview of German painting organized around
brief biographical entries on major and lesser-known artists.
Contents: Romanticism; Late Romantic painting 1830–50; From
realism to Impressionism; Transition to the twentieth century.

Roh, Franz. German Painting in the 20th Century. Greenwich, CT:

New York Graphic Society, 1968. 259p.

Short surveys of major trends and movements in German art,

including German Impressionism; Divisionism; Expressionism;
Blaue Reiter; Dadaism; Surrealism; Abstraction.

Stärk, Beate. Contemporary Painting in Germany. Roseville East,

NSW: Craftsman House; G+B Arts International, 1994. 253p.

Well-illustrated overview of contemporary German painting in the

form of lengthy biographical sketches on major artists. For each
artist, provides basic biographical details, selective exhibition
record, collections, and selected bibliography.

Tannert, Christoph. New German Painting: Remix. Munich: Prestel,

2006. 255p.

Traces the development of painting from the founding of the New

Leipzig School. Individual artists’ works are treated within the
context of national economic, political and social movements.

Vaughan, William. German Romantic Painting. 2d ed. New Haven:

Yale University Press, 1994. 260p.

Well-illustrated survey, intended “to provide an introduction to a

subject that is little studied in the English speaking world”
[Preface]. Partial contents: Painter’s Germany, 1800–50;
Classicism and Expressionism; Philipp Otto Runge; Caspar David
Friedrich; Naturalism and the naïve; Nazarenes; Legends and
fairy-tales; Art and propaganda.

Vergo, Peter. Twentieth-Century German Painting: The Thyssen-

Bornemisza Collection. London: Sotheby’s, 1992. 386p.
 Catalogue raisonné of an important collection. Numerous works
by major artists are illustrated and fully documented. Excellent
source for the identification of major German artists’ works.

Latin America

Pintura Latinoamericana: Proyecto Cultural, los Colegios y el Arte:

Breve Panorama de la Modernidad Figurativa en la Primera Mitad del
Siglo XX. Buenos Aires, Argentina: Banco Velox, 1999. 493p.

Presents one or more examples of major and lesser known artists

of Latin American countries. Good quality reproductions make
this an excellent resource for the identification of artists. Includes
short biographical essay on each artist.

Low Countries

Brown, Christopher. National Gallery (Great Britain). The Dutch

School, 1600–1900. 2d ed. London: National Gallery, 1991. 2 vols.

Provides extensive documentation, including provenance,

technical conservation notes, and bibliographical references for
Dutch paintings in the collection of the National Gallery.

Leymarie, Jean. Dutch Painting. [Geneva]: Skira, [1956].

Historical survey of major 17th century Dutch painters, illustrated

with very good quality plates.

Liedtke, Walter A. Dutch Paintings in the Metropolitan Museum of Art.

New York: Metropolitan Museum; New Haven: Yale University Press,
2007. 2 vols.

This massive inventory serves as a definitive reference work on

the major and lesser-known Dutch painters. Includes extensive
bibliography and provenance details, where available.

Looking at Seventeenth-Century Dutch Art: Realism Reconsidered.

Cambridge: Cambridge University Press, 1997. 274p.
 Series of essays on Dutch art and art historiography by leading
experts in the field.

Maere, J. de, and M. Wabbes. Illustrated Dictionary of 17th Century

Flemish Painters. Brussels: Renaissance du Livre, 1994. 3 vols.

Brief biographies of artists, including lesser-known genre painters

of the 17th century. Entries include biographical basics,
bibliography, institutional collections, and in some cases, signature
or monogram examples.

Os, H.W. van. Discovery of the Netherlands: Four Centuries of

Landscape Painting by Dutch Masters. Rotterdam: NAi Publishers;
New York: D.A.P., 2008. 127p.

Through his analysis of more than forty works, van Os traces the
development of landscape painting in the Netherlands.

Slive, Seymour. Dutch Painting 1600–1800. New Haven, CT: Yale

University Press, 1995. 378p.

In-depth analyses of major artists’ lives and works, as well as

chapters devoted to various genres: landscape, marine, still life,
etc.

Spicer-Durham, Joaneath Ann. Masters of Light: Dutch Painters in

Utrecht During the Golden Age. Baltimore: Walters Art Gallery; [San
Francisco]: Fine Arts Museums of San Francisco; New Haven :
Distributed by Yale University Press, 1997. 480p.

Essays on 17th century painting in Utrecht precede beautifully

illustrated entries for each work in this major exhibition. For each
work, full description, provenance and bibliographic references for
further research; for many works, related source material
identified.

Spain
Giménez, Carmen, and Francisco Calvo Serraller, eds. Spanish Painting
from El Greco to Picasso: Time, Truth and History. New York:
Guggenheim Museum; Madrid: SEACEX; Tf. Editores, 2006. 445p.

Issued in conjunction with an exhibition, this beautifully illustrated

scholarly volume serves as an encyclopedic overview of Spanish
art from the 16th through 20th centuries.

Lassaigne, Jacques. Spanish Painting. [Geneva]: Skira, [1952]. 2 vols.

Like other national surveys published by Skira, offers a readable

but scholarly account of painting in Spain. Vol. 1: From the
Catalan Frescos to El Greco; Vol. 2: From Velazquez to Picasso.

Post, Chandler Rathfon. A History of Spanish Painting. Cambridge,

MA: Harvard University Press, 1930–1966. 14 vols. in 20.

Classic multi-volume survey text traces the development of

painting in Spain from medieval period through Renaissance in
Castille. Includes extensive bibliographies.

Switzerland

Deuchler, Frorens. Swiss Painting: From the Middle Ages to the Dawn
of the Twentieth Century. Geneva: Skira; New York: Rizzoli, 1976.
197p.

Partial contents: Swiss art or art in Switzerland? The beginnings of

painting; Late Gothic and Renaissance art; From the baroque era to
the age of Enlightenment; Sense of a common heritage from the
late eighteenth to the early twentieth century.

United Kingdom & Ireland

Cherry, Deborah. Painting Women: Victorian Women Artists. London:

Routledge, 1993. 275p.

In-depth social history of women painters in Victorian England, by

a noted historian and curator.
Child, Dennis. Painters in the Northern Counties of England and
Wales. 2d ed. Leeds: Dennis Child, 2002. 335p.

Excellent starting point for research, particularly for lesser-known

artists of England and Wales. Entries include basic biographical
facts, subjects and media, an indication of the artist’s sales activity,
and pointers to additional sources of information, including
exhibition sources, dictionaries and other reference tools.

Crookshank, Anne. Painters of Ireland, 1660–1920. 2d ed. London:

Barrie & Jenkins, 1979. 303p.

Chronologically arranged survey of portrait, landscape, genre and

decorative painting styles and movements from the 17th through
early 20th centuries.

Hardie, William R. Scottish Painting, 1837 to the Present. 2d ed.

London: Studio Vista, 1990. 223p.

Overview of Scottish painters’ work from early Victorian period

through the 20th century. Extensive references to books and
periodicals for further research.

Holsby, Julian, and Paul Harris. The Dictionary of Scottish Painters

1600–1960. Edinburgh: Canongate, 1990. 236p.

Very brief biographies of major and lesser-known Scottish

painters. Some entries include example of artist’s signature or
monogram.

Macmillan, Duncan. Painting in Scotland: The Golden Age. Oxford:

Phaidon, 1986. 206p.

Published in conjunction with a large exhibition at the University

of Edinburgh and the Tate Gallery, London, this scholarly, well-
illustrated catalog provides a good overview of portraiture and
landscape painting from the late 18th through 19th centuries.
Mallalieu, Huon. The Dictionary of Watercolour Artists Up to 1920. 3d
ed. Woodbridge, Suffolk: Antique Collectors’ Club, 2002. 2 vols.

Basic biography of major and lesser-known British watercolor

artists. Entries include description of the artist’s watercolor oeuvre,
institutional collections, and bibliographical references. Some very
obscure artists included.

McKonkey, Kenneth. British Impressionism. New York: Abrams, 1989.

160p.

In this survey of the Impressionist tradition in Britain, the author

investigates major and lesser-known English artists’ contact with
works by the French Impressionists and their reception in the
British art world of the 19th and early 20th centuries.

National Gallery of Art (U.S.). British Paintings of the Sixteenth

Through Nineteenth Centuries. Washington, DC: National Gallery;
[New York]: Cambridge University Press, 1992. 407p.

Arranged in alphabetical order by name of artist, this inventory of

the National Gallery’s illustrious collection serves as an excellent
resource for the identification of artists’ styles. Each work is fully
documented, with technical notes (condition) as well as
provenance.

National Gallery of Ireland. Irish Paintings in the National Gallery of

Ireland. Volume 1 [of 3]. Dublin: National Gallery of Ireland, 2001– .

This survey of paintings by Irish artists includes multiple works by

some of Ireland’s best-known painters. In all it lists 222 works,
with full documentation, artist biography, etc., making this a good
source for the study of Irish painting.

Prettejohn, Elizabeth. The Art of the Pre-Raphaelites. Princeton, NJ:

Princeton University Press, 2000. 304p.

Historical overview of the landscape and narrative paintings of the

Pre-Raphaelite artists, including technique, working methods and
 short biographical entries on named artists.

Redgrave, Richard, and Samuel Redgrave. A Century of British

Painters. Ithaca, NY: Cornell University Press, 1981. 612p. (Series:
Landmarks in Art History.) Reprint; originally published 1947.

Stewart, Brian, and Mervyn Cutten. The Dictionary of Portrait Painters

in Britain Up to 1920. Woodbridge, Suffolk: Antique Collectors’ Club,
1997. 502p.

Brief biographical essays include bibliographical references,

collections, and in some cases, references to engravers who
produced copies of the subject artist’s work.

Tickner, Lisa. Modern Life & Modern Subjects: British Art in the Early
Twentieth Century. New Haven, CT: Yale University Press, 2000. 336p.

Traces the modernist movement in British painting from the 1914

exhibition of contemporary works at the Whitechapel Art Gallery.
Provides analyses of major works by Walter Sickert, Augustus
John, Wyndham Lewis, Vanessa Bell and David Bomberg.

Walpole, Josephine. A History and Dictionary of British Flower

Painters, 1650–1950. Woodbridge, Suffolk: Antique Collectors’ Club,
2006. 236p.

Details the development of British floral painting from the

seventeenth through twentieth centuries. Biographical detail on
hundreds of individual painters include details of subject matter,
bibliography and exhibitions.

Waterhouse, Ellis Kirkham. The Dictionary of British 18th Century

Painters in Oils and Crayons. Woodbridge, Suffolk: Antique
Collectors’ Club, 1981. 443p.

Biographical sketches include details on major and lesser-known

artists, subjects, media, and indications of engraved versions of the
paintings along with bibliographic references.
_____. Painting in Britain, 1530 to 1790. 5th ed. New Haven, CT: Yale
University Press, 1994. 394p.

When Time Began to Rant and Rage: Figurative Painting from

Twentieth-Century Ireland. Edited by James Christen Steward. London:
Merrell Holberton, 1998. 288p.

This scholarly exhibition catalog includes several introductory

essays that trace the evolution of Irish painting from the early 19th
through late 20th centuries.

Wilton, Andrew. Five Centuries of British Painting: From Holbein to

Hodgkin. London: Thames & Hudson, 2001. 256p. (Series: World of
Art.)

Brief survey of British painting, from Renaissance portraiture of

the 16th century through late 20th century styles.

Wood, Christopher. Victorian Painters. 3d ed. Woodbridge, Suffolk:

Antique Collectors’ Club, 1995. 2 vols. (Series: Dictionary of British
Art, vol. 4.)

Biographical dictionary of major and lesser-known Victorian

painters. Entries include bibliographical references, indications of
society memberships.

United States

Davis, Elliot Bostwick, et al. Museum of Fine Arts, Boston. American

Painting. Boston: MFA; New York: Distributed Art Publishers/D.A.P.,
2003. 222p. (Series: MFA Highlights.)

With the MFA’s superlative collection as its basis for discussion,

this guide explores themes and styles in American painting from
the Colonial era through mid–20th century. Illustrated paintings
are supplemented by brief artist biographical sketches.

Gerdts, William H. American Impressionism. Seattle: Henry Art

Gallery, University of Washington, 1980. 179p.
 History of American Impressionism, beautifully illustrated with
many examples by artists including Childe Hassam, John
Twachtman, Edmund Tarbell, William Merritt Chase and others.

_____. Art Across America: Two Centuries of Regional Painting, 1710–

1920. New York: Abbeville Press, 1990. 3 vols.

Richly illustrated survey of regional painting trends in the United

States by a major historian of American art. Lengthy essays,
arranged by region and subdivided by state, present a
chronological survey of major and lesser-known painters and their
works.

Henkes, Robert. Themes in American Painting: A Reference Work to

Common Styles and Genres. Jefferson, NC: McFarland, 1993. 260p.

Unlike the typical chronologically-arranged survey, this unique

reference work includes survey chapters on various subjects (e.g.,
the city, wars, etc.) and genres (e.g., still life), each with a well-
selected bibliography of books for further investigation.

Lucie-Smith, Edward. American Realism. New York: Abrams, 1994.

240p.

Particularly appropriate for the beginning researcher of fine art,

provides clearly written survey chapters on various aspects of
American realism (primarily painting) from the American
Revolution through 20th century.

National Gallery of Art. American Paintings: An Illustrated Catalogue.

Washington, DC: National Gallery of Art, 1992. 545p.

Summary catalog of the National Gallery’s American painting

collection. Small but adequate photographic reproductions include
full documentation, provenance, etc. Includes works from Colonial
era through mid–20th century.

New American Paintings. Boston: Open Studios Press. Published

bimonthly. 1993– .
 Each issue of this innovative journal focuses on a region
(Northeast, Mid-Atlantic, etc.) of the United States. Emerging
artists are selected on the basis of “artistic merit” and provided
space—in the form of a multiple-page spread—in a “juried
exhibition-in-print.”

Prown, Jules David, and Barbara Rose. American Painting: From the
Colonial Period to the Present. Geneva: Skira; New York: Rizzoli,
1977. 276p.

Oversize survey, revised edition of two-volume study published in

1969. Traces the development of American painting from
beginning through 1970s.

Troyen, Carol, et al. American Paintings in the Museum of Fine Arts,

Boston: An Illustrated Summary Catalogue. Boston: Museum of Fine
Arts, 1997. 360p.

Summary catalog provides an A–Z, illustrated inventory of major

and lesser-known American painters’ works in the collection of
the MFA.

Weinberg, H. Barbara, Doreen Bolger and David Park Curry. American

Impressionism and Realism: The Painting of Modern Life, 1885–1915.
New York: Metropolitan Museum of Art, 1994. 384p.

Meticulously researched, well-illustrated exhibition catalog

includes a significant amount of source material. Major and lesser-
known Impressionists’ works included.

Sculpture: Bibliography

Ekdahl, Janis. American Sculpture: A Guide to Information Sources.

Detroit: Gale, 1977. 260p. (Series: Art and Architecture Information
Guide Series, vol. 5.)

Somewhat dated but still useful guide to a wide variety of sources

for the study of American sculpture. Partial contents: General
 research tools; Surveys of American sculpture; Folk, primitive and
naïve carving; First school of American sculpture; American
sculpture in the late nineteenth and early twentieth centuries;
Surveys of twentieth-century American sculpture; American
sculpture since 1960; Individual sculptors. Author, title and subject
indexes.

Wilk, Sarah Blake. Fifteenth-Century Central Italian Sculpture: An

Annotated Bibliography. Boston: G.K. Hall, 1986. 401p.

Extensive bibliography of primary and secondary sources on 15th

century Italian sculpture. Includes writings on individual artists,
special topics (e.g., patronage, museum collection, etc.), other
reference works.

Sculpture: Collectors’ Manuals

Bassett, Jane, and Peggy Fogelman. Looking at European Sculpture: A

Guide to Technical Terms. Los Angeles: J. Paul Getty Museum in
association with the Victoria & Albert Museum, 1997. 103p.

A–Z list of largely technical terminology.

Finn, David. How to Look at Sculpture. New York: Abrams, 1989.

144p.

Basic primer on the aesthetics of sculptural works. Partial

contents: Different kind of reality; What makes a sculpture great?;
Exquisite details; Naked beauty; Material truth and beyond; Living
with sculpture.

Kipper, Patrick V. The Care of Bronze Sculpture: Recommended

Maintenance Programs for the Collector. Loveland, CO: Path Pubs in
conjunction with Rodgers & Nelsen Pub. Co., 1998. 80p.

This short primer details all aspects of bronze and its care,
including indoor and outdoor placements.

Sculpture: Encyclopedias and Surveys

Applin, Jo. Eccentric Objects: Rethinking Sculpture in 1960s America.
New Haven: Yale University Press, 2012. 167p.

Scholarly but accessible survey of sculpture in 1960s America,

includes analysis of major and lesser known artists.

Bazin, Germain. A Concise History of World Sculpture. Newton Abbot,

UK: David & Charles, 1981. 317p.

Basic text on development of sculpture, from prehistoric through

the mid–20th century.

Berman, Harold. Bronzes: Sculptors & Founders, 1800–1930. Chicago:

Abage, 1971–1981. 4 vols.

An essential tool for research in bronze sculpture. Each work fully

documented. Additional reference material: Criteria for evaluation
of bronzes; Founders’ seals; Identifying characteristics of bronzes
and white metals; What is meant by signed, listed, dated and
numbers; Characteristics and identification of patinas; Care,
cleaning and polishing.

Boström, Antonia, ed. Encyclopedia of Sculpture. New York: Fitzroy

Dearborn, 2004. 3 vols.

Truly global survey of individual sculptors and works, as well as

overviews of individual countries, periods and styles. Individual
sculptor entries include biography, chronologically-arranged list of
major works with their current location, and well-chosen, brief
biographies for further research.

Conner, Janis C. Rediscoveries in American Sculpture: Studio Works,

1893–1939. Austin: University of Texas Press, 1989. 208p.

Presents an illustrated overview of 20 major and lesser known

sculptors’ work.

Duby, Georges, and Jean-Luc Daval, eds. Sculpture: From Antiquity to

the Present Day: From the Eighth Century BC to the Twentieth
Century. Cologne: Taschen, 2002.

Survey of Western sculpture originally published in four volumes.

Greek and Roman; Late antiquity to the Middle Ages
(Romanesque and Gothic); Renaissance, Mannerism, Baroque and
Rococo; Modern (19th and 20th centuries).

Gunnis, Rupert. Dictionary of British Sculptors, 1660–1851. New

revised ed. London: Murrays Book Sales, 1968. 515p.

Standard reference source for basic biographical information.

Some entries include description of selected statues, busts, reliefs,
monuments and other sculptural works.

Hachet, Jean-Charles. Dictionnaire Illustré des Sculpteurs Animaliers

& Fondeurs: De l’Antiquité à Nos Jours. Luxembourg:
Argusvalentines, 2005. 2 vols. (1087p.)

Individual artists, foundries and countries profiled. Most entries

are illustrated with at least one work; examples of marks and
signatures. International in scope.

Hammacher, Abraham Marie. Evolution of Modern Sculpture:

Tradition and Innovation. New York: Abrams, [1969]. 383p.

Survey textbook focusing on 19th and 20th century Western

sculpture. A brief chapter on Renaissance sculpture precedes in-
depth analyses of various contemporary movements (cubism,
constructivism, etc.) illustrated with examples by major and some
lesser-known artists.

Hibbard, Howard. Masterpieces of Western Sculpture from Medieval to

Modern. New York: Harper & Row, 1977. 239p.

Provides a brief history of Western sculpture through quite good,

color reproductions of major works from the Middle Ages to the
20th century.
Ivory: An International History and Illustrated Survey. New York:
Abrams, 1987. 352p.

International history traces the development of ivory sculpture

from ancient times through contemporary. Includes excellent
glossary of terms, tips for collectors, basics of care and repair.

Kjellberg, Pierre. Les Bronzes du XIXe Siècle; Dictionnaire des

Sculpteurs. Paris: Editions de l’Amateur, 2005. 716p.

Well illustrated A–Z dictionary of sculptors in bronze active

primarily in the nineteenth century. Many entries include extensive
lists of sculptures, many with museums indicated, signatures and
marks.

Lami, Stanislas. Dictionnaire des Sculpteurs de l’École Française au

Dix-Neuvième Siècle. Paris: E. Champion, 1914–21. 4 vols. (Reprint:
Nendeln, Liechtenstein: Kraus, 1970.)

Standard reference source for biography of major and lesser-

known French sculptors. Many entries include references to other
sources of biography.

MacKay, James A. The Dictionary of Western Sculptors in Bronze.

[Woodbridge, Suffolk]: Antique Collectors’ Club, 1977. 414p.

Provides brief biographical entries with details on various castings,

methods of production. Some introductory material of interest to
collectors, including patination, signatures and stamps, comments
on market values.

Maresca, Frank, and Roger Ricco. American Vernacular: New

Discoveries in Folk, Self-Taught, and Outsider Sculpture. Boston:
Little, Brown, 2002. 303p.

Copious illustrations of works from major public and private

collections, this beautiful monograph presents an overview of
some unique sculptural works.
Optiz, Glenn B. Dictionary of American Sculptors: 18th Century to the
Present, Illustrated With Over 200 Photographs. Poughkeepsie, NY:
Apollo, 1984.

Basic biographical entries on over 5,000 American sculptors,

including some living at date of publication. Entries include
birth/death dates, educational background, selected exhibitions,
contact addresses of [then] living artists.

Pyke, E.J. A Biographical Dictionary of Wax Modellers. Oxford:

Clarendon, 1973. 216p.

The definitive reference source on wax modelers of the 18th

through 20th centuries. Technical material on wax analysis,
inventories of private and public collections, and an A–Z
dictionary of artist biographies. Biographical entries include
description of technique, list of extant works, details of principal
references (including pre–1939 sales records), and bibliographical
references.

Rheims, Maurice. 19th Century Sculpture. New York: Abrams, 1977.

430p. (Translation of the author’s Sculpture au XIX Siècle.)

One of the very best pictorial surveys of 19th century sculpture—

including public works, religious works, portraits, funerary art, and
more. Major artists are treated in depth, but many relatively
obscure works are included as well.

Roscoe, Ingrid, et al. Biographical Dictionary of Sculptors in Britain,

1660–1851. New Haven: Yale University Press, 2009. 1620p.

Takes as its starting point, and substantially builds upon Gunnis’

Dictionary of British Sculptors, 1660–1851, described below. Over
3,000 sculptors included. Each entry includes biography, along
with a list of works identified by date, location, materials, etc.

Rubinstein, Charlotte Streifer. American Women Sculptors: A History of

Women Working in Three Dimensions. Boston: G.K. Hall, 1990. 638p.
 Encyclopedic survey of the lives and contributions of women
sculptors in America. Partial contents: Three-dimensional art of
the early native Americans; Patience Wright: founding mother of
American sculpture; Pioneering American women sculptors,
1800–1875; Gilded Age: 1876–1905; Fauns and fountains—the
traditional women sculptors, 1905–1929; Women in the avant-
garde, 1905–1929; New Deal; Triumph of abstractions, 1940–
1959; High tech and hard edge, the 1960s; The 1980s and beyond.

Sculpture: An Illustrated Catalogue. Washington, DC: National Gallery

of Art, 1994. 283p.

Illustrated inventory of a major collection, individual artists’

works illustrated and fully cataloged.

Toatley, Theodore, and Douglas Congdon-Martin. A Collector’s Guide

to African Sculpture. Atglen, PA: Schiffer Pub., 2000. 160p.

Nicely illustrated, informative primer on African sculpture,

organized by country (Guinea Bissau through Zimbabwe).

Tolles, Thayer, ed. American Sculpture in the Metropolitan Museum of

Art. New York: The Metropolitan Museum of Art, 1999–2001. 2 vols.

Arranged chronologically by sculptor’s birth date, each entry

includes a substantial biographical essay, image and
documentation on subject work.

Watson-Jones, Virginia. Contemporary American Women Sculptors.

Phoenix, AZ: Oryx, 1986. 665p.

Provides biographical details on living [at date of publication]

women sculptors. Entries include some or all of the following
elements: Education and training; Selected individual and group
exhibitions; Selected public collections; Selected private
collections; Selected awards; Media; Related professions;
Teaching positions; Selected bibliography.
 Windsor, Alan, ed. British Sculptors of the Twentieth Century.
Aldershot: Ashgate, 2003. 199p.

Brief biographical entries on major and minor sculptors; some

bibliographical references, indications of gallery representation
and public collections.

Wittkower, Rudolf. Sculpture: Processes and Principles. New York:

Harper and Row, 1977. 288p.

Basic textbook on the history of Western sculpture from Antiquity

through the mid–20th century.

Drawings and Prints: Bibliography

Abrams, Leslie E. The History and Practice of Japanese Printmaking:

A Selectively Annotated Bibliography of English Language Materials.
Westport, CT: Greenwood, 1984. 197p.

Annotated bibliography of writings on individual periods

(Primitive, Edo, Modern), subjects, techniques, and the influence
of Eastern art on Western, and vice-versa.

Bridson, Gavin, and Geoffrey Wakeman. Printmaking & Picture

Printing: A Bibliographical Guide to Artistic & Industrial Techniques
in Britain 1750–1900. Oxford: Plough Press; Williamsburg, VA:
Bookpress, 1984. 250p.

Classified bibliography of writings on technical processes related

to printing and printmaking. Section introductions employ a
minimum of jargon to describe relatively complex processes in a
very clear manner.

Doumato, Lamia. American Drawing: A Guide to Information Sources.

Detroit: Gale Research, 1979. 246p.

Annotated bibliography. Partial contents: General reference

sources; Histories, surveys and general works; Technical
handbooks; Nineteenth century; Twentieth century; Individual
 artists; Periodicals and museum bulletins; Important library
Collections; Museums with important collections.

Green, William. Japanese Woodblock Prints: A Bibliography of

Writings from 1822–1992, Entirely or Partly in English Text. Leiden:
Ukiyo-e Books, 1993. 291p.

Classified bibliography of writing on Japanese prints. Includes

works on Subjects depicted in prints; Types of prints; Print artists;
Dating seals, signatures, and symbols; Care, conservation and
repair; Collecting and connoisseurship.

Karpinski, Caroline. Italian Printmaking, Fifteenth and Sixteenth

Centuries: An Annotated Bibliography. Boston: G.K. Hall, 1987. 305p.

Classified bibliography by an expert in the field. Includes

references to works devoted to printmaking in Italy, including the
work of German, French and other nations working in Italy.

Ludman, Joan, and Lauris Mason. Fine Print References: A Selected

Bibliography of Print-Related Literature. Millwood, NY: Kraus
International, 1982. 227p.

While lacking annotations, this classified bibliography is

extremely useful. Partial contents: Collecting and connoisseurship;
History of printmaking; Medium and technique; Museum
collections; Private collections; Topical prints: works grouped by
subject matter.

_____, and Harriet P. Krauss, compilers. Old Master Print References:

A Selected Bibliography. White Plains, NY: Kraus, 1986. 279p.

References to more than 3,000 citations, including exhibition

catalogs, articles, museum, dealer and other catalogs. While entries
lack annotations, still a highly useful tool for researching Old
Masters.

Smith, Donald E. American Printmakers of the Twentieth Century: A

Bibliography. Haworth, NJ: St. Johann Press, 2004. 363p.
 Provides references from periodicals, books, and individual
research libraries’ “vertical files” on printmakers.

Drawings and Prints: Collectors’ Manuals

Dolloff, Francis W., and Roy L. Perkinson. How to Care for Works of
Art on Paper. 4th ed. Boston: Museum of Fine Arts, 1985. 48p.

Basic primer on paper conservation for collectors. Partial contents:

History of papermaking; Enemies of paper; Matting and framing;
Note on restoration; Materials and services.

Donson, Theodore B. Prints and the Print Market: A Handbook for

Collectors and Connoisseurs. New York: Thomas Y. Crowell, 1977.
493p.

This comprehensive overview of prints and the print markets

includes an excellent chapter on “Spurious Print: Fakes, Forgeries
and Falsified Proofs.” One of the appendices, “Bibliography: A
Comprehensive and Definitive Catalogue of Publications on Prints
by Familiar Artists and Related Matters,” is a good (but not
exhaustive) listing of individual printmakers’ oeuvre catalogues.

Ellis, Margaret Holben. The Care of Prints and Drawings. Nashville,

TN: American Association for State and Local History Press, 1987.
253p.

Manual for the professional conservator, includes some

information of interest to serious collectors. Contents: Parchment
and paper: supports for prints and drawings; Media of prints and
drawings; Matting, hinging and framing; Storage and environment;
Basic conservation procedures.

Gascoigne, Bamber. How to Identify Prints: A Complete Guide to

Manual and Mechanical Processes from Woodcut to Ink Jet. 2d ed.
London: Thomas and Hudson, 2004. 208p.
 Very clearly written, well-illustrated introduction to various
printmaking methods, from traditional to contemporary.

Ivins, William Mills. How Prints Look: Photographs with a

Commentary. Boston: Beacon Press, 1958, 1943. 164p.

This very well illustrated guide to printmaking processes used

detailed photographs of prints to explain the various graphic
processes. Includes some very clear examples of fakes and
facsimile prints.

Kosek, Joanna M. Conservation Mounting of Prints and Drawings: A

Manual Based on Current Practice at the British Museum. London:
Archetype Publication, 2004. 185p.

Practical manual provides guidance for mounting works on paper.

Some scientific information, overview of materials, mounting for
display purposes, housing for storage, stamping, studio
organization and tools & equipment for conservation lab.

Zigrosser, Carl, and Christa M. Gaehde. A Guide to the Collecting and

Care of Original Prints. Sponsored by the Print Council of America.
New York: Crown, [1965]. 120p.

This excellent guide to print collecting and connoisseurship

includes a good discussion of original prints, glossary of
printmaking terms, and tips for the care and conservation of prints.

Drawings and Prints: Indexes

Buchholz, Daniel, and Gregorio Magnani, eds. International Index of

Multiples from Duchamp to the Present. Tokyo: Spiral/Wacoal Art
Center; Cologne: W. König, 1993. 223p.

Drawings and Prints: Encyclopedias and Surveys

Bartsch, Adam von. The Illustrated Bartsch. New York: Abaris Books,
1978– . (Translation of Peintre Graveur, 1922–1988.)
 The Illustrated Bartsch, based upon Adam von Bartsch’s 19th
century catalog of prints of Western European countries, is an
essential tool for print research. The print version is available in
some academic and museum libraries, but recently, ARTstor has
made this important resource available in hundreds of additional
libraries. ARTstor is a digital image archive consisting of a number
of collections, including The Illustrated Bartsch. The online
version is preferable to the print edition because it is keyword
searchable, allowing the user to retrieve images of prints by name
of printmaker, iconography, country, etc.

British Sporting and Animal Prints, 1658–1874: A Catalogue Compiled

by Dudley Snelgrove. London: Tate Gallery for the Yale Center for
British Art, 1981. 257p.

Records prints which span 200 years up to the mid–19th century

and provide an extensive pictorial survey of the principal subjects:
hunting, shooting, racing, riding and coaching. Chronological table
of artists, list of engravers, list of publishers. Catalog entries
arranged by artist’s name, subdivided by subject matter, list of
prints with dimensions, media, publication details and other
descriptive elements.

Bury, Michael. The Print in Italy, 1550–1620. London: British

Museum, 2001. 248p.

Published in conjunction with an exhibition at the British

Museum, this beautiful catalog examines the growth of the
commercial printmaking industry in Italy from the mid–16th
through early 17th centuries.

Carey, Frances, and Antony Griffiths. The Print in Germany 1880–

1933: The Age of Expressionism, Prints from the Department of Prints
and Drawings in the British Museum. London: British Museum, 1984.
272p.

Presents a scholarly survey of printmaking in Germany.

Biographical entries on individual artists. Most entries include
 good bibliographies and a discussion of selected works from the
British Museum collection.

Castleman, Riva. Prints of the Twentieth Century: A History. 2d ed.,

rev. and enl. New York: Museum of Modern Art, 1988. 240p.

Scholarly history of major 20th century movements, including

Expressionism, Cubism, Dada and Surrealism, post–World War II
movements, through Pop and Conceptual art.

Coppel, Stephen. American Prints from Hopper to Pollock. Burlington,

VT: Lund Humphries, 2008. 271p.

Contents: Collecting American Prints at the British Museum;

From Ashcan to Pollock: American Prints 1905 to 1960; The
Ashcan School to George Bellows; The Provincetown Woodcut;
American Modernism and Precisionism; Edward Hopper and the
American Scene; Satirical Realism; The Regionalist; The
Depression and the WPA; Artists of the Left and Second World
War; Josef Albers and Geometric Abstraction; The Post-War
Woodcut; Jackson Pollock and Abstract Expressionism.

Eichenberg, Fritz. The Art of the Print: Art, Masterpieces, History,

Techniques. New York: Abrams, [1976]. 611p.

Encyclopedic history of the print, with very well-illustrated

sections on relief, intaglio, lithographic, and silkscreen
printmaking processes. Partial contents: Parchment and paper;
Supports for prints and drawings; Media of prints and drawings;
Matting, hinging, and framing; Storage and environment; Basic
conservation procedures.

Goldman, Paul. Sporting Life: An Anthology of British Sporting Prints.

London: British Museum, 1983. 126p.

Exhibition catalog presents a good selection of sporting prints

arranged by subject matter (e.g., horse-racing, hunting). Heavily
illustrated, a good tool for identification of prints.
Hults, Linda C. The Print in the Western World: An Introductory
History. Madison: University of Wisconsin Press, 1996. 948p.

Basic survey textbook on the evolution of printmaking in the

Western world. Chronological and geographical arrangement, from
pre–Dürer (14th century) through late 20th century. Includes
discussion of reproductive prints and their role in disseminating
knowledge of Western painting. Excellent “Selected Bibliography
of Print Reference Catalogs” arranged by geographic area,
including multinational, American, British, French, German,
Italian, Netherlandish.

MacKenzie, Ian. British Prints: Dictionary and Price Guide. Rev. ed.
Woodbridge, Suffolk: Antique Collectors’ Club, 1998. 368p.

Provides very brief biographical entries on artists, description of

prints, auction price range, bibliographical references, including
catalogue raisonné. Includes references to printmakers’
reproductions of other artists’ works, designated by the term
“after.”

Melot, Michel. The Impressionist Print. (Translation of Estampe

Impressioniste.) New Haven, CT: Yale University Press, 1997. 296p.

Scholarly survey of the painter-printmakers Degas, Cassatt,

Renoir, Pissarro, Manet and Whistler. Relates the great interest in
printmaking of the period to social and political events, while
commenting on the role of the 19th century art market.

Prints. (Essays by Michel Melot, Antony Griffiths and Richard S.

Field.) New York: Rizzoli, 1981. 278p.

Surveys the evolution of the print from the earliest woodcut

through the contemporary edition. Partial contents: Definition,
function and language of the print; Product and work of art; Art of
the bourgeoisie; Industrialized pictures and their effect on the
print; Art and hand of the printmaker; Contemporary trends.
 Siltzer, Frank. The Story of British Sporting Prints. 2d ed., rev. and enl.
London: Peter Loveday Prints, 1979. 412p.

Overview of sporting prints, includes biographical essays on major

artists along with chronologically arranged catalog of works,
including name of engraver, date, dimensions and other descriptive
cataloging.

Photography: Periodical Literature Databases

Use the following online databases to identify articles, news items,

exhibitions and book reviews on photography-related topics. Described in
some detail in Chapter Three, these online sources are available at many
larger public, academic and museum libraries.

Art Index Retrospective / Art Full Text

ArtBibliographies Modern

Design and Applied Arts Index

Photography: Periodicals

The following journals are among the most important in the field of
photography and its history. All are widely held in U.S. libraries. To find
additional journals devoted to photography, in libraries that use the Library
of Congress Classification System, conduct a subject search using headings
like “Photography—Periodicals”; and “Photography, Artistic—Periodicals.”

Afterimage. Rochester, NY: 1972– . Bimonthly. ISSN: 0300-7472.

Newsletter format, includes some lengthy feature articles on

contemporary as well as historical and vintage photography.
Excellent reviews and calendar of forthcoming events, book
reviews.

Art on Paper. New York: Fanning Pub., 1998–2009 . Bimonthly. ISSN:

1521-7922.
 Excellent source for the researcher of both prints, works on paper,
artists’ books and photography.

History of Photography. London: Taylor & Francis, 1977–. Quarterly.

0308-7298.

One of the most highly-regarded of the scholarly, peer-reviewed

journals devoted to the history of photography and related
subjects. Excellent in-depth critical reviews of new books in the
field.

Image. Rochester, NY: George Eastman House. 1952– . Frequency

varies. ISSN: 0536-5465.

Lengthy articles on topics of interest to photographer and

historians of photography. Some issues devoted to specific themes
and photographers.

PSA Journal. Oklahoma City, OK: 1998– . Monthly. ISSN: 0096-5812.

News of interest to photographers, includes a good deal of

reporting on gallery and museum exhibitions.

Photography: Bibliography

To find additional bibliographies in libraries that utilize the Library of

Congress Classification System, perform a subject search using headings
like “Photography—Bibliography”; “Photography—History—
Bibliography”; “Photography—United States—Bibliography.”

Barger, M. Susan. Bibliography of Photographic Processes in Use

Before 1880: Their Materials, Processing, and Conservation.
Rochester, NY: Graphic Arts Research Center, Rochester Institute of
Technology, 1980. 149p.

Annotated bibliography of technical processes, conservation, etc.

of 19th century photography. Entries include author, title, journal
information (volume, pages, etc.), keywords, and abstracts. Index
by process and material.
Boni, Albert. Photographic Literature: An International Bibliographic
Guide to General and Specialized Literature on Photographic
Processes, Techniques, Theory, Chemistry, Physics, Apparatus,
Materials & Applications, Industry, History, Biography, Aesthetics.
Associate editors: Hubbard Ballou, et al. New York: Morgan &
Morgan, 1962. 335p.

Important overview of the historical literature on photography,

covering works published between 1727 and 1960. From the
“camera obscura” through the late 1950s, this is an essential
bibliography of published works on photography.

_____. Photographic Literature, 1960–1970: An International

Bibliographic Guide to General & Specialized Literature on
Photographic Processes, Techniques, Theory, Chemistry, Physics,
Apparatus, Materials & Applications, Industry, History, Biography,
Aesthetics, etc. Hastings-on-Hudson, NY: Morgan & Morgan, 1972.
535p.

Subject index to books and periodical articles, with particular

emphasis on technical processes. Updates previous entry.

Gernsheim, Helmut. Incunabula of British Photographic Literature: A

Bibliography of British Photographic Literature, 1839–75, and British
Books Illustrated with Original Photographs. London: Scholar Press in
association with Derby Lonsdale College of Higher Education, 1984.
159p.

Annotated inventory of albums and published books, compiled by

a major scholar of the history of photography.

Johnson, William. Nineteenth-Century Photography: An Annotated

Bibliography, 1839–1879. Boston: G.K. Hall, 1990. 962p.

Subject access to nearly 21,000 books and periodical titles

published between 1839 and 1879. Covers both technical and
critical and theoretical works. Extensive coverage of the
publications on the history of photography in individual countries.
Kreisel, Martha. American Women Photographers: A Selected and
Annotated Bibliography. Westport, CT: Greenwood, 1999. 350p.

Bibliography of works, including books and periodical literature,

devoted to the lives and works of women photographers. Major
published works are very well annotated and provide an indication
of where a particular work has been reproduced.

Lambrechts, Eric, and Luc Salu. Photography and Literature: An

International Bibliography of Monographs. London: Mansell, 1992.
296p.

This interesting bibliography provides information on some 3,900

titles, including “books, exhibition catalogues, dissertations, and
special issues of magazines” [Scope note]. Included are books with
photographers mentioned by name, books containing photographic
works by writers, anthologies of writings on photography by a
single author, books that deal with the relationship between
photography and writing, and a number of other categories.

New York Public Library. Research Libraries. Photographica: A

Subject Catalog of Books on Photography: Includes Books, Pamphlets,
and Selected Periodical Articles on Still Photography and Allied
Topics. Boston: G.K. Hall, 1984. 380p.

Photo-reproduction of the New York Public Library card catalog

provides subject access to this rich historical collection of
reference materials. Note that the library’s most recent decades’
acquisitions can be searched online: www.nypl.org (select
“CATNYP,” the catalog of the Research Libraries of NYPL).

Roosens, Laurent, and Luc Salu. History of Photography: A

Bibliography of Books. London: Mansell, 1989– .

Subject guide to more than 11,000 books on the history of

photography, arranged by subject and subdivided, in most cases,
chronologically. (One noteworthy exception is the subject heading
 “Criticism,” under which works are arranged alphabetically by
author.)

Photography: Collectors’ Manuals

To find additional works in libraries that utilize the Library of Congress

Classification System, perform a subject search using the heading
“Photographs—Collectors and Collecting.”

Badger, Gerry. Collecting Photography. London: M. Beazley, 2003.

199p.

Good introduction to collecting photography, suitable for the

beginning collector. Offers a good deal of practical advice on
building a collection, buying and selling, and displaying
photographic works. Includes a very good glossary of technical
terminology as well as brief biographies of “Key Photographers,”
including price ranges for their works.

Baldwin, Gordon, and Martin Jurgens. Looking at Photographs: A

Guide to Technical Terms. Los Angeles: The J. Paul Getty Museum,
2009. 95p.

Complete glossary of photography terminology, including types of

printing methods and photographic equipment.

Bennett, Stuart. How to Buy Photographs. Oxford: Phaidon / Christie’s,

1987. 159p. (Series: Christie’s Collectors Guides.)

The market for photography has changed considerably since 1987,

but this brief guide for collectors of photography is still quite
useful. Partial contents: Rarity, taste and technique in photography
collecting; Areas of specialization; Modern photography; Buying
and selling; Collecting pitfalls: some cautionary tales; Looking
after photographs.

Howarth-Loomes, B. E. C. Victorian Photography: An Introduction for

Collectors and Connoisseurs. New York: St. Martin’s Press, 1974. 99p.
 Contents: Invention of photography; Daguerrotype; Calotype; Wet
plate period; Stereoscopic photography; Cartes-de-visite; Dry
plate; Photographic collections; Selected reading list.

Mace, O. Henry. Collector’s Guide to Early Photographs. 2d ed. Iola,

WI: Krause, 1999. 214p.

General overview of vintage photograph collecting for beginning

to serious collectors. Includes information on photographic
processes and their identification, restoration and conservation,
and prices.

Phillips, Jocelyn. Collect Contemporary Photography. London: Thames

& Hudson, 2012. 208p.

A to Z of collecting, handling, and conserving photography. Forty

artists are given individual profiles and images of their work. A list
of relevant contacts including galleries and private dealers is also
included.

The Photograph Collector’s Resource Directory. 3d ed. New York:

Photographic Arts Center, 1989. 267p.

Partial contents: Collecting—where to buy photographic art;

Looking—museums & other not-for-profits; Reading—books,
newsletters & magazines; Caring—conservation, restoration,
appraisal.

Witkin, Lee D., and Barbara London. The Photograph Collector’s

Guide. Boston: New York Graphic Society, 1979. 438p.

Excellent source for the serious photography collector. Partial

contents: Collector’s glossary; Care and restoration of
photographs; Selected photographers: a collector’s compendium
(includes lengthy biography, bibliography, major collections, and
signature or other identifying marks).

Photography: Encyclopedias and Surveys

To find additional works of this type in libraries that utilize the Library of
Congress Classification System, perform a subject search using headings
like “Photography—Encyclopedias”; “Photography—History”;
“Photography, Artistic—History.”

Browne, Turner. Macmillan Biographical Encyclopedia of

Photographic Artists & Innovators. London: Collier Macmillan, 1983.
722p.

Biographical dictionary of photographers and related professionals

(historians of photography, critics, etc.) includes publications,
collections. Dealer representation and contact information now
obviously dated.

Collection Photographs: A History of Photography Through the

Collections of the Centre Pompidou, Musée National d’Art Moderne.
Gottingen: Steidl, 2007.

Contents: The photographic collection of the Centre Pompidou,

Musée National d’Art Moderne; Dadaist and Surrealist
Photography, 1917–1945; New vision and new objectivity, 1919–
1945; Social fantastic, poetic realism and humanist photography,
1930–1990; Experimental and Abstract photography, 1945–1985;
Staged photography, fiction and narrative, from 1960;
Contemporary documentary forms, from 1960. Includes complete
list of works, artists and photographers.

Crombie, Isabel. Re_View: 170 Years of Photography. Melbourne:

National Gallery of Victoria, 2009. 135p.

Abbreviated biographies of artists in the collection of the National

Gallery of Victoria, as well as images of the works in the
collection.

Darrah, William Culp. Cartes de Visite in Nineteenth Century

Photography. Gettysburg, PA: W.C. Darrah, 1981. 221p.

Traces the development and overwhelming popularity of the carte

de visite, including an overview of most common subject matter—
 including portraiture, celebrity portraiture, native peoples of the
world, etc. A subject guide to carte de visite, and in-depth
information on documentation and interpretation make this an
essential tool for the collector of cartes de visite.

Daval, Jean Luc. Photography, History of an Art. New York:

Skira/Rizzoli, 1982. (Translation of Histoire d’un Art, la
Photographie.) 269p.

Explores all aspects of photography, from its invention to its

relationship with other branches of the visual arts.

Eskildsen, Ute, ed. Street & Studio: An Urban History of Photography.

London: Tate Publishing, 2008. 221p.

Contents: Staging: early references; Mobile camera/sophisticated

studio; New visions/new public; Postwar Flaneurs/uncaged
fashion; Provocation/emancipation; Revisiting conventional
modes; Index to artists and works; Typologies.

Focal Encyclopedia of Photography: Digital Imaging, Theory and

Applications, History, and Science. Oxford: Elsevier, 2007. 846p.

Contents: Timelines; History and the Evolution of Photography;

Major Themes and Photographers of the 20th Century;
Photographic Companies and Applications; Digital photography;
Contemporary issues; Scientific photography: expanded vision;
Human vision; 20th century materials and process essentials.

Gernsheim, Helmut. The Origins of Photography. London: Thames and

Hudson, 1982. 280p.

Revised and expanded edition of this survey by an important

historian of photography, originally published in 1955. Surveys the
development of photography from earliest techniques.

_____. The Rise of Photography, 1850–1880: The Age of Collodion.

New York: Thames and Hudson, 1988. 285p.
 Good reproductions of vintage photographs by pioneers in the
field illustrate the history of the development of photography in
the mid–19th century.

Guadagnini, Walter, ed. Photography. Milan: Skira, 2010.

Massive four volume history of photography: Volume I: The

Origins 1839–1890; Volume II: A New Vision of the World 1891–
1940; Volume III: From the Press to the Museum 1941–1980;
Volume IV: The Contemporary Era 1981–2010.

Heilbrun, Francoise, ed. A History of Photography: The Musée d’Orsay

Collection 1839–1925. Paris: Flammarion, 2009. 319p.

Contents: The history of the collection; Daguerreotype; Calotype;

Photographing architecture; The first photo-reportages;
Portraiture; Landscape; Still life photography; Entertainment,
theater, and fiction; Photomechanical reproduction; Photography
as the “servant of art”; New types of amateur photographers;
Between the nineteenth-century and modernity: Eugene Atget;
Pictorialism. Includes a glossary of photographic terminology and
artist biographies.

Jaeger, Anne-Celine. Image Makers, Image Takers: The Essential

Guide to Photography by Those in the Know. New York: Thames &
Hudson, 2010. 312p.

The author breaks down photographic genres into: art,

documentary, fashion and advertising, portraiture. Under each
classification four artists have been selected whose work
exemplifies the style. Select curators, editors, gallerists and
publishers are also profiled.

Liva, Walter, ed. Americana: American Photography in the Twentieth

Century. Udine: Lithostampa, 2008. 215p.

Published in Italian and English, this text examines the variety of

genres and styles found in American photographs from 1905
 through the end of the century, and why photography flourished in
American during that century.

Maggia, Filipps, and Francesca Lazzarini, eds. Contemporary

Photography from the Far East: Asian Dub Photography. Milan: Skira,
2009. 238p.

A look at the most prolific Asian artists working today and how
the political and social climate of the region has shaped
contemporary photography.

McDarrah, Gloria S., Fred W. McDarrah, and Timothy S. McDarrah.

The Photography Encyclopedia. New York: Schirmer Books, 1999.
689p.

Encyclopedia of biography and technical terms and processes.

Includes also listings of: galleries, magazines, manufacturers,
museums, Pulitzer Prize winners.

Mora, Giles. The Last Photographic Heroes: American Photographers

of the Sixties and Seventies. New York: Abrams, 2007. 191p.

Surveys the development of various themes and movements in

photography of the sixties and seventies. Everything from
documentary to conceptual photography is covered, with detailed
analysis of major photographers’ work.

Nadeau, Luis. Encyclopedia of Printing, Photographic and

Photomechanical Processes: A Comprehensive Reference to
Reproduction Technologies, Containing Invaluable Information on
Over 1500 Processes. Fredericton, NB: Atelier Luis Nadeau, 1989. 2
vols.

Overview of reproductive technologies, defines approximately

1,500 processes. English and German terms.

Newhall, Beaumont. The History of Photography: From 1839 to the

Present. Rev. and enl. 5th ed. New York: Museum of Modern Art;
Boston: Distributed by Bulfinch Press / Little Brown, 1994. 319p.
 Widely available in libraries, this edition of Newhall’s history of
photography represents an extensive update of the previous
editions. Surveys the development of technology along with an
overview of major photographers, styles and periods.

On the Art of Fixing a Shadow: One Hundred and Fifty Years of

Photography. Washington, DC: National Gallery of Art; Chicago: Art
Institute of Chicago, 1989. 510p.

Very well-illustrated exhibition catalog traces the development of

photography through the late 1980s. Essays by scholars precede
hundreds of very good plates, making this an excellent tool for
identification of major and lesser-known photographers’ works.

Orvell, Miles. American Photography. Oxford: Oxford University

Press, 2003. 256p. (Series: Oxford History of Art.)

Scholarly but very readable history of photography, from the mid–

19th century through the late 1990s. Major trends, including
photojournalism, treated quite in-depth.

Peripheral Visions: Italian Photography in Context, 1950s-Present.

Edited by Maria Antonella Pelizzari. Milan: Charta, 2012. 101p.

Contents: The edge of vision in an Italian context; Traditions and

margins; Peripheries of the mind; Resistance and the invisible.
Published in conjunction with an exhibition of the same name.
Within the broader chapters, there are chapters dedicated to
specific Italian artists.

Photography: The Whole Story. Munich: Prestel, 2012. 576p.

Contents: The experimental period 1826–55; Photographic

commerce and art 1856–99; Photography and the modern 1900–
45; Post war to the permissive society 1946–76; From
postmodernism to globalization 1977–present.

Rosenblum, Naomi. A History of Women Photographers. New York:

Abbeville Press Publishers, 2010. 431p.
 Contents: At the beginning, 1839–90; Not just for fun: women
become professionals, 1880–1915; Portraiture, 1890–1915; Art
and recreation: pleasures of the amateur, 1890–1920; Photography
between the wars: Europe, 1920–40; Photography between the
wars: North America, 1920–1940; Photography as information,
1940–2000; The feminist vision, 1970–95; Photography as art,
1940–2000.

_____. A World History of Photography. 4th ed. New York: Abbeville,

2007. 712p.

Standard textbook on the development and history of photography.

Includes chapters devoted to landscape and architecture, early
precedents to photojournalism, art photography, the origins of
color photography, and a very concise overview of technical
history.

Photography: Biographical Sources

To find additional sources of this type in libraries that utilize the Library of
Congress Classification System, perform a subject search using headings
like “Photographers—Biography”; “Photographers—United States—
Biography”; “African American Photographers.”

Auer, Michele. Encyclopédie Internationale des Photographes de 1839

à Nos Jours = Photographers Encyclopaedia International, 1839 to the
Present. Hermance, Switzerland: Camera Obscura, 1985. 2 vols.

A–Z biographical dictionary offers brief entries on over 1,600

photographers and peripheral artisans (e.g., inventors, reporters,
etc.) of the 19th and 20th centuries. Entries include birth and death
dates, chronology, bibliography of published works, exhibition
history and in many cases, an example of the photographer’s
signature or monogram.

Benezit, Emmanuel. Benezit’s Dictionary of Artists, Volumes I–XIV.

Paris: Grund, 2006.
 Updated edition and first English version. Comprehensive list of
artists from antiquity to present day. Includes biographical
information, exhibition listings, auction records and a general
account of the artist’s work.

Bright, Susan. Art Photography Now. New York: Aperture, 2005. 224p.

Examines the work of eighty major photographers, presenting a

thematically-arranged overview of the development of art
photography. Thematic sections include the portrait, landscape,
narrative, the city, fashion.

Edwards, Gary. International Guide to Nineteenth-Century

Photographers and Their Works: Based on Catalogues of Auction
Houses and Dealers. Boston: G.K. Hall, 1988. 591p.

An excellent finding aid to photographs sold at auction. Each entry

includes basic biographical data, along with processes, formats,
typical subjects, location of studio, and references to auction and
dealer catalogs. Particularly useful for researching lesser-known
photographers.

Evans, Martin Marix, ed. Contemporary Photographers. New York: St.

James Press, 1995. 1,234p.

The St. James Press biographical series are among the very best.
Now in its third edition, this work provides for each photographer
a substantial biographical essay with information on education as
well as contact information. Additionally, each has a list of
exhibitions, galleries and museums, bibliography of works (by and
about), and a critical essay.

Koetzle, Hans-Michael. Photographers A–Z. Cologne: Taschen, 2011.

439p.

Reference source offering biographical essays, illustrated with

examples of artists’ photographs, along with exhibition and
publication histories. Excellent starting point for research on
photographers.
Krantz, Lee, ed. American Photographers: An Illustrated Who’s Who
Among Leading Contemporary Americans. New York: Facts on File,
1989. 352p.

Brief biographical sketches, including information on subjects,

education, awards, and contact information. Dated, but still useful
for many photographers.

Mautz, Carl. Biographies of Western Photographers: A Reference

Guide to Photographers Working in the 19th Century American West.
Nevada City, CA: Carl Maytz Publishing, 1997. 601p.

Arranged by state, subdivided by alphabetical listing of

photographers’ names. Entries range from very short to one or two
paragraphs. Of interest to collectors, includes sections on
“Photographers’ imprints and information on antique
photographs,” and “Dating early photographs by format and mount
information.”

McEuen, Melissa A. Seeing America: Women Photographers Between

the Wars. Lexington: University Press of Kentucky, 2000. 360p.

Documents the contribution of women photographers, with

particular reference to Doris Ulmann, Dorothea Lange, Marion
Post, Margaret Bourke-White and Berenice Abbott.

Moutoussamy-Ashe, Jeanne. Viewfinders: Black Women

Photographers. New York: Writers & Readers, 1993. 201p.

Surveys the lives and work of photography by black women from

the mid–19th century through the mid–1980s. Bio-bibliography
provides brief entries on each photographer, including dates of
activity, source material, studio locations, and other pertinent facts.

Palmquist, Peter E., and Thomas R. Kailbourn. Pioneer Photographers

of the Far West: A Biographical Dictionary, 1840–1865. Stanford, CA:
Stanford University Press, 2000. 679p.
 In-depth biographical essays on major and lesser-known
photographers of the Western U.S. Includes indications of
inclusion in public collections, select bibliographies.

Willis-Thomas, Deborah. Black Photographers, 1840–1940: An

Illustrated Bio-Bibliography. New York: Garland, 1985. 141p.

An excellent glossary of photographic processes precedes chapters

devoted to the subject photographers: Daguerreans, 1840–1859;
Daguerreans and photographers, 1860–1899; Photographers,
1900–1919; Photographers, 1920–1940. Well illustrated with
reproductions from several major collections.

_____. An Illustrated Bio-Bibliography of Black Photographers, 1940–

1988. New York: Garland, 1989. 483p.

Continuation of, and modeled on, previous entry.

BIOGRAPHICAL SOURCES

The literature of art history has given rise to a great number of biographical
works. Indeed, Giorgio Vasari (1511–1574), often cited as the first Western
art historian, is best known for his Le vite de piu eccellenti architetti, pittori,
et scultori italiani, da Cimabue in sino a’ tempi nostri (commonly referred to
in the English-speaking world as Lives of the Artists), a series of short,
chronologically-arranged biographies of the artists of Italy. Today, the art
researcher has literally thousands of biographical reference tools at his or her
disposal. In this section, the major tools are identified and described, and tips
for locating biographical material for established, as well as relatively
obscure artists, are offered.

Indexes to Biography

Two good print indexes are the following:

Havlice, Patricia Pate. Index to Artistic Biography. Metuchen, NJ:

Scarecrow, 1973. 2 vols. 1,362p. (Supplements: 1981; 2002.)
 Index to 64 major biographical reference works. Entries include
names, dates, nationality, and media, references to biographical
sources.

Mallett, Daniel Trowbridge. Mallett’s Index of Artists, International-

Biographical; Including Painters, Sculptors, Illustrators, Engravers
and Etchers of the Past and the Present. New York: P. Smith, 1948
[1935].

Index to biographical and bibliographical information, earlier

equivalent to Havlice’s Index to Artistic Biography (see previous
entry).

Many libraries provide access to indexes and increasingly, to full-text,

computerized sources of biographical reference materials. In addition to
these, some quite good, free-of-charge sources can be located on the
Internet. One of the most valuable of the latter is the Getty Research
Institute’s Union List of Artists’ Names (ULAN), discussed below along with
two other online tools. ULAN stands out as a very powerful index to some of
the major biographical tools described later.

Biography and Genealogy Master Index. Detroit: Gale Research,

1980– . Electronic Version: Farmington Hills, MI: Gale, 2001– ).

One of the most valuable sources for researching artists’

biographies, or any biography, is the Biography and Genealogy
Master Index (BGMI). Once available only in hard-copy (annual)
and cumulated each five years, this wonderful source is now on the
Web, and is made available in many larger libraries.

BGMI offers indexing to hundreds of biographical tools,

including Who’s Who, biographical dictionaries, subject
encyclopedias, and even indexes to other sources of information.
At present, more than 13.6 million biographical sketches are
indexed, and according to information posted on the company’s
website, approximately 600,000 sketches are added each year.
New citations are drawn from approximately 100–150 volumes
and editions of 60–90 major biographical dictionaries, including
 new specialized titles, and new editions of previously indexed
works.

Because it serves as a master index to literally hundreds of

biographical sources, BGMI, if available, should be considered the
first-stop for artist biography research. Its very comprehensive
coverage of art’s many specialized titles allows the user to pinpoint
works that contain biographies of even some of the most obscure
artists of all periods.

Biography Reference Bank. New York: H.W. Wilson.

Biography Reference Bank is an online biographical database with

information on approximately a half-million persons, dating from
Antiquity to the present day. It provides instant access to more
than 100 H.W. Wilson reference volumes, including Current
Biography (described below), World Artists, and others.
Additionally, Biography Reference Bank provides millions of
magazine and journal citations as well as book review excerpts
from the company’s Book Review Digest Plus. Particularly
valuable for researching contemporary artists.

Union List of Artists’ Names. Getty Foundation Research Institute.

http://www.getty.edu/research/tools/vocabularies/ulan/.

The Union List of Artists’ Names is one of several “vocabulary”

projects4 supported by the Getty Research Institute. Like any
“controlled vocabulary,” the goal of ULAN is to provide a standard
inventory of language—in this case, artists’ names—for
uniformity in cataloging and documentation. The novice
researcher might be surprised to learn that an artist might have
multiple name variants. The 17th century Dutch master commonly
referred to as “Rembrandt,” for example, might be referred to as
“Rembrandt van Rijn,” “Rembrandt van Rhyn,” “Rembrandt
Hermansz van Rijn,” or one of several other variants in the
international art historical literature. For the cataloger, ULAN
serves to systematize this variation. Because the name forms are
 derived from biographical sources, ULAN is a tremendously
powerful index to these important research tools.

ULAN comprises more than 250,000 entries on artists dating

from Antiquity to the present. Entries on major artists, like
Rembrandt, will lead the user to many major published sources,
including some of the biographical dictionaries described in this
section. ULAN can be even more useful for lesser-known artists.
The entry for contemporary artist Idelle Weber (born 1932), for
example, leads the researcher to three sources, including the 1978
edition of Who’s Who in American Art.

While the vast majority of sources indexed will be found only in

libraries, ULAN serves as a free, online index to these sources.

Artist Biography—Reference Sources

The following works are encyclopedic in scope, providing biographical

information on artists of various countries, periods and styles. Included are
the most well-known sources. To find additional biographical resources of
this type in libraries that utilize the Library of Congress Classification
System, conduct a subject search using the heading “Artists—Biography—
Dictionaries.”

Benezit, E. Dictionary of Artists. Paris: Gründ, 2006. 14 vols. [First

English language edition.]

Benezit is a standard biographical reference source that was

published in French in numerous editions since 1911. International
in scope, this important source provides a biographical sketch, lists
of museums with examples of the subject artist’s work, and
historical prices, some dating from as early as the 18th century.
Some entries include a signature facsimile. Note that Benezit
Dictionary of Artists is made available online (by individual or
institutional subscription) through Oxford Online.

Benezit Dictionary of Asian Artists. New York: Oxford University

Press, 2012. 2 vols.
 Offers brief biographical sketches, auction sales and exhibition
records, some signatures and monograms, and indicators of
museum holdings of works by primarily Chinese and Japanese
artists.

Bryan, Michael. Bryan’s Dictionary of Painters and Engravers. Under

the supervision of George C. Williamson … with numerous
illustrations. New ed., rev. and enl. London: G. Bell, 1926–34. 5 vols.

First published in 1816, considered a standard source of artist

biography. Many signed entries, including some long biographies
of major artists. Some entries include marks, monograms,
signatures.

Current Biography. Bronx, NY: H.W. Wilson, 1940– .

Lengthy (often 2–3 page) essays on living persons in all fields,

including the fine arts. Includes references for further research.
Published monthly (except December) with annual cumulations.

International Dictionary of Art and Artists. Edited by James Vinson.

Chicago: St. James Press, 1990. 2 vols.

Encyclopedic overview of major European and American artists

and artworks. Individual entries include some or all of the
following elements: biographical details; major and “other”
collections; publications by subject artist; publications about
subject artist; lengthy bio-critical essay.

Marks, Claude. World Artists, 1950–1980: An H.W. Wilson

Biographical Dictionary. New York: H.W. Wilson, 1984. 912p.

_____. World Artists. 1980–1990. New York: H.W. Wilson, 1991. 413p.

Lengthy essays on major contemporary artists include exhibition

histories, public collections, and bibliography.

Museum of Modern Art. The Museum of Modern Art Artists Files.

Alexandria, VA: Chadwyck-Healey, 1986. 5,699 microfiche.
 This massive collection of primary source documents includes
exhibition announcements, magazine and newspaper clippings,
reviews and other ephemeral materials amassed by the Museum of
Modern Art. More than 20,000 artists (painters, sculptors,
performance artists, graphic designers, etc.) represented.

The New York Public Library Artists File. Alexandria, VA: Chadwyck-
Healey, 1987–89. 11,300 microfiches + Index (10 microfiche).

The New York Public Library’s clippings file offers more than 1.5
million items on more than 80,000 artists, including painters,
sculptors, architects, furniture and other decorative arts designers.
Included are newspaper and magazine clippings, press releases,
auction and gallery exhibition catalogs, and other ephemeral
material. Particularly valuable for researching relatively obscure
artists.

Artist Biography—Specialized

Over the past few decades, a number of highly specialized dictionaries of

artist biography have been published. Many of these focus on specific
subjects, while others concentrate on narrowly focused styles or periods. The
following titles represent a selection of the most important artist biographical
reference works. Note that medium-specific biographical reference works
(i.e., biographical dictionaries of painters, photographers, etc.) will be found
later in this chapter along with other medium-specific reference tools.
Sources with a geographical focus (e.g., biographical dictionaries of
American artists) are included among the “Encyclopedias and Surveys”
section, previously in this chapter.

Brewington, Dorothy E. R. Dictionary of Marine Artists. Salem, MA:

Peabody Museum of Salem; Mystic, CT: Mystic Seaport Museum,
1982. 431p.

Brief biographical entries include references to pieces in public

collections, society affiliations, some monograms.
Gaunt, William. Marine Painting: An Historical Survey. London:
Secker & Warburg, 1975. 264p.

Historical survey of marine painters and painting, from ancient

through mid–20th century. Some color, primarily black-and-white
illustrations. Brief biographical entries on major and lesser-known
subject artists. Partial contents: From ancient times to the sixteenth
century; Seventeenth century—north and south; Eighteenth
century—Britain, France and Italy; Romantic impulse; Turner,
Constable and their contemporaries; Nineteenth century
developments in Britain and America; Naïve painters of the sea;
Marine painting in the Impressionist age; Far East.

Jackson, Christine E. Dictionary of Bird Artists of the World.

Woodbridge, Suffolk: Antique Collectors’ Club, 1999. 550p.

Encyclopedic international survey of bird artists. Each entry

includes name, dates, country of origin or adoption, biography,
location of work in museums and galleries, some sales, and very
well-chosen bibliography for further research.

Meyer, George H., ed.; Folk Artists Biographical Index. George H.

Meyer, Jr. and Katherine P. White, associate editors; foreword by
Robert Bishop. Detroit: Gale Research, 1987. 496p.

A–Z index of artist biography includes references to over 200

published sources. Approximately 9,000 artists included. Basic
biographical data (birth/death dates, locations, etc.), type of work,
and biographical sources for further information.

Riggs, Thomas, ed. St. James Guide to Black Artists. Detroit: St. James
Press, 1997. 625p.

Biographical dictionary includes references to “African, African

diaspora, modern and postmodern” Black artists (preface). Entries
include basic biographical data, along with all or some of the
following elements: Exhibitions (individual and selected groups),
publications (by, and about), artist’s statement.
Artist Biography—Contemporary

Contemporary Artists. London: St. James Press 2002. 2 vols.

Excellent source for researching the lives and careers of

contemporary artists, including nationality, birth dates, education,
family, awards, mailing addresses, websites, and agent or dealer.
Entries also include good listings of solo exhibitions, selected
group exhibitions, individual and public collections, publications
(by and about), artist’s statement, and biographical essay.

Lucie-Smith, Edward. Lives of the Great 20th-Century Artists. New

York: Thames and Hudson, 1999. 352p.

Well-illustrated essays on major artists of the 20th century.

Who’s Who in American Art. Washington, DC: American Federation of

Arts, Vol. 1 (1936-37). See also Who Was Who in American Art for
biographical information on deceased artists of the United States,
Canada and Mexico.

Latest edition, covering the years 2001–2, includes brief profiles

on 11,100 visual artists in the United Sates, Canada and Mexico.
Entries include some or all of the following information, among
other points: birth date, location, education and training, works in
public collections, commissions, exhibitions, publications.
Inclusion of dealer(s) and mailing address make this an
indispensable tool for the collector or researcher of contemporary
artists.

INDEXES TO REPRODUCTIONS

One of the factors that can affect the value of a work of art is its publication
record. Numerous sources are available to assist in locating reproductions of
particular works. First, consult the artist’s catalogue raisonné and
retrospective exhibition catalogs. The catalogue raisonné often includes a list
of sources in which the subject work has been reproduced.
Sources devoted to the subject artist’s work represent just one potential
publication type. Journals, newspapers, surveys and reference works might
also include reproductions, and pinpointing these can be a daunting task. To
find reproductions of works that appear in multi-artist volumes (i.e.,
monographs or reference works that include images of multiple artists’
works) the following sources can be indispensable.

Havlice, Patricia Pate. World Painting Index. Metuchen, NJ: Scarecrow,

1977. 2 vols. Supplements: First Supplement, 1973–1980. Metuchen,
NJ: Scarecrow, 1982; Second Supplement, 1980–1989. Lanham, MD:
Scarecrow, 1995; Third Supplement, 1990–1999. Lanham, MD:
Scarecrow, 2003.

Patricia Pate Havlice’s World Painting Index and its supplements

index the image contents of thousands of books. Arranged
alphabetically by artist’s name, reproductions in color are
identified as such. Contents: Bibliography; Paintings by unknown
artists (arranged by title); Painters and their works; Titles of works
and their painters.

Monro, Isabel Stevenson. Index to Reproductions of American

Paintings; A Guide to Pictures Occurring in More Than Eight Hundred
Books. New York: H.W. Wilson, 1948. 731p. First Supplement: 1964.

Basic artist—title guide to published reproductions. Some very

broad subject headings (e.g., various genre paintings) included.

_____. Index to Reproductions of European Paintings: A Guide to

Pictures in More Than

Three Hundred Books. New York: H.W. Wilson, 1956. 668p.

Dated but still useful guide to finding reproductions in multi-artist

works and catalogs.

Smith, Lyn Wall, and Nancy Dustin Wall Moure. Index to

Reproductions of American Paintings Appearing in Over 400 Books
Mostly Published Since 1960. Metuchen, NJ: Scarecrow, 1977. 931p.
 Index to reproductions of American paintings by artist; index to
reproductions of American paintings by subject. Indicates color
illustrations.

Thomison, Dennis. The Black Artist in America: An Index to

Reproductions. Metuchen, NJ: Scarecrow, 1991. 396p.

Standard reference work to the location of images of artworks by

African American artists that have been published in books and
magazines.

MONOGRAPHS AND EXHIBITION CATALOGS

Monographs and exhibition catalogs are two of the primary sources of

information on any artist’s life and work. Technically speaking, any single
book is referred to as a “monograph.” In the art world, the monograph refers
to a stand-alone volume devoted to the work of a single artist.

Exhibition catalogs, once simple lists of works in an exhibition (lacking

illustrations, in many cases) have evolved over the past few decades. Today,
the exhibition catalog is more of a scholarly tome; while in most cases
contemporary exhibition catalogs continue the function of listing the works
included in the exhibition they accompany, more often than not they also
include essays, additional works not included in the exhibition, chronology
of the artist’s career, lengthy bibliographies and additional supporting
materials. Finding the catalogs to an artist’s major exhibitions can provide
many leads for further research.

In libraries that utilize the Library of Congress system, artists’ monographs

can be located by using the subject headings (for example) “Heade, Martin
Johnson, 1819–1904” and “Heade, Martin Johnson, 1819–1904—Criticism
and interpretation.” Exhibition catalogs will be found by searching (for
example) “Heade, Martin Johnson, 1819–1904—Exhibitions.”

Some very useful tools are available to assist the researcher who is
attempting to develop a bibliography of monographs and exhibition catalogs.
These include:
 Freitag, Wolfgang M. Art Books: A Basic Bibliography of Monographs
on Artists. 2d ed. New York: Garland, 1997. See complete description
earlier in this chapter.

Nishio, Eizo. 20/21C Art Books: A Bibliography of Artists and Art

Movements in the 20th and 21st Centuries. Tokyo: Art & Books, 2010.
663p.

Professional level bibliography of monographs, catalogues

raisonnés, books and exhibition catalogs. Indispensible to the
serious researcher of 20th/21st century art and artists.

The Worldwide Bibliography of Art Exhibition Catalogues, 1963–1987.

Millwood, NY: Kraus International; Ithaca, NY: Worldwide Books,
1992. 3v.

Worldwide Books is a major vendor of exhibition catalogs and

other art books. This classified bibliography can be used to
identify basic information about exhibitions and assist the user in
tracking down desired titles.

Worldwide Books Database. http://www.worldwide-artbooks.com/.

Worldwide books maintains a database of its offerings, and has

very wisely made the decision to retain items even as they go “out-
of-print.” The database currently includes records for over 55,000
exhibition catalogs, over 40,000 major trade and university press
books, and other items of interest to the art researcher.

EXHIBITION INDEXES

The sources used to locate information about exhibitions and their

accompanying catalogs are not usually very useful for identifying individual
works; to do this, the researcher must consult specialized indexes to the
exhibition histories of individual museums. To find out when and where a
specific work has been exhibited, the following sources are indispensable.
Before investing a great deal of time searching through museum exhibition
indexes, be sure to thoroughly review the subject artist’s catalogue raisonné
and exhibition catalogs. Very often, these contain very exhaustive listings of
exhibitions in which the artist’s work has been featured.

Canada

McMann, Evelyn de R. (Evelyn de Rostaing). Royal Canadian

Academy of Arts / Académie Royale des Arts du Canada Exhibitions
and Members, 1880–1979. Toronto: University of Toronto Press, 1981.
448p.

Surveys exhibitions and members of the Royal Canadian

Academy. Approximately 3,000 artists, 25,560 works included in
92 annual and 12 special exhibitions. Primarily Canadian, few
American, British, Continental European artists included. Entries
include name, dates, birthplace, status in Academy, address,
media, dates of and works included in exhibitions. Some lenders’
names included.

France

Janson, H.W., comp. Catalogues of the Paris Salon 1673 to 1881. New
York: Garland, 1977. 60 vols.

Facsimile reprint edition of the catalogues of the Paris Salons.

Modern Art in Paris: Two Hundred Catalogues of the Major

Exhibitions Reproduced in Facsimile. New York: Garland, 1981–82. 47
vols.

Facsimile reproductions of exhibition catalogues, including

World’s Fairs, Salons of the “Indépendants” and the “Refusés” and
numerous other important exhibitions and exhibition series.

Sanchez, Pierre. Les Salons de Dijon, 1771–1950: Catalogue des

Exposants et Liste de Leurs Œuvres. Dijon: Echelle de Jacob, 2002.
505p.
 List of exhibitions precedes artist entries. Entries include name,
dates, birth/ death places, short biography, memberships, address,
catalog number, exhibition place code, medium if known. Some
additional information on selected works.

Latin America

Sanurjo, Annick. Contemporary Latin American Artists: Exhibitions at

the Organization of American States, 1941–1964. Lanham, MD:
Scarecrow, 1997. 506p.

_____. Contemporary Latin American Artists: Exhibitions at the

Organization of American States, 1965–1985. Lanham, MD:
Scarecrow, 1993. 720p.

Chronological arrangement of all catalogs emanating from OAS

exhibitions. Many catalogs include important biographical details
—particularly useful for researching the more obscure artists and
their works. Some one-person, but primarily group exhibitions
included. Index of artists makes it easy to identify relevant
exhibition catalogs.

United Kingdom

Graves, Algernon. The British Institution, 1806–1867: A Complete

Dictionary of Contributors and Their Work from the Foundation of the
Institution. London: G. Bell, and A. Graves, 1908. 617p.

Dictionary of Royal Academy Exhibiting artists with emphasis on

paintings, some sculpture, engravings, miniatures. Entries include
artist’s name, address, date, catalog number, title, dimensions,
price realized, if sold.

_____. A Century of Loan Exhibitions, 1813–1912. London: A. Graves,

1913–15. 5 vols.

Finding aid to exhibitions in London area. Alphabetical (by artist’s

name) arrangement. Indications of ownership make this a useful
 source for the provenance researcher.

_____. A Dictionary of Artists Who Have Exhibited Works in the

Principal London Exhibitions of Oil Paintings from 1760 to 1880.
Compiled by Algernon Graves. London: G. Bell, 1884. 3d ed. London:
H. Graves, 1901. Facsimile reprint, Bath: Kingsmead Reprints, 1969.

Index to artists (including many lesser known British artists) who

contributed works to exhibitions including: Society of Artists, Free
Society of Artists, Royal Academy, British Institution, Society of
British Artists, Royal Water-colour Society, Royal Institute,
Grosvenor Gallery, and New Gallery.

_____. The Royal Academy of Arts: A Complete Dictionary of

Contributors and Their Work from Its Foundation in 1769 to 1904.
London: Graves, 1905–6. Reprint: Wakefield, Yorkshire, England: S.R.
Publishers; Bath, England: Kingsmead Reprints, 1970. 8 vols.

Arranged alphabetically by artist’s name, provides descriptive

details on paintings exhibited at the Royal Academy.

Morris, Edward. The Liverpool Academy and Other Exhibitions of

Contemporary Art in Liverpool, 1774–1867: A History and Index of
Artists and Works Exhibited. Liverpool: Liverpool University Press,
1998.

Includes index by artists’ name, sales records (1845–1865)

including purchasers’ names, list of Academy’s prize winners.

Norwich Society of Artists 1805–1833: A Dictionary of Contributors

and Their Work. Compiled by Miklos Rajnai for the Paul Mellon Center
for Studies in British Art. Norfolk, England: Norfolk Museum Service,
1976.

Exhibition records of the society’s artists, including some

illustrations of catalogs and policy statements. Entries include
medium, title, and in some instances, lender information. Some
poetry and biblical references included (from original catalogs).
125 Years of Exhibitions at the Fine Art Society PLC, 1876–2001.
London: The Society, [2001]. 57p.

Inventory of exhibitions, arranged by year. Indexed by artist, and

by contributors of (catalog) notes, prefaces, etc.

Royal Academy Exhibitors, 1905–1970: A Dictionary of Artists and

Their Work in the Summer Exhibitions of the Royal Academy of Arts.
Wakefield: EP, [1973]–1982. 6 vols.

A–Z listing of artists, including major media, year of Royal

Academy exhibition, and title of works exhibited. Most works
exhibited were by living artists, with the exception of those
Summer Exhibition works that immediately followed an artist’s
death.

Royal Academy Exhibitors, 1971–1989: A Dictionary of Artists and

Their Work in the Summer Exhibitions of the Royal Academy of Arts.
Edited by Charles Baile de Laperrière. Wiltshire, England: Hilmarton
Manor Press, 1989. 546p.

Updates item described in previous entry.

The Royal Glasgow Institute of the Fine Arts 1861–1989: A Dictionary

of Exhibitors at the Annual Exhibitions of the Royal Glasgow Institute
of the Fine Arts. Compiled by Roger Billcliffe. Glasgow: Woodend
Press, 1990–1992. 4 vols.

Exhibition history of approximately 10,000 artists—primarily

painters, some engravers, sculptors and architects. Entries
alphabetical by artist’s name, include discipline, address, date,
catalog number, price as listed in catalog.

Royal Hibernian Academy of Arts: Index of Exhibitors and Their

Works, 1826–1979. Compiled by Ann M. Stewart; with a summary
history of the R.H.A. by C. de Courcy. Dublin: Manton, 1985–1987. 3
vols.
 Three-volume dictionary arranged by artist’s name. Residence,
date of exhibition, and title of work included, along with some
“asking” prices.

The Royal Scottish Academy Exhibitors, 1826–1990: A Dictionary of

Artists and Their Work in the Annual Exhibitions of the Royal Scottish
Academy. Edited by Charles Baile de Laperrière; compiled by Meta
Viles and Joanna Soden Calne. Wiltshire, England: Hilmarton Manor
Press, 1991. 4 vols.

Basic exhibition history index includes artist’s name, birth/death

dates, exhibition year, catalog number, discipline, addresses,
lender’s name.

Royal Society of Painters in Water-Colours. The Royal Watercolour

Society: The First Fifty Years, 1805–1855. Woodbridge, Suffolk:
Antique Collectors’ Club, 1992. 299p.

Index to exhibitors includes names, exhibition, catalog number,

title, price, buyer’s name, years of active membership in the
society.

Society of Women Artists Exhibitors, 1855–1996: A Dictionary of

Artists and Their Works in the Annual Exhibitions of the Society of
Women Artists. Edited by Charles Baile de Laperrière. Calne, Wiltshire:
Hilmarton Manor Press, 1996. 4 vols.

Index to annual exhibitions, includes brief history of the society,

chronological list of patrons. Artist index includes addresses,
where known. Each work includes catalog number, title (with
medium, where known) and prices (rounded to nearest pound
sterling).

Stewart, Ann M. Irish Art Loan Exhibitions, 1765–1927. Dublin:

Manton, 1990–1995. 3 vols.

Exhibition index for native artists of Ireland. Includes shows in

Dublin, Cork, Belfast, etc. Entries include artist’s name, medium,
 place and title of exhibition, exhibition date, catalog number, size,
price and, in some instances, lender’s name.

United States

The Annual & Biennial Exhibition Record of the Whitney Museum of

American Art, 1918–1989. Edited by Peter Hastings Falk. Madison, CT:
Sound View Press, 1991. 468p.

Since 1932, the Whitney Annual and Biennial Exhibitions have

had a tremendous impact upon the contemporary art scene. This
reference work provides an artist index to each exhibition, and a
comprehensive bibliography of published exhibition catalogs.

The Annual Exhibition Record of the Art Institute of Chicago, 1888–

1950: Incorporating Three Annual Exhibition Series, Annual Exhibition
of American Paintings & Sculpture, 1888–1950, Annual Exhibition of
Works by Artists of Chicago & Vicinity, 1897–1950, Annual Exhibition
of Watercolors by American Artists, 1888–1950 (Including the
International Exhibition of Water Colors, 1921–1943). Madison, CT:
Sound View Press, 1990. 1,117p.

Contents: Statistical chart of the exhibitions; Medals and prizes

awarded; Index of juries by year; Alphabetical index to the jurors;
Index by artist; Index by owner; Index by places and last names.

The Annual Exhibition Record of the National Academy of Design,

1901–1950: Incorporating the Annual Exhibitions, 1901–1950 and the
Winter Exhibitions, 1906–1932. Edited by Peter Hastings Falk.
Madison, CT: Sound View Press, 1990. 622p.

Partial contents: Analytic chart of the annual and winter

exhibitions; Medals and prizes awarded in the annual exhibitions;
Index of juries by year; Alphabetical index to the jurors; Index by
artist; Index by owner; Index by places and last names.

The Annual Exhibition Record of the Pennsylvania Academy of the Fine

Arts: 1807–1870. [Being a Reprint with Revisions of the 1955 Edition
of Anna Wells Rutledge’s Cumulative Record of Exhibition Catalogues,
Incorporating The Society of Artists, 1810–1814 and The Artist’s Fund
Society, 1835–1845]. Madison, CT: Sound View Press, 1988–1989. 3
vols.

Indexes by artist, owner, and subject entries in the Annual

Exhibitions of the Pennsylvania Academy of the Fine Arts.

Archives of American Art. Collection of Exhibition Catalogs. Boston:

G. K. Hall, 1979. 851p.

Excellent resource for locating artists’ one-person exhibitions.

The Biennial Exhibition Record of the Corcoran Gallery of Art, 1907–

1967. Edited by Peter H. Falk. Madison, CT: Sound View Press, 1991.
335p.

Index by name, with works listed in chronological order. Titles,

catalog number and exhibition date for each work. Includes
indexes of jurors and owners.

Boston Art Club: Exhibition Record, 1873–1909. Compiled and edited

by Janice H. Chadbourne, Karl Gabosh, and Charles O. Vogel.
Madison, CT: Sound View Press, 1991. 479p.

Artist index, includes titles, media, addresses, and asking prices

for works offered for sale.

Detroit Institute of Arts. Research Library and Archives. Detroit

Institute of Arts Exhibition Catalogues.
http://www.dalnet.lib.mi.us/dia/catalogues.php.

Digitized versions of the exhibition catalogues produced by the

Detroit Museum of Art (1886–1919) and the Detroit Institute of
Arts (1919– ). “The exhibition catalogues listed correspond with
special exhibitions, including selections from the museum’s
collection, collections lent by other institutions or individuals for
temporary display at the DMA or the DIA, as well as a
 combination of both. Each exhibition catalogue has been digitized
and made available as .PDF files.”5

Halteman, Ellen. Nineteenth-Century San Francisco Art Exhibition

Catalogues: A Descriptive Checklist and Index. Davis: Library
Associates, University Library, University of California, Davis, 1981.
180p.

Primarily San Francisco artists. Entries for catalogs include all

wording from title page, list types of items exhibited (decorative
arts, furnishings, etc.). Entries for artists include names, dates,
catalog numbers, title, some purchaser information. Reproductions
of exhibition catalog covers.

Marlor, Clark S. A History of the Brooklyn Art Association with an

Index of Exhibitions. New York: J. F. Carr, [1970]. 421p.

Local history of the Brooklyn Art Association, including

exhibitions, ownership records, and prices of art works, where
applicable. Chapter One offers historical data on paintings from
the 1860s. Index of exhibitions, index of organizations. Exhibition
index includes: Artist, nationality, additional information (e.g.,
“active in New York”), some artists’ addresses and biographical
details, catalogue number, price, medium. Focus on watercolor,
illustrations and sketches, some etchings and miniatures, porcelain
paintings.

_____. The Salons of America, 1922–1936. Madison, CT: Sound View

Press, 1991. 242p.

Artist index to annual index of short-lived group that broke away

from the Society of Independent Artists. Entries include artists’
addresses, year of exhibition and titles of works.

_____. The Society of Independent Artists: The Exhibition Record

1917–1944. Park Ridge, NJ: Noyes Press, 1984. 600p.
 Index by artist’s name to the society’s annual exhibitions. Artists’
addresses, titles of works included, along with locations and dates
of exhibitions. List of purchases includes artist’s name, title and
price paid for work.

Moure, Nancy Dustin Wall. Artists’ Clubs and Exhibitions in Los

Angeles Before 1930. Los Angeles: Dustin, 1975. ca. 150p. (Series:
Publications in Southern California Art, no. 2.)

Extensive inventory of artists’ clubs in L.A., alphabetical and

dated list of exhibitions by title. Artist entries include names,
dates, addresses, exhibition dates, item number in exhibition, title,
some prices, description of work.

National Academy of Design Exhibition Record, 1826–1860. New

York: Printed for the Historical Society, 1943. 2 vols.

Index to annual exhibitions of the National Academy. Index

includes names of owners, subjects of landscapes and portraits,
biblical scenes and characters, literary works illustrated, genre
titles. Generic titles (e.g., “landscape”) not included in index.

Naylor, Maria. The National Academy of Design Exhibition Record,

1861–1900. New York: Kennedy Galleries, 1973. 2 vols.

Artist index to annual exhibition, includes artists’ addresses and

prices for works offered for sale.

Perkins, Robert F., and William J. Gavin, III. The Boston Atheneum Art
Exhibition Art Index, 1827–1874. Boston: Library of the Boston
Atheneum, 1980. 325p.

Records approximately 1,500 artists’ works exhibited between

1827–1874. Artist index includes name, nationality, city, dates,
addresses, years of occupancy (if known), catalog number, title. In
some cases, owner’s name is recorded; if no name, artist is
assumed owner. Owner index includes name, name of artist, title,
year exhibited, occasionally notes medium or type (e.g.,
sculpture).
Record of the Carnegie Institute’s International Exhibitions, 1896–
1996. Edited by Peter Hastings Falk. Madison, CT: Sound View Press,
1998. 378p.

Artist index to works included in Carnegie’s “serial exhibition”

(annual until 1950, triennial thereafter) from 1896 to 1996.
Includes rejected entries for the years 1896 through 1931, when
Carnegie staff stopped the practice of recording rejections.

Smithsonian American Art Museum Research Database: Pre–1877 Art

Exhibition Catalogue Index. http://siris-artexhibition.si.edu.

Free online index to artists of all nationalities who exhibited in

North America prior to 1877. Over 135,000 records. The catalogue
indexes information from thousands of exhibition catalogs,
broadsides, newspaper articles and gallery notices. Excluded are
exhibitions adequately covered elsewhere, including those held at
the American Academy of Fine Arts & American Art Union,
Boston Athenaeum, Brooklyn Art Association, National Academy
of Design, Pennsylvania Academy of Fine Arts, and the Combined
Art Organizations of San Francisco.

Wilson, Raymond L. Index of American Print Exhibitions, 1882–1940.

Metuchen, NJ: Scarecrow, 1988. 906p.

Indexing to individual artists’ prints included in exhibitions at the

New York Etching Club, Chicago Society of Etchers, California
Society of Etchers, Printmakers Society of California, Brooklyn
Society of Etchers, Fine Prints of the Year, Fifty Prints of the Year,
Panama-Pacific International Exposition, Victoria & Albert
Museum, and New York World’s Fair.

_____. Index of American Watercolor Exhibitions, 1900–1945.

Metuchen, NJ: Scarecrow Press, 1994. 776p.

Artist/title indexing to works featured in juried exhibitions.

Includes works exhibited: American Watercolor Society; Brooklyn
 Museum; Art Institute of Chicago; San Francisco Art Association;
Oakland Art Gallery; California Water Color Society.

Yarnall, James L., and William H. Gerdts. The National Museum of

American Art’s Index to American Art Exhibition Catalogues: From the
Beginning Through the 1876 Centennial Year. Boston: G. K. Hall,
1986. 6 vols.

Various indexes to American exhibition catalogs, including title

index by location, individual artist’s name index, unidentified
artists and owners.
 Chapter Five

Decorative Arts Research: Basic Methods and Sources

Sometimes referred to as “utilitarian” arts, the decorative arts include a vast

array of object classes. From furniture to porcelain to silver and other
metalware, most of the things we use in our day-to-day existence fall into
this category. The degree to which we think of these possessions as “art” is
another issue. Generally speaking, we reserve the expression “decorative
arts” for items that have monetary, historical, research or, possibly, just
sentimental value.

Useful Publications

This chapter includes an up-to-date inventory of some of the most useful

publications for the decorative arts researcher. Some of these are online
sources, but many are available in print only. Sources are organized by
object class (e.g., furniture) or medium (e.g., glass), and the section on each
major type of resource (dictionaries, encyclopedias, etc.) begins with some
tips (e.g., Library of Congress subject headings) for locating additional,
similar sources of information.

GENERAL DECORATIVE ARTS BIBLIOGRAPHIES

Bibliographies are essential research tools for the serious decorative arts
researcher. The indexes to periodical literature identified in the preceding
chapter yield a considerable amount of decorative arts information, but
chapters in books, exhibition brochures, and trade catalogs represent some of
the basic sources for in-depth research in this area. Additionally, some of the
fine arts bibliographies include significant amounts of material on the
decorative arts. See, particularly, Arntzen and Rainwater’s Guide to the
Literature of Art History (Chicago: American Library Association, 1980),
and its successor, Max Marmor and Alex Ross’s Guide to the Literature of
Art History II.

Finally, the increase in academic interest in the decorative arts has led many
libraries serving colleges and universities to develop user guides to the
literature and methods of research. A search of libguides (more about
libguides in Chapter Three) will retrieve many very useful and current
guides to specialized research materials in the decorative arts:
http://libguides.com.

To find additional works of this type in libraries that utilize the Library of
Congress Classification System, conduct a subject search using headings like
“Decorative arts—Bibliography” and “Antiques—Bibliography.”

Creswell, K. A. C. (Keppel Archibald Cameron), Sir. A Bibliography of

the Architecture, Arts, and Crafts of Islam to 1st Jan. 1960. [Cairo]:
American University at Cairo Press; London: Distributed by Oxford
University Press, 1961. Supplements: First: January 1960 to January
1972. [Cairo]: American University in Cairo Press; Second: January
1972 to December 1980. [Cairo]: American University in Cairo Press,
1984.

Extensive bibliography, with supplements, provides access to

thousands of references to Islamic art, architecture, and the
decorative arts. Writings on “Arts and Crafts” are classified by
type. Partial contents: Arms and armour; Astrolabes, etc.;
Bookbinding; Calligraphy and epigraphy; Ceramics; Glass and
rock crystal; Ivory; Jade; Lacquer; Metal; Mosaics; Ornament.

Ehresmann, Donald L. Applied and Decorative Arts: A Bibliographic

Guide. 2d ed. Englewood, CO: Libraries Unlimited, 1993. 629p.

This is probably the most important and comprehensive of the

English language decorative arts bibliographies. Classified and
fully annotated, with an excellent subject index. Major areas
covered include: General sources; Ornament; Folk art; Arms and
armor; Ceramics; Clocks, watches, automata and scientific
 instruments; Costume; Enamels; Furniture; Glass; Ivory; Jewelry;
Lacquer; Leather and bookbinding; Medals and seals; Metalwork;
Musical instruments; Textiles; Toys and dolls; Wallpaper.

Franklin, Linda Campbell. Antiques and Collectibles: A Bibliography of

Works in English, 16th Century to 1976. Metuchen, NJ: Scarecrow,
1978. 1,091p.

Classified bibliography of more than 10,000 English language

titles. Included are the holdings (as of 1976) of the Library of
Congress, New York Public Library, Winterthur Library, and the
British Museum, among many others. Partial contents: Antiques,
collectibles and interior design; Ceramics: pottery and porcelain;
Glass; Silver and gold; Metalwork and metals; Textiles and textile
arts. Subject and author indexes.

SPECIALIZED BIBLIOGRAPHIES

Ames, Kenneth L., and Gerald W.R. Ward, eds. Decorative Arts and
Household Furnishings in America, 1650–1920: An Annotated
Bibliography. Winterthur, DE: Henry Francis du Pont Winterthur
Museum; Charlottesville: Distributed by the University Press of
Virginia, 1989. 392p.

Classified bibliography of reference works, books, and periodical

literature on the decorative arts in America. Contents: References
and surveys; Architecture; Furniture; Metals; Ceramics and glass;
Textiles; Timepieces; Household activities and systems; Artisans
and culture.

Bronner, Simon J., ed. American Folk Art: A Guide to Sources. New
York: Garland, 1984. 313p.

Classified bibliography of books, periodical articles and exhibition

catalogs devoted to folk art in the United States.

De Winter, Patrick M. European Decorative Arts, 1400–1600: An

Annotated Bibliography. Boston: G.K. Hall, 1988. 543p.
 Very well-organized guide to the literature. Each major object
section (e.g., “Pewter, Tin, Lead and Latten”) includes works on
“multi-country of origin; Single country of origin” subdivided by
type of work (e.g., “surveys and histories,” “permanent
collections,” “exhibition catalogs,” etc.). An indispensable tool for
serious research.

Karpel, Bernard, ed. Arts in America: A Bibliography. Washington, DC:

Published for the Archives of American Art by the Smithsonian
Institution Press, 1979. 4 vols.

Extensive bibliography of the arts in America, includes references

to approximately 25,000 works. Focus on architecture, the visual
and decorative arts, art of Native Americans, and the performing
arts. Reference works, books, exhibition and trade catalogs,
journals and journal article citations included.

Kempton, Richard. Art Nouveau: An Annotated Bibliography. Los

Angeles: Hennessey & Ingalls, 1977. 303p. (Series: Art & Architecture
Bibliographies, 4.)

Extensive bibliography of books and periodical articles treating

general subject of Art Nouveau, including individual decorative art
forms (furniture, glass, etc.), as well as individual designers and
country-specific works. Serves as a very good bibliography to
some of the major periodicals on Art Nouveau.

Sokol, David M. American Decorative Arts and Old World Influences:

A Guide to Information Sources. Detroit: Gale Research, [1980]. 294p.

Classified, annotated bibliography of reference works, books and

specialized periodical literature on the decorative arts.

DECORATIVE ARTS PERIODICAL INDEXES

In Chapter Three, the major indexes to the literature of art and its history
were described in some detail. While they do focus on art and architecture,
these primary indexes—Art Index,1 ArtBibliographies Modern,
Bibliography of the History of Art (BHA) and its successor International
Bibliography of Art—also include references to a substantial amount of
decorative arts research and scholarship. Note also that numerous general
databases, also described in detail in Chapter Three, are widely available and
offer a tremendous amount of decorative arts information, including
magazine, journal, newsletter and newspaper articles on a wide array of
topics. Finally, the following indexes deal more exclusively with the
decorative arts literature.

Bibliothèque Forney. Catalogue d’Articles de Périodiques, Arts

Décoratifs et Beaux-Arts, Bibliothèque Forney, Paris. Boston: G.K.
Hall, 1972. 4 vols.

Provides citations to periodical literature on the decorative arts.

Hundreds of titles, many of them non–English language, are
analyzed. Particularly useful for the historian of decorative arts.

Design and Applied Arts Index. Bethesda, MD: CSA.

Design and Applied Arts Index (DAAI) is the major index to the
journal literature on industrial design, crafts, typography and
related topics. While it is intended primarily for the designer and
craftsperson, it also provides a great many valuable citations to the
decorative arts literature for the collector and connoisseur. DAAI
offers subject, title, and author indexing of feature articles, news
items and other journal literature. As of March, 2013, more than
212,000 records are included, with scheduled updates adding about
1,200 new items monthly.

GENERAL COLLECTORS’ MANUALS

This section comprises reference works that are geared toward the practical
issues faced by collectors; the individual works included here are relevant to
collectors in more than one specific area (e.g., a work that addresses
ceramics, glass and metalwork will be found here). More highly specific
collectors’ manuals, such as those related to furniture collecting, are found in
their respective sections, below.
Bly, John, ed. Is It Genuine? How to Collect Antiques with Confidence.
London: Miller’s, 2002. 224p.

Experts present concrete advice on how to discern various types of

fakes and copies. Included are examples of furniture, pottery,
porcelain, glass, silver and other areas of design and decorative
arts.

Chervenka, Mark. Antique Trader Guide to Fakes & Reproductions:

Authentic or Fake? Can You Make the Right Choice? 4th ed. Iola, WI:
Krause, 2003. 368p.

In a market that is now flooded with some good quality fakes and
reproductions, determining authenticity can be a daunting task.
This very useful guide presents photographic comparisons of fakes
and originals. Includes China & Porcelain, Cookie Jars, Folk Art,
Furniture, Glass, Pottery, Silver and some lower end collectible
categories.

Landrey, Gregory J., et al. The Winterthur Guide to Caring for Your
Collection. Winterthur, DE: Henry Francis du Pont Winterthur
Museum; Hanover, NH: Distributed by University Press of New
England, 2000. 154p.

Contents: General care; Science and your collection; Books,

manuscripts and ephemera; Organic materials; Ceramics and glass;
Textiles; Photographs; Metals.

Lindemann, Adam. Collecting Design. Köln: Taschen, 2010. 299p.

Through a series of interview/profiles, Lindemann surveys the

designers, collectors, dealers, tastemakers and auction house
experts active in the world of contemporary. Heavily illustrated,
this little volume serves as an encyclopedic overview of 20th and
21st century design.

Mayer, Barbara. Contemporary American Craft: A Collector’s Guide.

Salt Lake City: Peregrine Smith, 1988. 248p.
 Dated, but still useful guide for the beginning collector of crafts.
Individual media surveys include: Ceramics; Fiber; Glass; Jewelry
and metalwork; Art furniture and other forms in wood.

GENERAL DICTIONARIES, ENCYCLOPEDIAS, AND SURVEYS

Decorative arts researchers have no shortage of dictionaries, glossaries and

encyclopedias at their disposal. Some of the large, general reference works
described in the preceding chapter provide substantial essays on the various
decorative arts. Notably, Grove’s Dictionary of Art (available online via
Oxford Art Online) includes many authoritative entries on decorative arts
objects of all periods and geographic locations.

Dictionaries

Given the vast number of objects that comprise the decorative arts, it is no
surprise that the field has an extensive vocabulary of its own. Until recent
decades, the lack of standardized vocabulary made the task of classifying
decorative arts objects exceedingly difficult. The Getty Foundation’s Art and
Architecture Thesaurus (AAT), a very extensive online thesaurus for art,
architecture, and the decorative arts, was developed as a tool for catalogers
of objects and related information, but for the object researcher, it serves as
an extremely powerful index to many standard reference sources.

Because it serves as a good index to dictionaries, encyclopedias and other

reference works, we begin this section with an exploration of the Art and
Architecture Thesaurus, and proceed to review some of the primary print and
electronic dictionaries that can be indispensable for the researcher of
decorative arts objects.

Art & Architecture Thesaurus Online. Getty Foundation Research Institute.

http://www.getty.edu/research/tools/vocabularies/aat/

Librarians, indexers, museum registrars and others who are charged

with describing objects and information have long been aware of the
need for standardized terminology in their work. Consider the case of
books. A library with a large collection of books about films would not
be serving its users well if each cataloger applied her or his preferred
terminology to each title. The result would be a catalog in which some
film books are assigned the subject “film,” while others might be
classified as “cinema,” and still others might be classified “motion
pictures.” The use of standardized vocabularies imposes some order
upon the natural variability of language, and provides guidance to the
cataloger or indexer and, ultimately, to the catalog user, or researcher.

Because the terms that comprise standardized vocabularies are

sometimes derived from standard reference sources, some of these
thesauri offer an additional benefit to the researcher. Such is the case
with the Art & Architecture Thesaurus, a product of the Getty
Foundation’s Research Institute. The following example demonstrates
the usefulness of the AAT in the research process.

The author was asked to research what appeared to be an artist’s

mannequin or model (see photograph)—a very nicely carved,
mahogany mannequin in quite good condition. It has been in the
collection of its current owner since the early 1940s, and most likely
dates from the latter half of the 19th century.

Preliminary research for information on artists’ mannequins yielded

no results, prompting the researcher to go back to basics and attempt to
find synonymous terms for the subject work. An AAT search for the
term “mannequin” yielded the record shown, which identified the
proper descriptive term for our subject piece. It is not called a
mannequin, but a “lay figure.”

Because its terminology comes from a great many highly respected

reference sources and databases, the AAT not only discloses correct or
accepted terminology, but it also indicates which tools provided terms.
Because its sources are included, the AAT serves as an index to
specialized reference tools, including many of the dictionaries,
handbooks and encyclopedias described throughout this and the
preceding chapters. The sources indicated for “lay figure,” for example,
include several of the standard works described below. Note that the
presence of an illustration is even indicated. Our AAT search informs us
in a matter of seconds which terms should be used for research, and
 also provides a good list of titles with which to commence the research
project.

Nineteenth century artist’s mannequin, or “lay figure” (photograph by

Marc Posnock).
Another very useful index to specialized dictionaries, Laurence Urdang’s
Fine and Applied Arts Terms Index (Detroit: Gale Research Co., 1983) was
described in the previous chapter. Like the Getty AAT, it can be used to
identify which reference work or works include an entry on the sought-after
object type, medium, process, etc.

The following represent just a sampling of the most important general

dictionaries of decorative arts terminology. To find additional works of this
type in libraries that utilize the Library of Congress Classification System,
conduct a subject search using the headings “Decorative Arts—
Dictionaries”; “Antiques—Dictionaries”; and “Decoration and Ornament—
Dictionaries.”
Entry for term “lay figure” from the Getty Research Institute’s Art &
Architecture Thesaurus (AAT) (courtesy Getty Vocabulary Program and
the Art & Architecture Thesaurus).

Barber, Edwin Atlee, Luke Vincent Lockwood, and Hollis French. The
Ceramic, Furniture, and Silver Collectors’ Glossary. New York: Da
Capo Press, 1976. (Reprint of The Ceramic Collectors’ Glossary, The
Furniture Collectors’ Glossary, and A Silver Collectors’ Glossary and
a List of Early American Silversmiths and Their Marks, published
1914, 1913, and 1917, respectively, by the Walpole Society.)

Well-illustrated glossaries with very concise, relatively jargon-free

definitions. The Silversmiths’ list includes markings for most
entries.

Bernasconi, John R. The Collectors’ Glossary of Antiques and Fine

Arts. With Over 100 Illus., Including Reproductions from the Books of
Chippendale, Sheraton and Hepplewhite. [Rev. ed.] London: Estates
Gazette, [1963]. 587p.

Widely held in libraries, this illustrated glossary is an excellent

source for the serious collector or researcher.

Bingham, Don, and Joan Bingham. Tuttle Dictionary of Antiques &

Collectibles Terms. Rutland, VT: C.E. Tuttle, 1992. 243p.

Very brief definitions of terms and styles, some short biographical

entries on major artists and designers.

Fleming, John, and Hugh Honour. The Penguin Dictionary of

Decorative Arts. New ed. London: Viking, 1989. 935p.

Illustrated (some color), encyclopedic dictionary of terms, styles,

some biography. Includes section on ceramic marks, hallmarks on
silver, marks on silver and pewter.
Hiesinger, Kathryn B., and George H. Marcus. Antiquespeak: A Guide
to the Styles, Techniques, and Materials of the Decorative Arts, from the
Renaissance to Art Deco. New York: Abbeville Press, 1997. 215p.

Very readable discussions of European and American styles (e.g.,

Baroque, art deco), materials, object types, specialized areas of
collecting, and technical processes. The essays on styles (e.g.,
regence) include the following sections: “Who” identifies principal
artists, designers, etc.; “When” identifies time period; “Where”
provides geographical information, and “What” defines the
origins, nature and implications of the style.

Miller, Judith. A–Z of Antiques & Collectibles. New York: DK Pub.,

2008. 416p.

Thousands of definitions, many with excellent illustrations.

Includes short (one-two paragraph) descriptions of styles,
designers and firms, materials and more.

Osborne, Harold, ed. The Oxford Companion to the Decorative Arts.

Oxford [Oxfordshire]: Oxford University Press, 1985. 865p.

Encyclopedic dictionary of decorative arts, international in scope.

Entries range from short (a few sentences) to very lengthy (e.g.,
the entry on “China” is 56p.)

Savage, George. Dictionary of Antiques. New York: Praeger, [1970].

534p.

Excellent source for biography of major designers, lengthy

descriptions of decorative arts firms, and technical aspects of the
decorative arts. Includes an index of marks and monograms, and a
very good bibliography of sources for additional reading.

Terraroli, Valerio. Skira Dictionary of Modern Decorative Arts. Milan,

Italy: Distributed by Rizzoli International, 2001. 223p.

Brief essays, some illustrated. Includes some biographical

material. Coverage begins with first London World Fair (1851)
 “up to the definitive trend of the market and production toward
industrial design after the Second World War and especially since
the early 1950s.” (Introduction, p. 6).

Trench, Lucy, ed. Materials & Techniques in the Decorative Arts: An

Illustrated Dictionary.

Chicago: University of Chicago Press, 2000. 572p.

Lengthy, illustrated essays on materials and processes involved in

the decorative arts.

Encyclopedias and Surveys

General

Atterbury, Paul, and Lars Tharp, consulting eds. The Bullfinch

Illustrated Encyclopedia of Antiques. Boston: Little, Brown, 1994.
332p.

Partial contents: Pottery and porcelain; Glass; Silver; Furniture;

Clocks and watches; Oriental wares. Well-illustrated, each major
section includes an overview along with relevant reference
materials (e.g., “hallmarks” in the chapter on silver; “Chronology
of cabinetmakers and designers” in furniture chapter).

Campbell, Gordon, ed. Grove Encyclopedia of the Decorative Arts.

New York: Oxford University Press, 2006. 2 vols.

This two-volume reference work offers short biographical essays

on individual artist/designers, styles, and media. A very inclusive
definition of the “decorative arts” employed; everything from
bookbinding to furniture design and manufacture are covered in
detail.

Davidson, Paul. Antique Collector’s Directory of Period Detail: How to

Identify the Key Characteristics, Shapes and Forms of Period Styles.
Hauppauge, NY: Barron’s Educational Series, 2000. 224p.
 Easy-to-use guide to identifying characteristics of decorative arts
objects from the Baroque through 20th century modernism, by a
major expert in the field. Well-indexed and illustrated, this title is
an excellent source for the collector of furniture, ceramics, glass,
and other decorative arts categories.

Digital Library for the Decorative Arts and Material Culture. Madison:
University of Wisconsin. http://decorativearts.library.wisc.edu.

This magnificent subject guide to decorative arts includes a good

number of very high quality original texts and images, including
works in the Chipstone Foundation Collection (furniture and
ceramics). The very well-organized list of links for further
research includes an annotated listing of major decorative arts
digital imaging projects. Links to many new digital image
collections have been added since 2006.

Edwards, Ralph, and L.G.G. Ramsey, eds. The Connoisseur’s Complete

Period Guides to the Houses, Decoration, Furnishing and Chattels of
the Classic Periods. London: The Connoisseur, 1968. 1,536p.

Scholarly, encyclopedic reference work. Contents (Major

Sections): Tudor period 1500–1603; Stuart period 1603–1714;
Early Georgian period 1714–1760; Late Georgian period 1760–
1810; Regency period 1810–1830; Early Victorian period 1830–
1860. Each major section includes signed, authoritative articles on
various relevant topics including furniture, architecture, textiles,
etc.

Knowles, Eric. Miller’s 100 Years of the Decorative Arts: Victoriana,

Arts & Crafts, Art Nouveau & Art Deco. London: Miller’s, 1998. 254p.

Popular, well-illustrated overview. Partial contents: Furniture;

Glass; Ceramics; Sculpture; Silver and Metalwork; Jewelry and
precious objects; Prints and posters; Rugs and textiles.

Lanmon, Dwight P., comp. Evaluating Your Collection: The 14 Points

of Connoisseurship.
Winterthur, DE: Henry Francis du Pont Winterthur Museum; Hanover,
NH: Distributed by University Press of New England, 1999. 123p.

Very readable, nicely illustrated primer on the basics of

connoisseurship.

Mallalieu, Huon, gen. ed. The Illustrated History of Antiques: The

Essential Reference for All Antique Lovers and Collectors.
Philadelphia: Running Press, 1991. 640p.

Very well illustrated overview of decorative arts and some

collectible objects. Many entries include lists of designers and
craftsmen, with dates, locations, marks, excellent bibliographies.

Miller, Judith, gen. ed. Miller’s Antiques Encyclopedia. Rev. ed.

London: Mitchell Beazley, 2003. 560p.

Extensive overview of decorative arts, each section includes major

designers, craftsmen, factories, etc. Some marks, signatures, and
tips for collectors of various media and object types included.
Contents: Furniture; Ceramics; Silver; Jewellery; Glass; Rugs &
carpets; Textiles; Clocks & watches; Arts and Crafts & Art
Nouveau; Art Deco; Dolls & teddy bears; Toys & games; Postwar
design; Oriental works of art.

_____. 20th Century Design: The Definitive Illustrated Sourcebook.

London: Miller’s; New York: Dist. by Octopus Books, 2009. 204p.

Partial contents: Birth of Modernism; Craft Movement (British and

American); Modern Movement (Breuer, Gropius, etc.); Art Deco
(all media); Mid-Century Modernism; Postmodernism to
Contemporary.

_____, and Martin Miller. Miller’s Understanding Antiques: New

Edition. London: Mitchell Beazley, 1997. 280p.

Offers practical advice for collectors in 13 major areas, including

vital information on determining authenticity.
 Prisant, Carol. Antiques Roadshow Collectibles: The Complete Guide to
Collecting 20th Century Toys, Glassware, Costume Jewelry,
Memorabilia, Ceramics & More … New York: Workman, 2003. 588p.

Provides practical recommendations on evaluating and collecting a

wide range of lower-end collectibles and decorative arts objects.

_____. Antiques Roadshow Primer: The Introductory Guide to Antiques

and Collectibles from the Most-Watched Show on PBS. New York:
Workman, 1999. 366p.

Provides a great deal of valuable information for the collector of a

variety of objects. Partial contents: Furniture; Silver; Porcelain,
pottery and glass; Paintings; Jewelry; Clocks and watches;
Metalwork; Rugs, quilts and samplers; Toys, dolls and collectibles;
Books and manuscripts.

Ramsey, L. G. G. The Complete Encyclopedia of Antiques. Compiled

by the Connoisseur. New York: Hawthorn Books, 1962. 1472p.

Each major section includes a good glossary of terms. Contents:

Arms and armour; Barometers, clocks and watches; Books and
book bindings; Carpets and rugs; Coins and medals; Furniture;
Glass; Jewellery; Metalwork; Mirrors; Needlework and
embroidery; Painting; Pottery and porcelain; Prints and drawings;
Scientific instruments; Sculpture and carving; Silver.

The Random House Collector’s Encyclopedia, Victoriana to Art Deco.

New York: Random House, 1974. 302p.

Surveys decorative arts and antiques from 1851, the year of the
Great Exhibition, through 1939, the start of World War II. Well
illustrated and very useful for identifying individual designers’
styles.

Specialized
This section includes encyclopedias that focus on a particular style or period
(e.g., art deco), or on country or continent of origin. Encyclopedias of
individual media and object types are offered later in this chapter, under their
respective object headings (e.g., furniture, porcelain, etc.).

Anscombe, Isabelle. Arts & Crafts Style. New York: Rizzoli, 1991.
232p.

Traces the development of Arts & Crafts style in furniture, interior

and garden design from its inception in the mid–19th through the
20th century. Examples of carpets, silver, ceramics, furniture and
other objects.

Avery, Derek. Art Deco. London: Chaucer Press, 2004. 160p.

Traces the origins and development of art deco sculpture,

ceramics, furniture, glassware and other decorative arts objects.
Well-illustrated, indexed.

Byars, Mel. The Design Encyclopedia. New York: Wiley, 1994. 612p.

Largely biographical, some entries on styles, factories, etc. Very

good bibliographies, many obscure designers included.

Catley, Bryan. Art Deco and Other Figures. 2d ed. Woodbridge,

Suffolk: Antique Collectors’ Club. 2003. 398p.

Extensive inventory of figures arranged alphabetically by artist’s

name. Excellent source for identification of figures and statuettes.
Each work identified with dimensions provided. Special sections
include: Lamps; Bookends; Animal, bird and fish figures; Car
mascots; Clocks. Brief biographies of artists.

Création en France: Arts Décoratifs 1945–1965: Répertoire

Alphabétique. Montreuil, France: Gourcuff Gradenigo, 2009. 383p.

Presents a thorough review of French mid-century modern design

and designers.
Duncan, Alistair, ed. Encyclopedia of Art Deco. New York:
Knickerbocker Press, 1998. 192p.

Illustrated encyclopedia of Art Deco decorative arts. Contents:

Architecture; Sculpture; Furniture and interior decoration;
Lighting; Paintings, graphics and bookbinding; Glass; Ceramics;
Metalwork; Jewelry and accessories; Textiles. Each chapter
includes an overview and brief biographies of major artists and
designers.

Fehrman, Cherie, and Kenneth Fehrman. Postwar Interior Design,

1945–1960. New York: Van Nostrand Reinhold, 1987. 198p.

Good overview of works by major designers, including: Charles

Eames; Eero Saarinen; George Nelson; Harry Bertoia; Florence
Knoll; Gilbert Rohde; Isamu Noguchi; Arne Jacobsen; Borge
Mogensen; Hans J. Wegner; Russel Wright.

Garner, Philippe. The Contemporary Decorative Arts from 1940 to the

Present Day. London: Park Lane, 1990. 224p.

Surveys postwar design. Partial contents: Silver & metalwork;

Ceramics; Jewellery; Glass; Textiles; Fashion.

Grow, Lawrence, and Dina von Zweck. American Victorian: A Style

and Source Book. New York: Harper & Row, 1984. 223p.

This very heavily illustrated survey of Victorian decoration and

ornament is a good starting point for beginning research on the
period. Through photographs, line drawings and facsimile
reproduction of advertisements, it presents a basic overview of
decorative hardware, furniture, wall coverings and other domestic
details.

Haslam, Malcolm. Marks and Monograms of the Modern Movement,

1875–1930: A Guide to the Marks of Artists, Designers, Retailers, and
Manufacturers, from the Period of the Aesthetic Movement to Art Deco
and Style Moderne. New York: Scribner, 1977. 192p.
 Major sections arranged by type or work: Ceramics; Glass;
Metalwork and jewelry; Graphics; Furniture and textiles. Object-
type sections subdivided geographically: British; American;
French, etc.

Hiesinger, Kathryn B., and George H. Marcus. Landmarks of Twentieth-

Century Design: An Illustrated Handbook. New York: Abbeville Press,
1993. 431p.

Very well-illustrated discussion of modern design. Includes

lengthy biographies of major designers. Contents: Toward
industrialization, 1895–1910; Movements for change, 1910–1920;
Styles of modernism, 1920–1930; Machine age, 1930–1940;
Austerity, 1940–1950; Good design, 1950–1960; Alternatives,
1960–1970; Responsible design, 1970–1980; Postmodernism and
pluralism since 1980.

Inspiring Reform: Boston’s Arts and Crafts Movement. Marilee Boyd

Meyer, consulting curator; essays by David Acton, et al. Wellesley,
MA: Davis Museum and Cultural Center, Wellesley College; New
York: Distributed by Abrams, 1997. 247p.

Lavishly illustrated, scholarly history of the Boston Arts and

Crafts movement. Essays by experts cover diverse media including
furniture, pottery, metal, textiles, book design and photography.
Individual designers’ biographies comprise lengthy appendix.

Kovel, Ralph, and Terry Kovel. Kovels’ American Antiques: 1750 to

1900. New York: Random House Reference, 2004. 384p.

Basic reference source includes a vast amount of information for

the serious collector of American furniture, pottery, porcelain,
silver and more.

Phipps, Frances. The Collector’s Complete Dictionary of American

Antiques. Garden City, NY: Doubleday, 1974. 640p.

Well illustrated dictionary of terms related to decorative arts.

Contents: Historic periods and styles; Rooms—their placement
 and use; Crafts, trade and useful professions; Weights and
measures; Terms used by joiners and cabinetmakers; Woods and
their preferred uses; Paints, dyes, finishes, varnishes; Cleaning,
polishing and repairing; Metals—antique formulae and uses;
Pottery, porcelain and minerals; Glass.

Pile, John F. Dictionary of 20th-Century Design. New York: Da Capo

Press, 1994. 312p.

Short essays on trends and styles in the decorative arts; brief

biographies of major and lesser-known artists and designers.

Sembach, Klaus-Jürgen. Art Nouveau: Utopia, Reconciling the

Irreconcilable. London: Taschen, 2000. 240p.

Scholarly analysis of the emergence of the Art Nouveau

movement and the social and political forces that affected the
style’s development. Partial contents: Movement—the modern
style’s first steps; Unrest-uprisings in the provinces: Brussels;
Nancy; Barcelona; Munich; Weimar; Darmstadt; Glasgow;
Helsinki; Chicago; Vienna—the modern style arrives.

Stillinger, Elizabeth. A Kind of Archaeology: Collecting American Folk

Art, 1876–1976. Boston: University of Massachusetts Press, 2011.
441p.

Beautifully illustrated scholarly overview of folk art in

contemporary culture. Major collectors receive in-depth
biographical surveys. Includes useful appendices: Important early
folk art exhibitions; Important early folk art auctions.

Todd, Pamela. The Arts & Crafts Companion. New York: Bulfinch
Press, 2004. 320p.

Contents: Makers of the movement; Architecture; Architectural

interiors; Furniture; Textiles & wallpaper; Stained glass &
lighting; Pottery & ceramics; Metalwork & jewelry; Printed word;
Gardens.
 Topham, John. Traditional Crafts of Saudi Arabia: Weaving, Jewellery,
Costume, Leatherwork, Basketry, Woodwork, Pottery, Metalwork.
London: Stacey International, in assoc. with Al-Turath, Riyadh, 2005.
192p.

Very well-illustrated overview of traditional arts and crafts

produced by Bedouin and “villagers” of Saudi Arabia.

White, Betsy K. Great Road Style: The Decorative Arts Legacy in

Southwest Virginia and Northeast Tennessee. Charlottesville: University
of Virginia Press, 2006. 212p.

Scholarly overview of the material culture of nineteenth century

southeastern United States. Included are well-documented
examples of furniture; textiles; pottery; paintings; metalwork;
baskets; musical instruments.

MARKS, HALLMARKS AND SIGNATURES

Reference sources that identify marks and signatures are extremely

important to the decorative arts researcher. The following tools include
works that provide marks and signatures for more than one of the decorative
arts, e.g., silver and furniture. Guides devoted to a single form are included
in the relevant subject-specific sections (e.g., porcelain) that follow.

Chervenka, Mark. Antique Trader Guide to Fake & Forged Marks. 4th
ed. Iola, WI: KP, 2007. 366p.

As the market for decorative arts objects has grown, so has the
world of fakes and forgeries. This handy reference source provides
a categorized pictorial guide to fake marks, side-by-side with the
originals. Included are identifying marks of glass, porcelain, china
and other decorative arts objects.

Macdonald-Taylor, Margaret. A Dictionary of Marks. Rev. ed. [i.e., 4th

ed.], revised by Lucilla Watson. London: Barrie & Jenkins, 1992, 1989.
332p.
 Partial contents: British metalwork; British silver—London;
British silversmiths; British silver; Marks on English gold plate;
Irish silver—Dublin; Marks on Irish gold plate; Irish silversmiths
—Dublin; British pewterers’ marks; American silversmiths’
marks; American pewterers’ marks; English furniture marks;
French furniture marks; Tapestry marks; Ceramics: European
marks; Japanese date marks; Chinese reign marks.

FURNITURE: BIBLIOGRAPHIES

Semowich, Charles J. American Furniture Craftsmen Working Prior to

1920: An Annotated Bibliography. Westport, CT: Greenwood, 1984.
381p.

Extensive annotated bibliography of published works (books,

periodicals, and trade publications) on American furniture
craftsmen. Contents: Works about individual craftsmen; Works
about groups of craftsmen; General works; Trade catalogs;
American furniture periodicals; Manuscript collections;
Craftsman-biographical index; Author-title, subject indexes.

Viaux, Jacqueline. Bibliographie du Meuble (Mobilier Civil Fançais).

Paris: Société des Amis de la Bibliothèque Forney, 1966. 589p.
Supplement 1: Supplément 1965–1985. Paris: Agence Culturelle de
Paris, 1988. 624p. Supplement 2: Bibliographie du Meuble: Mobilier
Civil Français: Second Supplement, 1985–1990 et Complements. Paris:
Bibliothèque Forney: Agence culturelle de Paris, 1998.

This extensive classified bibliography provides citations to

periodical articles on French furniture dating from the medieval
period through the 20th century. While perhaps not as widely
available as the other titles selected here, Viaux’s bibliography is
selected for its comprehensive coverage of the subject.

FURNITURE: COLLECTORS’ MANUALS

Jackson, Albert, and David Day. Care & Repair of Furniture.

Newtown, CT: Taunton Press, 1994. 160p.
 Practical “how to” book on the basics of furniture repair and
conservation.

Jenkins, Emyl. Emyl Jenkins’ Reproduction Furniture: Antiques for the

Next Generation. New York: Crown, 1995. 204p.

Interesting history of the advent of antique reproduction in the

U.S. Offers practical tips for the collector on identification and
dating of reproduction furniture. The author, a well-known
appraiser, offers pricing guidelines for good, fine, and exceptional
examples of various types of reproduction furniture.

_____, with Joe E.A. Wilkinson. Emyl Jenkins’ Guide to Buying and
Collecting Early American Furniture. New York: Crown, 1991. 148p.

Part one comprises technical information for the collector,

including advice on detecting fakes, various surface detailing
(shrinkage, patina, finish), basic repair and restoration. A series of
“case studies” offers guidance on such topics as “acceptable
structural restoration,” “acceptable replacement,” etc.

Kaye, Myrna. Fake, Fraud, or Genuine? Identifying Authentic

American Antique Furniture. Boston: Little, Brown, 1987. 214p.

Expert advice on spotting fake furniture, for the serious collector

or connoisseur.

Obbard, John. Early American Furniture: A Practical Guide for

Collectors. Paducah, KY: Collector Books, 1999. 335p.

Good introduction to basics of early American furniture.

Individual pieces organized by type (e.g., “Wing chairs and
sofas”). Useful reference material, including: Understanding
period and style; Evaluating quality; Antiques as an investment;
Fakes and frauds.

Ormsbee, Thomas H. Field Guide to Early American Furniture.

Boston: Little, Brown, 1951. 464p.
 Dated, but still useful primer on the identification of early
American furniture. Major sections arranged by furniture type,
such as chairs and tables, and illustrated with clear, simple line
drawings. Glossary of terms, essays on various periods and
methods of detecting genuine pieces.

Taylor, V.J. How to Be a Furniture Detective. Iola, WI: Krause, 2004.

192p.

Suitable for the beginning collector, provides basic information on

identifying fakes, identifying various styles, etc. Good clear line
drawings illustrate periods and styles.

FURNITURE: DICTIONARIES

Boyce, Charles, ed. Dictionary of Furniture. 2d ed. New York: Facts on

File, 2001. 378p.

Encyclopedia of styles and forms, materials, craftsmen and

designers. Some Asian but primarily Western design. Illustrated
with clear line drawings. Includes practical advice for the
beginning collector. “Places to Visit” chapter identifies and
describes some important public collections for further research.

Gloag, John. A Complete Dictionary of Furniture. Revised and

expanded by Clive Edwards. Woodstock, NY: Overlook Press, 1991.
828p.

Illustrated dictionary of terms, periods and styles. Partial contents:

Description of furniture; Design of furniture; Dictionary of names
and terms; Furniture makers in Britain and America; Books and
periodicals on furniture and design.

FURNITURE: ENCYCLOPEDIAS AND SURVEYS

Aronson, Joseph. The Encyclopedia of Furniture. 3d ed. New York:

Crown, [1965]. 484p.
 Illustrated encyclopedia of terms and styles. Useful for clear
descriptions and illustrations of individual objects types, designers,
etc.

Ash, Douglas, et al. World Furniture: An Illustrated History. London:

Hamlyn, 1969. 320p.

Very well-illustrated, encyclopedic survey of furniture, from

ancient Egyptian through mid–20th century. Western countries,
from Renaissance through 20th century, treated in great detail.
Glossary of terms and bibliography.

Baker, Fiona, and Keith Baker. Modern Furniture Classics: From 1900
to Now. London: Carlton Books, 2011. 272p.

General illustrated survey of the furniture from designers and

manufacturers working in the 20th and 21st centuries. Moves
chronologically by style group, beginning with Arts & Crafts and
Art Nouveau, through Postmodernism and furniture of the new
millennium.

Blakemore, Robbie G. History of Interior Design and Furniture: From

Ancient Egypt to Nineteenth-Century Europe. 2d ed. Hoboken, NJ: J.
Wiley and Sons, 2006. 440p.

Contents: Egypt, c. 3200–341 BC; Greece, 500–30 BC; Rome, 509

BC–AD 476; Middle ages, 1150–1550; Italian Renaissance, 1460–
1600; French Renaissance, 1450–1600; English Renaissance,
1500–1660; Italian baroque, 1600–1700; French baroque, 1600–
1715; English baroque, 1660–1702; French rococo, 1700–1760;
Early Georgian, England, 1715–1760; Early French neoclassic,
1760–1789; Early English neoclassic, 1770–1810; Late French
neoclassic, 1789–1820; Late English neoclassic, 1810–1830;
Nineteenth century French revival styles, 1815–1870; Nineteenth
century English revival styles, 1830–1901.

Boger, Louise Ade. The Complete Guide to Furniture Styles. Enl. ed.
New York: Scribner’s, 1969. 500p.
 Excellent encyclopedic source for the identification of (primarily
Western) furniture styles.

Boidi Sassone, Adriana. Furniture: From Rococo to Art Deco. Cologne:

Evergreen, 2000. 814p.

Comprehensive history of styles, arranged by century and

subdivided by country, focus on Western Europe.

Crochet, Treena. Designer’s Guide to Furniture Styles. 2d ed. Upper

Saddle River, NJ: Prentice Hall, [2003], 2004. 345p.

Textbook style work, good for identification of styles, periods and

countries of origin. Ancient world through 20th century.

Edwards, Clive. Encyclopedia of Furniture Materials, Trades, and

Techniques. Brookfield, VT: Ashgate, 2000. 254p.

Encyclopedia of processes, materials, forms and styles of

furniture, with an emphasis on technical aspects of production.
Historical focus, but some 20th century materials and styles are
adequately covered.

Fiell, Charlotte, and Peter Fiell. Modern Furniture Classics: Postwar to

Post-Modernism. London: Thames and Hudson, 2001. 192p.

Decade-by-decade survey of major innovations in contemporary

furniture design. Partial contents: 1945 to 1950 Reconstruction and
rationalism; 1950 to 1960 Ascendancy of organic design; 1960 to
1970 Pop culture and anti-design; 1970 to 1980 Conformist,
reformist or contesting; 1980 to the present day, Eclectic years.

_____. 1000 Chairs. Cologne: Taschen, 1997. 768p.

If you think you have a 20th century classic, this easy-to-use guide
will assist in identifying the style and, if you’re lucky, the actual
piece. Chronological arrangement, includes 19th and 20th century
chairs. Primarily residential, but some contemporary office and
institutional pieces included.
Forrest, Tim. The Bulfinch Anatomy of Antique Furniture: An
Illustrated Guide to Identifying Period, Detail, and Design. Paul
Atterbury, consulting editor. Boston: Little, Brown, 1996. 160p.

Aptly described as an “anatomy” of furniture, major styles are

deconstructed and fully illustrated with photographs and good
quality line drawings. Arranged by furniture type (e.g., chairs and
stools, upholstered furniture, etc.); serves as an excellent guide for
the serious collector.

Furniture Design = Möbel Design. Edited by Paco Asensio. New York:

TeNeues, 2002. 400p.

Arranged by furniture type, well illustrated survey of the latest in

contemporary furniture design.

Greenberg, Cara. Mid-Century Modern: Furniture of the 1950s. 1st rev.

ed. New York: Harmony Books, 1995. 176p.

Well-illustrated overview of classic 1950s furniture.

Hinchman, Mark. History of Furniture: A Global View. New York:

Fairchild Books, 2009. 620p.

Surveys the history of furniture from Prehistory through

Postmodernism. This interior design textbook includes sections on
previously neglected countries’ furniture design, including China,
Africa and other areas.

Linley, David. Classical Furniture. New York: Abrams, 1993. 192p.

Contents: Classical idea; Golden age of Classicism; Pattern of

perfection; Directory of furniture; Arrangement and display. A
richly illustrated study, the directory is particularly useful for the
identification of styles.

Mang, Karl. The History of Modern Furniture. Translation by John

William Gabriel of Geschichte des Modernen Mobels. New York:
Abrams, 1979. 185p.
 Scholarly but very readable history of the evolution of
contemporary furniture styles. Covers major developments from
the 19th century through post World War II. Partial contents:
Anonymous furniture in the nineteenth century—harbingers of the
Machine Aesthetic; Theories of William Morris and the challenge
of industry; From de Stijl to the International Style; Scandinavian
furniture—from anonymity to world renown; Furniture design
after World War II.

Miller, Judith. Furniture: World Styles from Classical to Contemporary.

New York: DK Pub, 2005. 560p.

Modern Furniture: 150 Years of Design = Meubles Modernes: 150 Ans

de Design = Moderne Möbel: 150 Jahre Design. Volker Albus et al.
Königswinter, Germany: H.F. Ullman, 2009. 703p.

Morley, John. The History of Furniture: Twenty-Five Centuries of Style

and Design in the Western Tradition. Boston: Little, Brown, 1999.
352p.

Contents: Antiquity; Disintegration of classicism 300–1450;

“Pointed” styles—Islamic and Gothic; Renaissance revival of
antiquity—classicism and anti-classicism; Baroque contrasts;
Battle of styles: English classicism, rococo and “gǒut Grec”;
Modified rococo and the new neo-classicism; Grotesque and
“archaeological” classicism; Eclectic revivalism; Frugality and
functionalism; Wilder shores of style: China, Japan, India, Egypt,
Africa; Latter-day polarities.

_____. Regency Design, 1790–1840: Gardens, Buildings, Interiors,

Furniture. New York: Abrams, 1993. 473p.

Regency style furniture is inextricably related to interior design

trends of the period. Both are very well covered here. Line
drawings, original designs, and interiors depicted in early 19th
century works of art, along with photographic reproductions of
pieces from public and private collections make this an excellent
 source for the identification of stylistic variations in Regency
furniture.

Ostergard, Derek E., ed. Bent Wood and Metal Furniture: 1850–1946.
Seattle: University of Washington Press in association with the
American Federation of Arts, 1987. 366p.

Traces the development of bent wood and metal furniture from the
pre-industrial age through mid–20th century. Many reproductions,
original advertisements, designers’ drawings and other source
material make this an excellent source for bent wood and metal
furniture identification and dating.

Payne, Christopher, gen. ed. Sotheby’s Concise Encyclopedia of

Furniture. New York: Harper & Row; Toronto: Fitzhenry & Whiteside,
1989. 208p.

Authoritative, signed articles on Western furniture styles.

Contents: Early furniture; Renaissance; Baroque; Rococ revival;
Eclecticism; Craft and design; Machine age; Modern times;
Bibliography; Guide to recognizing and dating furniture.

Riccardi-Cubitt, Monique. The Art of the Cabinet; Including a

Chronological Guide to Styles. London: Thames and Hudson, 1992.
224p.

Scholarly study, illustrated with many examples of magnificent

cabinetry. Particularly useful for its “Illustrated Chronological
Guide to Styles” which traces the development of the cabinet
visually from 1400 through 1900, and biographical sketches of
major cabinetmakers, craftsmen and designers.

Stimpson, Miriam F. Modern Furniture Classics. New York: Whitney

Library of Design, 1987. 207p.

Classic examples of furniture dating from the 18th century through

the 1980s. Each piece is illustrated and fully described. Brief
designer biographies and other details included.
 Synge, Lanto. Mallett Millennium: Fine Antique Furniture and Works
of Art. London: Mallet, in association with Antique Collectors’ Club,
1999. 360p.

Richly illustrated history of prestigious British antique gallery

active since the 19th century. Comprises primarily furniture
offerings, but also includes sections on sculpture, clocks, textiles,
and glass.

Vigue, Jordi, editing director. Classical Furniture. New York: Whitney,

1998. 208p.

Excellent source for the identification of classical and neoclassical

styles, from the Renaissance to the 20th century. Glossary of
terms.

White, Antony, and Bruce Robertson. Furniture & Furnishings: A

Visual Guide. New York: Design Press, 1990. 109p.

Visually-oriented guide to furniture styles, arranged by furniture

type (beds, chairs, etc.). Sections on “Construction and Parts,” and
“Decoration and Finish” similarly arranged. Very good basic
reference tool for the beginning collector.

Wilk, Christopher, ed. Victoria and Albert Museum. Western Furniture:

1350 to the Present Day in the Victoria and Albert Museum. New York:
Cross River Press, 1996. 231p.

History of the Victoria and Albert collection. Chronologically-

arranged discussion of primarily Western European pieces traces
the evolution of furniture design from the 14th through late 20th
centuries.

FURNITURE: COUNTRY STUDIES

Asia

Asian Furniture: A Directory and Sourcebook. Ed. Peter Moss. London;

New York: Thames & Hudson, 2007. 308p.
 Containing 451 images, this book is a detailed survey of furniture
from India, Indonesia, Thailand, China, Tibet, Philippines, Korea,
and Japan.

Australia

Fahy, Kevin. Nineteenth Century Australian Furniture. Sydney: David

Ell Press, 1985. 624p.

Encyclopedic survey of colonial furniture of Australia.

Introductory essays on the furniture of each Australian colony
precede pictorial survey of the furniture, arranged by type. Partial
contents: New South Wales; Queensland; South Australia;
Tasmania; Victoria; Western Australia; Styles and sources; Labels,
stamps, stencils and inscriptions; Directory of cabinet, chair and
furniture makers.

Canada

Fleming, John A. The Painted Furniture of French Canada, 1700–

1840. Camden East, Ontario: Camden House, 1994. 179p.

Explores the various styles, materials, and methods of construction

of French Canadian painted furniture.

Pain, Howard. The Heritage of Country Furniture: A Study in the

Survival of Formal and Vernacular Styles from the United States,
Britain and Europe Found in Upper Canada, 1780–1900. New York:
Van Nostrand Reinhold, 1978. 548p.

Encyclopedic overview of Canadian furniture and domestic tools

and implements. Each section focuses on influence of particular
national traditions, arranged by furniture type. Partial contents:
Style influences in the furniture of upper Canada; Anglo-American
tradition; Germanic tradition; Polish tradition; French Canadian
tradition.
 Palardy, Jean. The Early Furniture of French Canada. Translated from
the French by Eric McLean. 2d rev. ed. Toronto: Macmillan of Canada;
New York: St. Martin’s Press, 1965. 413p.

Copious illustrations of pieces in public and private collections

illustrate the structure, design and decoration of primarily 18th and
19th century French Canadian furniture.

Wright, Virginia. Modern Furniture in Canada, 1920 to 1970. Toronto:

University of Toronto Press, 1997. 208p.

Surveys the evolution of modern furniture design in Canada, from

the earliest European-inspired commercial pieces through the
1970s. Well-illustrated and indexed, good source for identification.

Caribbean

Nije-Statius van Eps, Georgette E. Furniture from Curacao, Aruba, and

Bonaire: Three Centuries of Dutch Caribbean Craftsmanship.
Translation from the Dutch by Wendy Leivesley Thompson. Zutphen,
The Netherlands: Walburg Pers, 1995. 175p.

Well-illustrated study of Dutch Caribbean furniture design. Very

brief introduction to pre–Columbian period precedes
chronologically-arranged sections on the furniture of Curaçao,
Aruba and Bonaire.

Sturm, Philip. West Indian Antique Furniture of the Lesser Antilles,

1740–1940. Woodbridge, Suffolk: Antique Collectors’ Club, 2007.
198p.

This well-illustrated volume includes sections detailing various

influences on furniture design in the lesser Antilles, including
those of the United States, England, Denmark, the Netherlands,
France, Spain and Sweden.

China
Berliner, Nancy, et al. Beyond the Screen: Chinese Furniture of the 16th
and 17th Centuries. Boston: Museum of Fine Arts, 1996. 158p.

Scholarly exhibition catalog on evolution and history of Chinese

furniture.

Clunas, Craig. Chinese Furniture. London: Bamboo, 1988. 119p.

Pieces in the collection of the Victoria and Albert Museum serve

to illustrate this very readable overview of Chinese furniture.

Ellsworth, Robert Hatfield. Chinese Furniture: Hardwood Examples of

the Ming and Early Ching Dynasties. New Fairfield, CT: The Author,
[1998?]. 299p.

Composed largely of illustrations arranged by type of furniture

(tables, stands, etc.). Excellent source for identification. Scholarly
treatment for the serious collector.

Flacks, Marcus. Classical Chinese Furniture. New York: Vendome,

2012. 276p.

Renowned Dealer/Collector Marcus Flacks offers a connoisseur’s

view of historically significant masterpieces of Chinese furniture.
Individual works organized by type (chairs, stools, etc.).
Additional material of interest to the serious collector includes
discussion of restoration, original condition, materials, artists’
index and more.

Handler, Sarah. Austere Luminosity of Chinese Classical Furniture.

Berkeley: University of California Press, 2001. 417p.

Scholarly history of Chinese furniture, arranged by type. Partial

contents: Revolution and discovery; Chairs; Beds; Tables;
Cabinets and screens; Stands.

_____. Ming Furniture: In the Light of Chinese Architecture. Berkeley,

CA: Ten Speed, 2005. 233p.
 Scholarly/professional monograph traces the parallel
developments of architecture and furniture design in Ming
Dynasty China. Major pieces organized by type (chairs, tables,
etc.).

Mazurkewich, Karen. Chinese Furniture: A Guide to Collecting

Antiques. North Clarendon, VT: Tuttle, 2006. 223p.

This well-illustrated primer provides a wealth of information on

Classical and vernacular Chinese furniture. Organized by object
type (e.g., tables & desks), and packed with additional tips of
interest to the serious collector/connoisseur.

Shixiang, Wang. Connoisseurship of Chinese Furniture: Ming and

Early Qing Dynasties. Translation of Ming shi cia chü yen chiu.
Chicago: Art Media Resources; Hong Kong: Joint Publishing (H.K.),
1990. 2 vols.

Translation of classic study of classic Chinese furniture styles.

Partial contents: Ming and early Qing furniture; Types and forms
of furniture; Construction and joinery; Decoration; Materials;
Problems of dating and alterations.

_____, and Curtis Evarts. Masterpieces from the Museum of Classical

Chinese Furniture. Chicago: Chinese Art Foundation, 1995. 228p.

Arranged by type (Stools, Chairs, etc.) this reference guide uses

good, clear images of individual works from a major museum
collection to establish a typology of functional and decorative
elements in Chinese furniture.

Song, Yongji. Chinese Classical Furniture: The Essential Illustrated

Guide for Collectors. Pleasantville, NY: Reader’s Digest Association,
2009. 302p.

Partial contents: Different types of structure of classical furniture;

Decorative techniques of classical furniture; Motifs used on
classical furniture; Materials of classical furniture; Six categories
of traditional Chinese Furniture; Ancient Chinese furniture in
 different historical periods; An auction list of ancient and classical
Chinese furniture in the last 10 years.

Denmark

Karlsen, Arne. Danish Furniture Design in the 20th Century.

København: Dansk Møbel Kunst, 2007. 2 vols.

Two-volume well-illustrated reference work constitutes an

encyclopedic survey of this 20th century furniture style.

France

Bouzin, Claude. Meuble et Artisanat: XIIIe–XVIIIe Siècle. Paris:

Amateur, 2003. 207p.

Scholarly study of materials, methods and styles. Appendix

includes biographies of major cabinet makers.

Claret Rubira, Jose. Encyclopedia of French Period Furniture Designs.

Translation of Muebles de Estilo Francés. New York: Sterling, 1983.
416p.

Very well-illustrated selection of French period designs, presented

in chronological order. Line drawings clearly depict examples of
Romanesque, Gothic, Renaissance, Louis XIV, Regency Louis XV
and XVI. Excellent source for period identification.

Duncan, Alastair. Art Deco Furniture: The French Designers. New

York: Thames and Hudson, 1992, 1984. 192p.

Well-illustrated introduction to French Art Deco includes

substantial biographies of major designers.

French Cabinetmakers of the Eighteenth Century. Foreword by Pierre

Verlet. Translation of Ebenistes du XVIIIe Siècle Français. [Paris]:
Hachette; [New York: French & European, 1965]. 341p. (Series:
Collection Connaissance des Arts “Grands Artisans d’Autrefois.)
 Standard history of 18th century French furniture in the form of
chronologically arranged biographical essays of prominent
cabinetmakers. Many entries include monogram or signature
sample.

Hinckley, F. Lewis. A Directory of Antique French Furniture, 1735–

1800; Over 300 Illustrations of Provincial, Parisian, and other
European Antique Furniture. New York: Crown, [1967]. 214p.

This source comprises largely illustrations, and is therefore very

useful for identifying various types of furniture. Partial contents:
Designers and craftsmen of Paris and other metropolitan furniture
centers of France; Register of master cabinet makers of provinces
other than Île de France; Vocabulary of French terms applied to
18th-century furniture.

_____. Le Meuble Français et Européen du Moyen Âge à Nos Jours.

Paris: Editions de l’Amateur, 1991. 591p.

Excellent source for identifying various styles and periods of

French furniture, from Gothic and Renaissance through Art
Nouveau and Art Deco.

Kjellberg, Pierre. Le Mobilier Français du XVIIIe Siècle: Dictionnaire

des Ébénistes et des Menuisiers. New ed. Paris: Editions de l’Amateur,
2002. 927p.

Beautifully illustrated, A–Z dictionary of 18th century French

furniture craftsmen. Entries include birth/death dates, stamps and
monograms, French, American, British and other museums’
holdings.

Ledoux-Lebard, Denise. Les Ébénistes du XIXe Siècle, 1795–1889:

Leurs Œuvres et Leurs Marques. Paris: Éditions de l’Amateur, 1989.
700p.

Scholarly survey of 19th century French cabinetmakers and their

identifying marks.
 Pradère, Alexandre. French Furniture Makers: The Art of the Ébéniste
from Louis XIV to the Revolution. Translation by Perran Wood of Les
Ébénistes français: De Louis XIV à la Revolution. Malibu, CA: J. Paul
Getty Museum, 1989. 442p.

A–Z encyclopedia of important French furniture makers;

individual entries illustrated, often in color, followed by: Glossary
of woods; Glossary of French terms; List of identified Ébénistes of
the 17th and 18th centuries; Bibliography.

Saglio, André. French Furniture. London: B.T. Batsford; New York:

Charles Scribner’s Sons, 1913.

Thirion, Jacques. Le Mobilier du Moyen-Âge et de la Renaissance en

France. Dijon: Éditions Faton, 1998. 279p.

Beautifully illustrated overview of the evolution of furniture styles

from the middle ages through the Renaissance. Types of furniture,
decoration, and iconographic analysis of figural ornamentation.

Verlet, Pierre. French Furniture and Interior Decoration of the 18th

Century. Translated from the French by George Savage. London: Barrie
& Rockliffe, 1967. 292p.

The evolution of 18th century furniture designs is surveyed in a

social historical context. Interiors and their furnishings depicted by
artists of the period supplement good photographic reproductions
of pieces in major public and private collections.

Viaux, Jacqueline. French Furniture. Translation of Le Meuble en

France. New York: Putnam, [1964]. 200p.

Contents: Technical introduction; Middle ages; Renaissance; Louis

XIII; Louis XIV; Regency and Louis XV; Louis XVI; Directory
and Empire; Restoration; Second Empire; Third and Fourth
Republics.

Great Britain
Beard, Geoffrey, and Christopher Gilbert, eds. Dictionary of English
Furniture Makers, 1660–1840. Assistant editors, Brian Austen, Arthur
Bond, Angela Evans. [Leeds]: Furniture History Society: W.S. Maney,
1986. 1,046p.

This biographical dictionary includes information culled from a

great variety of primary sources, including trade and post office
directories, newspapers, trade cards, sales catalogues, personal and
corporate records. Identifies designers, finishers, tradesmen,
auctioneers and others active in the furniture industry.

Bowett, Adam. English Furniture: 1660–1714: From Charles II to

Queen Anne. Woodbridge, Suffolk: Antique Collectors’ Club, 2002.
323p.

Beautifully illustrated, scholarly history of furniture styles of the

17th and early 18th centuries. Pieces from major museum
collections illustrate the evolution of various furniture forms, as
well as technical aspects of furniture production, including
lacquer, japanning and other surface treatments.

_____. Woods in British Furniture Making, 1400–1900: An Illustrated

Historical Dictionary. Wetherby, UK: Oblong Creative Ltd.; Kew:
Royal Botanic Gardens, 2012.

This monumental work is the definitive encyclopedia of wood

species used in the creation of British furniture from medieval
through modern times. Hundreds of species of hard- and
softwoods are illustrated, with representative examples of their use
in historically significant pieces.

Chinnery, Victor. Oak Furniture: The British Tradition: A History of

Early Furniture in the British Isles and New England. Woodbridge,
Suffolk: Antique Collectors’ Club, 1986, 1979. 618p.

In-depth analysis of the early furniture trades includes a good deal

of primary source material of interest to the furniture historian.
Copious reproductions, and the “Pictorial Furniture Index”
 (arranged by type of furniture) make this an excellent tool for the
identification of style and dating.

Collard, Frances. Regency Furniture. Woodbridge, Suffolk: Antique

Collectors’ Club, 1985. 346p.

Beautifully illustrated survey of Regency furniture styles.

Appendix, “Prominent Regency craftsmen and designers,”
provides brief biography of major figures. Partial contents: Henry
Holland, French taste and Neoclassicism; Thomas Sheraton and
the pattern books of the early Regency; Thomas Hope and Greek
Revival; French influence in the later Regency; Historic revivals;
Exotics and rustics; Upholstery; Techniques and materials.

Eerdmans, Emily. Classic English Design and Antiques: Period Styles

and Furniture: The Hyde Park Antiques Collection. New York: Rizzoli,
2006. 304p.

Gilbert, Christopher. English Vernacular Furniture 1750–1900. New

Haven, CT: Published for the Paul Mellon Centre for Studies in British
Art by Yale University Press, 1991. 294p.

Scholarly study of vernacular, or “common” furniture of the

period. In addition to domestic furnishings, institutional pieces and
settings (e.g., schools, lunatic asylums, etc.) are treated in depth.

_____. Pictorial Dictionary of Marked London Furniture, 1700–1840.

[London]: Furniture History Society; [Leeds]: W.S. Maney & Son,
1996. 502p.

For the serious collector of British furniture, serves as an excellent

identification source. Includes information on over 300 British
furniture makers, including reference source material on their
marks and labels.

Knell, David. English Country Furniture: The Vernacular Tradition,

1500–1900. 2d ed. Woodbridge, Suffolk: Antique Collectors’ Club,
2000. 415p.
 Very well-illustrated, scholarly study. Arranged by furniture type
(tables, seating, etc.), represents an excellent source for
identification of furniture of the period.

Macquoid, Percy, and Ralph Edwards. The Dictionary of English

Furniture: From the Middle Ages to the Late Georgian Period. 2d ed.
London: Barra Books, 1983, 1954. 3 vols.

In-depth analysis of English furniture includes long survey articles

on the development of furniture types (bureaus, chairs, etc.), as
well as miscellaneous works of decorative art. Some biographical
essays on major figures.

Parissien, Steven. Regency Style. London: Phaidon Press, 1992. 240p.

Overview of Regency style, including architecture, architectural

details, gardens, “joinery and plasterwork,” and furniture.

Pictorial Dictionary of British 19th Century Furniture Design: An

Antique Collectors’ Club Research Project. Woodbridge, Suffolk:
Antique Collectors’ Club, 1977. 583p.

Like the preceding entry, this richly illustrated work includes

substantive biographies on major furniture designers, along with
copious examples of their work as seen in 19th century
publications.

Strange, Thomas Arthur. English Furniture, Decoration, Woodwork &

Allied Arts: During the Last Half of the Seventeenth Century, the Whole
of the Eighteenth Century and the Earlier Part of the Nineteenth
Century: A Guide to Collectors. London: Studio Editions, 1986. 368p.

From bedposts to writing tables, 47 architects, designers and

authors’ works chart the evolution of English furniture and allied
arts. In most cases, works are illustrated by clear line drawings
from original sources.

White, Elizabeth, comp. Pictorial Dictionary of British 18th Century

Furniture Design: The Printed Sources. Woodbridge, Suffolk: Antique
 Collectors Club, 1990. 503p.

Classified, heavily illustrated guide to 18th century British

furniture. Images are culled from 18th century (primarily British)
books on furniture and design. Short biographies of furniture
designers precede the classified section on furniture types.

India

Jaffer, Amin. Furniture from British India and Ceylon: A Catalogue of

the Collections in the Victoria and Albert Museum and the Peabody
Essex Museum. Salem, MA: Peabody Essex Museum, 2001. 416p.

Brief social history of early British India precedes the descriptive

catalog of pieces arranged by region.

Ireland

Kinmouth, Claudia. Irish Country Furniture, 1700–1950. New Haven,

CT: Yale University Press, 1993. 249p.

Scholarly, well-illustrated study of Irish vernacular architecture

and furniture. Major portion devoted to analysis of specific forms
(beds, dressers, etc.).

Knight of Glin. Irish Furniture: Woodwork and Carving in Ireland from

the Earliest Times to the Act of Union. Including a dictionary of Irish
furniture makers by John Rogers. New Haven: Yale University Press,
2007. 323p.

Provides a survey of the history of Irish furniture, from “the

earliest times” through the 18th Century. Contents: Furniture and
Woodwork up to the Restoration of Charles II in 1660; The
Restoration Period; Carving in the Late Seventeenth and Early
Eighteenth Centuries; Ireland in the Second Quarter of the
eighteenth Century; Furniture of the Mid-Eighteenth Century;
Ireland in the Late Eighteenth Century; Catalogue of Irish
 Furniture; Appendix I: A Dictionary of Eighteenth-Century Irish
Furniture-Makers.

Italy

Cera, Maurizio. Il Mobile dell’Ottocento: 1815–1915. Vicenza: Neri

Pozza, 1997. 166p.

Illustrated survey of 19th century Italian furniture styles, arranged

by type (chairs, tables, etc.).

Colle, Enrico. Italian Empire Furniture: Furnishings and Interior

Design from 1800 to 1843. New York: Rizzoli, 2001. 438p.

Lavishly illustrated, scholarly history of Italian Empire. Partial

contents: Evolution of the various “manners” of furnishing in
Empire Style; Kingdoms of Naples and Sicily; Rome; Grand
Duchy of Tuscany; Duchy of Lucca; Kingdom of Lombardy and
the Veneto; Papal Legations and the Ducies of Modena and Parma;
Kingdom of Sardinia.

Fioratti, Helen Costantino. Il Mobile Italiano: Dall’Antichità allo Stile

Impero. Florence: Giunti, 2004. 331p.

Beautifully-illustrated monograph traces the evolution of Italian

furniture styles. Includes many good quality color reproductions,
along with clear line drawings of early, medieval, Renaissance,
Baroque, Rococo, and Neoclassical pieces.

500 Years of Italian Furniture: Magnificence and Design. Milano:

Skira; New York: Dist. by Rizzoli International, 2009. 271p.

Partial contents: An International Objective; Precious Furniture;

Pomp and Splendour in Italian furnishings; Ebony and Gilded
Bronze; The Masters of Inlay; Late Baroque Variations and
Rococo; Rococo: The Pleasures of Surprise; Neoclassical Taste;
The Italian Empire Style.

Japan
 Clarke, Rosy. Japanese Antique Furniture: A Guide to Evaluating and
Restoring. New York: Weatherhill, 1983. 150p.

Useful guide intended for professional appraisers, conservators,

and other specialists. Partial contents: Identification; Evaluation;
Restoration; Care and maintenance.

Koizumi, Kazuko. Traditional Japanese Furniture. Tokyo: Kodansha

International, 1986. 223p.

This well-illustrated overview of Japanese furniture is an excellent

source for identifying and dating various styles, ancient through
modern.

Korea

Wright, Edward Reynolds, and Man Sill Pai. Traditional Korean

Furniture. 2d ed. Tokyo: Kodansha International, 2000. 192p.

In-depth survey includes hundreds of good quality color plates;

excellent source for identification.

Mexico

El Mobiliario en Puebla: Preciosismo, Mitos y Cotidianidad de la

Carpintería y la Ebanistería. Los Angeles: Mary Street Jenkins
Foundation, 2009.

Survey of wooden case pieces, seating and decorative arts in

Puebla, Mexico. Extensive illustrations.

Russia

Chenevière, Antoine. Russian Furniture: The Golden Age, 1780–1840.

Woodbridge, Suffolk: Antique Collectors’ Club, 2001. 320p.

Meticulously researched overview of Russian furniture; hundreds

of major pieces illustrated and fully documented. Appendix
 includes biographical sketches of architects, cabinet-makers,
carvers and designers active during the subject period.

Gaĭdamak, Arkadiĭ. Russkiĭ Ampir. Moscow: Trilistnik, 2006. 167p.

Decorative arts, interior design, furniture and architecture from the

19th century. Full page color illustrations.

Scandinavia

Englund, Magnus. Scandinavian Country. New York: Ryland Peters &

Small, 2007. 143p.

Brief primer on basic styles in architecture, furniture and textiles

design in Scandinavia.

Gura, Judith. Sourcebook of Scandinavian Furniture: Designs for the

21st Century. 1st ed. New York: W. W. Norton, 2007. 304p.

Including Denmark, Finalnd, Iceland, Norway and Sweden, this

title provides an overview of Scandinavian design through history,
including illustrations of significant pieces.

Scotland

Cotton, Bernard D. Scottish Vernacular Furniture. London: Thames &

Hudson, 2008. 304p.

Surveys Scottish every-day furniture from the end of the 17th

Century to the 20th Century. Contents: Beds and Cradles; Storage
and Display; Seating Furniture; Clocks, Spinning Wheels,
Household Goods; Woods Used in Scottish Furniture.

Spain

Burr, Grace Hardendorff. Hispanic Furniture, from the Fifteenth

Through the Eighteenth Century. 2d ed., rev. and enl. New York:
Archive Press, 1964. 231p.
 Surveys Hispanic furniture of the 15th through 18th centuries.
Partial contents: Spanish Gothic furniture; Renaissance;
Seventeenth century; Eighteenth century; Colonial furniture;
Hispanic Society Collection.

Claret Rubira, José. Encyclopedia of Spanish Period Furniture Designs.

Translation of Meubles de Estilo Español. New York: Sterling, 1984.
352p.

Line drawings illustrate Spanish furniture styles dating from the

14th through 19th centuries.

Sweden

Groth, Hakan. Neoclassicism in the North: Swedish Furniture and

Interiors, 1770–1850; With a Catalog of Furniture Types and Styles and
Notes on the architects, artists, and craftsmen. New York: Rizzoli,
1990. 224p.

Richly illustrated survey of the Swedish interior; “Catalogue of

furniture types and styles” presents representative examples of
various furnishings, arranged by type.

Tibet

Buckley, Chris. Tibetan Furniture: Identifying, Appreciating,

Collecting. London: Thames & Hudson, 2005. 227p.

Heavily illustrated overview of Tibetan culture, lifestyle and

furniture. Examination of how the export to China and Nepal has
helped shed light on Tibetan furniture and carpentry. Excellent
illustrations.

United States

American Furniture. [Milwaukee, WI]: Chipstone Foundation;

Hanover, NH: Distributed by University Press of New England.
Annual, 1993– .
 “Interdisciplinary journal dedicated to advancing knowledge of
furniture made or used in the Americas from the seventeenth
century to the present.” (Editorial Statement, p. vii, 1999 edition).
Each annual issue contains several lengthy, well-illustrated
scholarly studies of American furniture history.

Andrews, John. Arts and Crafts Furniture. Woodbridge, Suffolk

[Easthampton, MA]: Antique Collectors’ Club, 2005. 279p.

A well-illustrated analysis of Arts and Crafts furniture in the

United States, from 1860 to 1920, including styles and originators.

Bartolucci, Marisa, and Cathy Lang Ho. American Contemporary

Furniture. New York: Universe, 2000. 208p.

Survey of major contemporary furniture designers by leading

journalists in the design field.

Clark, Michael E., and Jill Thomas-Clark. The Stickley Brothers: The
Quest for an American Voice. Salt Lake City: Gibbs Smith, 2002. 176p.

Contents: Introduction : The voice and the players; A timeline of

the Stickley brothers; The first twenty-five years; Gustav and
Albert’s contributions; Charles, Leopold and John George’s
contributions; An epilogue: the end of the quest; Stickley brothers
furniture shop marks.

Evans, Nancy Goyne. American Windsor Furniture: Specialized Forms.

New York: Hudson Hills Press, in association with the Henry Francis
du Pont Winterthur Museum, 1997. 256p.

Partial contents: Writing-arm chair; Rocking chair; Special

purpose seating; Settees and benches; Children’s furniture;
Miniature furniture or toys; Stools; Stands and tables; Wheels and
reels.

Fitzgerald, Oscar P. Studio Furniture of the Renwick Gallery,

Smithsonian American Art Museum. East Petersburg: Fox Chapel Pub.;
Washington, DC: Smithsonian American Art Museum, 2008. 223p.
 Master pieces of American craftsmanship illustrate this scholarly
overview of the studio furniture movement.

Goodwillie, Christian, and Mario S. De Pillis. Gather Up the

Fragments: The Andrew Shaker Collection. [Pittsfield, MA]: Hancock
Shaker Village, Inc.; New Haven: Dist. by Yale University Press, 2008.
392p.

Complete catalog of the Shaker collection, and along with being

fully illustrated the book puts the collection in a historical
perspective and provides a catalog raisonne of the works.

Greene, Jeffrey P. American Furniture of the 18th Century. Newtown,

CT: Taunton Press, 1996. 311p.

Partial contents: Origins and evolution of American furniture

styles; Methods and materials of the 18th century cabinetmaker;
Examples of style and structure: William & Mary, Queen Anne,
Chippendale, Federal. Very good line drawings expose the
structure of classic American pieces of the 18th century.

Harris, Andrew Steven. Philadelphia Empire Furniture. West Chester,

PA: Boor Management, LLC; Hanover: Dist. by University Press of
New England, 2006. 592p.

Hurst, Ronald L., and Jonathan Prown. Southern Furniture, 1680–1830:

The Colonial Williamsburg Collection. Williamsburg, VA: Colonial
Williamsburg Foundation in association with Harry N. Abrams, 1997.
639p.

Scholarly history and analysis of previously under-researched

Southern furniture styles and periods. Each piece is very well-
illustrated, and documented with notes on construction, condition,
materials, dimensions, provenance.

Kassay, John. The Book of American Windsor Furniture: Styles and

Technologies. Amherst: University of Massachusetts Press, 1998. 195p.
 Well-illustrated history of popular 18th century style, arranged by
furniture type, e.g., low-back chairs, fan-back chairs, etc.

Ketchum, William C. American Cabinetmakers: Marked American

Furniture, 1640–1940. New York: Crown, 1995. 404p.

Standard reference source for identification of marks by American

furniture craftsmen.

Kirk, John T. American Furniture: Understanding Styles, Construction,

and Quality. New York: Abrams, [2000]. 234p.

Practical advice for the serious collector and connoisseur. Partial

contents: Seventeenth century, William and Mary style, Queen
Anne style; Rococo period and Chippendale style; Two phases of
the federal period; Modern practices.

Metropolitan Museum of Art (New York). American Furniture in the

Metropolitan Museum of Art. 1, Early Colonial Period, the Seventeenth
Century and William and Mary Styles. New York: Metropolitan
Museum; London: Yale University Press, 2007. 451p.

Arranged by furniture type (seating; tables; case furniture) this

richly illustrated inventory of the Met’s collection serves as an
excellent introduction to American period furniture. Entries
include one of more of the following elements: condition;
inscriptions; woods; dimensions; exhibition history; published
references; provenance.

Miller, Edgar George. The Standard Book of American Antique

Furniture. New York: Greystone Press, [1950]. 856p.

Hundreds of adequate quality black and white reproductions make

this an essential source for the beginning researcher of American
antique furniture. Each illustrated work includes a good
description, from which the novice might cull descriptive
terminology for further research.
Modern Americana: Studio Furniture from High Craft to High Glam.
Ed. Todd Merrell and Julie Iovine. New York: Rizzoli, 2008. 271p.

With a focus on the individual designers of furniture and their

creations, the book is divided into sections: The Studio Artisans;
The Designer Craftsmen; The Custom Designers; and The
Decorator-Designers.

Naeve, Milo M. Identifying American Furniture: A Pictorial Guide to

Styles and Terms, Colonial to Contemporary. 3d ed., rev. and expanded.
Walnut Creek, CA: AltaMira Press, 1998. 108p.

For the beginning collector, an excellent source for identification.

Coverage spans medieval English-inspired styles through late 20th
century.

Neat Pieces: The Plain-Style Furniture of Nineteenth-Century Georgia.

Athens: University of Georgia Press, in conj. With the Atlanta History
Center and the Madison Morgan Cultural Center, 2006. 236p.

Presents a beautifully illustrated selection of 126 pieces, with an

extensive inventory of furniture makers along with their relevant
dates, location(s) and other facts.

Nutting, Wallace. Furniture Treasury (Mostly of American Origin): All

Periods of American Furniture with Some Foreign Examples in
America, Also American Hardware and Household Utensils. New York:
Macmillan, [1928–1933]. 3v. in 2.

Thousands of illustrated entries, very useful for identification of

American furniture through early part of the 20th century.

Petraglia, Patricia. Sotheby’s Guide to American Furniture. New York:

Simon & Schuster, 1995. 300p.

Professional level, but very readable. Each of the main chapters

describes a particular period or style (e.g., Federal, Empire, etc.),
and offers concrete advice for the collector and connoisseur,
including: Look for (good example); Look for (outstanding
 example); Conservation issues; Cabinetmakers/firms important to
style; Where public can see best examples; Department expert
wish list; Miscellaneous.

Richards, Nancy E., and Nancy Goyne Evans. New England Furniture
at Winterthur: Queen Anne and Chippendale Periods. Winterthur, DE:
Winterthur Museum ; [s.l.]: Dist. by University Press of New England,
1997. 514p.

Scholarly catalog arranged by furniture type: seating, bedsteads,

tables, etc. Each work fully documented, with notes on
construction, condition, dimensions, materials, provenance,
inscriptions and marks.

Rieman, Timothy D., and Jean M. Burks. The Complete Book of Shaker
Furniture. New York: Abrams, 1993. 400p.

Beautifully illustrated study of Shaker furnishings. Primary

sections arranged geographically, by name of bishopric. Includes
glossaries of Shaker and technical terminology.

_____. Encyclopedia of Shaker Furniture. Atglen, PA: Schiffer, 2003.

576p.

Updated and expanded edition of previous reference. Arranged

geographically (by bishopric), this encyclopedia is an excellent
source for the study of regional variations on Shaker furniture
styles.

Sack, Albert. Fine Points of Furniture: Early American. Atglen, PA:

Schiffer Publications, 2007. 320p.

A revised edition of the previously titled The New Fine Points of

Furniture: Early American, Good, Better, Best, Superior,
Masterpiece book on American furniture. American furniture
dealer Albert Sack juxtaposes “good,” “better,” “best” examples of
major styles and periods of American furniture. Good photograph
reproductions, and easy-to-read text create a primer for the would-
be connoisseur of fine American furniture.
Salm, Betsy Krieg. Women’s Painted Furniture, 1790–1830: American
Schoolgirl Art. Hanover, NH: University Press of New England, 2010.
233p.

In-depth analysis of women’s painted furniture beginning with an

overview of the era and continuing with the processes and motifs
of painted works. Information about the life of an average woman
in the 18–19th centuries is included, as well as full color
illustrations.

Santore, Charles. The Windsor Style in America: The Definitive

Pictorial Study of the History and Regional Characteristics of the Most
Popular Furniture Form of Eighteenth-Century America, 1730–1840.
Philadelphia: Courage Books, 1997. 294p.

Comprising two volumes, this work is possibly the most extensive

published inventory of Windsor furniture. Excellent source for the
identification of regional examples.

Siegel, Jeanne. How to Speak Furniture with an Antique American

Accent: An Extensive American Furniture Vocabulary. Wilmette, IL:
Paper Bird, 1987. 200p.

Handy, pocket-sized glossary of specialized terminology relating

to American furniture styles. Coverage includes: Chippendale;
Empire; Hepplewhite; Puritan; Queen Anne; Sheraton; Victorian;
William and Mary.

Swedberg, Robert W., and Harriett Swedberg. American Oak Furniture:

Styles and Prices, Book III. 2d ed. Radnor, PA: Wallace-Homestead
Book, 1991. 162p.

Practical advice for the collector of American oak furniture.

Taylor, Lonn. Texas Furniture: The Cabinetmakers and their Work,

1840–1880. Austin: University of Texas Press, 2012. 2 vols.

Revised and expanded edition of the definitive history of Texas

furniture first published in 1975. Includes a checklist of
 cabinetmakers with brief biographical details, many examples of
furniture arranged by functional type (e.g., beds, chairs and stools,
etc.).

Venezuela

Rivas, Jorge. El Repertorio Clásico en el Mobiliario Venezolano, Siglos

XVIII y XIX = The Classical Repertoire in Eighteenth and Nineteenth
Century Venezuelan Furniture. Caracas, Venzuela: Fundación Cisneros,
2007. 80p.

Brief overview of 18–19th century Venezuelan furniture and how

it was shaped by the politics of the era. Includes an English
translation of the Spanish text.

POTTERY, CERAMICS AND PORCELAIN: BIBLIOGRAPHIES

Campbell, James Edward. Pottery and Ceramics: A Guide to

Information Sources. Detroit: Gale Research, 1978. 241p.

Contents: Reference works; General histories, dictionaries and

encyclopedias; Ancient and pre–Columbian ceramics; Eastern
ceramics; Western ceramics, Greece to the Middle Ages; Western
ceramics, Middle Ages to the twentieth century; Ceramics of the
United States, Canada and Mexico; Contemporary world ceramics;
Ceramic collections; Ceramic marks; Technical works on ceramic
materials and processes; Ceramic periodicals; Ceramic
organizations and societies; Museum collections in the U.S.

Solon, L.M. Ceramic Literature: An Analytical Index to the Works

Published in All Languages… London: C. Griffin; Philadelphia: J.B.
Lippincott, 1910. 660p.

Excellent resource for historical scholarship on ceramics. Includes

general interest material on historical studies, Classical ceramics,
Geographically-focused studies, etc. Available free-of-charge via
Google Books.
Weidner, Ruth Irwin. American Ceramics Before 1930: A Bibliography.
Westport, CT: Greenwood, 1982. 279p.

Subject-indexed bibliography of books and pamphlets, conference

proceedings, book chapters, catalogs (exhibition, collections and
sales), theses and dissertations, federal, state and municipal
publications, trade materials and periodical articles.

POTTERY, CERAMICS AND PORCELAIN: COLLECTORS’ MANUALS

Williams, Nigel. Porcelain Repair and Restoration. 2d ed., updated by

Loretta Hogan and Myrtle Bruce-Mitford. Philadelphia: University of
Pennsylvania Press, 2002. 160p.

Partial contents: Documentation and examination; Dismantling

and cleaning; Reconstruction; Replacing missing parts; Colour
mixing; Spraying and painting.

POTTERY, CERAMICS AND PORCELAIN: DICTIONARIES

Cohen, David Harris, and Catherine Hess. Looking at European

Ceramics: A Guide to Technical Terms. Malibu, CA: J. Paul Getty
Museum in association with the British Museum Press, 1993. 91p.

Like other titles in the Getty Museum’s Looking at… series, this
brief primer on ceramics is very well illustrated (often in color)
and offers clear but substantive definitions of technical and
stylistic terms.

Savage, George, and Harold Newman. An Illustrated Dictionary of

Ceramics: Defining 3,054 Terms Relating to Wares, Materials,
Processes, Styles, Patterns, and Shapes from Antiquity to the Present
Day. London: Thames & Hudson, 1985. 319p.

A–Z illustrated dictionary of terms, styles, etc. “Principle

European factories and their marks” provides very brief sketch of
factory and proprietor(s), products, styles and personalities, and
identifying marks.
Wang, Qingzheng. A Dictionary of Chinese Ceramics = Zhongguo tao
ci ci dian. Singapore: Sun Tree Publishing Limited, 2002. 368p.

A thorough compilation of types of Chinese ceramics and the

terms used within its study and history, this volume is most suited
for the serious collector/scholar.

POTTERY, CERAMICS AND PORCELAIN: ENCYCLOPEDIAS AND SURVEYS

Cameron, Elisabeth. Encyclopedia of Pottery and Porcelain: 1800–

1960. New York: Facts on File, 1986. 366p.

Biographical dictionary of pottery and porcelain designers and

manufacturers. Most references include a highly selective
bibliography for further research. Includes some marks and
monograms.

Carusso, Lorenzo, and Sandro Bortone, gen. eds. Ceramics of the

World: From 4000 B.C. to the Present. New York: Abrams, 1992. 399p.

Contents: The Near East, Egypt and the Mediterranean; Greek

vases; Kilns of ancient Rome; Ceramics of the Islamic world;
European majolica; European porcelain; North American
ceramics; Chinese ceramics; Korean ceramics; Japanese ceramics.

Cavanaugh, Alden, and Michael E. Yonan, eds. Cultural Aesthetics of

Eighteenth-Century Porcelain. Surrey: Ashgate, 2010. 215p.

Examination of the connection between cultural beliefs of the 18th

c. and aesthetics and motifs of porcelain production during the era.
Copious illustrations.

Ceramics: A Lifelong Passion: Collection Peter Siemssen Foundation.

Stuttgart: Arnoldsche Art Publishers, 2007. 311p.

Highly detailed analysis of encyclopedic collection amassed by

Peter Siemssen Foundation. Included are works from Japan,
Germany, Scaninavia, Western Europe, North America and the
Mediterranean.
Chaffers, William. Marks & Monograms on European and Oriental
Pottery and Porcelain. Edited by Frederick Lichfield. 14th rev. ed. Los
Angeles: Borden, [1946]. 1,095p.

Much more than a directory of marks and monograms, this

standard reference tool serves as a comprehensive survey of
pottery and porcelain, including works produced in Asian
countries. Special features include historical price figures, taken
from auction sales catalogs, through 1931.

Cooper, Emmanuel. Contemporary Ceramics. London: Thames &

Hudson, 2009. 303p.

From contemporary utilitarian works (vessels, etc.) to sculptural

forms that run the aesthetic gamut from minimalism to whimsical
representation, this volume presents an encyclopedic survey of
contemporary work in clay.

Cox, Warren Earle. The Book of Pottery and Porcelain. 2 vol. New
York: L. Lee and Shepard; Dist. by Crown, [1944]. 1,158p.

Standard global history of pottery and porcelain, from ancient

times through mid–20th century. Includes 3,000 illustrations,
copious illustrations of marks and monograms.

Curatola, Giovanni, ed. Persian Ceramics: From the 9th to the 14th
Century. Milan: Skira, 2006. 183p.

Contents: Some considerations on Iran and Islamic Art; Persian

ceramic art; the miracle of lightness; Some comments on medieval
Persian ceramics. Includes many illustrations.

Hanaor, Cigalle, ed. Breaking the Mould: New Approaches to

Ceramics. London: Black Dog, 2007. 203p.

Contemporary artists who utilize, and often subvert traditional

processes and forms, are profiled. Each of the cutting-edge
ceramists is given a 2–4 page profile, well-illustrated with
descriptive essays.
Kingery, W.D. Ceramic Masterpieces: Art, Structure, and Technology.
New York: Free Press; London: Collier Macmillan, 1986. 339p.

Ancient through 20th century. Egyptian, Asian, Islamic and

Western masterpieces analyzed. Partial contents: History of
ceramics, ceramic science, ceramic technology; Technical
information on shaping and firing, glazes and decoration, etc.

Lane, Peter. Contemporary Studio Porcelain. 2d ed. London: A & C

Black; Philadelphia: University of Pennsylvania, 2003. 256p.

Survey of contemporary functional and sculptural porcelain, with

an emphasis on techniques and materials.

McCready, Karen. Art Deco and Modernist Ceramics. Introduction by

Garth Clark. New York: Thames and Hudson, 1995. 192p.

Reference work includes hundreds of color reproductions, along

with an “A–Z of Ceramists, Designers and Factories.” Excellent
tool to identify works of 20th century pottery or porcelain.

Morley-Fletcher, Hugo, and Roger McIlroy. Christie’s Pictorial History

of European Pottery. Englewood Cliffs, NJ: Prentice-Hall, 1984. 319p.

Geographically-organized survey of European pottery production.

Partial contents: Spain and Portugal; Italy pre–1600; Italy post–
1600; Northern Europe; France; Netherlands; England: Delft;
England: Pottery. Includes auction prices dating from the 1960s
through the 1980s.

Sentence, Bryan. Ceramics: A World Guide to Traditional Techniques.

London: Thames & Hudson, 2004. 216p.

Heavily illustrated essays on everything from “Forming

techniques” (e.g., slab building) to firing methods and glazing
techniques.

POTTERY, CERAMICS AND PORCELAIN: COUNTRY STUDIES

China

Alphen, J. van (Jan). Korea: Keramiek. Antwerp: Rijksmuseum voor

Volkenkunde, [1993]. 149p.

Scholarly history of the development of Korean ceramics. Partial

contents: Ceramics in Korea. History of influences and religious
spheres; Korean potters’ techniques and terminology; Pre-Koryŏ
ceramics; Celadons of the Koryŏ Kingdom; Punch’ŏng stoneware;
White porcelain of Chosŏn Dynasty; Influence of Korean ceramics
on Japan.

Blumenfield, Robert H. Blanc de Chine: The Great Porcelain of Dehua.

Berkeley, CA: Ten Speed Press, 2002. 240p.

Partial contents: Brief history of blanc de Chine; Styles and forms

of blanc de Chine; Crafting of blanc de Chine; Dehua
manufacturers and their styles; Decorative sources; Dating blanc
de Chine; Domestic and foreign markets for blanc de Chine;
Development of porcelain manufacture in Europe; Non-blanc de
Chine white wares.

Carswell, John. Blue & White: Chinese Porcelain Around the World.
Chicago: Art Media Resources, 2000. 208p.

Traces the origin of blue and white porcelain in the Yuan dynasty.
Many good color images make this a likely source for
identification and stylistic analysis.

Fang, Lili. Chinese Ceramics. Cambridge: Cambridge University Press,

2011. 150p.

Brief but informative primer on the history of ceramic art in china

from “primitive” era to the 20th century. Contents: Primitive
ceramics; The terracotta warriors and clay sculptures of the Qin
and Han; Two millennia of Celadon porcelain; Tri-color glazed
porcelain; The age of porcelain; Zisha, the taste of tea; Export
ware of the Ming and Qing dynasties; The trade of the artisans;
Contemporary Chinese ceramics.
Harrison-Hall, Jessica. Catalogue of the Yan and Ming Ceramics in the
British Museum. London: British Museum Press, 2001. 640p.

Howard, David Sanctuary. The Choice of the Private Trader: The

Private Market in Chinese Export Porcelain Illustrated from the
Hodroff Collection. London: Zwemmer, 1994. 298p.

Partial contents: Plates and dishes; Dinner service: other pieces;

Tea and coffee set; Other drinking vessels; Utensils; Jars, vases
and garnitures; Figures, birds, animals and fish.

Kerr, Rose, and Luisa E. Mengoni. Chinese Export Ceramics. London:

V&A, 2011. 143p.

Drawing on examples from the V&A Museum, this small but

informative book explores the export of Chinese ceramics to
countries of Europe, the Middle East, and Asia.

Kopplin, Monica. The Monochrome Principle: Lacquerware and

Ceramics of the Song and Qing Dynasties. Munich: Hirmer Verlag,
2008. 187p.

Contents: Social background to the rise of monochrome wares in

Song civilization (960–1279); Gentle forms and quiet colours: the
perfection of Song lacquerware; Art of the Song potters:
simplicity, elegance, and technical perfection; An abundance of
forms: discovering the beauty of nature; Significance and
influence of the tea culture of the Song dynasty; Imperial
chrysanthemums: a group of monochrome red lacquers and their
porcelain imitations in the Qianlong era; Cold beauties: the
monochrome ceramics of the Qing dynasty.

Litzenburg, Thomas V. Chinese Export Porcelain in the Reeves Center

Collection at Washington and Lee University. London: Third
Millennium, 2003. 288p.

Two hundred and eighty works (16th through 19th centuries) fully
documented and beautifully illustrated.
Macintosh, Duncan. Chinese Blue and White Porcelain. 3d ed.
Woodbridge, Suffolk: Antique Collectors’ Club, 1994. 236p.

Partial contents: Origins: the fourteenth century; Classical period:

the 15th century; Late Ming wares: the 16th century; Later blue
and white: the 18th and 19th centuries; Exports to Southeast Asia
and Annamese wares; Blue and white and the West.

Strober, Eva. Symbols on Chinese Porcelain: 10,000 Times Happiness.

Stuttgart: Arnoldsche Art Publishers, 2011. 238p.

Contents: Principles of the cosmos; Dragon—symbol of Chinese

culture; Four divine characters—dragon, phoenix, qilin and black
warrior; symbolism of Chinese animals; Flowers of the four
seasons—peony, lotus, chrysanthemu and prunus; Quest for
immortality; Ideals of a Confucian society and wishes for
individual happiness; Freedom—the ideal of the literati.

Walters, W. T. (William Thompson). Oriental Ceramic Art: Illustrated

by Examples from the Collection of W. T. Walters. Text and notes by S.
W. Bushell. New York: Crown, 1980. 429p.

Any serious study of porcelain must begin with China, where the
medium was invented. This extensive history includes very in-
depth chapters on Chinese porcelain, including a great deal of
technical material. Korean and Japanese ceramic arts are covered
minimally.

Wei, Ji. The Art of Chinese Ceramics. San Francisco: Long River Press;
Shanghai: Shanghai Press and Publ. Development Co., 2006. 251p.

Chronicles the history of Chinese ceramics by illustrating 150

pieces from the Palace Museum in Beijing.

Zhiyan, Li, Virginial L. Bower, and He Li, eds. Chinese Ceramics:

From the Paleolithic Period Through the Qing Dynasty. New Haven:
Yale University Press; Beijing: Foreign Languages Press, 2010. 687p.
 Contents: Prehistoric earthenware; Ceramics of the Xia, Shang,
and Western Zhou dynasties and the Spring and Autumn period;
Ceramics of the Warring States period and the Qin and Han
dynasties; Cermaics of the Period of Division; Ceramics of the
Sui, Tang, and Five dynasties; Ceramics of the Song, Liao,
Western Xia, and Jin dynasties; Yuan dynasty ceramics; Ming
dynasty ceramics; Qing dynasty ceramics; The export and trade of
Chinese ceramics; Ten lectures on the authentication of Chinese
ceramics.

France

Dawson, Aileen. A Catalogue of French Porcelain in the British

Museum. London: British Museum Press, 1994. 429p.

Scholarly treatment of the British Museum’s collection serves as

an excellent source for identification. Each work fully illustrated
and documented, many with detail shots of marks and signatures.

Maxwell, Christopher. French Porcelain of the Eighteenth Century at

the V&A. London: V&A Publishing, 2009. 96p.

Concise guide illustrated with major works from the collection.

Chapters include The Toilette; Tea, Coffee & Chocolate; Grand
Dining; Figures; Vases.

Sanchez, Pierre. Dictionnaire des Céramistes, Peintres sur Porcelaine,

Verre et Émail, Verriers et Émailleurs, Exposant dans les Salons,
Expositions Universelles, Industrielles, d’Art Décoratif, et des
Manufactures Nationales: 1700–1920. Dijon: Echelle de Jacob, 2005. 3
vols.

This monumental reference work serves as a master index to

individual artists’ inclusion in major and lesser known salons,
primarily of the eighteenth and nineteenth centuries.

Savage, George. Seventeenth and Eighteenth Century French

Porcelain. London: Barrie & Rockliff, [1960]. 243p.
 Partial contents: The earliest French porcelain; The Chantilly
factory; Later soft porcelain factories; Vincennes-Sèvres; Hard
porcelain in France; Factories of Alsace and Lorraine; Later Paris
factories; Tuornai and St. Amand-les-Eaux; Forgeries; Marks,
Date letters, Artists’ marks.

Germany

Meissen: Barockes Porzellan. Stuttgart: Arnoldsche Art Publishers,

2010. 431p.

Heavily illustrated, excellent source for identification.

Pietsch, Ulrich. Passion for Meissen: The Said and Roswitha Marouf
Collection. Stuttgart: Arnoldsche Art Publishers, 2010. 367p.

Contents: A passion for Meissen; Said and Roswitha Marouf

collection; Meissen porcelain 1710–1775.

Vessel Sculpture: German and International Ceramics Since 1946:

Grassi Museum of Applied Art Leipzig. Stuttgart: Arnoldsche, 2008.
502p.

Monumental in scope, this survey traces the development of

ceramic vessels from the purely utilitarian to objects of pure
contemporary design.

Great Britain

Barrett, Franklin A. Worcester Porcelain and Lund’s Bristol. London:

Faber and Faber, 1966. 92p. 103 plates.

Contents: Lund’s Bristol china works and the origins of china

manufacture at Worcester; Worcester—the early productions;
Worcester after the Chelsea migration; Black and other enamel
printing; Underglaze blue decoration; Figures and kindred
productions; Outside decoration; Later Worcester wares; Marks.
Battie, David. David Battie’s Guide to Understanding 19th & 20th
Century British Porcelain: Including Fakes, Techniques and Prices.
Woodbridge, Suffolk: Antique Collectors’ Club, 1994. 320p.

The arrangement by object type (bowls, plaques, etc.), rather than

by factory name, makes this work very useful for identifying
manufacturer.

Bergesen, Victoria. Encyclopaedia of British Art Pottery, 1870–1920.

London: Barrie & Jenkins, 1991. 304p.

Lengthy essays on pottery manufacturers; most include dates and

area of practice, and a substantial number of references to other
publications. In addition, many entries identify and describe the
work of various artists, decorators and designers employed by the
subject firms.

Casey, Andrew. Art Deco Ceramics in Britain. Woodbridge, Suffolk:

Antique Collectors’ Club, 2008. 264p.

Excellent reference work for the serious collector. Included are

extensive surveys of: Established factories; Smaller pottery
companies; Less well-known manufacturers.

Contemporary British Studio Ceramics: The Grainer Collection. Annie

Carlano, ed. New Haven, CT: Yale University Press, 2010. 215p.

With its one-hundred illustrated biographies, this overview of an

important collection represents a “Who’s Who” of contemporary
British Studio ceramists.

Cooper, Emmanuel, ed. The Ceramics Book. London: Ceramics

Review, 2006. 319p.

Illustrated directory of Craft Potters Association (U.K.), includes

an example of each member’s work, along with mailing addresses.

Cushion, John Patrick. A Collector’s History of British Porcelain.

Woodbridge, Suffolk: Antique Collectors’ Club, 1992. 448p.
 Encyclopedic overview of British porcelain factories and
designers, from the mid–18th through the 20th centuries. Profile of
each factory includes a good number of illustrations, brief history,
and excellent bibliography for further research. Partial contents:
British porcelain factories from the mid–late 18th century; British
porcelain factories, late 18th–early 19th centuries; Victorian
porcelain factories, c.1837–c.1900; 20th century industrial wares;
brief overview of registration of design and forms.

Dawson, Aileen. The Art of Worcester Porcelain: 1751–1788:

Masterpieces from the British Museum Collection. Hanover, NH:
University Press of New England, 2007. 248p.

Contents: The Worcester factory in the Dr. Wall period; Investors;

Production methods; Marks used in the 18th century; Selling
Worcester porcelain; Collecting Worcester porcelain; Worcester
porcelain in the British Museum collection.

Jewitt, Llewellyn Frederick William. The Ceramic Art of Great Britain.

New ed., rev. Poole, Dorset: New Orchards Editions, 1985. 642p.

Published originally in 1877, this exhaustive history of British

ceramics commences with the ancient and Romano-British
periods, and proceeds with thorough analyses of the ceramic arts
of Britain, arranged by geographic area.

McKeown, Julie. English Ceramics: Two Hundred and Fifty Years of

Collecting at Rode. London: Philip Wilson Publishers, 2006. 144p.

Examines the collection of Rode Hall, Dating from the 17th c.,
collection is comprised of both decorative and functional works.
Includes illustrations and family history.

Sandon, John. The Dictionary of Worcester Porcelain. Vol. 1, 1751–

1851. Woodbridge, Suffolk: Antique Collectors’ Club, 1993. 384p.

Well-illustrated history of Worcester porcelain through its first

hundred years. Appendices include “A Survey of Marks” and
 “Contemporary Accounts of Visits to the Bristol and Worcester
Porcelain Manufactories.”

Wilkinson, Vega. A Dictionary of Ceramic Artists. Newcastle,

Staffordshire: A.F. Wilkinson & Associates. 2007. 203p.

Short biographical sketches on hundreds of British potters, many

illustrated.

Italy

Terraroli, Valerio. Italian Art Ceramics, 1900–1950. Milano: Skira;

New York: Dist. by Rizzoli, 2007. 287p.

Well-illustrated overview of contemporary ceramics, includes

excellent directory of marks (factories and artists) as well as
concise but informative biographical sketches of artists.

Thornton, Dara, and Timothy Wilson. Italian Renaissance Ceramics: A

Catalogue of the British Museum Collection. London: British Museum,
2008. 814p (2 vols).

Extremely well-illustrated (in color) survey of Italian pottery based

upon the British Museum’s collection. Includes detailed notes on
individual works’ provenance, extensive bibliography.

Japan

Fitzki, Menno. Kakiemon Porcelain: A Handbook. Amsterdam: Leiden

University Press, 2011. 175p.

Contents: The trade in porcelain; Kaikemon in Europe;

Chronological overview; Kakiemon porcelain manufacture;
Designs and motifs.

Impey, O. R. (Oliver R.). The Early Porcelain Kilns of Japan: Arita in

the First Half of the Seventeenth Century. Oxford: Clarendon Press;
New York: Oxford University Press, 1996. 156p.
 Traces development of the porcelain industry in Japan (Arita) from
the 17th century.

Lurie, Samuel J. Fired with Passion: Contemporary Japanese

Ceramics. New York: Eagle Art, 2006. 245p.

Largely pictorial work traces the development of ceramics in the

post–World War II period. Arranged by Region: Kyoto; Bizen,
Shigaraki and Iga; Oribe Style; Tokyo Region; Mashiko and Other
Regions.

Shimura, Goro. The Story of Imari: The Symbols and Mysteries of

Antique Japanese Porce-

lain. Berkeley, CA: Ten Speed Press, 2008. 200p.

Very scholarly, but accessible to the novice collector. Provides a

historical overview of the glazed porcelain Imari works of Japan
dating from the seventeenth through the nineteenth centuries.

Low Countries

Heiremans, Marc. Art Ceramics: Pioneers in Flanders 1938–1978.

Stuttgart: Arnoldsche, 2006. 182p.

Offers lengthy biographical essays on prominent Belgian

contemporary ceramists. Includes a directory of signatures and
marks.

Knowles, William Pitcairn. Dutch Pottery and Porcelain. London:

Scribner’s, [1913]. 122p. 65 plates.

Somewhat dated, but still very useful survey of Dutch pottery and
porcelain. Partial contents: Porcelain—the Hague, Arnheim,
Amsterdam; Pottery—Harlem, Arnheim, Amsterdam, Utrecht,
Rotterdam; Delft; The Guild of St. Luke; Masters and factors;
Member of the Guild of St. Luke with their marks and
monograms.
Mexico

Sánchez, Gilda Hernández. Ceramics and the Spanish Conquest:

Response and Continuity of Indigenous Pottery Technology in Central
Mexico. Leiden: Brill, 2012. 251p.

Contents: Archaeology of colonialism; Study of material culture;

Ceramic making before the conquest; Ceramic making in early
colonial times; Ceramic making at present; Ceramics, cultural
community and social change.

Russia and the Soviet Union

Ceramica Sovietica: Fondo Sandretti del ’900 Russo = Soviet

Ceramics: The Sandretti Collection of 20th Century Russian Art. Palace
Editions, 2004. 239p.

Richly illustrated survey of primarily 20th century Soviet

porcelain works. Appendices include artists’ biographies;
Monograms, signs and signatures of painters and modelers; Marks,
stamps, signatures.

Lobanov-Rostovsky, Nina. Revolutionary Ceramics: Soviet Porcelain,

1917–1921. London: Studio Vista, 1990. 160p.

Survey of porcelain production from the earliest years of the

Soviet Union through 1930s Suprematist designs. Includes artist
biographies, signatures and marks, initials, monograms, factory
marks.

Scandinavia

Opie, Jennifer Hawkins. Scandinavia: Ceramics and Glass in the

Twentieth Century: The Collections of the Victoria & Albert Museum.
London: V&A Publications, 2001. 183p.

Syria
 Jenkins-Madina, Marilyn. Raqqa Revisited: Ceramics of Ayyubid,
Syria. New Haven: Yale University Press, 2006. 247p.

Contents: The lore and lure of Raqqa; Raqqa demythologized;

Rejects of Raqqa; Raqqa ceramics in the Metropolitan Museum of
Art; Patterns, profiles and provenance; Period of production.

United States

Ceramics in America. Milwaukee, WI: Chipstone Foundation; Hanover,

NH: Distributed by University Press of New England, 2001–[Annual].

Beautifully produced, annual collection of scholarly,

interdisciplinary writings intended for the serious collector and
scholar of American ceramics. Articles treat historical and
technical topics in great depth; well-illustrated and indexed.

Henzke, Lucile. Art Pottery of America. Exton, PA: Schiffer, 2008. Rev.
4th ed. 368p.

Illustrated encyclopedic history of art pottery manufacturers active

in the United States in the 19th through mid–20th centuries.
Entries (most 2–8 pages in length) include illustrations, lists of
individual artists and their marks.

POTTERY, CERAMICS AND PORCELAIN: INDIVIDUAL FIRMS

Belleek

Degenhardt, Richard K. Belleek: The Complete Collector’s Guide and

Illustrated Reference. 2d ed. Radnor, PA: Wallace-Homestead Book,
1993. 244p.

History of Belleek, from earliest years through modern times;

identification information including names, marks, etc. Reprint of
the 1904 and 1928 catalogues.

Langham, Marion. Belleek Irish Porcelain: An Illustrated Guide to

Over Two Thousand Pieces. London: Quiller, 1993. 192p.
 Excellent source for identification. Includes marks, good color
reproductions arranged by type (Parian statues and busts, center
pieces, etc.).

Goldscheider

Pinhas, Ora. Goldscheider: A Catalogue of Selected Models. Somerset:

Richard Denis, 2006. 208p.

Contents: the Goldscheider story; Color plates; Goldscheider

catalogue c.1900; Includes hundreds of images, black and white,
some color.

Limoges

Du Tertre, Nancy. The Art of the Limoges Box. New York: Abrams,
2003. 144p.

Contents: Limoges boxes, antique and modern; Snuff and the

origin of the snuffbox; Discovery of porcelain; Early snuffboxes
and their makers; Trade secrets and industrial espionage;
Snuffboxes in the nineteenth century; Modern Limoges box.

Meissen

Walcha, Otto. Meissen Porcelain. English translation of Meissener

Porzellan. New York: Putnam, 1981. 516p.

Very well-illustrated history of Meissen porcelain production

includes numerous useful appendices, including: Chronology of
the Meissen Porcelain Manufactory; Museums with significant
collections; Chronological survey of Old Meissen; Chronological
survey of form and decorations; Meissen marks.

Minton

Atterbury, Paul, and Maureen Batkin. The Dictionary of Minton.

Historical introduction by Terence A. Lockett. Rev. ed. Woodbridge,
 Suffolk: Antique Collectors’ Club, 1998. 370p.

Encyclopedic dictionary of Minton Wares; substantial section on

individual artists’, designers’ and decorators’ biographies, marks
and dating.

Jones, Joan. Minton: The First Two Hundred Years of Design &
Production. Shrewsbury, England: Swan Hill Press, 1993. 391p.

Partial contents: Early tablewares 1793–1836; Tablewares and

useful wares of the Victorian era; Nineteenth century figures;
Majolica; Tiles; Pâte-sur-Pâte; Minton’s art pottery studio
Kensington Gore; Art Nouveau; Art Deco; Commemorative,
advertising and hotel ware. Appendices: Tableware pattern
numbers, names, descriptions, introduction dates and composition
of services; Figures; Ornamental wares and tiles; Picture tile
series; Marks—printed, painted, relief molded and impressed; Year
ciphers.

Rorstrand

Nyström, Bengt. Rörstrand Jugendstil-Porzellan aus Schweden: Das

Weisse Gold des Nordens = Art Nouveau Porcelain from Sweden: The
White Gold of the North. Stuttgart: Arnoldsche, 2011. 223p.

Contents: Reflections of the collector; the Rörstrand Porcelain

Factory c. 1900; A new style; Ceramics mirrored in the great trade
fairs; the facotry, its products and art ceramics; The art ceramics;
Rörstrand—porcelain objects; Artists, signatures. English
translation.

_____. Rörstrand Porcelain: Art Nouveau Masterpieces: The Robert

Schreiber Collection. New York: Abbeville Press, 1996. 190p.

Well illustrated history of Swedish porcelain. Directory of artists

(1890–1915) includes marks.

Sèvres
 Brunet, Marcelle, and Tamara Préaud. Sèvres: Des Origines á Nos
Jours. Fribourg: Office du Livre, 1978. 391p.

18th–20th century marks and signatures, includes section on fakes.

Eriksen, Svend, and Geoffrey de Bellaigue. Sèvres Porcelain:

Vincennes and Sèvres, 1740–1800. Danish text translated by R.J.
Charleston. London: Faber and Faber, 1987. 379p.

Well illustrated, historical, chronologically arranged. Materials and

techniques thoroughly described; directory of marks and forgeries.

Gwilt, Joanna. French Porcelain for English Palaces: Sèvres from the
Royal Collection. London: Royal Collection Enterprises, 2009. 200p.

Contents: Vases; Tableware; Cups and saucers; Dejeuners, Broth

basins; Jug and basin; Plaques; Sculpture. Includes a detailed
glossary and an index to Sèvres painters and guilders.

Préaud, Tamara, et al. The Sèvres Porcelain Manufactory: Alexandre

Brongniart and the Triumph of Art and Industry, 1800–1847. Edited by
Derek E. Ostergard. New Haven, CT: Yale University Press for the
Bard Graduate Center for Studies in the Decorative Arts, New York,
1997. 416p.

Scholarly exhibition catalog traces the development of Sevres

porcelain in the 18th and early 19th centuries. Appendices include
“Factory Marks” and glossary.

Spode-Copeland

Copeland, Robert. Spode & Copeland Marks: And Other Relevant

Intelligence. London: Studio Vista, 1993. 173p.

History of Spode & Copeland, chronology, information on marks

and dating, Patent Office registration marks, etc.

POTTERY, CERAMICS AND PORCELAIN: MARKS, MONOGRAMS AND SIGNATURES

For the decorative arts researcher, many published reference sources are
available to assist in the identification of markings that might be found on a
piece. Some of these are highly specialized, while others might cover the
markings used by various foundries, factories or other manufacturers in a
number of countries. The vast majority of reference works treat just one
medium or object-type (e.g., porcelain, silver, etc.) The works chosen for
inclusion here are arranged under object category, following a section
devoted to those that record marks on a variety of decorative arts objects.
Note that some of the entries in the preceding section also include
information on marks. When this is the case, inclusion of marks is noted in
the item’s annotation.

Kovel, Ralph M., and Terry H. Dictionary of Marks: Pottery and

Porcelain. New York: Crown, 1953. 278p.

Handy, A–Z arrangement of marks precedes sections broken down

by graphical symbol or form, e.g., arrow, bird, crown, etc.

_____. Kovels’ New Dictionary of Marks: Pottery and Porcelain. 2d ed.

New York: Crown, 1995. 278p.

Guide to over 5,000 marks used to identify American, English and

European porcelain. Includes information on factory or
manufacturer, types of products, color and date ranges of marks.

Lage, Chad. Pictorial Guide to Pottery & Porcelain Marks. Paducah,

KY: Collector Books, 2004. 413p.

Excellent reference source for identification of pottery & porcelain

manufacturers. Good, clear (in most cases) photographic
reproduction of marks, alongside examples of one or more pieces.
Excellent indexing includes alphabetical (by maker or
manufacturer’s name), date, and “sight” index, which allows the
user to identify likely manufacturers with only details of a mark
(e.g., “eagle” marks).

Poche, Emanuel. Porcelain Marks of the World. Translated from the

Czech by Joy Moss-Kohoutova. London: Hamlyn, [1975]. 255p.
 Concise, well-arranged handbook of porcelain marks arranged
largely by subject matter (sun, water, flora, etc.). Index of
manufacturers’ names.

Thorn, C. Jordan. Handbook of Old Pottery and Porcelain Marks. New

York: Tudor, [1947]. 176p.

Illustrated handbook of marks on Chinese, Japanese, European and

American pottery and porcelain. Index of names and factories.

Dutch Marks

Justice, Jean. Dictionary of Marks and Monograms of Delft Pottery.

London: H. Jenkins, [1930]. 171p.

Delft pottery marks, 16th through 18th centuries. Includes “Marks

Undeciphered, Cyphers, Signs, etc.,” Index of names.

Marks of Europe

Cushion, John Patrick. Handbook of Pottery and Porcelain Marks. 5th

ed., rev. and expanded. London: Faber, 1996. 304p.

Marks and monograms organized by country, arrangement

alphabetical by name of factory or artist. Each country section
includes a brief review of major factories and centers, with maps
indicating location of major production centers. Extensive index to
artists and factories.

Danckert, Ludwig. Directory of European Porcelain: Marks, Makers

and Factories. Translation by Rita Kipling of Handbuch des
Europaischen Porzellans. Consultant editor: Pietro Raffo. London:
N.A.G. Press, 1981. 688p.

Directory of factories, decorating studios, marks. Includes names

of factory owners, artists and signatures, technical terms, etc.
Coverage dates from the discovery of porcelain through the mid–
20th century.
 Lang, Gordon. Miller’s Pottery & Porcelain Marks Including a
Comprehensive Guide to Artists, Makers, Factories and Forms.
London: Mitchell Beazley, 2007. 400p.

Handy, small format guide to marks organized by categories:

Single Letters, Inititals, Monograms, Written Name & Signature
Marks, Letters and Devices (e.g., Crowns, Shields etc.),
Staffordshire-type Marks; Name & Initial Marks,
Chinese/Japanese Marks.

Marks of Great Britain

Godden, Geoffrey A. Encyclopaedia of British Pottery and Porcelain

Marks. London: Barrie & Jenkins, [1992]. 765p.

Exhaustive inventory of British pottery and porcelain marks,

includes section on recent marks, index of monograms, index of
signs and devices.

_____. Godden’s Guide to English Blue and White Porcelain.

Woodbridge, Suffolk: Antique Collectors’ Club, 2004. 592p.

Very beautifully illustrated overview of English blue and white.

Scholarly, in-depth treatment includes copious information on
manufacturers’ marks. Contents: On forming a collection; Blue
and White, a general picture; Bow and Chelsea; Limehouse,
Newcastle and Lund’s-Bristol; Worcester prior to 1775; Vauxhall;
Derby and Isleworth; Longton Hall, West Pan and Baddeley-
Littler; Lowestoft; Liverpool factories; Plymouth, Bristol and New
Hall; Worcester 1775–1795; Caughley; Coalport; Some later
factories; Some unattributed groups and problems; Fakes and
reproductions.

_____. New Handbook of British Pottery & Porcelain Marks. 2d ed.,

rev. and enl. London: Barrie & Jenkins, 1999. 254p.

Concise histories of pottery and porcelain firms. Contents:

Pictorial glossary; Potters’ initial marks; Registered designs 1839–
 1883; Registration numbers 1884–1999; Collectors’ clubs,
Societies and groups; Selected bibliography; Index.

Yates-Owen, Eric, and Robert Fournier. British Studio Potters’ Marks.

2d ed. London: A & C Black, 2005. 710p.

Studio pottery refers to pieces which “were produced by an

individual artist who was responsible for all steps in the design and
execution.”2 This inventory provides good, clear reproductions of
4,750 marks of British studio potters and others who have worked
in Great Britain. Birth and death dates, marks and monograms, and
in many instances, mailing addresses for studios of contemporary
ceramic artists are provided.

United States Marks

Barber, Edwin Atlee. Marks of American Potters. Ann Arbor, MI: Ars
Ceramica, 1976. 174p. [Reprint of 1904 ed. published by Patterson &
White, Philadelphia.]

Includes facsimile reproductions of approximately 1,000 marks.

Geographical organization: Pennsylvania; New Jersey; New York;
New England; Ohio; Southern states; Western states.

DeBolt, C. Gerald. Debolt’s Dictionary of American Pottery Marks:

Whiteware and Porcelain. Paducah, KY: Collector Books, 1994. 288p.

Good introduction to the identification of American pottery. This

updated edition (original published in 1988) includes “A Partial
Reprint of W. Percival Jervis’s 1897 Marks Book.”

Lehner, Lois. Lehner’s Encyclopedia of U.S. Marks on Pottery and

Porcelain. Paducah, KY: Collector Books, 1988. 634p.

Massive collection of more than 8,000 marks representing more

than 1,900 companies.

GLASS: BIBLIOGRAPHIES
Bibliography of Glass (From the Earliest Records to 1940). Foreword
by W. E. S. Turner. Edited by Viclet Dimbleby. Subject index prepared
by Frank Newby. [London]: Dawsons of Pall Mall for the Society of
Glass Technology, Sheffield, 1960. 544p.

Highly specialized bibliography of glass history, from earliest

records to 1940. Entries include title in original language, English
translation, and basic finding information (journal name, volume,
etc.). Some patent information, abstracts.

A Bibliography of Stained Glass. Cambridge, [Cambridgeshire]: D.S.

Brewer, 1982. 200p.

Classified bibliography of periodical literature, monographs and

other works on stained glass.

Brady, Darlene A., and William Serban. Stained Glass, a Guide to

Information Sources. Detroit: Gale Research, 1980. 572p.

Annotated bibliography of more than 1,800 sources related to the

study of stained glass. Formats include general reference sources,
bibliographies, dissertations, theses, periodicals, library
collections, archival materials and various additional resource
directories.

Bush, Louise K., and Paul N. Perrot, comp., Gail P. Bardham, ed. The
History and Art of Glass: Index of Periodical Articles 1956–1979.
Boston: G.K. Hall, 1982. 876p.

The History and Art of Glass: Index of Periodical Articles 1980–1982.

Boston: G.K. Hall, 1984. 298p.

The Corning Museum maintains what is arguably one of the

world’s greatest collections of books, periodicals and other
materials for the study of glass. These volumes, produced by the
Corning Library, are a classified index to the contents of over 500
periodicals. Articles on individual collectible works of glass art are
included under their countries of origin.
 Note that the Corning Museum’s Journal of Glass Studies
produces an annual “Check List of Recently Published Articles
and Books on Glass” which serves as an update. The library’s
online catalog is also available for browsing at
http://www.cmog.org (select “Rakow Library,” then “Online
Catalog”).

GLASS: COLLECTORS’ MANUALS & DIRECTORIES

Glass Collections in Museums in the United States and Canada.

Corning, NY: Corning Museum of Glass and the American National
Assn. of the International Assn. for the History of Glass, 1982. 224p.

Dated, but still useful directory of museums with significant

collections of glassware.

Halper, Vicki. Contrasts: A Glass Primer. Tacoma, WA: Museum of

Glass, in association with University of Washington Press, 2007. 63p.

This tiny volume describes physical and stylistic variations in

glass products; intended for the beginning glass researcher.

Hess, Catherine, and Karol Wight. Looking at Glass: A Guide to Terms,

Styles, and Techniques. Los Angeles: J. Paul Getty Museum, 2005. 95p.

GLASS: DICTIONARIES

Bray, Charles. Dictionary of Glass: Materials and Techniques. London:

A & C Black; Philadelphia : University of Pennsylvania Press, 1995.
240p.

Dictionary of primarily technical terms related to glass and

glassmaking.

Corning Museum of Glass. Glass Dictionary.

www.cmog.org/research/glass-dictionary

This free-of-charge web-based dictionary offers clear, illustrated

definitions for all aspects of glass.
Whitehouse, David. Glass: Pocket Dictionary of Terms Commonly
Used to Describe Glass and Glass-Making. Corning: Corning Museum
of Glass, 1993. 88p.

Illustrated guide to technical terminology. Includes small but good

color illustrations (and some black and white) throughout.

GLASS: ENCYCLOPEDIAS AND SURVEYS

Baden Fuller, Kate. Contemporary Stained Glass Artists: A Selection of

Artists Worldwide. London: A&C Black, 2006. 212p.

Battie, David, and Simon Cottle, eds. Sotheby’s Concise Encyclopedia

of Glass. London: Conran Octopus, 1995. 208p.

Chronologically arranged survey of glass production and design,

from pre–Roman through the 20th century. Overview of fakes and
forgeries, tips for care and conservation, and glossary make this a
most useful tool for the glass collector.

Bossche, Willy Van den. Antique Glass Bottles: Their History and
Evolution (1500–1850): A Comprehensive, Illustrated Guide, with a
World-Wide Bibliography of Glass Bottles.

Suffolk, UK: Antique Collectors’ Club, 2001. 439p.

Traces the history and evolution of utility glass bottles from c.

1500 B.C.E. through 1850. Intended for the serious collector,
Bossche’s monograph provides very well illustrated overviews of
the glass bottles produced in Great Britain, Holland, Belgium,
France, Italy, Spain, Portugal, Germany and the Scandinavian
countries. Very extensive (35p.) bibliography of books and journal
articles.

Chambers, Karen S., and Tina Oldknow. Clearly Inspired:

Contemporary Glass and Its Origins. [Tampa, FL]: Tampa Museum of
Art; San Francisco, CA: Pomegranate, 1999. 134p.
 Exhibition catalog, illustrates evolution of contemporary glass art.
Section on artists’ biographies.

Charleston, R. J. (Robert Jesse). Masterpieces of Glass: A World

History from the Corning Museum of Glass. Expanded ed. New York:
Abrams, 1990. 256p.

Highlights of the Corning collection, represents an encyclopedic

history of glass based upon major glass works, dating from the
ancient world through the 20th century.

Contemporary Glass Art. Lausanne: Mudac, 2006. 404p.

French/ English/German. Explores the collection at Mudac (Musee

de Design et d’Arts Appliques Contemporains) in Lausanne,
France.

Cummings, Keith. Contemporary Kiln-Formed Glass. London: A&C

Black; Philadelphia: University of Pennsylvania Press, 2009. 208p.

An excellent survey of the Studio Glass Movement precedes

technically-oriented overviews of a good selection of kiln-formed
works produced (primarily) in the post–World War II era.

Curtis, Emily Byrne. Glass Exchange Between Europe and China,

1550–1800. Surrey: Ashgate, 2009. 156p.

Partial contents: Wonder and desire; Mirrors and lenses; Panes of

glass: Windows and paintings; Cristalli: four cases of precious
glass; White gold; Enamel materials; Glossary of terms.

Dobbins, Norman, and Ruth Dobbins. Etched Glass: Techniques &

Designs. Madison, WI: Hand Books Press, 1998. 144p.

This well-illustrated technical manual shows the processes

involved in decorative glass etching. Included are examples of
stencil and resist processes, surface etching, carving and shading.
Du Pasquier, Jacqueline. Histoire du Verre: Les Chefs D’Oeuvre de
l’Islam. Paris: Massin Editeur, 2007. 155p.

French language monograph focuses on glass masterpieces from

the Islamic world—including the emergence of Islamic glass
works, manufacturing techniques, painted glass vessels and vases
and enameled glass.

50 Distinguished Contemporary Artists in Glass. London: Intelligent

Layman, 2006. 119p.

Contemporary glass artists of Australia; Belgium; Canada;

Denmark; Finland; Iceland; Italy; Japan; NewZealand; United
Kingdom; United States.

Florence, Gene. Florence’s Glassware Pattern Identification Guide.

Paducah, KY: Collector Books, 1998. 176p.

Excellent source for the identification of glass works of the 1920s

through 1960s. Entries are clearly illustrated, and provide details
including manufacturer, date or date range, colors, etc. Indexed by
manufacturer.

Frantz, Suzanne K., and Matthew Kangas. Viva Vetro! Glass Alive!
Venice and America. Pittsburgh: Carnegie Museum of Art, 2007. 199p.

Published in conjunction with an exhibition at the Carnegie

Museum. Contents: Venice and America: cultural exchange in
glass; The Italian connection: Americans at Venini; A conversation
with Lino Tagliapietra; A conversation with Benjamin Moore.

Fuller, Kate Baden. Contemporary Stained Glass Artists: A Selection of

Artists Worldwide. London: A&C Black Publishers Ltd., 2006. 212p.

Includes artists from: Britain & Ireland; Germany; France; Spain;

Eastern Europe; USA & Canada; Iceland; Japan.

Glasstress New York: New Art from the Venice Biennials. Milan: Skira,
2012. 207p.
 Issued in conjunction with an exhibition of the same name,
includes works by contemporary artists from around the globe,
who worked at the studio of Adriano Berengo. Included are works
by artists including Vik Muniz, Tony Oursler, Kiki Smith and
Make + Doug Starns.

Hollingworth, Jane. Collecting Decanters. New York: Mayflower

Books, 1980. 128p. (Series: Christie’s International Collectors Series.)

Suitable for the beginning collector, this short guide surveys the
history of glass-making and the evolution of the decanter. Partial
contents: Façon de Venise and the new metals; Art of enameling;
Engraved and etched decanters; Brilliants of cut glass.

Klein, Dan. Artists in Glass: Late Twentieth Century Masters in Glass.

London: Mitchell Beazley, 2001. 240p.

Richly illustrated compendium of 80 cutting-edge glass artists’

works. Glossary of terms, signature samples.

Kracun, Danijela, and Charles McFadden. Creative Glass. Atglen, PA:

Schiffer, 2010. 208p.

A–Z directory of international artists working in glass. Individual

entries include numerous color illustrations as well as basic
contact information (and websites).

Layton, Peter. Glass Art. London: A & C Black; Seattle: University of

Washington Press, 1996. 216p.

Overview of history, current trends, and technical aspects of glass

art and production.

Leier, Ray, Jan Peters, and Kevin Wallace. Contemporary Glass: Color,
Light & Form. Madison, WI: Guild, 2001. 128p.

Illustrated survey of decorative and functional glass artists and

their work.
 Historical survey of Steuben glass and designers. Extensive
catalog of works arranged by object type, excellent source for
identification of pieces.

Masters: Blown Glass: Major Works by Leading Artists. Ray

Hemachandra, ed. New York: Lark, 2010. 330p.

Beautifully illustrated multiple-page essays on contemporary glass

artists present a good overview of contemporary glass art for
collectors at all levels, from novice to experienced.

McConnell, Andy. The Decanter: An Illustrated History of Glass from

1650. Woodbridge, Suffolk: Antique Collectors’ Club, 2004. 575p.

This encyclopedic history traces the evolution of the decanter from

the earliest British examples through the 20th century. In-depth
survey of technical processes illustrates the changes in glass
decoration over the past five centuries. Of particular interest to the
serious collector, includes information on attribution, collecting,
reproductions and fakes.

Mehlman, Felice. Phaidon Guide to Glass. Oxford: Phaidon, 1982.

256p.

Basics of glass production, history and types for the collector.

Well-illustrated selection of various types of glassworks, including
utilitarian and decorative, lighting, etc. Brief section on collecting
glass.

Mentasti, Rosa Barovier, et al., eds. Glass Throughout Time: History

and Technique of Glassmaking from the Ancient World to the Present.
Milan: Skira; New York: Distributed in North America and Latin
America by Rizzoli International, 2003. 285p.

Encyclopedic survey of glass works, ancient through

contemporary. Each work fully documented, with “typological
comparisons” to other published works.
Mergl, Jan. Loetz: Bohemian Glass 1880–1940. Ostfildern, Germany:
Hatje Cantz, 2003. 352p. + CD ROM.

Founded in the late 19th century, Loetz glass rose to distinction

among the many Bohemian glass companies. Partial contents:
Loetz glassworks, their significance and position in the
international context; History of the firm, its production and sales;
The period of Phäenomen decoration; Turn to art nouveau; Paris
Exposition Universelle in 1900; Signatures and marks; Artist
biographies. CD ROM includes a catalogue of Loetz “paper
patterns” searchable by number and object.

Oldknow, Tina. Contemporary Glass Sculptures and Panels: Selections

from the Corning Museum of Glass. New York: Corning Museum of
Glass, 2008. 247p.

An overview of a selection of glass works in the Corning Museum

from the 1950s to 2007. Artists from all over the world are
included.

_____. Voices of Contemporary Glass: The Heineman Collection.

Corning, NY: Corning Museum of Glass. 2009. 382p.

Beautifully illustrated inventory of a major collection, this catalog

serves as an encyclopedic overview of contemporary glass art.

Opie, Jennifer Hawkins. Contemporary International Glass: 60 Artists

in the V&A. London: V&A Publications, 2004.143p.

Provides an overview of glass artworks in the V&A. Particular

attention is given works dating from 1990 to the present.
Individual glass artists’ entries include critical comment, brief
resume, and illustrations.

Page, Jutta-Annette. Beyond Venice: Glass in Venetian Style, 1500–

1750. Corning, NY: Corning Museum of Glass, 2004. 339p.

Published in conjunction with exhibition Beyond Venice, held at

the Corning Museum of Glass, May 20–Oct. 17, 2004, surveys the
 influence of Venice upon glassmaking in Austria, Spain, France,
England and the Netherlands. Images of glass works in art
(paintings, prints, etc.) supplement reproductions of works
included in the exhibition.

_____, curator. Art of Glass: Toledo Museum of Art. Toledo: Toledo

Museum of Art, 2006. 248p.

This world-class museum collection catalog represents an

encyclopedic survey of glassworks dating from the Ancient
Mediterranean through the present day.

Petroyà, Sylva, and Jean-Luc Olivié, eds. Bohemian Glass: 1400–1989.

New York: Abrams, 1990. 239p.

Published in conjunction with an exhibition, surveys the

emergence and development of this important center of
glassmaking. Emphasis on 19th and 20th century works.

Phillips, Phoebe. The Encyclopedia of Glass. New York: Crown, 1981.

320p.

Encyclopedic overview of history and technical aspects of glass

and glassmaking. Historical section consists of overviews of
ancient and Roman glass, followed by individual country surveys.

Stern, E.M. Roman, Byzantine, and Early Medieval Glass, 10 BCE—

700 BCE: Ernesto Wolf Collection. Ostfildern, Germany: Hatje Cantz,
2001. 427p.

Scholarly catalog documenting a major collection of early glass

works. Each item illustrated in color and fully cataloged.

Strauss, Cindi, with Rebecca Elliot and Susie J. Silbert. Pioneers of

Contemporary Glass: Highlights from the Barbara and Dennis DuBois
Collection. Houston: Museum of Fine Arts. 96p.

Profiles a major collection of works by an international group of

contemporary glass artists.
 Warmus, William. Fire and Form: The Art of Contemporary Glass.
West Palm Beach, FL: Norton Museum of Art; Seattle, Wash.:
Distributed by University of Washington Press, 2003. 128p.

Illustrated survey of major glassworks by contemporary artists.

Whitehouse, David. Corning Museum of Glass. The Corning Museum

of Glass: A Decade of Glass Collecting, 1990–1999. Corning, NY:
Corning Museum; New York: Distributed by Abrams, 2000. 128p.

Illustrated inventory of glass works, including fine examples of

ancient and Islamic, European, American, Art Nouveau, and
contemporary works.

Who’s Who in Contemporary Glass Art: A Comprehensive World Guide

to Glass Artists, Craftsmen, Designers. Munich: J. Waldrich Verlag,
1993. 650p.

Provides a wealth of biographical information on international

glass artists. In addition to biographical basics, entries include
contact information, curriculum vitae, techniques employed, kinds
of glass work, awards, commissions, exhibitions, collections and
bibliography.

Wight, Karol B. Molten Color: Glassmaking in Antiquity. Los Angeles:

Getty Pubs. 2011. 136p.

Contents: What is glass?; Birth of glass; Glass in the

Mediterranean world; Discovery of inflating glass; Glassin the
Roman world; Glass in the later emire; How was glass used.
Glossary of terms.

GLASS: COUNTRY STUDIES

Finland

Finnish Glass Art: 2000–2005. Riihimaki: Finnish Glass Museum,

2006. 136p.
 Surveys cutting edge glass artists of Finland. Each artist’s entry
accompanied by brief cv and good, clear reproduction of at least
one work.

Ireland

Hearne, John M., ed. Glassmaking in Ireland: From the Medieval to the
Contemporary. Dublin, Ireland; Portland, OR: Irish Academic Press,
2010. 310p.

Illustrated, scholarly essays trace the history of Irish glassmaking

from medieval times to the present; intended for the serious
scholar or collector of glass.

Warren, Phelps. Irish Glass: The Age of Exuberance. New York:

Scribner’s, 1971. 155p.

Traces the development of glassmaking in Ireland from the mid–

18th century.

Major producers of “marked” glass described in detail with

numerous reproductions include: B. Edwards Belfast, Cork Glass
Co. Penrose Waterford, Waterloo Co. Cork, and others.

Italy

Dorigato, Attilia. Murano, Island of Glass. Translation by Jeremy Scott

of Arte del Vetro a Murano. San Giovanni Lupatoto (Vr), Italy:
Arsenale, 2003. 396p.

Survey of glassmaking from the Middle Ages through the 20th

century. Well-illustrated sections on various production methods
through the ages.

Heiremans, Marc. Murano Glass: Themes and Variations = Thema und

Variationen (1910–1970). Translation by Claudia Fritzsche. Stuttgart:
Arnoldsche, 2002. 223p.
 Well-illustrated survey of Murano glass, includes section on
“biographies of the manufactories,” artists’ biographies, and
illustrated overview of labels and signatures.

_____. 20th Century Murano Glass: From Craft to Design = Murano-

Glass im 20. Jahrhundert: Vom Kunsthandwerk zum Design. Stuttgart :
Arnoldsche, 1996. 231p.

Decade-by-decade survey of contemporary Murano glassworks,

with directory of labels and signatures.

Mentasti, Rosa Barovier, ed. Exquisite Glass Ornaments: The

Nineteenth Century Murano Glass Revival in the De Boos-Smith
Collection. Venice: Marsilio, 2010. 121p.

Full catalog of Murano glass works in the De Boos-Smith

collection. Fully illustrated with captions.

Murano: L’Isola dei Vetrai = The Glass-Making Island. Treviso:

Vianello, 2006. 182p.

Surveys the history of Murano glass from its origins in the

thirteenth century through the present day. Partial contents:
Gardens and factories; traditional glass-making; modern design.

Ricke, Helmut, and Eva Schmitt. Italian Glass, Murano, Milan, 1930–
1970: The Collection of the Steinberg Foundation. Munich: Prestel,
1997. 351p.

Richly illustrated overview of Murano glass production and works.

Appendixes include lists of artists, manufacturers, and selected
signatures.

Thoreau, Henry. Murano: Behind the Glass. Bologna: Grafiche

Damiani, 2008. 174p.

Limited text, profusely illustrated with works by Murano

glassmakers.
 Venetian Glass. Foreword by Nancy Olnick and Giorgio Spanu;
Introduction by Holly Hotchner; essays by David Revere McFadden,
Marino Barovier, Suzanne K. Frantz; photographs by Luca Vignelli.
New York: American Craft Museum, 2000. 249p.

Exhibition catalog of contemporary Venetian glass works. Works

fully documented, including bibliography and exhibition histories.
Includes artist biographies and overview of workshops.

Venetian Glass: Confections in Glass, 1855–1914. New York: Abrams,

1998. 128p.

Traces development of Venetian glass in the 19th century. Popular

treatment, well-illustrated.

Venetian Glass: From Modern to Contemporary / Il Vetro a Venezia:

Dal Moderno al Contemporaneo. Milan: Motta; Woodbridge, Suffolk:
Antique Collectors’ Club, 2009. 399p.

Bilingual Italian/English language survey of contemporary glass

art and utilitarian objects.

Venini Diaz de Santillana, Anna. Venini: Catalogue Raisonné, 1921–

1986. Milan: Skira, 2000. 320p.

Historical precedents, and scholarly overview of the establishment

and development of Venini glassworks. Catalogue raisonné
arranged chronologically, serves as an excellent tool for
identification.

Japan

Blair, Dorothy. A History of Glass in Japan. New York:

Kodansha/USA, 1973. 479p.

Historical survey of pottery and glass from c. 10,000 B.C.E.

through contemporary era.

Low Countries
 Eliens, Titus M. Modern Glass in the Netherlands: 1880–1940. Zwolle:
Uitgeverij Waanders, [2002]. 163p.

Scholarly, well-illustrated overview of 19th—early 20th century

Dutch art glass design.

Sweden

Duncan, Alastair. Orrefors Glass. Woodbridge, Suffolk: Antique

Collectors’ Club, 1995. 231p.

Surveys the history of Orrefors, and illustrates selected works by

individual designers, in chronological order of their joining the
firm. Designers’ and engravers’ marks and signature information.

Friedman, Mark D. The Best of Modern Swedish Art Glass: Orrefors

and Kosta 1930–1970. Mark D. Friedman (publisher). 2006. 118p.

Well-illustrated (mostly color images) overview of mid–20th

century Swedish art glass. Includes value ranges for each work,
along with well-researched overview of the industry.

Ostergard, Derek E., and Nina Stritzler-Levine, eds. The Brilliance of

Swedish Glass, 1918–1939: An Alliance of Art and Industry. New
Haven, CT: Yale University Press, for the Bard Graduate Center for
Studies in the Decorative Arts, 1996. 336p.

Partial contents: Swedish industrialization and the glassworks;

Emergence of Swedish modern design, 1917–1939; Brief history
of Swedish glass; Swedish glass between the World Wars; Modern
Swedish glass in America, 1924–1939.

United States

Boggess, Bill, and Louise Boggess. Reflections on American Brilliant

Cut Glass: With Value Guide. Atglen, PA: Schiffer, 1995. 256p. Barr,
Sheldon.
Carwile, Mike, ed. Standard Encyclopedia of Pressed Glass: 1860–
1930: Identification and Values. Paducah, KY: Collector Books, 2010.
320p.

Illustrated directory of individual productions of major American

glass companies. Useful for its comprehensive directory of
companies as well as extensive list of prices.

Lynn, Martha Drexler. American Studio Glass, 1960–1990: An

Interpretive Study. New York: Hudson Hills Press, 2004. 168p.

Scholarly, well-illustrated overview of the studio glass movement

in the United States. Includes excellent chapters on the evolution
of the studio glass market, both retail and secondary (auction).

Madigan, Mary Jean Smith. Steuben Glass: An American Tradition in

Crystal. Rev. and expanded. New York: Abrams, 2003. 384p.

Measell, James. Imperial Glass Encyclopedia. Marietta, OH: Glass

Press, 1995–1999. 3 vols.

Encyclopedic overview of the output of the Imperial Glass

Company attempts “to afford maximum photograph coverage to
Imperial’s products.” Original catalog pages supplement color and
black & white photographs of a great many Imperial glass objects.
Most useful as an identification tool, but values, now dated, are
provided.

Palmer, Arlene. Glass in Early America: Selection from the Henry

Francis du Pont Winterthur Museum. Winterthur, DE: Winterthur
Museum, 1993. 425p.

Uses the Winterthur collection to survey the history of American

glass, with particular reference to collecting and connoisseurship.
Partial contents: Table glass associated with beverages; Table glass
for serving of food; Accessories; Lighting devices; Bottles and
flasks.
Schwartz, Marvin D. American Glass, from the Pages of Antiques. Vol.
1: Blown and Molded; Vol. 2: Pressed and Cut. Princeton, NJ: Pyne
Press, 1974.

Collection of reprinted articles from Antiques magazine surveys all

aspects of American glass, including regional styles and forms.
Partial contents: Some major collections; Types and forms;
European influences; Regions and glasshouses.

Snyder, Jeffrey B. Art Glass Today. Atglen, PA: Schiffer, 2010. 256p.

Profiles approximately sixty important international artists

working with a variety of traditional as well as cutting edge
techniques.

Spillman, Jane Shadel. The American Cut Glass Industry: T.G. Hawkes
and His Competitors. Woodbridge, Suffolk: Antique Collectors’ Club,
in association with the Corning Museum of Glass, 1996. 320p.

This fascinating history of the cut glass industry identifies a great

many primary source materials, including original catalog pages,
company brochures, etc. Surveys glassworks produced by Hawkes,
Egginton, Sinclaire, Steuben and other firms.

_____, and Suzanne K. Frantz. Masterpieces of American Glass: The

Corning Museum of Glass, the Toledo Museum of Art. New York:
Crown, 1990. 100p.

Partial contents: The beginning; 18th century factories;

Independence achieved; Advent of mass production; Luxury glass:
1850–1900; Early 20th century glass; Mid-century modernism;
Studio glassmaking; Glass artists.

Trinidad, A. A. American Glass Bells. Atglen, PA: Schiffer, c2010.

160p.

Individual chapters arranged by name of production company.

Contents: American art glass bells; American cut glass bells;
American blown & pressed glass bells; Lampwork bells.
_____. Glass Bells from Around the World. Atglen, Pa: Schiffer, 2010.
160p.

Supplement volume to the previous title, includes illustrated

examples of glass bells produced throughout the world (except the
U.S.). Provides brief company histories along with price ranges.

Wilson, Kenneth M. American Glass, 1760–1930: The Toledo Museum

of Art. 2 vols. New York: Hudson Hills Press in association with the
Toledo Museum of Art; [Lanham, MD]: National Book Network
[distributor], 1994. 879p.

Comprehensive survey of glassmaking in America, this work is an

excellent source for the identification of styles, patterns and
manufacturers. Coverage spans the period from the early 17th
through mid–20th centuries. Libbey Glass Company trademarks
directory.

GLASS: MARKS AND TRADEMARKS

Hartmann, Carolus. Glasmarken Lexikon 1600–1945: Signaturen,

Fabrik- und Handelsmarken: Europa und Nordamerika. Stuttgart:
Arnoldsche, 1997. 1,006p.

Contents: List of categories; Illustrations of marks; Biography of

the artists and firms; various indexes and technical glossary.

Pullin, Anne Geffken. Glass Signatures, Trademarks and Trade Names

from the Seventeenth to the Twentieth Century. Radnor, PA: Wallace-
Homestead, 1986. 368p.

Contents: How to look at glass; Index of signatures, trademarks,

and trade names; Glossary: translation of selected foreign words;
Benchmark dates; technical and historical; Bibliography; Cross-
reference index.

Victorian Glass Registration Lozenge Translator. http://1st-glass.1st-

things.com/lozengetranslator.html.
 This translator, available on the web, can be used to decode the
registration number on antique glass works registered in England
between 1842 and 1883.

METALWORK: GENERAL REFERENCE SOURCES

The following works include information on more than one metal (e.g.,
silver and pewter, etc.). Individual metals are treated separately, below.

Alcorn, Ellenor M. English Silver in the Museum of Fine Arts, Boston:

Catalogue. Boston: Museum of Fine Arts; Distributed by Northeastern
University Press, 1993– . Vol. 1: Silver Before 1697; Vol. 2: 1697–20th
Century.

Catalogue of the museum’s holdings, each item fully documented.

Includes, where appropriate, photographs of marks.

Erickson, Dorothy. Gold & Silversmithing in Western Australia: A

History. Crawley: University of Western Australia Press, 2010. 479p.

Extremely well-researched, this encyclopedic study of metalwork

in Australia uses a wide range of primary source material to
document the history of gold- and silver-based design. Includes
jewelry, ecclesiastical wares, and a broad range of decorative and
utilitarian objects.

Fennimore, Donald L. Metalwork in Early America: Copper and Its

Alloys from the Winterthur Collection. Winterthur, DE: Henry Francis
du Pont Winterthur Museum, 1996. 472p.

Using pieces from the Winterthur Collection, this beautifully

produced monograph surveys the development of utilitarian and
decorative uses of metals in early American culture. Introductory
material explores mining, manufacturing and marketing of copper
and its alloys. The exhibition catalogue comprises over 300 items,
fully cataloged, illustrated and interpreted.
_____. Silver & Pewter. Chanticleer Press ed. New York: Knopf, 1984.
478p. (Series: The Knopf Collectors’ Guides to American Antiques.)

Illustrated guide for the serious collector. Each item includes

description, marks and dimensions, maker, locality and date,
comments, and hints for collectors. Partial contents: Simple way to
identify silver, silver plate and pewter; Parts of representative
objects; Good, better and best: silver and silver plate; Good, better
and best: pewter; Caring for your collection; Illustrated guide to
American makers and marks.

Gentle, Rupert. Domestic Metalwork, 1640–1820. Woodbridge,

Suffolk: Antique Collectors Club, 1994. 461p.

Extensive study of primarily brass household implements and

decorative arts objects. Introductory chapters survey the
production methods and markets for brass during the 17th through
early 19th centuries. Each of hundreds of pieces illustrated, many
in color, and fully described and dated. Partial contents: Lighting
[candelabra, chandeliers, etc.]; Kitchen [cooking-pots, hour-
glasses, etc]; Dining room [bowls, dishes, etc.]; Fireplace and
smoking; Library; Bedroom; Door-knockers and locks;
Accessories and ornaments; Domestic / hobbies; Coffin furniture.
Appendix: Marks and signatures found on brass in Great Britain.

Kauffman, Henry J. American Copper & Brass. Morgantown, PA:

Masthof Press, 1995. 288p. [Reprint of 1968 ed., Camden, NJ: T.
Nelson.]

In-depth survey of the early American copper and brass production

industries, includes a great deal of primary source material. Well-
researched and written, the introductory chapters provide technical
information on brass and copper production and an overview of
the related trades. Partial contents: Kettles; Pots and pans; Stills;
Miscellaneous objects (e.g., mugs, measures); Andirons; Bells;
Gun parts and cannon; Molds for casting objects of pewter;
Miscellaneous objects of cast brass; Documented list of
coppersmiths.
 _____. Early American Copper, Tin, and Brass. New York: McBride,
1950. 112p.

Describes the copper, tin and brass industries from the eighteenth
to the late nineteenth centuries. Included are profiles of major
artisans and well illustrated sections on various domestic utensils,
their construction and embellishment.

Keefe, John Webster. Faberge: The Hodges Family Collection. New

Orleans: New Orleans Museum of Art, 2008. 510p.

Complete catalog of the Hodges family collection of Faberge gold,

silver and mixed metalwork objects. Includes smokers’
accessories, frames, table silver, cabinet objects, jewelry, animals,
flowers, eggs.

O’Brien, Timothy A. Collecting by Design: Silver and Metalwork of the

Twentieth Century from the Margo Grant Walsh Collection. Houston:
Museum of Fine Arts. 2008. 137p.

Hundreds of full color images document this exceptional private

collection of 20th century silver works. Partial contents: English
Arts and Crafts; American Arts and Crafts; Scandinavian Style;
Modernist Impulse; Mexican and American Indian Silver;
Contemporary Silver from the U.K.

Scholten, Fritz. The Robert Lehman Collection XII: European Sculpture

and Metalwork. New York: Metropolitan Museum of Art, 2011. 274p.

Contents: Aquamanilia; Bronze sculpture; Sculptures other than

metal; Medals; Plaquettes; Various metalwork; Various metal
objects.

METALWORK: ENCYCLOPEDIAS AND SURVEYS

Gold

Bachmann, Hans-Gert. The Lure of Gold. New York: Abbeville Press

Publishers, 2006. 279p.
 In-depth analysis of the history and attraction of gold spanning the
six millenia from the Prehistoric to the Modern age.

Edgecombe, Richard. The Art of the Gold Chaser in Eighteenth-

Century London. New York: Oxford University Press, 2000. 197p. 240
plates.

Chasing is a technique of modeling metal using only a hammer

and punches. This lengthy monograph surveys the development of
this popular technique in 18th–century London. Includes extensive
biography of “chasers,” including their preferred techniques and
source materials, identifying marks, and reproductions.

Garrard, Timothy F. African Gold. Munich: Prestel, 2011. 247p.

Survey of the collection in the Gold of Africa Barbier-Mueller

Museum in Cape Town, South Africa.

Pewter

Bell, Malcolm. Old Pewter: the History of Antique Metalware. JM

Classic Editions, 2008 [reprint]. Originally published London: B.T.
Batsford, 1913.

Traces the development of domestic and ecclesiastical pewter

objects from the fourteenth through nineteenth centuries.

Collecting Antique Pewter: What to Look For and What to Avoid. The
Pewter Collectors’ Club of America, Inc., 2006. 214p.

Contents: Collecting & connoisseurship; Construction &

fabrication; Fakes, forgeries & reproductions; Glossary of terms.

Cotterell, Howard Herschel. National Types of Old Pewter. Rev. and

exp. ed. New York: Weathervane Books, 1972. 152p.

Surveys American and European pewter production,

approximately 1600–1900. Partial contents: National types of old
pewter; European continental pewter; Pewter of the Channel
 Islands; Identifying Dutch flagons; Church & town flagons of
Holland; Identifying Dutch pewter; Pewter flagons of the former
Austro-Hungarian Empire; Fine pewter of Austria-Hungary.

Hornsby, Peter. Pewter of the Western World, 1600–1850. Exton, PA:

Schiffer, 1983. 381p.

Partial contents: History of the pewter industry; Decoration on

pewter; Marks on pewter; Religious pewter; Institutional pewter;
Medical pewter; Pewter for eating; Pewter for drinking.

Kauffman, Henry J. The American Pewterer: His Techniques & His

Products. Mendham, NJ: Astragal Press, 1994. 132p.

Basic overview of pewter and pewter objects, suitable for the

beginning collector.

Montgomery, Charles F. History of American Pewter. Rev. and enlarged

ed. New York: Dutton, 1978. 307p.

Scholarly, well-illustrated survey of pewter. Major chapters focus

on object types, e.g.: Church pewter; Lighting; Drinking vessels;
Pitchers; Plates, dishes and basins; Porringers; Spoons and ladles;
Utensils for tea and coffee. Connoisseurship chapter provides
practical information for the beginning collector. Some marks and
monograms.

North, Anthony, and Andrew Spira. Pewter at the Victoria and Albert
Museum. London: V&A, 1999. 192p.

Well-illustrated inventory of mostly European pewter works in the

Victoria and Albert Collection. Partial contents: Medieval pewter;
Guild pewter; Pewter for eating and drinking; Domestic pewter;
Measures; Ecclesiastical pewter; Art nouveau and 20th-century
pewter; Fakes.

Peal, Christopher A. Pewter of Great Britain. London: John Gifford,

1983. 247p.
 Intended for serious collectors and scholars of material culture,
this scholarly monograph provides a wealth of information on
identifying pewter work produced in Britain, Scotland, Wales and
Ireland from 1600 to 1900.

Robinson, Paul Carter. 20th Century Pewter: Art Nouveau to

Modernism. Woodbridge, Suffolk: Antique Collector’s Club, 2012.
231p.

Survey of pewter works from Germany, Great Britain, France, the

Netherlands, Austria, Scandinavia, America and Japan.

Silver

El Arte de la Platería Mexicana, 500 Años: Noviembre 1989–Febrero

1990. Mexico: Centro Cultural Arte Contemporaneo, [1989]. 595p.

Richly illustrated exhibition catalog with good hallmark

reproductions.

Bowen, John R., and Conor O’Brien, eds. A Celebration of Limerick’s

Silver. Cork, Ireland: Collins, 2007. 220p.

Richly illustrated volume organized by object type: Ecclesiastical;

Civic, Ceremonial and Commemorative; Sports; Modern;
Flatware; Treasure; Miscellany; Food & Drink. Includes an
excellent directory of goldsmiths, including relevant dates and
identifying marks.

Butler, Robin. The Albert Collection: Five Hundred Years of British &
European Silver. London: Broadway Pub., 2004. 353p.

Arranged by object type (boxes, etc.) this extremely well-

researched catalog of a major private collection serves as an
encyclopedia of British and Continental European silver. Included
are selected items in materials other than silver.

Carpenter, Charles Hope. Tiffany Silver. Rev. ed. San Francisco: A.

Wofsy Fine Arts, 1997. 260p.
 Overview of Tiffany silverware, including hollow ware, flatware,
presentation silver. Tiffany marks section arranged
chronologically.

Dalgleish, George. Silver Made in Scotland. Edinburgh: National

Museums Scotland, 2008. 238p.

The silver collection of the National Museums Scotland,

supplemented by individual works from many private and
institutional collections, form the basis for this very scholarly
history of Scottish silver dating from as early as the 16th century.
Of interest to collectors, many very high-quality photographic
images of makers’ marks are included.

Falino, Jeannine, and Gerald W.R. Ward, eds. Museum of Fine Arts,
Boston. Silver of the Americas, 1600–2000: American Silver in the
Museum of Fine Arts, Boston. Boston: MFA, 2008. 540p.

The American silver collections of the MFA represent an

encyclopedic overview of the medium from colonial times through
the twentieth century. Each entry in this voluminous work includes
illustrations, usually with detail images of marks, provenance,
description, essay, and lists of publications and exhibitions.

Glanville, Philippa. Silver in England. New York: Holmes & Meier;

London: Unwin Hyman, 1987. 366p.

History of silver production including technique and trade

development, design, and social aspects. “Antiquaries, collectors,
fakers” presents a good overview of the history of silver
collecting.

Hartop, Christopher. Fogg Art Museum. British and Irish Silver in the
Fogg Art Museum. Cambridge: Harvard University Art Museums; New
Haven: Yale University Press, 2007. 263p.

Well-researched and documented survey of the Fogg’s collection

of 281 items; each entry includes one or more of the following
elements: Place & date of execution; Maker’s mark(s); Other
 marks; Description; Dimensions; Provenance; Exhibition record;
Publication record.

Hernmarck, Carl. The Art of the European Silversmith, 1430–1830.

London: Sotheby Parke Bernet, 1977. 2 vols.

Reference source on European silver production surveys all types

of objects (bowls, cups, etc.). Entries include title, material (if
other than silver—some gold included), place and year of
manufacture, if known, collection, owner. Country surveys, styles
(Gothic, Renaissance, etc.), secular silver, church silver, extensive
bibliography.

Hofer, Margaret K. Stories in Sterling: Four Centuries of Silver in New

York. New York: New-York Historical Society, 2011. 345p.

Contents: Sterling legacies: the formation of the New York

Historical Society’s silver collection; Writing on American silver;
The stylistic distinctiveness of Colonial New York silver;
Converging cultures in Colonial New York; From craft to industry;
Honoring achievement; Rites of passage; Vessels of conviviality;
The rituals of tea and coffee; Elegant dining.

Huey, Michael, ed., for the Neue Galerie New York and the
Kunsthistorisches Museum Vienna. Viennese Silver: Modern Design,
1780–1918. Ostfildern-Ruit, Germany: Hatje Cantz; New York:
Distribution in the United States by D.A.P., 2003. 398p.

Beautifully illustrated, scholarly exhibition catalog explores 19th

and 20th century Viennese silverware. Drawings, catalogue pages
and other primary source materials illustrate lengthy essays on the
evolution of silver design in Vienna.

Jadir, Saad. Arab & Islamic Silver. London: Stacey International, 1981.
216p.

Provides a brief overview of silverwork in the Islamic world,

followed by chapters devoted to specific regions: North Africa and
 Spain; Arabian Peninsula; Levant, Mesopotamia, Persia, Turkey
and Caucasia; Central and South-East Asia.

Johnston, Phillip M. Catalogue of American Silver: The Cleveland

Museum of Art. Chardon, OH: Cleveland Museum of Art in cooperation
with Indiana University Press, 1994. 180p.

Illustrated inventory of the museum’s collection, includes very

good photographic reproductions of hallmarks.

Koeppe, Wolfram. Vienna Circa 1780: An Imperial Silver Service

Rediscovered. New Haven: Yale University Press, 2010. 112p.

Contents: Imperial aspirations and the golden age of ceremony;

Rise of Vienna as a cultural center; Second Sachsen-Teschen
service rediscovered. The silver service surveyed includes:
tureens, dishes, ewers, salts, candlesticks, wine coolers, serving
dishes and dinner plates, flatware and serving pieces.

Krekel-Aalberse, Annelies. Art Nouveau and Art Deco Silver. New

York: Abrams, 1989. 272p.

Country studies of Art Nouveau and Art Deco silver: Great

Britain; France; Belgium; United States; Germany; the
Netherlands; Austria; Scandinavia, Finland and Russia. Section on
Silvermarks 1880–1940, makers’ marks.

_____. Silver 1880–1940: Art Nouveau, Art Deco. Stuttgart:

Arnoldsche, 2001. 144p.

Exhibition catalog of the Alfrons Leythe Collection. Partial

contents: Design in silver; Modern silver up to 1918—flowers,
lines, shapes; Individualism and functionalism between the two
World Wars.

Mack, Norman. Missouri’s Silver Age: Silversmiths of the 1800s.

Carbondale: Southern Illinois University Press, 2005. 169p.
 Biographical dictionary of silversmiths; most entries include clear
photographic images of marks.

Merriman, Philippa. Silver. Cambridge, MA: Harvard University Press,

2009. 128p.

Short primer on the social history of silver. Particularly useful for

its clear and concise definitions of various tools and techniques.

Newman, Harold. An Illustrated Dictionary of Silverware: 2,373

Entries Relating to British and North American Wares, Decorative
Techniques and Styles, and Leading Designers and Makers, Principally
from c.1500 to the Present. New York: Thames and Hudson, 1987.
366p.

Illustrated dictionary of technical terms, object types, and

biography and company histories.

Odom, Anne. Russian Silver in America: Surviving the Melting Pot.

London: Giles, 2011. 231p.

Partial contents: Major American collectors; Transition to Western

styles: silver before 1700; Triumph of the Baroque: Peter and
Elizabeth; Rococo to Neoclassicism: Catherine and Paul; Revival
styles from Empire to Neo-Rococo: Alexander I and Nicholas I;
The Russian style to Faberge; Faberge to Modernism; The
revolution and the fate of Russian silver; Comments on marks;
Romanov dynasty; Glossary.

A Personal Touch: The Seawolf Collection: Late 19th- and 20th-

Century Silver. Rotterdam: Museum Boijmans Van Beuningen; NAi
Publishers in association with Veena Duncker, VD Private Collections,
Munich, 2003. 263p.

Catalogue for an exhibition of a private collection made up of four

collections with different owners, all of which are advised by
Veena Duncker. Fully documented works of English, American,
and Continental European silver works.
Quimby, Ian M. G., with Dianne Johnson. American Silver at
Winterthur. Winterthur, DE: Henry Francis du Pont Winterthur
Museum; Charlottesville, VA: Distributed by the University Press of
Virginia, 1995. 490p.

Excellent tool for the identification of American silverworks.

Partial contents: Question of authorship; Style in American silver;
Building a collection; Catalogue: New England; New York;
Pennsylvania and the South.

Sammons, Tania. The Story of Silver in Savannah: Creating and

Collecting Since the 18th Century. Savannah: Telfair Books, 2010.
128p.

Exhibition catalog featuring silver pieces from forty-one Savannah

collections. Individual works arranged by maker/manufacturer
name, each accompanied by well-researched pictorial index of
marks.

Schroder, Timothy. The Gilbert Collection of Gold and Silver. Los

Angeles: Los Angeles County Museum of Art, 1988. 688p.

Well-illustrated and documented, each work includes provenance,

exhibition and publication records. Partial contents: British gold
and silver; Continental European gold and silver; American silver;
Indian silver; Goldsmiths’ biographies.

_____. The National Trust Book of English Domestic Silver, 1500–

1800. London: Viking in association with the National Trust, 1988.
338p.

Scholarly history of domestic silver production from early Tudor

through the Victorian era. Biographical appendix includes “more
prominent figures covered,” some with examples of marks.

Stern, Jewel. Modernism in American Silver: 20th-Century Design.

Dallas: Museum of Art; New Haven: Yale University Press, 2005.
392p.
 Scholarly treatment of the evolution of silver decorative and
utilitarian objects in 20th century America.

Truman, Charles, ed. Sotheby’s Concise Encyclopedia of Silver.

London: Conran Octopus, 1996. 208p.

Partial contents: Early silver; Medieval period; Renaissance and

Mannerism; Baroque, Rococo and Neoclassicism; Nineteenth
century; American silver; Arts & Crafts and Art Nouveau; Art
deco; Post-War silver; Forgeries, fakes and concoctions;
Hallmarks and standards.

Virginia Museum of Fine Arts. A Noble Pursuit: English Silver from the
Rita Gans Collection at the Virginia Museum of Fine Arts. Richmond,
VA: Virginia Museum of Fine Arts. 88p.

Details the history of a major collection. Well-researched and

documented, the collection catalog provides extensive details on
each work, including marks, heraldry, provenance, and publication
record.

Waters, Deborah Dependahl, ed. Elegant Plate: Three Centuries of

Precious Metals in New York City. New York: Museum of the City of
New York. 2 vols., 2000. 621p.

Presents an in-depth history of silver production, trade and

marketing in New York from the mid–18th century to the present.
Catalog entries provide full descriptive cataloging of each work,
including in many cases detail images of marks.

Copper and Brass

Schiffer, Peter Berwind, Nancy Schiffer, and Herbert F. Schiffer. The

Brass Book: American, English and European, Fifteenth Century
Through 1850. Exton, PA: Schiffer, 1978. 447p.

Decorative and utilitarian brass objects are surveyed in this well-

illustrated historical overview. Included are fireplace accessories,
 candlesticks, tablewares, andirons and other objects. A great deal
of reference material, including a section on the identification of
fakes, makes this an important source for the collector or
researcher.

METALWORK: MARKS AND HALLMARKS

Marks on More Than One Metal

The following sources include marks or hallmarks found on more than one
metal, e.g., silver and gold.

Beuque, Émile. Dictionnaire des Poinçons Officiels Français et

Étrangers, Anciens & Modernes de Leur Création (XIV Siècle) à Nos
Jours. Paris: Courtois, 1925–1928. 2 vols.

Standard source for the identification of gold and silver marks.

Bradbury, Frederick. Bradbury’s Book of Hallmarks: A Guide to Marks

of Origin on English, Scottish and Irish Silver, Gold and Platinum and
on Foreign Imported Silver and Gold Plate 1544 to 2001; Old Sheffield
Plate Makers’ Marks 1743–1860. Millennium ed. Rev. ed. [Great
Britain]: Frederick Bradbury, 1999. 112p.

Small handbook on silver hallmarks. Partial contents: Introduction

to hallmarking; Tables of Assay Office marks on silver.

Citroen, K. A. Dutch Goldsmiths’ and Silversmiths’ Marks and Names

Prior to 1812: A Descriptive and Critical Repertory. Leiden,
Netherlands: Primavera Pers, 1993. 283p.

Partial contents: Maker’s marks: Letter, figure, device; Silvermiths

without recorded marks; Town marks; Date letters; Sources and
works of reference.

Ridgway, Maurice H., and Philip T. Priestley. The Compendium of

Chester Gold & Silver Marks, 1570 to 1962: From the Chester Assay
Office Registers. Woodbridge, Suffolk: Antique Collectors’ Club, 2004.
520p.
 Illustrated compendium of marks; each entry includes registration
details, maker’s address, illustration, company business address,
and indication of maker’s trade (jeweller, etc.).

Ris-Paquot, Oscar. Dictionnaire des Poinçons, Symboles, Signes

Figuratifs, Marques et Monogrammes des Orfèvres Français et
Étrangers. Paris: Librairie Renouard, H. Laurens, éditeur, 1890. 384p.
Reprint: New York: Garland, 1978. (Series: A Dealers’ and Collectors’
Bookshelf, 17: Metalwork.)

Dictionary of marks on gold and silverwork, including jewelry.

Wyler, Seymour B. The Book of Old Silver, English, American,

Foreign: With All Available Hallmarks Including Sheffield Plate Marks.
New York: Crown, 1937. 447p.

Marks on Silver

Bly, John. Miller’s Silver & Sheffield Plate Marks: Including a Guide to
Makers & Styles. London: Miller’s, 2007. Rev. and updated. 192p.

Presents a concise overview of the hallmarking system for the

novice collector, with facsimiles of major London and regional
British marks.

Bohan, Peter J., and Philip Hammerslough. Early Connecticut Silver,

1700–1840. Middletown, CT: Wesleyan University Press, [1970]. 288p.

Partial contents: Connecticut silversmith; Tradition and innovation

in Connecticut silver; Illustrations of hollowware and selected
flatware; Biographical notes on the silversmiths; Index of marks.
(Photographic reproductions of marks keyed to works in private
and public collections.)

Forbes, John. Hallmark: A History of the London Assay Office. London:

Goldsmiths’: Unicorn Press, 1999, 1998. 367p.

Appendix IV, “London Hallmarks for Silver.”

 Green, Robert Alan. Marks of American Silversmiths. Harrison, NY:
Green, 1977. 246p.

Excellent source for the identification of American silverworks.

Partial contents: A primer for silver collectors; American silver
trademarks; Notes on American silver trademarks and hallmarks
(1655–1865); Marks of American silversmiths, jewelers,
watchmakers, clockmakers and vendors.

Kane, Patricia E. Colonial Massachusetts Silversmiths and Jewelers: A

Biographical Dictionary Based on the Notes of Francis Hill Bigelow &
John Marshall Phillips. New Haven, CT: Yale University Art Gallery,
1998. 1241p.

Extensive biographical dictionary of silversmiths. Most entries

include one or more photographic reproduction of silver marks.

Kovel, Ralph, and Terry Kovel. Kovels’ American Silver Marks. New
York: Crown, 1989. 421p.

Easy to use, comprehensive guide to American silver marks and

monograms. Includes references to more than 10,000 silversmiths
active from 1650 to the present. Extensive bibliography of books
and articles on American silver.

Marks on Pewter

Cotterell, Howard Herschel. Old Pewter, Its Makers and Marks in

England, Scotland, and Ireland; An Account of the Old Pewterer & His
Craft. Rutland, VT: C. E. Tuttle, [1963, 1975]. 432p.

The most extensive inventory of marks and monograms on

European and American pewter to date. Partial contents:
Alphabetical list of pewterers; Alphabetical list of initialed marks;
Index to the devices.

Jacobs, Celia. American Pewter Marks & Makers: A Handbook for

Collectors. Brattleboro, VT: Stephen Greene Press, 1970. 93p.
 Small format directory for the serious collector, arranged by form
(e.g., bird, crown), initials, etc.

Laughlin, Ledlie Irwin. Pewter in America: Its Makers and Their

Marks. Barre, MA: Barre, 1969–71. 3 vols.

Well-illustrated reference source for identifying pewterers. Partial

contents: The European background; Marks on pewter; Pewter-
making in America; Household pewter; Ecclesiastical pewter;
Pewterers of Massachusetts Bay; Rhode Island pewterers;
Pewterers of the Connecticut Valley.

Thomas, John Carl. Connecticut Pewter and Pewterers. Hartford:

Connecticut Historical Society, 1976. 194p.

Well-illustrated survey with good photographic reproductions of

hallmarks, includes checklist of Connecticut pewterers.

RUGS AND CARPETS: BIBLIOGRAPHIES

O’Bannon, George W. Oriental Rugs: A Bibliography. Metuchen, NJ:

Scarecrow, 1994. 744p.

Most extensive and up-to-date bibliography of books on Oriental

rugs; general sources, as well as those with narrow geographic
focus including: Anatolia/Turkey; Caucasus; Central
Asia/Afghanistan; China/East Turkestan/Tibet; Eastern Europe;
India; Other Middle East/North Africa/Iberia; Persia.

RUGS AND CARPETS: INDEXES

Textile Museum, Arthur D. Jenkins Library. Rug and Textile Arts: A

Periodical Index, 1890–1982. Boston: G. K. Hall, 1983. 472p.

Includes indexing of approximately 300 periodicals included

among the holdings of the Jenkins Library. Author index; entries
include author, title, article information (journal name, volume,
etc.), subject area. Presence of illustrations noted.
 RUGS AND CARPETS: COLLECTORS’ MANUALS

Allane, Lee. Chinese Rugs: A Buyer’s Guide. New York: Thames and
Hudson, 1993. 144p.

Well-indexed, illustrated overview of Chinese rugs suitable for the

beginning collector. Partial contents: Defining a Chinese rug; How
Chinese rugs are made; Buying a Chinese rug; Cultural context;
Designs; Old and antique rugs; Contemporary rugs.

_____. Oriental Rugs: A Buyer’s Guide. London: Thames and Hudson,

1988. 136p.

Contents: What is an Oriental rug?; How Oriental rugs are made;

Buying a rug; Designs; Rugs of the major producing countries;
Major weaving groups; Minor weaving groups.

Azizollahoff, J.R. Illustrated Buyer’s Guide to Oriental Carpets.

Atglen, PA: Schiffer, 2007. 196p.

Offers practical advice for the rug collector on everything from

weaving types to dyes and care/conservation issues.

_____. Oriental Rugs from A to Z. Atglen, PA: Schiffer, 2004.

A beautifully illustrated introductory chapter on issues of

connoisseurship precedes geographically-focused overview
including: India; Pakistan; Iran or Persia; Turkey; Nepal and Tibet;
China; Egypt; Rumania. Tips on collecting, care and preservation
offered.

Kline, Linda. Beginner’s Guide to Oriental Rugs. 2d ed. Berkeley, CA:

Ross Books, 2010.

Intended for the novice collector, this primer provides basic

information including rug-making techniques, specialized
terminology, and rug-types of major production centers: Persian,
Caucasian, Turkish, Turkoman, Chinese, India, Pakistan and
Romania.
 RUGS AND CARPETS: DICTIONARIES

Neff, Ivan C., and Carol V. Maggs. Dictionary of Oriental Rugs: With a
Monograph on Identification by Weave. London: AD Donker, 1977.
237p.

For the serious scholar and collector, this dictionary provides

references to geographical centers of production, rug types, and
technical material related to weaving. Color reproductions make
this a very good source for identification of various types of rugs
and carpets.

Stone, Peter F. The Oriental Rug Lexicon. Seattle: University of

Washington Press, 1997. 267p.

This A–Z dictionary of terms includes an overview of rug

research, foreign terms and place-names, and brief (often
illustrated) entries on technical processes, materials, design motifs,
and other terms for the serious researcher of Oriental rugs.

Train, John. Oriental Rug Symbols: Their Origins and Meanings from
the Middle East to China. London: Philip Wilson, 1997. 136p.

Handy illustrated primer identifies and describes symbols

(animals, birds, flowers, etc.) used in Middle Eastern, Turkoman
and Chinese carpet design.

RUGS AND CARPETS: ENCYCLOPEDIAS AND SURVEYS

Bennett, Ian, ed. Rugs & Carpets of the World. London: Grange Books,
1996. 352p.

Well-illustrated, readable survey of the great rug producing areas

of the world. Partial contents: Techniques and materials of Oriental
carpet weaving; Oriental and African rugs and carpets; European
rugs and carpets; North American rugs and carpets; Buying and
maintenance of rugs and carpets.
Chaldecott, Nada. Dhurries: History, Technique, Pattern, Identification.
New York: Thames and Hudson, 2003. 160p.

Survey of dhurry production, 1860 through 1949. Contents:

Introduction [floor paintings, reed mats, history, materials and
technique]; Striped dhurries; Pictorial dhurries; Floral dhurries;
Medallion dhurries; Geometric dhurries; Prayer dhurries.

Concaro, Edoardo, and Alberto Levi, eds. Sovereign Carpets: Unknown

Masterpieces from European Collections. Milan: Skira, 1999. 253p.

Partial contents: Rugs of Anatolia; Persian carpet; Rugs of the

Caucasus; Kilims; Rugs of the Turkmen and other peoples of
Central Asia; Rugs of East Turkestan; Tibetan rugs; Chinese
carpets; Carpets of Mughal India; Rugs of the Mediterranean
countries.

Davies, Peter. Antique Kilims of Anatolia. New York: W. W. Norton,

2000. 189p.

Scholarly overview of the history of kilim design and production;

73 stunning color plates make this an excellent reference work for
the identification of kilim patterns and variations.

Day, Susan. Art Deco and Modernist Carpets. San Francisco: Chronicle
Books, 2002. 224p.

Traces the development of the art deco carpet from the turn-of-the-
century Wiener Werkstätte through mid-century British and
American designs.

Denny, Walter B. The Classical Tradition in Anatolian Carpets.

Washington, DC: The Textile Museum, 2002. 128p.

Richly illustrated exhibition catalog. Partial contents: Anatolian

carpets and history; Technique and carpet design; Anatolia and its
neighbors: history and artistic environment; Geometric designs in
classical Anatolian carpets; Carpet designs from the world of silk
textiles; The “design revolution,” Ushak production, and its
 imitators; Carpet design and the Ottoman Court; Anatolian prayer
rugs.

_____. Sotheby’s Guide to Oriental Carpets. New York: Simon &

Schuster, 1994. 203p.

Partial contents: Why collect Oriental carpets?; What is a carpet?;

What are Anatolian carpets?; What are Transcaucasian carpets?;
What are Iranian carpets?; What are Turkmen carpets?; Where and
how to purchase Oriental rugs and carpets; How to understand
price, value, and the marketplace; How to display, maintain, and
protect your Oriental carpets.

Eiland, Murray L., and Murray Eiland, III. Oriental Carpets: A

Complete Guide. 4th ed. Boston: Little, Brown, 1998. 368p.

Encyclopedic study of Oriental carpets presents a good deal of

technical information (construction methods and materials, dyes,
etc.), followed by country-specific, or regional overviews of carpet
design. Partial contents: Persia; Turkey; Central Asia; Caucasus;
India & Pakistan; China; Eastern Turkestan; Tibet; North Africa;
the Balkans.

Felton, Anton. Jewish Carpets: A History and Guide. Woodbridge,

Suffolk: Antique Collectors’ Club, 1997. 199p.

History of Jewish carpets from the first millennium B.C.E. through

the late 20th century. Thorough analysis of symbolism and design,
and a section on great examples in museums around the world.

Gantzhorn, Volkmar. Oriental Carpets: Their Iconology and

Iconography from Earliest Times to the 18th Century. Translated by
Charles Madsen. Cologne: Taschen, 1998. 532p.

Surveys the evolution of the knotted pile carpet from the 4th
century B.C.E. through the modern era. Using art historical
sources (primarily painting), illustrates the evolution of carpet
designs. Many color illustrations make this an excellent source for
identification of regional styles and variations.
Great Carpets of the World. Chapters by Valerie Berinstain, et al.;
Introduction by Yves Mikaeloff; prefaces by Daniel Alcouffe and
Marthe Bernus-Taylor. New York: Vendome Press, 1996. 377p.

Historical overview of rugs and carpets, geographical focus. Very

well-illustrated, and useful as a source for the identification of
styles and motifs.

Hull, Alastair, and José Luczyc-Wyhowska. Kilim: The Complete

Guide: History, Pattern, Technique, Identification. London: Thames
and Hudson, 1993. 352p.

This very beautifully illustrated study of the kilim is organized by

region: North Africa; Anatolia; Persia and the Caucasus;
Afghanistan and Central Asia. Additional information of interest
to the collector and researcher includes technical production
material, overview of motifs and symbolism, and notes on
collecting and caring for kilims.

Lockwood, Yvonne R. Jewish Symbols and Secrets: A Fifteenth-

Century Spanish Jewish Carpet. Portland, OR: Vallentine Mitchell,
2012. 286p.

Provides a comprehensive look at the role of carpets in

Spanish/Jewish culture in the 15th century.

MacDonald, Brian W. Tribal Rugs: Treasures of the Black Tent.

Woodbridge, Suffolk: Antique Collectors’ Club, 2007. 302p.

Hundreds of very good quality color reproductions make this an

excellent source for the identification of Near Eastern and Central
Asian tribal rugs.

Marcuson, Alan, ed. Carpet & Textile Art. London: Hali, 1994. 247p.
[The Hali Annual, no. 1].

See also individual issues of the periodical Hali, indexed in Art

Index (print) and its electronic alternatives, Art Index Retrospective
and Art Full Text.
Milanesi, Enza. The Bulfinch Guide to Carpets: How to Identify,
Classify, and Evaluate Antique Oriental Carpets and Rugs. Boston:
Little, Brown, 1993. 191p.

Concise overview of basics of rug and carpet structure and

manufacture, decoration, styles, dating, etc.

_____. The Carpet: An Illustrated Guide to the Rugs and Kilims of the
World. English translation by Rosanna M. Giammanco Frongia.
London: Tauris, 1999. 200p.

Nemati, Parviz. The Splendour of Antique Rugs and Tapestries.

Woodbridge, Suffolk: Antique Collectors’ Club: PDN
Communications, 2001. 407p.

A most lavishly illustrated history of rugs and tapestries, each

work included is exquisitely photographed and fully documented.
Partial contents: History of rug making; Materials and techniques
used in rug making; Persian rugs; Turkish rugs; Caucasian rugs;
Turkmen rugs; Indian rugs; Chinese rugs; European rugs;
Tapestries.

Opie, James. Tribal Rugs: Nomadic and Village Weavings from the
Near East. Portland, OR: Tolstoy Press, 1992. 328p.

Encyclopedic survey of tribal rug design of the Middle East and

Central Asia, arranged geographically or by name of tribe. Ancient
through modern period works included. Excellent source for
identification. Partial contents: Pazyryk rug; Ancient motifs in
tribal rugs; Design origins—exploring a vast family of motifs.
Tribal surveys: Lurs; Bakyityaris; Kurds; Quashqa’I Confederacy;
Khamesh Confederacy; Afshars; Baluch & related tribes; Shah
savan Confederacy; Anatolia; Caucasus; Turkomans.

Pickering, Brooke. Moroccan Carpets. London: Laurence King, 1998.

160p.

Well-illustrated overview of Moroccan carpets, very useful for the

identification of regional designs and variations. Partial contents:
 Weaving traditions of Morocco; Plains of Marrakesh; High Atlas;
Middle Atlas; Zemmour Confederation.

Rostov, Charles I. Chinese Carpets. New York: Abrams, 1983. 223p.

Surveys ancient through 20th century Chinese carpets, including

overview of materials, construction, points of identification. Partial
contents: History; Symbols & symbolism; Weaving methods &
techniques; Materials; Identification & dating.

Sakhai, Essie. Persian Rugs and Carpets: The Fabric of Life. Ian
Bennett, ed. Woodbridge, Suffolk: Antique Collector’s Club, 2008.
448p.

This massive volume profiles the major weaving cities/regions in

what is now Iran. Richly illustrated in color, includes information
on Persian carpets found in Spain, France, East Turkestan and
China.

Sherrill, Sarah B. Carpets and Rugs of Europe and America. New York:
Abbeville Press, 1996. 463p.

Overview of the history of carpet and rug design and production in

Europe and the U.S. Copious black & white and full color
reproductions make this an excellent source for the identification
of patterns and national styles. Survey chapters include: Spain &
Portugal; France; Belgium; Great Britain; United States; Lesser-
known rug traditions; 19th century to the present.

Spallanzani, Marco. Oriental Rugs in Renaissance Florence. Florence:

Bruschettini Foundation for Islamic and Asian Art, 2007. 279p.

Contents: Importation; Distribution in Florence; Customers; Prices

and Sizes; Functions; Taste: The Oriental Rug in Florence.

Stone, Peter F. Tribal & Village Rugs: The Definitive Guide to Design,
Pattern and Motif. New York: Thames & Hudson, 2004. 350p.
 In-depth analyses of tribal rug patterns and motifs. Partial
contents: Anatolian motifs; Motifs of the Baluch and neighboring
tribes; Caucasian motifs; Kurdish motifs; Persian motifs; Turkmen
motifs.

Tanavoli, Parviz. Undiscovered Minimalism: Gelims from Northern

Iran. Zürich: Werner Weber, 2011. 255p.

Contents: The discovery; Undiscovered minimalism; gelims;

Technical skill and aesthetic mastery.

Walker, Daniel S. Flowers Underfoot: Indian Carpets of the Mughal

Era. New York: Metropolitan Museum of Art; Distributed by Abrams,
1997. 199p.

Beautifully illustrated exhibition catalog offers in-depth analysis

of Mughal era carpets: Persian style, flower style and later carpet
types. Includes glossary of terms and very extensive bibliography.
 Chapter Six

Market Research: Works of Art

Art Market Research

The rapid expansion in the market for works of art and design has created a
great need for information, and this need has been addressed by a deluge of
reference materials (both print and online), databases, websites and more.
Not so long ago, art price information was far more opaque than it is today,
in addition to being more cumbersome and “user unfriendly,” if not
downright user-hostile. Today, a collector can gain access to highly
advanced tools that provide the data that was once readily available to
appraisers, dealers and other market insiders. The purpose of this chapter is
to identify the most important of these tools, and to guide the user in their
selection and use.

The auction world provides the vast majority of accurate data on fine and
decorative art values, for reasons set forth in earlier chapters. For this
reason, most of the sources identified and described below focus on
auctions. In preparing this chapter, I made every attempt to identify sources
that offer retail gallery values, but caution the reader that these recorded
“asking prices” are not necessarily actual values, as a great deal of
negotiation can occur in a fine art retail gallery setting. Recognizing the fact
that certain market segments (e.g., Americana, Contemporary) are most
active during specific weeks of the year, each year, we begin with a few tips
on how to conduct research for various periods, styles and media.

RESEARCHING SPECIFIC MARKETS

We saw in earlier chapters that numerous factors must be considered in any
attempt to establish the value of an artwork. Most of these factors relate to
the work and to its creator, but some value drivers are far more generalized.
For example, the relative popularity of a particular period, style, and/or
country of origin will most certainly have an impact on values attainable by
individuals’ works within such categories. Appraisers, collectors and others
with an interest in any particular market often find the search for specific
market information to be a daunting research task. The following tips are
intended for researchers trying to find market analyses in a wide array of
literature—from newspapers and magazines to subscription databases
offering market analyses.

Step One:Identify your market, and its likely dates of coverage in the
media. We saw earlier that the auction scene—particularly the high-end,
international auction scene—operates on a schedule that is quite consistent
from year to year. Consider, for example, the market for works by artists of
Latin America. When are the high profile Latin American sales at
Christie’s, Sotheby’s and the other larger auction houses? A quick look at
Christie’s website reveals that in 2012 (in the United States), the third week
of November saw the big evening sales of this rapidly expanding market.
Latin American sales figured prominently at the end of May, as well. So,
knowing that our market of interest is most active in May and November,
we know that these months are most likely to see the appearance of good
market surveys of Latin American art in major national newspapers and
magazines.

Some categories are scheduled to coincide with, or immediately precede or

follow other sales categories that are likely to be sought after by the same
collector bases. For example, at Sotheby’s, “Sales for African & Oceanic
Art are typically held in New York in May, and in Paris in June and
December. The New York sales are scheduled to coincide with Sotheby’s
Impressionist & Modern Art and Contemporary Art sales and they feature
works that appeal to a more modernist sensibility. Our Paris sales focus on
more traditional offerings.”1

For most major categories of artworks offered for sale at auction (e.g., Old
Masters, Americana, Photography), a similarly regular, (usually) bi-annual
schedule can be located just as easily. A review of the past few years’
auction season calendars at Sotheby’s and Christie’s New York reveals the
following dates as the recurring weeks for selected media and subjects.

Auction Season Calendar

January—last two weeks: Americana

January—last week: Olds Masters
March—mid-month: Asia Week
April—first week: Photography
April—mid-month: Russian
May—first week: Prints
May—first two weeks: Impressionism
May—mid-month: 19th Century Paintings Contemporary
May—last week: Latin American Art
May—mid-month: African, Oceanic
June—first week: Old Masters
September—2nd or 3rd week: Asia Week
October—first week: Photographs
November—first week: Prints
November—first week: Impressionism
November—second week: 19th Century Paintings
November—mid-month: Contemporary
November—mid-month: Latin American

So, once we have found the month, or months in which our sought-after
market will most likely receive attention in the press, what’s next? A news
media index, of course!

Step Two: Consult an index. For market segment research, I prefer Lexis
Nexis or Factiva, two subscription databases that are available in many
academic libraries. ABI/Inform will do as well. Remember to take
advantage of the “Advanced Search” capability of whichever source you
select.

As an example, consider the strategy best used in a very large database like
LexisNexis:
A typical keyword search for reportage on the major Latin American
auction season might be constructed like this:

Latin American AND art AND (market or auction)

Unfortunately, this search, as conducted on February 27, 2013, retrieves

998 results—far too many to review in search of the very few that provide
the sought-after data.

An “Advanced Search,” by contrast, allows us to fine-tune our search. One

approach might be to search for:

Latin American W/s art W/s (market or auction)

Here, we’re asking for the expression “Latin American” to appear within
the same sentence as the words “art” and either “market” or “auction,”
yielding items like:

“NY Latin American art auctions led by Surrealist, Mexican works”

What’s more, our finely tuned search, when limited to the month of
November, retrieved only 29 items—a focused set that can be reviewed
within a matter of minutes.

In short, it behooves the serious researcher to learn the handful of

specialized commands that constitute “Advanced” searching—a mode that
is offered by most information systems. As information resources grow in
size over time, only highly-tailored search strategies will provide
reasonably fast access to accurate information.

THE AUCTION CATALOG

Printed auction catalogs are assembled and distributed to interested

collectors and other subscribers a few weeks before the auction.
Increasingly, catalog entries are also made available on the web, making it
even easier for interested collectors to survey the offerings to be included in
upcoming sales, and for sellers to gauge the market’s performance before
putting works up for sale. While the web-based catalog is a great boon to
the collector, auction houses have little incentive to maintain a rich archive
of past catalogs. Auction houses are, after all, in the business of selling art,
not in maintaining an art sales library for interested collectors, scholars and
other art researchers. While this situation differs from house to house, at
present the printed catalog serves as the only stable, archived record of
auction sales; while the current e-catalogs are fully illustrated, some auction
houses remove images of works that are subject to copyright immediately,
or soon after they are sold or bought-in.

The larger auction houses hold thousands of sales annually, and these sales
vary in their focus as well as in the level, or quality, of material offered for
sale. Some sales are style- or period-specific (e.g., Impressionist paintings,
contemporary art), while others offer a diverse range of objects. The
individual estate sale, which might include decorative arts, fine arts and
collectible objects from a single collection, represents a good example of
the latter.

Depending upon the importance of the work of art being placed on the
block, catalogs will provide a range of descriptive and sometimes even
critical information on each work. Lower-level sales might include only
brief descriptions of the lots offered for sale, with no accompanying
reproductions. At the other end of the spectrum, a major work offered in an
important sale will very often be accompanied by a catalog entry that is
numerous pages in length. Individual artwork entries in auction catalogs can
be expected to include some or all of the following elements:

• Reproduction (color or black and white); sometimes, details

including signature if present

• Artist (if known) and dates of birth/death

• Descriptive Information (title, dimensions, medium)

• High and low estimates

• Provenance

• Bibliography of published references

 • Exhibition history

• Critical essay (usually reserved for the most important offerings in a

sale)

A multi-million dollar work of art often includes all of the above because,
as discussed earlier, various factors (particularly provenance, publication
and exhibition history) affect the value assigned to the work.

The Auction Price List

Art market researchers are usually most interested in the prices actually
paid for works of art.2 Once the auction is over, and the prices known and
recorded, they are disseminated to catalog subscribers in the form of a price
list, arranged simply by lot number. Today, most of the larger auction
houses post their price lists on the web. Libraries, museums and other
institutional subscribers of printed catalogs usually affix the price list to the
catalog, allowing the user to quickly locate the “price realized,” or to easily
determine those works that were unsold, or “bought-in.” Some libraries,
unfortunately, lack the staff required to complete this final step—a process
that can be very time-consuming. In these cases, the researcher must consult
one of the many “item-level” sources described below to determine the
actual price paid for individual works.

Auction Catalogs and the Internet

Increasingly, auction houses are using the Internet to publicize information

on forthcoming sales. Depending again upon the significance of the work
under consideration, any or all of the data presented in print will be
provided on the auction house’s website. The larger auction houses make
their offerings available on the web, while continuing to publish printed
catalogs.

While electronic dissemination of auction information is a great boon to

both the auctioneer and the collector, auction houses have little motivation
to archive their catalogs after the sale has concluded. The resulting
ephemeral nature of electronic auction information has some serious
repercussions for the art market researcher. For the time being, however,
most auction houses continue to disseminate their catalogs in print, and
larger libraries provide access to historical runs of these all-important art
market research tools.

IDENTIFYING SALES OF RELEVANT ARTWORKS AT AUCTION

As noted in the preceding chapters, the first step in the process of

determining the value of a particular work of art involves analysis of
exactly what the piece is. This can be a simple project, as in the case of
locating certain editioned prints,3 or it can be extremely complex, involving
the opinion of one or more experts on the particular artist, school or style of
work. Once identified, however, the researcher can proceed in the search by
finding auction houses that handle the same, or comparable, works of art.
To assist in this process, numerous tools, described below, are
indispensable.

Auction houses’ Internet sites offer a number of free services that are of
great interest to collectors, dealers, and scholars of art and its markets.
Perhaps the most important of these is the “Alert” function, which sends an
email to a registered user when a specific type of work is offered for sale at
an upcoming auction. On Sotheby’s and Christie’s websites, this feature is
referred to as a “wishlist.” Registered users may create a wishlist on a
particular artist or designer. Collectors of objects might simply create a
wishlist for items matching descriptive terms—for example, “pewter” and
“tankard.” The wishlist creator selects the desired frequency (daily, weekly,
etc.), and will thereafter receive email notices at those intervals.

DATABASES FOR ESTABLISHING VALUE

Many larger public and museum libraries maintain collections of auction

sales catalogs. In order to use them effectively, the researcher usually needs
to know which of the many sales include, or might include, items of
interest. Various indexes—some in print, but many now in electronic format
—can assist in this process.

Libraries that maintain good collections of auction house sales catalogs

usually arrange them in one of two ways: by auction house name
subdivided by date, or vice-versa, by date subdivided by auction house.
Date and auction house name represent the two pieces of information
absolutely required for the retrieval of catalogs in libraries’ collections. We
begin this section, therefore, with an introduction to SCIPIO, an often
under-utilized but very powerful online database that provides instant
access to these and other descriptive elements for each sales catalog.

SCIPIO (Sales Catalog Index Project Input Online). OCLC Online

Computer Library Center, Inc.

SCIPIO can be best described as an online inventory of auction

sales catalogs. A product of the Online Computer Library Center,
Inc. (OCLC), SCIPIO offers the user access to an extensive
amount of bibliographic literature on the auction trade.

SCIPIO is the only fully-indexed online catalog of auction

literature in existence. As such, it makes large collections of this
vital material usable for professional researchers. Think of it this
way. A very large library, like the New York Public Library, treats
the auction catalogs of Christie’s, New York as a single title, the
way a journal or newspaper is handled. It is far beyond the scope
of any single institution to provide the depth of indexing
necessary to make this vast quantity of material truly useful.
That’s where SCIPIO comes in. Each catalog is analyzed and
indexed in one of the consortium’s 25 different fine art
organizations. As of this writing, over 300,000 individual catalogs
are fully indexed in SCIPIO.

Users of SCIPIO should be aware that many libraries hold

some (or many, or most—depending upon their size) of the
catalogs indexed in its system, but that only the full members of
the SCIPIO participating institutions actually list their holdings in
SCIPIO. So, a researcher who identifies a desired catalog in
SCIPIO is advised to consult their own library’s catalog to see if
the item is available locally.

It is important to note that SCIPIO does not serve as an index to

each of the works that appears in the auction catalogs it indexes.
That is, it will not disclose if a catalog contains an entry on a
specific painting, drawing, piece of porcelain, or other work of
fine or decorative art. For this level of specificity, myriad sources,
described later in this and throughout the next chapter, must be
consulted.

Each entry in the SCIPIO database includes numerous pieces of

information about auction sales and their catalogs, including

• auction house name

• title information
• date of sale
• sale code
• place of sale
• collector or seller name(s)
• name(s) of individual auctioneer(s) if applicable
• subject heading(s) (optional)
• Lugt, Lancour, and other citation numbers
• notes pertinent to the sale as well as local notes
• unique ID number beginning with the code of the holding
library.

Beyond the requisite auction house name and date of sale, the
indexing provided by SCIPIO can be enormously helpful to the
researcher. For example, a simple keyword search using the terms
“garden statuary” yields 299 records,4 each of which represents a
sale catalog in which “garden statuary” is featured prominently.
Note that a search of ubiquitous forms, styles or periods (e.g.,
“contemporary art” or “nineteenth century paintings”) will yield
far too many results to be usable, unless further limited by auction
house name, date range, or other additional search criteria.

In addition to recent and even forthcoming sales, SCIPIO

includes information on auctions dating as far back as the late
16th century—making it a very important tool for historical
research. SCIPIO’s value as an historical art market research tool
is explored in greater detail in Chapter Eight.
 Because it does not index each item in a sale, SCIPIO is more
useful for conducting research on decorative arts objects than it is
for finding information on individual artists’ works. The latter are
very well-served by the item level indexes described below, while
decorative arts information can be most elusive, for reasons
explored in detail in the next chapter. For this reason, research on
a piece of English Chippendale furniture or other object of its
kind will likely require a considerable amount of catalog
scanning. The researcher engaging in this type of search will
quickly learn that the most relevant catalogs have the terms
“English” and “furniture” in their titles, and that SCIPIO is
indispensable for this type of broad term searching.

Library Catalogs with Significant Auction Catalog Holdings

Because it is so highly specialized, SCIPIO is not offered through most

libraries—even the very large ones. In recent years, a few major
contributors to SCIPIO have introduced a feature to their online catalogs
that can be very useful to the researcher lacking full SCIPIO access: they
have created a separate search capability for individual auction catalogs.
The following libraries’ online catalogs, freely available, can be used to
identify individual sales catalogs for tens of thousands of auctions.

Art Institute of Chicago. http://www.artic.edu.

The Art Institute of Chicago’s Ryerson and Burnham Libraries

include an enormous number of auction catalogs,5 and these are
searchable via the libraries’ online catalog. Search options
include:

• auction house name/consignor

• title
• auction house/consignor and title
• words in the title
• words in the notes
• date of sale
• call number
 The “words in the notes” feature is particularly useful, because
the notes fields include references to some of the standard finding
aids, e.g., “Lugt” numbers. Fritz Lugt’s Repertoire des
Catalogues de Ventes Publiques… is described in Chapter 8.

Cleveland Museum of Art Ingalls Library.

http://library.clevelandart.org

The Cleveland Museum of Art’s library maintains a collection of

tens of thousands of auction catalogs, representing the major
international and some of the important smaller, regional houses.
The library’s online catalog offers searchability by:

• keyword
• auction house name (exact)
• auction house keyword
• date of sale
• sale code

A number of other “sorting” options (e.g., sale date,

descending) make this a particularly useful interface for the
market researcher.

Frick Art Reference Library. http://www.frick.org.

Founded in 1920 by Helen Clay Frick, the Frick Art Reference

Library maintains an extensive, historically rich, international
collection of auction sales catalogs. The library’s online catalog,
FRESCO, allows the user to search the Frick’s auction catalog
offerings by auction house/auctioneer, title, subject or consignor,
keyword, call number, sale code and date of sale. For serious
researchers, the Library’s Center for the History of Collecting
offers a wide range of tools and programs that supplement the
Library’s rich collections (both print and online) of materials
related to collecting and patronage.

Getty Research Institute Research Library Catalog.

http://www.getty.edu/research/.
 The Getty Research Institute maintains a very extensive
collection of auction house catalogs, many of them annotated,
historically significant titles. The online catalog of this important
research center allow the user to limit searches to “auction
catalogs only.”

Metropolitan Museum of Art. http://library.metmuseum.org.

The Metropolitan Museum of Art’s Watson Library maintains a

very rich, historically significant collection of auction sales
catalogs. Its holdings are now searchable on Watsonline, the
library’s online catalog. Search options include auction house,
title, keyword, seller, date of sale and sale code.

Victoria & Albert Museum—National Art Library.

http://www.vam.ac.uk/nal/.

The Victoria & Albert Museum’s National Art Library maintains

a strong collection of auction catalogs. The library’s online
catalog has a very intuitive interface that allows searchers to
locate auction catalogs by title, owner name, auction house name,
or sale date. Search results may be sorted in a variety of ways,
including sale date (ascending or descending).

Auction Catalog Vendors

Sometimes, particularly when one or two specific catalogs will suffice for a
research project, buying the needed volumes directly from a vendor can be
the most time- and cost-efficient method of working. Several dealers
maintain extensive inventories of auction catalog holdings. A few of the
very best include:

Addall: Book Search and Price Comparison. http://www.addall.com

Addall “is a free service that searches for the best deal in books
anywhere on-line. It was built by book buyers for book buyers.
AddALL is an independent and impartial web site, not owned by
 any bookstore. The search result is therefore totally
objective.”[Addall website].

This online system allows users to search for books made

available on more than forty booksites, which represent a
combined total of 20,000 sellers. Be sure to select the link labeled
“Searching for out-of-print books?” in order to gain access to the
vast store of not only auction catalogs, but also the many millions
of new and used books in art, design and other subjects.

The Catalog Kid.

http://www.catalogkid.com
Phone: 800.258.2056
Fax: 732.922.0800
Outside U.S.: 732.922.5800

The Catalog Kid specializes in post-auction catalog sales, and

maintains an extensive inventory. In addition, the firm’s offerings
are browsable (by broad topic) and keyword searchable online.
As such, the database represents yet another freely-available
research tool. As this book goes to press, the Catalog Kid’s
website boasts over 200,000 catalogs in stock. Catalog Kid is
very highly regarded among librarians, appraisers, auction houses
and other auction catalog users.

Ebay. http://www.ebay.com

Sometimes, ebay offers the best prices on auction catalogs and

other books. A recent search of the site revealed over 10,000
auction sale titles, many offered at prices far below regular
catalogue vendors’ prices.

Jeffrey Eger
http://www.dndgalleries.com/auction.html
Phone: 973.455.1843
Fax: 973.455.0186
 Jeffrey Eger is an extremely knowledgeable dealer whose firm
maintains an extensive collection of auction catalogs dating from
1800 to the present. Eger works closely with market researchers
and vendors, and is often called upon to supply obscure titles to
large research libraries, auction houses and other clients. From
last year’s contemporary sales to late 19th century estate auctions,
Jeffrey Eger is likely to be able to supply the desired auction
catalog. He also maintains an extensive collection of post-sale
price realized lists.

Online Fine Arts Information Sources

The following represent the major electronic sources of valuation data for
works of fine art. The majority are Internet-based, but some are available on
CD-ROM. Larger research libraries will likely provide access to one or
more of the major sources, but in certain cases, individual subscriptions are
available.

Art Forum: Old Master Paintings [CD ROM]. Alderney, Channel

Islands: artnet, [199-]– .

A fully searchable photographic database of Old Master paintings

that have passed through the major international auction houses.
Continued by I-On-Art (see below).

Art Sales Index.

Founded in 1968 by Richard Hislop, the Art Sales Index dataset

has been acquired by Blouin Art Info, and consequently, is
described under the entry for Blouin below.

Artfacts.net http://www.artfacts.net

Founded in 2001, this site offers a suite of analytical tools that

will be of great interest to dealers, collectors, and market research
scholars. Artists’ inclusion in both public and private gallery
exhibitions is just one of several “markers” that can be used to
 indicate his or her level of popularity relative to peers. A great
deal of data has been assembled, including:

• Current exhibitions—thousands of current exhibitions are

described and analyzed at any given time period

• Artists’ data, including sales and exhibition metrics

• Graphical presentation of ranking data

• Biography and other details

• Museum exhibition trends

• Institutional analysis, including auction houses, private

galleries, museums (public and private) and more

• Professional artist analytics including “quantitative

analysis, localisation and characterisation of the markets;
sales volumes, top sells, beaten prices and bids; absolute and
average values relative to the used medium and the period of
production; analysis of the ‘Peer Group.’” [artfacts.net
website]

artnet. http://www.artnet.com.

artnet is one of the largest and most powerful of the illustrated

online auction information services. Like most of the other web-
based tools described in this section, artnet offers some features
without charge, but the art market research database, and certain
other features are available only by subscription. artnet is
indispensable to the professional art market researcher, but it is
also very intuitive and user-friendly for the novice. Media
covered are paintings, sculpture, prints, drawings and other works
on paper, photographs and decorative arts.

In addition to its information offerings, artnet maintains an

active online auction component, and prices realized are included
among those archived in the price database. While the world of
fine art has lagged behind that of some other markets in terms of
online sales, some progress has been made in this arena in recent
years. artnet, in fact, has at least one offering that broke the
million dollar price ceiling: a 1978 Flowers painting by Andy
Warhol, which attained a sale price of $1,322,500 (estimate $1.1–
1.5M) on July 20, 2011.

The following represent the most important of artnet’s free-of-

charge components:

• artnet Artists A–Z allows the searcher to identify the galleries

that represent artists, or that have pieces by the sought-after artist
on consignment. Many good images with descriptions, complete
contact information, and occasionally, asking prices (the majority
refer potential buyers and other researchers to contact the gallery
for price, usually with a convenient email link). Individual artist
entries include a great deal of information, including, in many
cases, a biography and a “timeline,” exhibition record, an
exhibition calendar (including forthcoming events), and lists of
artworks for sale, dealers who are selling works by the subject
artist, and finally, dealers interested in buying works.

artnet Monographs is a resource developed in close

collaboration with artists, estates and galleries. This body of
Modern and Contemporary artists’ sites brings insight into the
depth and scope of extraordinary artists’ oeuvres, and it serves as
a research tool for students, faculty, museum curators,
researchers, dealers and collectors.” Included in each individual
artist’s monograph, researchers will find some, or all of the
following:

• Works of art

• Biography

• Chronology
• Solo Exhibitions

• Group Exhibitions

• Selected Catalogues

• Selected Books

• Selected Articles

• Artist Reviews

• Artist Interviews—list of interviews published in

magazines and newspapers

• Museums and Public Collections

• Special Projects

• artnet Galleries provides a convenient, A–Z listing of

international galleries, with complete contact information
and very often, a link to the gallery’s inventory catalog. The
thousands of galleries are classified as: Fine Art Galleries,
Design Galleries, and Decorative Art and Antiques Galleries.
Many pages have been added to browse artworks available at
these galleries by collecting categories, such as
Contemporary Art, Old Masters, Photography and more.

• artnet Calendar includes daily, weekly and monthly

auction and gallery happenings.

• Searchable directories for galleries, museums and auction

houses

• artnet Magazine, unfortunately, is no longer published,

but archived issues of this very high quality online
publication are, at this writing, still available.
 • artnet Insights, new editorial section with information on
the art market and art education

The following represent the most important of artnet’s

subscription components:

Among artnet’s fee-based components is the Price Database Fine

Art and Design. Most appraisers and other art market
professionals would agree that this is one of the most powerful
tools for identifying sales of fine art. Because of its very robust
indexing, users can identify sales of artworks offered, sold or
bought-in at auction over the past three and a half decades.

Price Database Fine Art and Design provides very extensive

and reliable coverage of the international auction world since the
mid–1980s. Considering the fact that the database includes
records from some 1,400 auction houses total, and well over
seven million individual sales records, the cost of an artnet search
is very reasonable. For the researcher who requires only
occasional access to this type of information, artnet’s monthly or
daily subscription option are moderate. For the art world
professional, various plans are available, including annual,
unlimited access to the Price Database.

The Price Database provides “one-stop shopping” for the

researcher who needs to generate a list of sales of works
internationally. The search interface is very straightforward and
intuitive (see illustration). The researcher begins by searching
either an artist’s name, or the name of an auction house. The
search can be further delimited and refined using any of the
following criteria:

• Auction house name

• Media categories (paintings, sculpture, etc.)
• Title words
• Year in which the work was executed
• Size range
 • Price range
• Sale date (or date range, e.g., from 2000 through 2004)

Artnet’s Price Database Fine Art and Design is an enormous

inventory of sales records, and consequently, the ability to create
highly focused searches is extremely important. Consider, for
example, the researcher trying to identify sales of a certain type of
work by Andy Warhol—arguably one of the most prolific artists
of all time. The broadest search (by name only) yields 23,907
sales records as of April 2, 2013. Imagine that the sought-after
work is one of Warhol’s iconic “flower” paintings. Limiting our
search to “paintings” that have “flowers” in the title retrieves 339
comparable works. Note that this search could be further
delimited by year of work, range of dimensions, etc.

Artnet’s Price Database decorative Art database enables users

to locate decorative and utilitarian objects. It is described in much
greater detail in the next chapter.

Artnet Market Reports provide a rich statistical portrait of

selected artists’ works over the past several decades. Current,
4,300 artists’ reports are available for purchase. Subscribers may
purchase a single report, but art market professionals might
consider a larger bundle subscription in order to get a highly
reduced per-report rate.

Easy-to-read graphs and charts include the subject artist’s:

• Global Auction Sales Volume

• Top Ten Lots (relative to all other lots) by year
• Lots sold and bought-in
• Adjusted average price and mean estimate
• Lots sold for > high estimate
• Lots sold for < mean estimate
• Estimated monthly searches on artnet database (this
internally-generated figure is actually a good metric for
artists’ popularity among collectors)
 Artnet Analytics Reports is a new service, which offers custom
reports charting artists’ performance against standard market
indicators like the S&P 500 and Dow Jones.

artprice.com. http://www.artprice.com.

Like other major vendors of art market information on the

Internet, artprice.com offers the subscriber access to a variety of
tools for researching the careers, and markets, of artists.
Paintings, works on paper, prints, posters, sculpture, photography,
and multimedia are covered. A few of the artprice components
are available to the casual user at no cost; the more valuable tools
are available by subscription. Various plans are available, ranging
from short-term, for the infrequent researcher, to annual,
unlimited use accounts for the serious collector or art market
professional.

Artprice provides the following tools and services:

• Detailed auction records for auction sales by more than

500,000 artists. Records are detailed and most are illustrated.
Artprice is particularly strong in its international coverage of
auction houses. The quality of many of the most recently
added images is unusually clear. The provision of a
“magnifying glass” affords the user a good deal of visual
data.

• Details of upcoming auction sales

• Easy-to-use artist directory, which includes not only links

to auction records, but also basic biography and signature
examples for many artists

• Graphically illustrated market analysis that includes: Price

index; Artist benchmark; Annual auction turnover; Annual
number of lots sold; Annual bought-in lots rate; Annual
growth of rank of the artist by turnover; Artist’s turnover—
weight by country
Artvalue.com: Art, Luxe & Collection. http://www.artvalue.com

This free-of-charge database provides access to the online version

of Mayer’s (Guide Mayer), founded in 1962. Artvalue boasts a
database of 160,000 artists’ names. For a free resource, artvalue
reports on auction prices for this large, and highly diverse group
of artists. In addition to price data, artvalue.com serves as an
online gallery of primarily Western European artists’ works.

AskART. http://AskART.com.

AskART is a relatively inexpensive database (covering 1989–

present) that provides the researcher with a great deal of
information on American artists. Painting, drawing and sculpture
are included. Certain of the system’s components are available
free, but for the art market researcher, the all-important auction
record section is available only by subscription (daily and
monthly rates available). As this book goes to press, AskART
includes information on some 32,000 American artists, including
some very difficult-to-find minor artists dating from as early as
the 18th century.

AskART offers a great deal of information beyond auction sales

results. The following sections of the AskART system are
available free of charge on the web:

• Museums—a searchable directory

• Galleries and Dealers—searchable directory
• Auction House Directory
• Art Travel Directory
• Professional Associations Directory
• Art Glossary of Terms
• Art Available from Galleries

In the fee-based subscription service, the individual artists’

search feature allows the subscriber to search a substantial
number of auction records, many of which include a full-color
reproduction of the subject work. The search interface is clear and
 intuitive, and allows the user to sort results by date, dimensions,
lot number, and sale price. Similarly, searches can be limited by
auction house, date-of-sale, title or title words, and media. The
title word search can be particularly useful for the researcher
seeking sales of works of some highly prolific artists (like Andy
Warhol). Warhol produced a great many paintings titled Flowers,
in various colors and dimensions. Limiting the search of Warhol
sales to “flowers” retrieves only the Flower paintings, while
excluding more than 3000 irrelevant items.6

Individual AskART records are clear, and usually include a

good color reproduction. For Hudson River School artist Martin
Johnson Heade, 129 auction records dating from 1989 are
included, along with “artwork for sale” and “artwork wanted”
postings, dealer and museum listings, a biography and listings of
books and periodical articles on the artist.

Note that AskART provides only basic data on auction sales,

like the other electronic sources described in this section and in
the next chapter. The actual sales catalog often includes additional
material, including provenance, exhibition history and
bibliography.

In addition to its several directories, artist biographies and

auction records, AskART generates graphical analyses of
individual artists’ works at auction. Graphical analyses include:

• Lots sold vs. unsold

• Lots (number) sold by year
• Average sale by medium
• Total $ sold by medium
• Number (of works) sold by medium

Use graphical information with caution, because one or two

unusually high sales can skew the overall result, particularly for
those artists whose works appear only infrequently at auction.

Blouin Art Info. http://www.artinfo.com

Truly international in scope, Blouin ArtInfo is a very content-rich
site offering free material covering the visual arts, performing
arts, and fashion industry. Offers in-depth coverage of the
following styles/periods:

• Contemporary art
• Old Masters/Renaissance art
• Impressionism and Modern art
• Ancient art & antiques
• Traditional arts

Art market news is very current, and is organized according to

venue or topic, including:

• Art fairs
• Auctions
• Collecting
• Galleries
• Art & Crime
• Art Prices

The Blouin Art Sales Index (BASI) price database is offered

free-of-charge at this time. Its user interface is highly intuitive,
and allows the researcher to locate records for works sold at
auction according to the following parameters:

• Artist’ name
• Category
• Artwork title
• Year of work
• Artwork dimension
• Artwork price in three currencies ($, €, and £)
• Auction House and Sale Code
• Auction Date
• Artwork Lot Number
• Results Lot Sort according to: Price, Size, Dimension
(metric/imperial)
 Blouin’s acquisition of Hislop’s Art Sales Index has greatly
increased the volume of valuation data available. The BASI
database records sales of more than 4.6 million works at hundreds
of international auction houses. Good clear jpeg images enable
the researcher to easily identify comparable works.

Blouin has launched fifteen international editions, each with

local and cultural stories in the native language.

Gordon’s Datastore
http://www.gordonsart.com
LTB Gordonsart, Inc.
610 E. Bell Rd, Ste 2-163
Phoenix, AZ 85022 USA

LTB Gordonsart, Inc., a subsidiary of Louise Blouin Media, is a

very well-established publisher of high quality art market data
products. Founded in 1978 by Martin Gordon, Gordon’s works
are considered art market research staples, particularly in the
fields of prints and photography. (Gordon’s various printed
publications are described later in this chapter, in their medium-
specific categories.)

Datastore, the online gateway to several of Gordon’s most

valuable databases, allows the user to search each of the
following products:

• Gordon’s Print Prices, 1985—current. As this book goes

to press, this portion of the Datastore includes some 1.25
million print and poster auction records.

• Lawrence’s Dealer Print Prices 1992—2005. Over

250,000 records providing historical retail values reported by
dealers.

• Gordon’s Photography Prices 1970–present. Over 330,000

auction records for 19th, 20th, and 21st century photographs,
 as well as books and periodicals featuring original
photographs.

Searching Gordon’s Datastore is relatively straightforward.

The user simply enters the name of the subject artist, and a
spreadsheet appears, with individual lots arranged in alphabetical
order by title of print or multiple. Records may be sorted by:

• Title / sale date lot

• Title / price
• Price / title
• Sale date / lot

The ability to sort results is especially important in a database

of this scale that focuses on prints, particularly when the subject
artist is very prolific. Search results for an artist like Picasso, for
example, who produced a great many large editions, can result in
very unwieldy result sets. Datastore’s ability to present search
results by title, subdivided by date or price, can make the
otherwise daunting task of identifying comparable sales much
more manageable.

The user may also search by Catalogue Raisonné number

within an artist’s entries. This is especially helpful since auction
house titles may be in different languages or may not be in
exactly the same form from house to house.

When an individual sale is selected, the pertinent data appears

in a separate, easy-to-read window. Data elements include title,
dimensions, edition number, some condition notes, date of sale
and name of auction house, price realized, and reference number
to catalogue raisonné.

Gordon’s Datastore also features a nice output tool not found

on other sites. Once the records are selected, the user may then
choose whether to copy them to the clipboard and drop them into
a spreadsheet or word processing program. The results may also
 be sorted as noted above, and can be exported as a group of
simple results or with details on each individual lot.

Gordon’s Datastore provides a good deal of reference material

to facilitate research. Notably, the online “Bibliography” allows
the user to identify key reference sources—catalogues raisonnés,
monographs and other works—that are essential to proper
identification of prints and multiples. Similarly, the searchable
“Directory” provides easy access to auction houses, galleries, and
contacts therein.

Use Gordon’s Datastore to identify sales, and prices realized,

for the following types of prints and multiples:

• Fine Art prints (e.g., Old Masters, contemporary)

• Decorative prints (historical, sporting, botanical, etc.)
• Japanese prints
• Vintage, Fine Art, and Film Posters
• Books (Illustrated, livres d’artiste, books and periodicals
with original graphics)
• Ceramics by Picasso

For photographs, Gordon’s Datastore is the definitive source

for sales and prices on 19th, 20th and 21st century fine art and
vintage photographs, as well as books and periodicals featuring
original photographs.

I-On-art: Old Master Paintings at Auction [CD ROM]. Alderney,

Channel Islands: Global Art Systems, 2001.

I-On-art is a CD-ROM index of works of art by Old Masters that

were sold at auction between 1990 and 2001. Individual entries
are illustrated, and include a good deal of information included in
the source catalogs, including provenance, exhibition history and
bibliography.

Invaluable.Com
http://www.invaluable.com
Mill Court
Furrlongs
Newport
Isle of Wight
PO30 2AA
United Kingdom

Founded in 1989, Invaluable.com is a British firm that offers a

number of distinctive services to the art market research
community. Invaluable.com maintains an extensive database
including over 100,000 catalogs representing over 1,000 auction
houses, and over 8 million “prices realized” for everything from
fine art to collectible objects. The firm offers a number of
subscription plans for users wishing access to this extensive
database of art sales prices. For the serious collector, Invaluable’s
innovative auction alert service allows the user to set up a search
profile; when a work of art or object appears in a forthcoming
auction catalog, the system alerts the collector. Finally, users of
multiple online auction price resources might find this one
familiar; it is, in fact, the UK’s version of ArtFact, described in
greater detail in the next chapter, as it is particularly useful for
decorative arts price research.

Leonard’s Combined Price Index of Art Auctions [CD-ROM]. Newton,

Mass.: Auctions Index, 1995.

Sadly, this very useful resource has not been updated, but for
those seeking prices between the years 1980 and 1994, the CD-
ROM version of Leonard’s is an excellent tool. It includes the full
contents of volumes 1–14 of the print title Leonard’s Annual
Price Index of Art Auctions, as well as volumes 1–3 of Leonard’s
Annual Index of Prints, Posters and Photographs (1991–1994).
Provides hundreds of thousands of records for works of art.

Mayer’s International Auction Records [CD-ROM]. Lausanne:

Editions Acatos, 1998.
 Mayer’s International Auction Records on CD-ROM includes the
complete contents of 11 years’ of the corresponding print edition.
Searchable by artist, title, date, auction house, etc. The 2001
edition, unavailable for review, includes records spanning the
years 1987–2000. Note that subscribers to the database
artprice.com (described above) have access to Mayer’s volumes
covering the years 1962–1987.

MutualArt. http://www.mutualart.com

Founded in 2008, MutualArt is a unique fine arts information

provider that offers a number of highly tailored services and
content. MutualArt also delivers news and information on
artworld events located in the vicinity of the subscriber. Premium
(paid) subscriptions provide additional content, including auction
sales records. Finally, MutualArt offers relatively inexpensive
appraisal reports on individual works of fine or decorative arts;
these reports offer a range of values, similar to those assigned to
works of art offered for sale at auction.

p4A.com. http://www.p4a.com

p4A.com offers a very easy-to-navigate system for auction house

prices on works of fine and decorative arts. Coverage is
somewhat limited compared with that of some of the other online
systems described in this section, but users can identify a good
selection of low- and middle-level material here, and all entries
include good reproductions.

Several search options are available. Researchers may browse

by object category (e.g., paintings), further limit by medium and
support (e.g., oil on canvas) and place of origin. For more detailed
searches, keyword searching is also available.

p4A.com can be very useful for research attempting to survey

the market for a particular type of artwork or object. A search for
“paintings” produced in England, with the keyword modifier
“school” retrieved a good selection of unattributed, British School
 works of art, including miniatures, paintings on board, canvas,
etc.

PUBLISHED GUIDES TO ART MARKET INFORMATION

Long before the advent of Internet-based information systems, art market

professionals had access to many print sources to assist them in the
identification of auction and, to a lesser extent, gallery sales information
and prices. In fact, some of the providers of the databases described in the
previous section have their roots in the traditional world of print, and some
continue to produce print publications, often on an annual basis.

Several types of reference books offer art market data, and this section is
arranged according to these categories. First, there are large, comprehensive
auction sales record tools; arranged by artist’s name, and sometimes
subdivided by medium, these works provide “bare-bones” data on auction
sales, including date of sale, auction house and location, physical
description of the work, and price realized. In short, they represent the print
predecessors of the larger online systems like artnet (but without the
images). Because some predate the 20th century, these annual reference
sources are particularly valuable to the researcher of art market history.

The second type of reference source is more highly focused concerning

subject matter and media represented, or in geographic focus. For example,
the researcher who seeks information on prints (lithographs, etchings, etc.)
will find Gordon’s Print Price Annual to be indispensable, even though
prints are included in some of the more general sources comprising those in
the first category. Those seeking price information on Latin American
artists, similarly, will find Leonard’s Price Index of Latin American Art at
Auction most useful. This class of price guide is subdivided to reflect these
two major divisions.

While it is assumed that most users of this book require relatively recent
information on artworks, some might be interested in surveying the sources
available for the study of art market history. These sources are identified
and described in Chapter Eight.

Auction Surveys and Reviews

 Christie’s Magazine. London: Christie’s. 1984– . Ten issues per year.

Glossy consumer magazine highlights seasonal exhibitions and

auctions.

Christie’s Review of the Year. London: Christie’s, 1996– . Continues

Christie’s Review of the Season. London: Hutchinson; New York: St.
Martin’s Press, 1972–1995. Annual.

Sotheby’s Art at Auction. London and New York: Sotheby’s, 1987– .

Christie’s and Sotheby’s annual reviews present beautifully

illustrated overviews of major sales in both the fine and
decorative arts, along with commentary on the state of the art
market during their subject years.

Sotheby’s at Auction. New York: Sotheby’s. 1986– . Eight issues per

year.

Collector-oriented magazine offers feature articles on artists,

auction and exhibitions, along with columns presenting timely art
market news.

General Auction Sales Indexes

ADEC—Annuaire Des Cotes International = International Art Price

Annual. 1988–1997. See Art Price Annual & Falk’s Art Price Index
below.

American Art Analog. Compiled by Michael David Zellman. New

York: Chelsea House, 1986. 3 vols. Vol. 1: 1688–1842; Vol. 2: 1842–
1874; Vol. 3: 1874–1930.

This very useful resource provides biographies of hundreds of

American artists, along with market data (graphs, sales figures)
on each. Each artist’s work is illustrated with a color example,
making this an excellent source for tracking particularly less well-
known, regional American artists.
Annual Art Sales Index. Weybridge, Eng.: Art Sales Index, 1976– .
Annual. (Volumes for 1975/76–1977/78 titled Annual Art Sales Index.
Watercolours and Drawings and Annual Art Sales Index. Oil
Paintings. Continued by Art Sales Index, 1984– .)

One of the oldest auction sale price inventories. Chronological list

of auction sales includes date, auctioneer (title, location). Entries
include artist name, birth/death dates, nationality (“school,”
“style” also noted), price realized, date of auction, lot number in
catalog, presence of catalog illustration noted. Price recorded is
local currency of auction house.

L’Annuel des Arts. [Paris]: Editions Armand Israel; Editions van

Wilder, [1993]-2002. (Continues Semestriel des Arts.)

(Reviewed: 12th ed., 2001.) Auction records [Drouot] for

approximately 800,000 objects sold at some 3,000 auctions
worldwide. Basic details about individual works, signature/date
information, dimensions, etc. Reports prices realized in currency
of sale country, i.e., U.S. dollars, British pounds, French francs.
International in scope; some Asian, but primarily European and
American sales included.

Art and Auctions: International Art Dealers and Collectors Guide.

Rotterdam: Van Kouteren, 1957–1969. [Continued by International
Art Market and Art Auctions 1969–1970; International Art Market and
Art & Auctions, 1971–1974.]

Records international auction prices, upcoming notable sales.

Organized by country, further subdivided by date.

Art at Auction in America. Silver Spring, Md.: Krexpress, 1989–

1995/96 .

Scope: Some articles and commentary on art markets, market

analysis. Coverage includes works of art, furniture and other
decorative arts and collectible objects.
Art-Price Annual. Munich: Kunst & Technik Verlag, 1969– .

English-language edition of Kunstpreisjahrbuch.

(2004 edition reviewed.) Sales records for paintings,

miniatures, watercolors, pastels. Organized by place of sale, name
of artist. Provides description of lots, signature/date information,
auction house name, date of sale, price realized and catalog
number.

Art Price Annual & Falk’s Art Price Index. St. Romain au Mt. D’or,
France: artprice.com, 2001–2005. Annual. (Continues Art Price
Annual International & Falk’s Art Price Index; Art Price Index
International; and Annuaire des Cotes International (ADEC).

Print versions of artprice.com online auction database. Annual

auction sales index. Includes records for tens of thousands of
artists, 170,000 individual results, 5,200 auctions. Entries divided
by medium, arranged by price realized. Includes records for
paintings, decorative arts, sculpture, drawings, other works on
paper, prints.

Art Price Index International. Madison, CT: Sound View Press,

1993– . Annual. Continues Art Price Indicator International =
International Annuaire des Cotes Moyennes. Paris: ADEC: Ehrmann,
1987–2000.

Pocket-sized guide to the art market, includes records for

paintings, drawings, miniatures, prints, posters, sculpture,
photography. Provides data on significant auction results of an
artist’s work over the last three years.

Art Price Index International. Produced in cooperation with the

Institute for Art Research and Documentation. Annual, 1994–1997.

This index to basic auction information for works of art, covering

1992–1996, merged with ADEC.
Art Sales Index. Weybridge, Surrey, England: Art Sales Index, 1984– .
See Blouin Art Sales Index; below.

Bérard, Michèle. Encyclopedia of Modern Art Auction Prices. New

York: Arco, 1971. 417p.

Coverage: 1960s, “all painters since the Impressionists, modern to

1970.” Artists with at least one sale price over $2,000. Drawings,
watercolors, gouaches, pastels, oils, collages. Organized by
artist’s name. Entries include name, dates, birthplace, “timeline
biography.” Sales records include media, dates, title, dimensions,
catalog number and price realized.

Blouin Art Sales Index. Phoenix: Gordonsart, 2011– .

Continuation of Hislop’s Art Sales Index, published under various

title changes since 1968. Basic indexing includes estimates, price
realized, title, dimensions, etc.

La Cote des Dessins, Pastels, Gouaches, Aquarelles. Paris: Editions de

l’Amateur, 1996– . Annual.

Drawings, pastels, watercolors, gouaches. Brief entries include

title, date, medium, dimensions, price realized.

Davenport’s Art Reference & Price Guide. Ventura, CA: Davenport’s

Art Reference, 1986– . Annual.

Provides basic biographical and pricing information for over

350,000 artists. Davenport’s is particularly useful for researching
obscure artists. In addition to auction sales references, this handy
directory is keyed to major reference works, affording the user
easy access to additional biographical material on the sought-after
artist. This resource is indispensable for value research at the
lower end of the market.

Hislop’s Art Sales Index. Surrey, England : Art Sales Index, 2003– .
See Blouin Art Sales Index, above.
International Art Market. New York: Art in America. Monthly. Ceased
publication with volume 23, no. 11 & 12 (Nov./Dec. 1983).

Scope and contents vary by issue. Many high-end sales reviewed,

both decorative and fine arts. Provides auction prices, reports
high-grossing sales ($20,000 and higher). Organized by collection
and lot number. Typical entry includes name, title, signature/date
information, dimensions, estimates and price realized. Numerous
in-depth articles on art market issues.

International Art Market and Art & Auctions. New York: Interart
Publishers, 1969—1974. 6 vols. Merger of: International Art Market
(1961), and Art and Auctions.

International Auction Records [Mayer]. As of 1997, published by

Acatos, Lausanne and Paris. 1964–2005. Annual.

(1997 edition reviewed). International auction sales prices for

prints, drawings, watercolors, paintings, and sculpture. Edition
reviewed records approximately 120,000 prices from 2,800
international sales. Entries include name, birth/death dates, lot
number, indication of catalog illustration, some signature/date
information, estimates, medium, dimension, and prices realized.
Highly reliable data, but somewhat cumbersome to work with.
(Individual entry refers user to sale number at the beginning of
the volume.) Online version available to subscribers of
artprice.com.

Leonard’s Index of Art Auctions. West Newton, MA: Auction Index,

1980–1998.

Covers sales at international auction houses, including a good

selection of smaller, regional houses. Excellent source for sales
data on lesser-known artists’ works.

Miller’s Pictures Price Guide. Annual. London: Miller’s. 1992–2005.

 Provides sales information on over a thousand pictures, including
oil, watercolor, pastels, gouaches and prints. This guide is
particularly useful for researching lesser-known artists and lower-
level genre pictures. In addition to the artists’ A–Z listing,
includes various useful directories including auctioneers,
museums, galleries, specialists.

Novecento Italiano: Opera e Mercato di Pittori e Scultori, 1900–1945.

Edited by Maurizio Agnellini. Novara, Italy: de Agostini. (Series:
Biblioteca del Collezionismo d’Arte.) Annual.

Biographical dictionary of mid–20th century Italian artists,

provides basic auction sales data.

World Collectors Annuary. Delft: Brouwer, [1950]– . 1946/49 to 1997.

Details on American and European auction houses. Entries

include some or all of the following elements: artist, title,
dimensions, media, price realized, bibliographic references,
exhibition history. Unique in its inclusion of provenance
information.

Medium- and Style-Specific Sources (Print and Digital)

Included here are published works that treat a single type or medium of
artwork (e.g., paintings, prints) or period or style (e.g., Impressionism, Old
Masters).

L’Argus des Ventes aux Enchères: Peinture Ancienne. Neuilly, France:

Dorotheum. English language edition: Valentine’s Auction Sale Prices,
Old Paintings. 1996.

Over 2,000 reproductions included, with the focus on

international sales. Entries include names, dates, description of
work, auction sale information, prices realized in various
currencies. Some market analysis.
Auction Prices of Impressionist and 20th Century Artists: 1970–1980.
Edited by Richard Hislop. Weybridge, Surrey: Art Sales Index, 1981. 2
vols. 1,322p.

Prices at auction for paintings, drawings and watercolors.

Individual artists’ records arranged by value (ascending).

Carl, William P. Currier’s Price Guide to American and European

Prints at Auction. 3d edition. Prices edited by William P. Carl and
William T. Currier. Stoneham, MA: Currier, 1994. 254p.

Provides prices ranges (not prices realized for specific works) for
over 2,600 American and European artists. Partial contents:
Pricing your print; Factors which determine value; Caution—
reproduction prints; Artists in dealer catalogs; Print dealers.

La Cote des Peintres. Paris: Editions de l’Amateur, 1985– .

Approximately 55,000 paintings, all periods, international.

Provides basic biographical data, average price of painting in
French francs, record price, title of the work, and the author’s
name of a “reliable catalogue” (in most cases, the author or editor
of the most highly regarded catalogue raisonné). Description
based on 1997 edition.

Gordon’s Photography Price Annual. Phoenix: Gordon’s Art

Reference, 1995– .

Provides international auction sales prices for photographs, from

vintage to contemporary.

Gordon’s Print Price Annual. Phoenix: Gordon’s Art Reference,

1978– .

Gordon’s Print Price Annual is the most extensive guide to

auction sale prices for prints and multiples. Each year,
approximately 50,000 sales are recorded. Old Master, modern and
contemporary, decorative, historical, sporting and other types of
 prints are included, as are selected multiples (e.g., Picasso
ceramics). Entries are arranged alphabetically by title, and each
includes full description, edition size, name of auction house,
high and low estimates, and price realized. Prices realized are
reported in U.S. dollars, the Euro, and British pounds. Many
works are keyed to their artist’s associated catalogue raisonné, a
very useful feature particularly for prolific artists who have
produced prints in series. See entry for Gordon’s Datastore,
above.

Le Guidargus de la Peinture du XIXe Siècle à Nos Jours. Paris:

Editions de l’amateur, 1980–[2000?].

Brief entries record auction sales, include signature/date

information, date of sale, auction house, prices in pounds or
French francs.

Lawrence’s Dealer Print Prices. Phoenix: Gordon’s Art Reference,

1992– . Annual. CD-ROM version: covers January 1, 1990 through
October 1, 2004 dealer prices.

Presents a compilation of retail prices derived from dealers’

catalogs and inventories. Each entry includes description of the
work including dimensions, title, and edition size, asking price,
and information on the source dealer.

Miller, Judith. Tribal Art. London: Dorling Kindersley, 2006.

Excellent survey offers practical advice for collecting

international tribal art. Includes historical information along with
price guidance.

Payne, Christopher. Animals in Bronze: Reference and Price Guide.

Woodbridge, Suffolk: Antique Collectors’ Club, 1986. Reprinted 1993.
424p.

Surveys the modeling and casting process of the primarily 19th

century sculptors of animals. Index of sculptors includes some
 marks and signatures. Individual works arranged by subject
matter (horses, etc.).

Photographic Art Market. New York: Falk-Leeds, 1981/82– .

One of the very best sources for prices on photographic works.

Includes all of the major photography auctions with complete
information, including negative and print dates, in many cases.

Polsky, Richard. Art Market Guide: Contemporary American Art. San

Francisco: Marlin Press, 1995/96–1998. 207p.

Somewhat dated now, this guide to the market for works by major
contemporary artist offers a good analysis of individual artists’
careers. Each of the artist profiles includes gallery or estate
representation, top prices at auction, and a brief “market analysis”
comprising work recommendations (media, periods, etc.) and the
author’s opinion on the artist’s status as a “buy,” “sell,” or “hold.”

PrintWorld Directory. Bala-Cynwd, PA: Printworld, Inc. 1983– .

This essential resource identifies primarily retail (gallery) prices

for prints. Artist biographical details are followed by an
alphabetical list of his or her editioned works. Editions larger than
500 are excluded. Data elements on each print include some or all
of the following elements: Title; Publisher; Printer; Year;
Medium; Dimensions; Paper type; Size of Edition; Number of
colors; Original Opening Price; Current retail price; Secondary
Market Price when item is “Sold-Out.”

Printworld Directory: Old Masters Prints and Prices. Selma Smith,

ed. West Chester, PA: Printworld. 2008.

Modeled on the previous entry, this source provides information

on Old Master prints.

TribalIndex.com: The Database of the Major African & Oceanic Art

Auctions. http://www.tribalindex.com
 For serious collectors, dealers and scholars of tribal African and
Oceanic art works, TribalIndex is a very powerful subscription
resource that offers access to more than 60,000 beautifully
illustrated and documented sales records. The elegant search
interface allows the researcher to locate auction sales data from as
early as 1966. Search parameters include Region; Origin (tribe or
other delimiter); Type (e.g., “masks”); Material; Place Name;
Provenance; Auction Information; Object size; Price Range.

Weidmann, Dieter. Altmeistergemälde. Munich: Deutscher

Kunstverlag, 1999.

German auction sales, offers market trends and tips, pricing,

quality, provenance, etc. Higher-end sales of works noted.

Zobel, Joseph. Antique Vienna Bronzes. Atglen, PA: Schiffer Books,

2008. 256p.

Small cast bronze figures, dating from as early as the mid–19th

century, with designer and manufacturer information along with
price guidance for the collector.

Geographical Focus (Print and Digital)

Art at Auction in South Africa: the Art Market Review, 1969 to 1995.
Stephan Welz, ed. Johannesburg: Art Link, 1996. 225p.

Represents a continuation of Art at Auction in South Africa:

Twenty Years of Sotheby’s/Stephan Welz & Co., 1969–1989.
Stephan Welz, ed. Johannesburg: AD Donker, 1989. 254p.

Art Auction Trends: Major 19th Century American Artists.

Shrewsbury, PA: Connemara-Coleman, 1992.

Focus on major artists of the 19th century. Partial contents:

General market analysis; Regional markets; Styles & subject
matter; Artist rankings; Artist performance charts.
El Arte: A Precio de Martillo: De 1977 a Junio de 1997. Mexico, D.F.:
Lomas, 1997. 420p.

Two-decade inventory of auction prices realized, includes prints,

paintings, works on paper, and three-dimensional media. Data
sources include Sotheby’s and Christie’s New York, Louis C.
Morton and Rafael Matos (Mexico).

Australian Art Sales Digest

http://www.aasd.com.au/
John Furphy Pty. Ltd.
Australian Art Sales Digest/Carter’s Price Guides
PO Box 8464
Armadale VIC 3143
Australia

Collectors of works by artists of Australia and New Zealand are

uniquely well-served by this comprehensive index to auction
sales. Australian Art Sales Digest (AASD) is a web-based service
that provides auction sales results and other information for over
420,000 works by artists who have either lived or work in
Australia or New Zealand. Paintings, watercolors, other media
and drawings, prints and graphics, ceramics, and sculpture are
covered, with dates of sale extending as far back as the 1970s.
Available by subscription at rates quite reasonable, AASD
provides the following pieces of information for its subject artists:

• A listing of standard reference sources in which the artist is

featured

• An AASD “Artist Profile,” or brief biography

• Links to artist’s website, where available

• List of galleries that stock work by, or represent the subject

artist

• List of auction houses that have sold works by the subject artist
• Highest price and other statistics on sales

• Graphical presentation of prices and volume sold

• Price range of work sold by subject artist, by medium

Searching the “prices realized” at auction for individual artists

is quite straightforward. The researcher simply enters the subject
artist’s last and first names, and is presented with a menu of
options. For the researcher interested only in auction records that
match specific criteria (e.g., only those works that actually sold),
relevant criteria can be selected and applied.

Serious researchers and collectors often seek information on

“big picture” issues, like annual aggregate statistics, top
performers, most frequently traded artists, etc. To this end, AASD
includes a considerable amount of data on its site. Relevant charts
and graphs include:

• Total sales by Auction House

• Top 10 Sale Prices

• New High Prices

• Major Unsold Lots

• Star Performers, Ratio by which Selling Price Exceeds the High

Estimate

• Star Performers, Amount by which Selling Price Exceeds the

High Estimate

Finally, useful freely-available directory tools round out the

AASD coverage of this specialized market. In addition to its
“Artists” directory, “”Auction Houses,” “Galleries” and “Art
Consultants’ provide what appear to be quite comprehensive
inventories of these specialist categories.
Australian Art Sales Digest: A Survey of Australian and New Zealand
Sales of Art at Auction from 1988 to 1997. Compiled by John Furphy.
Armadale, Victoria, Australia: Acorn Antiques Pty., 1998. See also:
Australian Art Sales Digest (electronic resource.)

Belgian Artists in the World’s Salerooms. Brussels: Arts Antiques

Auctions, 1989– .

International sales records of Belgian artists. Entries include

name, dates, title, media and dimensions, sale number and price
realized.

A Buyer’s Guide to Irish Art. Compiled and edited by Roberta Reeners;

foreword by Dorothy Walker. Dublin: Ashville Media, 1999–2011.
414p.

Records sales in Ireland or U.K. Basic details on each lot,

including signature, auction house, place. Records withdrawn and
bought-in works. Focus is on painting.

The Canadian Art Sales Index. Vancouver: Westbridge, [1980]– .

(Description based on 2013 edition.) Price information on

thousands of Canadian artworks and art books in the season
ending 2012. Works by more than 1035 artists. Entries include
basic auction information along with signature/inscription details.
Media covered include oil, watercolor, drawings, prints, sculpture
and art books. Partial contents: Chronological list of auction
sales; Market analysis; Top 100 Canadian paintings at auction;
Top 100 Canadian artists’ auction records.

Catalogo dell’Arte Italiana dell’Ottocento. Milan: G. Mondadori,

1983–1986. Continuation of Catalog della Pittura Italiana
dell’Ottocento.

Approximately 1,000 primarily Italian artists surveyed.

Signature/monogram example for most entries. Brief biography,
 including education and notable works; bibliographic sources;
media; prices for some works.

Currier’s Price Guide to American Artists, 1645–1945, at Auction.

Brockton, MA: Currier, 1988. 287p.

Approximately 8,000 American artists, many lesser known, low

valued works. Price entries include artist’s name, subject matter,
and price. Separate “record price” index for higher value works.
Partial contents: Determining value: seven important factors;
Outside influences on value; Period frame; The frame: an
aesthetic statement; How period frames are affecting the value of
paintings.

I Dipinti dell’Ottocento Italiano: Il Valore nell’Analisi Critica, Storica

ed Economica. Turin: Umberto Allemandi, 1983–1991. 551p. (Series:
Annuari di Economica dell’Arte.)

Biography and sales information for Italian painters. Most entries

include signature or monogram. Some color, primarily black and
white illustrations. Entries include brief biography of subject
artist, prices realized for selected works.

Franklin and James Decade Review: American Artists at Auction.

Mansfield, OH: Franklin & James, Edition 1993 (covers 1/83–1/93);
1998 (covers 5/88–7/98); 2001 (covers 5/91–5/01). Other title: The
Franklin & James Review of American Artists at Auction, 5/85–5/90.

Provides auction sale information on American artists. One of the

best sources for sales data on unknown artists, and sales
conducted at smaller, regional auction houses.

The James Adam Price Guide to Irish Art: List of Works by Irish
Artists Sold Through These Rooms, 1999 & 2000. Dublin: James
Adam Salerooms, 2000. 32p.

Records sales data for primarily oils, also includes watercolors,

pastels, some mixed media. Auction catalog/exhibition price
 report includes only items sold, no buy-ins.

Leonard’s Price Index of Latin American Art at Auction. Newton, MA:

Auction Index, 1999. 537p.

Provides basic auction sales information for Latin American

artists’ works from 1969 through 1998. Entries include price
realized, title, dimensions, auction house, date of sale. Partial
contents: Latin American auction market; Twentieth century art of
Latin America; Latin American art; Artists’ biographies; Auction
prices.

Mack, Charles W. Polynesian Art at Auction, 1965–1980. Northboro,

MA: Mack-Nasser, 1982. 304p.

Mackenzie, Ian. British Prints: Dictionary and Price Guide.

Woodbridge, Suffolk: Antique Collectors’ Club, 1998. 368p.

A comprehensive guide to the works of British printmakers,

including “foreign printmakers who either worked in Britain
during that period or who worked abroad but reproduced
paintings by British artists” (Introduction). Entries include names,
dates, media, primary subject matter, reproductions of other
artists’ works, reference to catalogue raisonné and other data.
Prices above £5 are noted.

Prices of Victorian Paintings, Drawings and Watercolours: From the

Records of Sotheby’s Belgravia. London: Carter Nash Cameron;
Distributed by Barrie and Jenkins, 1976. 400p.

Records Sotheby’s Belgravia sales of (c. 1840–1900) oil

paintings, watercolors, drawings, including lower-end to major
works. No illustrations or descriptions, basic sale information
(description of lot, catalog information and price realized).

PROFESSIONAL LEVEL ECONOMETRIC SOURCES

The following sources are intended for professional art market researchers,
including dealers, collectors, economists and others. Note that some of
these tools are prohibitively expensive. They are included here in order to
round out the most comprehensive inventory of art market research material
possible.

Art Market Research

http://www.artmarketresearch.com
71 Oxford Gardens
London, England W10 5UJ

Art Market Researchis an online econometric and charting tool

intended for the serious collector and investor. Since its founding
in 1985, Art Market Research has provided statistical data that is
utilized by major auction houses, media and academic art market
and economy scholars.

ArtTactic. http://www.arttactic.com

ArtTactic is a subscription-based research service that focuses on

the needs and interests of serious collectors. Founded and
currently directed by Anders Petterson, a recognized expert in the
field of art and economics, ArtTactic offers up-to-date reports on
various markets including China; India; Latin America; Middle
East & Turkey; Russia; U.S. & Europe. Included among these
regional reports are specialized studies on “Market Confidence”
in the subject area, as well as more generalized analyses of
market issues on a global scale.

For collectors, ArtTactic offers, among its “Bespoke Services,”

highly specialized reports on “Fair Value” (of a specific work of
art); “Artist Reports” that analyze the past and forecast future
likely market performance of individual artists; “Art Business
Search and Selection” reports provide concrete advice to
collectors on the selection of institutions, including everything
from galleries to art finance firms.

IBISWorld. www.ibisworld.com
 IBISWorld is one of the most important providers of industry-
specific marketing studies in the United States. Its team of
researchers produce reports on a wide range of topics, including
some that are of interest to art world professionals. These include:
Art Dealers in the U.S.; Online Art Sales; Museums in the U.S.
The most recent edition of Art Dealers in the U.S. features an
overview of Industry performance; Products and markets;
Competitive landscape; Major companies; Operating conditions;
Key statistics.

GALLERY RESEARCH: FINDING ARTISTS, FINDING ARTWORKS

Most of the sources discussed so far apply only to the secondary (auction)
market because, as noted earlier, auction sales are well documented. The
commercial gallery is the other major venue for the sale of art, and various
sources, both print and electronic, can assist the researcher in locating
galleries that represent a sought-after artist, or that have examples of an
artist’s work. We begin this section with the major online sources, and
follow with some standard print tools that can be used to determine which
of the world’s many thousands of commercial galleries handle the works of
individual artists.

Online Directories

Art-Collecting.com http:/art-collecting.com

Free source of directory information includes galleries (4000+),

fairs, artists’ websites, Appraisal services and more.

Art Dealers Association of America: Member Galleries.

http://www.artdealers.org

Directory of member galleries browsable by gallery name,

location or specialty (e.g., American, Old Master, etc.).

Art in Context. http://www.artincontext.com.

 Excellent, free resource. “Provides free public access to
information that is added by curators, dealers, artists, writers and
others from around the world. On the Web since 1995, now
serving over 700,000 images per month and viewed by over
50,000,000 visitors.”

artprice.com. http://www.artprice.com.

Biographies include list of representatives, up-to-date listing of

exhibitions (group and solo). Use this source last for dealer
searches after the free sources have been exhausted.

artnet. http://www.artnet.com.

artnet, described earlier, provides an easy-to-use index of artists.

Over 16,000 artists are indexed to date. Entries provide full
gallery contact information, along with some good images of
available pieces.

AskART. http://www.AskART.com.

“Hit-or-miss” coverage of art dealers, retrievable by artist name.

Useful for identifying galleries that sell works by obscure artists.
Free of charge.

ATADA: Antique Tribal Art Dealers Association. http://www.atada.org.

Includes a searchable directory of galleries (most based in U.S.)

specializing in tribal arts (from African to Native American).

Tribal Arts Guide: Museums, Galleries, etc.… San Francisco:

Primedia. [2004?– ].

Each volume deals with tribal art in a particular country or region.

While the latest edition is somewhat dated, it is still useful for its
overview of museum collections and established dealers.

Print Directories
The following sources can be used to locate galleries (commercial and
nonprofit), auction houses, museums and other art exhibition venues.

Art Diary International. Milan, Italy: G. Politi, 1990–(Annual).

International in scope. Provides contact information for artists,

often including telephone number and email address.

Art in America. Annual Guide to Galleries, Museums, Artists. [New

York]: Art in America, 1982– .

Arranged by state and indexed by artists’ names, this annual

reference tool provides contact information on galleries,
museums, university galleries, non-profit exhibition spaces,
corporate consultants, private dealers and dealers who specialize
in prints.

International Directory of Arts = Internationales Kunst-Adressbuch =

Annuaire International des Beaux-Arts. Berlin: Kaupterverlag,
1952– .

Global directory of museums and galleries, colleges, universities,

associations, art and antique dealers, art and antique fairs,
restorers, publishers, periodicals, antiquarian and art booksellers.

Printworld Directory. West Chester, PA: Printworld International,

1985– . Irregular.

Up-to-date indexing of printmakers, most useful for its index to

print publishers and galleries specializing in prints.
 Chapter Seven

Market Research: Decorative Arts

The range of material included under the umbrella term “decorative arts” is
extensive. For our purposes, it includes just about every type of object (with
meaningful monetary value) that has a utilitarian purpose or function.
Because an exhaustive review of every source of interest to researchers of
the markets for this impossibly broad range of object classes is far beyond
the scope of this volume, we’ll focus on furniture, glass, ceramics &
porcelain, rugs, and metalwork. Sources relevant to the markets for each of
these sub-categories follow an in-depth overview of the best general
sources (both print and online) that offer information of interest to
collectors, dealers and other stakeholders in the world of the decorative arts.

Our working definition of the “decorative arts” must include a distinction

among objects that is based upon price, historical significance, or other
marker of value or distinction. That is to say, not every piece of furniture,
rug, ceramic or other vessel is, or should be, considered a work of
“decorative art;” If it were, every low end utilitarian object would qualify
for discussion here. While it is impossible to establish hard and fast criteria
for the assignment of the term “decorative arts,” for the most part we’re
talking about works that might be expected to appreciate (rather than
depreciate) in value as time goes by. Experience tells us that lower end
objects begin to lose economic value the minute they’re acquired, just as the
value of a car generally plummets as it is driven off the dealer’s lot.1

In the preceding chapter, we saw that researching the value of artworks can
be quite straightforward, particularly in cases in which the identity of the
artist is known—that is, when the work in question is signed. Decorative
arts information sources are much less straightforward than those used by
researchers of fine art and can, in fact, be quite cumbersome to use. Most
objects cannot be easily organized under the name of their maker, because
in most cases there is no personal name, or even manufacturer, to be used as
the indexing term. Rather, some published guides focus on materials (e.g.,
porcelain), period (e.g., 20th century furniture), country of origin, style, or
producer (usually workshop or manufacturer, but sometimes individual
designer).

Best Tools

Before we begin our investigation of subscription-based online sources and

print publications for decorative arts market research, let’s survey some of
the best tools for locating galleries, flea markets and auctions, and some
powerful Internet-based sources that are available free.

DECORATIVE ARTS GALLERY RESEARCH

The following directories are helpful tools for finding dealers, designers,
artisans and their works. To find additional sources of this type, in libraries
that utilize the Library of Congress Classification System, conduct a subject
search using the heading “Antiques—Exhibitions—Directories.”

CINOA.ORG. http://www.cinoa.org

This professional organization of fine art and antique dealers

maintains an enormous database of members, and an easy-to-use
interface for those seeking particular objects offered for sale by
retail galleries. Over 5,000 dealers from 22 countries are
represented.

Collectors.org. http://www.collectors.org.

This free-of-charge site includes geographically-arranged

databases of flea markets, auction houses, and collectors’ clubs
and associations.

Flea Market Info and Directory. http://www.keysfleamarket.com.

 This free-of-charge Internet site provides up-to-date information
on flea markets, arranged by state.

Kovel’s Directory. http://www.kovels.com/Directory/

This entry supersedes Kovel’s “Yellow Pages,” previously listed

as an important (print) reference source. In order to access the
directory, you must register with Kovel’s (free). Kovel’s Directory
includes thousands of entries for: Appraisal Services; Auctions;
Clubs & Publications; Matching Services; Museums & Archives;
Repairs, Conservators, Supplies, Parts and more.

Maloney’s Antiques & Collectibles Resource Directory (online).

http://www.MaloneysDirectory.com

In 2011, the arrival of the online version of the indispensable

Maloney’s Directory (in print) was received with great
enthusiasm by the art and antiques community. Available by
subscription only, this site is well worth the price, particularly for
institutions whose staff members will find themselves using it on
a daily, if not hourly basis! As of this writing, the database boasts
“nearly 20,000 listing covering 3,000 categories of antiques and
collectibles” [Maloney’s website].

National Antique & Art Dealers Association of America, Inc.

http://www.naadaa.org.

Directory of retailers offering high-level material; included are

American and European decorative arts, Antique clocks, rugs,
silver and glass, among other collecting specialties.

Clubs and associations can be extremely important resources for research

into the history and markets for all categories of decorative artworks. One
of the very best, and most up-to-date directories of clubs is offered by
Kovels, at http://www.kovels.com. Kovels is mentioned in several areas, in
connection with decorative arts valuation, because it is a standard, highly-
respected publisher/producer of information tools for collectors. A search of
the “Directory>Clubs and Publications” reveals thirty three items under the
heading “Pottery and Porcelain—American.” Included among these results
are descriptions and complete directory information on a wide variety of
highly specialized groups, like the “Blue & White Pottery Club” and a great
many others.

SELECTED INTERNET AUCTIONS AND RETAIL STORES

The Internet has ushered in an enormous range of opportunities for both

buyers and sellers of everything from antique furniture to works of fine art.
Some very well-established auction houses have gotten into the business;
others, like eBay, were actually born on the Internet and have surprised the
nay-sayers who questioned the viability of their business model. Today, new
online auctions as well as retail “stores” appear on the Internet each day.
The availability of many easy-to-navigate stores and auctions has injected a
new level of competition in the market for many classes of object, from
works of art to books. Because they are in the business of selling, these
dealers and auction houses make all of their data available to the
researcher2; the collective offerings and recorded sales price information
made available on the Internet is unprecedented, and represents a very
important resource for the collector, dealer, or other researcher interested in
valuation data on objects.

The following entries include some of the most important of the online
auction and retail vendors of the decorative arts and represent very good
starting points for retail and auction sales information on a vast array of
objects. These sites are highly selective, of course; they have been chosen
primarily for their use in identifying items and their asking prices or prices
realized.

DeTnk: Collecting, Buying & Selling Design. http://www.detnk.com

For the serious researcher of contemporary design, this site offers

a wealth of information. “DeTnk is an online think tank dedicated
to everything relating to modern contemporary design,
architecture and interiors. It is a design marketplace for the trade
and acquisition of quality design, an online curated space
showcasing the work of up and coming and established designers
 and a platform dedicated to providing the latest and most
interesting news, articles and discussions on contemporary
design” [DeTnk website]. The keyword searchable archive serves
as an excellent repository of visual images related to
contemporary design in the broadest sense. Both retail and
auction offerings included.

eBay. http://www.eBay.com.

With the emergence of eBay as a major force in the online auction

world, collectors of all kinds of objects have been given instant
access to tens of thousands of items, 24 hours a day. Some of
eBay’s off-beat sales have garnered considerable media attention,
but today, some serious collectors look to eBay as a legitimate
venue in which they can find good deals on works of decorative
art, antiques, and collectible objects. Some very knowledgeable
dealers utilize eBay as their online showroom, and because of
this, eBay has become a valuable resource for the researcher.

As a librarian who specializes in research in fine and

decorative artworks, I have frequently used eBay to identify
porcelain, glass, furniture and other works. eBay offers tens of
thousands of items in these categories, and increasingly, items for
sale are very professionally illustrated. As an aid to identifying
marks or monograms alone, eBay is a superlative source.
Remember, however, that eBay changes constantly, so print out
those examples that you plan to use in your research—they might
not be there for long!

1stdibs. http://www.1stdibs.com

This online retail site offers an excellent selection of luxury

goods, ranging from jewelry & watches to furniture and, as of
2010, works of fine art. Users can create an account, free-of-
charge, and “window shop” for a vast array of fine art offerings.
Many of the works included here have posted prices or price
ranges, making it an excellent resource for retail market research.
GoAntiques.com. http://www.goantiques.com.

GoAntiques is a unique and well-established e-commerce site that

includes the collective offerings of some 1,700 dealers from 24
countries; individual works are cataloged by broad subject (e.g.,
“furniture”), and even broader “channels” (e.g., antiques,
collectibles, etc.). Here, the researcher can browse several
hundreds of thousands of fine and decorative art works offered for
sale and at auction. GoAntique’s innovative virtual shopping
service (called F.I.N.D.) will even send out an email notification
when a sought-after item appears in one of GoAntique’s shops or
auction sales.

Like much Internet-based information (especially commercial

data), items and their associated sales data tend to appear and
disappear rather quickly. Once an item has been sold, dealers and
auctioneers have little incentive to maintain accessible archives of
sales data. Recently, GoAntiques launched PriceMiner.com, a
most innovative database of price information culled from a
variety of sources. Because PriceMiner.com is subscription-based,
its description is included below with other fee-based information
sources.

Newel. http://www.newel.com.

Newel Art Galleries, Inc., is one of the largest galleries of major

decorative arts objects in the nation. Founded in 1939, its
spacious showroom on New York City’s upper east side includes
thousands of pieces spanning the past five centuries.

The galleries’ website provides a wealth of information for the

researcher of high-end furniture, lighting, statuary, arms and
armor, and other decorative and collectible items. This easy-to-
navigate site allows the user to perform keyword searches, or to
browse among hundreds of offerings arranged by style (e.g., art
deco) or object category (e.g., lighting). An online glossary of
terms provides succinct definitions to a wide range of terms, from
techniques to periods and styles.
 TIAS. http://www.tias.com.

TIAS is a well-established Internet-based “mall” that brings

together, in one easy-to-navigate, searchable site several hundreds
of thousands of items, ranging from lower-end and mid-range
pieces and reproductions to a very few high priced original works
of fine and decorative art.

DECORATIVE ARTS AT AUCTION

SCIPIO, the online database of auction sales catalogs, was discussed in

some detail in the preceding chapter, but some of its features make it
particularly useful for decorative arts research. We begin this section,
therefore, with an overview of the auction market for decorative arts objects
and offer some tips for using SCIPIO to pinpoint the large number of
catalogs that will be germane to the decorative arts market research project.

Decorative arts, antiques, and increasingly, “collectibles” comprise a great

deal of most auctioneers’ offerings. Collectibles, by the way, can include
just about everything else in the world that would not be included under the
headings “fine” or “decorative arts,” including fountain pens, walking
sticks, Disneyana and the like.

The larger, international auction houses hold hundreds, if not thousands of

auctions each year that are either devoted to, or that include, what would be
considered decorative arts objects. Just as the major sales of certain
categories of fine art (e.g., Impressionism, contemporary) are held at
specific times during the year, so are their decorative arts counterparts.
These sales might feature major works by Louis Comfort Tiffany, Frank
Lloyd Wright, or museum quality furniture, porcelain, or silver works.

For the reasons set forth in Chapter Five in the discussion of decorative arts
research, identifying sales that feature a certain type of object can be a
daunting task. SCIPIO, discussed in the preceding chapter, can be a
tremendous aid to the researcher attempting to identify the catalog or
catalogs featuring certain types of objects. It is its ability to streamline this
process that makes SCIPIO particularly valuable.
We saw in the preceding chapter that most libraries with significant runs of
auction catalogs store them in one of two ways: either chronologically,
subdivided by auction house name, or vice-versa. In closed-stack libraries,
where patrons request materials rather than browse shelves independently,
this can pose a problem, particularly for decorative arts research. Few, if
any libraries have the staff to fulfill a request for, say, all of the French
furniture catalogs of the past two years, for the simple reason that these
indispensable tools are not organized by object type. Rather, the reader is
expected to identify relevant dates and auction house names. This is where
SCIPIO can be most useful.

DATABASES FOR ESTABLISHING VALUE

Compared with the fine arts, the decorative arts auction literature is served
by fewer auction sales databases. The following represent some of the best
and most powerful of the commercial systems featuring decorative arts and
collectible objects.

Antique Clocks: Identification & Price Guide.

http://www.antiqueclockspriceguide.com

This highly specialized source offers a number of free research

options, but the all-important price information is made available
to subscribers only. Over 26,000 fully illustrated and documented
antique clocks are searchable by keyword, maker, model name,
clock type and country of origin.

Artfact. http://www.artfact.com

Artfact has been active since 1989, and over the years this
important auction price database company has expanded its
services. As noted earlier, works of decorative art are often far
more challenging to value than works of fine art, whose creators’
identities are often known to us. It is relatively straightforward to
collect data on individual artists’ works sold at auction, because
their unique identifier—their personal name, serves as the perfect
point of entry. In the world of objects, we often have no single
identity, or even attribute (like style, material, etc.) which can
 serve as an effective organizational element. So, we search for
data on objects using descriptive terms related to the subject work
—e.g., wood side chair mahogany 18th century.

Artfact boasts some 57 million complete auction results, and is

one of the preferred tool for appraisers who work extensively
with decorative arts and collectible objects. Because it records all
of the descriptive data associated with sales conducted at auction
houses large and small, it is one of the most effective valuation
tools in the decorative arts.

artnet. http://www.artnet.com

artnet is widely used in the art market, and most of its

components relate to the fine arts, rather than decorative arts and
design; these features are described in depth in the previous
chapter.

Of interest to the decorative art searcher, however, is artnet’s

Decorative Art database, a subscription service that permits
unlimited searches for a flat monthly rate. Artnet’s Decorative
Arts database allows subscribers to search by time period (e.g.,
William and Mary period), object type (e.g., side chairs), sale
date, auction house, or lot description. Because many, perhaps
most decorative arts objects are not produced by a known person
or institution, the ability to search descriptive catalog text makes
this a very powerful system for identifying sales of decorative art.

Kovels Online. http://www.kovels.com

The name “Kovel” has been associated with antiques collecting

since the middle of the last century. Kovel’s price guides and
directories have been considered basic required reference sources
for just as long a time. Kovel’s website offers a tremendous
amount of content free-of-charge to interested collectors, dealers
and others with an interest in market research. Included among
the site’s most important free features:
 • Price Guide: Each category includes an informative description
of the material, numerous examples with prices. Items are
“sortable” by “best match,” “most watched,” and “most
expensive.”

• Events Calendar: This calendar lists antiques shows, exhibition

and related events. Includes everything from huge, nationally-
recognized fairs to small, specialized events.

• Kovel’s Forums: Specialized discussion forums for sharing

questions and information on specific decorative arts object
categories

For the professional researcher, Kovel’s “Marks” resource

requires a premium subscription, but is well worth the price,
given the depth of coverage for marks on pottery, porcelain, silver
and other metals.

Live Auctioneers. http://www.liveauctioneers.com

LiveAuctioneers is an online host of real time auctions of fine art,

decorative arts, and collectibles. Objects from auction houses in
forty countries include materials at all value points. For the
market researcher, its enormous “Auction Results Database”
includes tens of millions of sold items, each with good
descriptions, images, and prices realized. Particularly useful for
decorative artworks whose creator or manufacturer is unknown.

PriceMiner.com. http://www.priceminer.com.

PriceMiner is an online information aggregator that has proven

itself to be a great asset to collectors, dealers and others who need
rapid access to price data on a wide range of antique and
collectible objects. A decade ago, serious collectors scoured flea
markets, estate sales and other venues with one or more price
guides, which were especially useful for pricing objects in the
lower value ranges. Today, with a smart phone and a PriceMiner
account, users have millions of prices at their fingertips—an
 amount of data that would require bookcases full of printed price
guides!

With Priceminer, subscribers are accessing data from as far

back as 1998, from GoAntiques, eBay, Tias and Auction Houses.
In addition to the price data, PriceMiner facilitates item and
maker/artist identification, current offerings, and most appreciate
sales venues.

Prices4Antiques—p4A.com. http://www.p4a.com.

The researcher of high-end fine and decorative artworks has

numerous options at her disposal. Those seeking data on low- to
mid-level material are less well-served in the digital arena. This
important tool fills the information needs of those seeking auction
data on this type of material. Prices4Antiques (P4a) is particularly
strong in smaller, regional auction houses’ data, and for this
reason, it is an indispensable tool for the market researcher.

The search interface is simple and straightforward. The first

option is the simple “keyword” search. This is most effectively
employed when one or more distinctive keywords can be
identified. For example, a search of the terms “weather vane” will
yield far too many hits to be useful; but if the goal of the search is
to locate values for weather vanes produced by a particular maker,
or manufacturer (e.g., Rochester Iron Works), the keyword search
“weathervane” and “rochester” reveals thirty appropriate sales
records.

Sometimes, our research requires a broad-based review of a

specific category of material. The p4a “category” and “type”
search yields sales records that match pre-set categories and
subcategories. For example, collectors of Coca-Cola memorabilia
can select the category “advertising” and the category “coca
cola.” This search retrieves 854 records detailing offerings and
sales of everything from Coca-cola vending machines, to printed
ephemera and other lower end items.3
 Anonymous works of art are notoriously difficult to value, and
many of the online value research tools do not offer an effective
way of locating auction data on this class of material. This is
another area in which p4a excels. A keyword search for the
expression “American school,” further limited to the category
“paintings,” yields 3,153 records for offerings and sales.4

One last feature of p4a—the “Auction Summary” attached to

each sale record, provides a wealth of data on the outcome of
entire sales. For each item, the summary indicates the number of
lots offered, number of lots sold, percentage of lots unsold, gross
revenue, average (per-item) revenue, and the price realized by the
top lot. Many, perhaps most, of these online sales reporting
services do not include all of the items offered in all sales. P4a is
unique in its reporting of the number of lots that it covers from
each sale indicated.

Worthpoint. http://www.worthpoint.com

Worthpoint is a unique valuation resource intended for collectors

at all levels. It is particularly valuable for research into prices
attained for lower end items, as it maintains an enormous archive
of items sold through eBay, GoAntiques, TIAS and the world’s
leading auction houses. As of April, 2013, the Worthpoint data
bank (dubbed “Worthopedia”) includes “over 136 million
historical prices and images. This data is aggregated from both
online marketplaces and from some of the leading auction houses.
Worthpoint boasts the larges database that covers up to eight
years of information—some of which is gone
forever”[Worthpoint website].

A search of the Worthopedia data bank for a piece of Heritage

Henredon furniture designed by Frank Lloyd Wright in the 1950s
yielded dozens of well illustrated auction records, enabling the
establishment of a rapid “ballpark” price for a small desk and
chest of drawers.
 For the professional level researcher, Worthpoint’s Digital
Library and directory of marks (Worthpoint Marks™) comprise
an enormous wealth of subscription-based information. The
Digital Library offers “E-content from leading publishers,
including approximately 130 antiques and collectibles titles from
F+W Media. Subscribers can highlight passages, add notes, mark
items and purchase printed editions” [Worthpoint website,
accessed on April 3, 2013]. Note that Worthpoint also hosts
GoAntiques, an online marketplace described earlier.

PRICE GUIDES TO DECORATIVE ARTS MARKET INFORMATION

Many of these guides offer similar guidance to their users. Usually, they
note that the prices recorded will vary, depending upon a number of factors
—primarily, condition and location of the sale’s transaction. Some offer
general price ranges that are vetted by dealers and other professionals with
expertise in the object category. Price guides with explicit criteria for
inclusion are identified as such.

This bibliography is highly selective, largely because an all-inclusive list of

price guides would comprise multiple volumes, and many of the price
guides available are simply not very useful or well-produced. Further, the
world of “decorative arts” is currently very expansive. For the collector or
researcher of highly specialized decorative arts and collectible objects (cork
screws, walking sticks, lunch boxes and the like), the following publishers
are well-known producers of hundreds of high quality, well-illustrated
guides:

Krause Publications
http://www.collect.com
700 East State Street
Iola, WI 54990

Krause publishes the many highly-regarded “Antique Trader”

titles (several described in this section), along with many more
highly-specialized books and magazines geared toward collectors
of everything from traditional antiques to comic books, records,
firearms and other collectibles.
 Schiffer Publishing
www.schifferbooks.com
4880 Lower Valley Rd.
Atglen, OA 19310

Schiffer produces a wide range of price guides of interest to both

the generalist, and the specialized researcher of fine and
decorative arts. The firm’s user-friendly website allows users to
search available titles by keyword—a feature which is most
useful for the researcher of specific materials (e.g., “pewter”) or
techniques.

General Price Guides

The following titles represent a selection of the most valuable price guides.
All include a wide variety of objects and media. Specialized guides (e.g.,
glass, silver) are identified and described in the subject-specific lists that
follow.

Brownell, Dan. Antique Trader Antiques & Collectibles Price Guide.

Iola, WI: Krause. Annual.

This guide is one of the basics for any serious collector of

antiques, decorative arts or collectible object category. The latest
edition includes thousands of illustrated items, including a great
many low-end pieces and contemporary collectibles, toys, and
ephemera.

Fleisher, Noah. Warman’s Antiques & Collectibles 2014. 47th ed. Iola,
WI: Krause, 2013. 798p.

This well-illustrated review of prices covers everything from

furniture and lighting to movie posters and other collectible
memorabilia.

Gaston, Mary Frank. Collectors Guide to Art Deco: Identification &

Values. Paducah, KY: Collector Books. 1997. 223p.
 While the prices included here are dated, the introductory
material and the many very good reproductions make this an
excellent source for identification. Objects covered include:
Barware; Clocks; Dresser accessories; Lamps; Smoking items;
Statues; Tableware; Vases.

Hammond, Dorothy. Pictorial Price Guide to American Antiques: And

Objects Made for the American Market, 2007–2008 Illustrated and
Priced Objects. Woodbridge, Suffolk: Antique Collectors’ Club. 2007.
288p.

This encyclopedic price guide includes a vast range of traditional

antiques and collectible objects. Good quality color images of
hundreds of objects make this a useful tool for identifying styles,
patterns, etc. Prices reflect auction market

Kerr, Ann. Collector’s Encyclopedia of Russel Wright: Identification &

Values. 3rd ed. Paducah, KY: Collector Books, 2002. 301p.

Surveys the designs of Russel Wright—not only the well-known

dinnerware but also furniture, metalwork and other products
sought-after by the collector. The 3rd edition of this standard
reference works includes a good number of primary source
materials and hundreds of very good photographs of
representative pieces, with values.

Knowles, Eric. Miller’s Art Deco. Tenterden, England: Miller’s, 2001.

192p. (Series: Miller’s Antiques Checklist.)

Intended for the beginning collector, provides concise overview

of a great variety of objects. Well organized and illustrated.

_____. Miller’s Art Nouveau. London: Miller’s, 2000. 192p. (Series:

Miller’s Antiques Checklist.)

This series’ useful Q&A format guides the novice collector

through the identification process with a wide range of
representative objects. Partial contents: Furniture; Glass;
 Ceramics; Sculpture; Silver, jewelry & metalwork; Posters;
Glossary of terms.

Kovel, Ralph, and Terry Kovel. Kovels’ American Antiques, 1750 to

1900. New York: Random House Reference, 2004. 384p.

Collectors’ guide to American antiques, includes valuable

information for collectors of potter and porcelain, glass, furniture,
silvers, and other decorative arts objects. Provides information on
factories and designers, including dates, locations and identifying
marks.

_____. Kovels’ Antiques and Collectibles Price Guide 2013: America’s

Bestselling Antiques Annual. New York: Black Dog & Leventhal,
2012. 722p.

Now in its 45th edition, Kovel’s is the antique collector’s Bible.

Featuries prices for items in 700 categories, many illustrated in
color. Additional content—collectors’ tips, marks, etc. included.

_____. Kovels’ Know Your Collectibles. New York: Crown, 1992.

404p.

Practical advice for the novice collector. Focuses on 19th and

20th century furniture, pottery, glass and other collectible objects.

Lyle Official Antiques Review. New York: Perigee Books; Berkeley,

[1972–2004]– . Annual.

Provides current values, descriptions, and over 5,000 photographs

of a wide range of antiques and collectibles. Classified
arrangement and a detailed index make Lyle an indispensable
source for all levels of collecting. Prices reported are drawn from
the preceding year’s auction and retail sales. Available in many
hundreds of libraries in the U.S. and abroad.

Mascarelli, Gloria, and Robert Mascarelli. Warman’s Oriental

Antiques. Radnor, PA: Wallace-Homestead Book, 1992. 385p. (Series:
Encyclopedia of Antiques and Collectibles.)

Survey of Chinese, Japanese and Korean antiques includes

paintings, prints, porcelain, ceramics. Appendices include:
Chinese pottery and porcelain marks; Glass interior-painted snuff
bottle marks; Japanese pottery and porcelain marks; Netsuke
artists’ signatures; Woodblock artists’ signatures; Woodblock
publishers’ seals.

Mayer, Enrique. Dictionnaire des Meubles et Objets d’Art: 8000 Prix

en Ventes Publiques dans le Monde Entière. 1994 ed. Paris: Albin
Michel, 1993. 771p.

While almost 20 years out-of-date, this handy source is included

here because it is an excellent source for identifying particular
works. While the emphasis is on the decorative arts of Europe,
some American works are included. Lots of decent illustrations,
prices keyed to specific sales at a number of American, British
and Continental European auction houses. Partial contents:
Meubles; Céramiques; Tapisseries; Art nouveau, Art deco, Art
moderne; Art Africain.

Miller, Judith. Art Deco (DK Collector’s Guides). New York: DK,
2005. 240p.

For the serious collector of Deco. Profiles individual designers,

manufacturers. Partial contents: Furniture; Textiles; Glass;
Ceramics; Jewelry; Silver and Metalware; Sculpture; Posters and
Graphics; Directories of Dealers and Museums.

_____. Miller’s 20th Century Design. London: Miller’s, 2009. 304p.

From the Arts & Crafts movement through the end of the 20th
century, this beautifully illustrated volume includes information
on all of the most important movements and designers of the
modern era.
Moran, Mark. Antique Trader Oriental Antiques & Art: An
Identification and Price Guide. 2d ed. Iola WI: Krause Publications,
2003.

Handy, information filled guide for the generalist

researcher/collector of fine and decorative arts of Asian nations.

Raycraft, Don, and Carol Raycraft. Wallace-Homestead Price Guide to

American Country Antiques. Iola, WI: Krause. Annual. 1978– .

Well-illustrated annual price guide to antiques and collectibles,

including an overview of shops, shows, auctions and galleries, hot
country antiques. Good for “lower-end” of the market. [16th ed,
1999.]

Rennie, Paul. Miller’s 20th Century Design Buyer’s Guide. London:

Miller’s, 2003. 304p.

Partial contents: Furniture; Ceramic; Glass; Lighting; Metalware;

Silver; Sculpture; Clocks & watches; Jewellery; Textiles; Posters;
Designers: Sir Ambrose Heal; Alvar Aalto; Jean Prouve; George
Nelson; Charles & Ray Eames; Robin & Lucienne Day; Piero
Fornasetti; Arne Jacobsen; Hans Wegner; Verner Panton;
Memphis Group.

Rosson, Joe. Price It Yourself! The Definitive, Down-to-Earth Guide to

Appraising Antiques and Collectibles in Your Home, at Auctions,
Estate Sales, Shops and Yard Sales. New York: HarperResource, 2003.
369p.

Presents the basic concepts of appraisal in an easy-to-understand,

practical fashion. Glass, ceramics, furniture, other categories of
collectible objects included.

Seton, Alistair. Collecting Japanese Antiques. Boston: Tuttle, 2004.

303p.
 Some price guidance, along with serious advice for the
connoisseur of Japanese antiques and decorative arts. Partial
contents: Ukiyo-e and other prints; Sagemono; Ceramics;
Furniture; Textiles; Lacquerware; Cloisonné; Sculpture and
metalwork; Swords and armor; Tea ceremony utensils.

Sullivan, Amy. Schroeder’s Antiques Price Guide. 29th ed. Paducah,

KY: Collector Books, 2011. 607p.

Provides values for thousands of items, particularly useful for

lower-end collectible objects. Essential background information
on the object precedes prices for specific examples. Works
included are selected by experts in the field.

Zoglin, Ron, and Deborah Shouse. Antiquing for Dummies. Foster

City, CA: IDG Books, 1999. 352p.

Primer for the beginning collector of decorative arts offers

practical tips on identifying, evaluating and acquiring antiques, as
well as information on care and maintenance, various sales
venues (auction, flea market, retail shop), etc.

Furniture: Price Guides

American Manufactured Furniture: A Complete Guide to Furniture

Produced in the 1920s. 5th rev. ed. Atglen, PA: Schiffer, 1996. 407p.

Reference guide to hundreds of furniture manufacturers, complete

with indexes to manufacturers, geographical index, and classified
index of products.

Andrews, John. British Antique Furniture: Price Guide & Reasons for
Values. 6th ed. Woodbridge, Suffolk: Antique Collectors Club, 2011.
456p.

Excellent source for the serious collector. Illustrates nearly 1,500

examples of British furniture produced between 1650 and 1860.
Furniture is arranged by functional type (sideboards, etc.).
 Additional contents: Colour and Patination; Furniture Buying—
Principles and Precaution; Antique Furniture Prices over Thirty-
Seven Years; Oak; Walnut; Early and Late Mahogany; Regency;
Victorian; Country; Technical Terms.

_____. Victorian and Edwardian Furniture: Price Guide and Reason

for Values. Woodbridge, Suffolk: Antique Collectors’ Club, 2001.

Collectors’ guide to British furniture, includes a brief overview of

British furniture styles from 1860 through 1930, including
Elizabethan, Rococo, Gothic, the Aesthetic Movement, Anglo-
Japanese, Arts and Crafts, Art Nouveau, Queen Anne, Georgian
Revival and Edwardian Sheraton. Very well-illustrated chapters
on various types of furniture (bookcases, cabinets, etc.) make this
an essential tool for identifying and pricing British furniture of
the period.

Curtis, Tony. Lyle Price Guide to American Furniture. New York:

Berkley, 1998. 510p.

Handy slim-format pocket guide for the antique show aficionado,

items conveniently arranged by object type. Very well illustrated,
provides thousands of examples from Colonial through mid–20th
century. Prices based on auction sales.

Davidson, Richard, consultant. Furniture. 2000. 192p. (Tenterden:

Miller’s Antiques Checklist.)

Like other titles in the Checklist series, Davidson’s Furniture

provides the basics of connoisseurship and pricing guidance for
the beginning to intermediate level collector.

Field, Rachael. Collector’s Guide to Buying Antique Furniture.

London: Little, Brown, 1998. 176p.

Excellent source for the serious collector of English antique

furniture. Profile of each work (e.g., Adam round-back chair)
includes historical background, signs of authenticity, likely
 restoration and repair, construction and materials, variations,
reproductions and price ranges. Partial contents: The history of
English furniture: An introduction; Woods: Characteristics and
use; Cleaning and care; Repairs and restorations: Trade practices;
English antique furniture: The classic styles.

Fleisher, Noah. Warman’s Modernism Furniture and Accessories:

Identification and Price Guide. Iola, WI: Krause Publications, 2009.
255p.

Well-indexed and illustrated guide to mid- to high-level modern

furniture. Arranged by broad category (e.g., seating), includes
entries for most of the more important designers of 20th century
Modernist furniture.

Furniture of the Arts & Crafts Period: “Stickley,” Limbert, Mission

Oak, Roycroft, Frank Lloyd Wright, and Others with Prices. Gas City,
IN: L-W Book Sales, 1992. 133p.

Illustrated (black and white, some color) catalog with descriptive

cataloging of various pieces, conveniently arranged by type of
furniture (rockers, tables, etc.). Prices recorded relate to pieces in
excellent condition, derived from recorded sales at Treadway
Galleries, specialists in Arts and Crafts furniture. Treadway-
Toomey’s website is one of the very best sources for pricing
furniture of the Arts & Crafts Period. See Appendix B for
description.

Gilham, Leslie, and Judith H. Miller. Miller’s Late Georgian to

Edwardian Furniture Buyer’s Guide. Tenterden, England: Miller’s,
2003. 400p.

Guide to identifying styles and variations in furniture, arranged

by type of furniture (tables, etc.) Includes materials on children’s
furniture, decoration, identification of woods, maintenance of
furniture, restoration, etc.
Hill, Conover. Antique Oak Furniture: An Illustrated Value Guide.
Paducah, KY: Collector Books, 2003. 125p.

The popularity of oak furniture has increased among collectors

over the past decade; this guide provides 2003 values, along with
hundreds of photographs to aid in the identification of oak chairs,
tables, cabinets, and other types of furniture.

Husfloen, Kyle. Antique Trader Furniture Price Guide. Iola, WI:

Antique Trader Books/Krause, 2008. 384p.

Arranged by object type (beds, cabinets, etc.) this handy price

guide includes many good quality color pictures of various
furniture styles and periods. Its “Furniture Dating Chart,” and
“American Furniture Terms” are excellent tools for the beginning
collector.

Jenkins, Emyl. Emyl Jenkins’ Appraisal Book: Identifying,

Understanding, and Valuing Your Treasures. New York: Three Rivers
Press, 1995. 326p.

This handy manual provides a good deal of information for the

novice object researcher. Provides a great many tips for
evaluating the quality of silver, China, crystal and other
glassware, furniture, etc., evaluating insurance needs, and the
like. The author correctly cautions the reader to seek the services
of a professional appraiser, the advice of dealers and others in the
professional decorative arts world.

Ketchum, William C., et al. Antique Hunter’s Guide to American

Furniture: Chests, Cupboards, Desks & Other Pieces. New York:
Black Dog & Leventhal, 2000.

While its prices are now out-of-date, this is an excellent source

for the connoisseur of American furniture. Partial contents:
Simple way to identify furniture; American furniture styles; Parts
of furniture; Hardware. Collecting tools: Checklist for identifying
 styles; List of plates by style; Construction and connoisseurship;
General types of wood; Woods by stylistic period.

Koon, Larry. Stickley Brothers Furniture Identification and Value

Guide. Paducah, KY: Collector Books, 2004. 238p.

Important reference source for the Stickley collector. Important

background information on the Stickley Company precedes
survey of individual pieces, complete with description,
dimensions, prices, etc. Partial contents: Gustav Stickley’s
American Mission; Gustav Stickley Museum; Buying and selling
resources; Reproduction Stickley furniture.

Lindquist, David P., and Caroline C. Warren. The Big Book of Antique
Furniture: Featuring English & Continental, Colonial Revival, and
Victorian Furniture. Iola, WI: Krause, 2002. 648p.

Well illustrated and indexed reference guide to collectible antique

furniture, with prices. Each major section includes a survey of
styles, their history, and relevant facts for the serious collector.

_____. Victorian Furniture: With Prices. Iola, WI: Krause, 1995. 200p.

Introduction to the market for Victorian furniture, well-illustrated

and indexed. Partial contents: Gothic revival: 1830–1850; Cottage
furniture: 1840–1890; Rococo revival: 1840–1865; Renaissance
revival: 1860–1880; Victorian ingenuity: patents and progress:
1850–1900; Furniture of reform: Eastlake and the Aesthetic
Movement: 1870–1890; Mail-order opulence: 1890–1900.

McNerney, Kathryn. American Oak Furniture: Book II. Paducah, KY:

Collector Books, 2001. 223p.

Updates the author’s 1984 guide with new examples of the

increasingly popular American oak furniture. Well illustrated,
with relatively recent values assigned to each piece.
_____. Victorian Furniture: Our American Heritage. Paducah, KY:
Collector Books, 1999. 253p.

Illustrated price guide arranged by type of furniture; one or more

editions widely held in libraries across the nation.

Miller’s Pine & Country Furniture Buyer’s Guide. Rev. ed. Tenterden,
England: Miller’s, 2001.

Very extensive reference guide to pine and oak country furniture,

arranged by furniture type. Value ranges in British pounds.

Modern Furniture Price Guide: A Comprehensive Collection of

Auction Results 1991–1999. Cincinnati, OH: Treadway Gallery, in
association with the John Toomey Gallery of Oak Park, IL, 1999. 2
vols.

Treadway Gallery is one of the largest auction houses specializing

in postwar furniture and design. This very well-illustrated, two-
volume guide is an excellent reference source for modern
furniture. Volume 1: Charles Eames, John Risley; Harry Bertoia;
Alexander Girard; Samuel Marx; Gio Ponti; Jean Prouvé; George
Nelson; Florence Knoll; Fornasetti; Norman Cherner; Dunbar;
Paul McCobb; Kem Webber. Vol. 2: Edward Wormley; Alvar
Alto; Arne Jacobsen; Art Deco; Donald Deskey; Eero & Eliel
Saarinen; Frank Gehry; George Nakashima; Gilbert Rohde; Isamu
Noguchi; Mies van der Rohe; Paul Frankl; Pierre Paulin;
Heywood Wakefield; Robsjohn-Gibbings; Vladimir Kagan;
Warren Platner; Warren McArthur.

Moran, Mark F. Furniture: Field Guide. Iola, WI: Krause, 2002. 512p.

Its small format makes this reference work the perfect flea market
companion. Each piece is illustrated, described in depth, and
priced. Items are arranged by type (e.g., benches, bookcases).
Some special features include a furniture style dating chart,
furniture terms, construction details, and a glossary of terms.
_____. Warman’s Arts & Crafts Furniture: Identification and Price
Guide. Iola, WI: Krause, 2004. 207p.

Excellent source for researching the history and current prices of

Arts & Crafts furniture. Includes significant amount of materials
on major designers of the movement, including John Ruskin,
Charles Rennie Mackintosh, William Morris, the Stickley
Brothers, and others. Includes detailed information, including
prices for over 1,500 items.

Neumann, George C. Early American Antique Country Furnishings:

Northeastern America, 1650–1800s. New York: McGraw-Hill, 1984.
353p.

Encyclopedic survey of colonial through 19th century Americana.

Excellent source for style and pattern identification. Partial
contents: Country furniture: beds; chests; cupboards; desks and
boxes; floor coverings; lighting; seating; tables, stands. Cooking
and eating: cooking; woodenware; ceramic tableware; pewter
tableware; glassware. Glossary of terms, hundreds of good b/w
reproductions.

Philip, Peter, and Walkling, Gillian. Field Guide to Antique Furniture.

Boston: Houghton Mifflin, 1992. 336p.

This handy guide to antique furniture offers practical information

for the collector, including “recognizing woods,” “finishes,” and
“threats to woods.” In-depth overview of British, Continental
European, and New World furniture periods and styles provides
descriptions of style and appearance, materials, construction,
decoration, finish. Prices reflect primarily London auction sales.

Schiffer, Nancy. The Best of Golden Oak Furniture: With Details and
Prices. Atglen, PA: Schiffer, 2000. 157p.

Beautifully illustrated reference work on 19th century oak

furniture. Partial contents: Case furniture; Bookcases; Seating;
China cabinets; Tables; Accent pieces. Prices reflect retail values.
 Swedberg, Robert W. Collector’s Encyclopedia of American Furniture.
Paducah, KY: Collector Books, 1991. Vol. 1: Dark Woods of the
Nineteenth Century: Cherry, Mahogany, Rosewood and Walnut. Vol. 2:
Furniture of the Twentieth Century. Vol. 3: Country Furniture of the
Eighteenth and Nineteenth Centuries.

(Only volume 3 available for review). Color reproductions

illustrate good descriptive entries on various types of furniture
and styles. Volume 3 includes price guide.

Warman’s American Furniture. Edited by Ellen T. Schroy. Iola, WI:

Krause, 2000. 352p.

Arranged by furniture type, provides an easy-to-use survey of

hundreds of pieces of American furniture. Useful for determining
style and period. Price listings, while somewhat dated, can still be
useful for determining ballpark prices for a vast array of
American furniture pieces.

Pottery and Porcelain: Price Guides

General Pottery and Porcelain Price Guides

Atterbury, Paul, Ellen Paul Denker, and Maureen Batkin. Miller’s

Twentieth-Century Ceramics: A Collector’s Guide to British and North
American Factory-Produced Ceramics. London: Miller’s, 1999. 256p.

Major producers of 20th-century ceramics are surveyed. Includes

factory histories and marks, overviews of designs, major artists
and designers, prices.

Bagdade, Susan D., and Allen D. Bagdade. Warman’s English &

Continental Pottery & Porcelain. 3d ed. Iola, WI: Krause, 1998.

Well-indexed overview of the current market for approximately

200 categories and sub-categories of English and continental
European pottery and porcelain. Over 10,000 price listings
 included. Brief histories of companies include some identifying
marks.

Husfloen, Kyle. Antique Trader American and European Art Pottery:

Price Guide. 2d ed. Iola, WI: Antique Trader Books, 2002. 301p.

Very well-illustrated reference guide includes hundreds of good

photographs to aid the collector in identifying and pricing works
of art pottery produced during the late 19th and early 20th
centuries. Thousands of works included, all major firms
represented.

_____, ed. Antique Trader Pottery and Ceramics Price Guide. 6th ed.
Iola, WI: Krause, 2009. 767p.

The definitive price guide for serious collectors of pottery and

porcelain. Includes a good number of photographs to aid the
researcher in the identification of individual designers’ and
manufacturers’ wares. In addition to the price guide, appendices
provide current information on: Ceramic clubs and associations;
Museums & libraries with ceramics collections, References to
pottery & porcelain marks, and more.

Kamm, Dorothy. American Painted Porcelain. Paducah, KY: Collector

Books, 1999. 144p.

Color illustrations of individual pieces, some marks and

signatures, with values from the 1990s. Some very useful research
material, including tips on collecting, cataloging and maintaining
a collection.

Lang, Gordon, consultant. Porcelain. Judith Miller and Martin Miller,

general editors. London: Miller’s, 2000. 192p. (Series: Miller’s
Antiques Checklist.)

_____. Pottery. Judith Miller and Martin Miller, general editors.

London: Miller’s, 2000. 191p. (Series: Miller’s Antiques Checklist.)
 Like other titles in the Checklist series, these guides present the
basics of connoisseurship for the beginning to intermediate
collector. Prices included.

Rago, David, and Suzanne Perrault. How to Compare and Value

American Art Pottery. London: Octopus, 2001. 176p. (Series: Miller’s
Treasure or Not?)

Essentially a guide to connoisseurship for the beginning collector,

this How to guide surveys the factors that contribute to the value
of one piece over another, including age, rarity, provenance, and
restoration, among others. Perrault and Rago, acknowledged
experts in the field, convey a great deal of information in a most
accessible style.

Sandon, John. Miller’s Collecting Porcelain. Tenterden, England:

Miller’s, 2002. 160p.

Partial contents: Forming a collection; Collecting by style;

Collecting by decoration; Collecting by maker or country;
Collecting by object or shape; Care & display.

Sigafoose, Richard. American Art Pottery: Identification & Values. 2d

ed. Paducah, KY: Collector Books, 2006. 287p.

This encyclopedic survey of American art pottery offers histories

and products of major pottery designers and manufacturers.
Hundreds of good quality color illustrations include numerous
detail shots of backstamps. Additional content for serious
collector includes historical advertisements.

Spencer, Christopher, and Jo Wood. Miller’s Ceramics Buyer’s Guide.

London: Mitchell Beazley, 2000. 385p.

Hundreds of illustrated examples of pottery and porcelain, fully

described, with values. Major sections (pottery, porcelain)
arranged by type of item. Includes reference material of interest to
collectors at all levels.
 Specialized Pottery and Porcelain Price Guides

Abingdon Pottery

Paradis, Joe. Abingdon Pottery Artware 1934–1950: Stepchild of the

Great Depression. Atglen, PA: Schiffer, 1997. 196p.

Somewhat dated pricing information, but this handy guide

includes a great deal of reference material for the Abingdon
collector in addition to good reproductions to assist in
identification.

Belleek

Eng, Loman, and Petula Eng. Collecting American Belleek. Atglen,

PA: Schiffer, 2003. 176p.

Copeland

Spode & Copeland: Over Two Hundred Years of Fine China and
Porcelain. Atglen, PA: Schiffer, 192p. Contents: Spode 1764–1833;
Copeland & Garrett 1833–1847; Copeland 1847–1970; Spode Limited
1970–Present.

Dresden

Harran, Jim, and Susan Harran. Dresden Porcelain Studios:

Identification and Value Guide. Paducah, KY: Collector Books, 2002.
240p.

Provides historical information on 19th and 20th century Dresden

studios, including characteristic styles, manufacturing process
details and production techniques. Tips for collectors, facsimile
original catalogue pages, and a very detailed index make this an
essential tool for the Dresden collector.

Fiesta
Huxford, Bob, and Sharon Huxford. Collector’s Encyclopedia of
Fiesta, Plus Harlequin, Riviera and Kitchen Kraft. 9th ed. Paducah,
KY: Collector Books, 2001. 221p.

Hundreds of color photographs make this an excellent source for

identification of old and more recent Fiesta. Provides values and
practical advice for the serious collector.

Victorey, Glen. Warman’s Fiesta: Identification and Price Guide. Iola,

WI: Krause, 2007. 254p.

This price guide to color Fiesta pottery provides excellent

photographs that are useful for identification. Additional content
includes a “color timeline” which notes time periods during
which particular forms were produced, arranged by color, as well
as a directory of bottom marks.

Limoges

Dubay, Debby. Antique Trader Limoges Price Guide. Iola, WI: Krause,
2007. 270p.

Exhaustive inventory of Limoges productions, arranged by object

type or genre. History of Limoges, along with practical advice for
the collector including tips for authentication, identification of
backstamps, etc.

Gaston, Mary Frank. Collector’s Encyclopedia of Limoges Porcelain.

3d ed. Paducah, KY: Collector Books, 2000. 456p.

Presents the history, marks, and values of Limoges porcelain.

Many color photographs make this an excellent identification
tool. Partial contents: Identifying and collecting Limoges
porcelain; Major Limoges companies; Other Limoges companies;
Unidentified Limoges marks; Index and cross reference to
companies, initials and symbols.
Waterbrook-Clyde, Keith, and Thomas Waterbrook-Clyde. Art Deco
Limoges: Camille Tharaud and Other Ceramists. Atglen, PA: Schiffer,
2005. 222p.

Includes current value ranges, in addition to reference material for

the serious collector. Partial contents: Photographs of the works
of Camille Tharaud; Dating of porcelain and decorating marks for
Camille Tharaud; Other art deco ceramics: Robj; Edouard Marcel
Sandoz; Suzanne Lalique; Royal Limoges.

_____. Distinctive Limoges Porcelain: Objets d’Art, Boxes and

Dinnerware. Atglen, PA: Schiffer, 2001. 248p.

Hundreds of good color photographs make this an excellent

resource for Limoges porcelain identification and dating. Values,
information on marks, and other reference material on both
utilitarian and decorative objects.

McCoy

Hanson, Bob, Craig Nissen, and Margaret Hanson. McCoy Pottery:

Collector’s Reference & Value Guide. Paducah, KY: Collector Books,
1996–2002. 3 vols.

Presents an historical survey of the McCoy Pottery firm. Works

well-documented, and arranged by type of object. Volume 3
includes index to the set, marks and labels directory.

Moran, Mark F. McCoy Pottery: Warman’s Companion. Iola, WI:

Krause Publications, 2009. 272p.

Arranged by object type, this handy guide includes a great range

of material produced by McCoy from the late 19th through the
mid–20th century.

Meissen
Harran, Jim, and Susan Harran. Meissen Porcelain: Identification and
Value Guide. Paducah, KY: Collector Books, 2006. 205p.

Very richly illustrated price and identification guide for serious

collectors of Meissen.

Röntgen, Robert E. The Book of Meissen. 2d ed. Atglen, PA: Schiffer

Pub., 1996. 333p.

Rookwood

Rookwood Pottery: Identification and Price Guide. Denise Rago and

Jonathan Clancy. Iola, WI: Krause Publications, 2008.

Guidance for the serious collector of Rookwood. Information on

Condition as it relates to value, marks and their meanings, glazes,
prices.

Roseville

Bassett, Mark. Understanding Roseville Pottery. Atglen, PA: Schiffer,

2002. 302p.

From the late 19th through the mid–20th century, Roseville

Pottery Company productions were sought by collectors of
American art pottery, and the market for the best works continues
to attract a great deal of interest. This very well-researched
history of the company includes information on identifying marks
and prices.

Rago, Denise. Warman’s Roseville Pottery: Identification and Price

Guide. 2d ed. Iola, WI: Krause, 2007. 286p.

One of the very best guides for Roseville art pottery

identification. Each pattern illustrated with a generous sampling
of good quality color images. Additional content on value and
condition issues, fakes and reproductions, production dates and
more.
 Royal Copenhagen

Pope, Caroline, and Nick Pope. A Collector’s Guide to Royal

Copenhagen Porcelain. Atglen, PA: Schiffer, 2001.

An essential reference source for collectors and other researchers

of Royal Copenhagen. Historical material, good photos (many in
color), information on marks, and price guide included.

Spode

See entry under Copeland: Spode & Copeland: Over Two Hundred
Years of Fine China and Porcelain.

Wedgwood Jasper Ware

Herman, Michael. Wedgwood Jasper Ware: A Shape Book and

Collector’s Guide. Atglen, PA: Schiffer, 2003. 189p.

Presents an historical survey of Wedgwood production from the

19th through early 20th century. The presentation of major pieces
illustrating Wedgwood productions in good color reproductions
makes this an excellent source for identification and dating.
Includes information on marks and values.

Weller

Warman’s Weller Pottery: Identification and Price Guide. Denise Rago

and David Rago. Iola, WI: Kraus Publications, 2007.

Practical advice for the collector including condition issues

related to value, early, middle and late period works, price
guidance.

Willow

Gaston, Mary Frank. Gaston’s Blue Willow: Identification & Value

Guide. 3d ed. Paducah, KY: Collector Books, 2004.
 Excellent reference source for the serious collector. Partial
contents: Collecting Blue Willow; Marks; Traditional Blue
Willow pattern; Other Willow patterns; Glossary; Index to
manufacturers; Index to objects.

Lindbeck, Jennifer. A Collector’s Guide to Willow Ware. Atglen, PA:

Schiffer, 2000. 158p.

Good pictorial survey of Willow, with hundreds of good

illustrations. Includes information of interest to the serious
collector, including marks, price guide.

Glass: Price Guides

General Glass Price Guides

Benson, Nigel. Glass of the ’50s & ’60s: A Collector’s Guide.

Tenterden, England: Miller’s, 2002. 64p.

Basic primer for the beginning collector. Brief introduction to

various styles and glassmaking methods (e.g., mould-blown
textured glass, engraved glass). Partial contents: Designers, glass-
makers & marks; Glossary; Where to buy & see; What to read.

Bredehoft, Thomas H. Fifty Years of Collectible Glass, 1920–1970:

Easy Identification and Price Guide. Dubuque, IA: ATB, 1997–2000.
2 vols. Volume 1: Tableware, Kitchenware, Barware and Water Sets.
Volume 2: Stemware, Decorations, Decorative Accessories.

Florence, Cathy, and Gene Florence. Collectible Glassware from the

40s, 50s, 60s: An Illustrated Value Guide. 10th ed. Paducah, KY:
Collector Books, 2010.

Provides retail price guidance for individual pieces of glass,

arranged by pattern, further subdivided by object type,
dimensions, or other relevant factors.
Hayhurst, Florence. Miller’s Glass Buyer’s Guide. Tenterden, England:
Miller’s, 2001. 320p.

Excellent source for the identification of glass works; major

sections arranged by type (e.g., bowls and dishes). Partial
contents: Carnival glass; Gray-Stan; Legras; Loetz; Webb;
Directory of specialists.

Higgins, Molly. Antique Stained Glass for the Home. Atglen, PA:
Schiffer, 2001. 192p.

Guide to style identification and pricing of stained glass windows.

Major chapters arranged by window type (e.g., “Arches and
Round Windows”). Covers Victorian, John Lafarge and Louis
Comfort Tiffany, Arts & Crafts movement, the Glasgow School,
Frank Lloyd Wright and the Prairie School.

Husfloen, Kyle, and Louis O. St. Aubin, Jr., eds. Antique Trader
American & European Decorative and Art Glass Price Guide. Iola,
WI: Antique Trader Books, 2000. 202p.

Manual and price guide for the serious glass collector. Includes
descriptions (some with illustrations) and price information for
over 3,000 19th and 20th century glass works, glossary of terms,
directory of glass collectors’ associations, and more.

Luther, Louise. Miller’s Art Glass: How to Compare & Value.

Tenterden, England: Miller’s, 2002. 176p.

Miller’s “Compare and Value” series presents examples side-by-

side, and instructs the reader in the points of comparison that
affect items’ relative importance, and hence, relative values.
Partial contents: Understanding the art glass market; Displaying
and caring for art glass. Art glass primer; American art glass;
European art glass; Contemporary international studio artists;
Sources and references.
McConnell, Andy. Miller’s 20th-Century Glass. London: Miller’s,
2006. 256p.

Presents connoisseurship issues and offers price guidance through

analysis of hundreds of international examples of collectible
glassware. Photographic illustrations are very high quality, as are
design drawings, marks and other reference points of interest to
the serious collector.

Official Price Guide to Glassware. 3d edition. New York: House of

Collectibles (Ballantine), 2002. 840p.

Indispensable handbook for the serious glass collector. Includes

over 25,000 prices, and excellent descriptive information on each
piece, including manufacturer’s name, pattern, etc. Partial
contents: Foreign glass and glassmaking—the world history and
evolution of glassmaking; Foreign glass price guide from the 19th
and 20th centuries; Pressed glass—the early and middle
American periods of glass, including the origin and history of
glassmaking in America; Pressed glass price guide from the 19th
and early 20th centuries; Cut glass—the Brilliant period of
American glass. America’s fine crystal and price guide from 1880
to 1915; American art glass—from Tiffany to Steuben. Art glass
price guide from the late 19th and early 20th centuries; Carnival
glass—America’s fad; Depression glass—America’s great
depression; Modern and miscellaneous glass—American
glassware and price guide from the 1940s; Museums; Glossary;
Manufacturers’ marks.

Piña, Leslie A. Italian Glass: Century 20. Atglen, PA: Schiffer, 2003.
239p.

English language reference work for the serious collector of

contemporary Italian art glass. Hundreds of color images, and
inclusion of representative examples of many designers and
factories make this an excellent tool for identification. Company
histories, biographies and additional reference content make this a
must have for serious collectors.
Reilly, Daryl, and Bill Jenks. Early American Pattern Glass:
Collector’s Identification & Price Guide. 2d ed. Iola, WI: Krause,
2002. 512p.

For the serious collector of early American glass, provides

extensive information on more than 350 patterns, including
names, production numbers, references, etc., along with pricing
information.

Schroy, Ellen Tischbein. Warman’s Pattern Glass: A Value and

Identification Guide: An Illustrated Reference Guide to Nearly 450
Different Types of Pattern Glass. 2d ed. Iola, WI: Krause, 2001. 223p.

Provides descriptive information on thousands of pieces of

glassware. Excellent indexing with numerous cross-references.
Partial contents: History; Manufacturers; Reproductions; State of
the market.

Shotwell, David J. Glass A to Z. Iola, WI: Krause, 2002. 638p.

Well-organized selection of useful resources intended for the

serious glass researcher. Definitions of technical terms, styles,
patterns, historical information on glass manufacturers and their
marks.

Shuman, John A. Art Glass Identification & Price Guide. Iola, WI:
Krause, 2003. 256p.

Hundreds of works are illustrated, identified and priced in this

very useful guide to assembling a collection of fine art glass.
Includes data for Baccarat, Durand, Kimball, Lalique, Tiffany and
many more producers of art glass.

_____. The Collector’s Encyclopedia of American Art Glass: A Vivid

Color Guide to Numerous Art Glass Types. Paducah, KY: Collector
Books, 1999. 336p.
 Describes in great detail the various art glass offerings of major
manufacturers. Works are illustrated in color, with 1999 values.
Reference material includes advertisements, glossary of terms,
locations of manufacturers, timeline, and some cut glass marks.

West, Mark. Glass. London: Miller’s, 2000. 192p. (Series: Miller’s

Antiques Checklist.)

Like other titles in the Checklist series, provides very basic

information on glass collecting and pricing, intended for the
beginning collector.

Yates, Sarah, Mark West, and David McCarron. Collecting Glass: The
Facts at Your Fingertips. London: Miller’s, 2000. 176p.

Provides very basic, readable information for the beginning

collector of glass. Hundreds of items, well-illustrated, with price
ranges indicated for each object along with practical advice on
acquiring and displaying objects.

Specialized Glass Price Guides

Anchor-Hocking

Florence, Gene. Anchor Hocking’s Fire-King & More: Identification &

Value Guide, Including Early American Prescut and Wexford. Paducah,
KY: Collector Books, 1998. 223p.

Excellent source for identification of Fire-King glassware. Prices

represent dealer (retail) prices.

Hopper, Philip L. Anchor Hocking Decorated Pitcher and Glasses;

The Fire King Years. Atglen, PA: Schiffer, 127p.

Price guide to collectible 20th century glassware, includes section

on company history, identification marks, identification methods.

Carnival Glass
Edwards, Bill, and Mike Carwile. The Standard Encyclopedia of
Carnival Glass. 9th ed. Paducah, KY: Collector Books, 2004. 430p.

Partial contents: Basics of Carnival Glass collecting; Fenton

story; Imperial story; Millersburg story; Northwood story;
English Carnival Glass; Australian Carnival Glass; Old
trademarks; New marks.

_____. The Standard Encyclopedia of Carnival Glass: Price Guide.

17th ed. Paducah, KY: Collector Books, 2004. 96p.

Current price guide, arranged by pattern name and/or

manufacturer. Use with previous title for identification purposes.

Quintin-Baxendale, Marion. Collecting Carnival Glass. 2d ed.

London: Francis Joseph, 2002. 144p.

For the serious collector of Carnival Glass, hundreds of illustrated

examples with prices. One of the best guides for identifying
patterns and manufacturers.

Schroy, Ellen T. Warman’s Carnival Glass: Identification and Price

Guide. Iola, WI: Krause, 2004. 256p.

Hundreds of good color photographs and other illustrations make

this an essential source for the researcher of Carnival. Includes
extensive current price data.

Cobalt Glass

Clements, Monica Lynn, and Patricia Rosser. Cobalt Blue Glass.

Altglen, PA: Schiffer, 1998. 144p.

Brief history of cobalt glass production precedes well-illustrated

chapters devoted to specific object types (e.g., jewelry,
candlesticks, vases). Each work includes value range.

Felt, Tom, Gene Girard and Bernadette Girard. Encyclopedia of Cobalt

Glass: Identification & Values. Paducah, KY: Collector Books, 2009.
 Arranged by object type (e.g., bowls, mugs), each item illustrated
and fully cataloged, with price ranges derived from retail shops,
galleries and online listings.

Cut Glass

Evers, Jo. Evers’ Standard Cut Glass Value Guide. Paducah, KY:
Collector Books, 2000. 156p.

Illustrates nearly 2000 pieces of cut glass from several of the

leading distributors and manufacturers during the Brilliant Age
(1875–1915). Entries include company and pattern name, and
variant sizes along with current (2000) values. Entries arranged
by object type.

Swan, Martha Louise. American Cut and Engraved Glass: The

Brilliant Period in Historical Perspective. Iola, WI: Krause, 1998.
337p.

Encyclopedic overview of glassmaking in the United States.

Partial contents: Cut glass in America: early and middle periods;
Brilliant period cut glass; Nomenclature of motifs and patterns;
Evolution of a glass factory: Mount Washington/Pairpoint;
Libbey cut glass; Dorflinger, Hawkes and Steuben; Tuthill,
Meriden, Bergen, and Niland; Why and how to build a collection;
American and Canadian trademarks or signatures; Value guide
(based upon retail prices).

Depression Glass

Brenner, Robert. Depression Glass for Collectors. Atglen, PA:

Schiffer, 1998. 175p.

Very well-illustrated guide for the serious collector. Includes

prices and all major producers are well-represented. Partial
contents: History of depression glass; Brief history of major
depression glass manufacturers.
Florence, Cathy, and Gene Forence. Elegant Glassware of the
Depression Era: Identification and Price Guide. 13th Ed. Paducah,
Ky: Collector Books, 2009. 269p.

“Elegant glassware” is here defined as “hand worked, acid etched

glassware that was sold by better department and jewelry stores
during the depression era through the 1960s.” Arranged by
pattern type, with brief description of variations, years of
production, and price guidance.

Florence, Gene. Collectors Encyclopedia of Depression Glass. 16th

Edition. Paducah KY: Collector Books, 2003. 256p.

Reports retail prices for Depression glass in mint condition. Many

good color images make this an effective source for identification.
Brief profiles of patterns and manufacturers include production
colors, along with item-by-item description with prices.

_____. Very Rare Glass of the Depression Years: Identification and

Values. Sixth Series. Paducah, KY: Collector Books, 1999. 175p.

Well-illustrated collection of higher-end Depression glassworks.

Arranged by name of manufacturer, price range included.

Kovel, Ralph M., and Terry Kovel. Kovels’ Depression Glass &
Dinnerware Price List. 8th ed. New York: Three Rivers Press, 2004.
272p.

Important, reliable reference source for serious collectors,

includes over 8,000 prices; information on factories and marks;
over 250 illustrated glass patterns; over 450 pottery and porcelain
dinnerware patterns. Well indexed and cross-referenced.

Luckey, Carl F. Depression Era Glassware: Identification & Value

Guide. 4th ed. Iola, WI: Krause, 2002. 224p.

Photographs and line drawings assist the collector in the

identification of patterns and manufacturers. Includes thousands
 of prices.

Mauzy, Barbara E., and Jim Mauzy. Mauzy’s Comprehensive

Handbook of Depression Glass Prices. 59h ed. Atglen, PA: Schiffer,
2009. 240p.

Small guide to Depression glass, arranged by pattern type, useful

for identification and value guidance.

_____. Mauzy’s Depression Glass: A Photographic Reference with

Prices [A Schiffer Book for Collectors]. Rev. & expanded 3d ed.
Atglen, PA: Schiffer, 2011. 288p.

This exhaustive reference work includes over one thousand color

images of Depression glass works, including some that are newly
discovered and previously undocumented. Full documentation,
including dimensions, color and recent prices make this an
essential tool for identifying and valuing Depression glass.

Schroy, Ellen Tischbein. Warman’s Depression Glass Field Guide:

Values and Identification. 5th edition. Iola, WI: Krause, 2010. 511p.

Exhaustive, encyclopedic reference work on Depression ware.

Excellent coverage of patterns well-illustrated with color
photographs and line drawings. Company timeline, directory of
resources.

Fenton Glass

Coe, Debbie, and Randy Coe. Fenton Art Glass: A Centennial of Glass
Making 1907 to 2007. Atglen, PA: Schiffer, 2007. 192p.

Arranged chronologically, presents good clear color images along

with descriptive cataloging and price ranges.

Heacock, William, and Eugene C. Murdock. Fenton Glass: The

Second Twenty-Five Years. Marietta, OH: Glass Press, 1998. 118p.
 Excellent identification tool for Fenton Art Glass company
products. Prices updated in 1998 with the publication of Robert
Eaton Jr.’s Fenton Glass: The Second Twenty-Five Years:
Comprehensive Price Guide, which is keyed to Heacock and
Murdock’s original work.

Moran, Mark F. Warman’s Companion: Fenton Glass. Iola, WI:

Krause Publications, 2006. 272p.

Good, clear color photographic images make this an

indispensable pricing guide for Fenton collectors at all levels.

Fostoria

Kerr, Ann. Fostoria. Vol. 2: Identification and Value Guide to Etched,

Carved and Cut Designs. Paducah, KY: Collector Books, 1997. 357p

Illustrated with photographs and some line drawings, excellent

source for identification of Fostoria glass works. Sections
arranged alphabetically by design type and or product line
number.

L.E. Smith

Felt, Tom. L.E. Smith Encyclopedia of Glass Patterns & Products:

Identification & Values. Paducah, KY: Collector Books, 2011.

Arranged by pattern or design name, this comprehensive directory

includes some interesting historical material along with the all-
important price ranges for each piece. The author notes that the
L.E. Smith Co. had, as the book went to press, ceased production.

Lalique

Moran, Mark F. Warman’s Lalique Identification and Price Guide.

Iola, WI: Krause, 2004. 175p.

Illustrated price guide to several hundred works by important Art

Nouveau glass artist. Biography and additional reference material
 on detecting fakes make this an important source for the serious
collector of Lalique.

Milk Glass

Newbound, Betty, and Bill Newbound. Collector’s Encyclopedia of

Milk Glass: Identification and Values. Paducah, KY: Collector Books,
1995. 253p.

Standard price guide, works arranged by type (bowls, boxes, etc.).

Partial contents: Telling old from new—the myths and the
realities; What is a marriage and do I want one?; Early American
pattern glass in milk; Glass company histories.

Pressed Glass

Carwile, Mike. Standard Encyclopedia of Pressed Glass 1860–1930.

6th ed. Paducah KY: Collector Books, 2010. 320p.

Partial contents: Pattern attribution; Shapes; Glass companies;

Decoration definitions; American table glass factories; Patterns;
Commemorative and advertising patterns.

Scandinavian Glass

Piña, Leslie A., and Lorenzo Vigier. Fire & Sea: Scandinavian Glass,
1930–2000. Altglen, PA: Schiffer, 2006. 256p.

_____. Scandinavian Glass 1930–2000: Smoke & Ice. Altglen, PA:

Schiffer, 2003. 224p.

Seneca

Seneca: Stems, Etchings, Cuts and Patterns: A Guide to Catalogs and

Prices. Altglen, PA: Schiffer, 2000. 240p.

Reference guide to Seneca Glass Company’s wares as featured in

its own catalogs.
 Prices are keyed to original catalog pages, and represent a good
selection of early offerings through the early 1980s.

Silvered Mercury

Lytwyn, Diane. Pictorial Guide to Silvered Mercury Glass. Paducah,

KY: Collector Books, 2006. 160p.

Patented both in the U.S. and Europe in the 19th century, silvered
glass is highly collectible. Arranged by object type, this well
illustrated guide offers a brief history of the medium, along with
price guidance for the serious collector.

Metalwork: Price Guides

General Metalwork Price Guides

The following guides include value information for more than one type of
metal (silver, copper, etc.).

Gaston, Mary Frank. Antique Brass & Copper: Identification & Value
Guide. Paducah, KY: Collector Books, 2001. 206p.

Presents a brief historical survey of the brass and copper

industries, with an emphasis on European and American works.
Includes many photographs and value guide, useful for
identifying lighting, fireplace, kitchen wares, and purely
decorative pieces.

Husfloen, Kyle, and Mark F. Moran. Antique Trader Metalwares Price

Guide: Including Silver, Aluminum, Brass, Chrome, Copper, Pewter, &
More. Iola, WI: Krause, 2003. 304p.

Price guide to mid- and higher-level metalwares, arranged by

metal. Many items illustrated, good descriptions provided for all.
Partial contents: Aluminum; Brass; Chrome; Copper; Iron; Lead;
Pewter; Sheffield; Silver; Spelter; Steel; Tin & tole.
 Specialized Metalwork Price Guides

Aluminum

Grist, Everett. Collectible Aluminum. Paducah, KY: Collector Books,

2003. 157p.

Survey of various types of aluminum decorative and utilitarian

objects, with prices.

Pewter

Scott, Jack L. Pewter Wares from Sheffield. Baltimore: Antiquary

Press, 1980. 261p.

Partial contents: Sheffield, city of metals; History of the industry;

James Dixon; Methods of construction; Characteristic features;
Marks; Illustrations; Makers and their marks.

Silver

Bace, Jill, Juliet Nusser, and Alexis Butcher. Collecting Silver: The
Facts at Your Fingertips. London: Miller’s, 1999. 176p.

An essential primer for the silver collector. Practical information

on connoisseurship, where to buy (from antique shops to flea
markets), collection maintenance and care, identification
(hallmarks) and more. Section on silverworks arranged by object
type (e.g., drinking vessels, etc.).

Bexfield, Daniel. Miller’s Silver & Plate Buyer’s Guide. London:

Mitchell Beazley, 2002. 320p.

Well-illustrated guide to silver and plate, arranged by object type.

Individual items’ value ranges are keyed to dealer or auction
house names. “Miller’s Compares” sections provide an
exploration for variations in prices realized by pieces that appear
similar. Includes various tips for care and restoration, identifying
fakes and forgeries, and identifying marks.
Bones, Frances, and Lee Roy Fisher. The Standard Encyclopedia of
American Silverplate, Flatware and Hollow Ware: Identification and
Value Guide. Paducah, KY: Collector Books, 1998. 445p.

Price guide and identification tool for American silverplate

works. Original catalog pages illustrate various patterns and
works of flat and hollow ware. Arranged by name of American
manufacturer.

Clayton, Michael. Christie’s Pictorial History of English and American

Silver. Oxford: Phaidon, 1985. 319p.

This encyclopedic survey of silver, from Elizabethan through

Victorian, is an excellent source for identification of styles. Prices
reflect primarily 1970s and 1980s New York and London auction
sales prices realized.

Feild, Rachael. Collector’s Guide to Buying Antique Silver. London:

Greenwich Editions, 1998. 175p.

Contents: History of English silver, an introduction; Sheffield

plate 1745–1840; Repairs and restoration; Value and price;
Armorials and cartouches; Assay and hallmark glossary; Weights
and measures; Principal silversmiths. Entries arranged by object
type (e.g., candlesticks, ewers and jugs) and include tips on
identifying reproductions, variations, etc.

Fennimore, Donald L., and Elizabeth von Habsburg. Antique Hunter’s

Guide to American Silver & Pewter. New York: Black Dog &
Leventhal, 2000. 478p.

Guide for the serious collector of silver and pewter. Partial

contents: A simple way to identify silver, silver plate, and pewter;
Good, better and best: silver and silver plate, pewter; Caring for
your collection; Illustrated guide to American makers and marks;
Price guide.
 Hagan, Tere. Sterling Flatware: An Identification and Value Guide.
Gas City, IN: L.W. Books Sales, 2002. 312p.

Well-indexed guide to major manufacturers’ products. Arranged

alphabetically by company name, includes indexes to patterns,
manufacturers, and marks.

Waldron, Peter. The Price Guide to Antique Silver. Woodbridge,

Suffolk: Antique Collectors’ Club, 2001. 368p.

Well-illustrated, scholarly treatment for the serious collector of

silverworks. Main section arranged by object type (boxes;
candlesticks, etc.). Prices in British pounds and U.S. dollars.

Wilson, John. Silver & Plate. Tenterden, England: Miller’s 2001. 192p.
(Series: Miller’s Antiques Checklist.)

Like other titles in the Checklist series, this guide is intended for
the beginning and intermediate level collector.

Rugs and Carpets: Price Guides

Azizollahoff, J.R. The Illustrated Buyer’s Guide to Oriental Carpets.

Rev. ed. Atglen, PA: Schiffer, 2007. 196p.

Very well-illustrated guide intended for the novice collector of

antique and contemporary Oriental carpets. Clear photographs,
and simple drawings identify various carpet types, their features
and potential imperfections. Major sections include: Practical
Information about Carpets (includes very basic introduction to
weaving, knot counts, different designs, etc.); Imperfections in
Old Carpets (includes overview of problems including shape
irregularities, oxidization, stains, etc.); Carpet Care (padding,
vacuuming, cleanings etc.).

Eiland, Emmett. Oriental Rugs Today: A Guide to the Best in New

Carpets from the East. Berkeley, CA: Berkeley Hills Books, 2000.
200p.
 Excellent overview of the “newer” rugs of the East. Partial
contents: Rugs and carpets from Turkey; Rugs and carpets of
Nepal and Tibet; Rugs and carpets of Pakistan; Rugs and carpets
of India; Rugs and carpets of Afghanistan; Rugs and carpets of
China; Rugs and carpets of Iran, Egypt and Romania.

Ford, P. R. J. Oriental Carpet Design: A Guide to Traditional Motifs,

Patterns and Symbols. Rev. ed. London: Thames and Hudson, 1992,
1989. 352p.

Practical information for the serious carpet collector and

researcher. Partial contents: How to identify an Oriental carpet by
its design; Structure; Colors; Values of Oriental carpets; Dates
and signatures in carpets.

Ware, Joyce C. Collecting Oriental Rugs. New York: Random House,

2004. 164p. (Series: Instant Expert.)

Partial contents: First things first: an overview of rug history and

today’s market; How Oriental rugs are made; Rug formats; Rug
motifs; Classical carpets and tribal weavings—1500–1800; Tribal
weavings—1800–1925; Village rugs—1800–1925; Flat weaves—
1800–1925; Commercial decorative rugs and carpets;
Contemporary collectible rugs; Sampling of current market
prices; Care, repair and maintenance.
 Chapter Eight

Sources for the Study of Art Market History

The evolution of the market for works of art is a subject that is increasingly
pursued by scholars across the spectrum of academic disciplines. In this
chapter, the most important resources for historical scholarship in the field
of art market history are identified, with an emphasis on sources that
include primary source data—particularly price data, market indices and the
like.

Following upon the structure of the first edition, the year 1960 will continue
to represent the chronological cut-off date for material considered to be
“historical.” While this date is somewhat arbitrary, it serves to effectively
separate the current roughly fifty year period—which has been
characterized by ever-increasing information access—from the preceding
decades and centuries when fine art pricing data was the well-guarded
province of art world insiders.

In addition to a great expansion of art market historical scholarship, several

of the most obscure historical titles included in the 2006 edition have been
made available, free-of-charge, on Google Books and a few other digital e-
book initiatives. Wherever possible, e-book availability has been identified
but, because these initiatives are on-going, readers are advised to consult
Google books and other content providers for the addition of new items as
they are needed. I find myself getting increasingly lucky, particularly with
very obscure titles whose publication dates precede copyright applicability.

This bibliography is divided into two mains sections: Primary Sources and
Selected Secondary Sources. The Primary Sources section includes pre–
1960s publications (e.g., auction catalogs), as well as digital projects or
other information sources produced more recently, that report on historical
art market data. The “Selected Secondary Sources” section is comprised of
scholarly titles (e.g., university press books), academic journals, doctoral
dissertations and the like. Historical art market research is as likely to be
reported in the scholarly literature of economics, history, and other
disciplines as in the field of art history; with that in mind, this section ends
with an overview of specialized databases that can be used by the
researcher to remain current in the field.

Primary Sources

ARCHIVAL RESEARCH ON COLLECTING

Archives devoted to the personal or business papers of art market

stakeholders—collectors, dealers, and the like—can increasingly be found
online. The actual items might be only partially digitized, but great strides
have been made in this arena during the years since the publication of the
first edition of this book. Some archives’ physical collections are housed in
the location in which they were amassed; for example, the home of a
noteworthy collector, or the studio-turned-foundation of a major artist.
Others find their way into larger repositories, like the Archives of American
Art of the Smithsonian Institution. The following archive locators can be
used to streamline the search for archives containing material of particular
subject interest; see Chapter Nine for additional archival resources that
relate to provenance.

Archives Directory for the History of Collecting in America. New

York: The Frick Collection. http://research.frick.org/directoryweb

This keyword searchable directory is a free database created and

maintained by the Frick’s Center for the History of Collecting.
Information is drawn from a wide range of sources, and is
recorded in three related data tables. These include the collector’s
file, repository file, and the archival holdings file.

Smithsonian Institution Research Information System (SIRIS).

http://www.siris.si.edu/
 Select the tab “Archives, Manuscripts & Photographic
Collections” to locate specific individual or corporate collections
within the enormous SI network.

AUCTION CATALOGS—HISTORICAL RESEARCH TOOLS

In previous chapters, we saw that the auction catalog is one of the primary
sources of information for the contemporary buyer or seller of art. The
modern auction catalog was actually “born during the seventeenth century
in the northern provinces of the Netherlands in conjunction with the early
development there of an art market that initially rivaled that of London, its
greatest competitor, in both size and sophistication.”1 Auction sales catalogs
comprise a vast store of information of interest not only to the art historian,
but also to anyone researching social history, economics of art and related
disciplines. The resources identified here represent a selection of some of
the most important data sources available to the historian of the art market.

Using historical auction catalogs has always been a challenge. Prior to the
advent of the digital age, most of these print sources were available only in
the largest of research and museum libraries. And even when significant
runs of this rare material could be located, the vast majority of individual
sources were not indexed at the item level, making the search for the sale of
particular classes of material a daunting prospect.

Numerous digitization projects that have been undertaken over the last few
years have gone a long way toward not only making these rare research
tools accessible, but also, and perhaps more importantly, making them
usable. Before going on to identify some important inventories of historical
auction data, the major providers of free historical e-books, including
auction catalogs, are identified:

Google Books. http://books.google.com

The advent of the massive digitization of books undertaken by

Google, along with numerous international libraries, publishers,
and other institutional partners, has been a great boon to the
researcher of art market issues. Significant runs of paper-based
historical auction catalogs are held only by the largest of research
 libraries, but Google is making this basic data far more readily
available. Google books offers free e-book versions of auction
catalogs dating from the eighteenth through the middle of the last
century, with basic indexing to many more recently published
items. In addition, a good many reference inventories of sales
make Google Books an indispensable tool for the market
researcher.

In late 2004, Google announced its “Library Project,” a

partnership with the libraries of Harvard, the University of
Michigan, the New York Public Library, Oxford and Stanford.
This massive, ongoing digitization project will ultimately include
more than 15 million volumes.

Individual items included in Google Books offer various levels

of content. In some instances, full text is available. In others,
users are offered a “snippet view,” in which their search terms are
retrieved, and a passage of a few sentences is provided. In all
cases, researchers have access to the “Get Print Book” feature
which locates copies of the print volume for sale, or the “Find in a
Library” link which interfaces with WorldCat to locate available
copies for use in libraries around the world.

Hathi Trust Digital Library. http://www.hathitrust.org/

Hathi Trust is a collaborative effort undertaken and supported by

over 60 major research institutions. Institutional members may
search the contents of a vast number of digitized materials.
Additionally, Hathi provides keyword and other search capability
for many print-only works.

Internet Archive. http://archive.org/

“The Internet Archive is a 501(c)(3) non-profit that was founded

to build an Internet library. Its purposes include offering
permanent access for researchers, historians, scholars, people
with disabilities, and the general public to historical collections
that exist in digital format [Archive.org website].” This massive
 inventory of e-texts includes thousands of auction catalogs and
other sources for the serious researcher of art market history.

Historical Price Compendia, Indexes, and Other Reference Materials

Duplessis, Georges. Les Ventes de Tableaux, Dessins, Estampes et

Objets d’Art aux XVIIe et XVIIIe Siècles (1611–1800): Essai de
Bibliographie. Paris: Rapilly, 1874. 122p.

Bibliography of auction catalogues, listed chronologically. While

it does not provide prices realized, serves as an excellent tool for
identifying sales. The primary focus is on paintings and drawings,
but also extends to decorative arts, books, etc. Emphasis on
European artists.

Ford, Sherwood. Art: A Commodity. New York: [Press of Rogers &

Sherwood], 1888. 58p.

This short critique of the late nineteenth century market for

pictures provides fascinating insight into the early history of the
American market [available free-of-charge via Google books].

IDC Art Sales Catalogs, 1600–1900.

See Lugt, Fritz, below.

Lancour, Harold. American Art Auction Catalogues, 1785–1942: A

Union List. New York: New York Public Library, 1944.

Chronologically arranged list of the sales catalogs held by 21

libraries. The entry numbers are frequently used in other tools—
notably, they are searchable in the SCIPIO database.

Lugt, Frits. Répertoire des Catalogues de Ventes Publiques, Intéressant

l’Art ou la Curiosité, Tableaux, Dessins, Estampes, Miniatures,
Sculptures, Bronzes, Émaux, Vitraux, Tapisseries, Céramiques, Objets
d’Art, Meubles, Antiquités, Monnaies Médailles, Camées, Intailles,
Armes, Instruments, Curiosités Naturelles, etc. La Haye : M. Nijhoff ;
Paris: Foundation Custodia, 1938–1987. Vol. 1: Première période vers
1600–1825. Vol. 2: Deuxième période 1826–1860. Vol. 3: Troisième
période 1861–1900. Vol. 4: Quatrième période 1901–1924.

Standard reference sources for the location of auction catalogs.

Entries chronologically arranged by date of sale. Index to
collectors of works sold. “Lugt” number frequently used in other
publications, and searchable in the SCIPIO database.

The print version of Lugt’s Répertoire, long out of print, has

been digitized by IDC Publishers as IDC Art Sales Catalogs,
1600–1900, and is available in some larger academic and research
libraries. The digital version of Lugt enables the researcher to
perform complex searches, and serves as the “springboard” for
IDC’s ambitious historical art sales catalogue digitization project.

As this research guide goes to press, IDC Publishers is adding

fully digitized versions of historical art sales catalogues to its Art
Sales Catalogues Online project. Catalogs are searchable by:

• Lugt number
• Date
• Place of sale
• Provenance
• Auction house
• Content
• Copies

A recent enhancement allows the user to search the collections

of libraries with extensive holdings of catalogs. IDC has further
enhanced this powerful database with cross-references to the
Provenance Index of the Getty Research Institute.

The IDC catalogues are also available on microfiche. The

microfiche project is divided into three components:
• Part I, 1600–1825. More than 5,600 catalogs comprise this section.
The microfiche represents the holdings of 24 libraries in Belgium, the
Netherlands, Switzerland, the United Kingdom and the United States.
The IDC project includes several hundred catalogs that were unknown
to Lugt, and hence not included in his Répertoire.

• Part II, 1826–1860. Part II of the IDC Collection includes over

8,100 catalogs, and like the previous set, includes a great many titles
that are not included in Lugt.

• Part III, 1861–1880. Part III includes an additional 5,824 catalogs

based on the third volume of Lugt.

• Part IV, 1881–1900. An additional 9,000+ catalogs, also based on

Lugt, are the most recent addition to the IDC Lugt microfiche
program. The firm intends to continue filming these important
historical sources, with the goal of developing a complete collection of
catalogs published between 1600 and 1900.

M. Knoedler & Co. Auction Catalogues on Microfiche. New York:

Knoedler, 1973. Ca. 2,000 microfiche.

Microform copies of some 26,000 volumes from the Knoedler

Library, dating from the mid–18th century through the 1970s.
Includes catalogues of the American Art Association (1884–
1939), American Art Galleries (1886–1929) and Anderson Art
Galleries (1911–1939).

PRE–1960 PRICE GUIDES AND MONOGRAPHS

American Art Sales. Washington, DC: American Federation of Arts,

1920–1932. Monthly (Dec.–June), 1922–1932; four numbers per year,
1920–June 1922.

Presents results of auctions held in American auction houses.

Entries include artist name, title, dimensions, catalog number,
buyer, and price.
American Federation of Arts. American Art Annual. v. 1–37 [1898–
1948; irregular].

This annual reference work provides a wide array of information

on the visual arts in America, including “Paintings Sold at
Auction,” which provides price data and in some cases,
provenance indications.

Annuaire des Ventes de Tableaux, Dessins, Aquarelles, Pastels,

Gouaches, Miniatures: Guide du Marchand, de l’Amateur. Paris: L.M.
Lang, 1919–23. Cont’d. by La Cote des Tableaux, ou, Annuaire des
Ventes de Tableaux, Dessins, Aquarelles, Pastels, Gouaches,
Miniatures: Guide du Marchand, de l’Amateur. Paris: L.M. Lang,
1924–29.

Reports annual auction sale prices for works of art. Primarily

French artists, all European. Includes dates of auction, types of
objects sold, and experts’ names. Entries, alphabetical by artist’s
name, include title, description, medium, prices in French francs.

Annuaire du Collectionneur: Répertoire des Prix des Tableaux:

Peintures, Aquarelles, Pastels, Dessins, Miniatures Vendus de…. Paris:
Diffusion Artistique et Documentaire, 1949– .

Prices realized reference source, includes retail gallery prices.

Partial contents: Commissaires-priseurs au Département de la
Seine; Répertoire alphabétique des galeries de Paris; Références,
abbreviations d’experts; Renseignements généraux; Dimensions
Françaises des tableaux; Répertoire des ventes; Répertoire des
prix.

Annuaire Général des Ventes Publiques en France. Paris: Editions Art

et Technique, [1942–43].

Presents an in-depth narrative survey of auction sales activity.

Introductory essays precede chronologically-arranged section
detailing individual sales. Sales records for paintings, engravings,
books and autographs, coins, ceramics, tapestry included.
Art and Auction: International Art Dealers and Collectors Guide.
Rotterdam: Van Kouteren, 1957–1969. Continued by International Art
Market.

In later years, featured very good illustrations; primarily 20th

century art, some other periods and styles, and good coverage of
high-end decorative arts. Partial contents: Marketfile: In brief:
Record sales of furniture items; Auction reviews: completed
auction house sales figures; Sales previews: upcoming offerings;
Calendar.

Art Prices Current. London: Dawson, 1907–1973.

Records sale prices for works of art sold at London auction

houses. Earliest years recorded only sales conducted at Christie,
Manson & Woods. Arranged by date of sale, artist/title index.

Art Sales of the Year… Being a Record of the Prices Obtained at

Auction for Pictures and Prints Sold from October [Year] to the End of
the Season. Edited by J.H. Slater. London: Hutchinson, 1901–02.

Short-lived annual inventory of paintings and prints offered for

sale at auction. Each entry includes date of sale and name of
auctioneer, artist’s name, title, dimensions, and in the case of
prints, often very detailed description of the work including
“state,” and some condition notes.

Auction Prices Weekly: Combined with Auction Digest. New York:

Auction Digest, 1936–37.

Includes special reports on art, antiquities, decorative arts. Broad

range of decorative arts, auction news, calendar of sales. Auction
sale entries include lengthy description of lots along with sale
prices. Buy-ins not recorded.

Auction Sale Prices. London: Otto, Limited, 1902–14. (Supplement to

The Connoisseur.)
 This monthly reports prices realized at auction sales of coins,
paintings, etchings, engravings, medals; lace & needlework,
miniatures, furniture, musical instruments, objets d’art, pottery &
porcelain, silver, tapestry (approximately 50 percent decorative,
50 percent fine art). Records sales by type (i.e., books, etc.),
further subdivided by artist or author name. Auctioneer, location,
date and currency of sale.

Benezit, E. Dictionnaire Critique et Documentaire des Peintres,

Sculpteurs, Dessinateurs, et Graveurs … de Tous les Temps et de Tous
les Pays par un Groupe d’Écrivains Spécialists Français et Étrangers.
Paris: Gründ, 1999. 3d ed., 1976; New ed., 1966; 1st ed. Paris: R.
Roger et F. Chernoviz [etc.], 1911–[23].

“Ventes publiques” (Public sales) for most entries include

references to auction sales, some dating from the mid–19th
century. [See complete description of Benezit, an artists’
biographical reference source, in Chapter Three].

Beurdeley, Michel. Trois Siècles de Ventes Publiques. Fribourg,

Switzerland: Office du Livre, S.A., 1988. 234p.

Narrative overviews of major sales dating from 1650 to 1987.

Includes sales of decorative artworks, works of fine arts, jewelry
and other collectibles. Each sale description includes copious
illustrations as well as prices attained for major works sold at
auction internationally.

Blanc, Charles. Le Trésor de la Curiosité: Tiré des Catalogues de

Ventes de Tableaux, Dessins, Estampes, Livres, Marbres, Bronzes,
Ivoires, Terres Cuites, Vitraux, Médailles, Armes, Porcelaines,
Meubles, Émaux, Lacques et Autres Objets d’Art. Paris: Chez Ve J.
Renouard, 1857–1858. 2 vols. [full text available via Google Books].

Analysis of a number of important auction sales, arranged

chronologically. Important for the study of the history of
connoisseurship and the market for art.
Bourcard, Gustave. Dessins, Gouaches, Estampes et Tableaux du Dix-
Huitième Siècle: Guide de l’Amateur. Paris: D. Morgand, 1893 [full
text available via Google Books].

Practical guidance for the 19th century collector of drawings,

prints and paintings.

Burtin, François-Xavier de. Traité Theorique et Pratique des

Connoissances qui sont Nécessaries à Tout Amateur de Tableaux, et à
Tous Ceux qui Veulent Apprendre à Juger, Apprécier et Conserver les
Productions de la Peinture; Suivi d’Observations sur les Collections
Publiques et Particulières, et de la Description des Tableaux que
Possède en ce Moment l’Auteur. Brussels: Impr. De Weissenbuch,
1808.

Essentially a philosophical treatise on the practice of painting and

aesthetics, along with practical advice for the collector. Some
high quality engraved illustrations included.

Catalogue de Tableaux, Vendus à Bruxelles, Depuis l’Année 1773:

Avec les Noms de Maîtres Mis en Ordre Alphabétique, et la
Désignation du Sujet, de la Grandeur et du Prix de Chaque Pièce en
Argent de Change, avec l’Extrait de la Vie de Chaque Peintre.
Brussels: N. Alexandre, [1803?].

Records auction sales of paintings in Brussels from 1773 to 1803.

List of sales, auctioneers, locations, etc. precedes listing by
artists’ names; some entries include brief biographical data. Basic
descriptive information on each work, with prices in French
francs.

Cowdrey, Mary Bartlett. American Academy of Fine Arts and

American Art-Union, 1816–1852. New York: New York Historical
Society, 1953. 2 vols.

This in-depth study traces the founding, development and

eventual dissolution of the American Academy of Fine Arts and
American Art-Union. Includes primary documents, including by-
 laws, administrative rosters, etc. Art sales information provided
includes “Table of Art-Union Purchases with Total and Average
Prices,” as well as statistical information on prices realized at the
auction sales of pictures owned by the American Art Union in
1852.

Darmon, J. E. Repertoire des Estampes Japonaises; Les Artistes et

Leurs Signatures, les Procedes, les Oeuvres et Leurs Prix dans les
Ventes, Biographies et Bibliographies. Paris: Editions Albert Morance
[1922]. 152p.

Biographical sketches include bibliographical references,

signatures, and some 1920 sales prices.

Defer, P. [Pierre]. Catalogue Général des Ventes Publiques de

Tableaux et Estampes Depuis 1737 Jusqu’à Nos Jours: Contenant: 1.
Les prix des plus beaux tableaux, dessins, miniatures, estampes, … 2.
Des notes biographiques formant un dictionnaire des peintres et des
graveurs les plus célèbres de toutes les écoles. Paris: Chez Aubry,
Clement, Rapilly, 1865–68.

Prices attained by paintings and prints at public auction. Basic

biographical information, indications of sales (seller’s name),
prices realized.

Drugulin, Wilhelm Eduard. Allgemeiner Portrait-Katalog:

Verzeichniss einer Sammlung von 24,000 Portraits Berühmter
Personen aller Länder und Zeiten Mit Biographischen und
Chalkographischen Notizen, Welche Zu den Beigesetzten Billigen
Preisen von Dem Leipziger Kunst-Comptoir Zu Beziehen Sind.
Nendeln, Liechtenstein: Kraus Reprint, 1981. Originally published:
Leipzig: Kunst-Comptoir, 1860. 2 vol. in 1.

Lists approximately 24,000 portraits, including basic information

on subject.

Eudel, Paul. L’Hôtel Drouot et la Curiosité. Paris: G. Charpentier,

1882–1891. 9 vols. Cont. by La Gazette de l’Hôtel Drouot (see entry
below).

Overview of auction sales of works of art, jewelry, books,

antiquities and other items. Volume nine is an index to names
cited throughout the first eight (annual) volumes.

Fage, André. Le Collectionneur de Peintures Modernes: Comment

Acheter, Comment Vendre. Paris: Editions Pittoresques, 1930.

Collectors’ handbook, includes historical values of 19th and 20th

century (primarily French) painters’ works. Partial contents: La
peinture moderne peut-elle être un placement? Les peintures qui
“montent’ et ceux qui “baissent”; Notions élémentaires de
peinture moderne; Comment composer une collection; Les
galeries et les marchands; L’hôtel des ventes; Les grandes ventes
depuis 1922 et ce qui’l faut en retenir; Les salons, les foires et les
brocanteurs; Prix comparatives des œuvres peintres en 1922–23 et
en 1928–29.

La Gazette de l’Hôtel Drouot. Paris: L’Hôtel Drouot. Weekly (except

Aug.), 1891– . Cont. of L’Hôtel Drouot et la Curiosité (see entry
above).

Glossy but informative magazine featuring high-end decorative

arts, and some antiquities and fine arts offered at auction. Includes
sales results for major Drouot sales.

Graves, Algernon. Art Sales From Early in the Eighteenth Century to

Early in the Twentieth Century: (Mostly Old Master and Early English
Pictures). London: A. Graves, 1918–21. Reprint: Burt Franklin:
Bibliography & Reference Series #340; Art & Art History Reference
#30; New York: Burt Franklin, 1970.

Major source for 18th and 19th century sales of artworks.

Provides date of sale, auctioneer name, owner, lot no. and picture
title, purchaser (if available), and sale price. Buy-ins are included.
Hofstede de Groot, Cornelis. Beschreibendes und Kritisches
Verzeichnis der Werke der Hervorragendsten Holländischen Maler des
XVII. Jahrhunderts; Nach dem Muster von John Smith’s Catalogue
Raisonné Zusammengestellt von Dr. C. Hofstede de Groot… Esslingen
a.N., P. Neff; [etc.] 1907–28.

Descriptive and critical catalogue and history of specific German

artists. Entries include detailed exhibition histories, descriptive
cataloging of individual works, catalog numbers, limited price
information.

Index of Paintings Sold in the British Isles During the Nineteenth

Century. Edited by Burton B. Fredericksen; assisted by Julia
Armstrong and Doris Mendenhall.

Series title: The Provenance Index of the Getty Art History

Information Program. Santa Barbara, CA: ABC-CLIO, 1988– .
(Volume 3 published by Sauer, Munich.) Vol. I: 1801–1805, ed.
Burton B. Fredericksen, 1988. Vol. II: 1806–1810, ed. Burton B.
Fredericksen, 1990. Vol. III: 1811–1815, ed. Burton B.
Fredericksen, 1990. Vol. IV: 1816–1820, ed. Burton B.
Fredericksen, 1996.

This ambitious undertaking has as its goal the documentation

of auction sales in the British Isles (primarily London) during the
19th century. The index of painting sales is preceded by very well
annotated entries on individual sales catalogs. A great deal of
valuable provenance information appears in the form of
handwritten annotations, sometimes by the auctioneer.

James, Ralph N. Painters and Their Works: A Dictionary of Great

Artists Who Are Not Now Alive Giving Their Names, Lives, and the
Prices Paid for Their Works at Auctions. London: L. Upcott Gill,
1896–97. 3 vols.

Brief biographical essays precede chronologically-arranged

auction sales results, dating from the 18th–19th centuries. Many
works include title of individual sale name (often name of
 collector and estate), in addition to title of work. Full text
available via Google Books.

Ketelsen, Thomas, and Tilmann von Stockhausen. Verzeichniss der

Verkauften Gemälde im Deutschsprachigen Raum vor 1800 / The Index
of Paintings Sold in German-Speaking Countries Before 1800. Edited
by Burton B. Fredericksen and Julia I. Armstrong; assisted by Michael
Müller. Munich: K.G. Saur, 2002.

Focus on paintings sold in German-speaking countries. Artists of

all nationalities and schools included. Entries include date of sale,
name of artist, place, title, auctioneer, auction house, buyer. Title,
description and some biographical information on artists.

Lejeune, Théodore Michel. Guide Théorique et Pratique de l’Amateur

de Tableaux; Études sur les Imitateurs et les Copistes des Maîtres de
Toutes les Écoles dont les Œuvres Forment la Base Ordinaire des
Galeries. Paris: Vve. Jules Renouard, 1864–65. Full-text available via
Google Books.

Collector’s manual, provides practical advice on assembling,

assessing and maintaining a collection of paintings by artists of
the French, Italian, Spanish, German, Flemish, Dutch and English
Schools. Individual artists’ entries include brief biography,
information on signatures, public collections and sale prices
attained by representative works.

Mireur, H. Dictionnaire des Ventes d’Art Faites en France et à

l’Étranger Pendant les XVIIIme & XIXme Diècles: Tableaux, Dessins,
Estampes, Aquarelles, Miniatures, Pastels, Gouaches, Sépias, Fusains,
Émaux, Eventails Peints & Vitraux. Paris: Maison d’Editions
d’Oeuvres artistiques, Ch. De Vincenti, 1911–12. Reprint: France:
artprice.com, 2001.

Major source of sales data for 18th and 19th century paintings,
drawings, prints, watercolors, etc.
Parker, John. Great Art Sales of the Century. London: Pitman; New
York: Watson-Guptill, 1975. 120p.

Arranged by decade from the 1920s, provides a lively account of

some major sales at Christie’s and Sotheby’s. Primarily fine art,
but some decorative arts and jewelry included, with prices
realized.

Picture Prices Current: An Alphabetically Arranged Record of

Pictures and Drawings Sold by Auction in Great Britain and America.
London: F.L. & E.L. Wilder, 1936–37.

Records auction sales prices for paintings, drawings, and

watercolors. Individual artist entries are keyed to auction sale
date, prices realized noted. Sales of important collections are
identified.

Print Prices Current. London: F.L. & E.L. Wilder, 1919–1939. Imprint
varies. “Being a complete alphabetical record of all engravings and
etchings sold by auction in London, each item annotated with the date
of sale and price realized.”

Provides an interesting preface detailing restrictions on removal

of currency from Germany in World War II and the practice of
using art as currency to circumvent restrictions (i.e., buying art in
Germany and selling in another country). Entries include basic
descriptive details, prices realized in pounds sterling. Includes
lower-end works, sketches, etc. Index of author and engravers’
names. (Vol. 21, October 1938–August 1939 reviewed.)

Redford, George. Art Sales: A History of Sales of Pictures and Other

Works of Art ; with Notices of the Collections Sold, Names of Owners,
Titles of Pictures, Prices and Purchasers, Arranged Under the Artists
of the Different Schools in Order of Date ; Including the Purchases
and Prices of Pictures for the National Gallery; Illustrated with
Autotypes from Small Sketches of Great Pictures & Watercolour
Drawings Sold, Portraits of Eminent Collectors and Views of their
Residences, Objects of Ornamental Art, &c., &c. London: Bradbury,
Agnew, Printers: “Whitefriars” Press, 1888.

Volume 1 contains brief, narrative accounts of the sales of various

collections, beginning with the sale of the collection of Charles I.
A great deal of historical data, including inventories, prices, and
buyers make Redford’s Art Sales an indispensable source for the
history of collecting from the 17th century through the third
quarter of the 19th.

Volume 2 presents an overview of auction sales in the

following categories: Modern painters—British School;
Continental schools; Old Masters: Italian, Spanish; French;
German, Flemish and Dutch. Individual entries arranged by
artist’s name, with price realized and in many instances, names of
buyers as well as an indication of buy-ins. [Full text available via
Google Books.]

_____. Continuation of Redford’s Art Sales, Commencing From 1887.

[London, 1887–1918?].

Rare, unpublished, handwritten manuscript records sales of

paintings and drawings of “British Schools” and “Foreign
Schools.” Copies held by the Metropolitan Museum (New York),
the Frick Collection, and Yale University. Entries include artist’s
name, date of sale, descriptive details of lot; some include name
of purchaser.

Reitlinger, Gerald. The Economics of Taste. London: Barrie and

Rockliff, 1961–1970. 3 vols.

Gerald Reitlinger’s historical study of the market for works of art

is one of the most often-cited in the secondary literature on the
subject. Its data are frequently used by writers on the economics
of art investment.

Volume 1: The Rise and Fall of Picture Prices, 1760–1960.

Includes sales analysis of most popular artists. Contents: Art
 collecting in the late eighteenth century, 1760–1792;
Revolutionary and Napoleonic period, 1792–1815; Rewards of
the living painter, the Georgians, 1760–1820; Rewards of the
living painter, the Proto-Victorians, 1800–1860; Old Masters,
1815–1884; Golden age of the living painter, 1860–1914;
Treasures depart, 1884–1929; Slump, war and inflation, 1929–
1960. Index of artists; Index of collectors, dealers and others.

Volume 2: The Rise and Fall of Objets d’Art Prices Since 1750.
Partial contents: Genius and craftsmanship, a tale of two markets;
Contemporary objets d’art, 1750–1820; Antiquarian and eclectic
taste, 1741–1842; Romantic taste and the Victorian Age, 1791–
1895; Return of the eighteenth century—furniture; Return of the
eighteenth century—porcelain, tapestry and sculpture; Orient
rediscovered, 1815–1915; Apogee and decline of ritzy taste,
1900–1929; Long Depression and the paper recovery, 1929–1963.
Part Two comprises “Sales Analyses of selected types of objets
d’art since 1750.” Includes furniture, porcelain, glass, carpets, and
other classes of decorative arts.

Volume 3: The Art Market in the 1960s. Composed largely of

sales analyses including both fine and decorative arts. Partial
contents: Paintings and drawings; Sales analysis of sculpture;
Objets d’art, including, among others: Carpets; Chinese art;
Furniture; Glass—European; Japanese art; Porcelain—English;
Porcelain—Continental; Silver.

Provides prices for paintings, sculpture, and decorative arts,

along with narrative analysis of the art market in England and the
United States.

Répertoire des Tableaux Vendus en France au XIXe Siècle. Edited by

Burton B. Fredericksen and Benjamin Peronnet; assisted by Julia
Armstrong, Sophie Hauser, and Armell Jacquinot. Los Angeles:
Provenance Index of the Getty Information Institute, 1998– .

One of the Getty Provenance Index projects, records 19th century

sales results and includes an index, by artist’s name, to the various
 sales. Includes discussion of sales in addition to raw data.
Includes references to approximately 21,000 paintings. Extensive
list of sales and auctions by date. Entries include artist’s name,
date of sale, place, “expert,” title of work, annotations from sales
catalog, signature/date information, price realized.

Reverdy, Anne. L’École de Barbizon; Évolution du Prix des Tableaux

de 1850 à 1960. Paris: Mouton, [1973].

Surveys the prices attained by major and minor artists of the

Barbizon School. Artists surveyed include Rousseau, Millet,
Diaz, Daubigny, Corot, Troyon, Jacque, Dupré, Osabeu and
Chintreuil.

Roberts, W. Rare Books and Their Prices: With Chapters on Pictures,

Pottery, Porcelain and Postage Stamps. NY: Longmans, Green & Co.,
1896. 155p. [full text available via Google Books].

Reports some prices realized at auction and other sales, but, more
importantly, provides a survey of the social aspects of collecting
in the late 19th century.

Roberts, William. Memorials of Christie’s: A Record of Art Sales from

1766 to 1896. London: Bell, 1897. 2 vols.

Surveys high-end sales of art, books, prints, etc. at Christie’s

London. Some very good reproductions. Entries arranged
chronologically under chapter headings. “Journal” entry style, or
narrative accounts of many important collections auctioned by
Christie’s over the course of the subject period. Full-text available
via Google Books.

The Sale Prices of 1896–. An Annual Report of Sales by Auction of

Objects of Artistic and Antiquarian Interest. New York: F.P. Harper
[intended annual but apparently only one volume produced].

Schurr, Gérald. 1820–1920, les Petits Maîtres de la Peinture: Valeur

de Demain. Paris: Editions de la Gazette, 1969– . Vols. 2–7 have
imprint: Editions de l’amateur, Paris.

Approximately 600 painters per volume, includes values for a

good many minor painters. European artists. Entries include short
biography, museum collections, highest price realized, recent
sales. Organized by subject matter or style, e.g., countryside,
symbolism, etc.

Seguier, Frederick Peter. A Critical and Commercial Dictionary of the

Works of Painters Comprising Eight Thousand Eight Hundred and
Fifty Sale Notes of Pictures and Nine

Hundred and Eighty Original Notes on the Subjects and Styles of

Various Artists Who Have Painted in the Schools of Europe Between
… 1250 and 1850. London: Longmans, Green, 1870.

Focus on “Schools of Europe.” Entries include names, birth-death

dates and places, “School” affiliation, year of sale, name of
purchaser, price. Biography of some artists follows list of sold
items.

Slater, J. Herbert. Engravings and Their Value: A Guide for the Print
Collector. London: L. Upcott Gill, 1891. 458p. [full text available via
Google Books].

This early primer provides reference material for the

scholar/connoisseur, along with practical advice on the valuation
of engravings in the nineteenth century.

Les Ventes Publiques en France: Répertoire Général des Prix. Paris:

Bureau International d’Édition et de Publicité, 1945– .

Records sales of paintings, watercolors, pastels, drawings,

miniatures and gouaches. Entries include basic descriptive details,
price realized.

Versteigerungsergebnisse. Leipzig: Klinkhardt & Biermann, 1919–

1930. Monthly.
 Records sale prices for works of art sold in Berlin, Cologne,
Munich, Frankfurt, New York, Paris and London. Entries include
basic description of lots, catalog number, and price realized in
local currencies (marks, francs, U.S. dollars).

Verzeichniss der Kâniglichen Gemälde-Gallerie zu Dresden: Mit einer

Historischen Einleitung, Nortizen Über die Erwerbung und Angabe
der Bezeichnung der Einzeinen Bilder. Dresden: Druck von B.G.
Teubner, 1880.

Details sales of paintings sold in Dresden. Entries include school

or artist’s name, title, description of work, some biographical
information, prices. Some monograms.

Watson, Peter. From Manet to Manhattan: The Rise of the Modern Art
Market. New York: Random House, 1992. 558p.

See description, page 15.

Williamson, E. La Curiosité: Revue des Ventes Publiques de Tableaux,

Aquarelles, Pastels … Faites en France et à l’Étranger. Paris: Ch.
Béranger, 1900.

Records sale prices of paintings, watercolors, pastels, drawings,

engravings, sculpture, furniture, tapestries, etc. Entries provide
collection owner’s name, notable items by artist’s name, title,
price. For larger collections, catalogue number, descriptive data
on individual lots, organized chronologically by auction date.

Selected Secondary Sources

Academic publishing on the subject of art market history has grown

exponentially since publication of the first edition of this book. The
following bibliography is, therefore, by necessity highly selective. Classics
of art market history have been included, along with a selection of some of
the most important titles of the last decade. The “classics” are those titles
published ten or more years ago that are most frequently cited in the
literature. More recently published works round out the list of highly
recommended titles for researchers interested in the history of the art
market, with a focus on Europe and the United States.

INTERNATIONAL FOCUS

Bernier, Georges. L’Art et l’Argent: le Marché de l’Art au XXe Siècle.

Paris: Éditions Robert Laffont, 1977. 367p.

Traces the development of an international art market from World

War I.

De Marchi, N., and H.J. van Miegroet, eds. Mapping Markets for
Paintings in Europe, 1450–1750. Turnhout: Brepols, 2006. 458p.

The introduction of the easel painting enabled the burgeoning art

market of early modern Europe. This important addition to the
literature synthesizes art, social history, and economic scholarship
on the topic of trade in paintings.

Learmount, Brian. A History of the Auction. [Iver, Bucks, UK]:

Barnard & Learmount, 1985. 212p.

Historical survey of the auction market from its earliest recorded

history through mid–20th century. Partial contents: 19th century
auction wars in England and the United States; Sotheby’s and
Christie’s 1745–1900; Auction methods and styles; Modern times
1900–1950.

North, Michael, and David Ormrod, eds. Art Markets in Europe, 1400–
1800. Aldershot: Ashgate, 1998. 250p.

Partial contents: Manuscript Acquisition by the Burgundian Court

and the Market for Books in Fifteenth-Century Netherlands;
Some Aspects of the Origins of the Art Market in Fifteenth-
Century Bruges; Is Art a Barometer of Wealth? Medieval Art
Exports to the Far North of Europe; Roman Art Market; Upper
 German Trade in Art and Curiosities; Pricing the Unpriced: How
Dutch Seventeenth-Century Painters Determined the Selling Price
of the Work; Dealer-Dealer Pricing in the Mid Seventeenth-
Century Antwerp to Paris Art Trade; Probate Inventories, Public
Sales and the Parisian Art Market in the Seventeenth Century; Art
Auctions in Germany During the Eighteenth Century; Arenas of
Connoisseurship: Auctioning Art in Later Stuart England; Origins
of the London Art Market, 1600–1730.

Warren, Jeremy, and Adriana Turpin, eds. Auctions, Agents and

Dealers: The Mechanisms of the Art Market 1660–1830. Oxford:
Beazley Archive and Archaeopress in assoc. with The Wallace
Collection, 2008. 173p.

Series of fourteen scholarly papers detail specific aspects of the

history of Europe’s art market. Papers are organized around three
topics: Auctions and Economics; The Art Market in Paris;
Dealers, Agents and Collectors.

GERMANY AND THE LOW COUNTRIES

Crenshaw, Paul. Rembrandt’s Bankruptcy: The Artist, His Patrons, and

the Art Market in Seventeenth-Century Netherlands. New York:
Cambridge University Press, 2006. 221p.

Partial contents: Bankruptcy and Rembrandt’s Critical Fortune;

Perils of the Dutch Art Market; Foundation of Rembrandt’s
Financial Problems; Rembrandt’s Collecting Habit; Rembrandt’s
Disputes with His Patrons;

Honig, Elizabeth A. Painting & the Market in Early Modern Antwerp.

New Haven: Yale University Press, 1998. 308p.

Tummers, Anna, and Koenraad Jonckheere, eds. Art Market and

Connoisseurship: A Closer Look at Paintings by Rembrandt, Rubens
and Their Contemporaries. Amsterdam: Amsterdam University Press,
2008. 192p. Explores the history of the art market, connoisseurship,
and the evolution of the dealer-auctioneer.
Vermeylen, Filip. Painting for the Market: Commercialization of Art in
Antwerp’s Golden Age. Turnhout, Belgium: Brepols, 2003. 208p.

GREAT BRITAIN

Bayer, Thomas M. The Development of the Art Market in England:

Money as Muse, 1730–1900. London: Pickering & Chatto, 2011. 267p.

Traces the evolution of the British art market from the

seventeenth century through the Victorian period. The history of
modern fine art dealers and galleries, from its earliest roots in the
Netherlands and, to a lesser extent, Italy and France, is covered in
great detail.

De Marchi, Neil. Rules for an Emergent Market: Selling Paintings in

Late Seventeenth Century London. Durham, NC: Duke University,
Department of Economics, Working Paper 02–33, 2002.

Economic analysis of painting sales in the 17th century, provides

references to a great many additional historical data sources.

Fletcher, Pamela, and Anne Helmreich, eds. The Rise of the Modern
Art Market in London, 1850–1939. Manchester: Manchester
University Press, 2011. 346p.

Collection of essays explores all aspects of the development of an

art market infrastructure in London, and throughout the UK. The
creation of a market for the work of living artists is particularly
well-covered, as is the development of the British art press in the
late 19th/early 20th centuries.

Gould, Charlotte, and Sophie Mesplède, eds. Marketing Art in the

British Isles, 1700 to the Present: A Cultural History. Franham,
Surrey: Ashgate, 2012. 284p.

Collection of essays by specialist scholars surveys the history of

the British art market with particular emphasis on the evolution of
the social role of the artist, dealer/auctioneer and collector.
 ITALY

Fantoni, Marcello, Louisa C. Matthew, and Sara F. Matthews-Grieco,

eds. The Art Market in Italy: 15th—17th Centuries = Il Mercato
dell’Arte in Italia: Secc. XV–XVII. Modena: F.C. Panini, 2003. 511p.

Individual essays by scholars offer a comprehensive view of the

evolution of the art market in Italy. Subject-based sections
include: Demand and Consumption; Production; Prices;
Entrepreneurs and Market Strategies; Secondary Market; Dealers
and Intermediaries; Economics of Art.

Guerzoni, Guido. Apollo & Vulcan: The Art Markets in Italy, 1400–
1700. East Lansing: Michigan State University Press, 2011. 276p.

Contents: Historiographies: The Perspectives of Economics,

Economic History and Art History; Psychology and Ethics of
Consumption: The Debate on Liberty, Magnificence, and
Splendor; Demand Analysis: The Example of the Este Courts
Between the Fifteenth and Seventeenth Centuries; Supply and
Labor Markets: Organizational Structure, Management
Techniques, and Economic Impacts of Ducal Este Building Yards
in the Cinquecento; Services: The Economy of the Feast and the
Feast of the Economy—Some Thoughts on Ephemera; Prices:
Known Facts and Unresolved Problems; Laws: The Birth of
Cultural Heritage and the Impact of Preservation Laws on the Art
Trade.

Wackernagel, Martin. The World of the Florentine Renaissance Artist:

Projects and Patrons, Workshop and Art Market. Trans. from the
German by Alison Luchs. Toronto: University of Toronto Press in
association with the Renaissance Society of America, c2011. 447p.
(Series: Renaissance Society of America Reprint Texts, 18.)

Well-documented survey of the evolution of the art market in

Florence. Beginning with major commissions, followed by a
lengthy survey of patronage with particular reference to the
 Medici Circle, the author concludes with an overview of business
practices of individual artists and their workshops.

UNITED STATES

Goldstein, Malcolm. Landscape with Figures: A History of Art

Dealing in the United States. Oxford: Oxford University Press, 2000.
370p.

Surveys the evolution of the art market in the U.S. from the 18th
century through the twentieth, with particular attention paid to the
work and market for modernist and Abstract Expressionist artists
of the twentieth century.

Robson, A. Deirdre. Prestige, Profit and Pleasure: The Market for

Modern Art in New York in the 1940s and 1950s. New York: Garland,
1995. 375p.

Traces the development of the art world in New York City,

including the museums, commercial galleries, and auction houses
that fueled the growing market for contemporary art. Very
scholarly and well-researched.

For Further Research

Over the course of the past decade, academic research in art market history
has grown immensely. The trend toward interdisciplinary scholarship has
been particularly fruitful in this area; in addition to the writings of art
historians, many economists, sociologists, social historians and others have
taken an interest in the history and development of various art markets.

Several databases, described in Chapter Two, can be particularly useful for

the researcher attempting to identify scholarly articles on historical aspects
of the art market. Some of the best of these include:

America: History and Life. Santa Barbara, CA: ABC-CLIO, 1964– .

 America: History and Life is the primary bibliographic database
for researchers of North American history. Published since 1964
in print, and now available in its entirety on the Web at
subscribing institutions, the database includes close to 500,000
entries from scholarly journals dating from as early as 1954.
Journal coverage includes more than 2,000 titles, including state
and local history titles and some multi-disciplinary titles in the
social sciences and humanities. In addition to its journal literature
coverage, many citations to doctoral dissertations (with their
abstracts) are included. For the art market researcher, America:
History and Life includes many articles on historical topics that
fall outside the traditional art history literature.

American Periodicals Series Online 1740–1940.

Some of our most valuable digital research tools derive from

microfilm or microfiche forebears; ProQuest’s American
Periodicals Series (APS), a reference staple in most large
libraries, is one such resource. The microfilm collection’s more
than 1,100 periodical titles spanning nearly 200 years
(commencing in the year 1740) is now available in page-image
format, searchable by keyword, title, abstract, author and other
fields and combinations. Periodicals indexed include a broad
range of special interest as well as general magazines, literary and
professional journals, and many other important periodical titles.

Dissertation Abstracts / ProQuest Digital Dissertations.

UMI/ProQuest, 1861– .

Most academic libraries provide access to the online version of

Dissertation Abstracts. This powerful database provides citations
to doctoral dissertations dating from 1861. In recent years, most
participating institutions have made full text versions of theses
and dissertations available via Digital Dissertations. As well,
retrospective conversion of older titles, the rate of which varies by
institution, has made this wealth of scholarly content much more
readily accessible to scholars. “More than 80,000 new full-text
 dissertations and theses are added to the database each year”
[Proquest website].

EconLIT. Nashville: American Economic Association, 1969– .

Coverage: 1969– .

The online version of the Journal of Economic Literature

provides indexing to professional journals geared toward
economists, economic historians, and others.

FRANCIS: International Humanities and Social Sciences. Vandoeuvre,

France: Institut de l’Information Scientifique et Technique (INIST),
1984– .

General social science and humanities database with significant

coverage of journals published in Europe.

Historical Abstracts. Santa Barbara, CA: ABC-CLIO, 1955– .

Historical Abstracts is one of the primary databases for the

researcher of world history (1450 to the present), excluding the
United States and Canada. It offers citations with abstracts to
more than a half million bibliographic items drawn from more
than 2000 international journals. In addition to its journal
literature coverage, Historical Abstracts includes references to
many books on historical topics, as well as a significant number
of doctoral dissertation abstracts; it is most useful for the
researcher seeking data and analysis of patronage and the history
of collecting.
 Chapter Nine

Provenance and Art Law Research

Like other professions, the field of law has engendered numerous

specializations over the years, including art law. With the rapid expansion
of global commerce in the arts, this should come as no surprise. Issues
ranging from copyright and fair use to fraud and outright theft of artworks
represent just a few topics within this burgeoning field.

Prior to the advent of the Internet, primary and secondary materials

intended for legal professionals were hard to come by and daunting to
navigate. Locating the text of national and local laws, or international legal
instruments, required the painstaking use of paper documents made
available in a series of depository libraries located throughout the United
States. Academic law reviews—that is, the scholarly journals published by
law schools—were readily available in law libraries (i.e., private law firms,
law schools, etc.), but not in the more general libraries used by non-
professionals. Today, by contrast, many college and public libraries offer
this specialized content through LexisNexis which, like its major
competitor WestLaw, was heretofore used exclusively by students and
practitioners of law.

Legal Literature

Like any field, law has both primary and secondary sources of information.
As noted earlier, the term “primary” can vary, depending upon the field. In
subjects like public administration, for example, statistical data (e.g., census
of population figures) might be considered one of the most important
primary sources. In the legal field, laws are central, and hence, primary. In
addition to laws, of course, we would include international conventions and
any other formal legal instruments. Secondary literature, by contrast,
includes the vast array of resources that utilize, or comment upon, the
primary sources. Secondary sources can be further classified in any number
of ways, but in the field of law, the most important distinction would be
popular versus professional. Popular sources, like newspapers and
magazines, discuss legal issues in language that is intended for a non-
professional audience. Perhaps the most important of the professional
secondary sources in law—the academic law review—requires at least
passing familiarity with legal language. Once available almost exclusively
to lawyers and law school students, law reviews are now readily available
via LexisNexis and other information providers in libraries large and small.

The legal resources of interest to our target audience—the art market

researcher—are described below. Some of the best online tools are available
free-of-charge, while others are subscription-based and therefore will be
found only in libraries. The sources are categorized as “Legal Dictionaries,”
“Legal Databases: Primary and Secondary Sources,” “Art Law Reference
Sources” and “Legal Sources for Artists.”

LEGAL DICTIONARIES

The following specialized dictionaries were selected because they are

widely held by libraries. Some—like Black’s Law Dictionary—are made
available in print as well as online (for a fee). Others—like Nolo’s Plain
English Law Dictionary, is made available in a free, online edition.

Garner, Bryan A., ed. Black’s Law Dictionary. St. Paul, MN: West,
2009. 1920p.

Intended for a professional audience, this is the standard

dictionary in the field of law. In addition to tens of thousands of
terms and their definitions, key legal documents are also included.

Hill, Gerald N., and Kathleen Hill, eds. Nolo’s Plain English Law
Dictionary. Online edition: www.nolo.com/dictionary; print version:
Nolo’s Plain English Law Dictionary. Berkeley, CA: Nola, 2009. 477p.
 Highly readable, jargon-free definitions for thousands of legal terms.
Intended for the non-lawyer.

LEGAL DATABASES: PRIMARY AND SECONDARY SOURCES

The following databases enable researchers to locate primary source legal

materials (including cases, legal codes, statutes and the like) and/or
secondary literature, including articles in popular and professional journals.
Certain titles are available free-of-charge and are identified as such in their
annotations.

Justia. www.justia.com

Justia is a free-of-charge provider of legal research content.

Through Justia, researchers have access to the full text of court
decisions, and additional legal content. Of particular interest to
readers of this manual, Justia includes a vast array of searchable
blogs, many of whose contributors are professionals in
specialized areas of law practice.

Leagle. www.leagle.com

This searchable collection of legal cases, regulations, statutes and

more is one of the more user-friendly of the free legal materials
collections. Search options include limiting to federal courts, state
courts, tax court and other jurisdictions of interest to art market
researchers.

LexisNexis.

LexisNexis is a major provider of primary and secondary legal

source materials. Its most ubiquitous product, LexisNexis
Academic, is offered in many libraries around the globe, with the
greatest concentration of these found in the United States.1 The
many products offered by this enormous information provider are
too numerous to discuss in any detail. For basic legal research, the
user-friendly interface LexisNexis Academic offers access to
 federal and state case law, as well as the vast majority of
academic law reviews.

Public Library of Law. www.plol.org

Public Library of Law is another free source, offering user

friendly searching of vast amounts of legal information. Included
are Supreme and Appellate Court cases, Statutes, Court Rules,
U.S. Supreme Court Cases, Federal Circuit Courts, U.S. Code and
more.

ART LAW REFERENCE SOURCES

The following titles represent a selection of the most important reference

sources for art law research. To find additional materials of this type, in
libraries that utilize the Library of Congress Classification System, conduct
a subject search using headings like “Law and art—United States” or
“Artists—Legal status, laws, etc.—United States.”

Darraby, Jessica L. Art, Artifact & Architecture Law. Eagan, MN:

Thompson/West, 2002– . Annual. 2 vols.

Trading practices overview: Structure of art markets; Basic

markets; Historical evolution of art trading; Dealers; Insurance;
Provenance; Catalogue raisonné; Appraisals; Comparison of
appraisal and authentication; Laws of auction.

DuBoff, Leonard D., and Christy O. King. Art Law in a Nutshell. 4th
ed. St. Paul, MN: Thomson/West, 2006. 330p.

Summarizes key legal concepts in the visual arts, including the art
market. Contents: Art: the Customs Definition; Art: International
Movement; Art: The Victim of War; Art as an Investment;
Auctions; Authentication; Insurance; Tax Problems: Collectors
and Dealers; Working Artist; Aid to the Arts; Tax Problems:
Copyright; Trademark; Moral and Economic Rights; Freedom of
Expression; Museums; Photographs of artwork.
_____, Sherri Burr, and Michael D. Murray. Art Law: Cases and
Materials. Austin: Wolters Kluwer Law & Business; New York: Aspen
Publishers, 2010.

Intended for the student of art and museum law; presents

summaries of major legal cases along with secondary source
material. Partial contents: Legal and Other Definitions of Art;
Copyrights; Trademark Rights; Moral Rights and Economic
Rights; Rights of Publicity; First Amendment Rights; Art
Galleries, Dealers and Clients; Auctions; Museums; International
Movement of Art during War; International Preservation of Art
and Cultural Property; Native American and Indigenous Peoples
art.

_____, and Sally Holt Caplan. The Deskbook of Art Law. Dobbs Ferry,
NY: Oceana, 1993– . (Loose-leaf, frequent updates).

A standard reference source for arts lawyers, summarizes and

explains legal concepts using various cases along with relevant
secondary literature on the subject. Partial contents: Art—the
Customs definition; International movement of art; Theft;
Preservation of art; Protest art; Art as an investment;
Authentication; Insurance; Auctions; Tax problems—collectors
and dealers; Copyright.

Gerstenblith, Patty. Art, Cultural Heritage, and the Law: Cases and
Materials. Durham, NC: Carolina Academic Press, 2004. 907p.

Summarizes legal concepts surrounding visual arts and cultural

heritage issues. Partial contents: Art merchants—auction houses
and dealers; Dealers’ relationship to clients; Dealers’ liability for
implied warranty of title; Auction houses; Questions of quality
and authenticity; Questions of title.

International Foundation for Art Law Research. Art Law & Cultural
Property. http://www.ifar.org/art_law.php
 Includes two sets of resources—International Cultural Property
Ownership and Export Legislation (ICPOEL) and Case Law and
Statutes (CLS). The former provides legislation governing export
restrictions on cultural property, with additional country-specific
participation in international organizations, treaties and the like.
Case Law and Statutes section contains full text of U.S. case law,
including some out-of-court settlements.

Kaufman, Roy S. The Art Law Handbook. New York: Aspen Law and
Business, 2000. 1164p. + CD.

Partial contents: Stolen art; International Transactions in the Art

Market, Artist-Dealer Relations; E-commerce; Authentication and
Appraisal of Artwork; Auction Law; Conservation and
Restoration of Artwork; Federal Income Tax Consequences of
Creating, Owning, Selling, and Donating Works of Art; Trusts
and Estates.

Lerner, Ralph E., and Judith Bresler. Art Law: The Guide for
Collectors, Investors, Dealers and Artists. 3d ed. New York: Practicing
Law Institute, 2005. 3 vols. 2,291p.

Vol. 1: Artist-Dealer Relations; Private Sales; Theft, Forgery,

Authenticity, and Statutes of Limitations; Auctions; Prints and
Sculpture Multiples; Commissioned Works; Expert Opinion and
Liabilities; Vol. 2: International Trade; First Amendment Rights;
Copyrights; Moral Rights, Resale Rights; Collection as
Investment Property; Vol. 3: Tax and Estate Planning for
Collectors; Tax and Estate Planning for Artists; Museums; Art
Law Online.

Lind, Robert C., Robert M. Jarvis, and Marilyn E. Phelan. Art and
Museum Law: Cases and Materials. Durham, NC: Carolina Academic
Press, 2002. 718p.

Partial contents: Art and artifacts as national or cultural property;

Art and the investor; Authentications and appraisals; Stolen art;
Fraudulent art; Art as a security.
Merryman, John Henry, Albert E. Elsen, and Stephen K. Urice, Law,
Ethics and the Visual Arts. 5th ed. London: Kluwer Law International,
2007.

Partial contents: Trade in Stolen and Illegally Exported Art; The

Artist and the Lawyer; The Artist and the Museum;
Commissioned Works of Art; Taxes; The Acquisitions of Art: The
Art Market, Consumer Protection and the Fine Arts, Theft and
Artnapping, Taxes, Gifts to Charity and Appraisers.

Milrad, Aaron. Artful Ownership: Art Law, Valuation, and Commerce

in the United States, Canada and Mexico. Washington, DC: American
Society of Appraisers, 2000. 342p.

Intended for professional appraisers, lawyers and others involved

in the international trade in art, but accessible to the non-lawyer.
Partial contents: Title; Ownership; Limits on ownership; Role and
responsibility of valuers; Auction and other marketplaces;
Copyright; Insurance; Taxation; Cultural property legislation;
Import and export.

Prowda, Judith. Visual Arts and the Law: A Handbook for

Professionals. Farnham, UK; Burlington, VT: Lund Humphries in
association with Sotheby’s Institute of Art, 2012. 240p.

Contents: Freedom of Expression and Controversial Art;

Limitations on Freedom of Expression: Personality Rights of
Privacy and Publicity; Principles of Copyright; Copyright
Infringement and Defenses; Moral Rights; The Artist’s Resale
Right; The Artist-Dealer Relationship; Artist Commissions;
Private Disposition of Art; Auctions; Expert Opinions; Title
Problems and Stolen Art.

Rhodes, Anne-Marie. Art Law and Transactions. Durham, NC:

Carolina Academic Press, 2011. 455p.

Legal text details the lawyer’s role in buying and selling art, with
particular attention to collectors. The author examines specific
 cases related to each topic and notes their impact on the art trade.
Partial contents: Acquisition by Purchase from Artist; Acquisition
by Purchase involving Dealer or Gallery; Acquisition at auction;
Authenticity; Questions of Title: Stolen, Looted, and Encumbered
art; Moral Rights; Art Loans; Sales and Exchanges; Gratuitous
Transfers; Valuation.

LEGAL SOURCES FOR ARTISTS

The following titles provide guidance to professional artists in all aspects of

their career planning. To find additional resources of this type in libraries
that utilize the Library of Congress system of classification, conduct a
subject searching using term strings like “Artists—Legal statutes, laws,
etc.” or “Law and Art.”

Crawford, Tad. Legal Guide for the Visual Artist. New York: Allworth
Press, 2010. 269p.

Now in its fifth edition, this standard reference work addresses all
of the most important legal and business issues/questions faced by
artists at all levels. Partial contents: Copyright; Moral Rights;
Original Art: sales, Commission and Rentals; Sales by Galleries
and Agents; Publishing Contracts; Studios and Leases; Taxes;
Artist’s Estate.

______, and Susan Mellon. The Artist-Gallery Partnership: A

Practical Guide to Consigning Art. New York: Allworth Press, 2008.
203p.

Now in its third edition, this practical title explains the legal
ramifications of consigning art with galleries. Included are issues
of warranty, insurance, pricing, commission and other topics
related to the consignment relationship.

Lerner, Ralph E., and Judith Bresler. All About Rights for Visual
Artists. New York: Practicing Law Institute, 2006. 275p.
 Written by the authors of the definitive art law textbook, this title
is a must have for artists at all levels of success. Major topics
include: First Amendment Rights; Copyrights; Moral Rights;
Online Rights. In each section, the authors shed light on the often
challenging legislation geared toward artists and their
representatives. This work deserves a place in the reference
collection of any library serving a community of artists.

Russell, Elizabeth T. Art Law Conversations: A Surprisingly Readable

Guide for Visual Artists. Madison, WI: Ruly Press, 2005. 127p.

Truly readable without being condescending, these fascinating

“conversations” explore issues of importance to artists, from
copyright to issues of taxes.

Provenance Issues and the Art Market

Considering the vast sums of money traded on the international art market
each year, the increasing attention paid to issues of provenance should come
as no surprise. What is provenance, and why is it of such concern to dealers,
collectors, scholars, and just about everyone else who has a stake in the
artworld?

Derived from the French provenir (to come from), provenance, in relation
to works of fine art, decorative art or antiquities, refers to chain of
ownership. For the prospective buyer of a work, questionable provenance is
the equivalent of questionable ownership in any other trade. Buyers’
expectations of a fully documented provenance will vary, of course,
depending upon the date and place of the work’s creation, among other
factors. Works dating from before the common era (BCE) will be less likely
to be fully documented than will a work produced in an urban area of the
industrialized world just a few months, years or even decades ago.

The fact that a work of art is, or was, acquired from a reputable dealer,
auction house or individual collector should provide the buyer with a degree
of security—but only if it is accompanied by a documented provenance.
But provenance documentation is not always available. Some works have
been languishing in storage for decades, and even centuries, sometimes
unknown to even their rightful owners.

In some cases, ownership disputes are played out in court, and the well-
prepared collector—whether individual or institutional—who can document
the steps undertaken to research the provenance of the contested work has a
great advantage. Indeed, for a very valuable piece, the cost of retaining a
professional to conduct provenance research might be a collector’s wisest
expenditure—especially if the research supports the collector’s victory in
court.

The potential impact that provenance can have on the market value of an
artwork or object can indeed be great, as we’ve seen in some high profile
auctions over the recent few decades. Prior inclusion in a celebrated
collection can only enhance the value of a major painting, drawing,
sculpture or other artwork. It remains to be seen, however, if the purely
“associative value” of more common objects stands the test of time.

Consider, for example, Christie’s 2011 offering of a 4½ × 6½ inch sketch by

Andy Warhol, in the much-publicized sale of The Collection of Elizabeth
Taylor.2 This work on paper depicts a pair of full lips, and is inscribed by
the artist “To Elizabeth … a big kiss. Andy Warhol.” It is probably safe to
say that the work’s provenance—listed simply as “Gift of the artist”—
accounts for at least 90 percent of its final $242,500 sale price (including
buyer’s premium). The high pre-sale estimate of $8,000 was exceeded by
more than 3000 percent.

The modern provenance researcher has access to a large and growing

number of resources that can assist in tracing the provenance of artworks.
Some of these tools, including the Getty Research Institute’s various
databases, were developed for the serious provenance researcher. But just
about everything discussed throughout this book—including exhibition
catalogs, catalogues raisonnés, reference works, auction catalogs and
databases—can provide some very important information for the researcher
of provenance. In this chapter, we’ll explore the primary sources of
information for provenance research, and suggest some tips for conducting
the kind of detective work that is necessary to establish the chain of
ownership of works of art. Our exploration of provenance research tools is
preceded by an overview of the scant literature on the issue of provenance
as it relates to monetary value.

Fritzke, Leena. “An Examination of the Impact of Records on the

Value of Artworks.” Records Management Journal vol. 18, no. 3,
2008. Pp. 221–235.

The author discusses at length the impact of records, with

particular emphasis on documentation related to provenance, on
the value of art. The impact of provenance documentation as at
least partial proof of authenticity, as well as the associative value
increment related to esteemed prior ownership, are discussed in
some detail.

Shitanishi, Alexa N. “The Provenance Effect: An Analysis of the

Effect of Ownership on the Value of Art.” Journal of Advanced
Appraisal Studies [annual]. Chicago: Foundation for Appraisal
Education, 2011. Pp. 33–72.

Through structured interviews and an original survey of

professional appraisers’ thoughts on the effect of the provenance
factor on selected estate sales, the author presents a highly
original data-rich analysis of the associative value of celebrity and
other distinguished owners.

PROVENANCE AND AUTHENTICATION

In the sometimes shady world of art dealings, issues of provenance and

issues of authenticity can become intermingled. Unless a subject work is
discovered buried in an attic or basement, its appearance, seemingly “out of
the blue,” will certainly raise doubts among interested collectors, dealers,
and other art market stakeholders. Remember that the wily forger, who has
the skill to create a passable fake or forgery, will likely be equally adept at
creating bogus documents—bills of sale, gallery labels, and the like. In fact,
creating false documentation is much less challenging than creating
paintings, drawings or other works of art!
 PROVENANCE INFORMATION IN PUBLISHED WORKS

Traditional art research tools, including the exhibition catalogs,

monographs, catalogues raisonnés, and indexes discussed throughout the
previous few chapters, are among the most straightforward tools for
provenance research. Catalogues raisonnés in particular are usually a good
starting point for tracing the record of ownership of a work of art. Most
catalogues raisonnés include provenance details with each entry, when this
information is available. In recent decades, however, it appears that
collectors are increasingly reluctant to allow their ownership to be recorded;
rather, many entries seem to list “private collection” in lieu of the
collector’s name.

Exhibition catalogs very often also provide a good deal of information on

individual works’ ownership. The indexes to exhibitions and the various
fine and decorative art databases discussed in the preceding chapters are
excellent starting points for the researcher seeking an exhibition history for
a work of art. Art Full Text, and its predecessor, Art Index Retrospective, are
particularly useful for this type of research, because their coverage dates
from 1929 to the present; in addition to “content” coverage (i.e., indexing of
articles, etc.), recall that these databases are unique in that they also index
reproductions—including advertisements.

Auction sales catalogs, and some of the databases that are used to locate
specific lots within them, can also be an important resource for the
provenance researcher. Remember, though, that artworks’ titles often vary
from source to source; that is, they are not usually firmly established, as are
the titles of books, articles and other publications. If the artist is known,
conduct the search by artist name rather than title, in order to increase your
chance of locating the work if it is cataloged under a variant.

ARCHIVAL RESOURCES FOR PROVENANCE RESEARCH

Before going into specific sources, including books, directories, databases

and other tools for provenance research, one very important handbook on
methodology is worth noting:
 Yeide, Nancy H., Konstantin Akinsha, and Amy L. Walsh. The AAM
Guide to Provenance Research. Washington, DC: American
Association of Museums, 2001. 304p.

Although it focuses on provenance issues related to works looted

during the Nazi era, the AAM Guide provides a wealth of
information and resources of value to the general researcher of
provenance. Several in-depth case studies demonstrate the
processes involved in the successful resolution of provenance
questions. Available from the AAM and in many libraries, the
AAM Guide to Provenance Research is an essential tool for the
serious provenance researcher.

The modern researcher has access to a tremendous wealth of resources, in

the form of personal and institutional archives. For the provenance
researcher, archival collections are often absolutely essential. Artists’ own
notes and letters, as well as dealer and gallery records, can be invaluable
aids for the collector or provenance researcher.

The paper-based tools that predate the modern, electronic era were
extremely cumbersome. Today, the researcher with access to a large
academic or research library can use a variety of tools to quickly identify
archival holdings that are potentially germane to the provenance research
task. In fact, some of the better systems are freely available to the public;
these tools are identified as such in the following bibliography.

ArchiveGrid. Online Computer Library Center. http://ArchiveGrid.org

As this book goes to press, OCLC (Online Computer Library

Center) is beta testing a freely available version of this important
archival collection finder. “ArchiveGrid includes collection
descriptions from WorldCat bibliographic records and from
finding aids harvested from ArchiveGrid contributors’ websites”
[ArchiveGrid website].

Archive Finder. Proquest

 This research database serves as a directory of archival
collections in the United States and the United Kingdom. It
includes records from more than 5,600 repositories that offer
more than 175,000 collections. Records for individual repositories
include email, telephone & fax numbers, mailing address and
other relevant information for researchers seeking access.
Additionally, the entire collection of the nation’s largest published
inventory of archival collections—the National Union Catalog of
Manuscript Collections (NUCMUC)—has been integrated into
this indispensable finding aid.

Archives of American Art. Collections by Topic pages.

http://www.aaa.si.edu/collections/topic

The archival research collections maintained by the Archives of

American Art have increased dramatically over the years. The
individual collections, ranging from individual artists’ papers to
institutional records, are organized here by very broad subject
category. The categories include:

• African American
• Architecture & Design
• Art Gallery Records
• Asian American
• Craft
• Latino and Latin American
• New Deal
• Photography

International Foundation for Art Research. Provenance Guide.

www.ifar.org/provenance_guide

Concise, easy-to-read introduction to provenance research.

Includes an excellent list of links and bibliography for advanced-
level research.

OCLC WorldCat.
 In Chapter Three, in our discussion of library catalogs, we saw
that WorldCat, the online public access catalog developed by
OCLC (Online Computer Library Center), includes references
from literally thousands of libraries internationally. WorldCat
provides access to well over 1.5 billion items, including books,
journals, videos, sound recordings, and archival materials.
WorldCat’s easy-to-use interface allows even the novice
researcher to quickly identify archival materials on artists,
dealers, collectors, museums and other individuals or institutions
germane to the study of provenance.

Smithsonian Institution Research Information System (SIRIS).

http://www.siris.si.edu

The Smithsonian Institution Research Information System

provides a number of very valuable research components,
including: Smithsonian Libraries’ catalog; Archival, Manuscript
and Photographic Collections; Smithsonian American Art
Museum Research Databases; Specialized Research
Bibliographies; History of the Smithsonian. The following are of
particular interest to provenance researchers:

• Archival, Manuscript and Photographic Collections catalog

includes detailed descriptions of approximately 252,000
collections of personal papers, manuscripts, photographs, oral
histories, sound recordings, films and organization records from
nine repositories, including the Archives of American Art.

• Art Inventories catalog is a searchable database comprising two

important Smithsonian inventories: the Inventory of American
Paintings Executed Before 1914, and the Inventory of American
Sculpture. Together, these inventories include detailed records on
more than 600,000 works of art in public and private collections.
Often, the record includes an indication of ownership, including
in some instances the actual name and address of a private
collector; institutional collections’ addresses are, of course, freely
available and hence indicated in the item record.
 World Collectors Annuary. See description, Chapter Six.

Yeide, Nancy H., and Konstantin Akinsha. “Dealer Archives and

Locations.” Appendix D in The AAM Guide to Provenance Research
(described above), pp. 214–242.

Identifies the repositories for the records of major dealers,

galleries and scholars. Very useful addition to the provenance
literature in that it supplements major print and online finding
aids of major national repositories.

OBJECT ID AND STOLEN ART

Recognizing the fact that the illicit trade in stolen art and antiquities
represents one of the largest of international crimes, the Getty Art History
Information Program convened a meeting with international governmental
and nongovernmental agencies (including the International Council of
Museums, UNESCO, Interpol and others) to address the issue. A series of
meetings, surveys and other information-gathering methods were utilized,
and it became clear that most participants agreed that part of the solution
involved the development of a standard of documentation for identifying
objects; the standard came to be known as “Object ID.” In 2004, the
International Council of Museums (ICOM) joined the Getty in an
agreement on non-exclusive worldwide use of the Getty’s Object ID
standard. [object ID website].

Object ID posits nine information categories for the description of artworks:

Type of Object; Materials & Techniques; Measurements; Inscription and
Markings; Distinguishing Features; Title; Subject; Date or Period; and
Maker.

Numerous agencies and associations, including the FBI, Interpol, and the
Appraisers Association of America, employ Object ID in their work. For
more information on Object ID, consult the Object ID website at
http://archives.icom.museum/object-id/index.html. This official website of
the Object ID program includes basic information about the development of
the standard, along with a useful Object ID Checklist to assist in
documenting art and artifacts.
Other works covering Object ID include:

Thorns, Robin. Documenting the Cultural Heritage. Los Angeles:

Getty Information Institute, 1998. 57p.
http://archives.icom.museum/objectid/heritage/index.html

Reports upon standards for documenting cultural heritage,

including: Core Data Index to Historic Buildings and Monuments
of the Architectural Heritage; International Core Standard for
Archaeological Sites and Monuments; Object ID.

_____. Protecting Cultural Objects in the Global Information Society:

The Making of Object ID. Los Angeles, CA: Getty Information
Institute, 1997. http://archives.icom.museum/object-id/final/index.html

Presents the Object ID Projects final report. Includes results of

survey by members of the international art and museum
communities, including: Cultural heritage organizations
(museums, etc.), Law enforcement agencies; Customs agencies;
Art trade; Appraisers; Insurance industry.

_____. Protecting Cultural Objects Through International

Documentation Standards: A Preliminary Survey. Malibu, CA: Getty
Art History Information Program, 1995. 51p.
http://archives.icom.museum/object-id/prelim/index.html

Reports on the early work of the Object ID and its questionnaire

and survey findings.

_____, with Peter Dorrell and Henry Lie. Introduction to Object ID:
Guidelines for Making Records That Describe Art, Antiques and
Antiquities. Los Angeles, CA: Getty Information Institute, 1999. 61p.
http://www.object-id.com/guide/guide_index.html

This short monograph introduces the concept of Object ID, its

planning and implementation, including some good advice for
photographic works. Partial contents: What is Object ID?; Why
Object ID is needed; Making of Object ID; Describing art and
 antiquities using Object ID; Categories of information (see
above); Additional recommended categories: Inventory number;
Related written material; Place of origin/discovery; Cross
reference to related objects; Date documented.

TRACKING STOLEN WORKS OF ART

The possibility that a work of art has been stolen—whether by its current
owner or at some earlier point in its travels—is certainly one of the
collector’s greatest fears. Sadly, researching lost or stolen artworks is a
monumental task, since no single clearinghouse of lost and stolen works of
art exists. Rather, the concerned “good faith” buyer or seller has at her
disposal literally hundreds of databases to scan for notices of lost works of
art.

A review of the legal literature reveals many sources that bemoan the lack
of centralization in the reporting of stolen artworks and the lack of an
internationally recognized standard of due diligence on the part of buyers
and sellers.

Some courts apply the due diligence standard to just the true owner,
others apply it to both the true owner and the good-faith purchaser. In
addition, a court may also consider the atmosphere of the art world at
the time the artwork was discovered missing. Because of the
uncertainty faced by good-faith purchasers, legitimate sellers and
owners of stolen artworks, an internationally recognized standard of
due diligence is needed.3

The author, Laura Marshall-Taylor, proceeds to note that

there are literally hundreds of Websites dealing with stolen art and
antiquities. This leaves true owners with no efficient way to look for
their stolen artwork, and legitimate sellers and good-faith purchasers
have no efficient way to discover if the work they want to purchase has
been reported as stolen. The number of Websites dealing with stolen
art, coupled with diverse rulings in the cases from the courts, leaves
the parties involved with no clear understanding of how best to look
 for their stolen artwork, or how best to proceed in a case involving
stolen artworks.4

Note that most stolen art recovery institutions and mechanisms are aimed at
international traffic. The art theft problem has grown so significantly over
the last decade, however, that some larger cities’ police departments
maintain staffs devoted to this issue; some, like the Los Angeles Police
Department, record significant art theft events on their website.

The following represent some of the largest, and best known of the web-
based stolen art databases. Most are free of charge, but the few that require
a subscription are identified as such.

INTERNATIONAL SOURCES FOR REPORTING ART THEFT

Art Loss Register. http://www.artloss.com.

One of the earliest and best known and utilized registers of stolen
art objects, the Art Loss Register (ALR), was established by IFAR
(International Foundation for Art Research) in 1976 under the
name Stolen Art Alert. Users must register with ALR, and there is
a fee for using most of the register’s services.

Commission for Art Recovery. http://www.commartrecovery.org

Affiliated with the World Jewish Congress, much of this website

is focused on recovering works stolen during World War II and
the Nazi era through advocating for policy change, spreading
information regarding provenance gaps and how to determine
provenance, and by encouraging collectors and museums to
identify their works with provenance gaps between 1933 and
1945. While it offers no database of lost works as such, this site
has an excellent list of resources relating to provenance research
specific to restitution of works to Holocaust victims and their
families.

FBI Art Theft Program—National Stolen Art File (NSAF).

http://www.fbi.gov/about-us/investigate/vc_majorthefts/arttheft
 The National Stolen Art File is a database established and
maintained by the FBI. It consists of records, including their
images, of items that law enforcement agencies have reported as
stolen. According to the FBI website, only law enforcement
agencies may request searches of the NSAF database.

FindStolenArt.com. http://www.findstolenart.com.

Find Stolen Art is an easy-to-navigate site that lists works of art,

antiques and artifacts that have been stolen, and maintains an
archive of recovered works.

Interpol. http://www.interpol.org.

The Interpol website includes an A–Z list of recent stolen works

of fine art, decorative art and collectible objects. Rather
cumbersome to use, because the searcher must know exactly how
the work was handled (in the case of artworks, the title must be
known), the Interpol list of recently stolen works is one that
should be consulted by anyone who suspects theft of a work.

Lost Art Internet Database. http://www.lostart.de.

The Lost Art Internet Database is a unique portal that offers a

number of options. Maintained by the Koordinierungsstelle für
Kulturgutverluste, Germany’s central office for the
documentation of lost cultural property, the database includes
records and reports “about cultural objects taken from their
owner(s) in connection with Nazi persecution or relocated as a
result of the Second World War.”5

GETTY PROVENANCE INDEXES AND PUBLICATIONS

Since 1974, the J. Paul Getty Museum has been actively involved in
cataloging and making available a vast amount of information related to the
provenance of artworks. The earliest projects included an inventory of
Italian paintings in 19th century British auction catalogs and an index to
paintings in American and British museums along with related information
pertaining to the works’ provenance. Renamed the Provenance Index in
1981, these projects became an independent department in 1983; as of
2004, the department’s new name—the Project for the Study of Collection
and Provenance—represents the breadth of the project’s involvement in this
critical area of art historical scholarship.

Currently, the following projects represent the department’s main areas of

involvement in provenance and collecting scholarship:

• Index to archival documents

• Index to auction sales catalogs

• Index to paintings in public collections

• Collectors’ files, representing files on art collectors dating from the

16th through the 20th centuries.

The project published a number of print reference works over the years, but
all print publication has ceased. A complete bibliography of the project’s
print publications follows.

DOCUMENTS FOR THE HISTORY OF COLLECTING SERIES

Italian Inventories

Labrot, Gérard, with Antonio Delfino. Carol Togneri and Anna Cera
Sones, eds. Collections of Paintings in Naples, 1600–1780. (Italian
Inventories, Vol. 1). Munich: K.G. Saur, 1992. 790p.

Documents 83 Neopolitan inventories including collections of

artists, families and individuals.

Morselli, Raffaella. Anna Cera Sones, ed. Collezioni e Quadrerie nella

Bologna del Seicento Inventari, 1640–1707. (Italian Inventories, Vol.
3). Los Angeles: Getty Information Institute, 1998. 681p.
 Seventy-seven unpublished collection inventories from the
Archivio di Stato (Bologna). Approximately 6,000 works of art
documented. Indexed by artist and subject.

Safarik, Eduard A., with Cinzia Pujia. Anna Cera Sones, ed.
Collezione dei Dipinti Colonna Inventari, 1611–1795. (Italian
Inventories, Vol. 2). Munich: K.G. Saur, 1996. 1,058p.

Spanish Inventories

Burke, Marcus B., and Peter G. Cherry. Maria Gilbert, ed. Collections
of Paintings in Madrid, 1601–1755. (Spanish Inventories, Vol. 1). Los
Angeles: Provenance Index of the Getty Information Institute, 1997. 2
vols. 1,693p.

Brief narrative description of inventories and valuations of

Spanish collections (1601–1760s); Inventories arranged
chronologically. Partial contents: Seventeenth-century Spanish
taste; Golden age of collecting; Inventory process; Index of
artists; Index of subjects; List of artist appraisers; List of Spanish
inventories available at the Getty Provenance Index.

Netherlandish Inventories

Biesboer, Pieter. Carol Togneri, ed. Collections of Paintings in

Haarlem, 1572–1745. (Netherlandish Inventories, Vol. 1). Los
Angeles: Getty Provenance Index, 2001. 691p.

Reference source for 3,536 inventories conducted between the

years 1572–1745. Inventories include primarily paintings, some
furniture, jewelry, maps, silver, books and other items. Organized
chronologically. Entries include brief overview of the collection,
bibliographical sources, lists of contents. Includes index of artists,
objects.

French Inventories
Gordon, Alden, et al. Carolyne Ayçaguer-Ron, ed. The Houses and
Collections of the Marquis de Marigny (French Inventories, Vol. 1).
Los Angeles: Provenance Index of the Getty Research Institute, 2003.
677p.

Inventories the estate of the Marquis, supplemented by various

indexes: Index of art objects and household goods; Index of
artists; Index of subjects; Index of proper names.

INDEXES OF PAINTINGS IN AUCTION CATALOGUES

Fredericksen, Burton B., with Ruud Priem and Julia I. Armstrong, eds.
Corpus of Paintings Sold in the Netherlands During the Nineteenth
Century. 1: 1801–1805. Los Angeles: Provenance Index of the Getty
Information Institute, 1998.

Like the other national sales catalog projects sponsored by the

Getty Information Institute, this work records sales of paintings
sold at auction, and provides some or all of the following
elements for each transaction: date of sale, title, lot number,
annotations, materials, dimensions, inscription, seller, price,
present location and name of buyer. The project builds upon the
card-file project of primarily Dutch and French sales conducted at
the Rijksbureau voor Kunsthistorische Documentatie in the
Hague.

The Index of Paintings Sold in the British Isles During the Nineteenth
Century. Santa Barbara, CA: ABC-CLIO, 1988–1993.

See previous description. Included here for its value for the
researcher of provenance.

Peronnet, Benjamin, and Burton B. Fredericksen, with Julia I.

Armstrong, Sophie Hauser, and Armelle Jacquinot, eds. Répertoire des
Tableaux Vendus en France au XIXe Siècle. Vol. 1: 1801–1805. Los
Angeles: Provenance Index of the Getty Information Institute, 1998.
 See complete entry, page 269. Included here for its provenance
details.

von Stockhausen, Tilmann, and Thomas Ketelsen. Burton B.

Fredericksen and Julia I. Armstrong, with the assistance of Michael
Müller, eds. Verzeichnis der Verkauften Gemälde im
Deutschsprachigen Raum vor 1800. [Index of Paintings Sold in
German-Speaking Countries Before 1800.] Munich: K.G. Saur, 2002.

See previous description.

THE PROVENANCE INDEX DATABASES

Perhaps the most valuable of the Getty Provenance resources are the freely-
available databases, including:

• Archival Inventories includes indexing to household inventories’

private art collections in the Netherlands, Italy, Spain and France from
1550 to 1840. Includes more than 270,000 individual records;
photocopies of documents are available in the Getty Center’s
“Collectors Files.”

• Sales Catalogs includes works of art sold at auction in Belgium,

France, Germany, Great Britain, the Netherlands, and Scandinavia
between the years 1650–1945. An additional 230,000 individual
records for paintings, sculptures and drawings sold in Germany
between 1930 and 1945 are linked to the PDF of their corresponding
catalogs.

• Public Collections includes description and provenance of paintings

by artists born before 1900, including those held in American and
British collections. Includes over 95,000 records from 1500 to 1990.
 Appendix A

Art Market Journals, Magazines and “Current Awareness” Sources

Most magazines, journals, newspapers and other recurring information

sources—whether print-based or online—offer occasional articles about
some aspect of the global market for art. This list, by contrast, is highly
selective. It includes only those titles that regularly provide significant
coverage of a wide range of topics of interest to collectors, dealers, and
other art market stakeholders. Websites related to print publications are
included only for those titles that offer a meaningful amount of the (print)
magazine or journal’s content, or that otherwise supplement the base title in
some way.

Antique Trader: America’s Weekly Antiques and Collectibles Marketplace

[formerly: Antique Trader Weekly]

F&W Media
38 E 29th St, 3rd Fl, New York, NY 10016
ISSN: 0003-5912
1957– .
http://www.antiquetrader.com

Antique Trader Weekly is an excellent source for the latest news in the
market for antiques and collectible objects. Collectors will find here a great
deal of news on the current market, as well as a great classified section for
buying and selling. The magazine’s website offers a good deal of free
content, including an active blog.
Apollo

ISSN: 0003-6536
1925–present (monthly)
Website: www.apollo-magazine.com

Since its inception in 1925, Apollo magazine has provided collectors,

dealers, museum staff and other artworld professionals with current news
on the market for fine and decorative arts. The magazine’s website offers a
good deal of free content; of particular interest, “News and Comment” and
“Market” sections.

Art & Antiques

ISSN: 0195-8208
1978–present (monthly)
http://www.artandantiquesmag.com

Of particular interest to collectors of antiques and collectibles, but also

includes coverage of the global arts market. Well-illustrated, and popular in
tone. Website offers some valuable free content for collectors, as well as a
free-of-charge email newsletter.

Art & Auction

ISSN: 0197-1093
1979–present (monthly; 11 issues annually)
http://www.artinfo.com/art-and-auction

For collectors at all levels, Art & Auction is a must-read for its up-to-date
coverage of the international art market. The related website (Blouin Art
Info) includes a great deal of free content, including a very robust (and free)
art price database described in greater detail in Chapter Six.
Art and Australia

Art and Australia Pty Ltd.

11 Cecil St. Paddington, NSW 2021 Australia
ISSN: 0004-301X
Quarterly (Supplements accompany some issues); 1963– .
http://www.artaustralia.com/

Art and Australia provides a great deal of information on the contemporary

market for Australian art, and the Australian market for works of art in
general. The magazine’s website offers a good deal of free content,
including tables of contents, feature articles and market news.

Art Asia Pacific

ISSN: 1039-3625
1993–present (bi-monthly)
http://artasiapacific.com

Provides extensive coverage of the art and artists of the Pacific Rim,
including auction and other market news.

Art in America

Brant Publications, Inc.

575 Broadway, 5th Fl, New York, NY 10012
ISSN: 0004-3214
Monthly; 1913– .
http://www.artinamericamagazine.com/
Its inclusion in ABI/Inform attests to Art in America’s value to the
researcher of art market issues. The magazine focuses on the higher-end of
the market, with particularly strong coverage of 20th century artists and
their works.

Art Market Insight

www.artprice.com

Art Market Insight provides handy, brief overviews of topics of interest to

collectors. Included are data-rich surveys of specific markets (e.g.,
“Dynamic Middle East Market” posted on July 26, 2011) to more
specialized analyses (e.g., “Lucien Freud, Expensive and Fleshy” posted on
August 2, 2011). ArtPrice-registered users may opt to receive free mail
updates as new “Insights” are posted.

Art Market Monitor

www.artmarketmonitor.com

“The Art Market Monitor strives to provide context to the ever-changing

fluctuation in prices and the emerging prominence of new artists and their
work. The website seeks to provide a single place to follow public reporting
on the art market [from the Art Market Monitor Website]. This very well
curated site offers up-to-date coverage of the art market. Links to content—
both print and multimedia—intended for the serious art market observer. Be
sure to register for the free-of-charge newsletter to receive the latest in news
on the global art markets.

Art Monthly
Britannia Art Publications
4th Fl., 28 Charing Cross Rd., London WC2H 0DB United Kingdom
ISSN: 0142-6702
Monthly; 1976– .
http://www.artmonthly.co.uk

The UK’s leading journal of contemporary visual art, Art Monthly provides
in-depth coverage of market issues. Focus is primarily on the market for
contemporary works of art in British galleries and auction houses. The
magazine’s Website offers some content online, as well as a free table of
contents alerting service.

Art Newspaper

ISSN: 0960-6556
1990–present (monthly; 11 issues per year)
www.theartnewspaper.com

From appraisers to collectors to dealers, virtually anyone who has a

professional level interest in the visual arts will find important up-to-the-
minute coverage of the artworld in the Art Newspaper. It provides in-depth
coverage of the museum world, as well as the burgeoning art market. The
publication’s website offers an ample selection of content as well.

Art Press: La Revue de l’Art Contemporain

ISSN: 0245-5676
1972–present (monthly)

Focus on contemporary art and artists, with particular reference to Western

Europe. Art market news is featured regularly.
Art Review

ISSN: 1745-9303
1949–present (monthly)
Website: http://www.artreview.com

Consumer magazine provides excellent reviews of international gallery and

museum exhibitions, with an emphasis on London. The magazine’s website
provides a good deal of content as well.

ArtNews

ArtNews LLC
48 W 38th St., New York, NY 10018
ISSN: 0004-3273
Monthly (June–Aug. combined) 1923– .
New York: Artnews Associates.
http://www.artnews.com

The sheer number of indexing sources that have elected to include ArtNews
attest to the magazine’s value. Of particular interest to collectors and other
market researchers, ArtNews includes a number of regular features—
particularly, the “Art Market” report, that survey the auction and to a lesser
extent, the retail gallery market for works of fine art.

Auction Central News: The Authority in Art + Antiques + Collectibles

(ACN)

http://www.auctioncentralnews.com/

This free-of-charge Internet news site is provided by Live Auctioneers,

whose innovative business offers links to live auctions as well as a robust
database of prices (also free). These are described in Chapter Seven. ACN is
very regularly updated, and provides a wide range of news, as well as links
to other sites’ best columns, timely videos, and auction surveys.

Beaux Arts Magazine

ISSN: 0757-2271
198?–present (monthly)
Text in French
Website: http://www.beauxartsmagazine.com/

Offers art market news coverage on a regular basis. Particular emphasis

given to auction sales and art fairs.

Blouin ArtInfo. Market News.

http://www.artinfo.com

Offers well-written, concise articles on current and forthcoming exhibitions,

art fairs, auctions and the like. Besides the “Market News” tab, numerous
topical blogs round out Blouin’s rich menu of art world news and gossip.

Burlington Magazine

Burlington Magazine Publications Ltd.

14 Dukes Rd., London WC1H 9AD United Kingdom
ISSN: 0007-6287
Monthly; 1903– .

Burlington is one of the very best sources for the researcher of art market
history, collecting, and patronage. All of its articles are lengthy, scholarly
studies with excellent illustrations. The complete backfile is made available
via JSTOR.

Christie’s Magazine

[formerly Christie’s International Magazine 1984–1998]

London: Christie, Manson & Woods Ltd.
ISSN: 0266-1217
Ten issues per year; 1998– .

Beautifully illustrated magazine surveys both fine and decorative arts.

Features international art market news and articles by Christie’s specialists.

Connaissance des Arts

ISSN: 0293-9274
1976–present (monthly)
www.connaissancedesarts.com

French language consumer magazine provides good coverage of the market,

with a special focus on the countries of Western Europe.

Financial Times (United Kingdom)

ISSN: 1476-8844
1888–present
www.ft.com

This daily provides in-depth coverage of the global art market, with many
occasional feature articles that profile emerging markets as well. A review
of the ft.com website reveals that anywhere from 15 to 25 art market-related
pieces per month are made available free-of-charge.

Flash Art International

ISSN: 0394-1493
Giancarlo Politi Editore
Via Carlo Farini 68, Milan, 20159 Italy
Bimonthly.
http://www.flashartonline.it/

Flash Art International is an excellent source for researching contemporary

art and its gallery and auction markets. The magazine’s Website offers a
substantial amount of free content. Flash Art is particularly valuable for its
calendar of events, and its coverage of international art and design fairs.

IFAR Journal

International Foundation for Art Research (IFAR)

500 Fifth Ave., New York, NY 10110
ISSN: 1098-1195
Quarterly.
http://www.ifar.org

Quarterly, scholarly and professional journal devoted to issues of

authentication, forgery, fraud, international cultural property issues, and art
theft.

Journal of Cultural Economics

ISSN: 0885-2545
1977–present, quarterly

This peer-reviewed journal offers data-driven articles on topics of interest to

researchers in the visual, performing, and literary arts.

Magazine Antiques

Brant Publications, Inc.

575 Broadway, 5th Fl., New York, NY 10012
ISSN: 0161-9284
Monthly.

Magazine Antiques is an important source for the researcher of art market

history, patronage and the history of collecting. It is particularly valuable
for its coverage of the decorative arts. Regular columns provide news on
exhibitions, fairs and other art world events.

Maine Antique Digest

PO Box 1429, Waldoboro, ME 04572

ISSN: 0147-0639
Monthly; 1973– .
http://www.maineantiquedigest.com/

Monthly newspaper for the art market, the antiques professional and serious
collector. Extensive coverage of regional sales and auctions. Free Website
offers copious amounts of supplementary material.

New England Antiques Journal

24 Water Street, Palmer, MA 01069
ISSN: 0897-5795
Monthly.
http://www.antiquesjournal.com/

This monthly magazine includes substantial feature articles of interest to

collectors. Primarily decorative arts-oriented, and with particular emphasis
on furniture, glass, porcelain, and other works of fine and decorative arts of
the northeastern Unites States. Regular columns include “Care and Repair
Q & A,” “Focus on Furniture,” “Period Restorations” and “Auction Views.”

L’Oeil

0029-862X
1955–present (monthly)
www.lejournaldesarts.fr

Glossy French language consumer magazine includes extensive coverage of

the market for art in Western countries. Its “parent” website, Le Journal Des
Arts, offers additional, free content on issues related to the market,
contemporary art in general, and related topics.

Skate’s Art Market Research

www.skatesartinvestment.com

“Established in 2004, Skate’s Art Market Research provides high net worth
individuals and institutional investors around the world with reliable and
unbiased research supporting art investment decisions [from the Skate’s Art
Investment Review website].

Founded by Sergey Skaterschikov, the online service offers a wide range of

content and services, some free-of-charge and others fee-based.
Southwest Art

Southwest Art Publishing

38 E 29th St, 3rd Fl, New York, NY 10016
ISSN: 0192-4214
Monthly.
http://www.southwestart.com

This highly specialized magazine offers overviews of the arts of the

Southwest and a good deal of market information. The magazine’s Website
provides substantial current content, including artists/emerging artists,
showcase, calendar of events and exhibitions, videos and an active blog.
 Appendix B

Apps for the Art Market Researcher

by Erin Elliott

Smart phones and tablets have had a tremendous impact on the way we
shop in virtual as well as physical, “brick-and-mortar” marketplaces. As
recently as a decade ago, it was not uncommon to see estate auction
attendees, flea market shoppers and others thumbing through printed price
guides like Kovels or the other standard titles described in this book. Today,
shoppers have access to tens-of-millions of prices for everything from
relatively inexpensive pottery or porcelain to works of art valued in the
many millions of dollars. The following apps have been selected for their
research value. Unless otherwise stated, all of the apps described in this
highly selective list are available free-of-charge. Note that iPad apps usually
have particularly high resolution images and allow for zooming in on
details.

Artfact Live Auctions (iPad + iPhone + iPod touch)—0.4MB

Largest global estate auctions marketplace for arts, antiques and

collectibles. Over 1,000 auctioneers and auction houses are included. The
app Search feature allows users to search and view detailed item
descriptions for upcoming and past (up to 12 months back) Artfact Live
sales. Images are often included in the listings. May require registration for
a free Artfact account.

artnet (iPad + iPhone, iPod touch)—3.2MB

The artnet app provides access to:

• artnet auctions: 24/7 live auctions of modern and contemporary fine

art, prints and photographs. Browse, bid and contact sellers.

• artnet price database: assess the value of a work before buying or

selling (NOTE: An artnet subscription is required for price database
access.), daily art market news

• artnet artists: find artworks for sale and artist information including
available artwork, biographies, selected exhibitions, monographs,
research prices and events (NOTE: You can search by artist but a
subscription to the price database is necessary to see full descriptions
of works, auction house, estimate, price and provenance information.)

Artprice (iPad + iPhone options on the Artprice website, not listed in the Apps stores)

All of Artprice’s services are available on the iPad and iPhone platforms:
over 27 million indices and auction records covering more than 500,000
artists and information on the art marketplace. An Artprice subscription is
required for access to most data including prices, indices and
signatures/monograms. Limited information including artist biographies is
available at no cost without a subscription. PDF versions of annual Art
Market reports are viewable on mobile devices.

eBay (iPad + iPhone + iPod touch)—12.5MB (iPhone)

The eBay app facilitates selling, searching, bidding, buying, browsing and
paying in an interface optimized for each device. The home screen can be
customized for favorite searches. Notifications and bid alerts can be set up.

eBay for iPad—18.1MB

Similar to the app above but optimized for the iPad’s screen and high image
resolution features.

LiveAuctioneers

• Live Auctioneers for iPad—0.5MB

• Live Auctions (iPhone + Android)—0.7MB

Easily search for art, antiques, jewellery and collectibles in upcoming sales
worldwide. The Auction Results Database with 12.5 million+ results and 60
million+ images provides sale price, estimates and other helpful
information for sold items. The app allows users to view catalogs, watch
auctions and leave absentee bids.

Skate’s (iPad)—4.1MB

The app is based on Skate’s proprietary database of the world’s 5,000 most
valuable artworks by auction price. The Top 5,000 can be used to build peer
groups of comparable artworks, check historical returns and access Skate’s
artists and artworks rankings. In addition to the Top 5,000 most valuable
artworks, lists of top artists and repeat sales are available. Artists have brief
biographies and artwork information includes a small image. Registration
for a free account is required to use the app features. Artwork background
reports may be ordered.

What’s it Worth (J Tierney) (iPad + iPhone—requires a camera with autofocus)—13.4MB

Antiques and collectibles valuation app walks users through taking up to 3

photographs of an object, adding descriptions, submitting the information to
McTear’s auction house. The auction house will respond with a valuation.
WorthPoint (iPad + iPhone + iPod touch)—7.8MB

Price guide for art, antiques and collectibles with over 100 million sales
records from auction houses, marketplaces and eBay. The app helps locate
the nearest shopping venue, obtain values and reference information and
collectible news. A paid membership (monthly or annual) is required for
access to price information. A 7-day free trial is available. Optional
additional fee-based Worthopedia access.

Auction Houses

Christie’s for iPad (109 MB)

The app includes a calendar of upcoming sales and recent past auction
results. Browse and download sales, view recent past sale results and
monitor sale results in real time. Buying and selling sections with basic
information. Information is available on the various specialist departments
with listings of their upcoming sales. Searching is only available within a
catalogue and not across catalogues.

Christie’s for iPhone (4.3MB)

Browse sales and track lots, review recent past auction results, information
on viewings.

Heritage Auctions (iPad, iPhone + iPod touch—0.3MB)

World’s largest collectibles auctioneer. App allows searching by keyword or

lot number and limiting by category (art—fine & decorative, coins, comics
& comic art, currency, entertainment memorabilia, historical, jewellery,
timepieces and luxury accessories, movie posters, sports collectibles &
wine). Past auction archives with over 33,000 results are available. “What’s
it worth” section offers free auction evaluations. Reference tabs present
links to glossaries, price guides, articles and tutorials on collecting in the
different categories.

Phillips (iPad, iPhone + iPod touch—2.2MB)

Browse upcoming sales in contemporary art, photographs, design, jewels,

Latin American art and editions for New York and London. The app
presents past sale results (back to 2006) and provides information about
buying and selling. Lots may be searched within a catalogue without having
to download the catalogue and searching is possible across upcoming sales.

Saffronart Auctions for iPad (2.9 MB)—for iPhone (1.1 MB)

Focused on modern and contemporary Indian art, jewellery and collectibles,

Saffronart Auctions’ iPad app allows users to track bidding, place bids live
and view results of online auctions at Saffronart. Users must register for a
free Saffron Art account to view lot details. Past auction results to 2001 are
accessible through the app.

Sotheby’s Catalogue (iPad—11.8MB—nothing listed under iPhone apps)

Free Sothebys.com account is required to use the app which allows users to
download and store catalogues, preview upcoming and past auctions.
Catalogues may be searched by department and/or location. High image
resolution and zooming, videos, access to articles, interviews and in-depth
essays. Use Quick Browse to browse through both upcoming and past
catalogues. Sale prices are listed for past catalogues. Auction prices will
update during the sale. The app allows searching within a catalogue but not
across catalogues.
Erin Elliott is head librarian at Sotheby’s Institute of Art in New York.
 Appendix C

Elements Required for a Correctly Prepared Appraisal

by the Appraisers Association of America

I. Elements of a Correctly Prepared Appraisal

1. Name and Address of Client

(On a rare occasion, a client may prefer to remain anonymous. This is

permitted when the appraiser has documented the name and address in the
client’s work file)

2. Name, Contact Information, and Qualifications of the Appraiser

(Statement of professional qualifications/CV)

3. Signed Certification

• Statement that the facts contained in the report are true and correct

• Statement that the reported analysis, opinions, and conclusions are

limited only by the reported assumptions and limiting conditions and
are the appraiser’s personal, impartial, and unbiased professional
analyses, opinions, and conclusions.

• Statement of disinterest (or stated interest) on the part of the

appraiser (no financial or personal interest regarding the property or
 the parties involved)

• Statement of that the appraiser has performed no (or the specified)

services as an appraiser or in any other capacity, regarding the property
that is the subject of the report within the three-year period
immediately preceding the acceptance of the assignment

• Statement of no bias on the part of the appraiser (regarding the

property or the parties involved)

• Statement of fee structure (basis for charge; that it is not contingent

upon the value of the objects appraised)

• Clear division of appraisal when one or more than one, appraiser is

involved, who did what (including inspection) and inclusion of all
CV’s

• Statement of personal physical on-site inspection by the appraiser

(or disclosure of other methods/circumstances)

• Disclosure of all parties providing significant assistance with the

report or statement indicating that the appraiser is solely responsible
for all information in report (OR a statement that no one provided
significant personal property appraisal assistance to signing appraiser).

• Statement that appraisal is prepared in accordance with USPAP

including date of USPAP followed

• All relevant signatures

4. Scope of Work

(must be clearly and conspicuously noted)

Determine, perform, and disclose the Scope of Work in the report and
identify:
• The problem to solve

• General category of items to appraise (i.e., Fine art, household

contents, Modern prints, etc.)

• The client

• The owner

• Intended use of the appraisal (See Purpose of the Appraisal, below)

• Intended user(s)

• Type of value (See Type of Valuation Used and Defined, below)

• Definition of value (not required for Restricted Use appraisals)

• Source for definition of value

• Approach to value (See Approach to Value, Used and Defined,

below)

• Marketplace (See below)

• Effective date of valuation (See below)

• Assignment conditions (as applicable) with an explanation of how

their usage could affect the appraisal results)

Assumptions
Extraordinary Assumptions
Limiting Conditions
Hypothetical Conditions
Jurisdictional Exceptions

• The extent to which the property is identified (Title search (Art

Loss))

• The extent to which the property is inspected:

 Specify the examination procedure followed (i.e., examined under
incandescent light and daylight; used a 10X magnification loupe,
etc.)

Specify any normal examination procedure that has been

excluded (i.e., did not remove from wall, did not examine under a
black light, did not examine clock works, etc.)

• Type of photography (digital or 35mm)

• The type and extent of data researched

• The type and extent of analysis applied at the arrived valuations

• USPAP compliancy

Type of report (See below); Updates

5. Purpose of the Appraisal

(must be clearly and conspicuously noted)

• Insurance
• Donation
• Estate with a surviving spouse
• Estate with no surviving spouse
• Tax loss
• Equitable distribution
• Estate planning
• Inventory
• Damage
• Loss
• Collateral
• Liquidation
• Net worth
• Other _______________________
6. Type of Appraisal Report Options

(must be clearly and conspicuously noted)

• Self-contained
• Summary
• Restricted use

7. Approach to Value Used and Defined

(each method must be mentioned and discussed as to its applicability in

this particular appraisal situation)

• Market Data Comparison Approach

• Cost Approach
• Income Approach

8. Type of Valuation Used and Defined

• Retail Replacement
• Retail value
• Marketable Cash Valuation
• Cash value
• Liquidation Value
• Salvage value
• Replacement Cost New (RCN)
• Market Value

9. Marketplace in Which Valuation is Applied

 (location and type)

• Auction (high-end, mid-range, etc.)

• Retail
• Decorator
• Wholesale
• Thrift shops; consignment stores
• Geographic location

10. Relevant Dates

(note whether current, prospective, or retrospective)

• Date of on-site inspection

• Effective/valuation date of the appraisal (assigned or specific) Called

“Effective valuation date”

• Date appraisal report issued Called “Issue date of report”:

• Other dates as applicable: date of death, date of donation, date of

separation, dates of research and revised date

11. Description of Appraised Objects

• Item

• Quantity (if pair, set, etc.)

• Country/region of origin

• Medium

• Date(s)/period of creation
 • Markings (e.g. signatures, maker’s marks, manufacturer’s marks,
inscriptions)

• Full detailed description (including all observable physical

characteristics)

• Dimensions (measurements appropriate to the object i.e., an

appraiser would weigh a piece of silver, but not a painting)

• Condition (a representation as to condition must always be included

and qualified, whether per object or per group, not as a general
statement for the entire report)

• Frame description and condition

• Firm statement of value as appropriate to the purpose of the

appraisal (OR range of value, as appropriate)

12. Statements, Disclaimers, Indemnifications

• Statement in belief of authenticity (only that the objects appraised

correspond to the descriptions provided in the appraisal); but that the
appraisal is NOT a certificate of authenticity

• Statement of the number of pages in the appraisal

13. For Appraisals Relating to IRS Usage

(Estate [E] or Donation [D])

• Statement that appraiser has not been disqualified by the IRS (E and
D)

• Statement that the appraiser acknowledges that the appraisal will be

used in connection with a tax return or claim for a tax refund and that a
 substantial or gross valuation misstatement resulting from the appraisal
may subject the appraiser to a civil penalty (E and D)

• Appraiser’s Tax ID# (E and D)

• Statement of the appraiser’s qualifications specific to the item(s)

appraised (D)

• Statement of how the objects were acquired and prices paid (if
known) (D)

• Completion of IRS form 8283 (D—separate from report)

• Related Use (D)

• Donee (D)

14. Additional Description

(if applicable)

• Name of artist/craftsperson
• Name of historical style/school of work
• Title of work
• Provenance
• Catalogue raisonné number or other reference
• Frame information
• Exhibition history
• Publication history
• Other notes (importance of work, one of a pair, etc.)

15. Support for Valuation Conclusions

• State of the market discussion/market analysis

 • Material provided by consultants (identified)

16. Support for Valuation Conclusions

(if applicable)

• Comparables (fully presented and annotated as appropriate)

• Biography of the artist/craftsperson/school

• Related analysis and discussion of the object/artist/school, etc.

17. General Format

• Header/footers on each page should include all relevant information

Appraiser’s name and contact information

Client’s name
Type of report
Purpose of the appraisal
Valuation system used
Effective date of valuation

• Pagination indicated on each page (e.g., “1/50” or “page 1 of 50”)

• Statement of the number of photographs (If possible, the numbers

should correspond to the item number; if the photos are under separate
cover, state the page number where the photo is located (e.g. Item #4,
Photo page 1/50)

II. Additional Review Information

The structure of the report should be as “user friendly” as possible, logical
and sequential in the presentation of the valuation conclusions and precise
in the value statements. The items should be numbered, keyed to the
photographs (if included) and organized by both location and/or category,
as appropriate. Check that all the Elements of a Correctly Prepared
Appraisal have been incorporated within the report and that the appraiser’s
credentials are included with every report. According to the 2012-2013
USPAP, the work file for each appraisal must contain the name of the client
and the identity, by name or type, of any other intended users; signed true
copies of any written reports (identical to what was sent to client),
documented on any type of media; summaries of any oral reports or
testimonies; and all other data, information and documentation necessary to
support the appraiser’s opinions and conclusions, and to show compliance
with the Standards. The appraiser must retain the entire work file for at least
five (5) years after preparation or at least two (2) years after final
disposition of any judicial proceeding in which the appraiser provided
testimony related to the assignment, whichever period expires last. As
quoted from the 2012-2013 USPAP, the content of an appraisal report (self-
contained or summary) must be consistent with the intended use of the
appraisal and, at a minimum, include (describe or summarize) information
sufficient to identify the property involved in the appraisal including the
physical and economic property characteristics relevant to the assignment
and describe (or summarize) sufficient information to disclose to the client
and any intended users the scope of work used to develop the appraisal. The
appraiser has the burden of proof to support the scope of work decision and
the level of information included in a report.

III. Comparables: Purpose and Structure

It is NECESSARY to include comparables in the following reports,

both of which must follow IRS guidelines:

1. Appraisals for estate purposes, for any object valued at $5,000 or more,
for one which such documentation would be useful, or for one where the
valuation is unusual to the general marketplace. (Note: The higher the
value, the more detail including images is required in a comparable
analysis.)

2. Appraisals for non-cash charitable contributions (donation purposes).

It may be USEFUL to include comparables in the following situations:

1. For any appraisal purpose, if, in the appraiser’s judgment, the value of
the object requires annotation and support. Providing additional data may
be determined by provenance, condition, regionalism, academic interest, or
even the expectations of the client.

2. For any appraisal purpose, if the value cited is substantially different

from what a knowledgeable person would anticipate, and thus requires
explanation.

3. When the expectation seems that appraisal will be litigated.

Comparables based on auction sales must include:

1. An indication as to whether the buyer’s premium has been included; or

the price given is the hammer price. N.B. The IRS considers the buyer’s
premium to be an integral part of the fair market value (1992 TAM Ruling).

2. All relevant information (as appropriate) including date of sale, auction

house and location, sale number, sale name if a single owner or important
collection, lot number, description of item [title, medium, size, signature,
etc.], condition if noted, estimates, and sale result [price realized, bought in,
withdrawn, or sold subsequent to the auction by private treaty.

3. Images when available and legally accessible (should be included in

high ticket items).
Comparables based on private sales must include:

1. The name and location of the dealer, gallery, show; some annotation as
to the dealer’s role in the marketplace; and, if possible, the buyer [private
collector, museum, etc.; however it would be highly improper for a dealer to
disclose the name of a private buyer (Gramm-Leach-Bliley Act of 1999).]

2. Images when available and legally accessible (should be included in

high ticket items).

3. The dollar amount of a sale actually realized.

4. If the only values obtainable are those at which similar/same pieces were
offered, they may be indicated, if so described. It must then be mentioned
that the marketplace was, apparently, resistant at those prices. All
comparables cited should be as recent as possible, and as close to the
subject piece in time, form, style, medium, quality, condition as possible.
All appropriate sales should be cited and then annotated to explain
differences, and the reasoning to support the appraiser’s valuation
conclusions. The process by which the appraiser gathered data, what data
was available and considered for the appraiser’s analysis, and what factors
were relevant to the evaluation should all be readily apparent to the reader.

IV. Review of the Basic Appraisal Format

The appraisal report should be a formal, organized document. The appraiser

must remember that, although each assignment is unique, there are essential
components that must always be included, as per the “Elements of a
Correctly Prepared Appraisal.”

In addition, there are other structural and informative sections that

should/must be included for specific types of appraisals.

Elements that must be in every report are in black (not necessarily in this
order)
 • Cover Page
• Table of Contents
• Valuation Summary
• Certification Page
• Scope of Work
• Market Analysis
• Statements, Disclaimers, Indemnifications Pages
• Inventory/Narrative Section
• Sources of Data (books, Stores, Museums, Experts, databases,
websites)
• Appraiser’s Credentials
• Comparables
• Artist/Craftsperson biography
• Discussions of a specific object/artist, etc.
• Selected Bibliography
• Glossary
• Index of Artists
• Consultants’ Credentials
• Photographs/Photocopies

The technical and aesthetic presentation of the report should be attractive

and professionally presented in a form that will withstand mailing and
handling.

Neither USPAP, the IRS, or the AAA dictate form, format, or style of
appraisal report writing, although each have specific elements and
requirements to include in a properly prepared appraisal report. Based on
what has been provided to you, you should develop your own templates and
narrative style. Refrain from using forms or mass-produced boilerplates.
The appraiser’s authority is evidenced by the language, cogent organization,
and sequential development of the report.
 Notes

Chapter One

1. Michael Parson, “China Now World Leader in Art.” The Irish Times,
March 3, 2012, p. 19.

2. Ibid.

3. It is difficult, if not impossible to apply an accurate annual figure to the

global art market, because so much of the market is conducted privately.
Noted art economist Clare McAndrew puts a 2006 estimate of €50 billion
(over $60 billion US). Source: The Art Economy: An Investor’s Guide to the
Art Market. Dublin: Liffey, 2006.

4. Stuart Plattner, “A Most Ingenious Paradox: The Market for

Contemporary Fine Art.” American Anthropologist, New Series, vol. 100,
no. 2 (June 1998), p.483.

5. Alan Bowness, The Conditions of Success: How the Modern Artist Rises
to Fame (Series: Walter Neurath Memorial Lectures, 21st.). New York:
Thames and Hudson, 1990.

6. Reflects the result of a search of the Database Reference USA, limited to

U.S. business, conducted on April 15, 2012.

7. Skate’s Art Market Research: Annual Art Investment Report 2012, Part
2. www.skatesinvestment.com, accessed February 11, 2013.

8. New York City Administrative Code, Subchap. 2.2, Truth in Pricing Law.

9. Marten Jan Bok, “The Dealer’s Creative Power: The Historical

Contribution Made by the Art Market to the Dissemination of Culture.” In
Art Market Matters. Helvoirt: European Fine Art Foundation, 2004, p.45.
10. See, for example, regularly recurring feature articles like “The
ARTnews 200 Top Collectors.” ARTnews, vol. 100, no. 7 (Summer 2011),
p.85–98.

Chapter Two

1. http://www.kbb.com.

2. Certain print processes produce images with a range of definition, clarity

and darkness or color saturation. For example, each print in a drypoint
etching might be lighter in tonality than the preceding number, as the “burr”
holding the plate’s ink can be flattened somewhat with each print’s run
through the press.

3. Treasury Regulation Sec. 20.2031–1 [b].

4. Richard Dorment, “Dealers Are the Art World’s Real Brains.” The Art
Newspaper, March 2004, p. 22.

5. Full document available at

http://www.collegeart.org/guidelines/histethics.

6. Frances K. Pohl, Framing America: A Social History of American Art.

New York: Thames and Hudson, 2008.

7. Art Retrospective and Art Full Text are the digital equivalent of their print
counterpart, The Art Index. Taken together, these resources index the
contents of several hundred major journals and museum bulletins.

8. Note that the relatively obscure artist Robert S. Duncanson has a

recorded highest value that exceeds the equivalent for major artist Asher B.
Durand. Many factors can account for this discrepancy, including the fact
that the vast majority of Durand’s major works are in museums, while much
of Duncanson’s oeuvre might be in private hands.
9. “An Andy Warhol portrait of Mao Zedong that actor Dennis Hopper shot
two bullets through sold for $302,500 at Christie’s on Tuesday, more than
10 times its high estimate.” Reuters, January 11, 2011.

10. George E. Newman, Gil Diesendruck, and Paul Bloom, “Celebrity

Contagion and the Value of Objects.” Journal of Consumer Research vol.
38 (August 2011), p.217.

11. Stephen Adams, “Damien Hirst Sale Makes £111 Million.” Telegraph
(London). Online edition accessed September 23, 2012.

12. Georgina Adam, “Fair or Foul: More Art Fairs and Bigger Brand
Galleries, but Is the Model Sustainable?” The Art Newspaper, Issue 236,
June 2012. Issued Online 20 June 2012.

13. Ibid.

Chapter Three

1. Note that many additional libraries produce research guides outside of

the LibGuides community. LibGuides is mentioned for its ease of use, and
its offering (as of March 3, 2013) of some 327,570 guides produced by
54,589 librarians.

2. Many OCLC libraries offer a subscription version of WorldCat that offers

additional search parameters. Descriptions of WorldCat throughout this
book refer to the free version.

3. Andrew D. Asher, et al. “Paths of Discovery: Comparing the Search

Effectiveness of EBSCO Discovery Service, Summon, Google Scholar, and
Conventional Library Resources.” College & Research Libraries Pre–Print
(2013).

Chapter Four
1. The first catalogue raisonné of Pablo Picasso’s work, Pablo Picasso,
compiled by Christian Zervos (Paris: Cahiers d’Art, 1942-1978), comprises
33 very large volumes with many hundreds of reproductions.

2. Peter Kraus, “The Role of the Catalogue Raisonné in the Art Market,” in
The Expert Versus the Object: Judging Fakes and False Attributions in the
Visual Arts (Oxford, New York: Oxford University Press, 2004), p.71

3. The international library catalog WorldCat was used to assess the

availability of titles.

4. See also the Art and Architecture Thesaurus Online,

http://www.getty.edu/research/tools/vocabularies/aat/.

5. Detroit Institute of Arts/Research Library and Archives website.

Introductory statement to the digitized Exhibition Catalogues page.

Chapter Five

1. Includes Art Index Retrospective/Art Full Text.

2. Getty Research Institute, Art and Architecture Thesaurus Online.

Chapter Six

1. Sotheby’s website, http://www.sothebys.com, accessed April 18, 2013.

2. Some libraries’ older sales catalogs are annotated, indicating the highest
price offered for those works that did not meet their reserve, or were
“bought-in.” Art market professionals often attend auctions themselves, in
order to develop a collection of catalogs with this type of unpublished
market information.
3. Editioned, or numbered prints are essentially the same; the larger the
edition, the more likely the sought-after print will have been sold at auction.

4. Reflects the result of a SCIPIO search conducted on March 28, 2013.

5. The strength of the Art Institute of Chicago’s collection is demonstrated

by the number of international catalogs it holds. Currently (March 28, 2013)
20,138 Hôtel Drouot (Paris) catalogs are included in the Library’s
collection.

6. Reflects the result of an artnet search conducted on July 24, 2013.

Chapter Seven

1. Vintage or specialty cars, of course, are an exception to this rule; they are
more akin to “antiques” in the way they perform in market terms.

2. Online dealers generally do not maintain rich archives of past sales; these
Internet-based sources are, therefore, constantly changing as new items
arrive and sold works are deleted.

3. Reflects the results of search conducted on February 3, 2013.

4. Reflects the results of search conducted on February 3, 2013.

Chapter Eight

1. Burton B. Fredericksen, with Ruud Priem and Julia I. Armstrong, eds.,

Corpus of Paintings Sold in the Netherlands During the Nineteenth
Century: 1801-1805 (Los Angeles: Provenance Index of the Getty
Information Institute, 1998), p. ix.
Chapter Nine

1. A search of the online catalog WorldCat (conducted on June 15, 2012)

reveals that a total of 431 libraries subscribe to this research tool; as not all
libraries catalog their online resources, the real number is likely larger.

2. Christie’s New York. The Collection of Elizabeth Taylor. Volume V. Fine

and Decorative Art & Film Memorabilia, Including Costumes. December
16, 2011.

3. Laura McFarland-Taylor, “Comment: Tracking Stolen Artworks on the

Internet: A New Standard for Due Diligence.” The John Marshall Journal
of Computer & Information Law 16 (Summer 1998): 939.

4. Ibid.

5. From the “Database Introduction” of the Lost Art Internet Database.

 List of Names and Terms

A–Z of Antiques & Collectibles

A to Z of American Women in the Visual Arts

AAM Guide to Provenance Research

Abbing, Hans

ABI/Inform

Abingdon Pottery Artware, 1934–1950…

Aboriginal Artists of the Western Frontier…

Abrams, Leslie E.

A.C.I.: Art Catalogue Index…of Artists 1780–2008

Acker, Tim

Adam, Peter

ADEC

Africa: Art and Culture

Africa Remix: Contemporary Art of a Continent

Africa: The Art of the Continent

African American Visual Artists: an Annotated Bibliography…

African Americans in the Visual Arts

African Art

African Art: A Century at the Brooklyn Museum

African Art Masterpieces

African, Asian and Middle Eastern Artists…Signatures…

African Gold

Afterimage

Age of Modernism: Art in the 20th Century

Age of the Baroque in Portugal

Akinsha, Konstantin

Akiyama, Terukaz

Alcorn, Ellenor M.

alerting services

Albert Collection…British & European Silver

All About Rights for Visual Artists

Allane, Lee

Allen, Christopher

Allgemeiner Portrait-Katalog: Verzeichniss einer Sammlung…

Along the Border of Heaven: Sung and Yüan Paintings…

Alphen, J. van (Jan)

Alsop, Joseph
Altmeistergemälde

Amariglio, Jack

America: History and Life

American Academy of Fine Arts and American Art-Union…

American Architecture and Art: A Guide…

American Art Analog

American Art Annual

American Art Auction Catalogues, 1785–1942: A Union List

American Art Pottery: Identification & Values

American Art Sales

American Art-Union

American Artists: Signatures & Monograms, 1800–1989

American Cabinetmakers: Marked American Furniture…

American Ceramics Before 1930: A Bibliography

American Contemporary Furniture

American Copper & Brass

American Cut and Engraved Glass…

American Cut Glass Industry: T.G. Hawkes and His Competitors

American Decorative Arts and the Old World Influences…

American Drawing: a Guide to Information Sources

American Folk Art: A Guide to Sources

American Furniture (annual)

American Furniture Craftsmen Working Prior to 1920…

American Furniture in the Metropolitan Museum…

American Furniture of the 18th Century

American Furniture: Understanding Styles, Construction, and Quality

American Glass Bells

American Glass, From the Pages of Antiques

American Glass, 1760–1930: The Toledo Museum of Art

American Impressionism

American Impressionism and Realism…

American Imprints on Art Through 1865…

American Library Directory

American Manufactured Furniture: A Complete Guide…

American Oak Furniture, Book II

American Oak Furniture: Styles and Prices, Book III…

American Painted Porcelain

American Painting

American Painting: A Guide to Information Sources

American Painting: From the Colonial Period to the Present

American Paintings: An Illustrated Catalogue

American Paintings in the Museum of Fine Arts, Boston…

American Periodicals Series (APS)

American Pewter Marks & Makers…

American Pewterer: His Techniques & His Products

American Photographers: An Illustrated Who’s Who…

American Photography

American Printmakers of the Twentieth Century…

American Prints from Hopper to Pollock

American Realism

American Sculpture: A Guide to Information Sources

American Sculpture in the Metropolitan Museum of Art

American Silver at Winterthur

American Society of Appraisers

American Studio Glass, 1960–1990…

American Vernacular: New Discoveries in Folk, Self-Taught…

American Victorian: A Style and Source Book

American Windsor Furniture: Specialized Forms

American Women Photographers…

American Women Sculptors: A History…

Americana: American Photography in the Twentieth Century

Americas Art Directory

Ames, Kenneth L.

Anchor Hocking Decorated Pitcher and Glasses…

Anchor Hocking’s Fire-King & More…

Anderson, Jaynie

Andrews, John

Angaza Afrika: African Art Now

Animals in Bronze: Reference and Price Guide

Annotated Bibliography of the Visual Arts of East Africa

Annuaire des Ventes de Tableaux, Dessins, Aquarelles…

Annuaire du Collectionneur…

Annuaire Général des Ventes Publiques en France

Annual & Biennial Exhibition Record of the Whitney Museum…

Annual Art Sales Index

Annual Exhibition Record of the Art Institute of Chicago, 1888–1950…

Annual Exhibition Record of the National Academy of Design, 1901–

1950…

Annual Exhibition Record … Pennsylvania Academy … 1807–1870…

Annuel des Arts

Anscombe, Isabelle
Antique Brass & Copper: Identification & Value Guide

Antique Clocks: Identification & Price Guide

Antique Collector’s Directory of Period Detail…

Antique Glass Bottles: Their History and Evolution…

Antique Hunter’s Guide to American Furniture…

Antique Hunter’s Guide to American Silver & Pewter…

Antique Kilims of Anatolia

Antique Oak Furniture: An Illustrated Value Guide

Antique Stained Glass for the Home

Antique Trader American and European Art Pottery: Price Guide

Antique Trader American & European Decorative and Art Glass Price
Guide

Antique Trader Antiques & Collectibles Price Guide

Antique Trader Furniture Price Guide

Antique Trader Guide to Faked & Forged Marks

Antique Trader Guide to Fakes & Reproductions…

Antique Trader Limoges Price Guide…

Antique Trader Metalwares Price Guide…

Antique Trader Oriental Antiques & Art…

Antique Trader Weekly

Antique Vienna Bronzes

Antiques Roadshow Primer: The Introductory Guide…

Antiquespeak: A Guide to the Styles…

Antiquing for Dummies

Apollo

Apollo & Vulcan: The Art Markets in Italy, 1400–1700

Applied and Decorative Arts: A Bibliographic Guide

Applin, Jo

appraisal

Appraisers Association of America

Arab & Islamic Silver

Archer, Michael

Archive Finder

ArchiveGrid

Archives Directory…History of Collecting

Archives of American Art

Argus des Ventes aux Enchères…

Arnason, H. Harvard

Arnold, Bruce

Arntzen, Etta

Aronson, Joseph
Art: A Commodity

Art Across America: Two Centuries of Regional Painting, 1710–1920

Art & Antiques

Art and Architecture in France, 1500–1700

Art and Architecture in Italy, 1600–1750

Art and Architecture of Viceregal Latin America…

Art and Architecture Thesaurus Online

Art and Artists of Twentieth-Century China

Art & Auction

Art and Auction: International Art Dealers and Collectors Guide

Art and Australia

Art and Museum Law: Cases and Materials

Art, Artifact & Architecture Law

Art as Investment

Art Asia Pacific

Art at Auction in America

Art at Auction in South Africa…

Art Auction Trends: Major 19th Century American Artists

Art Books: A Basic Bibliography…

Art Business
Art Ceramics: Pioneers in Flanders, 1938–1978

Art-Collecting.com

Art Collecting in the United States of America…

Art, Cultural Heritage, and the Law: Cases and Materials

Art Dealers

Art Dealers: The Powers Behind the Scene…

Art Deco

Art Deco and Modernist Carpets

Art Deco and Modernist Ceramics

Art Deco and Other Figures

Art Deco Ceramics in Britain

Art Deco Furniture: The French Designers

Art Deco Limoges: Camille Tharaud and Other Ceramists

Art Diary International

Art Economy: An Investor’s Guide to the Art Market

Art et l’Argent: Le Marché de l’Art au XXe Siècle

Art et les Artistes en Île-de-France au XVIe Siècle…

art fairs

Art for Sale: A Candid View of the Art Market

Art Forum: Old Master Paintings

Art Full Text

Art Glass Identification and Price Guide

Art Glass Today

Art History

Art in America

Art in America: Annual Guide to Galleries…

Art in Australia: From Colonization to Postmodernism

Art in China

Art in Context

Art in History

Art Incorporated: The Story of Contemporary Art

Art Index Retrospective

Art Information: Research Methods and Resources

Art Institute of Chicago

Art Law & Cultural Property

Art Law and Transactions

Art Law: Cases and Materials

Art Law Conversations…

Art Law Handbook

Art Law in a Nutshell

Art Law: The Guide for Collectors, Investors, Dealers and Artists

Art Loss Register

Art Lover’s Almanac: Serious Trivia…

Art Market and Connoisseurship…

Art Market Guide: Contemporary American Art

Art Market in Italy: 15th–17th Centuries…

Art Market Insight

Art Market Matters

Art Market Monitor

Art Market Research (online)

Art Markets in Europe, 1400–1800

Art Monthly

Art Newspaper

Art Nouveau: An Annotated Bibliography

Art Nouveau and Art Deco Silver

Art Nouveau: Utopia…

Art of Chinese Ceramics

Art of Glass: Toledo Museum of Art

Art of Oceania: A Bibliography

Art of Pre-Hispanic Mesoamerica…

Art of Southern Africa: The Terence Pethica Collection

Art of the Cabinet: Including a Chronological Guide…

Art of the European Silversmith, 1430–1830

Art of the Gold Chaser in Eighteenth-Century London

Art of the Limoges Box

Art of the Postmodern Era…

Art of the Pre-Raphaelites

Art of the Print: Art, Masterpieces…

Art of Worcester Porcelain: 1751–1788…

Art on Paper

Art Photography Now

Art Pottery of America

Art Press

Art Price Annual & Falk’s Art Price Index

Art Price Index International

Art Prices Current

Art Prophets: The Artists, Dealers and Tastemakers…

Art Review

Art Sales: A History of Sales of Pictures and Other Works of Art…

Art Sales from Early in the Eighteenth Century…

Art Sales Index

Art Sales of the Year: Being a Record…

Art Since Mid-Century: 1945 to the Present

Art Since 1940: Strategies of Being

Art Since 1960

Art Source

Art Today

ArtBibliographies Modern

ArtCollecting.com

Arte: A Precio de Martillo: de 1977 a Junio de 1997

Arte de la Platería Mexicana, 500 Años…

ArtFact

Artfacts.net

Artful Ownership: Art Law, Valuation, and Commerce…

Artist-Gallery Partnership

Artistic Styles: Revisiting the Analysis of Modern Artists’ Careers…

artists

Artists as Illustrators: An International Directory…

Artists’ Clubs and Exhibitions in Los Angeles Before 1930

Artists from Latin American Cultures…

Artists in Glass: Late Twentieth Century Masters in Glass

Artists’ Monograms and Indiscernible Signatures … 1800–1991

Artists of Poland: A Biographical Dictionary…

Artists of the American West: A Biographical Dictionary…

Artists of the Pacific Northwest: A Biographical Dictionary…

ArtistsSignatures (website)

artnet

ArtNews

ArtPrice.com

Arts and Artists from an Economic Perspective

Arts & Crafts Companion

Arts and Crafts Furniture

Arts and Crafts Style

Arts & Humanities Citation Index

Arts in America: A Bibliography

Arts of Central Africa: An Annotated Bibliography

Arts of China 900–1620

Arts of the 19th Century

Arts of the Third Reich

ArtTactic
Artvalue.com

ArtVista

Art/Work: Everything You Need to Know…

Asensio, Paco

Ash, Douglas

Asian Furniture: A Directory and Sourcebook

AskArt

ATADA: Antique Tribal Art Dealers Assn.

Atterbury, Paul

auction catalogs

Auction Catalogues on Microfiche

Auction Central News

Auction Prices of Impressionist and 20th Century Artists: 1970–1980

Auction Prices Weekly: Combined with Auction Digest

Auction Sales Prices

Auctions, Agents and Dealers … Art Market, 1660–1830

Auer, Michele

Austere Luminosity of Chinese Classical Furniture

Australian Art Sales Digest

Australian, British and Irish Artists … Signature & Monograms

Australian Painters of the Twentieth Century

Australian Painting, 1788–2000

Austrian Painting, 1945–1995: The Essl Collection

authentication

Aversa, Elizabeth

Avery, Derek

Azizollahoff, J.R.

Bachmann, Hans-Gert

Bachmann, Konstanze

Badger, Gerry

Bagdade, Allan D.

Bagdade, Susan D.

Baile de Laperrière, Charles

Baker, Fiona

Baker, Keith

Baldwin, Gordon

Barber, Edwin Atlee

Barger, M. Susan

Barnart, Richard M.
Barnitz, Jacqueline

Barr, Sheldon

Barrett, Franklin A.

Bartolucci, Marisa

Bartsch, Adam von

Basilio, Miriam

Baskind, Samantha

Bassett, Jane

Bassett, Mark

Batkin, Maureen

Battcock, Gregory

Battie, David

Bauhaus, 1919–1933

Bauhaus Women: Art, Handicraft, Design

Bayer, Thomas M.

Bazin, Germain

Beard, Geoffrey W.

Beaux Arts Magazine

Beginner’s Guide to Oriental Rugs

Behhamou-Huet, Judith
Behr, Shulamith

Belgian Artists in the World’s Salerooms

Bell, Doris L.

Bell, Malcolm

Bellaigue, Geoffrey de

Belleek Irish Porcelain: An Illustrated Guide…

Belleek: The Complete Collector’s Guide…

Bellini, Andrea

Belton, Robert James

Benezit, E. (Emmanuel)

Benezit Dictionary of Asian Artists

Benezit Dictionary of British Graphic Artists & Illustrators…

Benezit’s Dictionary of Artists

Bennett, Ian

Bennett, Stuart

Benson, Nigel

Bent Wood and Metal Furniture: 1850–1946

Bérard, Michèle

Bergesen, Victoria

Berliner, Nancy
Berlo, Janet Catherine

Berman, Harold

Bernasconi, John R.

Bernier, Georges

Beschreibendes und Kritisches Verzeichnis der Werke…

Best of Golden Oak Furniture: With Details and Prices

Best of Modern Swedish Glass Art…

Beumers, Erna

Beuque, Émile

Beurdeley, Michel

Bexfield, Daniel

Beyond Representation: Chinese Painting and Calligraphy…

Beyond the Screen: Chinese Furniture of the 16th and 17th Centuries

Beyond Venice: Glass in Venetian Style, 1500–1750

Beyond Wilderness: The Group of Seven…

Bhandari, Heather Darcy

Bhreathnach-Lynch, Sighle

Bibliographie du Meuble (Mobilier Civil Français)

Bibliography of Glass (From the Earliest Records to 1940)

Bibliography of Photographic Processes in Use Before 1880…

Bibliography of Stained Glass

Bibliography of the Architecture, Arts, and Crafts of Islam to 1st Jan. 1960

Bibliography of the History of Art

Bibliography of Water Colour Painting and Painters

Bibliothèque Forney

Biebuyck, Daniel P.

Biennial Exhibition Record … Corcoran Gallery … 1907–1967

Biennial Foundation

Biesboer, Pieter

Big Book of Antique Furniture…

Bihalji-Merin, Otto

Billcliffe, Roger

Bindman, David

Bingham, Don

Bingham, Joan

Biographical Dictionary of Sculptors in Britain, 1660–1851

Biographical Dictionary of Wax Modelers

Biographies of Western Photographers…

Biography and Genealogy Master Index

Biography Reference Bank

Bischoff, Ulrich

Bishop, Michael

Black Artist in America: An Index to Reproductions

Black Artists in the United States…

Black Photographers, 1840–1940…

Black’s Law Dictionary

Blair, Dorothy

Blakemore, Robbie G.

Blanc, Charles

Blanc de Chine: The Great Porcelain of Dehua

Blazek, Ron

Blouin Art Info

Blue & White: Chinese Porcelain Around the World

Blumenfield, Robert H.

Blunt, Anthony

Bly, John

Boger, Louise Ade

Boggess, Bill

Boggess, Louise

Bohan, Peter J.
Bohemian Glass: 1400–1989

Boidi Sassone, Adriana

Bolger, Doreen

Boll, Dirk

Bones, Frances

Bonet, Juan Manuel

Boni, Albert

Book of American Windsor Furniture: Styles and Technologies

Book of Old Silver, English, American, Foreign…

Book of Pottery and Porcelain

Books on Art in Early America…

Bossche, Willy Van den

Boston Art Club: Exhibition Record, 1873–1909

Boston Atheneum Art Exhibition Art Index, 1827–1874

Boström, Antonia

Bourcard, Gustave

Bouzin, Claude

Bowen, John R.

Bower, Virginia L.

Bowett, Adam
Bowness, Alan

Boyce, Charles

Bradbury, Frederick

Bradbury’s Book of Hallmarks…

Brady, Darlene A.

Brass Book: American, English and European…

Bray, Charles

Breaking the Mould: New Approaches to Ceramics

Bredehoft, Thomas H.

Brenner, Robert

Bresler, Judith

Brewington, Dorothy E.R.

Bridson, Gavin

Bright, Susan

Brilliance of Swedish Glass, 1918–1939…

British and Irish Silver in the Fogg Art Museum

British Antique Furniture: Price Guide & Reasons for Values

British Impressionism

British Institution, 1806–1867…

British Paintings of the Sixteenth Through Nineteenth Centuries

British Prints: Dictionary and Price Guide

British Sculptors of the Twentieth Century

British Sporting and Animal Prints, 1658–1874

British Studio Potters’ Marks

Bronzes du XIXe Siècle: Dictionnaire des Sculpteurs

Bronzes: Sculptors & Founders, 1800–1930

Brooke, Brian

Brooklyn Art Association

Brown, Christopher

Browne, Turner

Brunet, Marcelle

Bryan, Michael

Bryan’s Dictionary of Painters and Engravers

Buckley, Chris

Buckman, David

Bulfinch Anatomy of Antique Furniture: An Illustrated Guide…

Bulfinch Guide to Carpets: How to Identify, Classify, and Evaluate…

Bulfinch Illustrated Encyclopedia of Antiques

Burke, Marcus B.

Burks, Jean M.
Burlington Magazine

Burnett, David G.

Burr, Grace Hardendorff

Burr, Sherri

Burt, Eugene C.

Burtin, François-Xavier de

Bury, Michael

business databases

Business of Being an Artist

Business Periodicals Index Retrospective

Business Source Complete

Butcher, Alexis

Butler, John

Butler, Robin

Buyer’s Guide to Irish Art

Buying Beauty: On Prices and Returns…

Byars, Mel

Cambridge Companion to Australian Art

Cambridge Introduction to the History of Art

Cameron, Elizabeth

Campbell, Gordon

Campbell, James Edward

Canadian Art Sales Index

Canadian Impressionism

Caplan, H.H.

Caplan, Sally Holt

Care & Repair of Furniture

Care of Bronze Sculpture

Care of Prints and Drawings

Careers of Modern Artists: Evidence from Auctions…

Carey, Brainard

Carey, Frances

Caring for Your Art: A Guide…

Carl, William P.

Carnegie Institute

Carpenter, Charles Hope

Carpet: An Illustrated Guide to the Rugs and Kilims of the World

Carpet & Textile Art

Carpets and Rugs of Europe and America

Carr, Dawson W.

Carswell, John

Cartes de Visite in Nineteenth Century Photography

Carty, John

Carwile, Mike

Casey, Andrew

Castagno, John

Castleman, Riva

Catalogo dell’Arte Italiana dell’Ottocento

Catalogue d’Articles de Périodiques…Bibliothèque Forney, Paris

Catalogue de Tableaux, Vendus à Bruxelles, Depuis l’Année 1773…

Catalogue Général des Ventes Publiques de Tableaux et Estampes Depuis

1737…

Catalogue of American Silver: The Cleveland Museum of Art

Catalogue of French Porcelain in the British Museum

Catalogue of the Yan and Ming Ceramics in the British Museum

catalogue raisonné

Catalogues of the Paris Salon 1673 to 1881

Catley, Bryan

Cavanaugh, Alden

Cavanaugh, Jan
Celebration of Limerick’s Silver

Century of British Painters

Century of Loan Exhibitions, 1813–1912

Cera, Maurizio

Ceramic Art of Great Britain

Ceramic, Furniture and Silver Collectors’ Glossary

Ceramic Literature: An Analytical Index…

Ceramic Masterpieces: Art, Structure and Technology

Ceramics: A Lifelong Passion…

Ceramics: A World Guide to Traditional Techniques

Ceramics and the Spanish Conquest…

Ceramics Book

Ceramics in America

Ceramics of the World: From 4000 BC to the Present

Chadbourne, Janice H.

Chaffers, William

Chaldecott, Nada

Chamberlain, Mary

Chambers, Karen S.

Charleston, R.J. (Robert Jesse)

Chastel, André

Chenevière, Antoine

Cherbok, Joni Maya

Cherry, Deborah

Cherry, Peter G.

Chervenka, Mark

Child, Dennis

Childers, Joseph W.

Chinese Art

Chinese Art and Its Encounter with the World

Chinese Blue and White Porcelain

Chinese Carpets

Chinese Ceramics

Chinese Ceramics: From the Paleolithic…Through the Qing Dynasty

Chinese Classical Furniture: The Essential Illustrated Guide…

Chinese Export Ceramics

Chinese Export Porcelain in the Reeves Center Collection…

Chinese Furniture

Chinese Furniture: A Guide to Collecting Antiques

Chinese Furniture: Hardwood Examples of the Ming and Early Ching

Dynasties
Chinese Painting

Chinese Painting: Leading Masters and Principles

Chinese Rugs: A Buyer’s Guide

Chinnery, Victor

Chiu, Melissa

Cho Cha-yong

Choice of the Private Trader: The Private Market in Chinese Export

Porcelain…

Chong, Derrick

Christie’s (app)

Christie’s Magazine

Christie’s Pictorial History of English and American Silver

Christie’s Pictorial History of European Pottery

Christie’s Review of the Season

CINOA.org

Citroen, K.A.

Clancy, Jonathan

Claret Rubira, José

Clark, Michael E.

Clarke, David J.

Clarke, Rosy
Classic English Design and Antiques…

Classical Chinese Furniture

Classical Furniture

Classical Tradition in Anatolian Carpets

Classified Directory of Artists’ Signatures, Symbols & Monograms

Clayton, Michael

Clearly Inspired: Contemporary Glass and Its Origins

Clement, Russell T.

Clements, Monica Lynn

Cleveland Museum of Art

Clunas, Craig

Cobalt Blue Glass

Coe, Debbie

Coe, Randy

Cogeval, Guy

Cohen, David Harris

Collard, Frances

Colle, Enrico

Collect Contemporary Photography

Collectible Aluminum
Collectible Glassware from the 40s, 50s, 60s…

Collectible Investments for the High Net Worth Investor

Collecting American Belleek

Collecting and Care of Fine Art

Collecting Antique Pewter…

Collecting by Design: Silver and Metalwork…

Collecting Carnival Glass

Collecting Contemporary Art

Collecting Decanters

Collecting Design

Collecting Glass: The Facts at Your Fingertips

Collecting Japanese Antiques

Collecting 101: Your Definitive Guide…

Collecting Oriental Rugs

Collecting Photography

Collecting Silver: The Facts at Your Fingertips

Collection of Exhibition Catalogs

Collection Photographs…of the Centre Pompidou…

Collectionneur de Peintures Modernes: Comment Acheter…

Collections of Paintings in Haarlem, 1572–1745

Collections of Paintings in Madrid, 1601–1755

Collections of Paintings in Naples, 1600–1780

Collector in America

Collector’s Complete Dictionary of American Antiques

Collector’s Encyclopedia of American Art Glass…

Collector’s Encyclopedia of American Furniture

Collector’s Encyclopedia of Depression Glass

Collector’s Encyclopedia of Fiesta…

Collector’s Encyclopedia of Limoges Porcelain

Collector’s Encyclopedia of Milk Glass: Identification and Values

Collector’s Encyclopedia of Russel Wright: Identification & Values

Collectors’ Glossary of Antiques and Fine Arts

Collector’s Guide to African Sculpture

Collector’s Guide to Art Deco: Identification & Values

Collector’s Guide to Buying Antique Furniture

Collector’s Guide to Buying Antique Silver

Collector’s Guide to Early Photographs

Collector’s Guide to Royal Copenhagen Porcelain

Collector’s Guide to Willow Ware

Collector’s History of British Porcelain

Collectors.org

Collezione dei Dipinti Colonna Inventari 1611–1795

Collezionisti e Quadrerie nella Bologna del Seicento Inventari 1640–1707

Colonial Massachusetts Silversmiths and Jewelers…

Commission for Art Recovery

Compendium of Chester Gold & Silver Marks, 1570 to 1962…

Complete Book of Shaker Furniture

Complete Dictionary of Furniture

Complete Encyclopedia of Antiques

Complete Guide to Furniture Styles

Concaro, Edoardo

Concepts of Modern Art

Congdon, Kristin G.

Concise Dictionary of Artists’ Signatures…

Concise Dictionary of Australian Artists

Concise History of Canadian Painting

Concise History of Russian Art

Concise History of World Sculpture

Conditions of Success: How the Modern Artist…

Congdon-Martin, Douglas
Conisbee, Philip

Connaissance des Arts

Connecticut Pewter and Pewterers

Conner, Janis C.

Connoisseur’s Complete Period Guides…

Connoisseurship of Chinese Furniture: Ming and Early Qing…

Conservation Concerns: A Guide for Collectors and Curators

Conservation Mounting of Prints and Drawings…

Constable, W.G.

Contemporary Aboriginal art: A Guide…

Contemporary American Craft: A Collector’s Guide

Contemporary American Folk Art: A Collector’s Guide

Contemporary American Women Sculptors

Contemporary Art in France

Contemporary Art Trends 1960–1980…

Contemporary Artists

Contemporary Asian Art

Contemporary British Studio Ceramics…

Contemporary Ceramics

Contemporary Collecting: Theory and Practice

Contemporary Decorative Arts from 1940 to the Present Day

Contemporary French Art I…

Contemporary Glass Art

Contemporary Glass: Color, Light & Form

Contemporary Glass Sculptures and Panels: Selections…

Contemporary International Glass: 60 Artists…

Contemporary Kiln-Formed Glass

Contemporary Latin American Artists: Exhibitions…

Contemporary Native American Artists

Contemporary Painting in Germany

Contemporary Painting in New Zealand

Contemporary Photographers

Contemporary Photography from the Far East…

Contemporary Stained Glass Artists…

Contemporary Studio Porcelain

Continuation of Redford’s Art Sales…from 1887

Contrasts: A Glass Primer

Cooper, Emmanuel

Copeland, Robert

Coppel, Stephen
Corcoran Gallery of Art

Corning Museum of Glass

Corning Museum of Glass: A Decade of Glass Collecting, 1990–1999

Corpus of Paintings Sold in the Netherlands During the Nineteenth

Century…

Cote des Dessins, Pastels, Gouaches, Aquarelles

Cote des Peintres

Cotterell, Howard Herschel

Cotton, Barnard D.

Cowdrey, Mary Bartlett

Cox, Warren Earle

Crawford, Tad

Création en France: Arts Décoratifs 1945–1965…

Creative Glass

Creators, Collectors and Connoisseurs…

Crenshaw, Paul

Creswell, Sir K.A.C.

Critical and Commercial Dictionary of the Works of Painters…

Crochet, Treena

Crockett, Dennis

Crombie, Isabel
Crookshank, Anne

Crowley, David

Cruz Díaz, Ursulina

Cullenberg, Stephen E.

Cultural Aesthetics of Eighteenth-Century Porcelain

Cummings, Keith

Curatola, Giovanni

Curiosité: Revue des Ventes Publiques de Tableaux…

Current Biography

Currier’s Price Guide to American and European Prints at Auction

Currier’s Price Guide to American Artists, 1645–1945

Curry, David Park

Curtis, Emily Byrne

Curtis, Tony

Cushion, John Patrick

Cutten, Mervyn

Cutul, Ann-Marie

Danckert, Ludwig

Danish Furniture Design in the 20th Century

Darmon, J.E.

Darraby, Jessica L.

Darrah, William Culp

database searching

Dating of Japanese Prints, List of Ukyoye Artists…

Daval, Jean-Luc

Davenport’s Art Reference & Price Guide

David, Carl

David Battie’s Guide to Understanding 19th & 20th Century British

Porcelain…

Davidson, Paul

Davidson, Richard

Davies, Peter

Davis, Lenwood G.

Dawdy, Doris Ostrander

Dawson, Aileen

Day, David

Day, Susan

DeBolt, C. Gerald

DeBolt’s Dictionary of American Pottery Marks: Whiteware and Porcelain

Decanter: An Illustrated History of Glass from 1650

DeCoppet, Laura

Decorative Arts and Household Furnishings in America, 1650–1920

Defer, P. (Pierre)

Degenhardt, Richard K.

Dejardin, Ian

Delange, Jacqueline

Delfino, Antonio

DeMarchi, Neil

Dempsey, Amy

Denker, Ellen Paul

Denny, Walter B.

Depression Era Glass: Identification & Value Guide

Depression Glass for Collectors

Design and Applied Arts Index

Design Encyclopedia

Designer’s Guide to Furniture Styles

Deskbook of Art Law

Dessins, Gouaches, Estampes et Tableaux du Dis-Huitième Siècle…

DeTnk: Collecting, Buying and Selling Design

Detroit Institute of Arts Exhibition Catalogues

Deuchler, Florens

Development of the Art Market in England…

Dewey decimal system

De Winter, Patrick M.

Dhurries: History, Technique, Pattern, Identification

Diccionario Biográfico de las Artes Plásticas

Diccionario de las Vanguardias en España, 1907–1936

Dictionary of American Sculptors: 18th Century to the Present…

Dictionary of Antiques

Dictionary of Art

Dictionary of Artists (Benezit)

Dictionary of Artists in Britain Since 1945

Dictionary of Artists … London Exhibitions … 1760–1880

Dictionary of Bird Artists of the World

Dictionary of British Artists, 1880–1940

Dictionary of British 18th Century Painters in Oils and Crayons

Dictionary of British Sculptors, 1660–1851

Dictionary of British Women Artists

Dictionary of Ceramic Artists

Dictionary of Chinese Ceramics…

Dictionary of English Furniture: From the Middle Ages to the Late
Georgian Period

Dictionary of English Furniture Makers, 1660–1840

Dictionary of Furniture

Dictionary of Glass: Materials and Techniques

Dictionary of Irish Artists: 20th Century

Dictionary of Japanese Artists…

Dictionary of Living Irish Artists

Dictionary of Marine Artists

Dictionary of Marks

Dictionary of Marks and Monograms of Delft Pottery

Dictionary of Marks: Pottery and Porcelain

Dictionary of Minton

Dictionary of Oriental Rugs: With a Monograph on Identification by Weave

Dictionary of Portrait Painters in Britain Up to 1920

Dictionary of Russian and Soviet Artists, 1420–1970

Dictionary of Scottish Painters 1600–1960

Dictionary of Signatures & Monograms of American Artists…

Dictionary of South African Painters and Sculptors…

Dictionary of Texas Artists, 1800–1945

Dictionary of the Avant-Gardes

Dictionary of 20th-Century Design

Dictionary of Watercolour Artists Up to 1920

Dictionary of Western Sculptors in Bronze

Dictionary of Worcester Porcelain

Dictionnaire Critique et Documentaire des Peintres…

Dictionnaire des Céramistes, Peintres sur Porcelain…

Dictionnaire des Meubles et Objets d’Art…

Dictionnaire des Poinçons, … Marques et Monogrammes des Orfevres

Français et Étrangers

Dictionnaire des Poinçons Officials Français et Étrangers…

Dictionnaire des Sculpteurs de l’École Française…

Dictionnaire des Ventes d’Art Faites en France…

Dictionnaire Illustré des Sculpteurs Animaliers & Fondeurs…

Digital Library of the Decorative Arts and Material Culture

Dimbleby, Violet

Dipinti dell’Ottocento Italiano…

Directory of Antique French furniture, 1735–1800

Directory of European Porcelain: Marks, Makers and Factories

Discovering Art: A User’s Guide…

Discovery of the Netherlands: Four Centuries of Landscape…

Dissertation Abstracts
Distinctive Limoges Porcelain: Objets d’Art, Boxes and Dinnerware

Dobbins, Norman

Dobbins, Ruth

Docking, Gil

Documenting the Cultural Heritage

Dolloff, Francis W.

Domestic Metalwork, 1640–1820

Donahue-Wallace, Kelly

Donson, Theodore B.

Dorigato, Attilia

Doumato, Lamia

Dresden Porcelain Studios: Identification and Value Guide

Droste, Magdalena

Drugulin, Wilhelm Eduard

Dubay, Debby

DuBoff, Leonard D.

Duby, Georges

Duncan, Alistair

Dunn, Michael

DuPasquier, Jacqueline
Duplessis, Georges

Dutch Goldsmiths’ and Silver-smiths’ Marks and Names Prior to 1812…

Dutch Painting

Dutch Painting 1600–1800

Dutch Paintings in the Metropolitan Museum…

Dutch Pottery and Porcelain

Dutch School, 1600–1900

Du Tertre, Nancy

Duval, Paul

Early American Copper, Tin and Brass

Early American Furniture: A Practical Guide…

Early American Pattern Glass: Collector’s Identification & Price Guide

Early Connecticut Silver, 1700–1840

Early Furniture of French Canada

Early Porcelain Kilns of Japan…

eBay

Ébénistes du XIXe Siècle, 1795–1889

EBSCO MasterFile

Eccentric Objects: Rethinking Sculpture in 1960s America

École de Barbizon: Évolution du Prix de Tableaux de 1850 à 1960

EconLit

Economic Analysis of Artists’ Behaviour

Economics and Culture

Economics of Art Auctions

Economics of Taste

Edgecombe, Richard

Edwards, Bill

Edwards, Clive

Edwards, Gary

Edwards, Ralph

Eerdmans, Emily

Ehresmann, Donald L.

Eichenberg, Fritz

1820–1920, les Petits Maîtres de la Peinture…

Eiland, Emmett

Eiland, Murray L.

Eiland, Murray, III

Eitner, Lorenz

Ekdahl, Janis
Elegant Glassware of the Depression Era…

Elegant Plate: Three Centuries of Previous Metals in New York City

Elger, Dietmar

Eliens, Titus M.

Ellis, Margaret Holben

Ellsworth, Robert Hatfield

Elsen, Albert E.

Emerge and Review…UBS Australian Art Collection

Emyl Jenkins’ Appraisal Book…

Emyl Jenkins’ Guide to Buying and Collecting Early American Furniture

Emyl Jenkins’ Reproduction Furniture…

Enciclopedia de las Artes Plásticas Dominicas: 1844–2000

Encyclopaedia of British Art Pottery, 1870–1920

Encyclopaedia of British Pottery and Porcelain Marks

Encyclopedia of African American Artists

Encyclopedia of African Art and Culture

Encyclopedia of American Folk Art

Encyclopedia of Arab American Artists

Encyclopedia of Art Deco

Encyclopedia of Cobalt Glass

Encyclopedia of French Period Furniture Designs

Encyclopedia of Furniture

Encyclopedia of Furniture Materials, Trades, and Techniques

Encyclopedia of Glass

Encyclopedia of Jewish American Artists

Encyclopedia of Latin American & Caribbean Art

Encyclopedia of Modern Art Auction Prices

Encyclopedia of Native American Artists

Encyclopedia of Pottery and Porcelain: 1800–1960

Encyclopedia of Printing, Photographic and Photomechanical Processes…

Encyclopedia of Sculpture

Encyclopedia of Shaker Furniture

Encyclopedia of Spanish Period Furniture Designs

Encyclopedia of Women Artists of the American West

Encyclopedia of World Art

Encyclopédie Internationale des Photographes de 1839 à Nos Jours…

Eng, Loman

Eng, Petula

English Ceramics: Two Hundred and Fifty Years…

English Country Furniture: The Vernacular Tradition, 1500–1900

English Furniture, Decoration, Woodwork & Allied Arts…

English Furniture: 1660–1714…

English Silver in the Museum of Fine Arts, Boston…

English Vernacular Furniture 1750–1900

Englund, Magnus

Engravings and Their Value: A Guide…

Erickson, Dorothy

Eriksen, Svend

Eskildsen, Ute

Etched Glass: Techniques & Design

ethics

Eudel, Paul

European Artists: Signatures and Monograms, 1800–1990…

European Decorative Arts, 1400–1600: An Annotated Bibliography

Evaluating Your Collection: The 14 Points of Connoisseurship

Evans, Nancy Goyne

Everett, Deborah

Evers, Jo

Evers’ Standard Cut Glass Value Guide

Everyone’s Guide to Buying Art

Everything You Always Wanted to Know About Gallerists…

Evolution of Modern Sculpture…

Expert Versus the Object…

experts

Expressionism

Expressionism: A Revolution in German Art

Exquisite Glass Ornaments: The Nineteenth Century Murano…

Factiva

Fage, André

Fahy, Kevin

fair market value

fairs: en}directories

Fake, Fraud, or Genuine? Identifying Authentic American Antique

Furniture

Falk, Peter H.

Fang, Lili

Fauves: A Sourcebook

Fehrman, Cherie

Fehrman, Kenneth

Feigen, Richard
Felt, Tom

Felton, Anton

Fennimore, Donald L.

Fenton Art Glass: A Centennial…1907 to 2007

Fenton Glass: The Second Twenty-Five Years

Field, Rachael

Field, Richard S.

Field Guide to Antique Furniture

Field Guide to Early American Furniture

Fiell, Charlotte

Fiell, Peter

Fifteenth-Century Central Italian Sculpture…

Fifty Years of Collectible Glass, 1920–1970…

Financial Times

Findartinfo (website)

Findlay, James A.

Findlay, Michael

FindStolenArt.com

Fine and Applied Arts Terms Index

Fine Art and High Finance: Expert Advice…

Fine Art Collector’s Guide to Securing, Preserving and Conserving…

Fine Art Society PLC

Fine Arts: A Bibliographic Guide…

Fine Points of Furniture: Early American…

Fine Print References: A Selected Bibliography…

Fineberg, Jonathan David

Finke, Ulrich

Finn, David

Finnish Glass Art: 2000–2005

Fioratti, Helen Costantino

Fire and Form: The Art of Contemporary Glass

Fire & Sea: Scandinavian Glass, 1930–2000

Fired with Passion: Contemporary Japanese Ceramics

1stdibs

Fisher, Lee Roy

Fitzgerald, Oscar P.

Fitzki, Menno

Five Centuries of British Painting: From Holbein to Hodgkin

500 Years of Italian Furniture…

Flacks, Marcus
Flash Art International

Flea Market Info and Directory

Fleming, John

Fletcher, Pamela

Florence, Cathy

Florence, Gene

Florence’s Glassware Pattern Identification Guide

Flowers Underfoot: Indian Carpets of the Mughal Era

Flynn, Barbara

Focal Encyclopedia of Photography

Fogelman, Peggy

Folk Artists Biographical Index

Fong, Wen

Forbes, John

Ford, P.R.J.

Ford, Sherwood

Forrest, Tim

Fostoria

Fostoria: Volume II: Identification and Value Guide…

Fournier, Robert
FRANCIS

Frank, Jeanne

Franklin, Linda Campbell

Franklin and James Decade Review

Frantz, Suzanne K.

Fredeman, William E.

Fredericksen, Burton B.

Freitag, Wolfgang M.

French, Hollis

French Art

French Cabinetmakers of the Eighteenth Century

French Furniture

French Furniture and Interior Decoration of the 18th Century

French Furniture Makers: The Art of the Ébéniste…

French Genre Painting in the Eighteenth Century

French Painting: The Nineteenth Century

French Paintings of the Nineteenth Century…

French Porcelain for English Palaces: Sèvres…

French Porcelain of the Eighteenth Century…

Friedman, Mark D.
From Abacus to Zeus: A Handbook of Art History

From Caspar David Friedrich to Gerhard Richter…

From Manet to Manhattan…

Frye, Daniel J.

Fuller, Kate Baden

Furniture

Furniture Design = Möbel Design

Furniture: Field Guide

Furniture from British India and Ceylon…

Furniture from Curacao, Aruba and Bonaire…

Furniture: From Rococo to Art Deco

Furniture of the Arts & Crafts Period…

Furniture Treasury (Mostly of American Origin)…

Furniture: World Styles from Classical to Contemporary

Gabosh, Karl

Gaehde, Christa M.

Galenson, David W.

galleries

Gantzhorn, Volkmar
Gao, Minglu

Gardner’s Art Through the Ages

Garner, Philippe

Garrard, Timothy F.

Gascoigne, Bamber

Gaston, Mary Frank

Gaston’s Blue Willow: Identification & Value Guide

Gather Up the Fragments: The Andrew Shaker Collection

Gaunt, William

Gavin, William J., III

Gazette de l’Hôtel Drouot

Genre in the Age of the Baroque…

Gentle, Rupert

Gerdts, William H.

Gere, Charlotte

German Art from Beckmann to Richter…

German Art in the 20th Century: Painting and Sculpture, 1905–1985

German Art Now

German Painting from Romanticism to Expressionism

German Painting in the 20th Century

German Post-Expressionism: The Art of the Great Disorder, 1918–1924

German Romantic Painting

Gernsheim, Helmut

Gerón, Cándido

Gerstenblith, Patty

Getty Provenance Index Databases

Getty Research Institute

Gilbert, Christopher

Gilbert Collection of Gold and Silver

Gilham, Leslie

Gillen, Eckhart

Gillon, Werner

Ginsburg, Victor A.

Girard, Bernadette

Girard, Gene

Glanville, Philippa

Glasmarken Lexikon 1600–1945…

Glass

Glass A to Z

Glass Art
Glass Bells from Around the World

Glass Collections in Museums in the United States and Canada

Glass Dictionary

Glass Exchange Between Europe and China, 1550–1800

Glass in Early America: Selection from the… Winterthur Museum

Glass of the ’50s & ’60s: A Collector’s Guide

Glass: Pocket Dictionary of Terms…

Glass Signatures, Trademarks and Trade Names…

Glass Throughout Time: History and Technique of Glassmaking…

Glassmaking in Ireland: From the Medieval to the Contemporary

Glasstress New York: Art from the Venice Biennials

Gloag, John

GoAntiques.com

Godden, Geoffrey A.

Godden’s Guide to English Blue and White Porcelain

Gold & Silversmithing in Western Australia…

Goldman, Paul

Goldscheider: A Catalogue of Selected Models

Goldstein, Malcolm

Gombrich, E.H.
Goodwillie, Christian

Goodwin, James

Google

Google Books

Gordon, Alden

Gordon’s Datastore

Gordon’s Photography Price Annual

Gordon’s Print Price Annual

Gould, Charlotte

Graham-Dixon, Andrew

Grant, Daniel

Grauer, Paula L.

Graves, Algernon

Gray, Sara

Great Art Sales of the Century

Great Carpets of the World

Great Road Style: Decorative Arts … Southwest Virginia and Northern

Tennessee

Great Women Collectors

Green, Robert Alan

Green, William
Greenberg, Cara

Greene, Jeffrey P.

Greff, Xavier

Greutzner, A.

Griffiths, Antony

Grist, Everett

Groce, George C.

Groth, Hakan

Grove Encyclopedia of the Decorative Arts

Grow, Lawrence

Guadagnini, Walter

Guerzoni, Guide

Guidargus de la Peinture du XIXe Siècle à Nos Jours

Guide Théorique et Pratique de l’Amateur de Tableaux: Études sur les

Imitateurs…

Guide to Art Reference Books

Guide to the Collecting and Care of Original Prints

Guide to the Literature of Art History

Gunnis, Rupert

Gura, Judith
Gwilt, Joanna

Hagan, Tere

Hallmark, Kara Kelley

Hallmark: A History of the London Assay Office

Halper, Vicki

Halteman, Ellen

Hammacher, Abraham Marie

Hammerslough, Philip

Hammond, Dorothy

Hanaor, Cigalle

Handbook of Latin American Art

Handbook of Modern British Painting and Printmaking, 1900–1990

Handbook of Old Pottery and Porcelain Marks

Handbook of Pottery & Porcelain Marks

Handbook of the Economics of Art and Culture

Handbook on the Care of Paintings…

Handler, Sarah

Hanson, Bob

Hanson, F. Allan
Hanson, Louise

Hanson, Margaret

Hardie, William R.

Harper, J. Russell

HarperCollins Dictionary of Art Terms and Techniques

Harran, Jim

Harran, Susan

Harris, Andrew

Harris, Paul

Harrison-Hall, Jessica

Hartmann, Carolus

Hartop, Christopher

Haslam, Malcolm

Hathi Trust Digital Library

Havlice, Patricia Pate

Hayhurst, Florence

Heacock, William

Hearn, Maxwell K.

Heathcote, C.R.

Heilbrun, Francoise
Heiremans, Marc

Heller, Jules

Heller, Nancy G.

Hellmanzik, Christiane

Helmreich, Anne

Henkes, Robert

Henzke, Lucile

Herbert, John

Heritage Auctions (app)

Heritage of Country Furniture: A Study…

Herman, Michael

Hernmarck, Carl

Herreman, Frank

Herrmann, Frank

Herstatt, Claudia

Hess, Catherine

Hibbard, Howard

Hiesinger, Kathryn B.

Higgins, Molly

Hill, Conover
Hinchman, Mark

Hinckley, F. Lewis

Hipp, Elisabeth

Hirose, Nobuko

Hislop’s Art Sales Index

Hispanic Furniture, from the Fifteenth Through the Eighteenth Century

Histoire du Verre: Les Chefs d’Oeuvre de L’Islam…

Historical Abstracts

History and Art of Glass: Index of Periodical Articles…

History and Dictionary of British Flower Painters, 1650–1950

History and Practice of Japanese Printmaking…

History of American Pewter

History of Art in Africa

History of British Art

History of Far Eastern Art

History of Furniture: A Global View

History of Furniture: Twenty-Five Centuries of Style…

History of Glass in Japan

History of Interior Design and Furniture…

History of Italian Art

History of Italian Art in the 20th Century

History of Modern Art: Painting, Sculpture…

History of Modern Furniture

History of Photography (journal)

History of Photography: A Bibliography of Books

History of Photography: From 1839 to the Present

History of Photography: The Musée d’Orsay…1839–1925

History of Spanish Painting

History of the Auction

History of the Brooklyn Art Association…

History of Women Photographers

Hofer, Margaret K.

Hofstede de Groot, Cornelis

Hollingworth, Jane

Holsby, Julian

Holst, Niels von

Homberg, Cornelia

Honig, Elizabeth A.

Honour, Hugh

Hopper, Philip L.
Hornsby, Peter

Hôtel Drouot et la Curiosité

Houses and Collections of the Marquis de Marigny

Houze, Annick

How Prints Look…

How to Be a Furniture Detective

How to Buy Photographs

How to Care for Works of Art on Paper

How to Compare and Value American Art Pottery

How to Identify Prints…

How to Look at Sculpture

How to Read Chinese Paintings

How to Speak Furniture with an Antique American Accent…

How to Take Care of Your Paintings…

Howard, David Sanctuary

Howarth-Loomes, B.E.C.

Hudson River School: An Annotated Bibliography

Hull, Alastair

Hults, Linda C.

Humanities: A Selective Guide…

Humanities International Complete

Hume, Helen D.

Hunter, Lisa

Hunter, Sam

Hurst, Ronald L.

Husfloen, Kyle

Hutt, Julia

Huxford, Bob

Huxford, Sharon

IBISWorld

I’d Rather Be in the Studio…

IDC Art Sales Catalogs, 1600–1900

Identifying American Furniture: A Pictorial Guide to Styles…

IFAR Journal

Illustrated Bartsch

Illustrated Bio-Bibliography of Black Photographers, 1940–1988

Illustrated Buyer’s Guide to Oriental Carpets

Illustrated Dictionary of Ceramics: Defining 3,054 Terms…

Illustrated Dictionary of 17th Century Flemish Painters

Illustrated Dictionary of Silverware: 2,373 Entries…

Illustrated History of Antiques: The Essential Reference…

Image

Image Makers, Image Takers…Guide to Photography

Imperial Glass Encyclopedia

Impey, O.R. (Oliver R.)

Impressionist Print

Impressionist Still Life

Incunabula of British Photographic Literature…

Index of American Print Exhibitions, 1882–1940

Index of American Watercolor Exhibitions, 1900–1945

Index of Paintings Sold in the British Isles During the Nineteenth Century

Index to Artistic Biography

Index to Reproductions of American Paintings…

Index to Reproductions of American Paintings Appearing in Over 400

Books…

Index to Reproductions of European Paintings…

Inside Christie’s

Inspiring Reform: Boston’s Arts and Crafts Movement

International Art Market

International Art Market in 2011…

International Art Markets: The Essential Guide…

International Auction Records (Mayer)

International Bibliography of Art

International Bibliography of the Social Sciences

International Dictionary of Art and Artists

International Directory of Arts

International Foundation for Art Research

International Guide to Nineteenth-Century Photographers…

International Index of Multiples…

International Society of Appraisers

Internet Archive

Internet searching

Interpol

Intrepid Collector: The Beginners Guide…

Introduction to Object ID…

Invaluable.com

Ireland’s Art, Ireland’s History…1845 to Present

Irish Art: A Concise History

Irish Art Loan Exhibitions, 1765–1927

Irish Country Furniture, 1700–1950

Irish Furniture: Woodwork and Carving…

Irish Glass: The Age of Exuberance

Irish Paintings in the National Gallery of Ireland

Is It Genuine? How to Collect Antiques with Confidence

Italian Art Ceramics, 1900–1950

Italian Empire Furniture: Furnishings and Interior Design from 1800 to

1843

Italian Glass: Century 20

Italian Glass, Murano, Milan, 1930–1970…

Italian Printmaking, Fifteenth and Sixteenth Centuries…

Italian Renaissance Ceramics…

Ivins, William Mills

Ivory: An International History…

Jackson, Christine E.

Jackson, Radway

Jacobs, Celia

Jadir, Saad

Jaeger, Anne-Celine

Jaffer, Amin

James, Ralph N.
James Adam Price Guide to Irish Art

Janson, H.W.

Japanese Antique Furniture: A Guide to Evaluating and Restoring

Japanese Art After 1945…

Japanese Art Signatures: A Handbook…

Japanese Modern Art: Painting from 1910 to 1970

Japanese Painting

Japanese Woodblock Prints: A Bibliography of Writings…

Jarvis, Robert M.

Jegede, Dele

Jenkins, Emyl

Jenkins-Madina, Marilyn

Jenks, Bill

Jewish Artists: Signatures and Monograms…

Jewish Carpets: A History and Guide

Jewish Symbols and Secrets…

Jewitt, Llewellyn Frederick William

Joachimides, Christos M.

Johanson, Cynthia J.

Johnson, Dianne
Johnson, Jane

Johnson, Vivien

Johnson, William

Johnston, Phillip M.

Jones, Alan

Jones, Joan

Jones, Lois Swan

Journal of Cultural Economics

JSTOR

Justia

Justice, Jean

Kakiemon Porcelain: A Handbook

Kamm, Dorothy

Kane, Patricia E.

Kangas, Matthew

Karlsen, Arne

Karpel, Bernard

Karpinsky, Caroline

Kassay, John
Kauffman, Henry J.

Kaufman, Roy S.

Kaye, Myrna

Keaveney, Sydney Starr

Keck, Caroline K.

Keefe, John Webster

Kempton, Richard

Kerr, Ann

Kerr, Rose

Ketchum, William C.

Ketelsen, Thomas

Kilim: The Complete Guide…

Kind of Archaeology: Collecting American Folk Art…

Kindlers Malerei Lexicon…

King, Christy O.

Kingery, W.D.

Kings of Africa: Art and Authority in Central Africa…

Kinmouth, Claudia

Kipper, Patrick V.

Kirk, John T.
Kjellberg, Pierre

Klein, Dan

Kleiner, Fred S.

Klepac, Lou

Kline, Linda

Klopper, Sandra

Knell, David

Knight of Glin

Knoedler, M. & Co.

Knowles, Eric

Knowles, William Pitcairn

Koeppe, Wolfram

Koetzle, Hans-Michael

Koizumi, Kazuko

Koloss, Hans-Joachim

Koon, Larry

Kopplin, Monica

Korea: Keramiek

Kort, Carol

Kosek, Joanna M.
Kostelanetz, Richard

Kovel’s American Antiques: 1750 to 1900

Kovel’s American Silver Marks

Kovel’s Antiques & Collectibles Price Guide…

Kovel’s Depression Glass & Dinnerware Price List

Kovel’s Directory

Kovel’s Know Your Collectibles

Kovels’ New Dictionary of Marks: Pottery and Porcelain

Kovels Online

Kovinick, Phil

Krakun, Danijela

Krauss, Harriet P.

Kreisel, Martha

Krekel-Aalberse, Annelies

Lage, Chad

Lambrechts, Eric

Lami, Stanislas

Lampe, Louis

Lancour, Harold
Landmarks of Twentieth-Century Design…

Landrey, Gregory J.

Landscape with Figures: A History of Art Dealing…

Lane, Peter

Lang, Cay

Lang, Gordon

Langham, Marion

Langmuir, Erika

Lassaigne, Jacques

Last Photographic Heroes: American Photographers…

Latin American and Caribbean Art: MoMA at El Museo

Latin American and Caribbean Artists of the Modern Era…

Latin American Art in the Twentieth Century

Latin American Art of the Twentieth Century

Latin American Artists’ Signatures and Monograms: Colonial Era to 1996

Latin American Modern and Contemporary Art: Online Bibliography

Laughlin, Ledlie Irwin

Law, Ethics and the Visual Arts

Lawal, Babtunde

Lawrence’s Dealer Print Prices

Layton, Peter

Lazzarini, Francesca

L.E. Smith Encyclopedia of Glass Patterns…

Leagle

Learmount, Brian

Leblond, V. (Victor)

Ledoux-Lebard, Denise

Lee, Sherman

Legal Guide for the Visual Artist

Lehner’s Encyclopedia of U.S. Marks on Pottery and Porcelain

Leier, Ray

Leiris, Michel

Lejeune, Théodore Michel

Lemoine, Serge

Leonard’s Combined Price Index of Art Auctions

Leonard’s Index of Art Auctions

Leonard’s Price Index of Latin American Art at Auction

Lerner, Ralph E.

Levenson, Jay A.

Levey, Michael
Levi, Alberto

LEXIS/NEXIS

Leymarie, Jean

Liberated Voices: Contemporary Art from South Africa

LibGuides

libraries

Library of Congress classification

Lib-web-cats: An International Directory of Libraries

Liedtke, Walter A.

Lind, Robert C.

Lindbeck, Jennifer

Lindemann, Adam

Lindquist, David P.

Linley, David

Lipman, Jean

Litzenburg, Thomas V.

Liva, Walter

LiveAuctioneers.com

Liverpool Academy and Other Exhibitions… 1774–1867…

Lives of the Great 20th-Century Artists

Lobanov-Rostovsky, Nina

Lockwood, Luke Vincent

Lockwood, Yvonne R.

Loetz: Bohemian Glass 1880–1940

London, Barbara

Looking at European Ceramics: A Guide to Technical Terms

Looking at European Sculpture…

Looking at Glass: A Guide to Terms, Styles and Techniques

Looking at Paintings: A Guide to Technical Terms…

Looking at Photographs: A Guide to Technical Terms

Looking at Seventeenth-Century Dutch Art…

Lost Art Internet Database

Lowrey, Carol

Loyrette, Henri

Lucie-Smith, Edward

Luckey, Carl F.

Lucus, Samuel Thomas

Luczyc-Wyhowska, José

Ludman, Joan

Lugt, Frits
Lure of Gold

Lurie, Samuel J.

Luther, Louise

Lyle Official Antiques Review

Lyle Price Guide to American Furniture

Lynn, Martha Drexler

Lynton, Norbert

Lytwyn, Diane

Macdonald-Taylor, Margaret

Mace, O. Henry

Macintosh, Duncan

Mack, Norman

MacKay, James A.

Mackenzie, Ian

MacMillan, Duncan

Macmillan Biographical Encyclopedia of Photographic Artists…

Macquoid, Percy

Madigan, Mary Jean Smith

Maere, J. de
Magazine Antiques

Maggia, Filipps

Maggs, Carol V.

Maine Antique Digest

Making it in the Art World…

Mallalieu, Huon

Mallett, Daniel Trowbridge

Mallett Millennium: Fine Antique Furniture…

Mallett’s Index of Artists…

Maloney’s Antiques and Collectibles Resource Directory

Mamiya, Christin J.

Mang, Karl

Mansfield, Elizabeth

Mapping Market for Paintings in Europe, 1450–1750

Marcus, George H.

Marcuson, Alan

Maresca, Frank

Marine Painting: An Historical Survey

Maritime Paintings of Early Australia, 1788–1900

Marketing Art in the British Isles, 1700 to Present

Markonish, Denise

Marks, Claude

Marks and Monograms of the Modern Movement, 1875–1930

Marks & Monograms on European and Oriental Pottery and Porcelain

Marks of American Potters

Marks of American Silversmiths

Marlor, Clark S.

Marmor, Max

Mascarelli, Gloria

Mascarelli, Robert

Mason, Lauris

Masterpieces from the Museum of Classical Chinese Furniture

Masterpieces of American Glass: The Corning Museum of Glass…

Masterpieces of Canadian Art from the National Gallery of Canada

Masterpieces of Glass: A World History from the Corning Museum…

Masterpieces of Western Sculpture from Medieval to Modern

Masters: Blown Glass: Major Works…

Masters of Light: Dutch Painters in Utrecht…

Materials & Techniques in the Decorative Arts…

Mautz, Carl
Mauzy, Barbara E.

Mauzy, Jim

Mauzy’s Comprehensive Handbook of Depression Glass Prices

Mauzy’s Depression Glass: A Photographic Reference with Prices

Maxwell, Christopher

Mayer, Barbara

Mayer, Enrique

Mayer, Ralph

Mayer’s International Auction Records

Mazurkewich, Karen

McAndrew, Clare

McCarron, David

McCarthy, Kevin F.

McConnell, Andy

McCoy Pottery: Collector’s Reference and Value Guide

McCoy Pottery: Warman’s Companion

McCready, Karen

McCulloch, Susan

McDarrah, Fred W.

McDarrah, Gloria S.
McDarrah, Timothy S.

McDonald, Ewen

McEuen, Melissa A.

McFadden, Charles

McIlroy, Roger

McKeown, Julie

McKonkey, Kenneth

McMann, Evelyn de R.

McNerny, Kathryn

Measell, James

Mecco, Marilena

Mehlman, Felice

Meissen: Barockes Porzellan

Meissen Porcelain

Meissen Porcelain: Identification and Value Guide

Melber, Jonathan

Melot, Michel

Memorials of Christie’s: A Record of Art Sales from 1766 to 1896

Mengoni, Luisa E.

Mentasti, Rosa Barovier

Mergl, Jan

Merriman, Philippa

Merryman, John Henry

Mesplède, Sophie

Metalwork in Early America: Copper and Its Alloys…

Metropolitan Museum of Art

Meuble et Artisanat: XIII–XVIII Siècle

Meuble Français et Européen du Moyen Âge à Nos Jours

Meyer, George H.

Meyer, Marilee Boyd

Michalski, Sergiusz

Mid-Century Modern: Furniture of the 1950s

Milanesi, Enza

Miller, Edgar George

Miller, Judith

Miller, Stacy

Miller’s Antiques Encyclopedia

Miller’s Art Deco

Miller’s Art Glass: How to Compare & Value…

Miller’s Art Nouveau

Miller’s Ceramics Buyer’s Guide

Miller’s Collecting Porcelain

Miller’s Glass Buyer’s Guide

Miller’s Late Georgian to Edwardian Furniture Buyer’s Guide

Miller’s 100 Years of the Decorative Arts: Victoriana…

Miller’s Pictures Price Guide

Miller’s Pine & Country Furniture Buyer’s Guide

Miller’s Pottery & Porcelain Marks…

Miller’s Silver & Plate Buyer’s Guide

Miller’s Silver & Sheffield Plate Marks…

Miller’s Twentieth Century Ceramics: A Collector’s Guide…

Miller’s 20th Century Design

Miller’s 20th Century Design Buyer’s Guide

Miller’s 20th Century Glass

Miller’s Understanding Antiques: New Edition

Millet, Catherine

Milner, John

Milrad, Aaron

Ming Furniture: In the Light of Chinese Architecture

Minimal Art: A Critical Anthology

Minimalism in Germany: The Sixties

Minton: The First Two Hundred Years…

Mireur, H.

Missouri’s Silver Age: Silversmiths of the 1800s

Mobile dell’Ottocento: 1815–1915

Mobile Italiano: Dall Antichità allo Stile Impero

Mobiliario en Puebla: Preciosismo…

Mobilier du Moyen-Âge et de la Renaissance en France

Mobilier Français du XVIIIe Siècle…

Modern Americana: Studio Furniture…

Modern Art in Paris: Two Hundred Catalogues…

Modern Art: Painting, Sculpture, Architecture

Modern Chinese Artists: A Biographical Dictionary

Modern Furniture Classics

Modern Furniture Classics: From 1900 to Now

Modern Furniture Classics: Postwar to Post-Modernism

Modern Furniture in Canada, 1920 to 1970

Modern Furniture Price Guide…

Modern Glass in the Netherlands: 1880–1940

Modern Latin American Art: A Bibliography

Modern Life & Modern Subjects: British Art…

Modern West: American Landscapes, 1890–1950

Modernism in American Silver: 20th-Century…

Molten Color: Glassmaking in Antiquity

Monochrome Principle: Lacquerware and Ceramics of the Song and

Qing…

Monro, Isabel Stevenson

Montgomery, Charles F.

Mora, Giles

Moran, Mark

Morley, John

Morley-Fletcher, Hugo

Moroccan Carpets

Morris, Edward

Morselli, Raffaella

Mossetto, Gianfranco

Moure, Nancy Dustin Wall

Moutoussamy-Ashe, Jeanne

Movements in Art Since 1945

Mowry, Robert D.

Mülluer, Ulrike
Munroe, Alexandra

Murano: Behind the Glass

Murano Glass: Themes and Variations…

Murano, Island of Glass

Murano: L’Isola dei Vetrai…

Murdock, Eugene C.

Murray, Linda

Murray, Michael D.

Murray, Peter

Museum of American Folk Art Encyclopedia of Twentieth-Century

American Folk Art…

Museum of Modern Art Artists Files

MutualArt

Naeve, Milo M.

National Academy of Design Exhibition Record, 1826–1860

National Academy of Design Exhibition Record, 1861–1900

National Museum of American Art’s Index to American Art Exhibition

Catalogues

National Stolen Art File (FBI)

National Trust Book of English Domestic Silver, 1500–1800

National Types of Old Pewter

Neat Pieces: The Plain-Style Furniture of Nineteenth Century Georgia

Nebojša-Bato, Tomaševi´c

Neff, Emily Ballew

Neff, Ivan C.

Nemati, Parviz

Neoclassicism in the North: Swedish Furniture and Interiors, 1770–1850

Neo-Impressionist Painters: A Sourcebook…

netsuke

Netsuke Subjects…

Neumann, George C.

New American Paintings

New Art from Emerging Markets

New China, New Art

New England Antiques Journal

New England Furniture at Winterthur: Queen Anne and Chippendale…

New German Painting: Remix

New Handbook of British Pottery & Porcelain Marks

New McCulloch’s Encyclopedia of Australian Art

New Objectivity … in Weimar Germany 1919–1933

New Painting: Impressionism, 1874–1886…

New-York Historical Society’s Dictionary of Artists in America, 1564–1860

New York Public Library Artists File

New Zealand Painting: A Concise History

Newbound, Betty

Newbound, Bill

Newel

Newhall, Beaumont

Newman, Harold

Ngaanyatjarra: Art of the Lands

Nije-Statius van Eps, Georgette E.

19th Century Art: Painting

Nineteenth Century Australian Furniture

Nineteenth-Century Photography: An Annotated Bibliography…

Nineteenth-Century San Francisco Art Exhibition Catalogues…

19th Century Sculpture

Nissen, Craig

Njami, Simon

Noble Pursuit: English Silver…

Nolo’s Plain English Law Dictionary

North, Anthony

North American Women Artists of the Twentieth Century…

Norton, Thomas E.

Norwich Society of Artists, 1805–1833…

Novecento Italiano: Opera e Mercato di Pittori…

Nugent, Jeanne Anne

Nusser, Juliet

Nutting, Wallace

Nystrom, Bengt

O’Bannon, George W.

Obbard, John

object ID

O’Brian, John

O’Brien, Conor

O’Brien, Timothy

O’Byrne, Robert

OCLC WorldCat

Odom, Anne

Oeil
Official Price Guide to Glassware

Ogilvie, Grania

Oh Canada: Contemporary Art…

Old Master Print References: A Selected Bibliography

Old Masters: Signatures and Monograms, 1400–Born 1800

Old Pewter, Its Makers and Marks in England, Scotland, and Ireland…

Old Pewter: The History of Antique Metalware

Oldknow, Tina

On the Art of Fixing a Shadow…

100 Years of Collecting … Sotheby Parke Bernet

125 Years of Exhibitions of the Fine Art Society PLC, 1876–2001

1000 Chairs

online art sales

Opie, James

Opie, Jennifer Hawkins

Optiz, Glenn B.

Organization of American States

Oriental Carpet Design: A Guide to Traditional Motifs, Patterns and

Symbols

Oriental Carpets: The Complete Guide

Oriental Carpets: Their Iconology and Iconography From Earliest Times…

Oriental Ceramic Art: Illustrated by Examples from the Collection of W.T.
Walters

Oriental Rug Lexicon

Oriental Rug Symbols: Their Origins and Meanings…

Oriental Rugs: A Bibliography

Oriental Rugs: A Buyer’s Guide

Oriental Rugs from A to Z

Oriental Rugs in Renaissance Florence

Oriental Rugs Today: A Guide to the Best in New Carpets…

Origins of Impressionism

Origins of Photography

Ormsbee, Thomas H.

Orrefors Glass

Orvell, Miles

Os, H.W. van

Osborne, Harold

Ostergard, Derek E.

Otfinoski, Steven

Out Looking In: Early Modern Polish Art, 1890–1918

Oweis, Fayeq

Oxford Art Online

Oxford Companion to the Decorative Arts

Oxford Companion to Western Art

Page, Jutta-Annette

Pai, Man Sill

Pain, Howard

Painted Furniture of French Canada, 1700–1840

Painters and Their Works…

Painters in the Northern Counties of England and Wales

Painters of Ireland, 1660–1920

Painters of the Great Ming: The Imperial Court…

Painting and Sculpture in France, 1700–1789

Painting and the Market in Early Modern Antwerp

Painting Canada: Tom Thomson and the Group of Seven

Painting for the Market…

Painting in Britain, 1530 to 1790

Painting in Canada: A History

Painting in Eighteenth Century France

Painting in Scotland: The Golden Age

Painting Women: Victorian Women Artists

Paintings in the Musée d’Orsay

Palardy, Jean

Palmer, Arlene

Palmquist, Peter E.

Paradis, Joe

Paris Salon

Parissien, Steven

Parker, John

Passion for Meissen…

Payne, Christopher

Peal, Christopher

Penguin Dictionary of Art and Artists

Penguin Dictionary of Decorative Arts

Pennsylvania Academy of the Fine Arts

People’s Art: Primitive, Naïve, Provincial, and Folk Painting in Canada

Peot, Margaret

Periodicals Archive Online

Periodicals Contents Index

Peripheral Vision: Italian Photography in Context…

Perkins, Robert F.
Perkinson, Roy L.

Perrault, Suzanne

Persian Ceramics: From the 9th to the 14th Century

Persian Rugs and Carpets…

Personal Touch: Late 19th- and 20th-Century Silver

Personal Touch: The Seawolf Collection…

Peters, Jan

Petraglia, Patricia

Pewter at the Victoria and Albert Museum

Pewter in America: Its Makers and Their Marks…

Pewter of Great Britain

Pewter of the Western World, 1600–1850

Pewter Wares from Sheffield

Pfisterer, Paul

Phaidon Guide to Glass

Phelan, Marilyn E.

Philadelphia Empire Furniture

Philip, Peter

Phillips (app)

Phillips, Jocelyn
Phillips, Phoebe

Phillips, Tom

Phipps, Frances

Photograph Collector’s Guide

Photograph Collector’s Resource Directory

Photographers A–Z

Photographic Art Market

Photographic Literature: An International Bibliographic Guide…

Photographic Literature, 1960–1970…

Photographica: A Subject Catalog of Books…(New York Public Library)

Photography

Photography and Literature: An International Bibliography…

Photography Encyclopedia

Photography, History of an Art

Photography: The Whole Story

Picasso’s Collection of African and Oceanic Art…

Pickering, Brooke

Pictorial Dictionary of British 18th Century Furniture Design…

Pictorial Dictionary of British 19th Century Furniture Design…

Pictorial Dictionary of Marked London Furniture, 1700–1840

Pictorial Guide to Pottery & Porcelain Marks

Pictorial Guide to Silvered Mercury Glass

Pictorial Price Guide to American Antiques…

Picture Prices Current…

Pictures, Passion and Eye: A Life at Sotheby’s

Pierce, James Smith

Pietsch, Ulrich

Pile, John F.

Piña, Leslie A.

Pinhas, Ora

Pinto, Sandra

Pintura Latinoamericana: Proyecto Cultural…

Pioneer Photographers of the Far West…

Pioneers of Contemporary Glass…

Piron, Paul-L.

Place, Taste and Tradition: A Study of Australian Art Since 1788

Poche, Emanuel

Polish! Contemporary Art from Poland

Polsky, Richard

Polynesian Art at Auction, 1965–1980

Pope, Caroline

Pope, Nick

Porcelain

Porcelain Marks of the World

Porcelain Repair and Restoration

Portrait of the Visual Arts: Meeting the Challenges…

Portuguese 20th Century Artists: A Biographical Dictionary

Post, Chandler Rathfon

Postwar Interior Design, 1945–1960

Pottery

Pottery and Ceramics: A Guide to Information Sources

Power of Fantasy: Modern and Contemporary Art from Poland

Pradère, Alexandre

Préaud, Tamara

Pre-Raphaelitism: A Bibliocritical Study

Prestige, Profit and Pleasure: The Market for Modern Art in New York…

Preston, George Nelson

Prettejohn, Elizabeth

Price Guide to Antique Silver

Price It Yourself! Down-to-Earth Guide to Appraising…

PriceMiner.com

Prices for Antiques (p4A.com)

Prices of Victorian Paintings, Drawings and Watercolours

Priestley, Philip T.

Print Council Index to Oeuvre–Catalogues of Prints…

Print in Germany, 1880–1933…

Print in Italy, 1550–1620

Print in the Western World…

Print Prices Current

Printmaking & Picture Printing: A Bibliographical Guide…

Prints

Prints and the Print Market…

Prints of the Twentieth Century: A History

Printworld Directory

Prisant, Carol

Proquest

Protecting Cultural Objects in the Global Information Society…

Protecting Cultural Objects Through International Documentation…

Proud Possessors: The Lives, Times and Tastes…

Provenance Index of the Getty Art History Program

Prowda, Judith

Prown, Jonathan

Prown, Jules David

PSA Journal

Public Library of Law

Pujia, Cinzia

Pullin, Anne Geffken

Pyke, E.J.

Quimby, Ian M.G.

Quintin-Baxendale, Marion

Rago, Denise

Rainwater, Robert

Ramsey, L.G.G.

Random House Collector’s Encyclopedia, Victoriana to Art Deco

Raqqa Revisited: Ceramics of Ayyubid, Syria

Rare Art Traditions: The History of Art Collecting…

Rare Books and their Prices…

Rathbone, Eliza E.
Raycraft, Carol

Raycraft, Don

Readers’ Guide to Periodical Literature

Realist Debate: A Bibliography of French Realist Painting, 1830–1885

Record of the Carnegie Institute’s International Exhibitions, 1896–1996

Redford, George

Redgrave, Richard

Redgrave, Samuel

Rediscoveries in American Sculpture: Studio Works, 1893–1939

Reflections on American Brilliant Cut Glass…

Regency Design, 1790–1840: Gardens, Buildings…

Regency Furniture

Regency Style

Reid, Dennis R.

Reilly, Daryl

Reitlinger, Gerald

Rembrandt’s Bankruptcy: The Artist, His Patrons…

Rennejboog, Luc

Rennie, Paul

Reno, Dawn E.
Répertoire d’Art et d’Archéologie

Répertoire des Catalogues de Ventes Publiques…

Répertoire des Estampes Japonaises…

Répertoire des Tableaux Vendus en France au XIXe Siècle

Répertoire Internationale de la Litterature de l’Art

Repertory of Artists in Mexico: Plastic and Decorative Arts

Reportorio Clásico en el Mobiliario Venezolano…

Reverdy, Anne

Re_View: 170 Years of Photography

Revolutionary Ceramics: Soviet Porcelain, 1917–1921

Rheims, Maurice

Rhodes, Anne-Marie

Rhys, Owain

Riccardi-Cubitt, Monique

Ricco, Roger

Rice, Tamara Talbot

Richards, Nancy E.

Ricke, Helmut

Ridgway, Maurice H.

Rieman, Timothy D.
Riggs, Thomas

Rise of Photography, 1850–1880…

Rise of the Modern Art Market in London, 1850–1939

Ris-Paquot, Oscar

Rivas, Jorge

Robb, Gwenda

Robert Lehman Collection XII: European Sculpture and Metalwork

Roberts, Laurance P.

Roberts, William

Robertson, Bruce

Robertson, Iain

Robinson, Paul Carter

Robson, A. Deirdre

Rookwood Pottery: Identification and Price Guide

Roh, Franz

Roman, Byzantine, and Early Medieval Glass…

Röntgen, Robert E.

Roosens, Laurent

Rörstrand Jugendstil-Porzellan aus Schweden…

Rorstrand Porcelain: Art Nouveau Masterpieces…

Roscoe, Ingrid

Rose, Barbara

Rosenak, Chuck

Rosenak, Jan

Rosenblum, Naomi

Rosenblum, Robert

Rosenthal, Norman

Ross, Alex

Rosser, Patricia

Rostov, Charles I.

Royal Academy Exhibitors, 1905–1970…

Royal Academy Exhibitors, 1971–1989…

Royal Academy of Arts: A Complete Dictionary…

Royal Canadian Academy of Arts … Exhibitions and Members, 1880–1979

Royal Glasgow Institute of the Fine Arts, 1861–1989…

Royal Hibernian Academy of Arts: Index of Exhibitors … 1826–1979

Royal Scottish Academy Exhibitors, 1826–1990…

Royal Watercolour Society: The First Fifty Years, 1805–1855

Rubinstein, Charlotte Streifer

Rug and Textile Arts: A Periodical Index, 1890–1982

Rugs & Carpets of the World

Rules for an Emergent Market: Selling Paintings in Late Seventeenth

Century London

Russell, Elizabeth T.

Russian Furniture: The Golden Age, 1780–1840

Russian Silver in America…

Russki Ampir

Sack, Albert

Safarik, Eduard A.

SaffronArt

St. James Guide to Black Artists

Sakhai, Essie

Sale Prices of 1896…An Annual Report…

Salm, Betsy Krieg

Salons de Dijon, 1771–1950…

Salons of America, 1922–1936

Salu, Luc

Sammons, Tania

Samuels, Peggy

Sánchez, Gilda Hernández

Sanchez, Pierre

Sandler, Irving

Sandon, John

Santore, Charles

Sanurjo, Annick

Satchell, Stephen

Savage, George

Scandinavia: Ceramics and Glass…

Scandinavian Country

Schaarschmidt-Richter, Irmtraud

Schädler, Karl-Ferdinand

Schiffer, Herbert F.

Schiffer, Nancy

Schiffer, Peter Berwind

Schmitt, Eva

Scholten, Fritz

Schroder, Timothy

Schroeder’s Antiques Price Guide

Schroy, Ellen Tischbein

Schurr, Gérard
Schwartz, Marvin D.

Schwarz, Karl M.

SCIPIO

Scott, Jack L.

Scottish Painting, 1837 to the Present

Scottish Vernacular Furniture

Sculpture: An Illustrated Catalogue…

Sculpture: From Antiquity to the Present Day…

Sculpture: Processes and Principles

Seeing America: Women Photographers Between the Wars

Seguier, Frederick Peter

Self, James

Self Taught, Outsider, and Folk Art…

Sellen, Betty-Carol

Sembach, Klaus-Jürgen

Semowich, Charles J.

Seneca: Stems, Etchings, Cuts and Patterns…

Sentence, Bryan

Serban, William

Seton, Alistair
Seventeenth and Eighteenth Century French Porcelain

Seventeenth Century French Paintings

Sèvres: Des Origines à Nos Jours

Sèvres Porcelain Manufactory: Alexandre Brongniart…

Sèvres Porcelain: Vincennes and Sèvres, 1740–1800

Shackelford, George T.M.

Sharylen, Maria

Sherrill, Sarah B.

Shimura, Goro

Shipp, Steve

Shixiang, Wang

Short History of African Art

Shotwell, David J.

Shouse, Deborah

Shuman, John A.

Siegel, Jeanne

Siegmann, William C.

Sigafoose, Richard

Sights of Resistance: Approaches to Canadian Visual Culture

Signaturenlexikon = Dictionary of Signatures

Signatures & Monogrammes d’Artistes des XIXe et XXe Siècles

Signatures and Seals on Painting and Calligraphy…

Signatures d’Artistes Belges des XIXe et XXe Siècles…

Signatures et Monogrammes des Peintres de Toutes les Écoles…

Siltzer, Frank

Silver

Silver, Larry

Silver & Pewter

Silver & Plate

Silver 1880–1940: Art Nouveau, Art Deco

Silver in England

Silver Made in Scotland

Silver of the Americas, 1600–2000

Sirén, Osvald

Skaterschikov, Sergei

Skate’s (app)

Skate’s Art Investment Handbook…

Skate’s Art Market Research

Skira Dictionary of Modern Decorative Arts

Slater, J. Herbert
Smith, Bernard

Smith, Donald E.

Smith, Lyn Wall

Smithsonian… Database: Pre–1877 Art Exhibition Catalogue Index

Smithsonian Institution Research Information System

Snoddy, Theo

Snyder, Jeffrey B.

Snyder, Jill

Society of Independent Artists: The Exhibition Record 1917–1944

Society of Women Artists Exhibitors, 1855–1996…

Sociological Abstracts

Sokol, David M.

Sokol, Stanley S.

Song, Yongji

Sonneborn, Liz

Sotheby’s (app)

Sotheby’s Art at Auction

Sotheby’s Concise Encyclopedia of Furniture

Sotheby’s Concise Encyclopedia of Glass

Sotheby’s Concise Encyclopedia of Silver

Sotheby’s Guide to American Furniture

Sotheby’s Guide to Oriental Carpets

Sotheby’s: Portrait of an Auction House

Sourcebook of Scandinavian Furniture…

Southern Furniture, 1680–1830: The Colonial Williams-burg Collection

Southwest Art

Sovereign Carpets: Unknown Masterpieces from European Countries

Soviet Ceramics: The Sandretti Collection of 20th Century…

Spaenjers, Christophe

Spalding, Frances

Spallanzani, Marco

Spanish Artists from the Fourth to the Twentieth Century…

Spanish Painting

Spanish Painting from El Greco to Picasso…

Spencer, Christopher

Spencer, Ronald D.

Spicer-Durham, Joaneath Ann

Spillman, Jane Shadel

Spira, Andrew

Splendour of Antique Rugs and Tapestries

Spode & Copeland Marks…

Spode & Copeland: Over Two Hundred Years…

Sporting Life: An Anthology of British Sporting Prints

Stained Glass: A Guide to Information Sources

Stallabrass, Julian

Standard Book of American Antique Furniture

Standard Encyclopedia of American Silverplate, Flatware and Hollow

Ware…

Standard Encyclopedia of Carnival Glass

Standard Encyclopedia of Pressed Glass, 1860–1930…

Stanfield, Alyson B.

Stangos, Niko

Stärk, Beate

Starting Your Career as an Artist…

Stepan, Peter

Sterling Flatware: An Identification and Value Guide

Stern, E.M.

Stern, Jewel

Steuben Glass: An American Tradition in Crystal

Stewart, Ann M.

Stewart, Basil
Stewart, Brian

Stewart, Ruth Ann

Stickley Brothers Furniture Identification and Value Guide

Stickley Brothers: The Quest for an American Voice…

Stillinger, Elizabeth

Stimpson, Miriam F.

Stokstad, Marilyn

Stone, Peter F.

Stories in Sterling…Silver in New York

Story of Art

Story of British Sporting Prints

Story of Imari…Antique Japanese Porcelain

Story of Silver in Savannah…

Strange, Thomas Arthur

Strange Life of Objects…

Strauss, Michel

Street & Studio: An Urban History of Photography

Strober, Eva

Studio Furniture of the Renwick Gallery…

Sturm, Philip
Styles, Schools and Movements … Modern Art

Sublime Economy: On the Intersection of Art and Economics

Successful Artists’ Career Guide…

Sullivan, Edward J.

Sullivan, Mark White

Sullivan, Michael

Swan, Martha Louise

Swedberg, Harriett

Swedberg, Robert W.

Swiss Painting: From the Middle Ages to the Dawn of the Twentieth
Century

Symbols on Chinese Porcelain…

Synge, Lanto

Tales from the Art Crypt…

Talking Prices: Symbolic Meanings…

Tanavoli, Parviz

Tannert, Christoph

Tannock, Michael

Taylor, John Russell

Taylor, Lonn
Taylor, V.J.

Terraroli, Valerio

Terry, Martin

Texas Furniture: The Cabinetmakers…

Thames & Hudson Dictionary of Art Terms

Thames and Hudson Encyclopedia of British Art

Tharp, Lars

Themes in American Painting: A Reference Work…

Thirion, Jacques

Thomas, John Carl

Thomas-Clark, Jill

Thompson, Donald N.

Thoreau, Henry

Thorn, C. Jordan

Thornton, Dara

Throsby, David

TIAS.com

Tibetan Furniture: Identifying…

Tickner, Lisa

Tiffany Silver
Tinterow, Gary

Toatley, Theodore

Todd, Pamela

Tolles, Thayer

Topham, John

Total Modernity and the Avant-Garde…Chinese Art

Tovar de Teresa, Guillermo

Tradition Redefined: Modern and Contemporary Chinese Ink…

Traditional Crafts of Saudi Arabia…

Traditional Japanese Furniture

Traditional Korean Furniture

Traditional Korean Painting: A Lost Art Rediscovered

Train, John

Traité Theorique et Pratique des Connoissances qui sont Nécessaires…

Tregear, Mary

Trench, Lucy

Trésor de la Curiosité: Tiré des Catalogues de Ventes…

Tribal & Village Rugs: The Definitive Guide…

Tribal Art

Tribal Arts Guide: Museums, Galleries, etc.…

Tribal Rugs: Nomadic and Village Weavings from the Near East and
Central Asia

Tribal Rugs: Treasures of the Black Tent

TribalIndex.com

Trinidad, A.A.

Trois Siècles de Ventes Publiques

Turner, Jane

Tuttle Dictionary of Antiques & Collectibles Terms

$12 Million Stuffed Shark…

Twentieth-Century Art of Latin America

20th Century Design: The Definitive Illustrated Sourcebook

Twentieth-Century European Painting: A Guide…

Twentieth-Century German Painting: The Thyssen-Bornemisza Collection

20th Century Murano Glass: From Craft to Design…

20th Century Painters and Sculptors

20th Century Pewter

20/21C Art Books: A Basic Bibliography…20th and 21st Centuries

Two Hundred Years of New Zealand Painting

Understanding International Art Markets and Management

Understanding Roseville Pottery

Understanding the Arts and Creative Sector…

Undiscovered Minimalism: Gelims from Northern Iran

Union List of Artists’ Names

Unrivalled Splendor: Kimiko and John Powers…Japanese Art

Urdang, Laurence

value

Value of Art: Money, Power, Beauty

van Alphen, Ernst

Van Gogh, Gauguin, Cezanne, and Beyond: Post-Impressionist…

Vaughan, William

Velthuis, Olav

Venetian Glass

Venetian Glass: Confections in Glass, 1855–1914

Venetian Glass: From Modern to Contemporary

Venini: Catalogue Raisonné, 1921–1986

Venini Diaz de Santillana, Anna

Ventes de Tableaux, Dessins, Estampes et Object d’Art…

Ventes Publiques en France…

Vergo, Peter
Verlet, Pierre

Vermeylen, Filip

Versteigerungsergebnisse

Very Rare Glass of the Depression Years…

Verzeichnis der Verkauften Gemälde im Deutschsprachigen Raum vor 1800

Verzeichniss der Königlichen Gemälde-Gallerie zu Dresden…

Vessel Sculplture: German and International Ceramics Since 1946…

Viaux, Jacqueline

Victoria and Albert Museum

Victorian and Edwardian Furniture: Price Guide and Reasons for Values

Victorian Furniture: Our American Heritage

Victorian Furniture: With Prices

Victorian Glass Lozenge Translator

Victorian Painters

Victorian Photography: An Introduction for Collectors…

Vienna Circa 1780: An Imperial Silver Service…

Viennese Silver: Modern Design, 1780–1918

Viewfinders: Black Women Photographers

Vigier, Lorenzo

Vine, Richard
VIPArt

Visions of Light and Air: Canadian Impressionism…

Visonà, Monica Blackmun

Visual Art and the Law: A Handbook for Professionals

Visual Arts: A History…

Visual Arts in Canada: the Twentieth Century

Visual Century: South African Art…

Viva Vetro! Glass Alive!: Venice and America

Vogel, Charles O.

Voices of Contemporary Glass…

von Saldern, Axel

Von Stockhausen, Tilmann

Wackernagel, Martin

Wakeman, Geoffrey

Walcha, Otto

Waldron, Peter

Walker, Daniel S.

Walkling, Gillian

Wallace, David H.
Wallace, Kevin

Wallace-Homestead Price Guide to American Country Antiques

Walpole, Josephine

Walsh, Amy L.

Walters, W.T. (William Thompson)

Wang, Qingzheng

Ward, Gerald W.R.

Ware, Joyce C.

Warman’s American Furniture

Warman’s Antiques & Collectibles

Warman’s Arts & Crafts Furniture: Identification and Price Guide

Warman’s Carnival Glass: Identification and Price Guide

Warman’s Companion: Fenton Glass

Warman’s Depression Glass Field Guide…

Warman’s English & Continental Pottery…

Warman’s Fiesta: Identification and Price Guide…

Warman’s Lalique Identification and Price Guide

Warman’s Modernism Furniture and Accessories…

Warman’s Oriental Antiques

Warman’s Pattern Glass: A Value and Identification Guide…

Warman’s Roseville Pottery: Identification and Price Guide

Warman’s Weller Pottery: Identification and Price Guide

Warmus, William

Warren, Caroline C.

Warren, Phelps

Waterbrook-Clyde, Keith

Waterbrook-Clyde, Thomas

Waterhouse, Ellis Kirkham

Watson, Peter

Watson, William

Watson-Jones, Virginia

Wedgwood Jasper Ware: A Shape Book and Collector’s Guide

Wei Ji

Weidmann, Dieter

Weidner, Ruth Irwin

Weinberg, H. Barbara

Weisberg, Gabriel P.

Weisberg, Yvonne M.L.

Wertkin, Gerard C.

West, Mark
West Indian Antique Furniture … Lesser Antilles, 1740–1940

Western Furniture: 1350 to the Present Day in the Victoria and Albert…

What’s It Worth (app)

Wheeler, Daniel

When Time Began … Figurative Painting from Twentieth Century Ireland

White, Antony

White, Betsy K.

White, Elizabeth

White, Katherine P.

Whitehouse, David

Whitelaw, Anne

Whitney Museum

Who Was Who in American Art, 1564–1975…

Who’s Who in American Art

Who’s Who in Contemporary Glass Art

Why Are Artists Poor?

Wiehager, Renate

Wight, Karol B.

Wilk, Sarah Blake

Wilkinson, Vega
Willett, Frank

Williams, Nigel

Williamson, E.

Willis-Thomas, Deborah

Wilson, John

Wilson, Kenneth M.

Wilson, Raymond L.

Wilson, Timothy

Wilton, Andrew

Wind, Barry

Windsor, Alan

Windsor Style in America: The Definitive Pictorial Study…

Wine, Humphrey

Winterthur Guide to Caring for Your Collection

Witkin, Lee D.

Wittkower, Rudolf

Wojak, Angie

Women Gallerists of the 20th and 21st Centuries

Women’s Painted Furniture, 1790–1830…

Wood, Christopher
Wood, Jo

Woods in British Furniture Making, 1400–1900…

Worcester Porcelain and Lund’s Bristol

World Artists, 1950–1980…

World Artists, 1980–1990

World Collectors Annuary

World Encyclopedia of Naïve Art…

World Furniture: An Illustrated History

World History of Photography

World of the Florentine Renaissance Artist…

World Painting Index (and supplements)

WorldCat

Worldwide Bibliography of Art Exhibition Catalogues, 1963–1987

Worldwide Books Database

Worth of Art: Pricing the Priceless

Worthpoint.com

Wright, Edward Reynolds

Wright, Virginia

Wyszomirski, Margaret Jane

Yarnall, James L.

Yates, Sarah

Yates-Owen, Eric

Yeide, Nancy H.

Yonan, Michael E.

Yoruba

Zigrosser, Carl

Zobel, Joseph

Zoglin, Ron

Zorn, Elayne

Zweck, Dina von