Yaëlle Biro, PhD (2010), Africanist art historian and independent scholar, was formerly Curator of African arts at the Metropolitan Museum of Art (2007-21). She notably published Fabriquer le regard : Marchands, réseaux et objets d’art africains à l’aube du XXe siècle (2018), and co-edited Rhapsodic Objects: Art, Agency, and Materiality, 1700–2000 (2022).Christine E. Brennan, PhD (2019), is Senior Researcher and Collections Manager, Department of Medieval Art and The Cloisters, The Met (1992-present). Her recent publications include “Prince Pierre Soltykoff’s Famed Collection of Medieval Art” in Collecting and Provenance: A Multidisciplinary Approach (2019) and “Fragmented Histories” in Making The Met, 1870-2020 (2020).Christel H. Force, PhD (2001), independent scholar, formerly held curatorial positions at the Metropolitan Museum of Art (2005-2018) and the Museum of Modern Art (1990-2005), New York. She edited Pioneers of the Global Art Market: Paris-Based Dealers Networks, 1850-1950 (2020); and her recent publications include "Otto Feldmann, promoteur de Picasso en Allemagne avant 1914” in Les artistes et leurs galeries: Paris-Berlin (2020), and "The Elliptical and Anonymous Format of Provenance Revisited” in Collecting and Provenance (2021).'

• List of Figures and TablesContributorsIntroductionChristel H. Force, Yaëlle Biro and Christine E. Brennan1 The Brummer Galleries: A ChronologyChristel H. ForcePart 1: A Family Affair—The Brummers and Art Dealing in Paris, 1906–19142 Innate Taste or Construction of the Gaze: Joseph Brummer and the Promotion of the African Object as ArtYaëlle Biro3 Picassos at ‘Brummer Frères—Curiosités’ and Beyond: From Frank Burty Haviland’s Collection to John Quinn’sChristel H. ForcePart 2: From Paris to New York—A Gallery in Transition, 1914–4 Joseph Brummer and the Flourishing of Byzantine Art HistoryElizabeth Dospěl Williams5 Pioneers or Followers? The Brummer Brothers and Egyptian Art, 1910–1922Tom Hardwick6 Curiosités at BrummersJulie JonesPart 3: New York—The Triumphant Years7 The Brummer Gallery and Medieval Art in America, 1914–1947Christine E. Brennan8 The Brummer Gallery and the Conservation of Medieval Sculptures in the Early Decades of the Twentieth CenturyLucretia Kargère9 Joseph Brummer, the Met, and Classical Antiquities in the United StatesMaya Muratov10 The Brummer Gallery and the Making of Iranian and Islamic ArtsAnne Dunn-Vaturi and Martina RugiadiPart 4: Direct WitnessesAppendix AInterview with John LaszloAppendix BInterview with Richard S. Brummer (1924–2022)Appendix CCuratorial Reflections on the Brummer Gallery, Joseph, Ernest, and Ella Baché BrummerWilliam D. WixomIndex

Yaëlle Biro, PhD (2010), Africanist art historian and independent scholar, was formerly Curator of African arts at the Metropolitan Museum of Art (2007-21). She notably published Fabriquer le regard : Marchands, réseaux et objets d’art africains à l’aube du XXe siècle (2018), and co-edited Rhapsodic Objects: Art, Agency, and Materiality, 1700–2000 (2022).Christine E. Brennan, PhD (2019), is Senior Researcher and Collections Manager, Department of Medieval Art and The Cloisters, The Met (1992-present). Her recent publications include “Prince Pierre Soltykoff’s Famed Collection of Medieval Art” in Collecting and Provenance: A Multidisciplinary Approach (2019) and “Fragmented Histories” in Making The Met, 1870-2020 (2020).Christel H. Force, PhD (2001), independent scholar, formerly held curatorial positions at the Metropolitan Museum of Art (2005-2018) and the Museum of Modern Art (1990-2005), New York. She edited Pioneers of the Global Art Market: Paris-Based Dealers Networks, 1850-1950 (2020); and her recent publications include "Otto Feldmann, promoteur de Picasso en Allemagne avant 1914” in Les artistes et leurs galeries: Paris-Berlin (2020), and "The Elliptical and Anonymous Format of Provenance Revisited” in Collecting and Provenance (2021).'

• List of Figures and TablesContributorsIntroductionChristel H. Force, Yaëlle Biro and Christine E. Brennan1 The Brummer Galleries: A ChronologyChristel H. ForcePart 1: A Family Affair—The Brummers and Art Dealing in Paris, 1906–19142 Innate Taste or Construction of the Gaze: Joseph Brummer and the Promotion of the African Object as ArtYaëlle Biro3 Picassos at ‘Brummer Frères—Curiosités’ and Beyond: From Frank Burty Haviland’s Collection to John Quinn’sChristel H. ForcePart 2: From Paris to New York—A Gallery in Transition, 1914–4 Joseph Brummer and the Flourishing of Byzantine Art HistoryElizabeth Dospěl Williams5 Pioneers or Followers? The Brummer Brothers and Egyptian Art, 1910–1922Tom Hardwick6 Curiosités at BrummersJulie JonesPart 3: New York—The Triumphant Years7 The Brummer Gallery and Medieval Art in America, 1914–1947Christine E. Brennan8 The Brummer Gallery and the Conservation of Medieval Sculptures in the Early Decades of the Twentieth CenturyLucretia Kargère9 Joseph Brummer, the Met, and Classical Antiquities in the United StatesMaya Muratov10 The Brummer Gallery and the Making of Iranian and Islamic ArtsAnne Dunn-Vaturi and Martina RugiadiPart 4: Direct WitnessesAppendix AInterview with John LaszloAppendix BInterview with Richard S. Brummer (1924–2022)Appendix CCuratorial Reflections on the Brummer Gallery, Joseph, Ernest, and Ella Baché BrummerWilliam D. WixomIndex

Yaëlle Biro, PhD (2010), Africanist art historian and independent scholar, was formerly Curator of African arts at the Metropolitan Museum of Art (2007-21). She notably published Fabriquer le regard : Marchands, réseaux et objets d’art africains à l’aube du XXe siècle (2018), and co-edited Rhapsodic Objects: Art, Agency, and Materiality, 1700–2000 (2022).Christine E. Brennan, PhD (2019), is Senior Researcher and Collections Manager, Department of Medieval Art and The Cloisters, The Met (1992-present). Her recent publications include “Prince Pierre Soltykoff’s Famed Collection of Medieval Art” in Collecting and Provenance: A Multidisciplinary Approach (2019) and “Fragmented Histories” in Making The Met, 1870-2020 (2020).Christel H. Force, PhD (2001), independent scholar, formerly held curatorial positions at the Metropolitan Museum of Art (2005-2018) and the Museum of Modern Art (1990-2005), New York. She edited Pioneers of the Global Art Market: Paris-Based Dealers Networks, 1850-1950 (2020); and her recent publications include "Otto Feldmann, promoteur de Picasso en Allemagne avant 1914” in Les artistes et leurs galeries: Paris-Berlin (2020), and "The Elliptical and Anonymous Format of Provenance Revisited” in Collecting and Provenance (2021).'

• List of Figures and TablesContributorsIntroductionChristel H. Force, Yaëlle Biro and Christine E. Brennan1 The Brummer Galleries: A ChronologyChristel H. ForcePart 1: A Family Affair—The Brummers and Art Dealing in Paris, 1906–19142 Innate Taste or Construction of the Gaze: Joseph Brummer and the Promotion of the African Object as ArtYaëlle Biro3 Picassos at ‘Brummer Frères—Curiosités’ and Beyond: From Frank Burty Haviland’s Collection to John Quinn’sChristel H. ForcePart 2: From Paris to New York—A Gallery in Transition, 1914–4 Joseph Brummer and the Flourishing of Byzantine Art HistoryElizabeth Dospěl Williams5 Pioneers or Followers? The Brummer Brothers and Egyptian Art, 1910–1922Tom Hardwick6 Curiosités at BrummersJulie JonesPart 3: New York—The Triumphant Years7 The Brummer Gallery and Medieval Art in America, 1914–1947Christine E. Brennan8 The Brummer Gallery and the Conservation of Medieval Sculptures in the Early Decades of the Twentieth CenturyLucretia Kargère9 Joseph Brummer, the Met, and Classical Antiquities in the United StatesMaya Muratov10 The Brummer Gallery and the Making of Iranian and Islamic ArtsAnne Dunn-Vaturi and Martina RugiadiPart 4: Direct WitnessesAppendix AInterview with John LaszloAppendix BInterview with Richard S. Brummer (1924–2022)Appendix CCuratorial Reflections on the Brummer Gallery, Joseph, Ernest, and Ella Baché BrummerWilliam D. WixomIndex