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THE central question of librarianship now and in the past is that which occupies some of our pages this month. Reading with purpose and with system, Matthew Arnold declared, was the last service to be rendered to education; and in various manner librarians and their committees have been endeavouring to do this for many years; it has indeed been a guiding principle of the best libraries that they presented to the community only good book's. Lately, however, more generous (or lax, according to the standpoint) ideas have been allowed to condition the admission of books; there are not wanting those who object to any exercise of judgment on the part of the librarian; if people want certain books they must be served, as they pay for them. This argument was exploded long ago, but its revival is justified if the librarians are unequal to their pretentions as guides to readers. And to be guides requires ever‐increasing knowledge, not only of all work done in bibliographies and reference books, but, as our writers indicate, of people and their manifold relations and reactions to books. This is enormously difficult in any community but is manifestly so in large cities. As a small illustration we may point to a librarian who, when a branch librarian was appointed to his staff, gave him a month of freedom from library work proper in which he was to walk every street of his branch area, interview the clergy, teachers, leading traders, and the secretaries and committees of local societies. He thus came to his work with at least an elementary notion of the community he had to serve. Such study must have its effect on book‐service; and this is the sort of study that must be pursued in the manner Dr. Waples has advocated and practiced (or some such manner) if we are to arrive at a science of book‐selection applicable to the areas a library serves.

This paper aims to analyze the evolution of the marketing of paintings and related visual products from its nascent stages in England around 1700 to the development of the modern art market by 1900, with a brief discussion connecting to the present.

Sources consist of a mixture of primary and secondary sources as well as a series of econometric and statistical analyses of specifically constructed and unique data sets that list nearly more than 50,000 different sales of paintings during this period. One set records sales of paintings at various English auction houses during the eighteenth and nineteenth centuries; the second set consists of all purchases and sales of paintings recorded in the stock books of the late nineteenth-century London art dealer, Arthur Tooth, during the years of 1870/1871. The authors interpret the data under a commoditization model first introduced by Igor Kopytoff in 1986 that posits that markets and their participants evolve toward maximizing the efficiency of their exchange process within the prevailing exchange technology.

We found that artists were largely responsible for a series of innovations in the art market that replaced the prevailing direct relationship between artists and patron with a modern market for which painters produced works on speculation to be sold by enterprising middlemen to an anonymous public. In this process, artists displayed a remarkable creativity and a seemingly instinctive understanding of the principles of competitive marketing that should dispel the erroneous but persistent notion that artistic genius and business savvy are incompatible.

A similar marketing analysis could be done of the development of the art markets of other leading countries, such as France, Italy and Holland, as well as the current developments of the art market.

The same process of the development of the art market in England is now occurring in Latin America and China. Also, the commoditization process continues in the present, now using the Internet and worldwide art dealers.

This is the first article to trace the historical development of the marketing of art in all of its components: artists, dealers, artist organizations, museums, curators, art critics, the media and art historians.

The purpose of this paper is to develop a nuanced interpretative frame that can help global managers with recommendations to avoid misapplied power with group and organizational situations.

Embodied metaphor is applied in analysis of the theory-praxis nexus to reconceive the bases, processes and resources associated with group and organizational power. Identified are patterns of relations in organizational bases and circuits of power, as expressed through literal and symbolic aspects of human hands and fingers. The paper does not revolve around gesticulations; instead focusing upon a novel, meta-cultural development of touchlines of the human hand, revealing conceptual relationships with the implementation of influence.

A differentiated understanding of the touchline powers of technology, information, self-awareness, relation to others and access to money can respectively improve decisions and actions. Insights are provided in the areas of controlling people to achieve objectives, demeaning others, managing change and resistance for personal gain, negotiating contracts, advancing personal interests and coordinating reward or punishment.

Choosing one metaphor may contribute to the exclusion of other perspectives, however, the embodied nature of the hand and touchlines tends to cross cultures and may assist further research to address the embedded nature of abuses of organizational power.

The contribution is in the theory-praxis nexus to assist global managers in addressing the risk of potential misuse of power and influence in organizations and to respond to calls for ancient indigenous epistemological systems to assume a role in contemporary management studies.