Researching Art Markets: Past, Present and Tools for the Future

Cover
Half Title
Series Information
Title Page
Copyright Page
Table of Contents
List of illustrations
Acknowledgements
Contributors
Introduction
	The Art Market as an Ecosystem
	Learning from the Past
	Different Languages, Different Approaches
	Sources
	Contents
	The Art Collector
	The Artist as Entrepreneur
	The Formation and Development of New Markets
	References
Part 1 The Art Collector
	1 The Artist Collector—a Dual Actor in the Artistic Scene: The Example of Bernar Venet’s Collection
		Introduction
		The Collection, An Echo of An Artistic Course
		Artist-specific Modes of Acquisition
		The Development of Interdependent Networks
		Conclusion
		Notes
		References
	2 Walpole and the Creation of a Market in Britain for Ebony Furniture from the East
		Introduction
		Walpole’s Collecting in the Context of Eighteenth-Century Antiquarianism
		Rebranding Ebony Furniture as Tudor
		The Dissemination of the Style
		The Role of the Dealers
		Conclusion
		References
	3 African Art Acquisitions at Tate: A Case Study On the Influence of External Parties on the Collecting of African Contemporary Art
		Introduction
		Collection Aims and Funding
		Acquisition Committees and the Partnership with the guarantee Trust Bank
		Examples of Acquisitions
		Committees and Networks
		Conclusion
		Note
		References
	4 Art Malls and Popular Collecting in Post-Socialist China
		Introduction
		Private Art Museum in China Today
		Empirical Approach
		Shanghai Himalaya Museum
		K11 and Its Outreach
		The Chinese Model of Museum Retail
		Conclusion
		Acknowledgement
		Notes
		References
	5 Perspectives of Private Contemporary Art Collecting in Brazil
		Introduction
		Methodological Approach
		The First Results
		The Museum as a Temple
		National and Hegemonic Distribution
		Conclusions
		References
Part 2 Artists as Entrepreneurs and Their Career Paths
	6 Art Market Stakeholders’ Actions and Strategies for the Co-Creation of Artists’ Brands
		Introduction
		Artist Brand Co-Creation Mechanisms in the Contemporary Art Market
			Artists and Peers
			Galleries and Dealers
			Museums and Curators
			Experts, Critics and the Media
			Auction Houses
		Some Concluding Remarks
		Notes
		References
	7 A Behavioural Approach to Understanding the Artist as entrepreneur
		Introduction
		The Behavioural Approach to Artistry and Entrepreneurship
		The Behavioural Characteristics of Artists and Entrepreneurs
			Tolerance of Risk, Uncertainty and Ambiguity
			Personality and Creativity
			Intrinsic Motivation
		Conclusion
		Notes
		References
	8 Artists’ Promotion and Internationalisation: A Fair’s Perspective
		Introduction
		Art Basel’s Leadership
		Empirical Approach and Data
		Artists’ Internationalisation at Art Basel Fairs
			National Representation of Artists
			Support of Artists By Domestic Galleries
		Artists’ Exposure at Art Basel Fairs
			Artists’ Visibility
			Artists’ Career Level
		Conclusions
		Notes
		References
	9 Disregarded Or Adored? Remarks on Art Market Responses to Women Artists Behind the Iron Curtain
		Introduction
		Features of Totalitarian Art, Culture and Market
		Women Under Socialism
		Careers of Married Women Artists Assessed By Ratios of (un)equality
		A Typical Woman Artist’s Career?
		Conclusions
		Note
		References
	10 Mapping the Art Market in Denmark
		Introduction
		The Boundaries of the Danish Art Market
		Data and Method
		Demand
		Supply
		The Size of the Art Market and Artists’ Share
		The Development of the Art Market
		The Total Art Market in Denmark
		Conclusions
		Notes
		References
Part 3 The Formation and Development of New Markets
	11 Information Efficiency in Art Markets Past and Present
		Introduction
		The Efficient Market Hypothesis (EMH)—its Potential and Its Limitations for Understanding Art Markets
		Early Efficiency Milestones of Art Markets (Eighteenth and Nineteenth Centuries)
		Later Efficiency Milestones of Art Markets (Turn of the twenty-First Century)
		Conclusions
		References
	12 Bought-In at English Auction: Sellers Testing Their Estimates in a Maturing Market
		Introduction
		The Increasing Professionalisation of the Field
		Building Evidence On Bought-In Lots, Estimates of Reserves and Information
		Discussion and Conclusion
		Note
		References
	13 From the Artist’s Studio to the Amateur’s Portfolio: The Modern Drawing Market and Collecting in Early Nineteenth-Century Paris
		Introduction
		The Turning Point of the Revolution and the Société Des Amis Des Arts
		‘L’empreinte Du Mouvement De L’âme’
		Simon Chenard and Antoine Valedau: Two Collectors of Contemporary Artists
		From a Personal Object to a Fashionable One: Drawings, market and the Vogue of ‘albums’ (1790–1830)
		References
	14 The Strategy of a New Material: The Demidoff Family and Malachite
		Introduction
		The Rise of a Market in the First-Third of the 19th Century
		Paul Demidoff and New Ways of Applying Malachite in the 1830s
		Anatole Demidoff and the First Promotional Programmes
		Paul Pavlovich Demidoff, and the American Market
		Conclusions
		Note
		References
	15 New Markets for Old Items: Selling Aristocratic Collections of Art and Antiquities in Interwar Slovenia
		Introduction
		New State, New Legislation and the Emerging Market
		Buying for the Nation as a Strategy
		Heritage Protection and Cross-Border Trade
		Conclusion
		References 
archival Sources
Index