Art and its Market (eBook)

Dirk Boll (Autor)

eBook Download: EPUB

2024 | 1. Auflage
456 Seiten
Hatje Cantz Verlag
978-3-7757-5795-9 (ISBN)

Infos

The new look on the history of art and its blind spots, the far-reaching digitization of structures and content, the changing role of museums and art criticism, new forces from influencers to NFTs: Hardly any market system has evolved as profoundly in the last decade as the distribution of art.  With 25 years of experience in the art industry, Dirk Boll acts as a continuous chronicler and seasonal commentator of these pervasive developments. His handbook Art and its Market  is a reliable source of in-depth knowledge about the inner workings of global art market systems. How do auctions, the network of galleries, and fairs work? How are prices being made, and how do trends both in the production of art as well as its collection emerge? What is more, this edition provides comprehensive information on the practical issues of art acquisition: What are the customs and pitfalls, the economic interdependencies between the artists, buyers and other market players, and the legal regulations governing the trade with art?

Inhalt

Cover
Art and Its Market: A Manual - Volume 1 - Introduction & History
Art and Its Market: A Manual - Volume 2 - Actors
Art and Its Market: A Manual - Volume 3 - Foundations
Art and Its Market: A Manual - Volume 4 - Commodities
Art and Its Market: A Manual - Volume 5 - Procurement
Art and Its Market: A Manual - Volume 6 - Summary & Conclusion

Textauszug

notes

1. 1.Söntgen, Beate; Voss, Julia, eds. Why Art Criticism?, Berlin, 2021, 23; Ullrich, Wolfgang, “Der falsche Zauber der Wirklichkeit.” Frankfurter Allgemeine Sonntagszeitung, 12.1.2020

2. 2.Davis, Diana, The Tastemakers - British Dealers and the Anglo-Gallic Interior 1785-1865, Los Angeles 2020, 89; Chesters, Laura, “Reports agree that market declined in 2016 – but whose statistics do we trust?.” Antiques Trade Gazette, 1.4.2017

3. 3.Dahlhoff, H. Dieter; Engel, Laura, “Künstler-Unternehmer der Contemporary Art – Typus und Marketinginstrument.” In Dahlhoff, H. Dieter, Markt und Marketing der Contemporary Art, Wiesbaden, 2021, 258

4. 4.Dahlhoff/Engel (2021) cit. loc., 285

5. 5.Dahlhoff, H. Dieter, “Zur Situation im Markt der Contemporary Art.” In Dahlhoff, H. Dieter, Markt und Marketing der Contemporary Art, Wiesbaden, 2021, 367; Reyburn, Scott, “What’s the global art market really worth?.” The International New York, Times, 27.3.2017; Chesters cit. loc., 1.4.2017

6. 6.Neuendorf, Henri, “After 18 Years of Number-Crunching, tefaf Has Discontinued Its Signature Art Market Report.” Artnet News, 19.1.2018; Kobel, Stefan, “Vier Marktreports: Affen in schnelllebiger Zeit.” Handelsblatt, 12./13./14.8.2022

7. 7.All figures: Art Basel ubs Global Art Market Report 2024

8. 8.Gere, Charlotte; Vaizey, Marina, Great Women Collectors, London, 1999, 12

9. 9.Wilhelm, Karl, Wirtschafts- und Sozialgeschichte des Kunstauktionswesens in Deutschland vom 18. Jahrhundert bis 1945, Munich, 1990, 10ff.; Reitz, Manfred, Berühmte Kunstsammler, Frankfurt am Main and Leipzig, 1998, 12; Häußler, Harriet, Die Schöpfer des Kunstmarkts, Bielefeld 2023, 11

10. 10.Thurn, Hans Peter, Der Kunsthändler: Wandlungen eines Berufes, Munich, 1994, 14f.; Reitz (1998) cit. loc., 14, 17; Kvaran, Gunnar B., “The Art of Collecting.” In Gali, Andre, ed. On Collecting, Oslo, 2017, 17

11. 11.Watson, Peter, From Monet to Manhattan – The Rise of the Modern Art Market, New York, 1992, xiii; Thurn (1994) cit. loc., 19; Belk, Russell, Collecting in a Consumer Society, London, 1995, 23

12. 12.Reitz (1998) cit. loc., 18

13. 13.Thurn (1994) cit. loc., 19f.

14. 14.Reitlinger, Gerald, The Economics of Taste II: The Rise and Fall of Objets d’art Prices Since 1750, London, 1963, 9

15. 15.Theodor Mommsen, “Die pompejanischen Quittungstafeln des L. Caecilius Jucundus.” Hermes Zeitschrift für klassische Philologie, 12/1877

16. 16.Mommsen cit. loc., 12/1877 m.w.N.

17. 17.Mommsen cit. loc., 12/1877

18. 18.Dritte Partei, die außerhalb des Vertrags zwischen Verkäufer und Auktionator steht und dem Verkäufer für den Verkauf über die Auktion einen Mindestpreis garantiert, cf. 5.3.2.2 – Guarantees

19. 19.Andreau, Jean, Banking and Business in the Roman World, Cambridge 1999, 70f.; Welch, Katherine E., “Pompeian Men and Woman in Portrait Sculpture.” In Pedar Foss, John J. Dobbins, eds. The World of Pompeii, New York, 2007, 42f.; Häußler (2023) cit. loc., 13

20. 20.Thurn (1994) cit. loc., 21ff.

21. 21.Mommsen cit. loc.,12/1877

22. 22.Melikian, Souren, “When Roman Statues Play Pranks.” The New York Times, 18.6.2010; Gerlis, Melanie, “Aegean beauty.” The Art Newspaper, 219, 12/2010

23. 23.Herchenröder, Christian, “Auktionen sind die Marktgewinner.” Handelsblatt, 23./24./25/26.12.2022; Kohlhaas, Jan, “Wie entwickelt sich der Markt für … Antike Kunst.” Kunst und Auktionen, 24.2.2023

24. 24.Cf. 3.3.3 – National Heritage Protection and Export Regulations

25. 25.Settis, Salvatore, “A Collection of Collections. The Torlonia Museum and the Collections of Antiquities in Rome.” In Settis, Salvatore; Gasparri, Carlo, The Torlonia Marbles. Collecting Masterpieces, Mailand 2020, 28; Christian, Kathleen W., “Collections of Antique Sculpture in Renaissance Rome.” In Settis, Salvatore; Gasparri, Carlo, The Torlonia Marbles. Collecting Masterpieces, Mailand 2020, 55; Schlosser, Julius von, Art and Curiosity Cabinets of the Late Renaissance, Los Angeles 2021, 193, 200; Häußler (2023) cit. loc., 18

26. 26.Belk (1995) cit. loc., 27; Kvaran (2017) cit. loc., 17

27. 27.Schloemann, Johan, “Adieu, Innerlichkeit.” Süddeutsche Zeitung, 9./10.7.2022

28. 28.Rublack, Ulinka, Die Geburt der Moderne – Eine Kulturgeschichte der Renaissance, Stuttgart, 2022, 17f., 66; Rambach, Hadrien, “Collectors at auction, auctions for collectors.” Schweizer Münzblätter, 238/2010; Ullrich, Wolfgang, “‘Schieb’s Dir in den Hintern’.” Die Zeit, 30.7.2015

29. 29.Dahlhoff/Engel (2021) cit. loc., 256; Häußler (2023) cit. loc., 17

30. 30.Rauterberg, Hanno, Wie frei ist die Kunst?, Berlin, 2018, 79; cf. Schneede, Uwe M., Ich! Selbstbildnisse der Moderne. Von Vincent van Gogh bis Marina Abramovic, Munich, 2022

31. 31.Häußler (2023) cit. loc., 22; Zeitz, Lisa, “Armer reicher Tizian.” Arsprototo, 4/2010

32. 32.Cf. Gordon, Alden R., “The System Governing Appraised Value in Ancien Régime France.” In Turpin, Adriana; Warren, Jeremy, Auctions, Agents and Dealers – The Mechanisms of the Art Market 1660-1830, Oxford/London, 2008

33. 33.Duret-Robert, François, Ventes d’œuvres d’art, Paris, 2001, 87ff.; cf. 3.3.3 – National Heritage Protection and Export Regulations

34. 34.Hohenzollern, Johann Georg Prinz von, “Fürstliches Sammeln.” In Hohenzollern, Johann Georg Prinz von: Friedrich der Große - Sammler und Mäzen, Munich, 1992, 12f.

35. 35.Belk (1995) cit. loc., 30; Schlosser (2021) cit. loc., 89

36. 36.Kvaran (2017) cit. loc., 18; Häußler (2023) cit. loc., 45

37. 37.Loske, Alexandra, “The Female Influence on George’s IV Taste and Collecting Habits.” In Heard, Kate; Jones, Kathryn, George IV - Art & Spectacle, London, 2019, 155; Schlosser (2021) cit. loc., 200f.; Locke, Stefan, “Plötzlich reden die Angeklagten.” Frankfurter Allgemeine Zeitung, 20.8.2022; Ehret, Gloria, “Goldschmiedekunst der Renaissance.” Weltkunst, 9/2022

38. 38.Ullrich, Wolfgang, Die Kunst nach dem Ende ihrer Autonomie, Berlin, 2022, 46; Herstatt, Claudia, “Willkommen in der Welt der Wunder.” Weltkunst, 3/2011; Dittmar, Peter, “Kunstkammerobjekte.” Kunst und Auktionen, 21.10.2022

39. 39.Kvaran (2017) cit. loc., 18; Häußler (2023) cit. loc., 31; Welch, Evelyn, “Lotteries in Early Modern Italy.” Past and Present, 5/2008

40. 40.Cavazzini, Patrizia, “Size mattered – some of the time.” The Art Newspaper, 219, 12/2010

41. 41.Hale, John R., Artists and Warfare in the Renaissance, New Haven, 1990, 134; Chipps Smith, Jeffrey, Northern Renaissance, London, 2004, 12

42. 42.Bykowski, Jan, “Wie entwickelt sich der Markt für Alte Meister.” Kunst und Auktionen, 9.12.2022; Dieckvoss, Stephanie, “Alte Meister sind wieder gesucht und teuer.” Handelsblatt, 9./10.12.2022

43. 43.Tobin, Emily, “Mix and Max.” Vanity Fair, 11/2018

44. 44.Rivetti, Ermanno, “Young blood for Old Masters.” The Art Newspaper, 284, 11/2016; Reyburn, Scott, “Brexit woes contribute to slim Old Master sales in London,”, The Art Newspaper, 9.12.2022

45. 45.Moore, Susanne, “Three R’s raise the bar for Old Masters.” The Financial Times, 24./25.12.2022

46. 46.Reyburn, Scott, “Old Master need reinventing to avoid being frozen out.” The Art Newspaper, 351, 12/2022

47. 47.Moore, Susan, “Patience First.” Apollo, 9/2016

48. 48.Reyburn cit. loc., 12/2022

49. 49.Chipps Smith (2004) cit. loc., 27ff.; Rublack (2022) cit. loc., 279, 365; Häußler (2023) cit. loc., 28

50. 50.Rublack (2022) cit. loc., 357

51. 51.Cleland, Elizabeth, “Following the warp and weft of time.” The Art Newspaper, 255, 3/2014

52. 52.Rubio, Mariona, “Alte Kunst wird wieder jung.” Architectural Digest, 11/2022

53. 53.Cleland cit. loc.,...

Produkt-Details

• Erscheint lt. Verlag: 17.7.2024
• Verlagsort: Berlin
• Sprache: englisch
• Themenwelt: Kunst / Musik / Theater ► Malerei / Plastik
• Schlagworte: alte Meister • Auktion • Entwicklung des Kunstmarkts • Kunsthandel • Kunstmarkt • Kunstsammlungen • Moderne
• ISBN-10: 3-7757-5795-3 / 3775757953
• ISBN-13: 978-3-7757-5795-9 / 9783775757959