Anonymous Art at Auction: The Reception of Early Flemish Paintings in the Western Art Market (1946–2015): Studies in the History of Collecting & Art Markets, cartea 11
Autor Anne-Sophie V. Radermeckeren Limba Engleză Hardback – 27 iul 2021
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Specificații
ISBN-13: 9789004450042
ISBN-10: 9004450041
Dimensiuni: 155 x 235 mm
Greutate: 0 kg
Editura: Brill
Colecția Brill
Seria Studies in the History of Collecting & Art Markets
ISBN-10: 9004450041
Dimensiuni: 155 x 235 mm
Greutate: 0 kg
Editura: Brill
Colecția Brill
Seria Studies in the History of Collecting & Art Markets
Cuprins
Contents
Acknowledgements
List of Figures, Tables, and Graphs
Abbreviations
Introduction
1 The Power of the Artist’s Name
1.1 The Artist’s Name and Its Attributes
1.2 Attributionism or a “History of the Art of Names”
1.3 The Relationship between the Artist’s Name and the Work’s Cultural and Economic Value
1.4 The Cognitive Impact of the Artist’s Name
1.5 The Artist’s Name as Brand Name
1.6 The Monetary Weight of the Artist’s Name
2 Anonymity and Flemish Painting
2.1 The Painting of the Southern Low Countries in the Fifteenth and Sixteenth Centuries
2.2 Pictures by and for the Market
2.3 Between Identity and Anonymity: The Duality of Flemish Painting
2.4 A School and Artists Subject to Changing Preferences
2.5 A Complex Authentication Process
2.6 The Advent of Technical Art History and the Relativity of Authorship
2.7 Perception of the Anonymity of Flemish Paintings
2.8 Identification Strategies in Use in the Market for Flemish Paintings
3 Methodological Considerations
3.1 Chronological and Geographical Framework
3.2 Sources and Data
3.3 Hedonic Regression
3.4 Research Limits
3.5 Description of the Database
4 Empirical Analysis of the Market for Flemish Paintings
4.1 Price Index (1946–2015)
4.2 The Main Price Determinants of the Market for Flemish Paintings
4.3 Price Indices by Identification Strategy
5 A Name, Indirectly. The Authentication Scale and the Economy of Attribution Qualifiers
5.1 Introduction
5.2 A Revised Authentication System: Christie’s and Sotheby’s Repositioning on Attribution
5.3 The Impact of the Authentication Scale on Buyers’ Willingness to Pay
5.4 Management and Promotion of Indirect Names
5.5 Lexicometric Analysis of Auction Houses’ Discourse
5.6 Qualitative Analysis of Auction Houses’ Discourse
5.7 The Reception of New Attribution Practices in the Market for Flemish Paintings
5.8 The Attitude to Non-autograph Works: Prospects for Change
5.9 Partial Conclusions
6 A Fictitious Identity. The Market for Masters with Provisional Names
6.1 Introduction
6.2 The Provisional Name: Historiography of a Practice Inherited from a Traditional Connoisseurship
6.3 The Market for Masters with Provisional Names: Analysis and Discussion
6.4 Partial Conclusions
7 Paintings without Names. The Market Reception of Spatiotemporal Designations
7.1 Introduction
7.2 The Critical Reception of Antwerp Mannerism or the “Ungrateful Task of Bringing Order into the Chaos”
7.3 Managing Anonymity: A Nomenclature of Spatiotemporal Designations
7.4 The Market for Anonymous Flemish Paintings: Analysis and Discussion
7.5 Sales Strategies: Indirect or Spatiotemporal Designations?
7.6 Thoughts on an Authentication System Reducing the Impact of Anonymity on the Cultural and Economic Value of Old Master Paintings
7.7 Partial Conclusions
Conclusion
Appendix
Bibliography
Index
Acknowledgements
List of Figures, Tables, and Graphs
Abbreviations
Introduction
1 The Power of the Artist’s Name
1.1 The Artist’s Name and Its Attributes
1.2 Attributionism or a “History of the Art of Names”
1.3 The Relationship between the Artist’s Name and the Work’s Cultural and Economic Value
1.4 The Cognitive Impact of the Artist’s Name
1.5 The Artist’s Name as Brand Name
1.6 The Monetary Weight of the Artist’s Name
2 Anonymity and Flemish Painting
2.1 The Painting of the Southern Low Countries in the Fifteenth and Sixteenth Centuries
2.2 Pictures by and for the Market
2.3 Between Identity and Anonymity: The Duality of Flemish Painting
2.4 A School and Artists Subject to Changing Preferences
2.5 A Complex Authentication Process
2.6 The Advent of Technical Art History and the Relativity of Authorship
2.7 Perception of the Anonymity of Flemish Paintings
2.8 Identification Strategies in Use in the Market for Flemish Paintings
3 Methodological Considerations
3.1 Chronological and Geographical Framework
3.2 Sources and Data
3.3 Hedonic Regression
3.4 Research Limits
3.5 Description of the Database
4 Empirical Analysis of the Market for Flemish Paintings
4.1 Price Index (1946–2015)
4.2 The Main Price Determinants of the Market for Flemish Paintings
4.3 Price Indices by Identification Strategy
5 A Name, Indirectly. The Authentication Scale and the Economy of Attribution Qualifiers
5.1 Introduction
5.2 A Revised Authentication System: Christie’s and Sotheby’s Repositioning on Attribution
5.3 The Impact of the Authentication Scale on Buyers’ Willingness to Pay
5.4 Management and Promotion of Indirect Names
5.5 Lexicometric Analysis of Auction Houses’ Discourse
5.6 Qualitative Analysis of Auction Houses’ Discourse
5.7 The Reception of New Attribution Practices in the Market for Flemish Paintings
5.8 The Attitude to Non-autograph Works: Prospects for Change
5.9 Partial Conclusions
6 A Fictitious Identity. The Market for Masters with Provisional Names
6.1 Introduction
6.2 The Provisional Name: Historiography of a Practice Inherited from a Traditional Connoisseurship
6.3 The Market for Masters with Provisional Names: Analysis and Discussion
6.4 Partial Conclusions
7 Paintings without Names. The Market Reception of Spatiotemporal Designations
7.1 Introduction
7.2 The Critical Reception of Antwerp Mannerism or the “Ungrateful Task of Bringing Order into the Chaos”
7.3 Managing Anonymity: A Nomenclature of Spatiotemporal Designations
7.4 The Market for Anonymous Flemish Paintings: Analysis and Discussion
7.5 Sales Strategies: Indirect or Spatiotemporal Designations?
7.6 Thoughts on an Authentication System Reducing the Impact of Anonymity on the Cultural and Economic Value of Old Master Paintings
7.7 Partial Conclusions
Conclusion
Appendix
Bibliography
Index
Notă biografică
Anne-Sophie V. Radermecker, Ph.D. (2019) is a research associate at the Université libre de Bruxelles. She has published papers operating at the intersection of art history and cultural economics, including contributions to Arts and the market, JCEC, JEBO, and NKJ.