Anonymous art at auction :: the reception of early Flemish paintings in the Western art market (1946-2015) /
"Working with a data set accounting for 13,000 auction sales results, Anne-Sophie V. Radermecker explores what contemporary buyers value when purchasing paintings of unknown or uncertain authorship, and which variables influence price formation mechanisms in this market segment. The principle f...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Leiden ; Boston :
Brill,
[2021]
|
| Schriftenreihe: | Studies in the history of collecting & art markets ;
v. 11. |
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | "Working with a data set accounting for 13,000 auction sales results, Anne-Sophie V. Radermecker explores what contemporary buyers value when purchasing paintings of unknown or uncertain authorship, and which variables influence price formation mechanisms in this market segment. The principle finding of this book is not only that historical names matter in the art market, but so do all other alternative identification strategies that art market players use to label anonymous paintings. Indirect names, provisional names, and spatiotemporal designations function as substitutes for real names that simulate identities, create ex-post stories around the artworks offered for sale, and, consequently, reduce information asymmetry about an artist's identity, with, at time, quite unexpected effects on price"-- |
| Beschreibung: | Based in part on the author's thesis (doctoral)--Université libre de Bruxelles, 2019, under the title: La valeur marchande du nom d'artiste : une étude empirique sur le marché de la peinture flamande (1946-2015). |
| Beschreibung: | 1 online resource (xvii, 322 pages) : illustrations (some color). |
| Bibliographie: | Includes bibliographical references and index. |
| ISBN: | 9789004460201 9004460209 |
| ISSN: | 2352-0485 ; |
Internformat
MARC
| LEADER | 00000cam a2200000 i 4500 | ||
|---|---|---|---|
| 001 | ZDB-4-EBA-on1236901502 | ||
| 003 | OCoLC | ||
| 005 | 20241004212047.0 | ||
| 006 | m o d | ||
| 007 | cr ||||||||||| | ||
| 008 | 210202s2021 ne a ob 001 0 eng | ||
| 010 | |a 2021004808 | ||
| 040 | |a DLC |b eng |e rda |c DLC |d OCLCO |d OCLCF |d EBLCP |d NRC |d YDX |d N$T |d YDX |d OCLCO |d OCLCQ |d OCL |d OCLCO |d TMA |d OCLCQ |d SXB | ||
| 020 | |a 9789004460201 |q electronic book | ||
| 020 | |a 9004460209 |q electronic book | ||
| 020 | |z 9789004450042 |q hardcover | ||
| 035 | |a (OCoLC)1236901502 | ||
| 042 | |a pcc | ||
| 050 | 0 | 4 | |a ND665 |b .R33 2021 |
| 082 | 7 | |a 759.9493 |2 23 | |
| 049 | |a MAIN | ||
| 100 | 1 | |a Radermecker, Anne-Sophie, |e author. |0 http://id.loc.gov/authorities/names/n2019019367 | |
| 245 | 1 | 0 | |a Anonymous art at auction : |b the reception of early Flemish paintings in the Western art market (1946-2015) / |c by Anne-Sophie V. Radermecker. |
| 264 | 1 | |a Leiden ; |a Boston : |b Brill, |c [2021] | |
| 300 | |a 1 online resource (xvii, 322 pages) : |b illustrations (some color). | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 490 | 1 | |a Studies in the history of collecting & art markets, |x 2352-0485 ; |v volume 11 | |
| 500 | |a Based in part on the author's thesis (doctoral)--Université libre de Bruxelles, 2019, under the title: La valeur marchande du nom d'artiste : une étude empirique sur le marché de la peinture flamande (1946-2015). | ||
| 504 | |a Includes bibliographical references and index. | ||
| 505 | 0 | |a 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. | |
| 505 | 0 | |a 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. | |
| 520 | |a "Working with a data set accounting for 13,000 auction sales results, Anne-Sophie V. Radermecker explores what contemporary buyers value when purchasing paintings of unknown or uncertain authorship, and which variables influence price formation mechanisms in this market segment. The principle finding of this book is not only that historical names matter in the art market, but so do all other alternative identification strategies that art market players use to label anonymous paintings. Indirect names, provisional names, and spatiotemporal designations function as substitutes for real names that simulate identities, create ex-post stories around the artworks offered for sale, and, consequently, reduce information asymmetry about an artist's identity, with, at time, quite unexpected effects on price"-- |c Provided by publisher. | ||
| 588 | |a Description based on online resource; title from digital title page (viewed on September 15, 2021). | ||
| 650 | 0 | |a Painting, Flemish. |0 http://id.loc.gov/authorities/subjects/sh85096738 | |
| 650 | 0 | |a Anonymous art |z Flanders. | |
| 650 | 0 | |a Painting |x Economic aspects. | |
| 650 | 0 | |a Consumer behavior. |0 http://id.loc.gov/authorities/subjects/sh87006429 | |
| 650 | 0 | |a Painting, Netherlandish. |0 http://id.loc.gov/authorities/subjects/sh2003003479 | |
| 650 | 6 | |a Peinture flamande. | |
| 650 | 6 | |a Œuvres d'art anonymes |z Flandre. | |
| 650 | 6 | |a Peinture |x Aspect économique. | |
| 650 | 6 | |a Consommateurs |x Comportement. | |
| 650 | 7 | |a Painting, Netherlandish |2 fast | |
| 650 | 7 | |a Anonymous art |2 fast | |
| 650 | 7 | |a Consumer behavior |2 fast | |
| 650 | 7 | |a Painting |x Economic aspects |2 fast | |
| 650 | 7 | |a Painting, Flemish |2 fast | |
| 651 | 7 | |a Europe |z Flanders |2 fast | |
| 655 | 4 | |a Electronic book. | |
| 776 | 0 | 8 | |i Print version: |a Radermecker, Anne-Sophie. |t Anonymous art at auction |d Leiden ; Boston : Brill, [2021] |z 9789004450042 |w (DLC) 2021004807 |
| 830 | 0 | |a Studies in the history of collecting & art markets ; |v v. 11. |0 http://id.loc.gov/authorities/names/no2017060351 | |
| 856 | 4 | 0 | |l FWS01 |p ZDB-4-EBA |q FWS_PDA_EBA |u https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=2939316 |3 Volltext |
| 938 | |a YBP Library Services |b YANK |n 17154821 | ||
| 938 | |a ProQuest Ebook Central |b EBLB |n EBL6631753 | ||
| 938 | |a EBSCOhost |b EBSC |n 2939316 | ||
| 994 | |a 92 |b GEBAY | ||
| 912 | |a ZDB-4-EBA | ||
| 049 | |a DE-863 | ||
Datensatz im Suchindex
| DE-BY-FWS_katkey | ZDB-4-EBA-on1236901502 |
|---|---|
| _version_ | 1816882538446061568 |
| adam_text | |
| any_adam_object | |
| author | Radermecker, Anne-Sophie |
| author_GND | http://id.loc.gov/authorities/names/n2019019367 |
| author_facet | Radermecker, Anne-Sophie |
| author_role | aut |
| author_sort | Radermecker, Anne-Sophie |
| author_variant | a s r asr |
| building | Verbundindex |
| bvnumber | localFWS |
| callnumber-first | N - Fine Arts |
| callnumber-label | ND665 |
| callnumber-raw | ND665 .R33 2021 |
| callnumber-search | ND665 .R33 2021 |
| callnumber-sort | ND 3665 R33 42021 |
| callnumber-subject | ND - Painting |
| collection | ZDB-4-EBA |
| 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. |
| ctrlnum | (OCoLC)1236901502 |
| dewey-full | 759.9493 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 759 - History, geographic treatment, biography |
| dewey-raw | 759.9493 |
| dewey-search | 759.9493 |
| dewey-sort | 3759.9493 |
| dewey-tens | 750 - Painting and paintings |
| discipline | Kunstgeschichte |
| format | Electronic eBook |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>06860cam a2200661 i 4500</leader><controlfield tag="001">ZDB-4-EBA-on1236901502</controlfield><controlfield tag="003">OCoLC</controlfield><controlfield tag="005">20241004212047.0</controlfield><controlfield tag="006">m o d </controlfield><controlfield tag="007">cr |||||||||||</controlfield><controlfield tag="008">210202s2021 ne a ob 001 0 eng </controlfield><datafield tag="010" ind1=" " ind2=" "><subfield code="a"> 2021004808</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DLC</subfield><subfield code="b">eng</subfield><subfield code="e">rda</subfield><subfield code="c">DLC</subfield><subfield code="d">OCLCO</subfield><subfield code="d">OCLCF</subfield><subfield code="d">EBLCP</subfield><subfield code="d">NRC</subfield><subfield code="d">YDX</subfield><subfield code="d">N$T</subfield><subfield code="d">YDX</subfield><subfield code="d">OCLCO</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">OCL</subfield><subfield code="d">OCLCO</subfield><subfield code="d">TMA</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">SXB</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9789004460201</subfield><subfield code="q">electronic book</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9004460209</subfield><subfield code="q">electronic book</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="z">9789004450042</subfield><subfield code="q">hardcover</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)1236901502</subfield></datafield><datafield tag="042" ind1=" " ind2=" "><subfield code="a">pcc</subfield></datafield><datafield tag="050" ind1="0" ind2="4"><subfield code="a">ND665</subfield><subfield code="b">.R33 2021</subfield></datafield><datafield tag="082" ind1="7" ind2=" "><subfield code="a">759.9493</subfield><subfield code="2">23</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">MAIN</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Radermecker, Anne-Sophie,</subfield><subfield code="e">author.</subfield><subfield code="0">http://id.loc.gov/authorities/names/n2019019367</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Anonymous art at auction :</subfield><subfield code="b">the reception of early Flemish paintings in the Western art market (1946-2015) /</subfield><subfield code="c">by Anne-Sophie V. Radermecker.</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Leiden ;</subfield><subfield code="a">Boston :</subfield><subfield code="b">Brill,</subfield><subfield code="c">[2021]</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">1 online resource (xvii, 322 pages) :</subfield><subfield code="b">illustrations (some color).</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="a">text</subfield><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="a">computer</subfield><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="a">online resource</subfield><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="490" ind1="1" ind2=" "><subfield code="a">Studies in the history of collecting & art markets,</subfield><subfield code="x">2352-0485 ;</subfield><subfield code="v">volume 11</subfield></datafield><datafield tag="500" ind1=" " ind2=" "><subfield code="a">Based in part on the author's thesis (doctoral)--Université libre de Bruxelles, 2019, under the title: La valeur marchande du nom d'artiste : une étude empirique sur le marché de la peinture flamande (1946-2015).</subfield></datafield><datafield tag="504" ind1=" " ind2=" "><subfield code="a">Includes bibliographical references and index.</subfield></datafield><datafield tag="505" ind1="0" ind2=" "><subfield code="a">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.</subfield></datafield><datafield tag="505" ind1="0" ind2=" "><subfield code="a">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.</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">"Working with a data set accounting for 13,000 auction sales results, Anne-Sophie V. Radermecker explores what contemporary buyers value when purchasing paintings of unknown or uncertain authorship, and which variables influence price formation mechanisms in this market segment. The principle finding of this book is not only that historical names matter in the art market, but so do all other alternative identification strategies that art market players use to label anonymous paintings. Indirect names, provisional names, and spatiotemporal designations function as substitutes for real names that simulate identities, create ex-post stories around the artworks offered for sale, and, consequently, reduce information asymmetry about an artist's identity, with, at time, quite unexpected effects on price"--</subfield><subfield code="c">Provided by publisher.</subfield></datafield><datafield tag="588" ind1=" " ind2=" "><subfield code="a">Description based on online resource; title from digital title page (viewed on September 15, 2021).</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Painting, Flemish.</subfield><subfield code="0">http://id.loc.gov/authorities/subjects/sh85096738</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Anonymous art</subfield><subfield code="z">Flanders.</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Painting</subfield><subfield code="x">Economic aspects.</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Consumer behavior.</subfield><subfield code="0">http://id.loc.gov/authorities/subjects/sh87006429</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Painting, Netherlandish.</subfield><subfield code="0">http://id.loc.gov/authorities/subjects/sh2003003479</subfield></datafield><datafield tag="650" ind1=" " ind2="6"><subfield code="a">Peinture flamande.</subfield></datafield><datafield tag="650" ind1=" " ind2="6"><subfield code="a">Œuvres d'art anonymes</subfield><subfield code="z">Flandre.</subfield></datafield><datafield tag="650" ind1=" " ind2="6"><subfield code="a">Peinture</subfield><subfield code="x">Aspect économique.</subfield></datafield><datafield tag="650" ind1=" " ind2="6"><subfield code="a">Consommateurs</subfield><subfield code="x">Comportement.</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">Painting, Netherlandish</subfield><subfield code="2">fast</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">Anonymous art</subfield><subfield code="2">fast</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">Consumer behavior</subfield><subfield code="2">fast</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">Painting</subfield><subfield code="x">Economic aspects</subfield><subfield code="2">fast</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">Painting, Flemish</subfield><subfield code="2">fast</subfield></datafield><datafield tag="651" ind1=" " ind2="7"><subfield code="a">Europe</subfield><subfield code="z">Flanders</subfield><subfield code="2">fast</subfield></datafield><datafield tag="655" ind1=" " ind2="4"><subfield code="a">Electronic book.</subfield></datafield><datafield tag="776" ind1="0" ind2="8"><subfield code="i">Print version:</subfield><subfield code="a">Radermecker, Anne-Sophie.</subfield><subfield code="t">Anonymous art at auction</subfield><subfield code="d">Leiden ; Boston : Brill, [2021]</subfield><subfield code="z">9789004450042</subfield><subfield code="w">(DLC) 2021004807</subfield></datafield><datafield tag="830" ind1=" " ind2="0"><subfield code="a">Studies in the history of collecting & art markets ;</subfield><subfield code="v">v. 11.</subfield><subfield code="0">http://id.loc.gov/authorities/names/no2017060351</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="l">FWS01</subfield><subfield code="p">ZDB-4-EBA</subfield><subfield code="q">FWS_PDA_EBA</subfield><subfield code="u">https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=2939316</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">YBP Library Services</subfield><subfield code="b">YANK</subfield><subfield code="n">17154821</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">ProQuest Ebook Central</subfield><subfield code="b">EBLB</subfield><subfield code="n">EBL6631753</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">EBSCOhost</subfield><subfield code="b">EBSC</subfield><subfield code="n">2939316</subfield></datafield><datafield tag="994" ind1=" " ind2=" "><subfield code="a">92</subfield><subfield code="b">GEBAY</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">ZDB-4-EBA</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-863</subfield></datafield></record></collection> |
| genre | Electronic book. |
| genre_facet | Electronic book. |
| geographic | Europe Flanders fast |
| geographic_facet | Europe Flanders |
| id | ZDB-4-EBA-on1236901502 |
| illustrated | Illustrated |
| indexdate | 2024-11-27T13:30:12Z |
| institution | BVB |
| isbn | 9789004460201 9004460209 |
| issn | 2352-0485 ; |
| language | English |
| lccn | 2021004808 |
| oclc_num | 1236901502 |
| open_access_boolean | |
| owner | MAIN DE-863 DE-BY-FWS |
| owner_facet | MAIN DE-863 DE-BY-FWS |
| physical | 1 online resource (xvii, 322 pages) : illustrations (some color). |
| psigel | ZDB-4-EBA |
| publishDate | 2021 |
| publishDateSearch | 2021 |
| publishDateSort | 2021 |
| publisher | Brill, |
| record_format | marc |
| series | Studies in the history of collecting & art markets ; |
| series2 | Studies in the history of collecting & art markets, |
| spelling | Radermecker, Anne-Sophie, author. http://id.loc.gov/authorities/names/n2019019367 Anonymous art at auction : the reception of early Flemish paintings in the Western art market (1946-2015) / by Anne-Sophie V. Radermecker. Leiden ; Boston : Brill, [2021] 1 online resource (xvii, 322 pages) : illustrations (some color). text txt rdacontent computer c rdamedia online resource cr rdacarrier Studies in the history of collecting & art markets, 2352-0485 ; volume 11 Based in part on the author's thesis (doctoral)--Université libre de Bruxelles, 2019, under the title: La valeur marchande du nom d'artiste : une étude empirique sur le marché de la peinture flamande (1946-2015). Includes bibliographical references and 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. "Working with a data set accounting for 13,000 auction sales results, Anne-Sophie V. Radermecker explores what contemporary buyers value when purchasing paintings of unknown or uncertain authorship, and which variables influence price formation mechanisms in this market segment. The principle finding of this book is not only that historical names matter in the art market, but so do all other alternative identification strategies that art market players use to label anonymous paintings. Indirect names, provisional names, and spatiotemporal designations function as substitutes for real names that simulate identities, create ex-post stories around the artworks offered for sale, and, consequently, reduce information asymmetry about an artist's identity, with, at time, quite unexpected effects on price"-- Provided by publisher. Description based on online resource; title from digital title page (viewed on September 15, 2021). Painting, Flemish. http://id.loc.gov/authorities/subjects/sh85096738 Anonymous art Flanders. Painting Economic aspects. Consumer behavior. http://id.loc.gov/authorities/subjects/sh87006429 Painting, Netherlandish. http://id.loc.gov/authorities/subjects/sh2003003479 Peinture flamande. Œuvres d'art anonymes Flandre. Peinture Aspect économique. Consommateurs Comportement. Painting, Netherlandish fast Anonymous art fast Consumer behavior fast Painting Economic aspects fast Painting, Flemish fast Europe Flanders fast Electronic book. Print version: Radermecker, Anne-Sophie. Anonymous art at auction Leiden ; Boston : Brill, [2021] 9789004450042 (DLC) 2021004807 Studies in the history of collecting & art markets ; v. 11. http://id.loc.gov/authorities/names/no2017060351 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=2939316 Volltext |
| spellingShingle | Radermecker, Anne-Sophie 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 ; 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. Painting, Flemish. http://id.loc.gov/authorities/subjects/sh85096738 Anonymous art Flanders. Painting Economic aspects. Consumer behavior. http://id.loc.gov/authorities/subjects/sh87006429 Painting, Netherlandish. http://id.loc.gov/authorities/subjects/sh2003003479 Peinture flamande. Œuvres d'art anonymes Flandre. Peinture Aspect économique. Consommateurs Comportement. Painting, Netherlandish fast Anonymous art fast Consumer behavior fast Painting Economic aspects fast Painting, Flemish fast |
| subject_GND | http://id.loc.gov/authorities/subjects/sh85096738 http://id.loc.gov/authorities/subjects/sh87006429 http://id.loc.gov/authorities/subjects/sh2003003479 |
| title | Anonymous art at auction : the reception of early Flemish paintings in the Western art market (1946-2015) / |
| title_auth | Anonymous art at auction : the reception of early Flemish paintings in the Western art market (1946-2015) / |
| title_exact_search | Anonymous art at auction : the reception of early Flemish paintings in the Western art market (1946-2015) / |
| title_full | Anonymous art at auction : the reception of early Flemish paintings in the Western art market (1946-2015) / by Anne-Sophie V. Radermecker. |
| title_fullStr | Anonymous art at auction : the reception of early Flemish paintings in the Western art market (1946-2015) / by Anne-Sophie V. Radermecker. |
| title_full_unstemmed | Anonymous art at auction : the reception of early Flemish paintings in the Western art market (1946-2015) / by Anne-Sophie V. Radermecker. |
| title_short | Anonymous art at auction : |
| title_sort | anonymous art at auction the reception of early flemish paintings in the western art market 1946 2015 |
| title_sub | the reception of early Flemish paintings in the Western art market (1946-2015) / |
| topic | Painting, Flemish. http://id.loc.gov/authorities/subjects/sh85096738 Anonymous art Flanders. Painting Economic aspects. Consumer behavior. http://id.loc.gov/authorities/subjects/sh87006429 Painting, Netherlandish. http://id.loc.gov/authorities/subjects/sh2003003479 Peinture flamande. Œuvres d'art anonymes Flandre. Peinture Aspect économique. Consommateurs Comportement. Painting, Netherlandish fast Anonymous art fast Consumer behavior fast Painting Economic aspects fast Painting, Flemish fast |
| topic_facet | Painting, Flemish. Anonymous art Flanders. Painting Economic aspects. Consumer behavior. Painting, Netherlandish. Peinture flamande. Œuvres d'art anonymes Flandre. Peinture Aspect économique. Consommateurs Comportement. Painting, Netherlandish Anonymous art Consumer behavior Painting Economic aspects Painting, Flemish Europe Flanders Electronic book. |
| url | https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=2939316 |
| work_keys_str_mv | AT radermeckerannesophie anonymousartatauctionthereceptionofearlyflemishpaintingsinthewesternartmarket19462015 |