Boll Art and its Market

1. Auflage 2024
ISBN: 978-3-7757-5795-9
Verlag: Hatje Cantz Verlag
Format: EPUB
Kopierschutz: 6 - ePub Watermark

E-Book, Englisch, 456 Seiten

The ultimate reference on the global art market – now available as a newly revised six-volume box set.

The art market is undergoing a transformation: Digitalization, new market structures, and the evolving role of museums and critics have profoundly changed the art world. Dirk Boll, a renowned expert with 25 years of experience, presents an in-depth look into the mechanisms of the international art trade in this comprehensive six-volume standard work.

A comprehensive insight into the art market: This updated edition of Dirk Boll’s renowned reference work explores the workings of auctions, galleries, and art fairs. It provides valuable information on pricing strategies, collecting trends, and the legal frameworks of the art trade. An indispensable read for collectors, dealers, and art enthusiasts.

Why this book is essential:

- Expert knowledge in a structured format: Six volumes covering all aspects of the art market in depth.

- Current market trends: NFTs, influencer marketing, and digitalization – the new driving forces of the art trade.

- Insider expertise: Dirk Boll, President for 20th & 21st Century Art at Christie’s, provides deep insights into the market's inner workings.

An essential handbook for anyone looking to understand and actively engage with the art market – collectors, investors, museum professionals, and art lovers.

Autoren/Hrsg.

Boll, Dirk

Fachgebiete

• Wirtschaftswissenschaften Betriebswirtschaft Marktforschung
• Geisteswissenschaften Kunst Kunstgeschichte
• Geisteswissenschaften Kunst Kunst, allgemein Kunstförderung, Mäzenatentum, Auktionen

Inhaltsverzeichnis

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

Leseproben

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.,...