000 05663nam a22004571i 4500
001 BRILL9789004460201
003 nllekb
005 20260610104846.0
007 cr un uuuua
008 200716s2021 ne sb 001 0 eng d
020 _a9789004460201
_q(electronic book)
020 _a9789004450042
_q(print)
024 7 _a10.1163/9789004460201
_2DOI
035 _z(OCoLC)1228030499
040 _aNL-LeKB
_cNL-LeKB
_erda
050 4 _aN72.S6
072 7 _aAB
_2bicssc
072 7 _aART
_x028000
_2bisacsh
082 0 4 _a701.03
_223
100 1 _aRadermecker, Anne-Sophie V.,
_eauthor.
245 1 0 _aAnonymous Art at Auction :
_bThe Reception of Early Flemish Paintings in the Western Art Market (1946-2015) /
_cAnne-Sophie V. Radermecker.
246 3 _aThe Reception of Early Flemish Paintings in the Western Art Market (1946-2015)
264 1 _aLeiden;
_aBoston :
_bBRILL,
_c2021.
300 _a1 online resource.
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_2rdacarrier
490 1 _aStudies in the History of Collecting & Art Markets ;
_v11
490 1 _aEarly Modern History and Modern History E-Books Online, Collection 2021, ISBN: 9789004441910
504 _aIncludes bibliographical references and index.
505 0 _aAcknowledgements -- 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 _a5 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 _aWorking 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.
588 _aDescription based on print version record.
650 0 _aArt and history.
776 0 8 _iPrint version:
_tAnonymous Art at Auction : The Reception of Early Flemish Paintings in the Western Art Market (1946-2015),
_dLeiden ; Boston : BRILL, 2021
_z9789004450042
830 0 _aStudies in the History of Collecting & Art Markets ;
_v11.
830 0 _aEarly Modern History and Modern History E-Books Online, Collection 2021, ISBN: 9789004441910.
856 4 _zDOI:
_uhttp://dx.doi.org/10.1163/9789004460201
999 _c15690
_d15690