The Dutch Art Market 1930–1945 and Dutch Restitution Policy Regarding Art Dealers

2012 ◽  
pp. 133-154
Author(s):  
Floris Kunert ◽  
Annemarie Marck
Keyword(s):  
Art Market ◽  
Dutch Art ◽  
Art Dealers

The ingenious marketing of modern paintings

2014 ◽  
Vol 6 (2) ◽  
pp. 211-233
Author(s):  
Thomas M. Bayer ◽  
John Page
Keyword(s):  
Exchange Process ◽  
Art Market ◽  
Late Nineteenth Century ◽  
Data Sets ◽  
Content Type ◽  
Secondary Sources ◽  
Auction Houses ◽  
Art Dealers ◽  
The Media ◽  
Eighteenth And Nineteenth Centuries

Purpose – This paper aims to analyze the evolution of the marketing of paintings and related visual products from its nascent stages in England around 1700 to the development of the modern art market by 1900, with a brief discussion connecting to the present. Design/methodology/approach – Sources consist of a mixture of primary and secondary sources as well as a series of econometric and statistical analyses of specifically constructed and unique data sets that list nearly more than 50,000 different sales of paintings during this period. One set records sales of paintings at various English auction houses during the eighteenth and nineteenth centuries; the second set consists of all purchases and sales of paintings recorded in the stock books of the late nineteenth-century London art dealer, Arthur Tooth, during the years of 1870/1871. The authors interpret the data under a commoditization model first introduced by Igor Kopytoff in 1986 that posits that markets and their participants evolve toward maximizing the efficiency of their exchange process within the prevailing exchange technology. Findings – We found that artists were largely responsible for a series of innovations in the art market that replaced the prevailing direct relationship between artists and patron with a modern market for which painters produced works on speculation to be sold by enterprising middlemen to an anonymous public. In this process, artists displayed a remarkable creativity and a seemingly instinctive understanding of the principles of competitive marketing that should dispel the erroneous but persistent notion that artistic genius and business savvy are incompatible. Research limitations/implications – A similar marketing analysis could be done of the development of the art markets of other leading countries, such as France, Italy and Holland, as well as the current developments of the art market. Practical implications – The same process of the development of the art market in England is now occurring in Latin America and China. Also, the commoditization process continues in the present, now using the Internet and worldwide art dealers. Originality/value – This is the first article to trace the historical development of the marketing of art in all of its components: artists, dealers, artist organizations, museums, curators, art critics, the media and art historians.

Disappearing act

2018 ◽  
Vol 32 (1) ◽  
pp. 157-176
Author(s):  
Jayme Yahr
Keyword(s):  
American Art ◽  
Art Market ◽  
Strategic Vision ◽  
Art Collection ◽  
Art Dealers ◽  
Failed Attempt ◽  
Rapid Transformation

Abstract The American self-made businessman Daniel J. Terra (1911–1996) collected art as a testament to his patriotism and in an attempt to establish his cultural prowess. Between 1971 and his death in 1996, Terra amassed a collection of 605 paintings, works on paper, and sculpture, made possible by a small network of art dealers who aided Terra in his rapid transformation of the American art market. After a failed attempt to donate his collection to the Art Institute of Chicago, Terra created not one, but two museums in Illinois and one in France over the course of twelve years. Each Terra-backed museum struggled to find visitors, structures of support, and strategic vision while under his control. With the disappearance of each museum, the story of Terra’s art collection became inexorably intertwined with concepts of value, identity, and the physical shift from private hobby to public endeavour.

scholarly journals Innovative Exuberance: Fluctuations in the Painting Production in the 17th-Century Netherlands

Arts ◽  
2019 ◽  
Vol 8 (2) ◽  
pp. 72
Author(s):  
Weixuan Li
Keyword(s):  
Data Mining ◽  
Risk Taking ◽  
Stable State ◽  
Art Market ◽  
17Th Century ◽  
16Th Century ◽  
Market Condition ◽  
The Public ◽  
Dutch Art ◽  
Market Saturation

The surprising and rapid flowering of Dutch art and the Dutch art market from the late 16th century to the mid-17th century have propelled scholars to quantify the volume of production and to determine the source of its growth. However, existing studies have not explored the use of known paintings to specify and visualize the fluctuations of painting production in the Dutch Republic. Employing data mining techniques to leverage the most comprehensive datasets of Netherlandish paintings (RKD), this paper visualizes and analyzes the trend of painting production in the Northern Netherlands throughout the 17th-century. The visualizations verify the existing observations on the market saturation and industry stagnation in 1630–1640. In spite of this market condition, the growth of painting production was sustained until the 1660s. This study argues that the irrational risk-taking behavior of painters and the over-enthusiasm for painting in the public created a “social bubble” and the subsequent contraction of the production was a market correction back to a stable state. However, these risk-taking attitudes during the bubble time spurred exuberant artistic innovations that highlight the Dutch contribution to the development of art.

The Zentralarchiv des internationalen Kunsthandels ZADIK

2006 ◽  
Vol 31 (1) ◽  
pp. 11-16
Author(s):  
Günter Herzog
Keyword(s):  
Art Market ◽  
The World ◽  
German Art ◽  
Art Dealers ◽  
Art Trade ◽  
Central Archive

The Zentralarchiv des internationalen Kunsthandels (ZADIK = Central Archive of the International Art Trade) was established in 1992 by the Bundesverband Deutscher Galerien (BVDG), the association of German art dealers, and is the only research archive in the world that specialises in collecting and preserving documents and information from the art market. The history, purpose, collection profile and work of this still very young art archive is described here.

De Antwerpse 'witter ende paneelmaker' Melchior de Bout (werkzaam 1625/26-1658): leverancier van 'ready-made' panelen voor de Parijse markt

2010 ◽  
Vol 123 (2) ◽  
pp. 108-124
Author(s):  
Anna Koopstra
Keyword(s):  
Seventeenth Century ◽  
Art Market ◽  
Ground Layer ◽  
Art Dealers ◽  
Charles Le Brun

AbstractOn the back of several paintings on panel in the oeuvre of Willem Kalf, the panelmakers mark of Melchior de Bout has been found. Like his father Philip, De Bout was registered in Antwerp as a 'witter ende paneelmaker'. He thus seems to have specialised in producing panels that were covered, on both sides of the wooden support, with a preparatory (ground) layer consisting of chalk and glue. Occasionally, an imprimatura was also applied. De Bout's 'ready-made' panels were not only used by Willem Kalf, but also by Sebastian Stosskopf, Charles Le Brun, Jacques Linard, Lubin Baugin and Willem van Aelst. Since these artists were all working in Paris around the middle of the seventeenth century, it seems justified to conclude that for a certain time, the Antwerp panel maker specifically produced his panels for distribution in the French capital. The popularity of the panels of this highly specialised Antwerp panelmaker illustrates the strong appeal that the dynamic art market in Paris had for artists, art dealers and buyers from France and abroad.

scholarly journals In the Dark, All Art Dealers Are Grey: Discretion and Rationalisation in the Munch Art Market

2020 ◽  
Vol 9 (3) ◽  
Author(s):  
Siv Rebekka Runhovde
Keyword(s):  
Social Relationships ◽  
Art Market ◽  
Due Diligence ◽  
Regulatory Effect ◽  
High Demand ◽  
Grey Market ◽  
Art Dealers ◽  
Precautionary Measures ◽  
Edvard Munch

In high demand among collectors worldwide, the art of expressionist painter Edvard Munch has been the object of numerous criminal incidents. This article examines to what extent these crimes have had any regulatory effect on contemporary trade in Munch’s work and what precautionary measures Norwegian dealers take to prevent illicit art from entering the market. Consistent with a grey market paradigm, interviews with art dealers indicate that the trade in Munch has become tainted with risk due to the presence of many unprovenanced works in the market, yet most art dealers have narrow, preconceived ideas of the ‘typical’ art crime offender. Interested parties would not expect questions of provenance to be answered, so they do not ask, and social relationships are used to excuse a lack of due diligence, conveniently allowing the industry to thrive.  

scholarly journals Anti-money laundering regulation and the art market

Legal Studies ◽  
2019 ◽  
Vol 40 (1) ◽  
pp. 131-150
Author(s):  
Saskia Hufnagel ◽  
Colin King
Keyword(s):  
Money Laundering ◽  
Preventive Measures ◽  
Art Market ◽  
Analytical Framework ◽  
Commercial Activities ◽  
The Us ◽  
Art Dealers ◽  
Antiquities Trafficking ◽  
The Uk ◽  
The Eu

AbstractFollowing concerns that the art market is being used to launder criminal money and fund terrorist activities, measures have recently been introduced to subject the market to the anti-money laundering (AML) regime – such as the EU 5th Money Laundering Directive (2018) and the US Illicit Art and Antiquities Trafficking Prevention Bill (2018). The expansion of the AML regime to include art dealers has been attributed to the failure of regulation and the vulnerabilities inherent in the market to laundering. This paper considers vulnerabilities to money laundering and examines the types of regulation that apply in the art market. The paper then goes on to analyse the application of AML criminal law and preventive measures in the UK context, demonstrating that art dealers can be criminally prosecuted for engaging in normal commercial activities. Even if dealers do comply with AML reporting rules, such compliance can significantly impact upon their business. These are important considerations given the government's emphasis on striking a balance between the burdens on business and deterring money laundering activities. Drawing upon the AGILE analytical framework, we remain sceptical about the continued expansion of the AML regime.

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