Looking at the art market, it seems that a rule of thumb runs through its history: the more dealers or auction houses cross borders, the greater their market power. But is it that simple? How can we measure art market power? The most obvious approach is to measure the turnover of the different players and compare them to each other. However, to do so, one usually must get around a double difficulty – the culture of secrecy and access to private archives – while finding other quantitative and global indicators. Moreover, which ways and strategies of border crossing are used by dealers and auction houses? Regardless of the art market segment, the most obvious border crossing is to open a branch in a foreign country. But there are other, less radical, and lighter ways of developing outposts, such as travelling abroad. In the end, this book will enable readers to grasp the deeper meaning of the link between internationalization of players and their market power in a multidisciplinary way, from the 18th century to today.
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En observant le marché de l’art, il semblerait qu’une tendance générale se dessine à travers son histoire : plus les marchands ou maisons de ventes traversent les frontières, plus leur pouvoir mercantile augmente. Mais est-ce aussi simple ? Comment peut-on évaluer le pouvoir du marché de l’art ? L’approche la plus évidente serait de mesurer le chiffre d’affaires des différents acteurs et de les comparer entre eux. Cependant, pour cela, l’on fait face à une double difficulté : la culture de la confidentialité et l’accès restreint aux archives privées. De plus, de quelles stratégies les marchands et maisons de ventes se servent-ils afin de passer les frontières ? Indépendamment du secteur de l’art, la façon la plus simple de traverser les frontières est d’ouvrir une filiale à l’étranger. À terme, cet ouvrage permettra aux lecteurs de saisir le sens profond du lien entre l’internationalisation des acteurs et leur pouvoir de marché d’une façon interdisciplinaire, du XVIIIe siècle à ce jour.
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Contents
Introduction
Valeria PARUZZO "Giovanni Querci della Rovere (1770-1865)"
Patricia DELAYTI TELLES, "Against All Odds"
Vera MARIZ, "Peripheral, Yet Appealing"
Susana STUSSI GARCIA, "Before Drouot"
Camille MESTDAGH, "Finding the Go-Betweens"
Lynn CATTERSON, "The Florentine Dealer Stefano Bardini (1836-1922)"
Adriana TURPIN, "From Bond St. to Fifth Avenue"
Diana J. KOSTYRKO, "Duveen (1860s-1950s)"
Denise M. BUDD, "Charles Mather Ffoulke"
Léa SAINT-RAYMOND, "Opening an Export Branch"
Vérane TASSEAU, "Daniel-Henry Kahnweiler’s"
Emilie WIDMER, "Fine Arts Societies as Intermediaries"
Anne ROTHFELD, "Hans Wendland"
Laurel ZUCKERMAN, "Quantifying Impact"
Federica MILANO, "Kekoo Gandhy"
Makoto SHIMADA, "Market Power"
Eve GRINSTEAD, "The Triangular Dependencies"
Géraldine GOFFAUX CALLEBAUT, "Evolutions of the French Art Market in the 21st Century"
Marion BERTIN, “The Market is Dying”
Constance REMY, "Brussels"