LEADER 02168nam 2200421 450 001 9910794654503321 005 20230630003143.0 010 $a90-04-46020-9 035 $a(CKB)4100000011946766 035 $a(MiAaPQ)EBC6631753 035 $a(Au-PeEL)EBL6631753 035 $a(OCoLC)1236901502 035 $a(EXLCZ)994100000011946766 100 $a20220126d2021 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aAnonymous art at auction $ethe reception of early Flemish paintings in the western art market (1946-2015) /$fby Anne-Sophie V. Radermecker 210 1$aLeiden, The Netherlands ;$aBoston :$cBrill,$d[2021] 210 4$dİ2021 215 $a1 online resource (340 pages) 225 1 $aStudies in the history of collecting & art markets ;$vVolume 11 311 $a90-04-45004-1 330 $a"Working with a data set accounting for 13,000 auction sales results, Anne-Sophie V. Radermecker explores what contemporary buyers value when purchasing paintings of unknown or uncertain authorship, and which variables influence price formation mechanisms in this market segment. The principle finding of this book is not only that historical names matter in the art market, but so do all other alternative identification strategies that art market players use to label anonymous paintings. Indirect names, provisional names, and spatiotemporal designations function as substitutes for real names that simulate identities, create ex-post stories around the artworks offered for sale, and, consequently, reduce information asymmetry about an artist's identity, with, at time, quite unexpected effects on price"--$cProvided by publisher. 410 0$aStudies in the history of collecting & art markets ;$vVolume 11. 606 $aPainting, Flemish 615 0$aPainting, Flemish. 676 $a759.9493 700 $aRadermecker$b Anne-Sophie$01571295 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910794654503321 996 $aAnonymous art at auction$93845631 997 $aUNINA