LEADER 01288nam0 2200337 450 001 000015456 005 20181106134335.0 100 $a20080820d1971----km-y0itay50------ba 101 1 $aita$cfre 102 $aIT 105 $ay-------001yy 200 1 $a<>rivoluzione industriale$esaggio sulle origini della grande industria moderna in Inghilterra$fPaul Mantoux$gprefazione di Giorgio Mori 210 $aRoma$cEditori Riuniti$d1971 215 $a570 p.$d22 cm 225 2 $aBiblioteca di storia 300 $aTrad. di Paolo Galluzzi. 410 0$12001$aBiblioteca di storia 500 10$a<>révolution industrielle au 18. siècle$m$935689 610 1 $aRivoluzione industriale 610 1 $aRivoluzione industriale$aInghilterra$aSec. 18. 676 $a338.0942$v11$9Produzione. Inghilterra e Galles 676 $a330.94107$v19$9Situazioni e condizioni economiche. Isole britanniche. 1714-1837 676 $a909.81$v20$9Storia universale. 1800-1899 700 1$aMantoux,$bPaul$049033 702 1$aMori,$bGiorgio$4070 702 1$aGalluzzi,$bPaolo$4070 801 0$aIT$bUNIPARTHENOPE$c20080820$gRICA$2UNIMARC 912 $a000015456 951 $a338.642/101$b19217$cNAVA4 996 $aRévolution industrielle au 18. siècle$935689 997 $aUNIPARTHENOPE LEADER 02168nam 2200421 450 001 9910826698603321 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$d©2021 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$01695598 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910826698603321 996 $aAnonymous art at auction$94074934 997 $aUNINA