1,721,051 research outputs found
Art return rates from old master paintings to contemporary art
Full text linkWe study return rates on art investment using a complete dataset on repeated sales for Old Master
Paintings, Modern art and Contemporary art auctioned worldwide at Christie's and Sotheby's from
2000 to 2018. We show that return rates do not depend systematically on past prices or the place of
sale, but we emphasize substantial differences in returns across sectors. We also control for changes in
transaction costs (buyers' premiums and artists' resale rights), characteristics of the sale (evening sales,
price guarantees and past bought-ins) and news on the lots (changed attributions, public exhibitions or
death of the author) that appear reflected in art returns. We confirm the absence of masterpiece effects
in American, Chinese and Ethnic art. Finally, using historical data on prices during Renaissance,
Baroque and Neoclassical periods, we find evidence that price changes are independent from initial
prices also in the long run
The impact of color palettes on the prices of paintings
Full text linkWe emphasize that color composition is an important characteristic of a painting. It impacts the auction price of a painting, but it has never been considered in previous studies on art markets. By using Picasso’s paintings and paintings of Color
Field Abstract Expressionists sold in Chrisite’s and Sotheby’s auctions in New York between 1998 and 2016, we demonstrate the method to analyze color compositions: How to extract color palettes from a painting image and how to measure color characteristics. We propose two measures: (1) the surface occupied by specific colors, (2) color diversity of a painting composition. Controlling for all conventional painting and sale characteristics, our empirical results find significant evidence of contrastive paintings, i.e., paintings with high diversity of colors, carrying a premium than equivalent artworks which are performed in monochromatic style. In the case of Picasso’s paintings, our econometric analysis shows that some colors are associated with high prices
Power-laws in art
Full text linkWe provide evidence of a cubic law of art prices that hints to a general pattern for the distribution of artistic talent. The persistence across heterogeneous markets from historical ones to contemporary art auctions of a power law in the distribution of the average price per artist suggests the possibility of a universal law for talent distribution. We explore scale-free networks of teacher–students to investigate the diffusion of talent over time
Art collections and taste in the Spanish Siglo de Oro
Full text linkWe analyze art pricing in a unique dataset on Madrid inventories between 1600 and 1750. Hedonic regressions reveal a number of interesting facts about the taste of Baroque Spanish collectors and the imports of foreign paintings. The hedonic price index shows an impressive increase in the price of paintings (relative to the cost of living) during the XVII century, in line with the Lopez hypothesis for which investment in art increases in wealthy societies without new productive investment opportunities. We examine price differentials between domestic and imported paintings: at the beginning of the century local works were priced substantially below imported paintings, but the price gap is gradually reduced during the century, with an increasing contribution of the younger painters. This is in line with a Schumpeterian hypothesis for which increasing demand induced increasing domestic quality, as priced by the market, and created the conditions for what is known as the Siglo de Oro of Spanish art
The Market for Paintings in Paris between Rococo and Romanticism
Full text linkWe analyze art pricing in a unique dataset on Paris auctions between 700s and 800s. Prices reflect the objective features of the paintings and of the sale, and they reveal a substantial death effect, with upward jumps in the years after the death of the artists. Both the hedonic and repeated sale price indexes show a declining pattern for the price of paintings (relative to the cost of living) starting with the French Revolution. On this basis, we analyze the emerging role and market power of art dealers and employ network theory to study whether they created rings to manipulate the outcome of the auctions for their profits. Dealers appear to have been divided into four main communities heavily trading between themselves and we find evidence of collusive behavior with lower hammer prices for buyers belonging to the same community of the dealers organizing the auction
Entry of painters in the Amsterdam market of the golden age
Full text linkWe analyze the evolution of the price of paintings in the XVII century Amsterdam art market to test a hypothesis of endogenous entry: higher profitability should attract more entry of painters, which in turn should lead to artistic innovations and more intense competition. We build a price index for the representative painting inventoried in Dutch houses through hedonic regressions controlling for characteristics of the paintings (size, genre, placement in the house), the owners (job, religion, value of the collection, size of the house) and the painters. After a peak at the beginning of the century, the real price of paintings decreases until the end of the century: we provide anecdotal evidence for which high initial prices attracted entry of innovators, and econometric evidence on the causal relation between price movements and entry of painters. The time series analysis supports the idea for which increasing prices attracted entry of innovative painters
Art Auctions and Art Investment in the Golden Age of British Painting
Full text linkWe analyse the evolution of the price of paintings in London auctions with a unique data set of over 200,000 sales in the period 1780-1840. We build a price index for the representative painting through hedonic regressions controlling for the characteristics of auctions and paintings and for the artists' fixed effects. The emergence of an efficient secondary art market was an important opportunity for portfolio diversification. Estimating a CAPM model for art investment suggests that British paintings could deliver a higher return compared to imported paintings and an attractive source of diversification relative to the contemporary stock market. This contributed to increase the demand for British art and, possibly, to promote the innovations of its Golden Age. While the representative painting of the British school was initially undervalued, new British painters reached foreign prices by the beginning of 1800s
Dynamic Increasing Returns and Innovation Diffusion: bringing Polya Urn processes to the empirical data
No full textThe patterns of innovation diffusion are well approximated by the logistic curves. This is the robust empirical fact confirmed by many studies in innovations dynamics. Here we show that the logistic pattern of innovation diffusion can be replicated by the time-dependent stochastic process with positive feedbacks along the diffusion trajectory. The dynamic increasing returns process is modeled by generalized Polya urns. So far, urn models have been mostly used to study the [path-dependent] limit properties. On the contrary, this work focuses on the transient [finite time] properties studying the conditions under which urn models capture the logistic trajectories which often track empirical diffusion process. As examples, we calibrate the process to match several cases of diffusion of motor ships in European countries
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