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This comprehensive book will be essential reading for all those involved with fine art, jewellery and specie insurance. David Scully analyses the history, structure and dynamics of the global marketplace for this type of insurance, illustrating key points with real life examples to provide a practical guide to the business.
Art and finance coalesce in the elite world of fine art collecting and investing. Investors and collectors can’t protect and profit from their collections without grappling with a range of complex issues like risk, insurance, restoration, and conservation. They require intimate knowledge not only of art but also of finance. Clare McAndrew and a highly qualified team of contributors explain the most difficult financial matters facing art investors. Key topics include: Appraisal and valuation Art as loan collateral Securitization and taxation Investing in art funds Insurance The black-market art trade Clare McAndrew has a PhD in economics and is the author of The Art Economy. She is considered a leading expert on the economics of art ownership.
Andy Warhol bequeathed us the words "Death can really make you look like a star." But death per se is not a catalyst for the relevance of an artist. What is of crucial importance is the proper management structure for the posthumous preservation and development of an artistic estate. The handbook by Loretta Würtenberger presents the possible legal framework, appropriate financing models, as well as the proper handling of the market, museums, and academia. Her business, Fine Art Partners, has advised artists and artists' estates for many years in their structuring and development of estate concepts as well as in operative questions. Based on numerous international examples, the author explains the different alternatives for maintaining an artist's estate and makes recommendations on how to ideally handle work, archives, and mementos following the death of an artist.
This comprehensive book is informed by decades of experience and years of research into how to perform as a professional artist in the 21st century art world (or worlds). This book is filled with easy-to-follow instructions that will help you teach everything -- archiving work, start a mailing list, write a grant, and everything else you can think of. This straightforward book even addresses topics you may not think artists need to know about now! Consider this a handbook for teaching the business aspects of an art career. This book is written and designed to empower you to help artists understand the wild world of art careers. Syllabus and handouts included. Far too often artists find themselves having to compromise their art and their life because they were not taught accurate up-to-date methods for dealing with business situations. Because of this lack of preparedness artists miss out on valuable opportunities, financial rewards, and access to receptive audiences. This book aims to help teachers teach professional practices to artists everywhere, helping to avoid these pitfalls and get on the track to success on their own terms. Whether you are a gallery-bound artist, a public artist, an emerging artist, a hobbyist, a crafts-person, a student, or a seasoned artist in need of a tune up, this manual will help you train artists.
Fine artists are taught many things about the craft of art in the various art schools and university art programs, but rarely do they learn much if anything about how to make a career of their talents. The Business of Being an Artist contains information on how artists may develop a presence in the art world that leads to sales. The book contains information on how artists can learn to sell their work directly to the public with an understanding of the principles of marketing and sales as they're applicable to works of art. Artists will also learn how to find a suitable gallery that will arrange sales and commissions and how to set up a contractual relationship with the dealer that is both equitable and profitable. Among the topics covered in The Business of Being an Artist are: the range of exhibition opportunities for emerging and mid-career artists; how to set prices for artwork; when or if artists should pay to advance their careers; how artists may communicate with the public; applying for loans, grants, and fellowships; areas of the law that concern artists; using art materials safely; online sales and marketing, and much more. In addition to all of this priceless information, The Business of Being an Artist includes a unique discussion of some of the emotional issues that face artists throughout their careers, such as working alone, confronting stereotypes, handling criticisms and rejection, the glare of publicity, and the absence of attention. Without a doubt, The Business of Being an Artist is a must-have book for every artist ready to turn their talent into a successful business. Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.
The authenticity of visual art has always commanded the attention of experts, dealers, collectors, and the art-minded public. Is it "real" or "original" is a way of asking what am I buying? What do I own? What am I looking at? And today more sophisticated questions are being asked: How is authenticity determined and what weight does this determination have in court? This book of essays proposes to answer those questions. Three lines of inquiry are basic to determining authenticity: a connoisseur's evaluation, historical documentation or provenance, and scientific testing. A connoisseur is an expert who evaluates the "rightness" of a work based on much careful scrutiny of many works by an artist and familiarity with that artist's usual manner of working with materials. In determining provenance, a researcher traces the physical object from the artist through a chain of ownership to the present owner--simple enough in concept, though it assumes that the documentation is not faked or inaccurate. The goal is to ensure that the object is the same one that left the artist's hand. Scientific testing, although sometimes useful, is often longer on promise than result. Dating paint or wood samples, for instance, can show that a painting was made in Rembrandt's lifetime, but it cannot prove that it is by Rembrandt's hand. If expert opinion is divided, and large sums of money are involved, a dispute over authenticity may end up in a court of law, where evaluation of expert opinion evidence can be problematic. The essays in this book clarify the nature of the methods outlined above and explain, based on case law, the present status of authentication issues in court. Contributors include experts from Christie's, London; Sotheby's, New York; and the former director of the Frick Collection; as well as leading art historians and art dealers; an art conservator; a forensic graphologist; a philanthropist and collector; and a specialist in French art law. Their collective knowledge on issues of authenticity will be invaluable for anyone interested in the world of visual art.