"Art auctions have long captured the public imagination. They regularly make news headlines and have become synonymous with glamour, money and social distinction. The marketing of auction houses and the works they sell has resulted in firms attaining authoritative positions and the ability both to influence and reflect collecting tastes. Pedigree and panache is the first comprehensive history of the art auction in Australia. In this fascinating work, Shireen Huda investigates the construction of the glamorous reputation of art auctions and art auction houses. Featuring absorbing case studies of key art auctions and major art auction houses in Australia (including Christies, Sothebys and Deutscher-Menzies) the work provides an overview of the origin and international development of art auctions. The development of the Australian marketplace is then explored, detailing colonial inception and continuing until Christies' withdrawal of its saleroom presence in 2006."--Provided by publisher.

Art auctions have long captured the public imagination. They regularly make news headlines and have become synonymous with glamour, money and social distinction. The marketing of auction houses and the works they sell has resulted in firms attaining authoritative positions and the ability both to influence and reflect collecting tastes. Pedigree and Panache is the first comprehensive history of the art auction in Australia. In this fascinating work, Shireen Huda investigates the construction of the glamorous reputation of art auctions and art auction houses. Featuring absorbing case studies of key art auctions and major art auction houses in Australia (including Christie's, Sotheby's and Deutscher-Menzies) the work provides an overview of the origin and international development of art auctions. The development of the Australian marketplace is then explored, detailing colonial inception and continuing until Christie's withdrawal of its saleroom presence in 2006. This book is an engaging read for those involved in the art industry, as well as historians, artists, collectors and anyone interested in the art market, art investment, social history and art history.

The glamour and mystery of the art auction, gathering interested buyers from across the globe, makes it one of the most fascinating marketplaces in existence. ‘Sleepers’, artworks or antiques that have been undervalued and mislabelled due to an expert’s oversight and consequently undersold, appear regularly. This fascinating new book provides the first extensive study of the phenomenon of sleepers through an in-depth analysis of the contractual relationships, liability and remedies that arise in the context of auction sales.

San Diego Magazine gives readers the insider information they need to experience San Diego-from the best places to dine and travel to the politics and people that shape the region. This is the magazine for San Diegans with a need to know.

The reputations of artists are curious things, influenced by factors beyond the quality of the work. Affairs of the Art explores the role those left behind play in burnishing an artist's reputation after he or she dies. Through interviews with those handling the estates of artists including Fred Williams, Brett Whiteley, John Brack, Howard Arkley, Bronwyn Oliver, George Baldessin and Albert Tucker, as well as a raft of art dealers, academics, curators and auctioneers, Strickland traverses the strange alleyways of the art market, where power resides with those who hold the best stock, and highlights the sometimes heart-wrenching way emotion and duty intersect in the making of decisions by those left behind.

Collecting the Now offers a new, in-depth look at the economic forces and institutional actors that have shaped the outlines of postwar art history, with a particular focus on American art, 1960–1990. Working through four case studies, Michael Maizels illuminates how a set of dealers and patrons conditioned the iconic developments of this period: the profusions of pop art, the quixotic impossibility of land art, the dissemination of new media, and the speculation-fueled neo-expressionist painting of the 1980s. This book addresses a question of pivotal importance to a swath of art history that has already received substantial scholarly investigation. We now have a clear, nuanced understanding of why certain evolutions took place: why pop artists exploded the delimited parameters of aesthetic modernism, why land artists further strove against the object form itself, and why artists returned to (neo-)traditional painting in the 1980s. But remarkably elided by extant scholarship has been the question of how. How did conditions coalesce around pop so that its artists entered into museum collections, and scholarly analyses, at pace unprecedented in the prior history of art? How, when seeking to transcend the delimited gallery object, were land artists able to create monumental (and by extension, monumentally expensive), interventions in the extreme wilds of the Western deserts? And how did the esoteric objects of media art come eventually to scholarly attention in the sustained absence of academic interest or a private market? The answers to these questions lie in an exploration of the financial conditions and funding mechanisms through which these works were created, advertised, distributed, and preserved.

Art and money have much in common. Both are spheres of social activity that carry symbolic values. A coin is simply a piece of metal, stamped with signs to give it symbolic meaning, to give it a value, a value that changes with the vicissitudes of its economic life, or, when no longer legal tender, with its life as a collectable. A painting is a piece of canvas, stretched on a frame to make it taut, which is then covered with pigment, brushed with an image, a sign that gives it value, a value that changes with the vicissitudes of its aesthetic and symbolic life, with its commodity value. Art and money come together whenever the values of both are exchanged within a market—in trade between artist and client/patron, between dealer and customer, between competitors for social authority. These relationships of art and money are examined by a number of writers from a variety of perspectives—from different periods in history, within different cultures, and engaging with different media of art—from Renaissance Italy to Pop Art and the recent flourishing of the art of Australian Aborigines, from critiques of the market and contemporary art to the funding of art education, from an examination of the values that are being bought and sold to ways for artists to avoid an over-engagement with the money economy, and finally the relationship between art, national identity and coinage.