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2016
DOI: 10.1111/sjpe.12122
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Art Auctions and Art Investment in the Golden Age of British Painting

Abstract: Standard-Nutzungsbedingungen:Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Zwecken und zum Privatgebrauch gespeichert und kopiert werden.Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich machen, vertreiben oder anderweitig nutzen.Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, gelten abweichend von diesen Nutzungsbedingungen die in… Show more

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Cited by 13 publications
(2 citation statements)
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References 39 publications
(49 reference statements)
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“…Prices of commissions were typically recorded in units of …orino d'oro (gold ‡orin) which at this time was widely recognized as the dominant trade coin, not just in Italy but also in the entire Western Europe for large-scale transactions. 32 The conversion of the ‡orin into the unit of account, the lira, changed over time 33 and the real value of the ‡orin slowly changed over time. Therefore, I have translated nominal prices into real prices on the basis of the widely recognized index of Goldthwaite (1980Goldthwaite ( , 2009.…”
Section: The Datasetmentioning
confidence: 99%
See 1 more Smart Citation
“…Prices of commissions were typically recorded in units of …orino d'oro (gold ‡orin) which at this time was widely recognized as the dominant trade coin, not just in Italy but also in the entire Western Europe for large-scale transactions. 32 The conversion of the ‡orin into the unit of account, the lira, changed over time 33 and the real value of the ‡orin slowly changed over time. Therefore, I have translated nominal prices into real prices on the basis of the widely recognized index of Goldthwaite (1980Goldthwaite ( , 2009.…”
Section: The Datasetmentioning
confidence: 99%
“…4See also Etro, Marchesi, and Pagani (2015) on the primary art market in Rome and Etro and Stepanova (2015, 2016, 2017a, 2017b) on the secondary art markets in Paris, Amsterdam, Madrid and London. On the emerging literature on the economics of the arts see also Borowiecki (2015, 2016).…”
mentioning
confidence: 99%